CURRICULUM VITAE

 

TEACHING EXPERIENCE

1988 – present O. Munsterberg Chair in Asian Art, Bard College, NY.
1994 – present Professor, Lehman College, CUNY, NY.
2002 – present Adjunct Professor, Hunter College, CUNY, NY.

EDITORIAL

1993-1998 Editor, Journal the Society for the Study of Chinese Religions

COURSES TAUGHT

Arts of India, Arts of China, Arts of Japan, Buddhist Art, Contemporary Chinese Art, East Meets West, Arts of Edo Japan, Chinese Landscape Painting, Monuments of Asian Art, Chinese Religious Art

PUBLICATIONS

I. BOOKS:

1. The Life of the Buddha: Pictorial and Scriptural Evidence in India, Latham, MD: University Press, 1992
2. Court Art of the Tang Dynasty, Latham, MD: University Press, 1996
3. Arts of the Tang Dynasty, Images of Asia: Oxford University Press, 1996
4. Early Buddhist Narratives: Illustrations of the Life of the Buddha from Central Asia, China, Korea and Japan, Latham, MD: University Press, 2000.
5. Buddhist Art in China, Images of Asia, Oxford University Press, 2002
6. Guan Yin Buddhist Deity of Compassion in China, Images of Asia, Oxford University Press, 2004
7. If the Shoe Fits, London: N Paradoxa ebook 2012
8. Chinese Religious Art, New York: Lexington Pub. 2014
9. Making Sense of Buddhist Art & Architecture, London: Thames & Hudson, 2015

Chapter in a Book
Subterranean Blues: Nostalgia and Regret in Contemporary Art”
Crossing Borders: Transition and Nostalgia in Contemporary Art, Ming Turner and Outi Remes, eds., Art and Collection Group, Taipei (2015): 73-117

II. ARTICLES

A. Indian Art
1. “Mara, Buddhist Deity of Death and Desire,” East and West (Rome) vol. XXXII (1982): 75-92.
2. “New Archaeological Evidence in Pakistan–the Stupa,” Eighth International Symposium of Asian Scholars, Hong Kong, 1986: 1067-1074.
3. “Scenes of the Life of the Buddha and the Rites of Pilgrimage,” Oriental Art (London), vol. XXXIII (1987): 268-274.
4. “Hellenistic Influences on the Formation of a Biographical Cycle Based on the Life of the Buddha,” Oriental Art, vol. XXXV (1989): 163-168.
5. “The Post-Enlightenment Miracles of the Buddha; Texts and Illustrations,” Orientations (Hong Kong) January, vol. XXI (1990): 71-77.
6. “The Origins of the Myth of the First Sermon,” East and West, (Rome) vol. 45, no. 1-4 (1995): 127-147.
7. “Women and Their Role in Early Buddhism – Textual and Pictorial Evidence,” Oriental Art, no. 4 (1998/9): 30-38.
8. “The Origins and Evolution of Portrayals of the Death of the Buddha in India:” Oriental Art, vol. LV no.3 (2006): 33-41.

