CHAIR PROFESSOR (LEHRSTUHL) FOR EAST ASIAN ART HISTORY /INSTITUTE DIRECTOR  PROF. DR. SARAH E. FRASER

Historische und theoretische Untersuchungen asiatischer, europäischer und globaler Gegenwartskunst mit Schwerpunkt auf dem transkulturellen Austausch von Medien und Designs; fotografische Themen, die sich im panasiatischen Kontext des 19. Jahrhunderts entwickelten; Modernen in Ostasien; Zerstörung, Reproduktion und Restaurierung an archäologischen Stätten und in Museen; sowie digitale Geisteswissenschaften für buddhistische Kunst. Derzeit schließe ich eine Monografie über die Funktion des historischen Gedächtnisses bei der Konstruktion der sino-modernen Kultur in der ersten Hälfte des 20. Jahrhunderts (1928–1945) ab.

1996-1987            University of California, Berkeley, History of Art Dept., Ph.D. (1996) and M.A. (1989)

1993-1992            Peking University, Beijing, Archaeology Department, Senior Graduate Fellow

1991-1990            Kobe University, Japan, Doctoral Fellow

1982                    University of Michigan, Ann Arbor, A.B., History of Art, Honors (magna cum laude)

1981                     Middlebury College, Vermont, Intensive Summer Classical Chinese Program

1980                    Tung-hai University, Taiwan, Chinese Language and Literature Exchange Program

Books

Performing the Visual: The Practice of Buddhist Wall Painting in China and Central Asia, 618‐960. Stanford, CA: Stanford University Press, 2004.
Awards: Outstanding Academic Book Award 2004, American Library Association (ALA). Finalist, Charles Rufus Morey Award, Distinguished Book in Art History, College Art Association, 2005.
Reviews of Performing the Visual (11): Available in long-form c.v. 

Chinese translation: 敦煌画稿: 中国古代的绘画与粉本 [Dunhuang Painting Sketches: Medieval Chinese Painting and Fenben]. Beijing: Peking University Press, 2024.

Edited Volumes

• Fraser, et al., eds. Ink and Oil: Chinese Artists Trained in Europe (1920-1960). Leiden: Brill/DeGruyter, forthcoming 2026 (under review).
  
• Fraser, et al., eds. Women Cross Media: East Asian Photography, Prints, and Porcelain from the Staatliche Kunstsammlungen Dresden. Heidelberg: Arthistoricum.net, 2022.

  https://doi.org/10.11588/arthistoricum.995

  
  
• Fraser and L. Y. Chieh, eds.

  Xu Bing: Beyond the Book from the Sky

  . Chinese Contemporary Art Series. Singapore: Springer Verlag, 2020.

  https://link.springer.com/book/10.1007/978-981-15-3064-7

  
  
• Fraser, Merit, Opulence, and the Buddhist Network of Wealth. Conference, Peking University, June 27-30, 2001. Shanghai: Shanghai Fine Arts Publishers, 2003 (in Chinese).

Online Digital Research Tools; Catalogue Translations

• Co-Editor, Our Cultural Commonwealth. Report of the American Council of Learned Societies Commission on Cyberinfrastructure for the Humanities and Social Sciences. Commission Member, 2004-06, New York: ACLS, 200

  Commission on Cyberinfrastructure

• Editor-in-Chief, Wall Painting and Architecture, Mellon International Dunhuang Archive (MIDA). Archaeological assessment and laser data acquisition of 42 medieval Buddhist cave shrines: mural iconography & historical data, interactive photographic documentation in 3-D virtual format (1999-2004). Now available on

  JSTOR

Journal Articles and Chapters in Books (Refereed; Selected)

• “Encounters with Chan: Eight Eminent Monks 八高僧圖 attributed to Liang Kai 梁楷.” Archives of Asian Art, 75.1 (April 2025): 29-48.
• “The Role of Tibetan Artists in Forging the Modern in Chinese Art.”

