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SESSION I

EAST ASIAN RELIGIOUS ART IN THE EYES OF FOREIGNERS

Religious paintings or statues were originally made for the local believers, but, as time went by, they may acquire multiple meanings from viewers of different backgrounds, whether the works stayed in their original location or were transferred to other places. In this panel, presenters adopt the perspective of reception history, arguing that the interpretations and understandings which are different from the original intentions of the works are not simple mistakes. Foreign viewers, regardless of their cultural backgrounds, may enrich the life history of individual works.

Session & Abstract: Speakers

YUMEDONO KANNON: FENOLLOSA’S COMMENT AND THE DIVERSE WAYS OF APPRECIATING THIS IMAGE

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WU, PEI-JUNG

Pei Jung Wu is an associate professor in the Graduate Institute of Art Studies, National Central University in Taiwan. She received her Ph.D. from the Department of Art History, University of California, Los Angeles. Her current research interest focuses on the interaction between the East and the West at the turn of the nineteenth and the twentieth centuries. Through comparing the development both in China and in Japan, and by studying materials not traditionally considered as related to art history, she hopes to reveal new understanding of the various situations coexisted in the early stage during the development of the East Asian art historiography.

SESSION II

EAST ASIAN ART HISTORIES REVISITED: TAIWAN, CHINA & JAPAN

The history of East Asian art in the 20th century has a complex outlook due to dramatic change over time. The three papers in this panel focus on interaction and processes among Japanese, Taiwanese and Chinese artistic circles during the pre-war and post-war eras. The discussion also involves the intersecting issues of cultural background, nationalism and the artists’ personal histories, thus bringing forth a more stereoscopic field of view.

Session & Abstract: Speakers

TAIWANESE ARTISTS’ STUDY OF CHINESE PAINTING DURING THE JAPANESE COLONIAL PERIOD, A CASE STUDY OF LIN YU-SHAN


TSAI, CHIA-CHIU

Chia-chiu Tsai is the associate professor at the Graduate Institute of Art History, National Taiwan Normal University. Tsai graduated from The University of Tsukuba, Japan with a doctoral degree in art history. He specializes in modern East Asian art history, focusing on Taiwanese art during the colonial period, and the interaction phenomena. Tsai has presented and published his papers concerning the artists’ travel, the landscape painting, the surrealist art movement in East Asia etc. in Chinese, Japanese, and English, which have made important contributions to the international understanding of East Asian art history. The latest publication is Taiwanese Art History since 19th Century (co-edited in Chinese, Taipei: SpringHill Publishing, 2022.04)

SESSION III

EARLY MODERN CHINESE PRESS AND GRAPHIC COMMUNICATION

The three papers in this panel use local chronicles, illustrated journals and graphic publications, and early movies to do the following: explore the cultural memory involved in the landscape of “ruins”; discuss the visual modernity and narrative transformation of the first illustrated novels of the late Qing Dynasty; and rethink about the development of “the culture of laughter” at the beginning of the 20th century in the intertextual and intermedial early Chinese film comedy.

Session & Abstract: Speakers

RUINS：LANDSCAPES, RELICS AND HISTORICAL MEMORIES OF THE QING DYNASTY

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YANG, YU-CHENG

Ph.D., Department of Chinese Literature, National Chengchi University, Researcher of Institute of Chinese Literature and Philosophy, Academia Sinica. His academic expertise is classical poetry, the history of Chinese literary theory and the study of commentary. He is the author of A Study of disciples of Cheng-Yi and Chwng-Hao (Master's thesis, 1987), A Study of Tao Yuanming's Literature -- A Comprehensive Analysis of Language and Folk Rites. (Doctoral thesis, 1993), Constructing Classics: Wang Yuyang and Literary Criticism (2017), and Somniloquy, Vomiting and Medical Treatment: Literature and the Psychological Biography of Dong Yue in Late Ming Dynasty (2013) and The Body Outside of Body: Visual Culture and the History of ＂I＂ Phantom (2017), Peom and Time: Poetry of Tao Yuanming and Medieval Concepts of Time (2010), Metapoetry: On-poetry Poems of Tang and Literary Reading (2006) and so on more than 10 single paper, also published The Invention of ＂New Poetry＂: Modern Poetic Theory and the Chinese Lyrical Tradition (2019), Landscape: Changes in the View of Nature and the Structure of Feeling During the Jin and Song Dynasties (2018), Crime and Punishment: Justice and Violence of Illustrations to Fiction in the Late Ming Dynasty (2017), and more than 20 conference papers.

