Peter charles sturman



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PETER CHARLES STURMAN
Department of the History of Art and Architecture

University of California

Santa Barbara, CA 93106

(805) 893-2417, (fax) -7117

e-mail: sturman@arthistory.ucsb.edu
3505 La Entrada

Santa Barbara, CA 93105

(805) 898-8799

EDUCATION
9/73-8/75 University of Chicago.
9/76-6/78 Stanford University. B.A., East Asian Studies.
6/79-7/80 Mandarin Training Center, Taiwan Normal University, Taipei,

Taiwan.
9/82-6/83 Inter-University Center for Japanese Language Studies, Tokyo,

Japan.
9/80-8/88 Yale University. Doctorate program in Chinese art history. M.A.,

History of Art, received 12/81. Ph.D., History of Art, received

5/89. Dissertation title: “Mi Youren and the Inherited Literati

Tradition: Dimensions of Ink-Play.”



EMPLOYMENT
9/84-2/86 Translator, Department of Painting and Calligraphy, National

Palace Museum, Taipei, Taiwan.


7/87-2/88 Researcher, Asian Art Department, The Metropolitan Museum of

Art, New York.


1/88-5/88 Part-time Acting Instructor, History of Art Department, Yale

University.


9/87-6/97 Translator, Nigensha Publishing Co., Tokyo. Translations of texts

for facsimile reproductions of classical Chinese paintings and

calligraphy.
7/88-6/94 Assistant Professor, Department of the History of Art and

Architecture, University of California, Santa Barbara.


9/95-12/95 Visiting Lecture, Chinese University, Hong Kong
9/97-12/97 Visiting Associate Professor, Institute of Fine Arts, New York.
7/94-pres Associate Professor, Department of the History of Art and

Architecture, University of California, Santa Barbara.


