{"id":13442,"date":"2026-05-15T10:48:08","date_gmt":"2026-05-15T10:48:40","guid":{"rendered":"https:\/\/arthistory.hku.hk\/?page_id=13442"},"modified":"2026-06-02T08:03:27","modified_gmt":"2026-06-02T08:03:27","slug":"2026-choaa-conference-programme","status":"publish","type":"page","link":"https:\/\/arthistory.hku.hk\/index.php\/news-activities\/events-overview\/conferences\/choaa-conference-2026\/2026-choaa-conference-programme\/","title":{"rendered":"Conference Programme"},"content":{"rendered":"<p><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-1 fusion-flex-container nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"background-color: rgba(255,255,255,0);background-position: center center;background-repeat: no-repeat;border-width: 0px 0px 0px 0px;border-color:#eae9e9;border-style:solid;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start\" style=\"max-width:1144px;margin-left: calc(-4% \/ 2 );margin-right: calc(-4% \/ 2 );\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-0 fusion_builder_column_1_1 1_1 fusion-flex-column\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\" style=\"background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;padding: 0px 0px 0px 0px;\"><style type=\"text\/css\">@media only screen and (max-width:1024px) {.fusion-title.fusion-title-1{margin-top:20px!important; margin-right:0px!important;margin-bottom:20px!important;margin-left:0px!important;}}@media only screen and (max-width:640px) {.fusion-title.fusion-title-1{margin-top:20px!important; margin-right:0px!important;margin-bottom:20px!important; margin-left:0px!important;}}<\/style><div class=\"fusion-title title fusion-title-1 fusion-sep-none fusion-title-text fusion-title-size-one\" style=\"margin-top:20px;margin-right:0px;margin-bottom:20px;margin-left:0px;\"><h1 class=\"title-heading-left fusion-responsive-typography-calculated\" style=\"margin:0;--fontSize:40;line-height:1.6;\">Introduction<\/h1><\/div><\/div><style type=\"text\/css\">.fusion-body .fusion-builder-column-0{width:100% !important;margin-top : 0px;margin-bottom : 20px;}.fusion-builder-column-0 > .fusion-column-wrapper {padding-top : 0px !important;padding-right : 0px !important;margin-right : 1.92%;padding-bottom : 0px !important;padding-left : 0px !important;margin-left : 1.92%;}@media only screen and (max-width:1024px) {.fusion-body .fusion-builder-column-0{width:100% !important;order : 0;}.fusion-builder-column-0 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}@media only screen and (max-width:640px) {.fusion-body .fusion-builder-column-0{width:100% !important;order : 0;}.fusion-builder-column-0 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}<\/style><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-1 fusion_builder_column_3_4 3_4 fusion-flex-column fusion-column-inner-bg-wrapper\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\" style=\"padding: 0px 0px 0px 0px;\"><style type='text\/css'>.reading-box-container-1 .element-bottomshadow:before,.reading-box-container-1 .element-bottomshadow:after{opacity:0.7;}<\/style><div class=\"fusion-reading-box-container reading-box-container-1\" style=\"margin-top:0px;margin-bottom:84px;\"><div class=\"reading-box\" style=\"background-color:rgba(181,159,135,0.25);border-width:0px;border-color:#f6f6f6;border-left-width:3px;border-left-color:var(--primary_color);border-style:solid;\"><div class=\"reading-box-additional\">\n<p><em>The Cultural History of Asian Art<\/em>\u00a0is an ambitious six-volume project that presents a new interpretation of the history of the arts of Asia across the last 2,500 years, incorporating emerging methodologies and charting new paths for scholars, students, and general readers alike. This conference brings together scholars from the fifth volume, which explores the long nineteenth century \u2014 a period of profound transformation, encounter, and creative energy that resists easy narration. The papers gathered here re-centre Asian perspectives, attending to the diasporic communities, minority elites, trans-oceanic networks, and local artistic traditions that shaped visual and material culture across the continent and beyond. They ask: what does the nineteenth century look like when Asia is not its object, but its subject?<\/p>\n<p>Taking the <em>trans-Asias<\/em>\u00a0approach that underpins <em>The Cultural History of Asian Art<\/em>, the papers delivered here think across media, geography, and cultural context. Drawing on the full geographical breadth of Asia \u2014 East, West (including the Caucasus), South, Southeast, and Central \u2014 they range across painting, architecture, sculpture, print, and photography, and extend to performance, procession, and spectacle. Throughout, recurring concerns with urbanity and spatial politics, circulation and materiality, and the relationship between visual culture, nature, and environment connect papers across regions and media, as does close attention to the agency of artisans and minoritarian patrons navigating the complex and often contested cultural worlds of the long nineteenth century.<\/p>\n<\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><span class=\"fusion-column-inner-bg hover-type-zoomin\"><span class=\"fusion-column-anchor\"><span class=\"fusion-column-inner-bg-image\" style=\"background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;\"><\/span><\/span><\/span><style type=\"text\/css\">.fusion-body .fusion-builder-column-1{width:75% !important;margin-top : 0px;margin-bottom : 20px;}.fusion-builder-column-1 > .fusion-column-wrapper {padding-top : 0px !important;padding-right : 0px !important;margin-right : 2.56%;padding-bottom : 0px !important;padding-left : 0px !important;margin-left : 2.56%;}.fusion-flex-container .fusion-row .fusion-builder-column-1 > .fusion-column-inner-bg { margin-right:2.56%;margin-left:2.56%; }@media only screen and (max-width:1024px) {.fusion-body .fusion-builder-column-1{width:100% !important;order : 0;}.fusion-builder-column-1 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}.fusion-flex-container .fusion-row .fusion-builder-column-1 > .fusion-column-inner-bg { margin-right:1.92%;margin-left:1.92%; }}@media only screen and (max-width:640px) {.fusion-body .fusion-builder-column-1{width:100% !important;order : 0;}.fusion-builder-column-1 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}.fusion-flex-container .fusion-row .fusion-builder-column-1 > .fusion-column-inner-bg { margin-right:1.92%;margin-left:1.92%; }}<\/style><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-2 fusion_builder_column_1_4 1_4 fusion-flex-column\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\" style=\"background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;padding: 0px 0px 0px 0px;\"><style type=\"text\/css\">@media only screen and (max-width:1024px) {.fusion-title.fusion-title-2{margin-top:20px!important; margin-right:0px!important;margin-bottom:20px!important;margin-left:0px!important;}}@media only screen and (max-width:640px) {.fusion-title.fusion-title-2{margin-top:20px!important; margin-right:0px!important;margin-bottom:20px!important; margin-left:0px!important;}}<\/style><div class=\"fusion-title title fusion-title-2 fusion-sep-none fusion-title-center fusion-title-text fusion-title-size-five\" style=\"margin-top:20px;margin-right:0px;margin-bottom:20px;margin-left:0px;\"><h5 class=\"title-heading-center fusion-responsive-typography-calculated\" style=\"margin:0;--fontSize:20;--minFontSize:20px;line-height:1.5;\">Editors<\/h5><\/div><div class=\"fusion-person person fusion-person-center fusion-person-1 fusion-person-icon-bottom\"><div class=\"person-shortcode-image-wrapper\"><div class=\"person-image-container hover-type-none dropshadow person-rounded-overflow\" style=\"-webkit-border-radius:50%;-moz-border-radius:50%;border-radius:50%;border:0px solid #ffffff;-webkit-box-shadow: 3px 3px 7px rgba(0,0,0,0.3);box-shadow: 3px 3px 7px rgba(0,0,0,0.3);-webkit-border-radius:50%;-moz-border-radius:50%;border-radius:50%;\"><img decoding=\"async\" class=\"person-img img-responsive wp-image-13474\" width=\"150\" height=\"150\" src=\"https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/chopra-profile-square-e1779359494136-150x150.jpg\" alt=\"Preeti Chopra\" srcset=\"https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/chopra-profile-square-e1779359494136-200x200.jpg 200w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/chopra-profile-square-e1779359494136-400x400.jpg 400w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/chopra-profile-square-e1779359494136-600x600.jpg 