Beyond Verisimilitude: Unscrolling Facsimiles of Chinese Masterpieces

In the discipline of Chinese Art History, facsimiles have long been shrouded in misconceptions and treated with skepticism. By exploring issues beyond their mere replication of original works of art, it becomes clear that there is much more to facsimiles than meets the eye. Historical context, methods of production, function and use, relative quality and structures of value, and questions of their relationship to the ‘aura’ of the original artwork are among the methods for understanding facsimiles. This special edition journal, published in collaboration with the History of Art Students’ Association (HASA) at the University of Toronto (UofT), serves a dual purpose both as a platform for research development and as an accompaniment to exhibition curation. It will continue the research begun by undergraduates at the UofT on Chinese painting facsimiles supported by the special facsimile collections of the Cheng Yu Tung Library, and will complement an exhibition of these facsimiles curated by UofT undergraduate and graduate students for the Cheng Yu Tung Library scheduled to open in November 2020, if conditions permit.  The thought-provoking discussions that have emerged in the curatorial process have sparked a desire for a larger conversation – one that is open to the art history student community at large. While the topic of facsimiles is specific in nature, we encourage all interested undergraduate and graduate students to share their ideas and research on facsimiles in relation to traditional Chinese artworks. Papers may address, but are not limited to, the following topics:

• Historical Context and Role of facsimiles in Chinese Art:
• o The importance of facsimiles in Chinese history.
• o The role of facsimiles in politics and Imperial collections.
• o The use of facsimiles in Contemporary Museum Culture.
• The Function of Facsimiles in Chinese Art:
• o Accessibility and direct interaction with facsimiles.
• o Using facsimiles to enhance art-historical education practices and experiences.
• o Viewing and exhibiting facsimiles in Contemporary Museum Culture.
• o Ensuring posterity, preservation and conservation of original artworks through the use of facsimiles.
• The Quality and Production of Facsimiles in Chinese Art:
• o The distinction between ‘good’ facsimiles and ‘bad’ facsimiles.
• o The processes and techniques for making facsimiles.
• o The impact of technological innovation and digital humanitarian approaches on our understanding of facsimiles and their uses.
• The ‘Aura’ in Facsimiles of Chinese Art:
• o How does the migration of the ‘aura’ translate from original to facsimile?
• o The importance of materiality on our understanding and interpretation of facsimiles.

This thematic issue aims to create a supportive environment in which undergraduate and graduate art historians can challenge the prevailing assumptions in their field of interest and gain valuable experience as a community.

Our editorial team is mindful of the uncertainty and challenges of these unprecedented times and is dedicated to ensuring the safety and good health of all involved. All accepted papers will be published in the journal, both as a printed hardcopy and as an online e-book. However, due to current restrictions, the e-book format will be distributed first. Contributors will be provided with a copy of the published journal, which will launch at the IRL exhibition opening (tentative date: early November); the exhibition will also be mounted virtually. The hardcopy journal will be distributed on the UofT campus through the Department of Art History and various UofT libraries when the campus re-opens. Further copies of the journal will be available to contributors upon request.

We invite papers that are a maximum of 20 pages, double-spaced, in 12-point Time New Roman font. Papers may include up to 8 images which must be properly cited. Footnotes and bibliography should follow the Chicago Manual of Style. Submissions must include a title page with the author’s name, program, institution, and year of study. It must also include the title (or working title), a brief abstract (max. 250 words), and the final grade received (optional). We will accept files in Word or PDF format. The submission deadline is July 6, 2020, and papers must be submitted to beyond.verisimilitude@outlook.com with the subject line titled: “last-name_first-name_paper_submission.” Essays will be anonymously selected by a review panel, and all contributors will receive notification of the status of their submission.

If you have any questions or concerns, please email beyond.verisimilitude@outlook.com or, the Editor-in-Chief, Lora Miki at lora.miki@mail.utoronto.ca. For the full PDF version of this document please download HERE.

Best of luck! We truly look forward to your wonderful submissions!

Sincerely,

Lora Miki

Editor-in-Chief

Creative Director

History of Art Students’ Association (HASA)

University of Toronto