B. Chinese Art
9. “The Buddhist Murals Discovered at Yenshangssu,” Artibus Asiae, vol. XLII (1981): 245-260.
10. “A Scene of the Taoist Afterlife on a Sixth Century Sarcophagus Discovered in Loyang,” Artibus Asiae, vol. XLIV (1983): 5-20.
11. “Foreigners in Tang and pre-Tang Painting,” Oriental Art (London), vol. XXX (1984):160-166.
12. “Taoist Iconography on Mortuary Art of the Sixth Century in China,” Sixth International Symposium of Asian Scholars Hong Kong, 1984: 201-210.
13. “The Engraved Designs on the Late Sixth Century Sarcophagus of Li Ho,” Artibus Asiae, vol. XLVII (1986): 81-106.
14. “The Guoqu Xianzai Yingquo Jing at Dunhuang,” Journal of Chinese Religions, Fall, No. 16 (1988): 54-72.
15. “A Tang Buddhist Scene of the Assumption of the Soul,” Tenth International Symposium of Asian Scholars, Hong Kong, (1988): 211-216.
16. “The Tang Reliquary from Lingtai, Gansu and the Mahaparinirvana,” East and West (Rome) December, vol. 38 (1988): 215-230.
17. “Northern Wei Painted Coffin,” Artibus Asiae, vol. LI (1991): 5-20. (coauthor A. Soper)
18. “Some Cosmological Schemes in the Early Caves at Dunhuang,” Journal of Chinese Religions, Fall, vol. 20 (1992): 103-116.
19. “The Famen Temple Finds and New Evidence of Tang Esoteric Buddhism,” Archives of Asian Art, vol. XLVII (1994): 78-85.
20. “New Archaeological Evidence of Tang Esoteric Art,” T’ang Studies, vol. 12, (1994): 11-37.
21. “Western Origins of the Paradise of Amitofu,” Sino Platonic Papers (University of Pennsylvania), No. 76 (1997): 1-28.
22. “Water the Divine Element of Creation and Images of the Buddha of the West in Early China,” Journal of Chinese Religions, vol. 25 (1997):33-57.
23. “The Representation of Women in Medieval China: Recent Archaeological Evidence” T’ang Studies, vol. 17 (1999): 213-271.
24. “Sarvastivadin Buddhists and Scenes of the Life of the Buddha from Qizil,” Oriental Art, vol. XLVI, no. 1 (2000): 48-58.
25. “The Presence of the Goddess Anahita and Cosmological Symbols Associated with the Goddess on Western Decorative Arts Excavated in Early Medieval China,” Between Han and Tang, Beijing: Wenwu Press, 2001: 341-379.
26. “Imperial Splendor in the Service of the Sacred: Table Set for the Gods: Gold and Silver Tea Service and Esoteric Chinese Buddhist Ritual,” T’ang Studies, vol. 18-19 (2002-01): 61-85.
27. “Millennialist Themes in the Northern Wei Grottoes in Qingyang and Jingchuan County, Eastern Gansu,” Oriental Art, Vol. XLIX. No. 4 (2003-2004):40-47.
28. “Heavenly Dowager Wu Zetian and Buddhist Art of the Tang Dynasty”, T’ang Studies (no. 21-22 (2002-2003):113-150.
29. “Scenes of the Parinirvana, Death, of the Buddha, part II,” Oriental Art, vol. L no 4 (2006)103-117.
30. “Images of Immortals in Ancient Chinese Art” The Proceedings of (the) International Conference (on) Taoism at Mt Tiantai and Zhejiang, Lian Xiaoming, ed., Zhejiang: Zhejiang Ancient Book Publishing (Zhejiang guji Publ.) 2008: 785-793.
31. “The Huajing, Empress Wu and the Caves at Longmen” (in Chinese) 2004 International Conference on Research of the Arts of the Longmen Caves, Henan: Fine Arts Publications (2006): 159-164.
32. “Empress Wu, Maitreya and Xuanzang,” New Delhi Conference on Xuanzang and the Silk Road, (New Delhi: National Museum, Indira Gandhi National Centre for the Arts (2008): 103-116
33. “The Evolution of the Image of Xian in the Han,” Daoist Art History, (Xi’an, Art Academy of Art, 2008): 37-44
34. “The Transformations of Xuanwu/Zhenwu”, Journal of Daoist Studies, vol. 8 (2015): 69-95

Art of the Silk Road
35. “The Presence of the Goddess Anahita and Cosmological Symbols Associated with the Goddess on Western Decorative Arts Excavated in Early Medieval China,” Between Han and Tang, Beijing: Wenwu Press, 2001: 341-379.
36. “The East West Transmission of the Wine Ewer,” Kristi (New Delhi, 2008): 97-105
37. “The Image of the Winged Celestial and its Travels along the Silk Road,” Sino Platonic Papers (Univ. of Penn) no. 225 (June 2012): 1-45