7/12-pres Professor, Department of the History of Art and Architecture,

University of California, Santa Barbara



PROFESSIONAL ACTIVITIES (since 2003)
4/03 Lecturer: “Voices of Loyalism: The Calligraphic Response to the Mongol Conquest in Early Yuan China.” The Wang Fangyu Lecture in Chinese Calligraphy Education, University of Maryland.
10/03 Lecturer: “The Scholar’s Image.” The International Chinese Snuff Bottle Society 35th Annual Convention, Los Angeles.
11/03 Lecturer: “Mi Youren and the Auspicious Image at the Southern Song Court.” Society for Asian Art annual lecture series “Art as Propaganda: the Manipulation of Art by Asian Rulers.”
5/03 Panelist: “Mi Fu and the Hua shi.” Getty Workshop on Translation
4/04 Lecturer: Double Beauty: Qing Dynasty Couplets from the Lechangzai Xuan Collection, University Art Museum, UCSB.
4/04 Panelist and Conference Co-organizer: “Guanwu: Vision, Perception, and the Picturing of Nature in 10th-11th Century China.” Song Painting and its Legacy, Yale University.
3-5/04 Curator: Double Beauty: Qing Dynasty Couplets from the Lechangzai Xuan Collection, University Art Museum, UCSB.
5/06 Panelist: “Spreading Falling Flowers: Shen Zhou and the Dissemination of Image.” The Elegant Gathering: Art, Politics and Collecting in China, Berkeley Art Museum, UCB.
4/06 Panelist: “Grids, Ground Planes, Fractures and Fragments: Modernism and the Chinese Landscape.” Landscape in 20th Century China, Shanghai.
11/06 Panelist: “Material History: Valuing Painting in the Northern Song.” Reinventing the Past: Antiquarianism in East Asian Art and Visual Culture, University of Chicago.
2/07 Panelist: “Painting as Correspondence: Deciphering Su Shi, Wang Shen, and Wang Gong.” Founding Paradigms—The Art and Culture of the Northern Sung Dynasty. The National Palace Museum, Taipei.
9/07 Panelist: “Primordiality and Other Essentialisms: Modernists and their Media in the Chinese Diaspora.” Reboot: The Third Chengdu Biennale, Chengdu.
5/08 Panelist: “Primordiality and Cultural Essence: Modernists and Their Media in the Chinese Diaspora.” Aesthetic and Theories on Chinese Ink Painting, Asia Society, New York.
10/08 Discussant: “Painting as Medium of Enlivenment.” The Chinese Art of Enlivenment, Harvard University.
11/08 Panelist: “Spreading ‘Falling Blossoms’: Style and Replication in Shen Zhou’s Late Calligraphy.” Rethinking the Written Word: An Interdisciplinary Symposium on Chinese Calligraphy, Taiwan Normal University, Taipei.
11/09 Panelist: “The Rhetoric of Realism.” Guo Xi’s ‘Early Spring’ (1072), Harvard University.
11/10 Panelist: “Lingering Winds: Calligraphy after Su Shi and his Circle.” International Conference on Tang and Song Calligraphy, Mingdao University, Taiwan.
11/10 Discussant (multiple papers): Dynastic Renaissance: Art and Culture of the Southern Song, The National Palace Museum, Taipei.
3/11 Lecturer: “Falling Blossoms: Shen Zhou and the Problem of Growing Old.” Visiting Scholar in the Harn Eminent Scholar Chair in Art History Lecture Series, University of Florida.
3/11 Panel Organizer and Chair: The Methods of Calligraphy, Association for Asian Studies / International Convention of Asia Scholars Joint Conference, Honolulu.
10/11 Discussant: “Art History Research in Taiwan,” Symposium on the New Era of Chinese Studies in Taiwan, Center for Chinese Studies, Taipei.
10/11 Reviewer: Department of Chinese, Translation & Linguistics, City University, Hong Kong.
2/12 Panelist: “Landscape,” Room for another View: Chinese Art in Disciplinary Perspective, The University of Michigan.
10/12 Co-Curator: The Artful Recluse: Painting, Poetry, and Politics in 17th-Century China, The Santa Barbara Museum of Art.
10/12 Lecturer: “Painting Hills and Hermits: The Art of Reclusion in 17th-Century China,” The Santa Barbara Museum of Art.
10/12 Panelist: “Imaging Texts: the Intersection of Image, Text, and Context in Chinese Calligraphy,” Out of Character: Chinese Calligraphy from the Guan Yuan Shan Zhuang, Asian Art Museum, San Francisco.
1/13 Conference Organizer and Discussant: Image and the Imaginary in 17th-Century China, The Santa Barbara Museum of Art and the University of California, Santa Barbara.
1/13 Lecturer: “Landscape, Word, and Self-Image in Song-Dynasty Literati Painting,” Asian Art Museum, San Francisco.
2/13 Lecturer: “Family Matters: The Strange Case of the ‘Poetic Ideas’ Scroll

Attributed to Mi Youren and Sima Huai,” Princeton University.


2/13 Lecturer: “Non-Portraits in the Late Northern Song,” Confucius Institute, The University of Michigan.
3/13 Lecturer: “Painting Hills and Hermits: The Art of Reclusion in 17th-Century China,” The Asia Society, New York.
3/13 Discussant: “Appropriation” as Catalyst: Cross-Border Perspectives on East Asian Calligraphy, Association of Asian Studies Annual Conference, San Diego.
6/13 Workshop Participant: “Xu Wei’s Calligraphy,” Late Imperial Personhood: Posthumanist Perspectives on Xu Wei (1521–1590), Yale University.
9/13 Lecturer: “Family Matters and the Limitations of Style: The Strange Case of the ‘Poetic Ideas’ Scroll Attributed to Mi Youren and Sima Huai,” Chinese University, Hong Kong.
11/13 Lecturer: “Non-Portraits in the Late Northern Song,” Chinese University, Hong Kong.
2/14 Discussant (multiple papers): New Frontiers in Chinese Art, College Art Association annual conference, Chicago.
5/14 Panelist: “Projecting Mortality: Views from Shen Zhou’s Orchard,” for the conference Chinese Landscapes: Explorations in Literature, Poetry, Film, and the Visual Arts, Stanford University.
8/14 Workshop Participant: “Xu Wei’s Calligraphy,” Late Imperial Personhood: Posthumanist Perspectives on Xu Wei (1521–1590), Yale University. (Second workshop meeting).
9/14 Lecturer: “The Subject in Wen Tong’s Ink Bamboo,” National Seoul University, Korea.
10/14 Modernism in China and America, seminar organized at the China Academy of Art, Hangzhou. Lectures presented: “Modernism and the Chinese Diaspora” and “New Frontiers in Chinese Art History: Reflections on Three Recent Presentations at the 2014 College Art Association Annual Meeting.”
11/14 Conference Co-Organizer and Discussant: International Conference on Song Dynasty Painting, Zhejiang University, Hangzhou.

