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.
9. “I’ll be Your Mirror: Contemporary Indian Art,”   Kalākalpa IGNCA Journal of Arts   (2017) Volume II No. 1: 187-216
10. “Here, There and Everywhere the  Buddhist Bronzes of Nagapattinam”  Kalākalpa IGNCA Journal of Arts   (2018)    Volume II, Number 2 27-44

B. Chinese Art

11.“The Buddhist Murals Discovered at Yenshangssu,” Artibus Asiae, vol. XLII (1981): 245-260.
12. “A Scene of the Taoist Afterlife on a Sixth Century Sarcophagus Discovered in Loyang,” Artibus Asiae, vol. XLIV (1983): 5-20.
13. “Foreigners in Tang and pre-Tang Painting,” Oriental Art (London), vol. XXX (1984):160-166.
14. “Taoist Iconography on Mortuary Art of the Sixth Century in China,” Sixth International Symposium of Asian Scholars Hong Kong, 1984: 201-210.
15. “The Engraved Designs on the Late Sixth Century Sarcophagus of Li Ho,” Artibus Asiae, vol. XLVII (1986): 81-106.
16. “The Guoqu Xianzai Yingquo Jing at Dunhuang,” Journal of Chinese Religions, Fall, No. 16 (1988): 54-72.
17. “A Tang Buddhist Scene of the Assumption of the Soul,” Tenth International Symposium of Asian Scholars, Hong Kong, (1988): 211-216.
18. “The Tang Reliquary from Lingtai, Gansu and the Mahaparinirvana,” East and West (Rome) December, vol. 38 (1988): 215-230.
19. “Northern Wei Painted Coffin,” Artibus Asiae, vol. LI (1991): 5-20. (coauthor A. Soper)
20. “Some Cosmological Schemes in the Early Caves at Dunhuang,” Journal of Chinese Religions, Fall, vol. 20 (1992): 103-116.
21. “The Famen Temple Finds and New Evidence of Tang Esoteric Buddhism,” Archives of Asian Art, vol. XLVII (1994): 78-85.
22. “New Archaeological Evidence of Tang Esoteric Art,” T’ang Studies, vol. 12, (1994): 11-37.
23. “Western Origins of the Paradise of Amitofu,” Sino Platonic Papers (University of Pennsylvania), No. 76 (1997): 1-28.
24. “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.
25. “The Representation of Women in Medieval China: Recent Archaeological Evidence” T’ang Studies, vol. 17 (1999): 213-271.
26. “Sarvastivadin Buddhists and Scenes of the Life of the Buddha from Qizil,” Oriental Art, vol. XLVI, no. 1 (2000): 48-58.
27. “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.
28. “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.
29. “Millennialist Themes in the Northern Wei Grottoes in Qingyang and Jingchuan County, Eastern Gansu,” Oriental Art, Vol. XLIX. No. 4 (2003-2004):40-47.
30. “Heavenly Dowager Wu Zetian and Buddhist Art of the Tang Dynasty”, T’ang Studies (no. 21-22 (2002-2003):113-150.
31. “Scenes of the Parinirvana, Death, of the Buddha, part II,” Oriental Art, vol. L no 4 (2006)103-117.
32. ”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.
33. “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.
34. “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
35. “The Evolution of the Image of Xian in the Han “Daoist Art History, (Xi’an, Art Academy of Art, 2008): 37-44
36. “The Transformations of Xuanwu/Zhenwu”, Journal of Daoist Studies, vol. 8 (2015): 69-95
37. “The Formation of a Daoist Pictorial Iconography in the Tang”Journal of Daoist Studies Volume 10 2017: 49-69

Art of the Silk Road

38.“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.
39. “The East West Transmission of the Wine Ewer,” Kristi (New Delhi, 2008): 97-105
40. “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
41. “Mara and the Faces of Fear Along the Silk Road,” Association for Central Asian Civilizations & Silk Road Studies, (forthcoming)
42. “Foreign Influences in The Creation of Hāritī, The Buddhist Protector of Children,” National Museum, Indira Gandhi National Centre for the Arts, India, Women and Buddhism: Perspectives on Gender, Culture and Empowerment, (forthcoming)
43. “The Travels of Avalokiteshvara along the Silk Road Documented by the Discoveries of M.A. Stein”, in Marc Aurel Stein with Special Reference to South and Central Asian Legacy:Recent Discoveries and Research, R. B. Sakar, ed. , New Delhi, Indira Gandhi National Center for the Arts 2018: 144-161
44.“Mara and the Face of Evil on the Silk Road,” in The Silk Road: Interwoven History, Mariko Walter, ed. vol. 2 Buddhism, ACANAS Cambridge Institute Press, Cambridge, (2021):104-129.

