演講公告：Prof. James Cahill, Prof. Donald F. McCallum 演講公告
徵人：徵兼任助理
亞洲藝術學程：98學年度臺大亞洲藝術學程開始招生~
第一場
主講人：Prof. James Cahill （加州大學柏克萊分校榮譽教授）
講 題：A Pure and Remote View: Digitizing a History of Chinese Landscape
溪山清遠：解析中國山水畫史
地 點：臺大文學院 一樓 演講廳
時 間：2009年9月4日（週五）下午1:00-3:00
第二場
主講人：Prof. Donald F. McCallum （加州大學洛杉磯分校藝術史系教授）
講 題：The Four Great Temples of Seventh-Century Japan
七世紀日本之四大寺院
地 點：臺大文學院 一樓 演講廳
時 間：2009年9月4日（週五）下午3:00-5:00
The Four Great Temples : Buddhist Art, Archaeology, and Icons of Seventh-Century Japan by Donald F. McCallum
2009.9.4＆9.7---Prof. Donald F. McCallum（加州大學洛杉磯分校 （UCLA）藝術史系教授） 演講公告
第一場：
時間：9月4日 (星期五) 下午15:00-17:00
地點：臺大文學院2樓會議室
講題：The Four Great Temples of Seventh-Century Japan
七世紀日本之四大寺院
(詳情請洽台灣大學藝術史研究所：+886 (02) 3366-4220, artcy@ntu.edu.tw)
時間：9月7日（星期一）上午10：00-11：50
地點：中央大學國鼎館2樓201會議室
講題：Self and Family Identity in Taisho Painting: Yorozu Tetsugoro, Koide Narashige, and Kishida Ryusei
大正繪畫中的自我與家人：萬鐵五郎、小出楢重、岸田劉生
(詳情請洽中央大學藝術學研究所,+886(03)4227151*33650,ncu3650@ncu.edu.tw)
圖片來源：http://www.humnet.ucla.edu/humnet/arthist/cv/mccallum.htm
PUBLICATIONS
Books
Zenkoji and Its Icon: A Study in Medieval Japanese Religious Art, Princeton University Press, 1994
This is a fascinating book about a neglected theme of Buddhist history in Japan, indeed in East Asia at large. . . . Scholars of religion and in any field of Asian studies will enjoy reading a novel study which is underpinned by thorough investigations in Japan, the most erudite scholarship, and excellent illustrations and maps.
Product Description
One of the most significant traditions of image-making in medieval Japanese Buddhist art is based on a large group of gilt-bronze icons representing the Buddha Amida and his two attendant Bodhisattvas. The prototype, a secret image enshrined at Zenkoji in Nagano Prefecture, served as the basis both for numerous replications found in temples throughout Japan and for a highly developed cult that promised believers various rewards, including release from the terrors of hell and ultimate salvation in the western paradise of Amida. Donald McCallum takes a broad, multidisciplinary approach to relating this icon tradition to broader currents in Japanese political, social and religious history. Rather than reifying the icons as objects of art designed for aesthetic contemplation, the book focuses on the real issues that motivated their production. McCallum devotes particular attention to examining how worshipers conceived of the Zenkoji icon, which was believed by many to be actually alive.
Product Details
- Hardcover: 352 pages
- Publisher: Princeton University Press (July 5, 1994)
- Language: English
- ISBN-10: 0691032033
Chapters
"The John McLaughlin Papers in the Archives of American Art," California: 5 Footnotes to Modern Art History, Los Angeles County Museum of Art, 1977, pp. 82-93.
"Historical and Cultural Dimensions of the Tattoo in Japan," in Arnold Rubin, ed., Marks of Civilization: Artistic Transformations of the Human Body, Los Angeles, 1988, pp. 109-134.
"Jo no Mai," ("Woman Performing Noh Dance"), in Kawakita Michiaki and Uemura Shoko, eds., Uemura Shoen, Kyoto, 1989, pp. 32-36.
"Enku: Sono Shugendo to Sozoryoku," ("Enku: Pilgrimage Activity and Creative Power"), in Nihon Bijutsu Zenshu Vol. 16, Katsura-Miya to Toshogu, Tokyo, 1991, pp. 194-199.
