Logic of Image and Its Interpretations
The Third International Graduate Symposium of Art History
Peking University, October 19-21, 2012
Keynote Speaker: Professor Li Song, Department of Art History, School of Arts, PKU
Ever since the beginning of the 21st century or earlier, studies of visual culture and world art history have become two major trends in the field of art history. Scholars from different disciplinary backgrounds such as archaeology, religious studies, history, anthropology, and art history, have begun to discuss some commonly concerned cultural issues through their both independent and collaborative works. This interdisciplinary approach has become dominating in academia and to some extent art history has benefitted from it.
No doubt, image has always been the key issue in art historical studies. Like language, image has its own logic and system. Nowadays, art historical and cultural studies mostly are inclined to focus on interpreting images in social context. Studies of visual quality of image in its own terms have somehow been neglected. Only if one accurately understands the visual logic and image-making principles in artworks and visual materials, could one properly interpret their meanings and significances. Thus, artworks can do what textual materials do when they become useful evidences in our understanding of history. No matter they are religious arts, classical arts, or common visual materials, the first and foremost thing we should do is to accurately evaluate their visual characteristics and elements so as to open the further ways of research and discussion. This is what art history as a discipline differs from other disciplines in humanities.
Today, one of the most concerned issues in art historical field is to explore the characteristics of, and interrelations between, artworks from different cultures. Thus, the notion of world-art study has been widely discussed. Nonetheless, even if the methodological tools of art historical studies are rooted in the tradition of Western art history, would they be universally useful for studying artworks from other cultures? For example, if we apply methods of "Iconography" to our studies of Chinese Buddhist and Daoist arts, would they still be proper and valid?
The 2012 Peking University Graduate Symposium aims to provide young scholars with an engaging platform, where they can exchange ideas and share their own research across the theme of “Logic of Image and Its Interpretations." We are now open to accept proposals from graduate students both in China and overseas.
During the symposium, we will like accommodate invited participants with food and lodging. In addition, we will sponsor a field trip for the participants.
The working language will be both Chinese and English.
Potential participants should submit a proposal of 1000-word and current curriculum vitae to: email@example.com before June 5, 2012. A confirmation email will be sent to applicants after the proposals are selected.
If you have any questions, please contact:
Mr. Ian Wu: firstname.lastname@example.org
Ms. Wang Jing: email@example.com
Address: 5 Yiheyuan Road, Haidian District, Beijing, PRC, 100871
School of Arts, Peking University