翻譯並不是一種純粹的文字轉換活動，科學翻譯也不例外，特別是晚清的科學翻譯更是如此。西方近代科學與中國傳統科學不論是研究理念還是研究方法、內容都有著巨大差異，而且很多西方科學知識、概念在中文語境中沒有對應的表達。這種情況下，譯者的知識傳統、背景、知識結構以及對西方科學的理解程度對譯著有很大的影響，更重要的是譯者會面臨兩種科學傳統的選擇與適應。晚清的科學翻譯有哪些特點，如何影響西方科學在中國的傳播與理解，我們將深入到譯著與底本內部去探討中國傳統文化的作用。

講者：聂馥玲教授 (Professor Nie Fuling)
聂馥玲，內蒙古師範大學教授，博導。主要研究方向物理學史、科技翻譯史等。曾分別赴劍橋大學李約瑟研究所、日本東京大學科學哲學與科學史系進行學術訪問。2018年獲得“內蒙古草原英才”稱號，2021年獲得“草原英才”的滾動支持。兼任中國科技史學會物理學史專業委員會副主任，性別與科學專業委員會副主任等職務。教育部哲學社會科學研究重大攻關項目首席專家，主持及參與國家自然科學基金、國家社會科學基金等多項。主持的國家社科基金“晚清科學文化研究”成果結項獲得優秀，並被收錄到《國家社科基金年度專案優秀成果選介彙編》。出版專著1部，參編著作3部，在《自然科學史研究》、《科技史雜誌》、《自然辯證法通訊》等期刊發表研究論文50餘篇。

VooV Meeting Room ID: 529 993 765 
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Speaker:
Prof. LAM Weng Cheong
Department of History, CUHK

Very much a specialty of the Ming, porcelain took the Europeans by storm as soon as it arrived on the continent. Translucent and shiny, light and durable against wear and erosion, the exotic pieces with a mysterious oriental style were zealously coveted by royalty, aristocrats, and even religious leaders. To make the most of the drastically expanding global market, merchants from various countries became actively involved in the design, manufacture, shipment, and sale of Chinese porcelain, resulting in diversification of production centres as well as an amazing array of types and decorations for this vibrant Chinaware. The Chinese trade porcelain thus entered its golden age and caused marvellous ebb and flow in the globalised commercial world.

The present exhibition provides an overview of the Sino-European maritime trade in porcelain during the Ming and Qing dynasties. Integrating object display with textual records as well as images from history, it features over 400 pieces (sets) of trade porcelains and related objects from the Art Museum, the Chinese University of Hong Kong, and other public and private collections. We aim to reconstruct the design, manufacture, transport, and sale processes of Chinese export porcelain and their use and impact in overseas markets, and we invite visitors to travel with us back in time and across the globe to see how Ming and Qing porcelain came to dominate the international market and how it profoundly impacted the porcelain industry of the world. The exhibition is organised in six sections: Encountering Oriental Wonders, Thriving Country of China, Manufacture and Transport of Porcelain, Braving the Ocean Waves, International Fashions, and Profound Impact of Chinaware.

The Shang dynasty inscribed oracle bones were found at Yinxu, Henan province. Its purpose and function shed significant light on the origin of Chinese culture, disclosing major concerns of the time. Shang oracle-bone script is the earliest known form of systematic Chinese writing which is a crucial source for understanding the development of Chinese characters as well as the history of the Shang dynasty.