600w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/chopra-profile-square-e1779359494136-800x800.jpg 800w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/chopra-profile-square-e1779359494136-1200x1200.jpg 1200w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/chopra-profile-square-e1779359494136.jpg 1608w\" sizes=\"(max-width: 1024px) 100vw, (max-width: 640px) 100vw, 400px\" \/><\/div><\/div><div class=\"person-desc\"><div class=\"person-author\"><div class=\"person-author-wrapper\"><span class=\"person-name\">Preeti Chopra<\/span><span class=\"person-title\"><\/span><\/div><\/div><div class=\"person-content fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-person person fusion-person-center fusion-person-2 fusion-person-icon-bottom\"><div class=\"person-shortcode-image-wrapper\"><div class=\"person-image-container hover-type-none dropshadow person-rounded-overflow\" style=\"-webkit-border-radius:50%;-moz-border-radius:50%;border-radius:50%;border:0px solid #ffffff;-webkit-box-shadow: 3px 3px 7px rgba(0,0,0,0.3);box-shadow: 3px 3px 7px rgba(0,0,0,0.3);-webkit-border-radius:50%;-moz-border-radius:50%;border-radius:50%;\"><img decoding=\"async\" class=\"person-img img-responsive wp-image-13473\" width=\"150\" height=\"150\" src=\"https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/koon-profile-square-e1779361872422-150x150.jpg\" alt=\"Yeewan Koon\" srcset=\"https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/koon-profile-square-e1779361872422-200x200.jpg 200w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/koon-profile-square-e1779361872422-400x400.jpg 400w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/koon-profile-square-e1779361872422-600x600.jpg 600w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/koon-profile-square-e1779361872422-800x800.jpg 800w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/koon-profile-square-e1779361872422-1200x1200.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, (max-width: 640px) 100vw, 400px\" \/><\/div><\/div><div class=\"person-desc\"><div class=\"person-author\"><div class=\"person-author-wrapper\"><span class=\"person-name\">Yeewan Koon<\/span><span class=\"person-title\"><\/span><\/div><\/div><div class=\"person-content fusion-clearfix\"><\/div><\/div><\/div><\/div><style type=\"text\/css\">.fusion-body .fusion-builder-column-2{width:25% !important;margin-top : 0px;margin-bottom : 20px;}.fusion-builder-column-2 > .fusion-column-wrapper {padding-top : 0px !important;padding-right : 0px !important;margin-right : 7.68%;padding-bottom : 0px !important;padding-left : 0px !important;margin-left : 7.68%;}@media only screen and (max-width:1024px) {.fusion-body .fusion-builder-column-2{width:100% !important;order : 0;}.fusion-builder-column-2 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}@media only screen and (max-width:640px) {.fusion-body .fusion-builder-column-2{width:100% !important;order : 0;}.fusion-builder-column-2 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}<\/style><\/div><\/div><style type=\"text\/css\">.fusion-body .fusion-flex-container.fusion-builder-row-1{ padding-top : 0px;margin-top : 0px;padding-right : 0px;padding-bottom : 0px;margin-bottom : 0px;padding-left : 0px;}<\/style><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-2 fusion-flex-container nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"background-color: rgba(255,255,255,0);background-position: center center;background-repeat: no-repeat;border-width: 0px 0px 0px 0px;border-color:#eae9e9;border-style:solid;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start\" style=\"max-width:1144px;margin-left: calc(-4% \/ 2 );margin-right: calc(-4% \/ 2 );\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-3 fusion_builder_column_1_1 1_1 fusion-flex-column\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\" style=\"background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;padding: 0px 0px 0px 0px;\"><div class=\"fusion-menu-anchor\" id=\"keynote1\"><\/div><style type=\"text\/css\">@media only screen and (max-width:1024px) {.fusion-title.fusion-title-3{margin-top:20px!important; margin-right:0px!important;margin-bottom:20px!important;margin-left:0px!important;}}@media only screen and (max-width:640px) {.fusion-title.fusion-title-3{margin-top:20px!important; margin-right:0px!important;margin-bottom:20px!important; margin-left:0px!important;}}<\/style><div class=\"fusion-title title fusion-title-3 fusion-sep-none fusion-title-text fusion-title-size-one\" style=\"margin-top:20px;margin-right:0px;margin-bottom:20px;margin-left:0px;\"><h1 class=\"title-heading-left fusion-responsive-typography-calculated\" style=\"margin:0;--fontSize:40;line-height:1.6;\">Programme Details<\/h1><\/div><\/div><style type=\"text\/css\">.fusion-body .fusion-builder-column-3{width:100% !important;margin-top : 0px;margin-bottom : 20px;}.fusion-builder-column-3 > .fusion-column-wrapper {padding-top : 0px !important;padding-right : 0px !important;margin-right : 1.92%;padding-bottom : 0px !important;padding-left : 0px !important;margin-left : 1.92%;}@media only screen and (max-width:1024px) {.fusion-body .fusion-builder-column-3{width:100% !important;order : 0;}.fusion-builder-column-3 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}@media only screen and (max-width:640px) {.fusion-body .fusion-builder-column-3{width:100% !important;order : 0;}.fusion-builder-column-3 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}<\/style><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-4 fusion_builder_column_1_1 1_1 fusion-flex-column\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\" style=\"background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;padding: 0px 0px 0px 0px;\"><div class=\"fusion-text fusion-text-1\"><h2>Opening Keynote<\/h2>\n<h5>23 June 2026, 18:00-19:15<\/h5>\n<\/div><div class=\"fusion-tabs fusion-tabs-1 classic vertical-tabs icon-position-left\"><style type=\"text\/css\">.fusion-tabs.fusion-tabs-1 .nav-tabs li a.tab-link{border-top-color:rgba(181,159,135,0.2);background-color:rgba(181,159,135,0.2);}.fusion-tabs.fusion-tabs-1 .nav-tabs{background-color:rgba(255,255,255,0.1);}.fusion-tabs.fusion-tabs-1 .nav-tabs li.active a.tab-link,.fusion-tabs.fusion-tabs-1 .nav-tabs li.active a.tab-link:hover,.fusion-tabs.fusion-tabs-1 .nav-tabs li.active a.tab-link:focus{border-right-color:rgba(255,255,255,0.1);}.fusion-tabs.fusion-tabs-1 .nav-tabs li.active a.tab-link,.fusion-tabs.fusion-tabs-1 .nav-tabs li.active a.tab-link:hover,.fusion-tabs.fusion-tabs-1 .nav-tabs li.active a.tab-link:focus{background-color:rgba(255,255,255,0.1);}.fusion-tabs.fusion-tabs-1 .nav-tabs li a:hover{background-color:rgba(255,255,255,0.1);border-top-color:rgba(255,255,255,0.1);}.fusion-tabs.fusion-tabs-1 .tab-pane{background-color:rgba(255,255,255,0.1);}.fusion-tabs.fusion-tabs-1 .nav,.fusion-tabs.fusion-tabs-1 .nav-tabs,.fusion-tabs.fusion-tabs-1 .tab-content .tab-pane{border-color:#b59f87;}<\/style><div class=\"nav\"><ul class=\"nav-tabs\" role=\"tablist\"><li class=\"active\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-1cb6951e55457088be4\" aria-selected=\"true\" id=\"fusion-tab-sussanbabaie\" href=\"#tab-1cb6951e55457088be4\"><h4 class=\"fusion-tab-heading\">Sussan Babaie<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-content\"><div class=\"nav fusion-mobile-tab-nav\"><ul class=\"nav-tabs\"><li class=\"active\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-1cb6951e55457088be4\" aria-selected=\"true\" id=\"mobile-fusion-tab-sussanbabaie\" href=\"#tab-1cb6951e55457088be4\"><h4 class=\"fusion-tab-heading\">Sussan Babaie<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-pane fade fusion-clearfix in active\" role=\"tabpanel\" tabindex=\"0\" aria-labelledby=\"fusion-tab-sussanbabaie\" id=\"tab-1cb6951e55457088be4\">\n<h5>Iran: Modernity, Photography and the Painter\u2019s Dilemma<\/h5>\n<p><strong>by <a href=\"https:\/\/arthistory.hku.hk\/index.php\/news-activities\/events-overview\/conferences\/choaa-conference-2026\/speakers\/#sbabaie\">Sussan Babaie<\/a>\u00a0<\/strong><\/p>\n<p><img decoding=\"async\" class=\"alignnone wp-image-13567\" src=\"https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/sb-image-150x150.jpg\" alt=\"\" width=\"363\" height=\"500\" srcset=\"https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/sb-image-200x275.jpg 200w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/sb-image-218x300.jpg 218w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/sb-image-400x550.jpg 400w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/sb-image-600x826.jpg 