11/14 Presenter: “The Question of Subject in Wen Tong’s Ink Bamboo,” International Conference on Song Dynasty Painting, Zhejiang University, Hangzhou.



11/14 Workshop Participant: Mellon Chinese Object Workshop, “Writing and Chinese Art,” the Freer Gallery, Smithsonian Institute.
1/15 Discussant: Ideas of Asia in the Museum An International Symposium, University of Southern California and Los Angeles County Museum of Art.
3/15 Lecturer: “Wen Tong, Su Shi, and the Formation of a Literati Aesthetic for Painting,” Reed College, Portland.


AWARDS
6/74, 6/75 University Scholar, University of Chicago.
6/78 Phi Beta Kappa, Stanford University.
9/80-6/84 NDFL Title VI Fellowships, Yale University.
7/84-6/85 Fulbright-Hays Fellowship; Louise Wallace Hackney Fellowship for the Study of Chinese Painting, American Oriental Society; Packard Fellowship, Metropolitan Center for Studies in Far Eastern Art.
9/86-8/87 Andrew Mellon Fellow, The Metropolitan Museum of Art, New York.
7/90-9/90 NEH Summer Stipend, “Mi Fu's Hua shi.”
9/90-3/91 Asian Cultural Council Fellowship, “Mi Fu's Hua shi: Reconstituting the Scholar's Approach to Painting in Eleventh Century Painting.”
9/92-3/93 Conference grants from the Chiang Ching-kuo Foundation for International Scholarly Exchange, The Metropolitan Center for Far Eastern Art Studies, and the Interdisciplinary Humanities Center, UCSB, for “Mountains and the Cultures of Landscape in China.”
7/94-6/95 Getty Post-doctoral Fellowship and Chiang Ching-kuo Foundation for International Scholarly Exchange Research Grant: Mi Fu's Hua shi, A History of Painting.
6/09-9/09 The Center for Chinese Studies Research Grant: “Painters and Historians in Song Dynasty China.”
1/13 The Chiang Ching-Kuo Foundation for Scholarly Exchange, Interdisciplinary Humanities Center, UCSB, and the College of Letters and Sciences: “Image and the Imaginary in 17th Century China,” an Interdisciplinary Conference.
2/14 Winner of the 2014 Alfred H. Barr Jr. Award (College Art Association) for The Artful Recluse: Painting, Poetry, and Politics in Seventeenth-Century China.

PUBLICATIONS
Books and Catalogues
Chu Ko, The Soldier From Chu. Taipei: Tsai Shih, 1991. Exhibition catalogue. Co-editor, with article: “Towards Modern Chinese Painting: Chu Ko as Critic and Artist,” 30-47 (in Chinese and English).
Mi Fu: Style and the Art of Calligraphy in Northern Song China. Yale University Press (1997).
Double Beauty: Qing Dynasty Couplets from the Lechangzai Xuan Collection. The Chinese University Art Museum, Hong Kong (2003). Exhibition catalogue. Co-editor, with article: “Aesthetic Dimensions of the Clerical Script,” 31-37 (in Chinese and English).
The Artful Recluse: Painting, Poetry, and Politics in Seventeenth-Century China. The Santa Barbara Museum of Art (2012). Exhibition catalogue. Editor, with article: “The Art of Reclusion.”
Painters and Historians in Song Dynasty China. In progress.