  Center 44 National Gallery of Art

  , CASVA (2024): online.
• Un Exil Intérieur: À La Découverte des Peuples de l’Ouest. in L’Encre en mouvement, Une histoire de la Chine au XXe siècle, Eric Lefebvre, ed., 121-144. Paris: Musée Cernuschi, 2022.
• “寫實的多重途徑 [Multiple Realisms].” Chap. in  物見 《物件：48 位物的閱讀者, 與他們所見的世界》 [Seeing: 48 Object Readers and Their Worlds], Lai Yu-chih 赖毓芝, et al., eds., 244-253. Taipei: Acropolis, 2022.
• 胡素馨 （Sarah E. Fraser）. “敦煌粉本及其画工实践 [Dunhuang Sketches and Artistic Process].” 美術大觀 [Art Panorama] (Beijing) (2022): 20-24.
• Fraser, Sun, and Wang.

  Women on Display: Narration and Cross Media Spaces in Seventeenth and Eighteenth Century Chinese Porcelain

  . in Women Cross Media: East Asian Photography, Prints, and Porcelain from the Staatliche Kunstsammlungen Dresden, Heidelberg: arthistoricum.net, 2022.
• Biographical Entry, “Zhang Daqian (1899-1983).” Grove Art Online, Oxford Art Online, 2021.
• Beyond Ink: Contemporary Experimental Ink Art. Chap. in Xu Bing: Beyond the Book from the Sky, 59-71. Eds. Sarah E. Fraser and Yu-Chieh Li. Singapore: Springer, 2020.
• Remaking Taiwan’s Sacred Geography: An Exploration of Transnational Religious Architecture. in The Hybridity of Buddhism: Encounters between Tibetan and Chinese Traditions in Taiwan and the Mainland. Fabienne Jagou, ed., 41-66. Paris: Ecole française d'extrême-orient, 2018.
• Fraser, et al. Women Cross Media. Fotografie, Porzellan und Druckgrafik aus Japan und China, 72-102. Chap. in Dresden • Europa • Welt. Jan Hüsgen and Romy Kraut, eds. Dresden: Staatliche Kunstsammlungen Dresden, 2017. [English and German editions].
• “Before the Fall of Chinoiserie.” Center 37 National Gallery of Art, CASVA (2017): 80-83.
• “鏡中窺己”: 乾隆時期視覺文化之折射 [Glancing in the Mirror: Refraction and European Modes of Seeing in Qianlong Visual Culture].” Chap. in Precious Collection from the Stone Moat. Ed. Palace Museum. Beijing: Forbidden City Publishing House, 2016.
• The Importance of Home: Shanghai and Darmstadt in the Photography of Jin Shisheng. Chap. in 金石聲與中國現代攝影 [Relics, Jin Shisheng and Modern Chinese Photography], 475-490. Jin Hua, ed. Shanghai: Tongji University Press: 2015.
• “Mimesis.” “Notes from the Field.” Art Bulletin (June 2013) Volume XCV, No. 2: 200-01.

Republished in: “Ethnographic Mimesis: A Collaboration between Zhang Daqian and Tibetan Painters, 1941-43.” In Field Notes on the Visual Arts: Seventy-Five Short Essays, 213-217. Karen Lang, ed. Bristol; Chicago: Intellect, 2019.