The Chinese University of Hong Kong (CUHK) is the largest repository of oracle bones in Hong Kong, including forty-four oracle bones donated by Mr. Deng Erya's family to United College and twenty-seven by Mr. Lee Yim to the Art Museum. On the occasion of the United College's sixtieth anniversary and the golden jubilee of the Institute of Chinese Studies (of which Art Museum is an integral part), the exhibition A Legacy of Elegance is jointly presented by United College, the CUHK Library and Art Museum as a celebration event. The exhibition features the oracle bones from the CUHK Collection, the oracle-bone and bronze scripts from the Art Museum Collection, and publications on oracle-bones studies from the CUHK Library Collection. Exhibits include calligraphic works and monographs by well-known scholars such as Luo Zhenyu, Deng Erya, Tung Tso-pin, Rong Geng, Shang Chengzuo, Feng Kanghou, Lee Yim and Jao Tsung-I. The specialist catalogue A Legacy of Elegance: Oracle Bones Collection from The Chinese University of Hong Kong edited by Dr. Li Zong-kun of Institute of History and Philology, Academia Sinica, Taipei is intended for both the expert and the uninitiated yet educated reader. The two essays written by Dr. Ho Pik Ki, Peggy of Art Museum, CUHK reveal the close relationship between and achievement of oracle-bones studies and art of the University. 

To celebrate the Golden Jubilee of the Art Museum in 2021, A Legacy of Elegance was made into a virtual exhibition, in which visitors can travel back in time and reflect on the origin and development of Chinese culture.

The exhibition, showcasing more than 70 exhibits, sheds light on the influential poets, painters, and calligraphers, as well as the culture of art collecting and gathering in Guangdong during the Qing dynasty. Artworks of renowned artists such as Li Jian, Xie Lansheng, Su Liupeng, and Su Renshan are featured in the exhibition. Following, deviating and rethinking tradition, Lingnan artists were true to themselves in their works of art. This is one of the distinctive aesthetic qualities found in Guangdong painting and calligraphy.

Apart from a significant growing number of talented Guangdong artists, more and more collectors appeared during the Qing dynasty. In the golden years of Guangdong’s culture and economy from 1686 to 1842, arts, collecting, and patronage were closely intertwined. Ye Menglong’s Fengman Lou, Wu Rongguang’s Yunqing Guan and Pan Shicheng’s Haishan Xianguan were representatives of Guangdong painting and calligraphy collections during the time, supporting the development of culture, education, and arts in Guangdong. Their treasures have been well preserved and will be displayed in the Art Museum’s exhibition.

This lecture presents a brief discussion of the main types of porcelain produced at several private kilns in Jingdezhen from the Wanli reign (1573–1620) to the Chongzhen reign (1628–1644), including a new style intended almost exclusively for export known as kraak, the so-called Transitional, and ko-sometsuke porcelain made for the Japanese market. Relevant information is brought to light through archaeological finds from kiln sites located in and around Jingdezhen, some yielding higher quality porcelains than others, and from Chinese junks that sank in the South China Sea. Multiple sources of evidence (textual, material and visual) shed light on the trading networks through which these Jingdezhen export porcelains circulated, as well as the way in which they were acquired, used an appreciated by the different societies in Europe, the New World and Asia. The only known kraak armorial plate bearing the impaled arms of García Hurtado de Mendoza, 4th Marquis of Cañete, and his wife, Teresa de Castro y de la Cueva, most probably ordered via Manila during the time Hurtado de Mendoza was Viceroy of Peru between 1589 and 1596, a kraak plate bearing a pseudo-armorial, and a few pieces decorated in Transitional style and one other recovered from the c. 1643 ‘Hatcher Junk’ made after European shapes attest to the influence that the European merchants exerted on the porcelain made specifically to order for them in Jingdezhen. These pieces reflect the complex and fascinating commercial, cultural and artistic interactions that occurred between the East and West in the early modern period.

Speaker: Dr. Teresa Canepa (Independent Researcher, London)
Dr. Teresa Canepa is an independent researcher and lecturer in Chinese and Japanese export art, a member of the Council of the Oriental Ceramic Society (OCS), London, and co-editor of the OCS Newsletter since 2017. She completed a PhD in Art History at Leiden University, The Netherlands, and is author of Silk, Porcelain and Lacquer: China and Japan and their trade with Western Europe and the New World, 1500-1644 (Paul Holberton Publishing, London, 2016); Jingdezhen to the World: The Lurie Collection of Chinese Export Porcelain from the Late Ming Dynasty (Ad Ilissvm, London, 2019); and co-author of Leaping the Dragon Gate, The Sir Michael Butler Collection of Seventeenth-Century Chinese Porcelain (Ad Ilissvm, London, 2021). She has published a number of articles and lectured widely on these subjects.

