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Michele Matteini serves as Associate Professor in the Department of Art History at New York University's College of Arts and Science, specializing in Late Imperial Chinese painting and material culture (ca. 1400-1800) with focus on Qing dynasty antiquarianism, collecting practices, and eighteenth-century transnational artistic exchanges. His academic credentials include: Ph.D. (2012) in History of Art from the Institute of Fine Arts M.A. (2004) in History of Art from New York University B.A. (2000) summa cum laude from the University of Venice, Ca’ Foscari Research interests encompass Late Imperial Chinese painting, antiquarianism, collecting culture, Qing history, urban culture, inter-Asian artistic exchanges, eighteenth-century globalism, craft traditions, embodied knowledge, and art historical methodology. His interdisciplinary approach bridges anthropology, religious studies, and art history to examine material culture across East Asia. Recent publications reveal consistent thematic focus on eighteenth-century material practices, analyzing antiquarian objects, historical figure cults, and cross-cultural artistic production. Works integrate art historical analysis with anthropological perspectives on topics like rock collecting, filial piety, and sacred materiality, demonstrating how objects functioned within social and global contexts. His scholarly recognition includes: The Andrew Mellon Foundation Fellowship for Assistant Professors, Institute for Advanced Study, Princeton (2013-2014) Ittleson Fellowship, Center for Advanced Study in the Visual Arts, National Gallery of Art (2007-2009) Panofsky Distinguished Fellowship, Institute of Fine Arts, New York University (2002-2007) Matteini's research has been supported by major fellowships from the Andrew W. Mellon Foundation and National Gallery of Art. While current advising activities and grant projects beyond these fellowships are not detailed in available sources, his extensive publication record indicates sustained scholarly productivity focused on East Asian material culture.

• Late Imperial Chinese painting and material culture
• antiquarianism and collecting culture
• Qing history
• +6 more

Kuiyi Shen is Professor of Asian Art History, Theory, and Criticism at the University of California, San Diego (UCSD), where he also serves as Vice Chair and Director of the PhD Program in the Department of Visual Arts. He is affiliated with the Division of Arts and Humanities and maintains an active research, teaching, and curatorial practice focused on Chinese and Japanese art, particularly modern and contemporary Chinese art and Sino-Japanese artistic exchanges. BA in Fine Arts, Shanghai Normal University MA and PhD in Art History, The Ohio State University Shen's research centers on the evolution of Chinese art in the modern era, with emphasis on ink art, unofficial art movements, and the interplay between tradition and modernity. His work explores how political, social, and transnational forces have shaped artistic expression in China, particularly during transformative periods such as the late Qing, Republican era, and post-Cultural Revolution decades. He is deeply engaged in the study of literati painting, Buddhist art, and mass visual culture, including posters and illustrated magazines. The 15 most recent publications and exhibition catalogs reflect a consistent focus on modern and contemporary Chinese ink art, unofficial art practices, and cross-cultural dialogues. Key themes include the reinvention of tradition, the role of Japan in modern Chinese art, and the emergence of independent artistic voices during politically repressive periods. His scholarly output spans academic monographs, co-edited volumes, and curatorial projects that bridge East and West. Notable scientific achievement: 2013 ICAS Book Prize in Humanities for Arts of Modern China Shen has advised numerous exhibition projects and served on international juries, including the Guggenheim Museum and the International Awards for Art Criticism. He has held academic positions at Ohio University, SUNY Buffalo, Rice University, and the University of Oregon before joining UCSD. He is Managing Editor of Brill’s Modern Asian Art and Visual Culture book series, underscoring his leadership in the global academic community. His teaching includes courses on Chinese and Japanese art, landscape painting, and contemporary art and mass culture. Shen has curated or consulted on over 20 major exhibitions worldwide, including A Century in Crisis (Guggenheim), Blooming in the Shadows (China Institute), and Light before Dawn (Asia Society), demonstrating his dual expertise in scholarship and curatorial practice.

• Asian Art History
• Chinese Art
• Japanese Art
• +12 more

Zhijian Qian is an Associate Professor in the Department of Humanities at the School of Arts & Sciences, New York City College of Technology. He teaches courses such as ARTH1108 Art of Asia , ARTH1110 Islamic Art , and ARTH1106 Modern Art , while offering expertise in art history through his research and curatorial work. Education Ph.D., M.A. in Art History from New York University's Institute of Fine Arts M.A. in Art History from Central Academy of Fine Arts, Beijing B.A. in English from Beijing Normal University His research focuses on sinicized modernism in 20th-century Chinese art, nationalism/globalism dynamics in contemporary Chinese art, and the evolving role of politics in modern and contemporary Chinese art. He also explores cultural identity, ethnicity, and transnationalism in the practices of Chinese diaspora artists. Qian’s publications and curatorial projects highlight his work in intercultural dialogue and ink art innovation. Notable examples include coining concepts like 'ink as medium' and analyzing transcultural practices in Chinese diaspora art. His scholarship bridges Western methodologies with Chinese art discourse. Curatorial Highlights The Invisible Eye: Video Work by Ren Lun (2019) Blurred Boundaries (2018) Open Books: A New Dialogue (2017) Mind Flows with Brush (2016)