• Hu Suxin (=Sarah E. Fraser). “一次朝圣之旅——广义图像语境下的《清明上河图 [A Pilgrimage: Life along the Bian River during the Pure Brightness Festival in Visual Context].” 紫禁城 [Forbidden City Journal], v. 219 (2013; 2019): 64-81.
• Hu Suxin (=Sarah E. Fraser). “从历史语言研究所藏向達手稿論其對敦煌學的影響 [Xiang Da’s Impact on Buddhist and Silk Road Studies: Overview of Manuscripts in the Taipei Academia Sinica Library].” 敦煌文献, 考古, 艺术综合研究 [Comprehensive Research on Dunhuang Manuscripts, Archaeology, and Art, International Conference Commemorating Xiang Da], 43-59. Ed. Peking University, Institute of Early Chinese History. Beijing: National Library of China, 2011 (in Chinese).
• Chinese as Subject: Photographic Genres in the Nineteenth Century. Chap. in Brush and Shutter, Late Qing Dynasty Photography. 91-109. Eds. Frances Terpak and Jeff Cody. Los Angeles: Getty Publications 2011; Hong Kong: Chinese University of Hong Kong Press, 2012. Chinese Edition: 以華人為題材 :十九世紀攝影體裁 [Chinese as Subject: Photographic Genres in the Nineteenth Century]. Chap. in Chinese version of Brush and Shutter, Late Qing Dynasty Photography. 91-109. Eds. Frances Terpak and Jeff Cody. Hong Kong: Hong Kong University Press, 2012.
• “Shabo Tshe ring, Zhang Daqian and Sino-Tibetan Cultural Exchange, 1941-43: Defining Research Methods for A mdo Regional Painting Workshops in the Medieval and Modern Periods.” In PIATS 2003: Tibetan Studies: Proceedings of the Tenth Seminar of the International Association for Tibetan Studies, Oxford, 2003, 115-136; plates 67-80. Leiden; Boston: Brill, 2011.
• “Buddhist Archaeology in Republican China: A New Relationship to the Past.” In Proceedings of the British Academy, no. 167 (fall 2011): 155-198.
• Hu Suxin (=Sarah E. Fraser). “禪會與南宋的視像：梁楷的《八高僧圖》[The Chan Encounter and Song Dynasty Optics: Liang Kai’s Eight Eminent Monks].” In 千年丹青細讀中日藏唐宋元繪畫珍品 [Masterpieces of Ancient Chinese Paintings from the Tang-Yuan Dynasties in Japanese and Chinese Collections],” 209-218.” Shanghai Museum, ed. Beijing: Peking University Press, 2010. Republished in expanded version: In 千年丹青細讀中日藏唐宋元繪畫珍品 [Masterpieces of Ancient Chinese Paintings from the TangYuan Dynasties in Japanese and Chinese Collections],” 211-220.” Shanghai Museum, ed. Beijing: Peking University Press, 2020. Revised and Reprinted, 2022.
• “尋找敦煌藝術的中古源泉：從張大千與熱貢藝術家的合作來審視藝術的傳承 [Searching for the Artistic Roots of Medieval Dunhuang: A Perspective on the Collaboration of Zhang Daqian and the Rebgong Painters as an Example of Cultural Transmission].” 《史物論壇》 [Forum on Historical Objects], Taiwan National History Museum Journal, n. 10 (June 2010): 37-54.
• “Photography’s Role in Shaping China’s Image, 1860-1920. Getty Research Journal, 2 (2010): 39-52.
• “Antiquarianism or Primitivism? The Edge of History in the Modern Chinese Imagination.” In Rein- venting the Past: Antiquarianism in East Asian Art and Visual Culture, 342-367. Ed. Wu Hung. London; Chicago: Art Media Resource, 2010. Translated into Chinese: 《海外中国美术史研究》[Research in the History of Chinese Art Overseas] (Fall 2022): 2-18. National Institute of Art Research, Beijing.
