EACS-2016. Book of Abstracts

Art, Archeology & Material Culture 21st Biennial Conference of the European Association for Chinese Studies 76 This research seeks to map combinations of the manifestation of agency of Neolithic China taking place in museums within China, conducting a cross-regional comparison.The research will be conducted around three main key-perspectives: firstly studying archaeological collections and museums’ mission, through interviews with curators and museum staff. Secondly, analysing the museum display through content analy- sis of their permanent Neolithic gallery. Thirdly, investigating visitors perspective through questionnaires administrated after the museum visit. The outcome will provide a comprehensive panorama of multiple acts of re-imaging the origins of ancient Chinese cultures produced in museums by different actors. Borisov Dmitriy (Novosibirsk State University) Authenticity of the Mausoleum of Cao Cao: Key words: Authenticity of Cao Cao Mausoleum in Xigaoxue In 2008 Chinese archeologists started to excavate an underground mausoleum near Xigaoxue village, Anyang County, Henan province of the PRC. Some of the grave goods indicated the tomb master — Cao Cao. Controversies around this burial are widely discussed among scientists in China and abroad. Argu- ments “pro” and “contra”, logically constructed schemes, supported by quotations from ancient chronicles, are presented by historians and archaeologists of China. There is also an opinion that the burial complex belongs to Cao Huan, the last ruler of Wei kingdom of the Three Kingdoms period. In December 27, 2009 at a press conference in Beijing, it has been announced that the tomb found near Xigaoxue Village of Anyang County, Henan Province belonged to the Eastern Han period. Prof. Pan Weibin declared that its appearance, grave goods, location and historical data correspond to the tomb of Cao Cao. Other sci- entists confirmed an identity of Wei Cao Cao as the grave master. However, quite a number of scholars still provide arguments, that tomb does not belong to the last chenxiang of Han. This funeral complex is orientated from east to west. Below the surface, it consists of a sloping corridor, front and rear chambers and four side rooms. The total area of the site is about 800 square m. The grave contained remains of three people, including fragments of the skeleton of 60 year old man and two women (presumably, his wife and concubine). Archaeologists discovered grave goods, consisting of 250 items. There are things made of gold, silver, bronze and iron. Scientists found 59 rectangular and rounded stone tags on which the name and number of buried goods were engraved. Nevertheless, the grave had been looted many times, so, a lot of material and historical valuables have been lost. There are several aspects under investigation, including the location of Cao Cao grave, grave goods, their dating, stone tags and characteristics of the tomb master. Cheng Wen-Huei (National Chengchi University) Education, Enlightenment and Identity: The Cultural interpretation of Han Painting in Late Qing and Early Republic Period Key words: Education, Enlightenment, Identity, Han Painting, History of reception Recently with the development of archeology, , there have been numerous findings of tomb and ancestral shrine across Jiangsu, Shandong, Anhui, Sichuan, Henan, Inner Mongolia...etc., along with plentiful ‘Han painting’, i.e. the art works found in the tombs and shrines ranging from silk painting, wall painting, picto- rial stone and brick. Those Han paintings used in the sacred spaces such as tomb or shrine as decoration were created in the culture of death and worship. Each painted brick is an engraved epic on stone inscribed with the distinct culture, custom and belief about life of Han Dynasty, and demonstrates the cosmology of Han people, as well as their views on life, death and the world. The cultural remnant from the shaman tradition, the ethics and morality cultivated by society, and the depiction of eternal garden, all these are important composing elements of the mysterious Han painting. With the abundant archeological discover- ies in Late Qing and Early Republic Period, this paper aims to investigate how the cultural interpretation on Han painting was influenced by the innovation of technology, the modernization of historiography and the establishment of Art History discipline during the time. This issue will be explored in terms of 1) connoisseurship and viewing technology: the modernization of textology and the innovation on media