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The Tang Center occasionally organizes and sponsors workshops open to members of the Princeton University academic community.

Kin Sum (Sammy) Li
Princeton University
Art History and Conservation Science
8 February-6 May 2013
McCormick Hall
During the spring semester, the Tang Center cosponsored a series of workshops organized by Department of Art and Archaeology graduate student Kin Sum (Sammy) Li. Titled “Art History and Conservation Science,” the workshops introduced younger art historians to the value of technical studies, emphasizing the importance of understanding how objects were made and the ways art historians can benefit through engagement with up-to-date conservation sciences. This workshop prompted the participants to consider a broader view of artistic production that encompasses the notion of art not just as creative, original, and aesthetic, but also as the product of technical workshops and skilled collaboration.
Maya Vessels and Metal Objects
Sarah Nunberg, freelance conservator
Bryan Cockrell ’08, PhD candidate, University of California, Berkeley
8 February 2013
Methods and Materials of Early Italian Renaissance Paintings
Norman Muller, Princeton University Art Museum
22 February 2013
Photo Conservation at the Metropolitan Museum of Art
Nora Kennedy, Metropolitan Museum of Art
19 April 2013
Visual Resource Archives in the Digital Age: Opportunities and Challenges
Jennifer Larson, Metropolitan Museum of Art
26 April 2013
Toward an Understanding of Japanese Paintings: Formats, Materials, and Techniques
Jennifer Perry, Metropolitan Museum of Art
3 May 2013
An Art Historian’s View of Technical Studies of Chinese Bronzes
Robert Bagley, Princeton University
6 May 2013

Jerome Silbergeld and Dora C.Y. Ching
Princeton University
Lo Archive Project and Dunhuang
14-15 April 2011
McCormick Hall
As part of the Lo Archive Project, the Tang Center held a two-day workshop, with participation by leading scholars from around the country and Europe. Designed to help produce the highest quality publication of photographs of Dunhuang taken by James Lo in 1943-44, the workshop included discussions of the papers that will be included in the volumes and additional papers intended to broaden the understanding of the role of the Lo Archive in Dunhuang studies specifically and Buddhist studies in general. The publication will include an examination of the making of the Lo Archive and its place in expeditionary photography; a contextual study of archives and the relationship of the Lo Archive to European archives; an overview of the role of the Lo Archive in the study of Buddhist art; and studies of the site of the caves at Dunhuang, including the architecture and the land. Other essays will discuss the specific contributions of the Lo Archive photographs from the point of view of researchers at the Dunhuang Academy, and the development of Chinese art as documented by the Dunhuang paintings and sculpture.

Susan Naquin, Ben Elman, and Cary Y. Liu
Princeton University
An Investigation of Late Imperial Liuli Glazed Ceramics
12 November 2010
Aaron Burr Hall
The Tang Center cosponsored the workshop “An Investigation of Late Imperial Liuli Glazed Ceramics” in collaboration with the Princeton University Art Museum and the “Artisans and Artifacts” segment of the East Asia and the Early Modern World project, funded by the Princeton Institute for International and Regional Studies. In this workshop, scholars explored Liuli glazed ceramics, delving into technical and conservation-based analyses as well as art-historical interpretations.

Robert Bagley
Princeton University
Ancient China as a Culture of Bells
9-10 April 2010
McCormick Hall
“Ancient China as a Culture of Bells,” organized by the department’s Professor Robert Bagley in conjunction with his graduate seminar focused on one of the most prominent and yet still inadequately studied artifacts in the archaeological record of ancient China: the bronze bell, or rather, musical sets of bells. Taking the most spectacular find of such bells, the inscribed set excavated from the tomb of Marquis Yi of Zeng (d. 433 B.C.E.), as its point of departure, this workshop explored the place of bronze bell production, bell performance, and music theory in the culture of the pre-Han period. Invited participants included Professors David Schaberg (University of California–Los Angeles), Haicheng Wang *07 (University of Washington), and Paul Goldin (University of Pennsylvania).