• 種攝影：十九世紀殖民地影像再生對二十世紀中國民族誌「自我」的遺贈 [Ethnographic Photography: The Afterlife of Nineteenth Century Colonial Photography in 20th Century Chinese Modern Identity]. 《上海摄影·城市》 [Shanghai, Photography, The City]. 《眼.光––摄影文化论丛》 [Bright Vision: Collected Essays on Photographic Culture], n. 2, ed. Li Lu, Winter 2010: 88-102. (in Chinese).
• “夏吾才让、张大千和汉藏文化交流，1941－1943：界定中古和现代安多地区画坊生产的研究方法 [Shaowo Tsering, Zhang Daqian and Sino-Tibetan Cultural Exchange, 1940-1943: Researching the Boundaries of Ancient China and the Artistic Production of Amdo].” 汉臧佛教美术研究 [Studies on Sino-Tibetan Buddhist Art], 485-498. Eds. Xie Jisheng, et al. Shanghai: Guji Publishers, 2009.
• “The Politics of Archaeology” and “Western Archaeological Explorers in China.” In Encyclopedia of Modern China, v. 1: 40-41; 54-57, Editor-in-Chief, David Pong. Detroit; New York: Charles Scribner’s Sons, Gale, 2009.
• “Approaching the Boundaries of a National Landscape: Picturing the Frontier 1927-1948 (Photography as the new Landscape in 20th c. Chinese art).” In Studies on 20th Century Shanshuihua, 371-86. Ed. Lu Fusheng. Conference Proceedings of “20th c. Chinese Landscape Painting,” June 9-11, 2006. Shanghai: Shanghai Fine Arts Publisher, 2006.
• “An Introduction to the Material Culture of Dunhuang Buddhism: Putting the Object in Its Place.” Asia Major, Special Issue on Buddhist Material Culture (2005): 1-14. Guest Editor; articles developed from 2001 Proceedings: Conference Organizer and Fieldwork Director, Luce Foundation Grant for multi-disciplinary institutional projects. Northwestern University, Dunhuang Research Academy, and Peking University.
• “Chinese Artist’s Materials in the British Museum and Library.” In Aurel Stein and the Silk Road. S. Whitfield, ed., 266. London: British Library Press, 2004.
• “新高科技技術 [Technology for Archaeology]. “In Tangsong siyuan caifu he gongyang: 220-225. Sarah E. Fraser, ed. Shanghai: Shanghai Fine Arts Publishers, 2003.
• “佛教藝術的經濟制度 [Economies of Buddhist Art].” In Tangsong siyuan caifu he gongyang: 189-206. Sarah E. Fraser, ed. Shanghai: Shanghai Fine Arts Publishers, 2003.
• “Formulas of Creativity: Artist’s Sketches and Techniques of Copying at Dunhuang.” Artibus Asiae LIX, 3/4 (2000): 189-224.
• “A Reconsideration of Archaeological Finds from the Turfan Region,” Dunhuang Tulufan yanjiu, Peking University, vol. 4 (1999): 375-418.”
• “Manuals and Drawings of Artists, Calligraphers, and Other Specialists from Dunhuang.” in Images de Dunhuang--Dessins et Peintures sur Papier des Fonds Pelliot et Stein: 55-95. Ed. J.-P. Drège, President, École Française d’Extrême-Orient. Paris: École Française d’Extrême-Orient, 1999.
• “Turfan Artists, 5th-9th centuries.” In The Third Silk Road Conference at Yale University. Conference Proceedings, July 10-12, 1998: II: 77-143.
• Hu Suxin (=Sarah E. Fraser). "Dunhuang de fenben he bihua zhijian de guanxi [The Relationship between Draft Sketches and Wall Paintings at Dunhuang].” In Tang yanjiu, n. 3 (December 1997) [Beijing, China]: 437-443. (in Chinese)