• Art History
• Modern Chinese Art
• Contemporary Chinese Art
• +4 more

Shane McCausland is the Percival David Professor of the History of Art in the Department of History of Art & Archaeology, School of Arts, College of Humanities, at SOAS University of London. From 2018-2022, he served as Head of the School of Arts and was a member of the university's Executive Board. McCausland's research focuses on: Visual arts and material cultures of China and East/Northeast Asia Arts of the Mongol world Narrative arts, particularly Chinese picture-scrolls Visual cultures of Yuan China (1271-1368) Cross-cultural artistic exchanges along the Silk Road His recent work includes "The Art of the Chinese Picture-Scroll" (2023) and "The Mongol Century: Visual Cultures of Yuan China, 1271-1368" (2015), which appeared in Chinese in 2024. In 2024-26, he is a Leverhulme Research Fellow working on an exhibition of the arts of the Mongol world across Eurasia in the long thirteenth century, to be mounted at the Royal Academy of Arts in London in spring 2027. His scholarly output demonstrates significant engagement with: Chinese art history from ancient to modern periods Cross-cultural transmission between China and Japan Material culture of the Mongol Empire Visual literacy in understanding historical Chinese art Narrative techniques in Chinese visual arts McCausland has received recognition including a Leverhulme Research Fellowship (2024-26). He actively supervises PhD students working on topics related to the arts of the Mongol world and Chinese visual culture. His current advisees include researchers examining Mao's visual representation, literati identity in 19th-century China, Cantonese artistic traditions, and Silk Road photography. McCausland is affiliated with the SOAS China Institute and contributes to research on cultural heritage.

• Chinese Art History
• East Asian Art History
• Visual Cultures of Yuan China
• +5 more

Jason C. Kuo is a Professor of Art History and Archaeology at the University of Maryland, College Park, with affiliations in Cinema and Media Studies and Asian American Studies . His career spans teaching at National Taiwan University, Williams College, and Yale University, and research fellowships at institutions including the Freer Gallery, Harvard University, and the Metropolitan Museum of Art. Education : Ph.D. from the University of Michigan His research expertise spans Chinese ink painting , modern and contemporary visual culture , critical theory , and gender/race studies , with a focus on Asia and diaspora dynamics . His publications and curatorial projects explore the reinvention of traditional aesthetics in postwar contexts, including works by Gao Xingjian and Lo Ch'ing. Recent articles analyze Chinese ink painting's global reception , Shanghai visual culture , and postwar American scholarship on Chinese art. He has directed the Summer Institute of Connoisseurship of Chinese Calligraphy and Painting and organized conferences on cross-cultural art studies. Scientific Awards Andrew W. Mellon Fellowship National Endowment for the Humanities grant Stoddard Fellowships in Asian Art J. D. Rockefeller III Fund fellowships Lilly Fellowship for teaching excellence As an advisor, Kuo has curated major international exhibitions (e.g., Lo Ch'ing, Gao Xingjian) and mentored students in immersive curatorial projects. His grants include support from the Henry Luce Foundation for collaborative research between Chinese and American scholars.

• Chinese Art
• Contemporary Art
• Visual Culture
• +7 more

Katharine P. Burnett is Professor of Art History at the University of California, Davis, where she also serves as Chair of the Art History Program, Graduate Chair, and Co-Chair of the Department of Art and Art History (2022–2025). She is the founder and Faculty Director of the Global Tea Institute for the Study of Tea Culture and Science and a Faculty Associate in the East Asian Studies Program. Her academic home is within the Department of Art and Art History in the College of Letters and Science at UC Davis. Education: Ph.D., University of Michigan M.A., University of Michigan B.A., Wellesley College Her research centers on Chinese historical art theory and criticism, particularly of the seventeenth century, as explored in her book Dimensions of Originality . She also investigates art collecting and display, exemplified in her acclaimed work Shaping Chinese Art History: Pang Yuanji and His Painting Collection . A major focus of her scholarship is the international spread of visual and material culture related to the global tea trade. She teaches courses on Chinese art from the Neolithic to the present, including specialized seminars on tea culture, ceramics, and travel painting. Her interdisciplinary approach bridges art history, cultural studies, and material culture. The trajectory of her recent publications reveals a deepening engagement with the cultural, historical, and scientific dimensions of tea. While her earlier work focused on Chinese painting theory and connoisseurship, her more recent articles and editorial projects emphasize tea’s role in shaping global material culture, trade, and interdisciplinary scholarship. This evolution reflects her leadership in establishing tea studies as a legitimate academic field. Scientific Awards and Honors: Chancellor’s Award for International Engagement, UC Davis (2021) O-Cha Pioneer Award, World Green Tea Association, Japan (2021) Best Tea Health Advocate, World Tea Expo (2018) Nominee, Best Tea Educator – Individual, World Tea Expo (2019) Nominee, ICAS Book Prize for Dimensions of Originality (2013) George Wittenborn Memorial Book Award (as contributing author, 2017) Burnett is an active mentor and academic leader. She founded and led the Global Tea Initiative (2015–2023), now the Global Tea Institute, and established the Global Tea Studies book series with Brill. She has supervised numerous exhibitions at UC Davis, often featuring tea-related art and material culture. Her work includes significant public outreach and media engagement, demonstrating her commitment to disseminating knowledge beyond academia. She has secured recognition for her innovative integration of research, teaching, and community building around the theme of tea. Labs and Research Initiatives: Founder and Director, Global Tea Institute for the Study of Tea Culture and Science (2023–present) Founder and Director, Global Tea Initiative for the Study of Tea Culture and Science (2015–2023) Founder and Director, Global Tea Institute Collection of Art and Material Culture, UC Davis (2014–present) Faculty Leader, All Things Tea Research Cluster (2012–2015)

