03.-06.07.2017: 1. Richard-Wilhelm-Vorlesung / Richard Wilhelm Sinology Lectures
Vorlesungsreihe in Gedenken an Richard Wilhelm (1873-1930) - Medieval Chinese Art, Poetry, and Supernatural Stories - Prof. Dr. Ronald C. Egan (Stanford University)
Um Richard Wilhelm (1873-1930) dem großartigen Wissenschaftler und Übersetzer von chinesischen Klassikern zu gedenken, der 1924 die Sinologie in Frankfurt am Main gründete, startet der Fachbereich der Sinologie der Goethe Universität Frankfurt eine Richard-Wilhelm-Vorlesungsreihe. Im Sommer eines jeden Jahres werden führende Sinologen nach Frankfurt eingeladen, um eine Serie an Vorträgen und Workshops mit den Themen chinesische Literatur, Geschichte, Philosophie, Kunst oder Religion zu veranstalten. Der erste Wilhelm-Wissenschaftler im Jahr 2017 wird Ronald Egan sein. Die Veranstaltung wird großzügigerweise von der Vereinigung von Freunden und Förderern der Goethe Universität, Qingdao Huatong Investment Group und Shinework Media gesponsert.
Sie sind herzlich zur Eröffnungsrede am 3. Juli 2017 eingeladen. Wir heißen Sie außerdem gerne zu weiteren Programmpunkten der Veranstaltung am 4., 5. und 6. Juli willkommen.
Für den Workshop am 6. Juli senden Sie bitte Ihre Anmeldung an das Konfuzius-Institute Frankfurt <firstname.lastname@example.org>.
Richard Wilhelm Sinology Lectures
Inaugural Speeches, July 3-6, 2017, Frankfurt
Inaugural speaker: Ronald Egan (Stanford University)
General Topic: “Medieval Chinese Poetry, Stories, and Landscape Art”
Die Vorlesungen finden statt am
03.07.2017, 18-20 Uhr, Campus Westend, HZ 10 (mit Empfang)
Chinese Landscape Painting as a Composite Art
The inaugural speech will be introduced by:
Moderator Prof. Dr. Zhiyi Yang (Sinologie, Goethe University)
Prof. Dr. Brigitte Haar (Vice President of the Goethe University)
Prof. Dr. Iwo Amelung (Sinologie, Goethe University)
Prof. Dr. Sarah Fraser (Institute of East Asian Art History, Heidelberg University)
04.07.2017, 18-20 Uhr, Campus Westend, Eisenhower Room, IG 1.314
Li Qingzhao and the Question of Who Owns “China’s Greatest Woman Poet”?
05.07.2017, 18-20 Uhr, Campus Westend, Cas. 1.812
Unspeakable Acts and Suppressed Meanings in Twelfth-Century Chinese Supernatural Tales
06.07.2017, 18-20 Uhr, Konfuzius-Institut Frankfurt, Dantestraße 9
How to read a Chinese landscape painting?
“Chinese Painting as a Composite Art”
The prominence of artists’ inscriptions on Chinese paintings is a well-known feature. But what purposes do they serve, and how do they contribute to the viewer’s experience of the art work? Do they somehow serve to make Chinese painting distinct from that in the European traditions? This talk considers artists’ inscriptions on Chinese paintings from the Ming-Qing period, and examines how they alter guide and affect our understanding of the painted images. Particular attention is given to poetic inscriptions, especially those that reproduce or draw upon poetry from earlier centuries. What did Ming-Qing painters seek to accomplish by adding lines of Tang or earlier poetry to their paintings? This talk will consider the interplay of text and image in exquisite paintings of the period.
“Li Qingzhao and the Question of Who Owns ‘China’s Greatest Woman Poet’?”
Li Qingzhao 李清照 (1084-1150s) is widely recognized as the greatest woman poet in Chinese literary history. Her talent was such that she became famous already in her own lifetime, and her fame increased in the centuries after her death. But certain of her actions in life, as well as some of her writings, did not sit well with conservative Confucian scholars and critics, who had difficulty reconciling their ideas of appropriate womanly conduct with what she actually wrote and did. An intensive scholarly campaign was thus undertaken during the late imperial period to recast this iconic figure, and the influences of that campaign are still amply attested in perceptions of her today in China. This presentation raises the issue of contested images of China’s greatest woman poet, argued over by Confucians, modern scholars, feminist critics, and even foreigners, all of whom are eager to discover and lay claim to an outstanding female writer in the great tradition of Chinese poetry.
“Unspeakable Acts and Suppressed Meanings in Twelfth-Century Chinese Tales”
There are plenty of stories in Hong Mai's 洪邁collection of supernatural tales, Yijian zhi 夷堅志, that feature conventional morality and outcomes, such as divine retribution for wickedness and self-indulgence. But there is also a significant portion of the work that goes beyond these standards, treating sensitive and "awkward" topics such as grievances toward the official class, antagonism towards Buddhist clergy, sexual desire, madness (among women), the criminal mind, and infanticide. In these stories the taboo or nearly taboo topic overshadows the tale's outcome or denouement. The willingness to deal with such issues gives many stories a somber tone, as they detail for us some of the darker aspects of twelfth-century life that we rarely glimpse elsewhere. Among these often troubling stories, some are so sketchy on details that it is difficult to know exactly what is happening or why. Presumably, this is because the unseemly conduct or motives of the persons involved tends to give rise to a degree of narrative suppression in the telling and retelling (Hong Mai did not write these stories; he recorded tales he heard from informants). These can be the most challenging and intriguing stories for us today. This talk examines examples of such stories and tries to explore the events and meanings that they simultaneously evoke and veil. Collectively, the stories trace the boundaries of what was permissible to put into writing even as they broach conduct that lay beyond those boundaries.
“How to Read a Chinese Landscape Painting: Text and Image”
We know that textual inscriptions are ubiquitous on traditional Chinese paintings. This workshop will consider the contributions that such inscriptions added by the artist himself make to the experience of the paintings. A range of relationships between painted image and inscribed text will be examined. Poetic inscriptions are particularly common, and several of the ways that poetic lines alter the viewer’s understanding of the painting will be examined. Of special interest is the inscription onto a painting of poetic lines written centuries earlier. Artists of Ming-Qing times were fond of inscribing their paintings with lines form Tang dynasty poetry. This aspect of the artists’ creativity has seldom been fully appreciated, and will be closely examined.