Articles
"Heian Sculpture at the Tokyo National Museum, Part I, Artibus Asiae 35.2/3 (1973), pp. 278-292.
"The Sculpture of Enku: Part One, The Early Period," Oriental Art N.S. 20.2 (1974), pp. 174-191.
"Heian Sculpture at the Tokyo National Museum, Part II, Artibus Asiae 36.1/2 (1974), pp. 147-160.
"The Ninna-ji-Amida Triad and the Orthodox Style," Artibus Asiae 36.3 (1974), pp. 219-241.
The Sculpture of Enku: Part Two, The Mature Period," Oriental Art N.S. 20.4 (1974) pp. 400-415.
"The Painting of John McLaughlin," Journal of the Los Angeles Institute of Contemporary Art, (May- June 1976), pp. 7-17.
"Edo Paintings from the Brotherton Collection at the Los Angeles County Museum of Art," Oriental Art N.S. 22.1 (1976), pp. 97-100.
"Shang and Chou Bronzes at the Los Angeles County Museum of Art," Oriental Art N.S. 22.3 (1976), pp. 316-317.
"Ch'ing Art at the Los Angeles County Museum of Art," Oriental Art N.S. 23.4 (1977), pp. 483-6.
"Chinese Archaeological Treasures in Tokyo," Oriental Art, N.S. 24.2 (1978), pp. 230-232.
"Heian Sculpture at the Shinano Art Gallery," Oriental Art 24.3 (1978), pp. 445-453.
"Gaijin ga Mita Nihon no Yogakatachi," ("A Foreign Look at Japanese Oil Painters"), Ningen to Bunka 18 (1979), pp. 103-136.
"The Influence of the Sui Styles on the Buddhist Sculpture of Korea and Japan," Proceedings of the International Symposium on Buddhist Art, Nara National Museum, Nara, 1979, pp. 1-10.
"Ecclesiastical Architecture in the Painting of Matsumoto Shunsuke," Humanities 14 (1980), pp. 119-142.
Buddhist Sculpture of the Seisui-ji, Matsushiro," Oriental Art 25.4 (1979-80), pp. 462-470.
"Korean Influence of Early Japanese Buddhist Sculpture," Korean Culture 3.1 (1982), pp. 22-29.
"Translation or Adaptation," review article of Jiro Sugiyama, Classic Buddhist Sculpture: The Tempyo Period, (trans. Samuel Morse), Monumenta Nipponica 39.2 (1984), pp. 183-190.
The Zenko-ji Amida Triad in Japanese Buddhist Sculpture," Proceedings of the Nitobe-Ohira Memorial Conference on Japanese Studies, University of British Columbia, 1984, pp. 128-181.
"Zenkoji Kenkyu ni tsuite no Kokusai-teki Tenbo," ("An International Perspective on Research Concerning Zenkoji"), Nagano 121 (1985), pp. 51-53.
"Yamagata Kennai no Zenkoji-shiki Sanzon-zo no Ichi-keito," ("One Lineage of Zenkoki-type Triads in Yamagata Perfecture"), Uyo Bunka 122 (1986), pp. 3-21.
"The Deity Depicted," review article of Christine Guth Kanda, Shinzo: Hachiman Imagery and Its Development, in Monumenta Nipponica 41.4 (1986), pp. 477-488.
"Zenkoji-shiki Amida Sanzon-zo no Ichi Keito: Koyasan Fudoin Sanzon-zo/Yamagata-Tochigi Ken no Shozo," ("One Lineage of Zenkoki Style Amida Triads: The Amida Triad at Fudoin, Mt. Koya, and Various Images in Yamagata and Tochigi Perfectures"), Nagano 136 (1987), pp. 1-17.
"Tokyo Kokuritsu Hakubutsukan Hokan Zenkoji- shiki Amida Sanzon-zo ni tsuite," (A Zenkoji Amida Triad in the Tokyo National Museum), Museum 441 (Dec. 1987), pp. 21-28.
"Japanese Buddhist Sculpture and Painting at the Los Angeles County Museum of Art," Arts of Asia, March- April, 1989, pp. 98-107.