C. Contemporary Art
38. “Between Two Cultures: Reading Sculptures by Longbin Chen,” World Sculpture News, (1998), no. 4: 22-25.
39. “Contemporary Chinese Art and the Literati Culture of China,” Bard Journal of Social Studies, Feb 1999: 21-31.
40. “Meditations on the Material–the Work of the Suijian Guo, Contemporary Chinese Sculptor,” Oriental Art, vol. XLV, no. 2 (1999): 96-100.
41. “Political Art of China at the End of the Twentieth Century-the Tiananmen Generation,” Oriental Art, vol. XLVII, No. 1 (2001): 54-62
42. “A Modern Literati: The Art of Xu Bing,” Oriental Art, vol. XLVII no.4 (2001): 47-62.
43. “Zhao Suikang: No Reconciliation: The Art of Convergence in the Work Suikang Zhao,” Oriental Art vol. XLVIII No. 2 (2002): 37-43.
44. “Beijingnuren: Five Women Artists from Beijing, Five Different Styles,” Journal of Women’s Art, vol. 23, no. 2 (2003):28-33.
45. “Laizi Beijing de siwei nyu yishujya” Shijye Yishu (Beijing, in Chinese) (2004) no.2:19-23
46. “Zhang O: In Transit,” Yishu, vol. 3 no. 3 (2004) : 28-31
47. “Longbin Chen: Content in Forms,” Yishu, vol. 3 no. 4 (2004): 52-57
48. “Time and Biochronology in the Work of Chen Lingyang,” n paradoxa n. (London) vol. 15 (2005):37-43
49. “Portrait of a Beijing Artist: Yang Jingsong,” Eastern Art Issue 49.1(2005):24-29.
50. “Zhang Dali: The Face of China,” Yishu vol. 4 no. 4 (2005): 69-75.
51. “The Gao Brothers : All the World’s a Stage,” Yishu, vol. 6 no. 2 (2007) : 61-67
52. “Xu Yong: Photographer of the Vanishing Past and the Emerging Future of China” Yishu, vol. 7, no. 6 (2008): 88-98
53. “New Works, New Directions in the Art of Yang Jinsong,” Yishu, vol. 7, no.1 (2008):37-40.
54. “Cui Guotai, Rust Never Sleeps,” Yishu, vol. 8, no. 4 (2009): 32-40
55. “Conroy Sanderson: Two Heads are Better than One”, Yishu, vol. 8, no.2 (2009): 77-85
56. “Cui Xiuwen, Walking on Broken Glass,” Yishu, vol. 9, no. 3 (2010): 18-33
57. “Xu Yong,” 18% Gray, 2010 (Beijing: Timezone 8 Contemporary Art Books Publishing Co., 2010)
58. “Zhang O’s Recent Work,” Yishu, vol. 10, no. 3 (2011): 63-71
59. “Gao Yuan’s “‘Precious Little Angel” n. paradoxa (London), vol. 27 (Jan 2011): 47-52
60. “Bomu: Don’t Fence Me In,” Yishu, vol. 10, no. 4 (2011): 93-109
61. “Xu Yong’s This Face,” Yishu, vol. 10, no. 6 (2011): 59-66
62. “Cui Xiuwen’s Recent Work: Spiritual Realms in the Material World,” n. paradoxa (London), vol. 29 (Jan 2012): 62-65
63. “Daoist Themes by Women Artists”, Journal of Daoist Studies, Vol. 5 (2012): 170-188
64. “Contemporary Chinese Art: Uses and Reuses of the Past”, Education about Asia, (Association of Asian Studies) vol. 17. no. 1 (2012):39-43
65. “Lin Tianmiao’s New Works: ‘Dem Bones'”, Yishu, vol. 11, no. 2 (2012): 20-33
66. “Wang Qingsong’s Use of Buddhist Imagery (There Must Be a Buddha in a Place Like This),” Yishu, vol. 12, no. 1 (2013): 42-54
67. “Time and Love: Cai Jin’s New Works,” Yishu, vol. 12, no. 6 (2013): 45-59
68. “Xu Bing’s Magical Mystery Tour,” Yishu, vol. 13, no. 1 (2014): 76-92.
69. “The Image of Woman as a Reflection of Change in China,” Revista de Cultura (Macao), issue 45 (2014): 88-96
70. “Tangled Up in Blue: Women in the Art of Ma Yanling,” Yishu, vol. 14, no. 6: (2015) 76-86.
71. “Cui Xiuwen,” Yishu, vol. 15 no. 5, (2016): 36-47.
72. “Contemporary art by Chinese diaspora in a global age” East Asian Journal of Popular Culture, Vol. 2 No. 2 (2016): 267-285.
73. “Amazing Grace: Contemporary Chinese Christian ArtYishu, Journal of Chinese Contemporary Art vol.16 no. 1 (2017)

CATALOGUE ESSAYS

74. 2001 Reading Sculptures: Works by Longbin Chen 1993-2002 , Taiwan

75. 2010 Existential Emptiness: The Art of Cui Xiuwen April Tina Keng Gallery, Taiwan

76. 2014 Educated Youth: A Fading Living Evidence; Tang DeSheng Spéos Photographic Institute, Paris: 12-52

77. 2015 Cui Xiuwen, The Realm of QinSe, Eli Klein Gallery NY May

78. 2010 Xu Yong: 18% Grey , Beijing Timezone 8

CURATORIAL ACTIVITIES (EXHIBIT AND CATALOGUE)

1. 2016 Infinite Compassion: Avalokiteshvara, Staten Island Museum at Sung Harbor Oct 2016- Nov 2017

2. 2016 Tang Desheng: Educated Youth: A Fading Living Evidence
Bertelsmann Campus Center, Bard College, Annandale-on-Hudson, New York, April 2016

3. 2016 Tang Desheng: Educated Youth : A Fading Living Evidence
23rd International Conference of Europeanists (organized by the Council for European Studies)
Double Tree by Hilton Center City, Philadelphia, PA

4. 2015 Tang DeSheng Educated Youth: A Fading Living Evidence; John Jay College of Criminal Justice, New York, NY,

5. 2013 Chinese-Chinese American Contemporary Female Artists
Living in the Material World: Cai Jin, Cui Xiuwen, Feng Jiali, Hu Bing, Gao Yuan, Mimi Kim, Nina Kuo, Zhu Hui
January 25-March 29
Center Art Gallery, Kaplan Hall, SUNY Orange, Newburgh, New York
catalogue

6. 2010 Le Deluge, Après Mao: China’s Surging Creative Tide
An Exhibition of Work by Significant Contemporary Chinese Artists
November 9 – December 14,
Cress Gallery of Art, University of Tennessee at Chattanooga
catalogue