SESSION IV

TAIWAN LANDSCAPE PHOTOGRAPHY

Compared with the research and development of Taiwanese art history in painting, sculpture and architecture, the history of photography in Taiwan has been ignored and marginalized. Fortunately, in recent years, as public art galleries and museums have increased the display and collecting of photography, and benefited from the increased emphasis on photographic assets in private art galleries, libraries, and educational institutions, research on the history of photography in Taiwan is gradually taking shape. This session focuses on the development of landscape photography in Taiwan, and discusses the production and reception of landscape photography, its aesthetic concepts and styles, as well as its historical context and social implications. The landscape implies the tension and conflict between civilization and nature, and is transformed and changed by the influence of political and economic systems. This session will focus on the process of modernization: how do Taiwanese photographers capture geographical features and changes of homeland, respond to ecological environment issues, and express their observations and emotions about the earth?

Session & Abstract: Speakers

NOT ABOUT TRAVEL：TAIWAN LANDSCAPE IN PHOTOGRAPHIC IMAGES

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WANG, YA-LUN

Wang Ya-Lun is an associate professor in the Institute of Art Studies, National Cheng Kung University, Taiwan and member of the Collection Committee of National Taipei, Kaohsiung, Tainan City Art Museum. She received her PhD in western art history from the National Taiwan Normal University, Taiwan, and also hold a master degree of arts from the Université de Paris VIII en France.

SESSION V

THE PAST REVISITED IN CONTEMPORARY ARTS

This session focuses on a key concept: “re-enactment”, exploring the many creative and curatorial practices that have emerged in contemporary art since the 1990s, dedicated to creative strategies of revisiting the past. On the one hand, the three papers together aim to sort out the methodologies of re-enactment and its political potential. On the other hand, through theoretical synthesis, observation on curatorial practice, and exhibition history research, this panel also provides possible methods for analyzing the current wave of historical revisitations.

Session & Abstract: Speakers

TWICE INTO THE RIVER OF HISTORY: THEORETICAL CONCERNS, VISIONS AND REFLECTIONS ON CONTEMPORARY RE-ENACTMENTS

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WANG, SHENG-HUNG

Having earned a doctorate from the School of Fine Arts of Taipei National University of the Arts, Wang currently works as an assistant professor at the Graduate Institute of Art Studies, National Central University. His main research interests include contemporary video art, performance art, and body art, with a focus on contemporary biopolitics and their impact on physical action and mode of expenditure under the prevailing accelerationist politics and bureaucratic apparatus. On this foundation, he reflects on the production and expansion of local art theories in Taiwan.

SESSION VI

EARLY MODERN WESTERN IMAGE AND THE PRODUCTION OF KNOWLEDGE

Early Modern Western art works not only present the historical context of the evolution of forms, styles and iconographies, but also depict the urban cultural landscape, social customs, material and knowledge systems. The three papers in this panel use images produced in different media such as oil paintings, prints and illustrations, as well as cabinets of curiosities which gather natural and artificial objects, to open discussions on the issues of municipal, national and transnational art history research.

Session & Abstract: Speakers

THE ILLUSTRATED HISTORY OF PARIS IN DIABLE À PARIS (1845-6)

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YANG, YIN-HSUAN

Yin-hsuan Yang, PhD in Art History from Université Paris Nanterre (France), Associate Professor in the History Department of National Cheng Kung University (Tainan), Division Director of Research and Collection Division of NCKU Museum. Main area of research: Nineteenth-Century Western art, French cultural history, history of caricature and popular image.

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