波斯細密畫 Diez Albums 裡的中國圖像

主講人：王靜靈( 荷蘭阿姆斯特丹國家博物館中國藝術研究員／亞洲藝術中心研究主任 )
講題：談歐洲的中國藝術史研究及博物館運作的新趨勢
時間：106年4月14日 (五) 下午兩點
地點：藝史所406教室

地址：臺北市大安區青田街5巷6號4樓

主講者：王靜靈研究員
　　　　（荷蘭阿姆斯特丹國家博物館中國藝術研究員／亞洲藝術研究中心主任）
講　題：波斯細密畫 Diez Albums 裡的中國圖像
時　間：2017.04.20（週四）16:00-18:00
地　點：臺灣大學校總區　樂學館205室

演講簡介：
本演講首先介紹柏林國家圖書館所藏的波斯細密畫冊 Diez Albums 中所收錄的中國圖像。其次將聚焦於其中兩頁細密畫，即 Diez A fol. 73, p. 53 以及 Diez A fol. 73, p. 55 進行討論，對其圖像學母題進行分析，併討論其與波斯細密畫風格之間的關聯，最後將討論其在中國與波斯跨文化交流脈絡中的藝術史的位置。

Publications (selection)

<奧托.昆墨爾的中國繪畫鑑賞之眼>，《典藏古美術》281 (2016)，86-91。

<書齋內外的風景>，《典藏讀天下》2015：1，30-34。

<丁觀鵬蓮座大士小攷>，《紫禁城》242 (2015)，124-128。

“The Date and Image-Text Relation of the Combination of Ding Guanpeng’s Picture of ?ūra?gama Sūtra and Zhang Zhao’s Calligraphy,” in Gugong wenwu yuekan (National Palace Museum Journal Monthly) 363 (2013): 88-97

“Ein Elegantes Geschenk: Die Querrolle ?Frühlingsregen am Xiang-Fluss ? von Xia Chang im Museum Für Asiatische Kunst Berlin,” in Ostasiatische Zeitschrift 24 (2012): 11-26

“When Contemporary Art Encounters a National Treasure: Fan Kuan’s Travellers within Mountains and Streams,” in: Birgit Hopfener, Franziska Koch et al., Negotiating Difference. Contemporary Chinese Art in the Global Context, (Weimar: Verlag und Datenbank für Geistwissenschaften, 2012), 99-112

“The Interaction and Integration between Chinese and European Art: On the case of Bodhisattva Ma?ju?rī on the Lotus Throne painted by Ding Guanpeng,” in Gugong wenwu yuekan (National Palace Museum Journal Monthly) 349 (2012): 94-101

“The Chinese Painting Collection in the Berlin Museum: In the Past, Now, and the Future,” in Proceedings of International Symposium on Chinese Painting and Calligraphy Collections in Western Japan (Kyoto: Kansai Collection of Chinese Painting and Calligraphy Research Committee, 2012), 133-145

“Fengshui in the Painting: Reading Huang Gongwang’s Dwelling in the Mt. Fuchun,” in Zijincheng (Forbidden City) 205 (2012): 88-99

“The Ruler of the Universe and World: The Ivory-crafted Geometrical Balls Produced and Collected by Saxon Kings and Princes in Dresden,” in Zijincheng (Forbidden City) 203 (2011): 57-67

“Image as Historical Evidence: On The Dutch Paying Tribute of Horses and Oxen,” in Gugong wenwu yuekan (The National Palace Museum Monthly of Chinese Art) 336 (2011): 66-77

“An Elegant Gift: Xia Chang’s Spring Rain over the Xiang River,” in Zijingcheng (Forbidden City) 180 (2010): 88-101

“Li Ri-Hua’s Connoisseurship towards Antiquities,” in Shiwu luntan (Forum for Historical Artifacts) 7 (2008): 25-60

“Illusion or Real-Image? -The Position of Along the River Bank, Attributed to Dung Yuan on Chang Da-Qian’s Painting Career,” in Gugong wenwu yuekan (The National Palace Museum Monthly of Chinese Art) 303 (2008): 114-127

“Establishing Paradigm: Wang Shi-Min and Album to See the Large within the Small,” in Meishushi yianjio jikan (National Taiwan University (Tai-da) Art History Journal), 24 (2008): 175-258

Ref:

https://www.rijksmuseum.nl/en/organisation/organisation-chart/fine-and-decorative-arts/ching-ling-wang

臺大藝術史研究所

http://arthistory.ntnu.edu.tw/news/news.php?Sn=171