600w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/sb-image-744x1024.jpg 744w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/sb-image-768x1057.jpg 768w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/sb-image-800x1101.jpg 800w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/sb-image-1116x1536.jpg 1116w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/sb-image-1200x1651.jpg 1200w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/sb-image-1488x2048.jpg 1488w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/sb-image.jpg 1503w\" sizes=\"(max-width: 363px) 100vw, 363px\" \/><\/p>\n<p>It is commonly assumed, in much of scholarship on 19<sup>th<\/sup>-century photography, that the introduction of the new technology to societies outside Europe and especially those in Asia was so irresistible to have upended, almost automatically, the local \u2018traditions\u2019 of image making and especially of portraiture. The story of photography in Iran, where it arrived early in the 1850s offers a cautionary example of the complexity of that transition from tradition to modernity. This talk focuses on a single painting dated to 1854-1855 which depicts a photographer in the process of taking a daguerreotype picture of a seated man. This in fact is a portrait of the making of a portrait: one is with brushes, watercolours, and inks on paper; the other with a camera. The two modes of representation clash over their disparate concepts of \u2018reality\u2019 and its hold onto portraiture. When photography arrived, I argue, there was already a movement underway towards making visible an idea of \u2018likeness\u2019 in portraiture. That idea was not of European origin but had filtered in through the tight-knit cultural worlds spanning West and South Asia, especially through their shared linguistic and literary predilections across the Persianate sphere. Here, I shall argue that artistic reverberations across Iran and India in the case of portraiture, had already prepared the scene for that transition to modernity. Photography had of course immense role to play but not everything was so simply and slavishly surrendered to the new. The painting of a photographer by Mirza Riza Tabrizi asks us to rethink such facile conclusions.<\/p>\n<p>Image:<em> A Scene of Photography<\/em>, Mirza Riza Tabrizi, paper and opaque water colours. 32.5 x 21 cm, Iran, 1271\/1854\u20131855. Georgian National Museum, Tbilisi, Inv. No. sxm\/ag 2022.<\/p>\n<\/div><\/div><\/div><div class=\"fusion-menu-anchor\" id=\"panel1\"><\/div><div class=\"fusion-separator fusion-full-width-sep\" style=\"align-self: center;margin-left: auto;margin-right: auto;width:100%;\"><div class=\"fusion-separator-border sep-single\" style=\"border-color:rgba(181,159,135,0.25);border-top-width:1px;\"><\/div><\/div><\/div><style type=\"text\/css\">.fusion-body .fusion-builder-column-4{width:100% !important;margin-top : 0px;margin-bottom : 20px;}.fusion-builder-column-4 > .fusion-column-wrapper {padding-top : 0px !important;padding-right : 0px !important;margin-right : 1.92%;padding-bottom : 0px !important;padding-left : 0px !important;margin-left : 1.92%;}@media only screen and (max-width:1024px) {.fusion-body .fusion-builder-column-4{width:100% !important;order : 0;}.fusion-builder-column-4 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}@media only screen and (max-width:640px) {.fusion-body .fusion-builder-column-4{width:100% !important;order : 0;}.fusion-builder-column-4 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}<\/style><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-5 fusion_builder_column_1_1 1_1 fusion-flex-column\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\" style=\"background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;padding: 0px 0px 0px 0px;\"><div class=\"fusion-text fusion-text-2\"><h2>Panel 1<\/h2>\n<h5>24 June 2026, 09:30-11:00<\/h5>\n<p>Speakers: Talinn Grigor, Preeti Chopra<\/p>\n<\/div><div class=\"fusion-tabs fusion-tabs-2 classic vertical-tabs icon-position-left\"><style type=\"text\/css\">.fusion-tabs.fusion-tabs-2 .nav-tabs li a.tab-link{border-top-color:rgba(181,159,135,0.2);background-color:rgba(181,159,135,0.2);}.fusion-tabs.fusion-tabs-2 .nav-tabs{background-color:rgba(255,255,255,0.1);}.fusion-tabs.fusion-tabs-2 .nav-tabs li.active a.tab-link,.fusion-tabs.fusion-tabs-2 .nav-tabs li.active a.tab-link:hover,.fusion-tabs.fusion-tabs-2 .nav-tabs li.active a.tab-link:focus{border-right-color:rgba(255,255,255,0.1);}.fusion-tabs.fusion-tabs-2 .nav-tabs li.active a.tab-link,.fusion-tabs.fusion-tabs-2 .nav-tabs li.active a.tab-link:hover,.fusion-tabs.fusion-tabs-2 .nav-tabs li.active a.tab-link:focus{background-color:rgba(255,255,255,0.1);}.fusion-tabs.fusion-tabs-2 .nav-tabs li a:hover{background-color:rgba(255,255,255,0.1);border-top-color:rgba(255,255,255,0.1);}.fusion-tabs.fusion-tabs-2 .tab-pane{background-color:rgba(255,255,255,0.1);}.fusion-tabs.fusion-tabs-2 .nav,.fusion-tabs.fusion-tabs-2 .nav-tabs,.fusion-tabs.fusion-tabs-2 .tab-content .tab-pane{border-color:#b59f87;}<\/style><div class=\"nav\"><ul class=\"nav-tabs\" role=\"tablist\"><li class=\"active\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-ff8ce1ed8bf77d8d4d9\" aria-selected=\"true\" id=\"fusion-tab-talinngrigor\" href=\"#tab-ff8ce1ed8bf77d8d4d9\"><h4 class=\"fusion-tab-heading\">Talinn Grigor<\/h4><\/a><\/li><li><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-1fd57eb3507611fd0bf\" aria-selected=\"false\" tabindex=\"-1\" id=\"fusion-tab-preetichopra\" href=\"#tab-1fd57eb3507611fd0bf\"><h4 class=\"fusion-tab-heading\">Preeti Chopra<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-content\"><div class=\"nav fusion-mobile-tab-nav\"><ul class=\"nav-tabs\"><li class=\"active\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-ff8ce1ed8bf77d8d4d9\" aria-selected=\"true\" id=\"mobile-fusion-tab-talinngrigor\" href=\"#tab-ff8ce1ed8bf77d8d4d9\"><h4 class=\"fusion-tab-heading\">Talinn Grigor<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-pane fade fusion-clearfix in active\" role=\"tabpanel\" tabindex=\"0\" aria-labelledby=\"fusion-tab-talinngrigor\" id=\"tab-ff8ce1ed8bf77d8d4d9\">\n<h3>Urbanity<\/h3>\n<h5>Postcards, Hotels, and Hospitable Minorities: Armenian and Parsi Urbanity Networking a British Empire<\/h5>\n<p><strong>by <a href=\"https:\/\/arthistory.hku.hk\/index.php\/news-activities\/events-overview\/conferences\/choaa-conference-2026\/speakers\/#tgrigor\">Talinn Grigor<\/a><\/strong><\/p>\n<p><img decoding=\"async\" class=\"alignnone wp-image-13466\" src=\"https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/Grigor-choaa-image-1024x661.jpg\" alt=\"\" width=\"774\" height=\"500\" srcset=\"https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/Grigor-choaa-image-200x129.jpg 200w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/Grigor-choaa-image-300x194.jpg 300w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/Grigor-choaa-image-400x258.jpg 400w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/Grigor-choaa-image-600x387.jpg 600w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/Grigor-choaa-image-768x496.jpg 768w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/Grigor-choaa-image-800x517.jpg 800w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/Grigor-choaa-image-1024x661.jpg 1024w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/Grigor-choaa-image-1200x775.jpg 1200w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/Grigor-choaa-image-1536x992.jpg 1536w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/Grigor-choaa-image.jpg 1600w\" sizes=\"(max-width: 774px) 100vw, 774px\" \/><\/p>\n<p>In his watershed, The Mediterranean (1949), Fernand Braudel names the Armenians and the Parsis of the early and high modern periods as two old and classic examples of \u201ccivilizations of the diaspora type.