Self Portrait
Zhang Hongtu
Fellow in The Council of the Humanities and the Tang Center for East Asian Art
Artist's Workshop
Re-painting Two Portraits:
Shen Zhou and Mona Lisa
17, 19, and 20 November 2008
185 Nassau Street
This three-session workshop focuses on the issue of boundaries between cultures, understanding them at the same time as deconstructing them. Students will be encouraged to overcome the limitations of "East" and "West" as a means of stimulating new artistic ideas. The first session will begin with a discussion of two portraits done in the same period: a portrait of the famous Chinese artist Shen Zhou, painted anonymously in 1507, and the Mona Lisa, painted by Leonardo da Vinci in 1506. The discussion will focus on similarities and differences between these two portraits and a variety of questions related to them. By the end of the first session, students will select one of the portraits to "repaint" and perhaps even begin painting. They will repaint the portrait by reversing style and medium: oil on canvas for Shen Zhou, ink on rice paper for the Mona Lisa. In the second session, students will continue to work on their portraits. In the third session, all of the repainted works will be displayed, and students will examine and discuss their own works as well as comment on each others’ work.

Arnold Chang
Fellow in The Council of the Humanities and the Tang Center for East Asian Art
Artist's Workshop
The Essence of Chinese Landscape Painting:
An Insider's View
25, 27, and 28 February 2008
185 Nassau Street
This three-session workshop will explore the traditional art of ink landscape as practiced by the wenren (literati) painters of the Song through Qing dynasties. The instructor will utilize a multifaceted approach that includes the study of original paintings and high-resolution reproductions, a demonstration of actual painting techniques, and hands-on exposure to the traditional materials of brush and ink through guided exercises. The class will explore traditional materials (inkstick, inkstone, brush, paper), and formats (hanging scroll, handscroll, album, fan), as well as the historical and philosophical basis of landscape painting in China. An underlying theme of the discussions will be the role of tradition in contemporary art and society. No prior knowledge of Chinese art is required, but this workshop is designed to enhance the appreciation of landscape painting even for those with prior training in Chinese art history.

Vannessa Tran
Fellow in The Council of the Humanities and the Tang Center for East Asian Art
Artist's Workshop
The Nature of Painting
19, 21, and 22 February 2007
185 Nassau Street
From the artist:
I will provide a number of natural objects (plants, fruits, vegetables) for students to choose from and these will become their subject for the three days of this workshop. The workshop will help students develop their approach to subject matter and explore the poetry that exists in art and in nature. This workshop aims to help students discover what their own art is and how to find it. For the first day, we will explore this through poetry, talking about the subject and seeking affective ways to translate what the students see and feel into words. The second day, we will draw the subject. On the third day we will paint it.

Zhi Lin
Zhi Lin
Fellow in The Council of the Humanities and the Tang Center for East Asian Art
Artist's Workshop
The Artist as a Critical Observer and Investigator
20, 22, and 23 February 2006
185 Nassau Street

Working with Critical Eyes
This workshop will review the importance of drawing and painting from observation in art history. The instructor will demonstrate the essential observation skills and techniques. Through specific exercises, each participant will develop critical eyes for observing and investigating nature.

Experiencing Historical Perspectives
This workshop will address the important role of studying the great works in history. It will discuss this practice in China, which has been one of the six principles of Chinese painting for centuries. The instructor will work with participants in developing their drawing studies, thus helping them to develop a historical perspective.

Making Critical Investigations
This workshop will use the self-portrait project as a platform to investigate ourselves and the world around us. Participants will be encouraged to draw from observation while incorporating personal experiences into their work. Through this process, participants will further develop their critical thinking and critical views.

Robert D. Mowry
Curator of Chinese Art, Arthur M. Sackler Museum, Harvard University
Workshop on Chinese Ceramics
25, 26, and 27 May 2005