CIHA 2016 in Beijing
34th World Congress of Art HistoryAbout History Press Release Sessions Schedule Activities Participants Venue Discussion Registration Closed
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Session 2 The Rank of Art
Session 3 Imagination and Projection
Session 4 Appreciation and Utility
Session 5 Self-Awareness or Self-Affirmation
Session 6 Politics of Identity: Tradition and Origin
Session 7 Translation and Change
Session 8 Art and Taboo
Session 9 Autonomy and Elusion
Session 10 Gendered Practices
Session 11 Landscape and Spectacle
Session 12 Garden and Courtyard
Session 13 Transmission and Adoption
Session 14 The Other and the Foreign: Contact, Curiosity, and Creative Exchange
Session 15 Creative Misunderstanding
Session 16 Commodity and Market
Session 17 Display
Session 18 Media and Visuality
Session 19 History of Beauty vs. History of Art
Session 20 Professional Education and Aesthetic Education
Session 21 Connecting Art Histories and World Art
Coming to Terms with Rilievo
Question of Transparency: Whereabouts of Translational Dissonances in World Art History
Positioning Chinese Painting in the 1930s: Translation and Revision in National Painting Monthly
The Landscape of Chorography and Boundaries' Ceremony: Genre Scene Describing of Late Ming Dynasty in European Jesuits' Cartography.
Mosaic and Display: Chinese Ceramic in East African Coast
Iconographic Turn: On Chinese Buddhist and Daoist Iconography in the Diez Albums
Dreams and realities of cultural translation. The Islamic World in Spanish Art in the 19th and early 20th century.
" Lives in Transition: Locating Buddhist Relics in the Worlds of Scholarship, Antiquarian Market, Diplomacy, and Religion"
The Cross Cultural and the Problem of the Everyday: The Case of Twelfth-Century Europe
British Orientalism and the Reproductive Print
"Periodical Routes. Displacements and appropriations in the Illustrated press in Nineteenth-Century Buenos Aires "
“Without any aid whatever from the artist's pencil”? Persian Photography at the Crossroad between Europe and China
The appearance of transcultural visual forms in societies across the world has elicited significant scholarly attention in recent years. New art histories have utilized trade networks, migration patterns, and conflict zones as the locus of enquiry to engage with the question of translation and change on a global scale. The Black Atlantic, the Indian Ocean littoral, the Pacific Rim, the Silk Route, the Sub-Saharan Trail, and the Mediterranean world, among others, have thus emerged as key geopolitical constellations that have shaped the pluralistic topography of intercultural flows. While this plurotopic hermeneutics has allowed scholars to identify a set of intercultural economic, political, and geographic formations as central to theorizing translation and change, we are yet to fully confront the conceptual and methodological questions such configurations present for art history’s disciplinary contours.By examining the circuitous movement of artists, objects, aesthetic concepts, and knowledge systems, the panel seeks to offer a broad vision of translation and change. Approaching Translation and Change through the lens of trade networks, migration patterns, and aesthetic discourses, our aim is to engage with the relatively under-theorized dialectic between the global transmission of objects and ideas and the disciplinary contours of art history in dispersed locations through three distinct, but inter-related, areas of emphasis:
» Spatiality: Synchronic movements across communities, cultures, nations, and empires will allow us to examine the spatialities of translation and change. How do we account for multiple spatial systems of translation and change? Along with the mobility of elite merchants, the aristocracy, and cosmopolitan art collectors, could we, for instance, account for everyday micro-practices of subaltern intercultural translations that make visible entanglements between “localized” peripheries and “cosmopolitan” global centers? How are micro-spaces, for instance the house or the hut, situated within these processes? How is the notion of space, place, and site translated through aesthetic practices? How do we account for mediatic translations, for instance from stone to paper and painting to architecture? What is the role of natural ecosystems and the landscape within aesthetic and artistic translation?
» Temporality: Diachronic movements mapped across lifecycles will make visible the temporalities of translation and change. How were knowledge systems, objects, and aesthetic practicestranslated across time and to what extent were these systems modulated to address changing social practices? Are there differences in temporal approaches to translation and change? How did the translation of objects and knowledge occur through familial lineages, guilds, and artistic intellectual communities? What was the role of didactic manuals, art schools, and intellectual translations in a global field? Might there be a dissonance between professional structures of knowledge transference articulated through disciplinary concerns and non-formal networks of circulation? What is the role of inter-generational knowledge flow in translation and change?
» Lexicon/s: Moving beyond normative histories of exoticism (Orientalism) and Westernization, what are the lexicons and terminologies that allow us to consider the aesthetic and social purport of translation and change from a global perspective?While the language of art history is undoubtedly a product of the European Enlightenment, colonialism, and modern rationality, might premodern theorizations allow us to question the strictures of art history?Are there differences in regional approaches totranslation? How might we write art histories that account for the dissonances in diverse global perspectives to translation without reiterating the West as art history and the non-West as affective ethnography? Can we read the translation of art history texts across cultures, the art historian’s ekphrastic translation of image to text, the cultural biographies of objects, and collecting and display as processes of translation and change? Can Translation and Change enrich the concepts of art history on a global scale?