Articles
“Wild Beasts and Winged Immortals: Early Representations of Landscape in China.” The National Palace Museum Bulletin, vol. XX/2-4 (May-October, 1985, in three parts).
“A Reevaluation of Chiang Shen and Early Twelfth Century Landscape Painting.” The National Palace Museum Scholarly Quarterly (Gugong xueshu jikan, in English and Chinese), Autumn, 1985, 1-35.
“Celestial Journeys: Meditations on (and in) Han Painted Pots at the Metropolitan Museum of Art.” Orientations, vol. 19/5 (May, 1988), 54-67.
“Wu Guanzhong and the Task of Painting a New China.” Orientations, vol. 21/3 (March, 1990), 36-45.
“Cranes Above Kaifeng: The Auspicious Image at the Court of Huizong.” Ars Orientalis, vol. XX (1990), 33-68.
“Mi Youren as Filial Son--Notes on the Collecting of Mi Fu's Calligraphy and its Influence at the Court of Gaozong.” The National Palace Museum Scholarly Quarterly (Gugong xueshu jikan, in Chinese with English summary), vol. IX/4 (Summer, 1992), 89-126.
“Measuring the Weight of the Written Word: Reflections on the Character-Paintings of Chu Ko and the Role of Writing in Contemporary Chinese Art.” Orientations, vol. 23/7 (July, 1992), 44-52.
“The ‘Thousand Character Essay’ Attributed to Huaisu and the Tradition of Kuangcao Calligraphy.” Orientations, vol. 25/4 (April, 1994), 38-46.
“The Donkey Rider as Icon: Li Cheng and Early Chinese Landscape Painting.” Artibus Asiae, vol. LV, 1/2 (1995), 43-97.
“In the Realm of Naturalness: Problems of Self-Imaging by the Northern Sung Literati.” Arts of the Sung and Yuan, 165-88. New York: The Metropolitan Museum of Art, 1996.
“Calligraphy.” China 5000 Years: Innovation and Transformation in the Arts, 159-70. New York: The Guggenheim Museum, 1998.
“Critiquing Cai Xiang and the Transformation of Northern Song Calligraphy,” in Mo Jialiang, ed. Shuhai guanlan (Proceedings of the International Conference on Chinese Calligraphy, Hong Kong: Chinese University, 1999), 101-20 (in Chinese).
“Wine and Cursive: The Limits of Individualism in Northern Song Calligraphy.” Character and Context in Chinese Calligraphy (Princeton: The Princeton Art Museum, 1999), 200-231.
“Confronting Dynastic Change: Painting After the Mongol Reunification of North and South China.” RES 35 (1999), 143-169.
“Silencing the Cry of Cold Insects: Meaning and Design in the Exile Calligraphy of Huang Tingjian and Su Shi.” Oriental Art XLVI/no. 5 (2000), 10-18.
“Sung Loyalist Calligraphy in the Early Years of the Yuan Dynasty.” The National Palace Museum Research Quarterly, vol. 19, no. 4 (Summer, 2002), 59-102.
“Celebrating Richard Barnhart.” Orientations 35/6 (September, 2004), 88-89.
“Grids, Ground Planes, Fragments and Fractures: Modernism and the Chinese Landscape.” Ershi shiji shanshuihua yanjiu wenji (Shanghai: Shanghai shuhua chubanshe, 2006), 335-355. Reprinted in At the East-West Crossroads—The Art of Wucius Wong (Hong Kong: Hong Kong Museum of Art, 2006), 15-25.
“Primordiality and Other Essentialisms: Modernists and the Media in the China Diaspora.” The Third Chengdu Biennale, International Symposium (Chengdu: Chengdu Contemporary Art Museum, 2007), 58-65.
“Tongxun xing huihua—jiedu Su Shi, Wang Gong yu Wang Shen” (Painting as Correspondence: Deciphering Su Shi, Wang Gong and Wang Shen). Kaichuang dianfan: Bei Song de yishu yu wenhua yantaohui lunwen ji (Conference on Founding Paradigms: Papers on the Art and Culture of the Northern Sung Dynasty), 583-601 (in Chinese). The National Palace Museum, Taipei, 2008.
“Calligraphy.” Encyclopedia of Modern China (Charles Scribners and Sons, 2009), Vol.1, 164-166.
“Spreading Falling Blossoms: Style and Replication in Shen Zhou’s Late Calligraphy.” Tsing Hua Xuebao (Tsing Hua Journal of Chinese Studies) New Series XL/3 (September, 2010), 365-410.
Distant Peaks, Clearing Clouds by Mi Youren.” Qiannian danqing (Masterpieces of Ancient Chinese Paintings) (Beijing: Beijing University, 2010), 159-166 (Chinese), 037-042 (English).
“Lingering Winds: Calligraphy after Su Shi and his Circle.” Proceedings of the International Conference on Tang and Song Calligraphy (Zhanghua: Mingdao University, 2010).
“‘Summoning the Recluse’—the Relevance of an Ancient Theme in 17th-Century China,” Orientations 44/2 (March, 2013), 104-112.
“Sculptor as Creator: Li Chen and his Soul Guardians” (in French and English). La Légèreté Monumentale de Li Chen (Asia Art Center Company, Ltd., 2014), 126-143.
“The Poetic Ideas Scroll Attributed to Mi Youren and Sima Huai.” Zhejiang University Journal of Art and Archaeology 1 (2014), 84-128.
“Presenting Mortality: Shen Zhou’s ‘Falling Blossoms’ Project.” Journal of Chinese Literature and Culture 2:1 (2015).
“Landscape.” Blackwell Companion to Chinese Art (forthcoming, 2015).