Honors

• Global Fellow, University of St. Andrews (2025-26), St Andrews, Scotland
• Beineche Visiting Senior Fellow, Center for the Advanced Study of the Visual Arts (CASVA), National Gallery of Art, Washington, D.C. (Spring 2024)
• Sichuan Academy of Fine Arts, Chongqing, Distinguished Scholar, 2026-2023
• Chinese National Award, Changjiang Distinguished Scholar, Sichuan University, Institute of Fine Arts, 2023-2019
• Palace Museum, Beijing, Taihe Research Fellow (2023); Nanqian [Moving the Palace Collection South] Research Group Member (2022-2019); and Research Institute, Research Fellow (2019-2015)          
• École Pratique des Hautes Études, Paris, Directrice d'Études, Sciences historiques et philologiques (2010)
• Institute for Advanced Study, Princeton, School of Historical Studies, Member (2010-2009)
• Ailsa Mellon Bruce Senior Fellow, Center for the Advanced Study of the Visual Arts (CASVA), National Gallery of Art, Washington, D.C. (2017-2016)
• Kaplan Humanities Center, Northwestern Univ., Jane Gimbel Lane Professor of the Humanities, (2005)
  
   

Project Fellowships, and Awards (Selected)

• East Asian Art History Global Dissertation Workshops, Heidelberg Project Conception and Direction, Connecting Art Histories, The Getty Foundation, Los Angeles (2019-2023)
• “Entangled Modernisms, Chinese Artists Trained in Paris.” Project Conception and Direction, Connecting Art Histories, The Getty Foundation (2018-2014)
• “Objects of Wonder: Chinese Objects Reframed in the Middle East and Europe,” Excellence Initiative II Grants, Heidelberg University, Project P.I. (2018-2017)
• “Collaboration with PRC China’s Museums of Excellence,” (Palace Museum; Dunhuang Academy; Shanghai Museum), Heidelberg University (2017-2016)
• “Formative Decades: 17^th and 18^th c. Chinese Narrative Porcelains Collected by August the Strong, Dresden-Meissen (SKD).” Transcultural Studies, “Field of Focus3” Grants. Heidelberg University (2016-2015)
• “Ethnographic Eye,” International Art History Program concentrating on Republican Chinese art; co-organizers, Heidelberg University, Central Academy of Arts, and Sichuan University. Managing Director. Connecting Art Histories program, The Getty Foundation (2015-2013)
• International Research Project, organized by Ecole française d’Extrême-Orient, Paris (EFEO), Dr. Fabienne Jagou, Tibetan Buddhism in Taiwan. Chiang Ching-kuo Foundation (2011-2014)
• Academia Sinica, Institute of History and Philology, Team project, Anthropology of Kham Territory, Sichuan Province. Chiang Ching-kuo Foundation (2008-2011)
• Frederick Burkhardt Fellow, American Council of Learned Societies (2008-2010)
• Getty Research Institute, Los Angeles, Getty Scholar (2007-2008)
• Fulbright Commission, Fulbright-Hays Faculty Research Grant Academia Sinica, Institute for History and Philology, Taipei; Tongji University, Shanghai, Institute for Architecture and Urbanism (2007-2008)
• Terra Foundation, Chicago Consortium for Art History (2008-2007; 2005-2005, Institutional Planning)
• National Humanities Center, Nominated, Richard W. Lyman award, advanced humanistic scholarship and teaching through the innovative use of information technology (2005)
• Rubin Foundation, Tibetan art research Tongren, Qinghai Province (2004)
• National Endowment for the Humanities (NEH) and ACLS, Research in China Chinese Academy of Social Sciences, Sichuan (2003-2004)
• College Art Association (CAA), Millard Meiss Publication Fund (2002)
• Lurie Foundation and Hambrecht Foundations, Research on Buddhist Art (2001-2002)
• Getty Center for the Arts and Humanities, Post-doctoral Fellow (1999-2000)
• Institute for Advanced Study (IAS), School of Historical Studies, Affiliated Member (1999)
• University of California, Berkeley, Mellon Dissertation Writing Fellowship (1994-1995)
• American Council of Learned Societies (ACLS) and Social Science Research Council (SSRC) Joint Fellowship for Sinological Research outside China (1992-1994)
• Committee on Scholarly Communication with China (CSCC), National Academy of Sciences; Peking University, Department of Archaeology (1992-1993)
• American Oriental Society Fellowship, Chinese Painting Studies (1992-1993)
• Asian Art Museum, San Francisco, Graduate Fellowship (1991-1992)
• Chiang Ching-kuo Foundation, Doctoral Research, Academia Sinica & National Library, Taipei (1992)
• Univ. of California, Berkeley, Graduate Division, Humanities Research Grant fieldwork in China (1991)
• University of California Regent’s Fellowship and FLAS Fellowship [Kobe University, Doctoral Program in Chinese and Japanese Buddhist Art] (1990-1991)

• University of California, Berkeley, [1993-St. Petersburg-Hermitage; Academy of Oriental Studies], [1988-French and British Collections of Dunhuang Materials]

   

2025-                   Editor, Archives of Asian Art, Duke University Press.

2024-                   Founding Series Editor: Asiatische Kunst: Transkulturelle und historische Perspektiven | Asian Art: Transcultural and Historical Perspectives

2026-2023            Sichuan Fine Arts Academy, Chongqing, Visiting Professor

2024-2017             ACLS/The Getty Foundation, Post-doctoral & Project Grants, Expert Reviewer

2024                    Universität Zürich UZH, Kunsthistorisches Institute, Visiting Professor.

2023-                      Lingnan Univ., Hong Kong, Curriculum Evaluation, Museum Studies and Art History

2023-2020            Sichuan University, Institute of Fine Arts, Visiting Distinguished Scholar.