\u201d This talk aims to map a network of minoritarian architectural patronage by expanding Sussan Babaie\u2019s concepts of Safavid-era \u201cPerso-Shi\u02bfa conviviality,\u201d \u201cpolitics of generosity,\u201d and \u201cthe mercantile effect\u201d into the British imperial strategies of the nineteenth century. The most striking urban expression of this generosity politics manifested in Armenian- and Parsi-owned residential mansions that paralleled a chain of Armenian- and Parsi-owned and -managed luxury hotels. In 1884, the four Sarkies Brothers from New Julfa \u201cdominated the hospitality trade in the East\u201d with the establishment of the Eastern &amp; Oriental Hotel (E&amp;O) ensembles. The staggering success of the Raffles Hotel (1887) in Singapore was owed to Tigran Sarkies, who moved there and formed the \u201coldest and most iconic hotel\u201d in the country. Tigran then joined his brother, Aviet, in 1895 to acquire from John Darwood and relaunch the Strand Hotel (1901) in Rangoon, Myanmar. The scale of Sarkis Brother\u2019s hotel in Penang, Singapore, and Rangoon was paralleled by Jamsetji Nusservanji Tata\u2019s neoclassical Esplanade House in Bombay (1887), outdone by the Taj Mahal Palace Hotel (1903). The partnership between Parsi Sir Hormusjee Nowrojee Mody and Armenian Sir Catchick Paul Chater in Hong Kong resulted in megaprojects such as the Kowloon Development and Praya Reclamation, starting in the 1860s, that transformed the city\u2019s urban fabric.<\/p>\n<\/div><div class=\"nav fusion-mobile-tab-nav\"><ul class=\"nav-tabs\"><li><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-1fd57eb3507611fd0bf\" aria-selected=\"false\" tabindex=\"-1\" id=\"mobile-fusion-tab-preetichopra\" href=\"#tab-1fd57eb3507611fd0bf\"><h4 class=\"fusion-tab-heading\">Preeti Chopra<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-pane fade fusion-clearfix\" role=\"tabpanel\" tabindex=\"0\" aria-labelledby=\"fusion-tab-preetichopra\" id=\"tab-1fd57eb3507611fd0bf\">\n<h3>Subjectivity &amp; Entanglement<\/h3>\n<h5>Opium Elites and the Making of an Indian Statuary Tradition in Colonial Bombay<\/h5>\n<p><strong>by <a href=\"https:\/\/arthistory.hku.hk\/index.php\/news-activities\/events-overview\/conferences\/choaa-conference-2026\/speakers\/#pchopra\">Preeti Chopra<\/a><\/strong><\/p>\n<p><img decoding=\"async\" class=\"alignnone wp-image-13467\" src=\"https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/chopra-choaa-image.jpg\" alt=\"\" width=\"783\" height=\"500\" srcset=\"https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/chopra-choaa-image-200x128.jpg 200w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/chopra-choaa-image-300x192.jpg 300w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/chopra-choaa-image-400x255.jpg 400w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/chopra-choaa-image-460x295.jpg 460w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/chopra-choaa-image-600x383.jpg 600w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/chopra-choaa-image-768x491.jpg 768w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/chopra-choaa-image-800x511.jpg 800w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/chopra-choaa-image.jpg 1024w\" sizes=\"(max-width: 783px) 100vw, 783px\" \/><\/p>\n<p>Realistic statues and busts of eminent figures in public spaces and public buildings are now a well-established South Asian tradition.\u00a0 This tradition owes its roots to the installation of statues of British worthies in the subcontinent from the end of the eighteenth century.\u00a0 This presentation concentrates on statues of or raised in Bombay, sometimes with the financial support of two nineteenth century Bombay-based elites, whose family fortunes were substantially built from their dominance of the opium trade.\u00a0 They were the wealthy Parsi merchant Jamsetjee Jejeebhoy (1783-1859), 1st Baronet, and the Sephardic Jewish Abdallah (Albert) Sassoon (1818-96), 1st Baronet, whose father David Sassoon (1792-1864) had fled Baghdad in the Ottoman Empire in 1830-1, settling in Bombay.\u00a0 As colonized elites, their subjectivity was moulded by the complex terrain they negotiated that appropriately responded to the codes of the colonizer and another set of codes that responded to their peers. \u00a0The statues examined here were not made in India, but in Britain. However, their facture in Britain, the imperial center, is only a minor part of their biography, and it is in India that they accrue additional layers of meaning through strategies, emplacement, replication and interaction to become equally, if not more, part of the Indian sculptural tradition, rather than British.\u00a0 Statues of Indian elites joined those of other British worthies as a spatial and visual illustration of the entanglement of the worlds of these elites, making statues\/busts of eminent natives and non-native British elites\u2019 part of the South Asian tradition.<\/p>\n<\/div><\/div><\/div><div class=\"fusion-menu-anchor\" id=\"panel2\"><\/div><div class=\"fusion-separator fusion-full-width-sep\" style=\"align-self: center;margin-left: auto;margin-right: auto;width:100%;\"><div class=\"fusion-separator-border sep-single\" style=\"border-color:rgba(181,159,135,0.25);border-top-width:1px;\"><\/div><\/div><\/div><style type=\"text\/css\">.fusion-body .fusion-builder-column-5{width:100% !important;margin-top : 0px;margin-bottom : 20px;}.fusion-builder-column-5 > .fusion-column-wrapper {padding-top : 0px !important;padding-right : 0px !important;margin-right : 1.92%;padding-bottom : 0px !important;padding-left : 0px !important;margin-left : 1.92%;}@media only screen and (max-width:1024px) {.fusion-body .fusion-builder-column-5{width:100% !important;order : 0;}.fusion-builder-column-5 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}@media only screen and (max-width:640px) {.fusion-body .fusion-builder-column-5{width:100% !important;order : 0;}.fusion-builder-column-5 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}<\/style><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-6 fusion_builder_column_1_1 1_1 fusion-flex-column\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\" style=\"background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;padding: 0px 0px 0px 0px;\"><style type=\"text\/css\">@media only screen and (max-width:1024px) {.fusion-title.fusion-title-4{margin-top:20px!important; margin-right:0px!important;margin-bottom:20px!important;margin-left:0px!important;}}@media only screen and (max-width:640px) {.fusion-title.fusion-title-4{margin-top:20px!important; margin-right:0px!important;margin-bottom:20px!important; margin-left:0px!important;}}<\/style><div class=\"fusion-title title fusion-title-4 fusion-sep-none fusion-title-text fusion-title-size-two\" style=\"margin-top:20px;margin-right:0px;margin-bottom:20px;margin-left:0px;\"><h2 class=\"title-heading-left fusion-responsive-typography-calculated\" style=\"margin:0;--fontSize:30;line-height:1.4;\"><h2>Panel 2<\/h2>\n<h5>24 June 2026, 11:15-12:45<\/h5>\n<p>Speakers: Boreth Ly\u00a0and\u00a0Suppya H\u00e9l\u00e8ne Nut, Kit Brooks<\/p><\/h2><\/div><div class=\"fusion-tabs fusion-tabs-3 classic vertical-tabs icon-position-left\"><style type=\"text\/css\">.fusion-tabs.fusion-tabs-3 .nav-tabs li a.tab-link{border-top-color:rgba(181,159,135,0.2);background-color:rgba(181,159,135,0.2);}.fusion-tabs.fusion-tabs-3 .nav-tabs{background-color:rgba(255,255,255,0.25);}.fusion-tabs.fusion-tabs-3 .nav-tabs li.active a.tab-link,.fusion-tabs.fusion-tabs-3 .nav-tabs li.active a.tab-link:hover,.fusion-tabs.fusion-tabs-3 .nav-tabs li.active a.tab-link:focus{border-right-color:rgba(255,255,255,0.25);}.fusion-tabs.fusion-tabs-3 .nav-tabs li.active a.tab-link,.fusion-tabs.fusion-tabs-3 .nav-tabs li.active a.tab-link:hover,.fusion-tabs.fusion-tabs-3 .nav-tabs li.active a.tab-link:focus{background-color:rgba(255,255,255,0.25);}.fusion-tabs.fusion-tabs-3 .nav-tabs li a:hover{background-color:rgba(255,255,255,0.25);border-top-color:rgba(255,255,255,0.25);}.fusion-tabs.fusion-tabs-3 .tab-pane{background-color:rgba(255,255,255,0.25);}.fusion-tabs.fusion-tabs-3 .nav,.fusion-tabs.fusion-tabs-3 .nav-tabs,.fusion-tabs.fusion-tabs-3 .tab-content .tab-pane{border-color:#b59f87;}<\/style><div class=\"nav\"><ul class=\"nav-tabs\" role=\"tablist\"><li class=\"active\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-64a04fce812972aadc5\" aria-selected=\"true\" id=\"fusion-tab-borethly&amp;suppyanut\" href=\"#tab-64a04fce812972aadc5\"><h4 class=\"fusion-tab-heading\">Boreth Ly &amp; Suppya Nut<\/h4><\/a><\/li><li><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-0a4b07655e79fa478f0\" aria-selected=\"false\" tabindex=\"-1\" id=\"fusion-tab-kitbrooks\" href=\"#tab-0a4b07655e79fa478f0\"><h4 class=\"fusion-tab-heading\">Kit Brooks<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-content\"><div class=\"nav fusion-mobile-tab-nav\"><ul class=\"nav-tabs\"><li class=\"active\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-64a04fce812972aadc5\" aria-selected=\"true\" id=\"mobile-fusion-tab-borethly&amp;suppyanut\" href=\"#tab-64a04fce812972aadc5\"><h4 class=\"fusion-tab-heading\">Boreth Ly &amp; Suppya Nut<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-pane