Reviews
Suzuki Kei, Chūgoku Kaigashi (A History of Chinese Painting, IIb, Yuan Dynasty, in Japanese). Ars Orientalis, vol. IX (1989), 120-125.
Marsha Weidner, ed., Flowering in the Shadows: Women in the Histories of Chinese and Japanese Painting. Sino-Japanese Studies, vol. 4/1 (1991), 64-70.
Wen Fong and Alfreda Murck, ed., Words and Images: Chinese Poetry, Calligraphy and Painting. The Journal of Asian Studies, vol. 52/2 (May, 1993), 442-444.
Jerome Silbergeld with Gong Jisui, Contradictions: Artistic Life, the Socialist State, and the Chinese Painter Li Huasheng. ARTnews, vol 93, no. 1 (January, 1994), 108.
Tseng Yuho, A History of Chinese Calligraphy. Orientations, vol. 26/4 (April, 1995).
Zhu Qizhan exhibition at the Art Gallery, Hong Kong University of Science and Technology. ARTnews, vol. 94, no. 1 (January, 1995), 178.
Chang Ch’ung-ho and Hans Frankel, Two Chinese Treatises on Calligraphy. Ars Orientalis, vol. XXVI (1996), 110-11.
Maggie Bickford, Ink-Plum: The Making of a Chinese Scholar-Painting Genre, The Harvard Journal of Asiatic Studies (December, 1999).
Wu Hung, The Double Screen: Medium and Representation in Chinese Painting, The Journal of Asian Studies (1999).
James Cahill, The Lyric Journey, Ars Orientalis (1999).
Maxwell K. Hearn and Wen C. Fong, Along the Riverbank: Chinese Paintings from the C. C. Wang Family Collection, Artibus Asiae vol. LX, no. 1 (2000), 189-91.
Amy McNair, The Upright Brush: Yan Zhenqing’s Calligraphy and Song Literati Politics, Journal of Sung-Yuan Studies 32 (2002), 147-155.
Alfreda Murck, Poetry and Painting in Song China: The Subtle Art of Dissent, China Review International vol. 9, no. 2 (2002), 502-506.
Shane McCausland, editor and author, Gu Kaizhi and the Admonitions Scroll and First Masterpiece of Chinese Painting: The Admonitions Scroll, Artibus Asiae LXV, No. 2 (2005), 368-372.
Julia Murray, Mirror of Morality: Chinese Narrative Illustration and Confucian Ideology, Journal of Asian Studies, vol. 67:3 (2008), 1070-72.
Chinese Paintings from Japanese Collections, Los Angeles County Museum of Art. CAA Online Reviews (2015).


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