2009-2005            The Art Bulletin, Board Member

2012-                     Art in Translation, Board Member

• Transcultural Dynamics in Tibetan Art, seminar (summer 2025)
• Writing Art History, seminar (winter 2024)
• Doctoral Colloquium: Chinese Art History Candidates (summer 2023; 2024)
• Academic Excursions: Frankfurt (summer 2023); Zürich (winter 2024)
• Contested Spaces, Gray Areas, grad seminar (winter 2022)
• Academic Excursions: Berlin, London, and Paris (2022; 2021)
• Buddhist Towers (co-teach, lecture) (summer 2022)
• Decolonizing the Museum in a Post-Pandemic World, grad seminar (winter 2021)
• Art & Knowledge in Republican Era New Disciplines of Thought (1915-45), grad seminar (winter 2020)
• Dunhuang: The Stein Collection in the British Museum, seminar (co-teach) (winter 2020)
• Court Women and Gender in the Arts of Imperial China, lecture (co-teach) (winter 2020)
• Graduate Colloquium: East Asian Art (winter: 2022; 2021; 2020; 2019; 2018; 2017; 2015; & 2014)
• Graduate Colloquium: Center East Asian Studies (summer 2023 & 2022; 2016)
• Tools and Methods: Chinese Art Research (summer 2020)
• 20^th century Chinese Painting History, 1850-1976, lecture (summer 2020 & 2024)
• Contemporary Ink Art, grad seminar (winter 2019)
• Introduction to East Asia Cultural Fundamentals, survey (co-teach) (winter 2012, 2014, 2015, 2017, 2018, 2019, 2020, & 2022)
• Researching the Republican Period: Tools & Methods instruction (winter 2019)
• Mimesis and Appropriation, block seminar (summer 2018)
• Photography I & II: Art During War, seminars (summer 2018; winter 2017)
• Tang-Song Painting History, lecture (summer: 2022; 2018; & 2015)
• Incarnations of Zhang Daqian, grad seminar (winter 2015)
• History of Modern Chinese Ink Painting/Expression, seminar (co-teach) (winter 2015)
• Buddhism and Transcultural Exchange in the Arts, 5th-13th c., seminar (summer 2015)
• Arts in the Global Ming: Reassessment of the Field, 15th-17th c., seminar (summer 2015)
• Asian Imaginaries & Visual Cultural in German Courts, 18th c., seminar (winter 2014)
• Academic Excursions: London; Dresden (winter 2014)
• History of Yuan-Ming Painting, lecture (summer 2023; 2019; 2014)
• Ethnographic Eye, seminar (summer 2014)
• Academic Excursions: Köln; Dresden (winter 2013)
• Critical Museum Studies (winter 2013)
• Methods Tang-Song Ptg. Texts (research tools) (winter 2013; summer 2018)
• Academic Excursions: Köln; Berlin (summer 2013)