fade fusion-clearfix in active\" role=\"tabpanel\" tabindex=\"0\" aria-labelledby=\"fusion-tab-borethly&amp;suppyanut\" id=\"tab-64a04fce812972aadc5\">\n<h3>Performativity<\/h3>\n<h5><span data-olk-copy-source=\"MessageBody\">Khmer Royal and Noble <em>Chedey <\/em>(stupas) as Markers of Family Lineage and Politics at the Time of Shifting Political Regimes<\/span><\/h5>\n<p><strong>by <a href=\"https:\/\/arthistory.hku.hk\/index.php\/news-activities\/events-overview\/conferences\/choaa-conference-2026\/speakers\/#bly\">Boreth Ly<\/a> and <a href=\"https:\/\/arthistory.hku.hk\/index.php\/news-activities\/events-overview\/conferences\/choaa-conference-2026\/speakers\/#snut\">Suppya H\u00e9l\u00e8ne Nut<\/a><\/strong><\/p>\n<h5><img decoding=\"async\" class=\"alignnone wp-image-13488\" src=\"https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/ly-nut-choaa-image-768x1024.jpg\" alt=\"\" width=\"375\" height=\"500\" srcset=\"https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/ly-nut-choaa-image-200x267.jpg 200w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/ly-nut-choaa-image-225x300.jpg 225w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/ly-nut-choaa-image-400x533.jpg 400w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/ly-nut-choaa-image-600x800.jpg 600w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/ly-nut-choaa-image-768x1024.jpg 768w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/ly-nut-choaa-image-800x1067.jpg 800w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/ly-nut-choaa-image.jpg 960w\" sizes=\"(max-width: 375px) 100vw, 375px\" \/><\/h5>\n<p>This paper stems from a \u201cmiscommunication\u201d that took place in 2023. It involved the monks at Wat Botum Vaddey, a Buddhist monastery in Phnom Penh, and a construction company. The conflict led to the near-destruction of a <em>chedey<\/em>, an edifice housing ancestral remains (bones and ashes). This <em>chedey<\/em>, built in 1900, is made of bricks and plaster and decorated with <em>bencharong<\/em> ceramic flowers. This vandalistic act draws our focus to the very few other surviving 19<sup>th<\/sup>-century <em>chedeys<\/em> belonging to the Royal and noble families. Our paper investigates how Siamese, French and Chinese influences shaped the decoration found on these <em>chedeys<\/em> and how a distinctively Khmer style of <em>chedey <\/em>evolved. The paper addresses three central ideas. First, it seeks to understand the Buddhist concepts embodied by the decorative elements embedded in these mortuary buildings. Second, it considers performances of court dances in front of the Royal <em>chedeys<\/em> as offerings to ancestors for rain and protection, linking dance ritual to the concept of floral offerings and remembrance. Third, it addresses how the destruction of some of these <em>chedeys<\/em> located at sites affiliated with the old regimes was followed by the construction of newer, bigger <em>chedeys<\/em> for families of the current political regime is an act of erasure of memory. In conclusion, we argue that these sites are potent symbols of memory, social class, dynasty, and power that are contested by shifting political regimes.<\/p>\n<p>Image: Almost-Destroyed Chedey dated 1900 located at Wat Botum Vaddey, Phnom Penh, Cambodia<\/p>\n<\/div><div class=\"nav fusion-mobile-tab-nav\"><ul class=\"nav-tabs\"><li><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-0a4b07655e79fa478f0\" aria-selected=\"false\" tabindex=\"-1\" id=\"mobile-fusion-tab-kitbrooks\" href=\"#tab-0a4b07655e79fa478f0\"><h4 class=\"fusion-tab-heading\">Kit Brooks<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-pane fade fusion-clearfix\" role=\"tabpanel\" tabindex=\"0\" aria-labelledby=\"fusion-tab-kitbrooks\" id=\"tab-0a4b07655e79fa478f0\">\n<h3>Nature and Environment<\/h3>\n<h5><span data-olk-copy-source=\"MessageBody\">The Extinction and Visualization of Japanese Wolves in the Meiji era (1868\u20131912)<\/span><\/h5>\n<p><strong>by <a href=\"https:\/\/arthistory.hku.hk\/index.php\/news-activities\/events-overview\/conferences\/choaa-conference-2026\/speakers\/#kbrooks\">Kit Brooks<\/a><\/strong><\/p>\n<p><img decoding=\"async\" class=\"alignnone wp-image-13468\" src=\"https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/Brooks-choaa-image.jpg\" alt=\"\" width=\"341\" height=\"500\" srcset=\"https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/Brooks-choaa-image-200x293.jpg 200w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/Brooks-choaa-image-204x300.jpg 204w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/Brooks-choaa-image.jpg 368w\" sizes=\"(max-width: 341px) 100vw, 341px\" \/><\/p>\n<p><span data-olk-copy-source=\"MessageBody\">An uncommon subject in Japanese art, wolves have a complex and tragic history in Japan.\u00a0<\/span>For centuries, wolves were understood as sacred, emerging from the deep mountain forests to protect the rice crop from predators like deer and wild boar. This began to change in the late sixteenth century, as advances in riziculture and growing urbanization resulted in widespread deforestation and the destruction of wolf habitats. As wolves, domesticated dogs, and humans were forced into closer proximity, the potential for dangerous interaction increased. In the mid-eighteenth century, imported Chinese and Dutch hunting dogs brought rabies to the archipelago, fundamentally and forever shifting the perception of wolves. A primary transmission vector for the disease, wolves were increasingly depicted in popular prints as violent and deranged. However, a group of paintings emerged in the nineteenth century, each depicting a solitary wolf under moonlight, in portrayals that are more haunting than frightening. In these\u00a0examples, the wolf seems to operate as a metonym for vanishing nature amid industrialization and new strategies for resource exploitation, or as a symbol for the persecuted self.\u00a0This paper examines the emergence of such iconography amid the shifting ecological, moral, and visual paradigms of the Japanese wolf, through a consideration of the relationship to other media forms in which wolf motifs were already prevalent, such as new zoological taxonomic systems, literary models, and international pressures.<\/p>\n<\/div><\/div><\/div><div class=\"fusion-menu-anchor\" id=\"panel3\"><\/div><div class=\"fusion-separator fusion-full-width-sep\" style=\"align-self: center;margin-left: auto;margin-right: auto;width:100%;\"><div class=\"fusion-separator-border sep-single\" style=\"border-color:rgba(181,159,135,0.25);border-top-width:1px;\"><\/div><\/div><\/div><style type=\"text\/css\">.fusion-body .fusion-builder-column-6{width:100% !important;margin-top : 0px;margin-bottom : 20px;}.fusion-builder-column-6 > .fusion-column-wrapper {padding-top : 0px !important;padding-right : 0px !important;margin-right : 1.92%;padding-bottom : 0px !important;padding-left : 0px !important;margin-left : 1.92%;}@media only screen and (max-width:1024px) {.fusion-body .fusion-builder-column-6{width:100% !important;order : 0;}.fusion-builder-column-6 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}@media only screen and (max-width:640px) {.fusion-body .fusion-builder-column-6{width:100% !important;order : 0;}.fusion-builder-column-6 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}<\/style><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-7 fusion_builder_column_1_1 1_1 fusion-flex-column\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\" style=\"background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;padding: 0px 0px 0px 0px;\"><style type=\"text\/css\">@media only screen and (max-width:1024px) {.fusion-title.fusion-title-5{margin-top:20px!important; margin-right:0px!important;margin-bottom:20px!important;margin-left:0px!important;}}@media only screen and (max-width:640px) {.fusion-title.fusion-title-5{margin-top:20px!important; margin-right:0px!important;margin-bottom:20px!important; margin-left:0px!important;}}<\/style><div class=\"fusion-title title fusion-title-5 fusion-sep-none fusion-title-text fusion-title-size-two\" style=\"margin-top:20px;margin-right:0px;margin-bottom:20px;margin-left:0px;\"><h2 class=\"title-heading-left fusion-responsive-typography-calculated\" style=\"margin:0;--fontSize:30;line-height:1.4;\"><h2>Panel 3<\/h2>\n<h5>24 June 2026, 14:30-16:30<\/h5>\n<p>Speakers: Sugata Ray, Hala Auji, Yeewan Koon<\/p><\/h2><\/div><div class=\"fusion-tabs fusion-tabs-4 classic vertical-tabs icon-position-left\"><style type=\"text\/css\">.fusion-tabs.fusion-tabs-4 .nav-tabs li