Juillet 2022
Mélanges Chinois et Bouddhiques
Nous avons le plaisir de vous annoncer la parution du 34ème volume de notre publication : Mélanges Chinois et bouddhiques.
This volume sheds new light on the matter of religious mountain culture in China – a theme of great relevance to the Chinese civilization. Already during the Chinese antiquity, mountains had specific ritual functions. This may be seen as a precursor to the importance mountains gained when in medieval China Buddhism and Daoism emerged as dominant religions. Adepts of both religions often went into retreat on mountains to practice spirituality, and as a result monastic communities often formed on mountains. In the further course, certain mountains began to attract pilgrims, since they were associated with famous practitioners who had lived there, or since they were seen as the seat of particular Buddhist or Daoist deities. As il would be impossible to cover this wide field in total, the present volume is designed to offer specialized studies of selected segments. Contributing scholars include Bart Dessein, Susan Andrews, Huang Chi-chiang, Timothy Wai Keung Chan, Thomas Jülch, Stephen Eskilden, jan De Meyer, and Louis Komjathy.
The cover image shows the Yuhua Hall of the Guoqing Monastery in the Tiantai Mountains. The image was taken by Thomas Jülch in 2017.
EXPOSITION « LA CHINE AU FÉMININ. UNE AVENTURE MODERNE »
Une femme sur cinq dans le monde est chinoise.
Pourtant aucune exposition ne leur a été consacrée, jusqu’à présent.
En 2022, le Musée royal de Mariemont renoue avec un pan fort de son identité – l’art et la civilisation d’Asie – et propose un regard inédit sur la Chine. La Chine au féminin. Une aventure moderne vous embarque dans un voyage original à la découverte des femmes chinoises durant le siècle le plus tourmenté de l’histoire de Chine, entre guerres et révolutions, le 20e siècle. Véritable fresque sociale, l’exposition dresse l’évolution de cette aventure au féminin : femme travailleuse, femme combattante, femme modèle … Elle propose in fine un portrait renouvelé de la femme moderne, loin des stéréotypes hérités de la fin du 19e.