{"id":6971,"date":"2020-12-02T02:41:27","date_gmt":"2020-12-02T02:41:27","guid":{"rendered":"https:\/\/arthistory.hku.hk\/?post_type=tribe_events&p=6971"},"modified":"2020-12-02T06:16:34","modified_gmt":"2020-12-02T06:16:34","slug":"watermoon-avalokiteshvara-paintings-and-their-viewers-and-producers-in-east-asia","status":"publish","type":"tribe_events","link":"https:\/\/arthistory.hku.hk\/index.php\/event\/watermoon-avalokiteshvara-paintings-and-their-viewers-and-producers-in-east-asia\/","title":{"rendered":"Watermoon Avalokiteshvara Paintings and their Viewers and Producers in East Asia"},"content":{"rendered":"
Research Postgraduate Seminar<\/h5>\n

Watermoon Avalokiteshvara Paintings and their Viewers and Producers in East Asia<\/h2>\n

Date: 10 December 2020 (Thursday)<\/strong>
\nTime: 5:30-6:30pm <\/strong>
\nVenue: 7.58, Run Run Shaw Tower, Centennial Campus, HKU
\n<\/strong><\/p>\n

Online attendance via Zoom is possible (click here for the zoom link<\/a>)
\nMeeting ID: 979 3264 4258 (no password required)<\/p>\n

Abstract<\/h5>\n

Ever since its earliest inception in the metropolitan capitals of Luoyang and Chang\u2019an of Tang China (618-907 CE), Watermoon Avalokiteshvara<\/em> as a subject matter of depiction had spread to different polities of East Asia in the following centuries. Polities such as Wuyue (907-978 CE) and Song (960-1279 CE) in China continued to produce Watermoon Avalokiteshvara<\/em> images, making stylistic and iconographic innovations that reflect the different preferences of the day. This image was also spread to Japan and Korea. By the 14th<\/sup> century, both Kamakura Japan (1192-1333 CE) and the Koryo Kingdom (918-1392 CE) in Korea had become important centres for consuming and producing images of Watermoon Avalokiteshvara<\/em>.<\/p>\n

In this presentation, I first argue how one should view Watermoon Avalokiteshvara <\/em>paintings in the Five Dynasties and Ten Kingdoms (907-979 CE) and Song periods alongside contemporaneous art historical development. Most relevant to this discussion is landscape painting\u2019s development as genre. I then revisit the Koryo examples and argue for a multi-identities perspective of viewing them both as representative of Koryo national style and within the context of the larger Yuan imperium (1271-1368 CE). This transnational perspective can also garner better understandings of what I termed Sino-Japanese examples found in 14th<\/sup> century Kamakura Japan. This presentation concludes with a close reading of two enigmatic examples of Watermoon Avalokiteshvara<\/em> in the Nara National Museum and the Rijksmuseum collections in Japan and the Netherlands. I shall argue how these works are results of transnational exchanges.<\/p>\n

Speaker<\/h5>\n

Mr. Konstance Chuntung Li is a final year doctoral student at the Department of Art History, University of Hong Kong. He holds a M.St. in Archaeology from the University of Oxford. His current research has received generous support from the Japan Foundation and is a comprehensive study that examines Watermoon Avalokiteshvara<\/em> paintings in East Asia from the 9th to the 14th centuries. At present, Mr. Li is also a member of the National Gallery Singapore\u2019s Language Panel.<\/p>\n","protected":false},"excerpt":{"rendered":"

Research Postgraduate Seminar Watermoon Avalokiteshvara Paintings and their Viewers and Producers in East Asia Date: 10 December 2020 (Thursday) Time: 5:30-6:30pm Venue: 7.58, Run Run Shaw Tower, Centennial Campus, HKU […]<\/p>\n","protected":false},"author":1,"featured_media":6980,"template":"","meta":{"_tribe_events_status":"","_tribe_events_status_reason":"","footnotes":""},"tags":[249,248,170],"tribe_events_cat":[142,17],"class_list":["post-6971","tribe_events","type-tribe_events","status-publish","has-post-thumbnail","hentry","tag-onlinetalk","tag-rpg","tag-rpgseminar","tribe_events_cat-2020-2021","tribe_events_cat-seminars","cat_2020-2021","cat_seminars"],"_links":{"self":[{"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/tribe_events\/6971","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/tribe_events"}],"about":[{"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/types\/tribe_events"}],"author":[{"embeddable":true,"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/users\/1"}],"version-history":[{"count":6,"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/tribe_events\/6971\/revisions"}],"predecessor-version":[{"id":6979,"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/tribe_events\/6971\/revisions\/6979"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/media\/6980"}],"wp:attachment":[{"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/media?parent=6971"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/tags?post=6971"},{"taxonomy":"tribe_events_cat","embeddable":true,"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/tribe_events_cat?post=6971"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}