a.tab-link{border-top-color:rgba(181,159,135,0.2);background-color:rgba(181,159,135,0.2);}.fusion-tabs.fusion-tabs-4 .nav-tabs{background-color:rgba(255,255,255,0.25);}.fusion-tabs.fusion-tabs-4 .nav-tabs li.active a.tab-link,.fusion-tabs.fusion-tabs-4 .nav-tabs li.active a.tab-link:hover,.fusion-tabs.fusion-tabs-4 .nav-tabs li.active a.tab-link:focus{border-right-color:rgba(255,255,255,0.25);}.fusion-tabs.fusion-tabs-4 .nav-tabs li.active a.tab-link,.fusion-tabs.fusion-tabs-4 .nav-tabs li.active a.tab-link:hover,.fusion-tabs.fusion-tabs-4 .nav-tabs li.active a.tab-link:focus{background-color:rgba(255,255,255,0.25);}.fusion-tabs.fusion-tabs-4 .nav-tabs li a:hover{background-color:rgba(255,255,255,0.25);border-top-color:rgba(255,255,255,0.25);}.fusion-tabs.fusion-tabs-4 .tab-pane{background-color:rgba(255,255,255,0.25);}.fusion-tabs.fusion-tabs-4 .nav,.fusion-tabs.fusion-tabs-4 .nav-tabs,.fusion-tabs.fusion-tabs-4 .tab-content .tab-pane{border-color:#b59f87;}<\/style><div class=\"nav\"><ul class=\"nav-tabs\" role=\"tablist\"><li class=\"active\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-f90bd9a92a438bc099c\" aria-selected=\"true\" id=\"fusion-tab-sugataray\" href=\"#tab-f90bd9a92a438bc099c\"><h4 class=\"fusion-tab-heading\">Sugata Ray<\/h4><\/a><\/li><li><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-298a8c55d40c362d691\" aria-selected=\"false\" tabindex=\"-1\" id=\"fusion-tab-halaauji\" href=\"#tab-298a8c55d40c362d691\"><h4 class=\"fusion-tab-heading\">Hala Auji<\/h4><\/a><\/li><li><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-efd07937aff6074cd3e\" aria-selected=\"false\" tabindex=\"-1\" id=\"fusion-tab-yeewankoon\" href=\"#tab-efd07937aff6074cd3e\"><h4 class=\"fusion-tab-heading\">Yeewan Koon<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-content\"><div class=\"nav fusion-mobile-tab-nav\"><ul class=\"nav-tabs\"><li class=\"active\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-f90bd9a92a438bc099c\" aria-selected=\"true\" id=\"mobile-fusion-tab-sugataray\" href=\"#tab-f90bd9a92a438bc099c\"><h4 class=\"fusion-tab-heading\">Sugata Ray<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-pane fade fusion-clearfix in active\" role=\"tabpanel\" tabindex=\"0\" aria-labelledby=\"fusion-tab-sugataray\" id=\"tab-f90bd9a92a438bc099c\">\n<h3>Circulation and Materiality<\/h3>\n<h5>(Mis)Translating James Gibbs: Neoclassical Mosques and the Architecture of a Muslim Cosmopolitanism in the Indian Ocean World<\/h5>\n<p><strong>by <a href=\"https:\/\/arthistory.hku.hk\/index.php\/news-activities\/events-overview\/conferences\/choaa-conference-2026\/speakers\/#sray\">Sugata Ray<\/a><\/strong><\/p>\n<p><img decoding=\"async\" class=\"alignnone wp-image-13499\" src=\"https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/Ray-choaa-image-1024x695.jpg\" alt=\"\" width=\"737\" height=\"500\" srcset=\"https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/Ray-choaa-image-200x136.jpg 200w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/Ray-choaa-image-300x204.jpg 300w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/Ray-choaa-image-400x271.jpg 400w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/Ray-choaa-image-600x407.jpg 600w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/Ray-choaa-image-768x521.jpg 768w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/Ray-choaa-image-800x543.jpg 800w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/Ray-choaa-image-1024x695.jpg 1024w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/Ray-choaa-image-1200x814.jpg 1200w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/Ray-choaa-image-1536x1042.jpg 1536w\" sizes=\"(max-width: 737px) 100vw, 737px\" \/><\/p>\n<p>Nineteenth-century neoclassical mosques in the Indian Ocean world invite us to rethink creative (mis)translation not only as a productive site of art historical analysis, but also as a means of engaging the entangled histories and connected topographies that constituted oceanic space. In the early nineteenth century, Muslim merchants in port cities such as Singapore, Calcutta, and Tarim adapted the architectural language of British colonial churches\u2014ultimately derived from James Gibbs\u2019s neoclassical St Martin-in-the-Fields in London\u2014to develop a novel mosque typology. Departing sharply from the region\u2019s early modern Islamic architectural traditions, these acts of creative translation unsettled both the imperial rhetoric that distinguished the modern West from its Others through architectural difference and the discourses of power that underwrote British colonial architecture across the empire. Revisiting neoclassical mosques such as Hajjah Fatimah Mosque in Singapore, Ghulam Muhammad\u2019s Mosque in Calcutta, and al-Mihdar Mosque in Tarim, this talk foregrounds the dense architectural matrix through which Muslim cosmopolitanisms in the Indian Ocean world were imagined, negotiated, and built.<\/p>\n<p>Image: Ghulam Muhammad\u2019s mosque, Calcutta, 1835.<\/p>\n<\/div><div class=\"nav fusion-mobile-tab-nav\"><ul class=\"nav-tabs\"><li><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-298a8c55d40c362d691\" aria-selected=\"false\" tabindex=\"-1\" id=\"mobile-fusion-tab-halaauji\" href=\"#tab-298a8c55d40c362d691\"><h4 class=\"fusion-tab-heading\">Hala Auji<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-pane fade fusion-clearfix\" role=\"tabpanel\" tabindex=\"0\" aria-labelledby=\"fusion-tab-halaauji\" id=\"tab-298a8c55d40c362d691\">\n<h3>Visuality<\/h3>\n<h5>Transforming the Image: Artisans, Visual Knowledge, and Translocality in Arabic Print Culture<\/h5>\n<p><strong>by <a href=\"https:\/\/arthistory.hku.hk\/index.php\/news-activities\/events-overview\/conferences\/choaa-conference-2026\/speakers\/#hauji\">Hala Auji<\/a><\/strong><\/p>\n<p><img decoding=\"async\" class=\"wp-image-13548 alignnone\" src=\"https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/auji-choaa-image.png\" alt=\"\" width=\"362\" height=\"500\" srcset=\"https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/auji-choaa-image-200x276.png 200w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/auji-choaa-image-217x300.png 217w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/auji-choaa-image-400x553.png 400w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/auji-choaa-image-600x829.png 600w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/auji-choaa-image.png 700w\" sizes=\"(max-width: 362px) 100vw, 362px\" \/><\/p>\n<p>This presentation examines the visual and material dimensions of Arabic print culture in the nineteenth century. Focusing on the period from roughly 1870 to the early 1900s, it centers the role of typically understudied (and often unknown) artisans such as engravers, illustrators, and printers in shaping the visual language of Arabic journals produced in Beirut, Cairo, and Alexandria, and in doing so redefining forms of visual authorship within print. Rather than treating print as a secondary or reproductive medium, the presentation argues that printed images were active sites of artistic intervention and knowledge production. Drawing on a selection of examples from periodicals such as\u00a0<em>al-Muqtataf<\/em>,\u00a0<em>al-Tabib<\/em>, and\u00a0<em>al-Hilal<\/em>, it highlights the wide range of visual materials that appeared in these publications, including portraits, scientific diagrams, technological illustrations, and images of global exhibitions. These images circulated alongside one another, creating disjointed visual fields that shaped multiple, non-singular ways of seeing and understanding the world. By foregrounding the labor involved in practices of copying, adaptation, and remediation, it shows how images were reworked across media, formats, and locations, complicating distinctions between notions of originality and reproduction while redistributing visual authority among makers, editors, and sources. In this sense, Arabic print operated within translocal and trans-Asian networks of exchange, as sites such as Cairo, Beirut, and Alexandria were linked through overlapping imperial, missionary, and publishing circuits connecting Egypt to Syria, Iraq, Turkey, and India. Print thus emerges as a material process through which visual knowledge, authorship, and authority were produced and negotiated through circuits of circulation that exceed and complicate the place of publication.