7. 2012 State of the Dao in Chinese Contemporary Art
February 3 to May 4
Lehman College Art Gallery, New York City
catalogue
Review: Benjamin Genocchio, “View of Mao’s China and What it Became,” New York Times, N.Y./Region, April 8, 2010: click here to read

8. 2009 Xun Dao: Searching for Spirituality in Contemporary Chinese Art
May 21-June 27
Frederieke Taylor Gallery 535 West 22nd Street, New York City
catalogue

9. 2007 Beijing Boogie Woogie: Art in Beijing
Chinese American Arts Council, New York City,
June 28-July 26
catalogue

10. 2004 Heart Prints: Contemporary Chinese Calligraphy
Bard College, Annandale-on-Hudson, New York
catalogue images

11. 2004 Who Am I: Contemporary Asian and Asian American Women Artists
456 Gallery (Chinese-American Arts Council), New York City

12. 2002 Femininity in Contemporary Asian Art ….If the Shoe Fits and Vernal Visions, Lehman College Art Gallery, Lehman College, CUNY.
a. Review: Bill Zimmer, “Femininity Defines in Bare Feet of Shoes,” New York Times, Westchester section, Sunday April 14, 2002, p. 10
b. Review: Holland Cotter, “Femininity in Contemporary Asian Art,” New York Times, Weekend section, p. 33.
c. Review: Blaise Schweitzer, “If the Shoe Fits…” Daily Freeman February, 2, 2003

13. 2001Confessions: The Contemporary Art of Asian Women, Hammond Art Gallery, North Salem, NY
a. Review: Westchester: Weekend, April 26, 2001, p. 3.
b. Review: Elisa Flynn, No longer a Secret, A sexual and spiritual strength runs throughout Confessions’, Fairfield County Weekly, Art, 5/24/01
c. Review: Woodstock Times February 4, 1999, p. 28

14. 1998 Art of the Twentieth Century and the Traditional Chinese Literary Culture, Lehman College
Art Gallery, Lehman College, CUNY.
Review: William Zimmer, New York Times, Sunday Nov. 22 1998. p.24.

15. 1999 Art of the Twentieth Century and the Traditional Chinese Literary Culture, Bard College,
Review: Woodstock Times February 4, 1999 p. 28
16. 1992 Asian Art (no Catalogue) Blum Gallery, Bard College, Annandale-on-Hudson, New York

17. 1981 Meets West (no Catalogue) Grey Gallery, New York University

BOOK REVIEWS

1. Willa Tanabe The Paintings of the Lotus Sutra, John Weatherhill Inc., 1988,
Review: Chanoyu Quarterly: Tea and the Arts of Japan, no. 62 (1990): 76-77
2. Eugene Wang , Shaping the Lotus Sutra: Buddhist Visual Culture in Medieval China, University of Washington Press, 2005,
Review: Journal of Chinese Religions, no. 34, 2006: 162-164
3. Asian Art History in the Twenty-first Century, Vishaka N. Desai, Editor; Yale University Press, 2007,
Review: China Review International, University of Hawaii Press, vol. 18, no. 1 (2011): 46-50.
4. De-nin D. Lee, The Night Banquet: A Chinese Scroll Through Time, University of Washington Press, 2010, Review: China Review International, University of Hawaii Press, vol. 18, no. 1 (2011): 97-99
5. Shih-shan Susan Huang, Picturing the True Form: Daoist Visual Culture in Traditional Culture, Harvard East Asian Monograph, Harvard University Press, 2012
Review: Frontiers of History in China; vol. 8, no.3 (2013): 147-149
6. J. P. Park The Art of the Book: Painting Manuals and the Leisure Life in Late Ming China Seattle, University of Washington Press, 2012,Review: Frontiers of History in China; vol. 8, no.3 (2013): 147-149
7. Lillian Lan-ying Tseng Picturing Heaven in Early China, Harvard East Asian Monograph, Harvard University Press, 2011,
Review: Frontiers of History in China; vol. 8, no.2 (2013): 294-296
8. Anne de Coursey Clapp, Commemorative Landscape Painting in China, Tang Center for East Asian Art, Tang Center Lecture Series, Princeton University, 2012,
Review: Bulletin of the School of Oriental and African Studies; vol. 76, issue 02 (2013): 345-347
9. Wei-ping Lin, Materializing Magic Power: Chinese Popular Religion in Villages and Cities. (Cambridge, MA: Harvard University Asia Center, 2015.
Review: Bulletin of the School of Oriental and African Studies; vol. 76, issue 02 (2013): 345-347
10. Material Culture and Asian Religions: Text, Image, and Object. Edited by Benjamin J. Fleming and Richard D. Mann. New York: Routledge, 2014.
Review: Review of Religious and Chinese Society 3 (2016) 117-142.