"A Standing Gilt-Bronze Buddha of the 'Boyish' Category in the Tokyo National Museum," Orientations 21.1 (1990), pp. 64-70.
"Nihon bukkyo chokoku no sen yon hyaku nen: kaigai kara no shiten," (One Thousand Four Hundred Years Japanese Buddhist Sculpture: The View from Abroad) in Harada Heisaku Sasaki Shohei, Ota Takahiko, eds., Nihon no bijutsu 5- Geijutsugaku no fuoramu, Tokyo, 1994, pp. 358-371.
"The Buddhist Triad in Three Kingdoms Sculpture," Korean Culture 16.4 (Winter, 1995):18-35.
Catalog Essay
"Three Taisho Artists: Yorozu Tetsugoro, Koide Narashige, and Kishida Ryusei," in Thomas Rimer and Shuji Takashina, eds. Paris in Japan: The Japanese Encounter with European Painting, St. Louis, 1987, pp. 80-95.
Reviews
Review of J. Edward Kidder, Prehistoric Japanese Art: Jomon Pottery in Artibus Asiae 35.2/3 (1973), pp. 298-301.
Review of Seiichi Mizuno, Asuka Buddhist Art: Horyu-ji in The Asian Student (Dec. 11, 1974), p. 11.
Review of Tsugio Mikami, The Art of Japanese Ceramics, Journal of the American Oriental Society (=JAOS) 95.4 (1975), pp. 554-555.
Review of Masahiko Sato, Kyoto Ceramics, JAOS 95.3 (1975), PP. 516-517.
Review of J. Edward Kidder, Early Buddhist Japan, JAOS 95.3 (1975), pp. 515-516.
Review of Grisha F. Dotzenko, Enku, Master Carver, New York, 1976, The Asian Student, April 23, 1977.
Review of Seattle Art Museum, Ceramic Art of Japan: One Hundred Masterpieces from Japanese Collections, JAOS 97.1 (1977), pp. 93-94.
Review of Robert Treat Paine and Alexander Soper, with D.B. Waterhouse and Bunji Kobayashi, The Art and Architecture of Japan, first paperback edition (fully revised), 1975; JAOS 98.3 (1978), pp. 304.5.
Review of William Watson, Style in the Arts of China, JAOS 98.2 (1978), pp. 179-180.
Review of Yoshiaki Shimizu and Carolyn Wheelwright, editors, Japanese Ink Paintings from American Collections: The Muromachi Period, An Exhibition in Honor of Shujiro Shimada, Princeton 1976, JAOS 99.2 (1979), pp. 334-336.
Review of Noel Barnard, ed., in collaboration with Douglas Fraser, Early Chinese Art and its Possible Influence in the Pacific Basin, New York, 1972, JAOS 99.3 (1979), pp. 491-491.
Review of Beatrix von Rague, A History of Japanese Lacquerwork, Toronto, 1976, JAOS 100.3 (1980), pp. 384-385.
Review of William Trousdale, The Long Sword and Scabbard Slide in Asia, JAOS 102.1 (1982), pp. 145-146.
Review of Kazuaki Tanahashi, Enku: Sculptor of a Hundred Thousand Buddhas, Monumenta Nipponica 38.3 (1983), pp. 354-355.
Review of William Jay Rathbun, Beyond the Tanabata Bridge: Traditional Japanese Textiles, Journal of Asian Studies 53.4 (1994): 1275-1276
Review of Allan G. Grapard, The Protocol of of the Gods: A Study of the Kasuga Cult in Japanese History, Journal of Japanese Studies, (Winter, 1995)
Review of Dallas Finn, Meiji Revisited: The Sites of Victorian Japan, Journal of Japanese Studies, (Winter, 1996).
Pamphlets
"Matsumoto Shunsuke to Taiheiyo Senso," ("Matsumoto Shunsuke and the Pacific War"), Tokyo, Meiji University, 1979.
Notes
Introduction to an exhibition catalogue, Shin Hakken no Enku (Newly discovered sculpture by Enku), "Enku-ten ni yosete" ("Concerning the Enku Exhibition"), published by the Kyoto Shimbun (Kyoto Newspaper), Kyoto, 1970.
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