SEN. On Lines and Non-Lines (Tokyo, 19-21 Sep 13)

University of Tokyo, 7-3-1 Hongo, Bunkyo-ku, Tokyo, September 19 - 21, 2013

SEN. On Lines and Non-Lines
International Conference

Organized by Marzia Faietti and Gerhard Wolf
in collaboration with Shigetoshi Osano

Kunsthistorisches Institut in Florenz - Max-Planck-Institut,
Gabinetto Disegni e Stampe degli Uffizi and
Soprintendenza Speciale per il Patrimonio Storico, Artistico ed
Etnoantropologico e per il Polo Museale Fiorentino
in collaboration with The University of Tokyo

"Sen" will be the third and last of a series of conferences that study
the dynamics of lines in a dialogue of art historians, historians of
science, philosophers and scholars of other disciplines. Lines and
Non-Lines is conceived as a cross-cultural and transhistorical
investigation, with a focus on past and present East Asian, Islamic and
European concepts of linear and non-linear configurations of surfaces.
It explores the borders and passages between drawing and writing, in
regard to different scriptural and graphic cultures, as well as the
linear construction or deconstruction of meaning. Lines assume a major
role in shaping signs and symbols, but they also continuously blur them.
Linear structures are extremely codified or regulated, but in the same
time lines have the potential to liberate themselves to perform in
polymorphic and proteiform ways, beyond the volute, the arabesque, the
serpentine line. Lines are potentially infinite but they circumscribe
territories or define planes and bodies.

LINEA III approaches these dialectics with a special interest in the
interplay of lines and surfaces. On the one hand lines tend to
materialize, dissolve or transform in threads, marks, traces, notches,
or strokes (and thus finally become non-lines), on the other hand they
articulate, ornate and transfigure animate or inanimate surfaces. This
does not only refer to paper, stone, fabric or skin, but also to urban
textures, etc. The conference will study these dynamics between and
beyond the lines, and by doing so it will also address the gestural
dimension of lines as well as non-lines.


Thursday 19th September

Welcome addresses

Marzia Faietti and Gerhard Wolf

Chair: Gerhard Wolf

Katsumi Onishi
Morphological Transformation of Kanji. Mechanism and Causes

Moritoshi Sasaki
"Inbutsu" as the print and "inbutsu" by the imagination

Friday 20th September

Chair: Marzia Faietti

Vera-Simone Schulz
From Letter to Line. Artistic Experiments with Pseudo-Script, c. 1300

Akira Akyama
The Sacred Footprint, Examined from Comparative Perspectives

Coffee break

Ingrid Baumgärtner and Alessandro Nova
Kartographische Ordnungsstrukturen: Unsichtbare Phänomene und sichtbare

Adam Herring
Structure of Experience: Line in Inka Architecture

Cara Rachele
Lines of Numbers: Measured Drawings in the Circle of Antonio da Sangallo
the Younger

Lunch break

Chair: Alessandro Nova

Martin Søberg
Lines in Space. Image - Construction - Architecture

Melissa Lo
Delineating Mechanical Philosophy: On Two Pictures in Descartes'
"Principia philosophiae" (1644)

Ching-Ling Wang
"Living on the Fingers": Gao Qipei and his Finger Painting

Jan von Brevern
"Nature's Penciling". Ruskin and the Reality of the Line

Saturday 21st September

Chair: Maria Grazia Messina

Eugenia Bogdanova
Line as Identification Tool: Avant-Garde Calligraphy Vs. Abstract

Tetsuya Oshima
Jackson Pollock: Art of Line as Non-Line

Coffee break

Giuseppe Di Natale
Calligraphic/Abstract Lines. Three different interpretations: Pierre
Alechinsky, Jean Degottex and Giulio Turcato

Judith Bihr
Subversive Patterns - Ambivalent Lines. (Re)Considering Calligraphical
Structures in Post-Revolutionary Egyptian Art

Carolin Höfler
Architectural Calligrams of Zaha Hadid

Lunch break

Chair: Gerhard Wolf

Sybille Krämer
Graphism and Flatness: The Line as Mediator Between Time and Space,
Between Intuition and Concept

Marzia Faietti, Maria Grazia Messina and Gerhard Wolf

Ester Fasino

CONF: SEN. On Lines and Non-Lines (Tokyo, 19-21 Sep 13). In: H-ArtHist, Sep 3, 2013 (accessed Oct 26, 2016), <>.

Contributor: Kunsthistorisches Institut in Florenz - Max-Planck-Institut

Contribution published: Sep 3, 2013

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