PUBLISHED ABSTRACTS

1. “Foreigners in Tang Art,” College Art Association, February 1982, NY, NY.
2. “The Illustration of the Sutra of Cause and Effect (Ingakyo) in China,” CISHAAN, 32nd International Congress Abstract, Tokyo, August 1983: 617.
3. “Taoist Iconography on Mortuary Art of the Sixth Century in China,” Sixth International Symposium of Asian Scholars, Hong Kong, July 1984.
4. “Western Influences in Gandharan Art, a New Approach,” East and West, Seoul, Korea, August 1985.
5. “New Archaeological Evidence in Pakistan: The Stupa,” Eighth International Symposium of Asian Scholars, Hong Kong, July 1986.
6. “Scenes of the Mahaparinirvana at Dunhuang, Gansu,” ICANAS, 33rd International Congress Abstract, Hamburg, August 1986: 7.
7. “Buddhist Mortuary Art,” Conference on Asian Studies, State University of Brockport, NY, October 1987.
8. “A Tang Buddhist Scene of the Assumption of the Soul,” Tenth International Symposium of Asian Scholars, Hong Kong, July 1988.
9. “Post-Enlightenment Miracles Performed by the Buddha, Texts and illustration,” College Art Association, San Francisco, CA February 1989.
10. “Some Cosmological Schemes in the Early Caves at Dunhuang,” College Art Association, NY, February 1990.
11. “The First Sermon of the Buddha in the Texts and Illustrations,” ICANAS 34th Congres International des Etudes Asiatiques et Nord-africaines, Toronto, August 1990.
12. “The Early Wei Caves at Dunhuang, A Reconsideration of the Square Pillar,” Second International Conference on Buddhist Art, Dunhuang Research Institute, Dunhuang, China, October 1990.
13. “The First Sermon and the Formation of the Sangha,” ACASAA Meeting, Freer Gallery, Washington, DC, April 1991.
14. “The Tang International Style and the Treasures of Famen Temple, Xian,” Mid Atlantic Association of Asian Studies, Pennsylvania, October 1992.
15. “Woman and Early Buddhism, A Study in Misogyny,” ICANAS 35th Congres International des Etudes Asiatiques et Nord-africaines, Hong Kong, August 1993.
16. “New Archaeological Evidence of Tang Esoteric Art,” Association of Asian Studies, March 1994.
17. “Divine Water and the Paradise of Amitofu,” Third International Congress on Buddhist Art, Dunhuang Research Institute, Dunhuang, China, August 1994.
18. “Western Origins of the Paradise of Amitofu,” A Symposium on Paradise Representations in East Asian Art, Harvard University, October 1995.
19. “Women in the Tang,” College Art Association, NY, February 1997.
20. “Scenes of the Life of the Buddha from the Peacock Cave-temples of Qizil (Xinjiang) and Their Western Counterparts,” ICANAS 36th Congres International des Etudes Asiatiques et Nord-africaines, Budapest Hungary, August 1997.
21. “Early Esoteric Images of Guanyin in China,” Association for Asian Studies, Washington, March 1998.
22. “Early Archaeological Evidence of Western Influence in Medieval China, New Research in Asian Art, New York Conference on Asian Studies, Association of Asian Studies, New Paltz, NY, October 1998.
23. “Contemporary Chinese Art and the Artistic Uses of Calligraphy”, CAA, NY, February 2000.
24. “The Presence of the Goddess Anahita and Cosmological Symbols Associated with the Goddess on Western Decorative Arts Excavated in Early Medieval China,” Between Han and Tang, Beijing University, July 2000.
25. “Scenes of the Parinirvana in the Cave-temples of Qizil in Quca, Xinjiang and their relationship to those at Dunhuang, Gansu.” Dunhuang Research Institute, Gansu Province, China, August 2000.
26. “Western Origins of the Scenes of the Death of the Buddha,” ICANAS 37th Congres International des Etudes Asiatiques et Nord-africaines ,Montreal , August 2000.
27. “Contemporary Asian Women Artists” ICANAS 37th Congres International des Etudes Asiatiques et Nord-africaines, Montreal , August 2000.
28. “Millennialism at the Northern Wei Caves in Gansu, China” Asian Studies Conference, Sophia University, Tokyo, June 2001.
29. “The Buddhas of the Past and Future at the Northern Wei Caves in Qingzhou, Eastern Gansu, China,” 2nd International Convention of Asian Scholars, Freie Universität, Berlin, August 2001.
30. “Chinese Writing and Contemporary Chinese Art”, Contemporary Chinese Arts in the International Arena, British Museum, April, 2002
31. “Daoist Imagery on Medieval Funerary Objects,“ Daoism and Art II Conference, Boston University, June 2003.
32. “Empress Wu and Buddhist art of Guangyuan,” Third International Asian Scholars Conference, Singapore August, 2003
33.”East West Transmission of the Greek Long-necked Wine Vessel with Handle Over the Centuries,“ Society for Indian Philosophy and Religion, Calcutta, January 2004
34. “Daoist Imagery on a Group of Northern Wei Stone Sarcophagi from Luoyang,” Daoism in the Modern World, Sichuan University, June 2004.
35. “The Huayenjing and Empress Wu at Longmen,” Longmen Cave Symposium , Henan Province, August 2004
36. “The Evolution of the Many Forms of Guanyin in India and their Counterparts at Dunhuang,” Fourth Dunhuang International Conference,, Gansu Province, August , 2004
37.“Daoist Imagery on a Group of Northern Wei Stone Sarcophagi from Luoyang,” Daoism in the Modern World, Sichuan University, June 2004.
38. “The Image of Xian in Medieval Chinese Art”, Taoist Conference, Zhejiang University (Hangzhou) May 2005
39. “The Transformation of Xuanwu, Guardian of the North”, Third International Conference on Daoism and the Contemporary World , Frauenwörth Monastery, near Munich, Germany, May 25-28, 2006.
40. “The Evolution of the Image of Xian in the Han “Daoist Art History, Xi’an Academy of Art May 2007.
41. Femininity is Contemporary Asian Art” Vital Bodies International Conference, Liverpool, John Moores University, UK, November, 2007
42. “The Role of Scriptures in the Iconographical Programs of Three Sites in Northern China”, Seminar, University of Toronto, November 2007
43. “Contemporary Christian Art,” ICAS (International Conference of Asian Studies) 6, Daejon, Korea August 2009
44. “The Evolution of the Image of the Divine in Daoist Art” Fifth International Daoist Studies Conference, Mt Wudang, Hubei, June 2009
45. “Tang Buddhist Metropolitan Style”, T’ang Studies: The Next Twenty-five Years, University of Albany SUNY, May 2009 46..
47.“The Use of Hanzi in Contemporary Chinese Art”, Seventh International Conference on Hanzi Calligraphy Education, Capital Normal University, Beijing, June 2010
48. “Uses of the Past in Contemporary Chinese Art”, Xiamen University, Fujian, June 2010
49. “The Image of the Winged Celestial and Its Travels Along the Silk Road — Buddhism on the Silk Road II”
XVIth Congress of the International Association of Buddhist Studies, Dharma Drum Buddhist College; Jinshan, Taiwan; June 2011

