CIHA 2016 in Beijing

34th World Congress of Art History

About History Press Release Sessions Schedule Activities Participants Venue Discussion Registration Closed


Participants
SEINOSUKE, Ide
Chair

YANG Xiaoyan
Chinese Chair

LIU Chen (THU)
Junior Chair

ABDULLAH, Sarena
Early (Visual) Modernities in Malaysian Art: Expanding the Narrative

TCHIBOZO, Romuald
Processes of European art technics transmission and adoption in Africa: what impact on aesthetics practices?

Chen Yijie
Chinese Art History Research in Japan and its Reception in 1920s: Illustrated by the case of Naito Konan and Akutagawa Ryunosuke’s literati painting viewpoints

Tanaka, Ken'ichi
Jianzhen's Transmission of Art and Adoption in Japan

VENTURI, Riccardo
Vasari in Bangkok, or How Modern Art Came to South-East Asia. ——The case of Corrado Feroci

SUN Meilin
“国画?西画?”——从庞薰琹之惑谈其对中、西绘画的理解

KOVACS, Claire
Telemaco Signorini – a Parisian-Tuscan conduit

TAIN, John
Answers from the Future: Kinoshita Shūichirō and David Burliuk’s What is Futurism?

ÇALIŞIR PENÇE, Deniz


MUSILLO, Marco
Transmission will Surface Later, or Beyond: Adoptions in East-Asian Painting Practices and in Western Art History

TOYA, Tomoko
中日两国接受珂勒惠支的艺术过程的比较分析

Fan Liya
Chinese Painting through “Japanese Eyes”: with Special Reference to Laurence Binyon's Understanding and Misunderstanding of Chinese Painting

ZHANG Shubin
Divine Guidance and Visual Pilgrimage: The logic of space-time of the Panoramic Mural Map of Mount Wutai in Dunhuang

HAQ, Sama and CHOPRA, Virien
Synchronic Transmission: A Look at the Ramakien Murals at Wat Phra Kaew

ZHANG Xiao
网络博物馆扩大艺术的文化后生产


Schedule of Session 13.pdf


Schedule of Session 13.jpg

Concept

“Transmission and Adoption” is one of the themes that has been discussed for a long time. In the transcultural spread of art and art concept between A and B, transmitted contents from A used to come to face and be exposed to some bias or filter which formed inside of B according to its cultural context, and finally they were adopted by B. The original patterns of interest of art and art concept are not necessarily guaranteed through transmission and adoption.

In this session, bearing in mind the above discussed complementary relations between transmitter and adopter, we propose to emphasize the entire process of the transcultural spread of art and art concept and their adoption, namely on the role of different modes and means of transmission. We then hope to elucidate how new modes and means of transmission could expand the value of relativity and strengthen the perceptible impact on humanity.

In the process of transmission and adoption of art and art concept, the artist and the art coordinator have held important roles. Those men of talent who were familiar with the material, iconography, and mode of expression of canonical art form could realize reproduce original form as new and prepare educative programs through their transcultural journeys. They could then contribute greatly to the transmission of art concept in different cultural spaces.

On the other hand, we know of many concrete cases in all times and places among the East, the West, and the South that artist or art coordinator did not necessarily take part in the process. In these cases of the absence, transmitted art objects and knowledge stemmed from published books of art or technical manuals for art. These sometimes took much more important roles than the artist. It should be noted also that small model and flat pattern after originals but different in their material, form, and scale functioned effectively as substitutes.

Finally, the problem of time lag of adoption was not discussed much in previous conferences and therefore it will also be discussed in this session. Frequent occurrence of time lag in the history of transmission and adoption of art and art concept is postulated to have stemmed from the historical background of the adopter that the preceded the art and art concept which formed and functioned as some bias and filter against new ones.

According to this session’s concept, we made five sub-session themes as follows. Examples are also noted after each.


 Sub-sessions themes of Session Number 13

1) The Impact and Adoption of Different Modes of Expression as New

・Canonical art form of Chinese Court in East Asia

・Adoption of western art of representation(three dimensional perspective and chiaroscuro) in the East

・Adoption of language of form of Japanese print Ukiyo-e in the art of the 19th century Europe

・Discovery of art of Africa by modernist artists in the 20th century

・Circulation of performance art and installation in the contemporary art and raising or reevaluation of art of calligraphy and art for ritual


2) The Role of the Artist or the Art Coordinator in Transmission and Adoption

・Sending and inviting an artist in the East Asia or among different cultural spaces

・Role of artists who learned at and returned from dominant cultural spaces

・The circulation of religious icons by Japanese or Korean monks returned from China

・Educative program and practice in Semianrio of the Jezuitto cult in the East and the South


3) Transmission of Art Concept and Forms Through Knowledge (eg., Books and Manuals)

・The circulation of art books and practical manuals of art in Chinese cultural sphere

・Legends of artists and their influence on the formation of new movement of art


4) Change of Art Mode, Genre, Form or Material in the Process of Transmission and Adoption

・Drawing as medium of transmission of original form for textile or wall painting

・Statue to Painting and Painting to Statue in the transmission of religious icons

・Sharing the same iconography in different materials in the transcultural spread of art

・The circulation of Western reproductive prints in different cultural spaces

・Masterpieces as icon in the modern market


5) Time Lag in the Adoption of Art Forms and Art Concept

・Time lag between Korea and Japan in the access to canonical art form of China

・Adoption of Western art of modernism in different cultural spaces

・Understanding of the splashed ink painting between the East Asia and the West

・Discovery of art of the East in the West and that of the South in the East

・Revaluation of border art in the formation of national art history


CALL FOR PAPERS


This session aims to investigate the robust process of the intercultural transmission of art and/or art concepts, and the changing patterns of interest and expression that result from transmission and adoption. Previous Congress sessions have addressed this topic but here we will emphasize the different modes, means and methods of transmission and the ways in which they affect the relative value or perception of a work, or alter the impact of art works and concepts on either side of the transmission.

Papers may in principle take up a variety of examples, but any paper proposal should keep in mind the entire process of the trans-cultural spread of art and art concepts even as they might feature one aspect of that process. To allow for coherence within the session, the following five sub-sessions are proposed. Potential papers should address at least one of the five themes exemplified in the session concept.

1) The Impact and Adoption of Different Modes of Expression as New

2) The Role of the Artist or the Art Coordinator in Transmission and Adoption

3) Transmission of Art Concept and Forms Through Knowledge (eg., Books and Manuals)

4) Change of Art Mode, Genre, Form or Material in the Process of Transmission and Adoption

5) Time Lag in the Adoption of Art Forms and Art Concept