Wu Liancheng, Baoning si Mingdai shuilu hua, Ming Dynasty Shuilu Paintings at Bao Ning si - Painting of Buddhist or Taoist Rituals

Gyss-Vermande Caroline. Wu Liancheng, Baoning si Mingdai shuilu hua, Ming Dynasty Shuilu Paintings at Bao Ning si - Painting of Buddhist or Taoist Rituals . In: Arts asiatiques, tome 42, 1987. pp. 124-125

Liao Pin, Les fresques du palais Yongle

Gyss-Vermande Caroline. Liao Pin, Les fresques du palais Yongle . In: Arts asiatiques, tome 42, 1987. pp. 123-124

Jessica Rawson (ed), Jessica Rawson, Anne Farrer, Jane Portal, Shelagh Vainker, Carol Michaelson, The British Museum Book of Chinese Art

Gyss-Vermande Caroline. Jessica Rawson (ed), Jessica Rawson, Anne Farrer, Jane Portal, Shelagh Vainker, Carol Michaelson, The British Museum Book of Chinese Art. In: Arts asiatiques, tome 50, 1995. p. 142

Les Messagers divins et leur iconographie

The Messengers (shizhe) constitute a category of divinities represented in all the liturgical compositions connected with the Fast of Water and Earth (Shuilu zhai). This important syncretic ritual of universal salvation, which developed in China during the Sung period (10th- 13th century), is still practised to-day. On this occasion, large sets of vertical scrolls are hung around the sacred area. These scrolls illustrate an oecumenical pantheon which associates buddhist and taoist divinities, spirits of ancient china, and gods imported from faraway countries. The representations of all strata of human society complete this image of a universe hierarchically structured. The Divine Messengers, while not constituting a central theme in the iconography of the Shuilu zhai, nevertheless present a particular interest. Dressed as imperial couriers, these young soldiers come and go carrying messages to the numerous administrations of Heaven and Hell. We again find these divinities in the very heart of the ritual activities where paper statues representing the messengers riding horses are loaded with documents and then burnt during the course of the Shuilu zhai. The Divine Messengers play a major role in highlighting the link between liturgical action and iconographie canon. Furthermore, archeology and textual sources testify to the deep roots of the theme of the Divine Messengers in Chinese cultural History.Gyss-Vermande Caroline. Les Messagers divins et leur iconographie. In: Arts asiatiques, tome 46, 1991. pp. 96-110

Art and the Emperor : a Public Interdisciplinary Symposium on the Arts of China

Gyss-Vermande Caroline. Art and the Emperor : a Public Interdisciplinary Symposium on the Arts of China. In: Arts asiatiques, tome 45, 1990. pp. 149-150

Ankeney Weitz, "Zhou Mi's Record of Clouds and Mist Passing Before One's Eyes ‒ An Annotated Translation"

Gyss-Vermande Caroline. Ankeney Weitz, "Zhou Mi's Record of Clouds and Mist Passing Before One's Eyes ‒ An Annotated Translation". In: Arts asiatiques, tome 60, 2005. pp. 191-192

Wang Haihang, Chen Yaolin, Pilu si he Pilu si bihua, Pilu si Temple and its Wall Paintings

Gyss-Vermande Caroline. Wang Haihang, Chen Yaolin, Pilu si he Pilu si bihua, Pilu si Temple and its Wall Paintings . In: Arts asiatiques, tome 42, 1987. p. 123

Jessica Rawson (ed), Jessica Rawson, Anne Farrer, Jane Portal, Shelagh Vainker, Carol Michaelson, The British Museum Book of Chinese Art

Gyss-Vermande Caroline. Jessica Rawson (ed), Jessica Rawson, Anne Farrer, Jane Portal, Shelagh Vainker, Carol Michaelson, The British Museum Book of Chinese Art. In: Arts asiatiques, tome 50, 1995. p. 142

De Pékin à Paris (1900-1904) : les tribulations d’une collection de peintures chinoises

From Peking to Paris, 1900-1904 : the tribulations of a collection of Chinese paintings. The French School of the Far East (Ecole française d’Extrême-Orient, E.F.E.O.) was founded on 20 January 1900 in Saigon. One of its principal missions was to build up a collection of intellectual tools (a library, a museum) for the archaeological and philological study of the Indonesian peninsula and of its nearby civilisations : China, India and Malaya. One of the earliest young students sent from France was Paul Pelliot, who, in 1900, was despatched to Peking where he collected a considerable number of books, manuscripts and art objects for the school. In 1902, the school moved to Hanoi, the collections being stored in a building of the Exhibition pavilion. This building was severely damaged during a cyclone on 7 June 1903, and, since the projected museum had not yet been realised, in 1904 the collections were sent to Paris, to the Louvre and to the National Library. Ten of the Chinese paintings from the Pelliot collection were exhibited to the public at the Louvre. The comments of the contemporary specialists are indicative of the difference between that time and our own with regards to our appreciation and understanding of Chinese painting. Furthermore, the common Chinese custom of copying paintings led to many errors in attribution and dating. Only one inventory register, apparently drawn up on two separate occasions, survives today. In 1922, the Chinese paintings from the Pelliot collection were transferred from the Louvre to the Musée Guimet. They are 125 scrolls, representing three incomplete series of liturgical paintings. These paintings are presently being restored. According to the author of the present article, some of the mould on them date from the cyclone damage of 1903. A new appraisal of these works is also under way. They have long been underestimated, and their interest for the study of Buddhist and Taoist ritual is considerable.Gyss-Vermande Caroline. De Pékin à Paris (1900-1904) : les tribulations d’une collection de peintures chinoises. In: Histoire de l'art, N°21-22, 1993. Collections et collectionneurs. pp. 71-79