50.“Contemporary Female Artists Whose Art Employs Themes Related to Daoism” 7th International Conference on Daoist Studies, Nanyue Changsha, June 2011

PAPERS PRESENTED

1. “Scenes of the Buddha in Early China,” China Institute, New York, NY, 1979.
2. “The Erotic Symbolism of Ku Hungchung’s The Night Revels of Minister Han,” China Institute, New York, NY, 1980.
3. “Bird Symbolism in Far Eastern Art,” Audubon Society, NY, NY 1981.
4. “Foreigners in Tang Art,” College Art Association, Annual Meeting, New York, NY, February 1982.
5. “The Illustration of the Sutra of Cause and Effect (Ingakyo) in China,” CHISAAN, 32nd International Congress, Kyoto, Japan, August 1983.
6. “Taoist Iconography on Mortuary Art of the Sixth Century in China,” Sixth International Symposium of Asian Scholars, Hong Kong, July 1984.
7. “Western Influences in Gandharan Art, a New Approach,” East and West, Seoul, Korea, August 1985.
8. “Chinoiserie in French and English Gardens and Architecture,” East Meets West: Symposium, Albert Knox Gallery, Buffalo, NY, April 1986.
9. “New Archaeological Evidence in Pakistan: The Stupa,” Eighth International Symposium of Asian Scholars, Hong Kong, July 1986.
10. “Scenes of the Mahaparinirvana at Dunhuang, Gansu,” ICANAS, 33rd International Congress, Hamburg, Germany, August 1986.
11. “Buddhist Mortuary Art,” Conference on Asian Studies, State University of Brockport, NY, October 1987.
12. “A Tang Buddhist Scene of the Assumption of the Soul,” Tenth International Symposium of Asian Scholars, Hong Kong, July 1988.
13. “The Symbolic Content of Scenes of Hunting in a Landscape in Northern Wei Art,” New York Conference on Asian Studies, New York State University, Albany, NY, October 1988.
14. “Post-Enlightenment Miracles Performed by the Buddha, Texts and Illustration,” Symposium, College Art Association, San Francisco, February 1989.
15. “Some Cosmological Schemes in the Early Caves at Dunhuang,” College Art Association, NY, February 1990.
16. “The First Sermon of the Buddha in the Texts and Illustrations,” ICANAS 34rd Congres International des Etudes Asiatiques et Nord-africaines, Toronto, August 1990.
17. “The Early Wei Caves at Dunhuang, A Reconsideration of the Square Pillar,” Second International Conference on Buddhist Art, Dunhuang Research Institute, Dunhuang, China, October 1990.
18. “The First Sermon and the Formation of the Sangha,” ACASAA Meeting, Freer Gallery, Washington, DC, April 1991.
19. “The Tang International Style and the Treasures of Famen Temple, Xian,” Mid Atlantic Association of Asian Studies, Pennsylvania, October 1992.
20. “Woman and Early Buddhism, A Study in Misogyny,” ICANAS 35th Congres International des Etudes Asiatiques et Nord-africaines, Hong Kong, August 1993.
21. “New Archaeological Evidence of Tang Esoteric Art,” Association of Asian Studies, March 1994.
22. “Divine Water and the Paradise of Amitofu,” Third International Congress on Buddhist Art, Dunhuang Research Institute, Dunhuang, China, August 1994.
23. “Western Origins of the Paradise of Amitofu,” A Symposium on Paradise Representations in East Asian Art, Harvard University, October 1995.
24. “Women in the Tang,” College Art Association, NY, February 1997.
25. “Scenes of the Life of the Buddha from the Peacock Cave-temples of Qizil (Xinjiang) and Their Western Counterparts,” ICANAS 36th Congres International des Etudes Asiatiques et Nord-africaines, Budapest Hungary, August 1997.
26. “Chinese Contemporary Art and the Literati Culture,” Lehman College Art Gallery, NY, and Fall 1998.
27. “Early Esoteric Images of Guanyin in China,” Association for Asian Studies, Washington, DC, March 1998.
28. “Early Archaeological Evidence of Western Influence in Medieval China,” New Research In Asian Art, New York Conference on Asian Studies, Association of Asian Studies, New Paltz, NY, October 1998.
29. “Contemporary Chinese Art and the Artistic Uses of Calligraphy”, College Art Association, NY, February 2000.
30. James Kuo, “ A Modern Artist Who Forged a Bridge between Two Cultures”, China Institute, June, 2000.
31. “The Presence of the Goddess Anahita and Cosmological Symbols Associated with the Goddess on Western Decorative Arts Excavated in Early Medieval China,” Between Han and Tang, Beijing University, July 2000.
32. “Scenes of the Parinirvana in the Cave-temples of Qizil in Quca, Xinjiang and their relationship to those at Dunhuang, Gansu.” Dunhuang Research Institute, Gansu Province, China, August 2000.
33. “Western Origins of the Scenes of the Death of the Buddha,” ICANAS 37th Congres International des Etudes Asiatiques et Nord-africaines ,Montreal , August 2000.
34. “Tang Woman in Chinese Art and Culture,” Texas Tech University, Lubbock Texas, November 2000.