Invited Talks and Conference Presentations

• “Construction of the Medieval in 20^th Century China.” Conference on the Medieval, School of Historical Studies, Institute for Advanced Study, Princeton, April 20-23, 2025.
• “Dunhuang Sketches: Keys to Understanding How Cave-shrines were Made.” Chinese National Art Center, Shanghai, January 2, 2025.
• “Ink and Oil: Modernity and Mimesis in 20^th Century Chinese Painting (1920s-40s),” Ca’ Foscari University of Venice, Department of Asian and North African Studies, April 13, 2024.
• “An Internal Exile: Discovering the Peoples of the West,” and “Zhang Daqian’s Discovery of Color.” April 10 & 17, 2023 (online), Sichuan University. (in Chinese).
• “墨与油：留欧的中国艺术家（1920-1945）[Ink and Oil: Chinese Artists Who Studied Abroad in France].” Conference Organizer: Redefining Modernity: Art during the Wartime Era. Sept. 23-24, 2022 (online), hosts: Sichuan and Heidelberg Universities, Institute of East Asian Art History. (in Chinese)
• “視覺展演 [Performing the Visual],” National China Art Academy 中国美术学院, Hangzhou (online), January 7, 2022.
• “Buddhist Archaeology: Field Research in China’s Caves and Temples,” August 4, 2021, Getty-Heidelberg Dissertation Workshop, Organizer: Heidelberg University, Institute of East Asian Art History, July 26-Aug 5, 2021 (online).
• Keynote presentation: “Decolonizing Dunhuang.” “Collecting Asia” Conference, Lingnan University, Hong Kong, May 20-22, 2021 (online).
• “Walk the Battlefield, the Importance of Place in Assessing Artist’s Practice in Western China,” August 3, 2019, Getty-Heidelberg Dissertation Workshop, Organizer: Heidelberg University, Institute of East Asian Art History.
• “Chinese, Russian, and German 20th c. Expeditions in Central Asia: Politics, War, and Archaeology,” Institute of Chinese Studies, Leiden University November 14, 2019.
• “Cross Media: Photographic practices in China’s Treaty Port and the Migration of European Chinoiseries, 18th-19th c.” Lecture presented to Photographic Exhibition Planning Workshop, Peabody Essex Museum, April 12-13, 2019.
• “Academic Forum of the Third Ancient Civilization Forum Ministerial Meeting.” International Conference, Palace Museum, Beijing. October 10, 2019.
• “Landscape Painting and Living Architecture.” Qi Baishi’s Landscape Painting Conference. Beijing Painting Academy, September 22-23, 2018 (in Chinese).
• Keynote: “The Legacy of the 1980s in the Chinese Art Market Today." The Far East: collectors and collections today. 24-26 March, 2016. Lyon, France.
• “An Early History of the Dunhuang Research Academy,” The J. Paul Getty Museum, May 19-21, 2016.
• “Sha Fei: A New Type of War Correspondent,” Workshop on Sha Fei Photography, Harvard University, April 22-23, 2016.
• “The Emergence of Narrative and Female Figure in 17th c. Chinese Porcelain, Questions and Problems,” A Dresden-Heidelberg Collaborative Project Symposium, March 31-April 1, 2016.
• “Self-Reflexivity in 18th c. Manchu Qing and Sachsen Court Painting, 50th Anniversary, Founding of the Institute of East Asian Art History, Heidelberg University, December 12, 2015.
• “The Development of Chinese Trompe l’Oeil in the 18th c.” Shiqu baoji conference, Palace Museum, Beijing, September 16-19, 2015. (in Chinese)
• “Methods: Artistic Archaeology and Ethnoarchaeology,” Support from The Getty Foundation, Connecting Art Histories project, Ethnographic Eye, co-director, Sichuan, December 20, 2014.
• “Unintended Consequences: Late Qing and early Republican Photography,” Asia and Europe in Translation conference. University of Zurich, November 6-8, 2014.
• “The Chinese Artist and the Transcultural Moment during the Sino-Japanese War,” Mediating Art in Times of Crises panel, Cultural Mediation: Creativity, Performance, Display,” Heidelberg University, October, 8-10, 2014.
• “Forgeries, Fakes, Copies and Stylistic Imitations: Creating Discursive Space for Subtleties and Nuances in East Asian Ink Painting Traditions,” Workshop: (Art-) Forgery––Cultural, Social, Economic and Legal Aspects in a Transcultural Perspective, Heidelberg Univ., Institute for European Art History, September 15, 2014.
• “Technologies for Archaeological Research,” Distinguished Alumni of Overseas Students, Peking University, September 2-4, 2014.
• “Behind Enemy Lines, A Cultural Retreat: Palace Museum Collection in Sichuan, Zhang Daqian at Dunhuang,” Palace Museum, Beijing, August 20, 2014.
• “What is the Ethnographic Eye.” Central Academy of Fine Arts, Beijing. Connecting Art Histories Workshop. Co-organized Heidelberg University, Central Academy, and Sichuan University, August 10, 2014.
• “Liang Kai and Pictures of Enlightenment,” Palace Museum, March 2014.
• “New Frontiers in Chinese Art.” Organizer and Co-Chair. State of the Field Panel, Sponsored by National Committee for the History of Art (NCHA). CAA, Chicago, February 12-15, 2014.
• “Encounters of Seeing in Chan (Zen) Painting,” Antrittsvorlesung [Inaugural Lecture, Chairship], Universität Heidelberg, January 15, 2014.
• “Buddhist Narrative Storytelling,” and “Dunhuang Historiography,” Hong Kong Polytechnic University, February 28 and March 3, 2014.
• “Radical Retreat to the Past: Republican Sino-Modernity,” Central Academy of Fine Arts, Dec. 10, 2013.
• “Out of the Cave: War, Archaeology, and Sino-Modernity,” and co-organizer Frontiers of East Asian Art: Chinese, Japanese and European Encounters, 18th-20th Century, November 18, 2013. IKO, Heidelberg University.
• “Image, Artifact and Visual Object: New Perspectives on Jesuit Artistic Legacy in China, 1600-1800,” Panel Discussant,” 32. Deutscher Orientalistentag [32nd German Oriental Studies Conference]. Westfälische Wilhelms-Universität Münster, September 23-27, 2013.
• “Xiang Da’s Impact on Buddhist and Silk Road Studies: Overview of Letters in the Taipei Academia Sinica Library.” Conference  on the 110th Anniversary  of Xiang Da.  National Library of China, June 6-17, 2010. (in Chinese)
• “Tibetan Buddhist  Architecture  in Taiwan,”  Two-year  project: Practice  of Tibetan Buddhism  in Taiwan. Ecole française d’Extrême-Orient, Paris, funded by Chiang Ching-kuo Foundation. Workshop May 13-15, 2013, Paris, France.
• “Architectural Spaces of Tibetan and Qiang Kham: Displacement and Extopia,” Three-year “Sacred Mountain/Scenic  Mountain”  Kham  Project  organized  by  Academia  Sinica,  funded  by  Chiang Ching-kuo Foundation, Workshop May 30-31 2011, Taichung, Taiwan.
• “The Lo Archive of 1940s Photographs of Dunhuang.” Workshop Discussant, Princeton University, April 15-16, 2011.
• “Neo-colonial China and Multiple Primitives, 1927–45.” Panel participant, Primitivism and Cosmopolitanism: Anthropology between the Wars in Germany, France, and China. American Historical Society Annual Conference, Boston, January 10, 2011.
• “The Cultural Frontier in Western China during the 1940s.” East Asian Studies Seminar, The Institute for Advanced Study, Princeton, Jan. 26, 2010. 
  
