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何小蘭博士

客席教授兼代主席
東亞藝術史及文化研究
柏林自由大學(柏林)

交流項目

何小蘭博士將於北京清華大學藝術博物館進行為期十二個月的交流計劃,以其對館藏逾三百件明清及現當代書法作品的研究作基礎,為該館策劃書法特展,首次將該館完整書法收藏公開展出。

簡歷

何小蘭博士現任德國柏林自由大學的東亞藝術史及文化研究的客席教授和代主席。她於柏林自由大學獲東亞藝術史博士學位後,曾任該校藝術史研究所助理教授,其研究領域包括中國書法及水墨藝術,側重於帝制晚期、現代及當代作品,以及跨文化交流相關議題。她的博士論文關注清末民國藝術家及理論家黃賓虹(1865-1955)及其後代的書法藝術,博士論文寫作期間獲國家留學基金委員會與德意志學術交流中心一年期獎學金支持,於杭州中國美術學院中國現代書法研究中心進行短期研究。

近期發展和參與項目

    何小蘭博士於2021年夏季學期在柏林自由大學藝術史系講授5門課程。

精選出版

專著:

  • Bergmann, A., Hertel, S., Noth, J., Papist-Matsuo, A., & Schrape, W. (Eds.) (2015). Elegant Gathering in a Scholar’s Garden: Studies in East Asian Art in Honor of Jeong-hee Lee-Kalisch. Weimar: Verlag und Datenbank für Geisteswissenschaften.

出版論文:

  • Hertel, S.(即將出版). Reconstructing Early Modern Archtitectural Spaces in Late-Ming (1368–1644) and Early-Qing (1644–1911) China: Formats and Functions of Large-Scale Calligraphy. In Hopkins, A. (Ed.), Lost and Found in Translation: Citation and Early Modern Architecture. Cambridge: Cambridge University Press.
  • 何小蘭(forthcoming)。〈追尋「線條的內美」:黃賓虹(1865–1955)、林散之(1898–1989)與王冬齡(1945–)之間的師承路徑及草書藝術的審美意義〉。載於寒碧(主編),《現象》。香港:商務印書館。
  • Hertel, S. (2018). Whither the methods of the ancients? Huang Binhong’s clerical-scripted painting as a response to the “harmonious uniting of red-and-green and ink”. In Bergmann, A., & Lee-Kalisch, J. (Eds.), Transcultural Interwinements in East Asian Art and Culture, 1920s – 1950s (101 – 126). Berlin: Eine Publikation der Studien für Ostasiatische Kunstgeschichte, Freie Universität Berlin.
  • Hertel, S. (2016). Re-membering the peach blossom stream: image, word, and commemoration in late works by Huang Binhong (1865–1955). In Li, S., & Ding, N. (Eds.), Selected Papers from the International Graduate Symposium of Art History, Peking University, 2013–2015 (55 – 82). Guilin: Guangxi Normal University Press.
  • Hertel, S. (2016). Lines in translation: cross-cultural encounters in modernist calligraphy, early 1980s – early 1990s. Yishu: Journal of Contemporary Chinese Art, 15(4), 6 – 28.
  • Hertel, S. (2016). Concept of transformation or transformation of concept? Investigating a calligraphic lineage in twentieth-century China. In Lee-Kalisch, J., & Renger, A. (Eds.), Meister und Schüler. Master and Disciple: Tradition, Transfer, Transformation (339 – 356). Weimer: VDG.

期刊:

  • Hertel, S. (2020). Deterritorializing Chinese calligraphy: Wang Dongling and Martin Wehmer’s “Visual Dialogue” (2010). The Journal of Transcultural Studies, 11(2), 113 – 149.
  • Hertel, S. (2020). Creating academic-museal dialogue in-between ivory towers and unwritten pages: Tsinghua University Art Museum and its collection of Chinese contemporary calligraphy. Génération: Histoires nouvelles en Chine et en Asie de l’Est, 37(2), 93 – 137.
  • Hertel, S. (2020). Of Kowloon’s uncrowned kings and true recluses: commemoration, trace, and erasure, and the shaping of a Hong-Kong-topia from Chen Botao (1855 – 1930) to Tsang Tsou-choi (1921 – 2007). Art Research, 1, 24 – 34.
  • Hertel, S. (2019). Tasting antiquity in a ‘newborn palace of art’: collecting and displaying Chinese calligraphy at Tsinghua University Art Museum. Yishu: Journal of Contemporary Chinese Art, 18(4), 23 – 44.
  • Hertel, S. (2017). Texturing the landscape: stone-engraving traditions in China as human refinement, a contemporary position. Ritsumeikan Studies in Language and Culture, 28(4), 21 – 31.

展覽目錄:

  • Klaas Ruitenbeek (Ed.). (2017). Faces of China: portrait painting of the Ming and Qing dynasties (1368 – 1912). Petersberg: Michael Imhof.