35. “Millennialism at the Northern Wei Caves in Gansu, China” Asian Studies Conference, Sophia University, Tokyo, June 2001.
36. “The Buddhas of the Past and Future at the Northern Wei Caves in Qingzhou, Eastern Gansu, China,” 2nd International Convention of Asian Scholars, Freie Universität, Berlin, August 2001.
37. “Writing in Chinese Contemporary Art”, Contemporary Chinese Arts in the International Arena, British Museum, April 2002.
38. Emerging Artists: Betty Yaqin Chou” The Players: Asian American Art , NYU, June 2002.
39. “Daoist Imagery on Medieval Funerary Objects,” Daoism and Art II Conference, Boston University, June 2003.
40. “Empress Wu and Buddhist art of Guangyuan, Sichuan,” Third International Asian Scholars Conference, Singapore, August,2003
41. “East West Transmission of the Greek Long-necked Wine Vessel with Handle Over the Centuries,” Society for Indian Philosophy and Religion, Calcutta, January 2004.
42. “Daoist Imagery on a Group of Northern Wei Stone Sarcophagi from Luoyang,” Daoism in the Modern World, Sichuan University, June 2004.
43. “The Huayenjing and Empress Wu at Longmen,” Longmen Cave Symposium , Henan Province, August , 2004
44. “The Evolution of the Many Forms of Guanyin in India and their Counterparts at Dunhuang,” Fourth Dunhuang International Conference, Gansu Province, 2003
45. “The Image of Xian in Medieval Chinese Art”, Taoist Conference, Zhejiang University (Hangzhou) May 2005
46. “The Transformation of Xuanwu, Guardian of the North”, Third International Conference on Daoism and the Contemporary World , Frauenwörth Monastery, near Munich, Germany, May 25-28, 2006.
47 “The Evolution of the Image of Xian in the Han “Daoist Art History, Xi’an Academy of Art May 2007.
48. ‘The Role of Scriptures in the Iconographical Programs of Three sites in Northern China,” Seminar, Univ. of Toronto, Nov 8 2007.
49. Femininity is Contemporary Asian Art” Vital Bodies International Conference, Liverpool John Moores University, UK, Nov 22-24, 2007
50. “Contemporary Christian Art”ICAS (International Conference of Asian Studies) 6, Daejon, Korea August 2009
51. “The Evolution of the Image of the Divine in Daoist Art”Fifth International Daoist Studies Conference, Mt Wudang, Hubei, June 2009
52. “Tang Buddhist Metropolitan Style”, T’ang Studies: The Next Twenty-five Years, University of Albany SUNY, May 2009
53. “Le Deluge Après Mao: China’s Surging Creative Tide — An Exhibition of Work by Significant Contemporary Chinese Artists” Cress Gallery of Art, University of Tennessee at Chattanooga, November 201054 “The Use of Hanzi in Contemporary Chinese Art”, Seventh International Conference on Hanzi Calligraphy Education, Capital Normal University, Beijing, June 2010
54. “Uses of the Past in Contemporary Chinese Art”, Xiamen University, Fujian, June 2010
55. “The Image of the Winged Celestial and Its Travels Along the Silk Road — Buddhism on the Silk Road II”
XVIth Congress of the International Association of Buddhist Studies, Dharma Drum Buddhist College; Jinshan, Taiwan; June 2011
56.“Contemporary Female Artists Whose Art Employs Themes Related to Daoism” 7th International Conference on Daoist Studies, Nanyue Changsha, June 2011
57. “The Artist as a Force of Change in Contemporary China,” International and Interdisciplinary Conference New Delhi, India Jawaharlal Nehru University, 2012
58. “The Image of Women in Chinese Art,” Eighth International Convention of Asia Scholars (ICAS 8); Macao; June 24-27, 2013
59. “Contemporary Art of the Chinese Diaspora,” Eighth International Convention of Asia Scholars (ICAS 8); Macao; June 24-27, 2013
60.”Contemporary Indian Women Artists,” International & Interdisciplinary Conference; Kolkata; January 3-5, 2013
61. “Mara’s Monsters and the Faces of Fear”, 17th Congress of the International Association of Buddhist Studies, Vienna August 2014
62. “Xuangzang and Evidence for the Worship of Avalokiteshvara Along the Silk Road,” National Museum, Indira Gandhi National Centre for the Arts
62 “Chinese Literati Culture”, Nanjing University May 2015
63. Mara and the Faces of Fear Along the Silk Road”, National Museum, Indira Gandhi National Centre for the Arts, India, January 2016
64. “The Formation of a Daoist Pictorial Iconography in the Tang,” 10th International Conference on Daoist Studies, Tianan Taiho Retreat, Taiwan, May 2016 “Mara and the Faces of Fear Along the Silk Road“, National Museum, Indira Gandhi National Centre for the Arts, India, January 2016
65. “The Impact of the Curriculum of Chinese Art Schools: Western Influences in Chinese Contemporary Art” Central Academia of Fine Arts, China (World Art Historians), September 2016
66. Foreign Influences in The Creation of Hāritī, The Buddhist Protector of Children National Museum, Indira Gandhi National Centre for the Arts, India, March 2017 (in absentia)