  (Pre-2010 talks omitted; available in long-form c.v., exception: Digital Humanities talks cited below.)
  
  
   

Digital Humanities Presentations

“Building a Dunhuang Archive,” Presentations on combining 3D photography of archaeological sites with associated documentation of located in libraries and museums.

 •Northwestern University:

“Building ARTstor,” 5 presentations October 2004-November 2000. 

•China Institute of America, New York City, November 2001

•The Andrew W. Mellon Foundation, New York City 

April 1999; August 1999; June 2000; March, April, and May 2001.

•National Science Foundation Forum, Princeton University, January 2000.
•Dunhuang Research Academy, International Conference, China, July 2000, “Technology For Archaeology.”
•The Chinese National Cultural Heritage Bureau, Beijing, China, October 1999

Curatorial Experience

2025-2024        Pu Quan: Prince to Proletariat Artist, CATS Library.

2024-2023        Museum für Angewandte Kunst, Frankfurt, Frankfurt Collections of Chinese Painting, 
                         1902-2005. Exhibition advising.

2017-2014         Staatliche Kunstsammlungen, Dresden, Women Cross Media-Porcelain/Photography/ 
                          Prints, Exhibition: March 5-June 7, 2017; exhibition conception and collaboration.                   

2014-2013         Central Academy of Fine Arts, Beijing, Ethnographic Eye, Project Direction,

                         Exhibition of 1935-1947 oil and ink painting, August 9-September 15, 2014.

2011-2009        Getty Research Institute, Los Angeles, Brush and Shutter, Curatorial Consultant and
                         Catalog Essay; February-May 2011.
1982                  The Metropolitan Museum of Art, New York.  Museum Internship.