C. Contemporary Art

45.”The Shadow of Your Smile: Xu Yong’s Portraits and the History of Portraiture East and West, International Journal of Art and Art History December 2021 vol 9 no 2: 1-12
46.“Between Two Cultures: Reading Sculptures by Longbin Chen,” World Sculpture News, (1998), no. 4: 22-25.
47. “Contemporary Chinese Art and the Literati Culture of China,” Bard Journal of Social Studies, Feb 1999: 21-31.
48. “Meditations on the Material–the Work of the Suijian Guo, Contemporary Chinese Sculptor,” Oriental Art, vol. XLV, no. 2 (1999): 96-100.
49. “Political Art of China at the End of the Twentieth Century-the Tiananmen Generation,” Oriental Art, vol. XLVII, No. 1 (2001): 54-62
50. “A Modern Literati: The Art of Xu Bing,” Oriental Art, vol. XLVII no.4 (2001): 47-62.
51. “Zhao Suikang: No Reconciliation: The Art of Convergence in the Work Suikang Zhao,” Oriental Art vol. XLVIII No. 2 (2002): 37-43.
52. “Beijingnuren: Five Women Artists from Beijing, Five Different Styles,” Journal of Women’s Art, vol. 23, no. 2 (2003):28-33.
53. “Laizi Beijing de siwei nyu yishujya” Shijye Yishu (Beijing, in Chinese) (2004) no.2:19-23
54. “Zhang O: In Transit,” Yishu, vol. 3 no. 3 (2004) : 28-31
55. “Longbin Chen: Content in Forms,” Yishu, vol. 3 no. 4 (2004): 52-57
56. “Time and Biochronology in the Work of Chen Lingyang,” n paradoxa n. (London) vol. 15 (2005):37-43
57. “Portrait of a Beijing Artist: Yang Jingsong,” Eastern Art Issue 49.1(2005):24-29.
58. “Zhang Dali: The Face of China,” Yishu vol. 4 no. 4 (2005): 69-75.
59. “The Gao Brothers : All the World’s a Stage,” Yishu, vol. 6 no. 2 (2007) : 61-67
60. “Xu Yong: Photographer of the Vanishing Past and the Emerging Future of China” Yishu, vol. 7, no. 6 (2008): 88-98
61. “New Works, New Directions in the Art of Yang Jinsong,” Yishu, vol. 7, no.1 (2008):37-40.
62. “Cui Guotai, Rust Never Sleeps,” Yishu, vol. 8, no. 4 (2009): 32-40
63. “Conroy Sanderson: Two Heads are Better than One”, Yishu, vol. 8, no.2 (2009): 77-85
64. “Cui Xiuwen, Walking on Broken Glass,” Yishu, vol. 9, no. 3 (2010): 18-33
65. “Xu Yong,” 18% Gray, 2010 (Beijing: Timezone 8 Contemporary Art Books Publishing Co., 2010)
66. “Zhang O’s Recent Work,” Yishu, vol. 10, no. 3 (2011): 63-71
67. “Gao Yuan’s “‘Precious Little Angel” n. paradoxa (London), vol. 27 (Jan 2011): 47-52
68. “Bomu: Don’t Fence Me In,” Yishu, vol. 10, no. 4 (2011): 93-109
69. “Xu Yong’s This Face,” Yishu, vol. 10, no. 6 (2011): 59-66
70. “Cui Xiuwen’s Recent Work: Spiritual Realms in the Material World,” n. paradoxa (London), vol. 29 (Jan 2012): 62-65
71. “Daoist Themes by Women Artists”, Journal of Daoist Studies, Vol. 5 (2012): 170-188
72. “Contemporary Chinese Art: Uses and Reuses of the Past”, Education about Asia, (Association of Asian Studies) vol. 17. no. 1 (2012):39-43
73. “Lin Tianmiao’s New Works: ‘Dem Bones'”, Yishu, vol. 11, no. 2 (2012): 20-33
74. “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
75. “Time and Love: Cai Jin’s New Works,” Yishu, vol. 12, no. 6 (2013): 45-59
76. “Xu Bing’s Magical Mystery Tour,” Yishu, vol. 13, no. 1 (2014): 76-92.
77. “The Image of Woman as a Reflection of Change in China,” Revista de Cultura (Macao), issue 45 (2014): 88-96
78. “Tangled Up in Blue: Women in the Art of Ma Yanling,” Yishu, vol. 14, no. 6: (2015) 76-86.
79. “Cui Xiuwen,” Yishu, vol. 15 no. 5, (2016): 36-47.
80. “Contemporary art by Chinese diaspora in a global age” East Asian Journal of Popular Culture, Vol. 2 No. 2 (2016): 267-285.
81. “Amazing Grace: Contemporary Chinese Christian ArtYishu, Journal of Chinese Contemporary Art vol.16 no. 1 (2017):90-107
82. “Yang Jinsong’s Paintings: Touch the Possible Shape, 2016–2018” Yishu, Journal of Chinese Contemporary Art vol.17 no. 5 (2018):40-45
83. “God Bless the Child: In Memory of Cui Xiuwen” vol.17 no. 6 (2018):99-105
84.  The Impact of the Curriculum of Chinese Art Schools: Western Influences in Chinese Contemporary Art”Proceedings of the 34th World Congress of Art Historians. 3 vols (Beijing: World Press) 2019): 2157-2170.
85. Yang Jinsong’s Paintings: Touch the Possible Shape, 2016–2018 Yishu, Journal of Chinese Contemporary Art Volume 17, Number 5, September/October 2018
“The Shadow of Your Smile: Xu Yong’s Portraits and the History of Portraiture East and West, International Journal of Art and Art History December 2021 vol 9 no 2: 1-12