CHAIR AND SESSION ORGANIZER ACADEMIC PANELS

1. East Meets West, Grey Gallery, NYU, 1981
2. “Buddhist Art ,” ICANAS, 33rd International Congress, Hamburg, Germany, August 1986.
3. “Early Buddhist Art Revisted,” ICANAS 35th Congres International des Etudes Asiatiques et Nord-africaines, Hong Kong, August 1993.
4. “Chinese Religious Art,” Association of Asian Studies, Boston, March 1994.
5. “Recent Archaeological Evidence of Art in the Tang,” College Art Association, NY, February 1997.
6. “Buddhist Art in Asia ,” ICANAS 36th Congres International des Etudes Asiatiques et Nord-africaines, Budapest Hungary, August 1997.
7. “Early Chinese Religious Art Part I”: Association for Asian Studies, Washington, March 1998.
8. “New Research in Asian Art,” New York Conference on Asian Studies, Association of Asian Studies, Chair, October 1998 New Paltz, NY.
9. “Chinese Contemporary Art and the Literati Culture,” Lehman College Art Gallery, NY, and Fall 1998.
10. “Contemporary Asian Women Artists,” College Art Association, February 2001.
11.Discussant Daoism and Art I Conference, Boston University, June 2003.
12. Chair, “Art History and the Longmen Caves, Longmen Cave Symposium, Henan Province August 2004
13. Chair, “Art History Panel II” Fourth Dunhuang International Conference, Gansu Province, August , 2004
14. Chair, “Border Crossings,” Regional Association of Asian Studies, Bard College October 2004
15. Chair, “Contemporary Chinese Calligraphy,” Regional Association of Asian Studies, Bard College October 2004
16. Chair and Organizer, “Daoist Art, Change and Continuity,” CAA February 2004
17. Chair Asian Art, New York State Association of Asian Meeting SUNY New Paltz Oct 2005
18. Chair Asian Art, New York State Association of Asian Meeting SUNY New Paltz Sept. 2012
19. Chair, Art of the Silk Road II 17th Congress of the International Association of Buddhist Studies, Vienna August 2014