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href="https://inalco.academia.edu/LiaWei">Lia Wei</a></div><p class="ds-related-work--metadata ds2-5-body-xs">2023</p><p class="ds-related-work--abstract ds2-5-body-sm">L’évènement - une journée d'étude concluant un mois d'exposition - revisite l'estampage chinois, une technique de reproduction à l’encre sur papier, de textes et images gravés, habituellement sur pierre. Au lieu de présenter l’estampage seulement comme support de recherche pour le philologue, ce projet aborde cette technique dans une autre perspective : la culture visuelle et matérielle. Ceci est d’autant plus important que les pratiques entourant les textes gravés (plus un texte était copié plus il s’érigeait en canon et l’estampage contribuait à ce processus) ainsi que les valeurs esthétiques issues de la calligraphie s’appliquent également au répertoire pictural et aux objets. L’estampage possède une valeur autonome de la stèle ou de l’objet estampés : c’est une œuvre à l’encre avant tout, et un objet de collection en soi. Les objets inscrits – bronzes, briques... – acquièrent souvent de la valeur à travers leur circulation sous forme d’estampages. Dans une réciprocité complice, l’objet gravé authentifie son estampage, alors que la reproduction à l’encre sur papier lui confère une certaine autorité. L’estampage revisite également les genres emblématiques de l’histoire de la peinture chinoise : les pierres et leurs reproductions étaient porteurs d’images variées – portraits, paysages, motifs de bon augure…- à la portée d’un public plus large que les œuvres sur soie ou papier. La journée d’étude est organisée par Michela BUSSOTTI (EFEO/UMR CCJ) et Lia WEI (Inalco/IFRAE), avec la participation de Pauline CHASSAING (Institut National du Patrimoine/PARIS IV), Jean-Pierre DREGE (EFEO), Michael HATCH (Université de Miami), Lyce JANKOWSKI (Musée Royal de Mariemont), Manuel SASSMANN (Université de Heidelberg/Académie des Sciences), Olivier VENTURE (EPHE), ZHANG Qiang (Académie des Beaux-Arts du Sichuan). Elle aura lieu le 29 mars 2023 de 9h à 18h, au Pôle des langues et civilisations (salle 5.01 de 9 à 12h, et amphi 8 de 12h30 à 18h). Les spécialistes conviés présenteront des communications sur des estampages spécifiques ou des catégories d’estampages, en tenant compte de leur contenu textuel ou pictural, mais aussi de leurs caractéristiques matérielles et de la nature des surfaces estampées, ainsi que de la transmission de ces œuvres à l’encre, de leur production jusqu’à nos jours. La journée sera aussi l’occasion de faire un bilan de l’étude des estampages chinois et d’envisager d’autres perspectives de recherche. La journée est organisée à l’occasion de l’exposition « Pratique de l’estampage : Images et objets inscrits » qui se tient dans la Galerie du Pôle des langues et civilisations et à la BULAC, et réunit des estampages des Archives de l’École française d’Extrême-Orient (EFEO) et de la Bibliothèque Universitaire des Langues et Civilisations (BULAC). Les estampages seront exposés dans la Galerie du Pôle des langues et civilisations et au Rez-de-jardin de la BULAC, du 6 mars à 17 h au 30 mars à 20 h.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"\"Pratique de l'estampage en Chine: Matérialité, transmission, réception\"","attachmentId":99379207,"attachmentType":"pdf","work_url":"https://www.academia.edu/97874709/_Pratique_de_lestampage_en_Chine_Mat%C3%A9rialit%C3%A9_transmission_r%C3%A9ception_","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/97874709/_Pratique_de_lestampage_en_Chine_Mat%C3%A9rialit%C3%A9_transmission_r%C3%A9ception_"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="9" data-entity-id="106269863" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/106269863/Le_Projet_Artistique_dAndr%C3%A9_Claudot_en_Chine_1926_1930">Le Projet Artistique d'André Claudot en Chine 1926-1930</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="213970494" href="https://shisu.academia.edu/PhilippeCinquini">Philippe Cinquini</a></div><p class="ds-related-work--metadata ds2-5-body-xs">André Claudot, la couleur et le siècle, 2021</p><p class="ds-related-work--abstract ds2-5-body-sm">Si l’historien britannique Michael Sullivan parle de Claudot, il en parle peu et mal : « He was a minor artist at best, and the question of how much he may have influenced Lin Fengmian (1900-1991)’s rediscovery of the Chinese Brush is not easy to answer. » S’il reproduit malgré tout un des dessins à l’encre fait à Pékin en 1927, un porteur aux paniers à balancier, sous la plume de Sullivan, le chapitre Claudot est vite refermé. Pourtant, en dépit de ce qu’en pense le scholar d’Oxford, Claudot est partout visible en Chine, là où il est passé. Pas de musée, ni d’exposition à Pékin, Hangzhou ou Shanghai, qui, d’une manière ou d’une autre, ne montre une photographie ou de chronologie dans laquelle n’apparaisse son visage ou son nom en chinois : 克罗多 Ke Luo Duo. Aussi, entre l’opinion de Sullivan et sa présence diffuse en Chine, l’histoire d’André Claudot en Chine incite à questionner la naissance de l’art moderne chinois au début du siècle dernier.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Le Projet Artistique d'André Claudot en Chine 1926-1930","attachmentId":105511615,"attachmentType":"pdf","work_url":"https://www.academia.edu/106269863/Le_Projet_Artistique_dAndr%C3%A9_Claudot_en_Chine_1926_1930","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/106269863/Le_Projet_Artistique_dAndr%C3%A9_Claudot_en_Chine_1926_1930"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div></div></div><div class="ds-sticky-ctas--wrapper js-loswp-sticky-ctas hidden"><div class="ds-sticky-ctas--grid-container"><div class="ds-sticky-ctas--container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--sticky-ctas","attachmentId":73921487,"attachmentType":"pdf","workUrl":null}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--sticky-ctas","attachmentId":73921487,"attachmentType":"pdf","workUrl":null}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div></div></div><div class="ds-below-fold--grid-container"><div class="ds-work--container js-loswp-embedded-document"><div class="attachment_preview" data-attachment="Attachment_73921487" style="display: none"><div class="js-scribd-document-container"><div class="scribd--document-loading js-scribd-document-loader" style="display: block;"><img alt="Loading..." src="//a.academia-assets.com/images/loaders/paper-load.gif" /><p>Loading Preview</p></div></div><div style="text-align: center;"><div class="scribd--no-preview-alert js-preview-unavailable"><p>Sorry, preview is currently unavailable. You can download the paper by clicking the button above.</p></div></div></div></div><div class="ds-sidebar--container js-work-sidebar"><div class="ds-related-content--container"><h2 class="ds-related-content--heading">Related papers</h2><div class="ds-related-work--container js-related-work-sidebar-card" data-collection-position="0" data-entity-id="45520133" data-sort-order="default"><a class="ds-related-work--title js-related-work-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/45520133/_Du_signe_antique_au_trait_moderne_le_mouvement_%C3%A9pigraphique_%C3%A0_Shanghai_in_Eric_Lefebvre_%C3%A9d_L_%C3%A9cole_de_Shanghai_1840_1920_peintures_et_calligraphies_du_Mus%C3%A9e_de_Shanghai_catalogue_of_the_exhibition_held_at_the_Mus%C3%A9e_Cernuschi_8_March_30_June_2013_Paris_Paris_Mus%C3%A9es_2013_p_38_49">« Du signe antique au trait moderne, le mouvement épigraphique à Shanghai », in Eric Lefebvre (éd.), L’école de Shanghai (1840-1920), peintures et calligraphies 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