Join Online: https://bit.ly/3humOqk
Join Screening at the Museum: https://bit.ly/32tqns9
* The speaker will deliver the lectures through Zoom. We encourage you to pay a visit to the exhibition at the Art Museum in the morning and join us in the Activities Room in the afternoon to learn from the sharing of scholars worldwide with the exhibition curator Dr. Wang Guanyu. 

The 10th International Young Scholars’ Symposium on “Christianity and Chinese Society and Culture” will be held on December 6–8, 2021 via Zoom online. This Symposium is organized by the Centre for Christian Studies under the Department of Cultural and Religious Studies and supported by the Divinity School of Chung Chi College to promote scholarly research at the intersection of religious studies and Chinese studies.

please refer to http://www.cuhk.edu.hk/theology/ccs/ for details.

Contestants are encouraged to illustrate the appealing campus sceneries and unveil stories of CUHKers. The winning entries cover a wide spectrum of theme including the discussion of interpersonal relationship with a bowknot; reflecting on the problems caused by artificial food in the commercial society through a glass of soybean milk and taking Lam Tsuen River as the breakthrough point to demonstrate the tension between beauty and ugliness. The award-winning works demonstrate the humanistic spirit of CUHK with good expression of personal thoughts on life and society, and criticism with reason and compassion.

Prof. Max TANG mentioned that the 13th century Persian poet Rumi once said, “The wound is the place where the light enters you.” The setbacks and tempering can often inspire people to think more and listen to the inner voices be neglected, and award-winning work of this year can truly reflect that. Be compounded by uncertainties and anxieties in the midst of lingering global pandemic, the winning submissions are still rich in content, each with a unique standpoint and perception. Moreover, awardees are from various faculties and departments, which shows literature belongs to everyone who feels connected with the University or life, not only limited to a particular group of people.

Prof. Sze Wing TANG noted in his speech, “The limits of language mean the limits of world. Words bring us not only graceful writing style, but also a colourful world. I hope everyone can give full play to the power of language by finding his or her phrases and record life with language while bearing the weight of life with literature.” It echoes the goals in organising “Literary CUHK”, which are to promote literary creation on campus and encourage students to coalesce views they might have on the scenery or community of CUHK. Literature can be a medium to express how they see CUHK, and this form of reflection can be projected further into society.

“University Chinese” is a compulsory course for the University Core Requirement, offered and managed by the Department. To motivate students’ interest in learning Chinese Language, the Department has edited and published teaching materials for students by combining the unique historical background and environmental features of CUHK. This includes a collection of selected literary works about CUHK, known as “中大．山水．人文” (CUHK, Landscape, Humanities). Campus literary walks are also organised to encourage students to feel the power of literature. The CLTDC has organised “Literary CUHK” for all students and alumni every year since 2015 to arouse their interest in creative writing in Chinese and to enhance their observation and expressive skills through the writing competition. It is believed that the power of literature will pass through the ages and shine uniquely in the young generation.

More Information on “Literacy CUHK” activities is available at the Learning Chinese Outside Classroom webpage at https://www.chltcac.cuhk.edu.hk/culitrecentnews.

Speaker:
Anthony Fung, School of Journalism and Communication, CUHK
Tim Summers, Department of Music, RHUL
Alfie Bown, Department of Media Arts, RHUL
Peichi Chung, Department of Cultural and Religious Studies, CUHK
Samson Tang, Department of Cultural and Religious Studies, CUHK
Stephen Tatlow, Department of Music, RHUL

Speaker: 
Victor Fan, Department of Film Studies, KCL
Kristof van den Troost, Centre for China Studies, CUHK
Jessica Yeung, Department of Translation, Interpreting and Intercultural Studies, HKBU
Kwai Cheung Lo, Department of Humanities and Creative Writing, HKBU
Gina Marchetti, Department of Comparative Literature, HKU
Enoch Tam, Department of Visual Studies, Lingnan U