<\/p>\n<\/div><div class=\"nav fusion-mobile-tab-nav\"><ul class=\"nav-tabs\"><li><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-efd07937aff6074cd3e\" aria-selected=\"false\" tabindex=\"-1\" id=\"mobile-fusion-tab-yeewankoon\" href=\"#tab-efd07937aff6074cd3e\"><h4 class=\"fusion-tab-heading\">Yeewan Koon<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-pane fade fusion-clearfix\" role=\"tabpanel\" tabindex=\"0\" aria-labelledby=\"fusion-tab-yeewankoon\" id=\"tab-efd07937aff6074cd3e\">\n<h3>Alterity<\/h3>\n<h5><span data-olk-copy-source=\"MessageBody\">Seen from Within: Tingqua, Alterity, and Artistic Agency in China Trade Painting<\/span><\/h5>\n<p><strong>by <a href=\"https:\/\/arthistory.hku.hk\/index.php\/news-activities\/events-overview\/conferences\/choaa-conference-2026\/speakers\/#ykoon\">Yeewan Koon<\/a><\/strong><\/p>\n<p><img decoding=\"async\" class=\"alignnone wp-image-13464\" src=\"https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/koon-choaa-image-web.png\" alt=\"\" width=\"720\" height=\"500\" srcset=\"https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/koon-choaa-image-web-200x139.png 200w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/koon-choaa-image-web-300x208.png 300w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/koon-choaa-image-web-400x278.png 400w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/koon-choaa-image-web-600x417.png 600w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/koon-choaa-image-web-768x534.png 768w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/koon-choaa-image-web-800x556.png 800w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/koon-choaa-image-web.png 878w\" sizes=\"(max-width: 720px) 100vw, 720px\" \/><\/p>\n<p>This paper takes as its critical object the art historical study of China trade painting, interrogating what it terms a &#8220;regime of alterity&#8221; \u2014 the interlocking disciplinary, institutional, and historiographical formations that have positioned these works as hybrid, derivative, and suspended between cultural systems they could neither fully inhabit nor transcend. This regime, the paper argues, has functioned not merely as a scholarly framework but as a constitutive condition of the field itself: one that collapses historical specificity, forecloses consideration of individual artistic agency, and reproduces orientalist assumptions about creative stagnation through the very terms by which such works have been studied.<\/p>\n<p>Against this framework, the paper develops a methodology centred on the image as the primary site for the recovery of agency, pursued through a sustained examination of Tingqua. Drawing on Chinese-language literary, archival, and material sources alongside European documentary material, the paper reconstructs the intellectual world of Tingqua and his workshop. It situates his practice within an accumulated repertoire of pictorial conventions carrying their own internal pressures and demands, transmitted and transformed across time, different economies of production, and the political ruptures that include the dissolution of the <em>cohong<\/em> system that had long sustained it. Read within this framework, his studio self-portraits, historical albums, urban ink drawings, and late picturesque landscapes emerge as a sequence of interventions within an inherited pictorial vocabulary, each registering how an internal history of pictorial practice could be mobilised as inheritance and resource at the moment when that tradition faced displacement by new technologies of mechanical reproduction and altered conditions of cultural exchange.<\/p>\n<\/div><\/div><\/div><div class=\"fusion-menu-anchor\" id=\"keynote2\"><\/div><div class=\"fusion-separator fusion-full-width-sep\" style=\"align-self: center;margin-left: auto;margin-right: auto;width:100%;\"><div class=\"fusion-separator-border sep-single\" style=\"border-color:rgba(181,159,135,0.25);border-top-width:1px;\"><\/div><\/div><\/div><style type=\"text\/css\">.fusion-body .fusion-builder-column-7{width:100% !important;margin-top : 0px;margin-bottom : 20px;}.fusion-builder-column-7 > .fusion-column-wrapper {padding-top : 0px !important;padding-right : 0px !important;margin-right : 1.92%;padding-bottom : 0px !important;padding-left : 0px !important;margin-left : 1.92%;}@media only screen and (max-width:1024px) {.fusion-body .fusion-builder-column-7{width:100% !important;order : 0;}.fusion-builder-column-7 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}@media only screen and (max-width:640px) {.fusion-body .fusion-builder-column-7{width:100% !important;order : 0;}.fusion-builder-column-7 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}<\/style><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-8 fusion_builder_column_1_1 1_1 fusion-flex-column\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\" style=\"background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;padding: 0px 0px 0px 0px;\"><div class=\"fusion-text fusion-text-3\"><h2>Ending Keynote<\/h2>\n<h5>24 June 2026, 18:00-19:15<\/h5>\n<\/div><div class=\"fusion-tabs fusion-tabs-5 classic vertical-tabs icon-position-left\"><style type=\"text\/css\">.fusion-tabs.fusion-tabs-5 .nav-tabs li a.tab-link{border-top-color:rgba(181,159,135,0.2);background-color:rgba(181,159,135,0.2);}.fusion-tabs.fusion-tabs-5 .nav-tabs{background-color:rgba(255,255,255,0.1);}.fusion-tabs.fusion-tabs-5 .nav-tabs li.active a.tab-link,.fusion-tabs.fusion-tabs-5 .nav-tabs li.active a.tab-link:hover,.fusion-tabs.fusion-tabs-5 .nav-tabs li.active a.tab-link:focus{border-right-color:rgba(255,255,255,0.1);}.fusion-tabs.fusion-tabs-5 .nav-tabs li.active a.tab-link,.fusion-tabs.fusion-tabs-5 .nav-tabs li.active a.tab-link:hover,.fusion-tabs.fusion-tabs-5 .nav-tabs li.active a.tab-link:focus{background-color:rgba(255,255,255,0.1);}.fusion-tabs.fusion-tabs-5 .nav-tabs li a:hover{background-color:rgba(255,255,255,0.1);border-top-color:rgba(255,255,255,0.1);}.fusion-tabs.fusion-tabs-5 .tab-pane{background-color:rgba(255,255,255,0.1);}.fusion-tabs.fusion-tabs-5 .nav,.fusion-tabs.fusion-tabs-5 .nav-tabs,.fusion-tabs.fusion-tabs-5 .tab-content .tab-pane{border-color:#b59f87;}<\/style><div class=\"nav\"><ul class=\"nav-tabs\" role=\"tablist\"><li class=\"active\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-22097c7ddf1acc966ce\" aria-selected=\"true\" id=\"fusion-tab-stephenwhiteman\" href=\"#tab-22097c7ddf1acc966ce\"><h4 class=\"fusion-tab-heading\">Stephen Whiteman<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-content\"><div class=\"nav fusion-mobile-tab-nav\"><ul class=\"nav-tabs\"><li class=\"active\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-22097c7ddf1acc966ce\" aria-selected=\"true\" id=\"mobile-fusion-tab-stephenwhiteman\" href=\"#tab-22097c7ddf1acc966ce\"><h4 class=\"fusion-tab-heading\">Stephen Whiteman<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-pane fade fusion-clearfix in active\" role=\"tabpanel\" tabindex=\"0\" aria-labelledby=\"fusion-tab-stephenwhiteman\" id=\"tab-22097c7ddf1acc966ce\">\n<h5>On Heroic Maps: Imagining \u2018China\u2019 in Premodern Geo-bodies and Modern Historiography<\/h5>\n<p><strong>by <a href=\"https:\/\/arthistory.hku.hk\/index.php\/news-activities\/events-overview\/conferences\/choaa-conference-2026\/speakers\/#swhiteman\">Stephen Whiteman<\/a><\/strong><\/p>\n<p><img decoding=\"async\" class=\"alignnone wp-image-13571\" src=\"https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/sw-choaa-image-150x150.png\" alt=\"\" width=\"557\" height=\"500\" srcset=\"https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/sw-choaa-image-200x180.png 200w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/sw-choaa-image-300x269.png 300w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/sw-choaa-image-400x359.png 400w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/sw-choaa-image-600x539.png 600w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/sw-choaa-image-768x689.png 768w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/sw-choaa-image-800x718.png 800w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/sw-choaa-image-1024x919.png 1024w, https:\/\/arthistory.hku.hk\/wp-content\/uploads\/2026\/05\/sw-choaa-image.png 1026w\" sizes=\"(max-width: 557px) 100vw, 557px\" \/><\/p>\n<p>On opposite sides of a twelfth-century stele appear two of the most famous maps in Chinese history, the <em>Tracks of Yu <\/em>\u79b9\u8de1\u5716 and the <em>Map of Chinese and Foreigners <\/em>\u83ef\u5937\u5716. The two have different origins and employ very different visual and technical vocabularies in depicting \u2018China\u2019. As such, their pairing by an unknown official in the early years of the Jin state (1115\u20131234), when the future of \u2018China\u2019 as both unified polity and coherent concept was much in doubt, has given the maps an almost heroic status in the historiography of Chinese cartography. Beginning with this famous stone, my talk explores the geographical imagination of \u2018China\u2019 in premodern maps and modern historiography, considering efforts in both Asia and Europe to define Chinese society and civilization through its technical accomplishments. In so doing, I reflect on the role of canons and icons in the construction of national histories and the potential of cultural history for articulating alternative narratives.<\/p>\n<\/div><\/div><\/div><\/div><style type=\"text\/css\">.fusion-body .fusion-builder-column-8{width:100% !important;margin-top : 0px;margin-bottom : 20px;}.fusion-builder-column-8 > .fusion-column-wrapper {padding-top : 0px !important;padding-right : 0px !important;margin-right : 1.92%;padding-bottom : 0px !important;padding-left : 0px !important;margin-left : 1.92%;}@media only screen and (max-width:1024px) {.fusion-body .fusion-builder-column-8{width:100% !important;order : 0;}.fusion-builder-column-8 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}@media only screen and (max-width:640px) {.fusion-body .fusion-builder-column-8{width:100% !important;order : 0;}.fusion-builder-column-8 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}<\/style><\/div><\/div><style type=\"text\/css\">.fusion-body .fusion-flex-container.fusion-builder-row-2{ padding-top : 0px;margin-top : 0px;padding-right : 0px;padding-bottom : 0px;margin-bottom : 0px;padding-left : 0px;}<\/style><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-3 fusion-flex-container nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"background-color: rgba(255,255,255,0);background-position: center center;background-repeat: no-repeat;border-width: 0px 0px 0px 0px;border-color:#eae9e9;border-style:solid;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start\" style=\"max-width:1144px;margin-left: calc(-4% \/ 2 );margin-right: calc(-4% \/ 2 );\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-9 fusion_builder_column_1_4 1_4 fusion-flex-column\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\" style=\"background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;padding: 0px 0px 0px 0px;\"><\/div><style type=\"text\/css\">.fusion-body .fusion-builder-column-9{width:25% !important;margin-top : 0px;margin-bottom : 20px;}.fusion-builder-column-9 > .fusion-column-wrapper {padding-top : 0px !important;padding-right : 0px !important;margin-right : 7.68%;padding-bottom : 0px !important;padding-left : 0px !important;margin-left : 7.68%;}@media only screen and (max-width:1024px) {.fusion-body .fusion-builder-column-9{width:100% !important;order : 0;}.fusion-builder-column-9 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}@media only screen and (max-width:640px) {.fusion-body .fusion-builder-column-9{width:100% !important;order : 0;}.fusion-builder-column-9 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}<\/style><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-10 fusion_builder_column_1_4 1_4 fusion-flex-column\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\" style=\"background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;padding: 0px 0px 0px 0px;\"><div ><style type=\"text\/css\">.fusion-button.button-1 {border-radius:30px;}<\/style><a class=\"fusion-button button-flat fusion-button-default-size button-default button-1 fusion-button-default-span fusion-button-default-type\" target=\"_blank\" rel=\"noopener noreferrer\" href=\"https:\/\/arthistory.hku.hk\/index.php\/event\/a-cultural-history-of-asian-art-in-the-long-nineteenth-century\/\"><i class=\"fa-sticky-note fas button-icon-left\" aria-hidden=\"true\"><\/i><span class=\"fusion-button-text\">Flyer (Panels)<\/span><\/a><\/div><\/div><style type=\"text\/css\">.fusion-body .fusion-builder-column-10{width:25% !important;margin-top : 0px;margin-bottom : 20px;}.fusion-builder-column-10 > .fusion-column-wrapper {padding-top : 0px !important;padding-right : 0px !important;margin-right : 7.68%;padding-bottom : 0px !important;padding-left : 0px !important;margin-left : 7.68%;}@media only screen and (max-width:1024px) {.fusion-body .fusion-builder-column-10{width:100% !important;order : 0;}.fusion-builder-column-10 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}@media only screen and (max-width:640px) {.fusion-body .fusion-builder-column-10{width:100% !important;order : 0;}.fusion-builder-column-10 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}<\/style><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-11 fusion_builder_column_1_4 1_4 fusion-flex-column\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\" style=\"background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;padding: 0px 0px 0px 0px;\"><div ><style type=\"text\/css\">.fusion-button.button-2 {border-radius:30px;}<\/style><a class=\"fusion-button button-flat fusion-button-default-size button-default button-2 fusion-button-default-span fusion-button-default-type\" target=\"_self\" href=\"https:\/\/arthistory.hku.hk\/index.php\/news-activities\/events-overview\/conferences\/choaa-conference-2026\/speakers\/\"><i class=\"fa-users fas button-icon-left\" aria-hidden=\"true\"><\/i><span class=\"fusion-button-text\">Speakers (bio)<\/span><\/a><\/div><\/div><style type=\"text\/css\">.fusion-body .fusion-builder-column-11{width:25% !important;margin-top : 0px;margin-bottom : 20px;}.fusion-builder-column-11 > .fusion-column-wrapper {padding-top : 0px !important;padding-right : 0px !important;margin-right : 7.68%;padding-bottom : 0px !important;padding-left : 0px !important;margin-left : 7.68%;}@media only screen and (max-width:1024px) {.fusion-body .fusion-builder-column-11{width:100% !important;order : 0;}.fusion-builder-column-11 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}@media only screen and (max-width:640px) {.fusion-body .fusion-builder-column-11{width:100% !important;order : 0;}.fusion-builder-column-11 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}<\/style><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-12 fusion_builder_column_1_4 1_4 fusion-flex-column\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\" style=\"background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;padding: 0px 0px 0px 0px;\"><div ><style type=\"text\/css\">.fusion-button.button-3 {border-radius:30px;}<\/style><a class=\"fusion-button button-flat fusion-button-default-size button-default button-3 fusion-button-default-span fusion-button-default-type\" target=\"_blank\" rel=\"noopener noreferrer\" href=\"https:\/\/hku.au1.qualtrics.com\/jfe\/form\/SV_e4ZCP9MlCBnHgZE\"><i class=\"fa-ticket-alt fas button-icon-left\" aria-hidden=\"true\"><\/i><span class=\"fusion-button-text\">Registration<\/span><\/a><\/div><\/div><style type=\"text\/css\">.fusion-body .fusion-builder-column-12{width:25% !important;margin-top : 0px;margin-bottom : 20px;}.fusion-builder-column-12 > .fusion-column-wrapper {padding-top : 0px !important;padding-right : 0px !important;margin-right : 7.68%;padding-bottom : 0px !important;padding-left : 0px !important;margin-left : 7.68%;}@media only screen and (max-width:1024px) {.fusion-body .fusion-builder-column-12{width:100% !important;order : 0;}.fusion-builder-column-12 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}@media only screen and (max-width:640px) {.fusion-body .fusion-builder-column-12{width:100% !important;order : 0;}.fusion-builder-column-12 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}<\/style><\/div><\/div><style type=\"text\/css\">.fusion-body .fusion-flex-container.fusion-builder-row-3{ padding-top : 0px;margin-top : 0px;padding-right : 0px;padding-bottom : 0px;margin-bottom : 0px;padding-left : 0px;}<\/style><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":13392,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-13442","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/pages\/13442","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/comments?post=13442"}],"version-history":[{"count":51,"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/pages\/13442\/revisions"}],"predecessor-version":[{"id":13618,"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/pages\/13442\/revisions\/13618"}],"up":[{"embeddable":true,"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/pages\/13392"}],"wp:attachment":[{"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/media?parent=13442"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}