• Chinese Art History
• Seventeenth-Century Chinese Art Theory and Criticism
• Art Collecting and Display
• +8 more

Mia Yinxing Liu is Associate Professor in History of Art and Visual Culture at California College of the Arts, specializing in Chinese cinema, photography, and intermedial dialogues in modern Chinese visual culture. Her research examines how traditional Chinese aesthetics manifest in contemporary media, particularly exploring connections between ink painting traditions and modern photographic practices. Liu's scholarly contributions have been recognized through prestigious fellowships including the Getty Scholar award and Sydney China Fellowship. Her first book, 'The Literati Lens' (2019), received the Millard Meiss Publication Fund Award from the College Art Association. Notable awards: Getty Scholar (2020) Sydney China Fellow (2020) Millard Meiss Publication Fund Award (2019) Postdoctorate Fellowship at Yale University (2013) Education includes PhD in Art History from University of Chicago and previous academic positions at Yale University and Bates College.

• Chinese Cinema
• Photography History
• Intermedial Studies
• +2 more

Dr Frances Wood is a Researcher affiliated with SOAS University of London and the British Library. She holds a PhD in Chinese domestic architecture from SOAS (1984) and a BA from Peking University. Her career spans over 35 years, focusing on Chinese cultural heritage, historical preservation, and the Silk Road. Education: PhD in Chinese Domestic Architecture (SOAS, 1984), BA in Chinese (Peking University), and foundational studies at Cambridge University and Beijing Language Institute. Research interests center on Chinese architectural history, Silk Road cultural exchanges, and the preservation of historical collections. She pioneered digitization of the Stein Dunhuang collection at the British Library and authored over 20 books including Did Marco Polo Go to China? (1996) and The First Emperor (2007). Recent work explores transnational intellectual networks through Mah-jong in Maida Vale (2021). Awards include the 2023 Special Book Award from China’s National Press Administration. She lectures globally and holds leadership roles such as Vice-president of the Society for Anglo-Chinese Understanding (SACU).

• Chinese History
• Architecture
• Cultural Heritage
• +3 more

Dora C. Y. Ching is the Executive Director of the P.Y. and Kinmay W. Tang Center for East Asian Art at Princeton University, a role she has held since 2002. She holds an affiliation with the Department of Art & Archaeology and is a leading scholar in Chinese portraiture, emphasizing cultural distinctions from Western traditions. Her work spans curatorial projects, academic editing, and research on Ming dynasty imperial imagery and Dunhuang Buddhist art. Educated at Princeton University, she earned her Ph.D. in 2011. Her research explores themes such as family portraiture in Chinese art, the intersection of Tibetan Buddhism and Ming imperial identity, and the aesthetics of calligraphy. She has curated major exhibitions and contributed to over a dozen edited volumes, including The Family Model in Chinese Art and Culture (2013). Ching’s current projects include expanding her Ming dynasty portraiture dissertation into a definitive study and co-editing a six-volume publication on the Lo Archive of Dunhuang photographs. Her work bridges historical analysis with contemporary art curation, reflecting her interdisciplinary approach to East Asian art history. She received the 2023 Association for Asian Studies Book Prize for her scholarly contributions. Her career combines academic research with institutional leadership, shaping the field through exhibitions, publications, and symposia.

• Chinese Art History
• Ming Dynasty Art
• Buddhist Art
• +3 more

Professor Peter Sturman is a faculty member in the Department of Art History at the University of California, Santa Barbara (UCSB), within the College of Letters and Science. His expertise focuses on Chinese painting and calligraphy, particularly text-image relationships across historical periods. He holds a B.A. from Stanford University and an M.A. and Ph.D. from Yale University. His research emphasizes Northern Song literati culture, Song-Yuan transition art, and 17th-century Chinese painting/calligraphy. Notable works include Mi Fu: Style and the Art of Calligraphy in Northern Song China (1997) and The Artful Recluse (2012), which won the Alfred H. Barr Jr. Award. Current projects include a book on late Northern Song literati painting and collaborative studies on Xu Wei, a Ming-dynasty artist. Publications span topics like Huizong's court art, Li Cheng's landscape iconography, Mongol reunification's impact on art, and Tang-Song scroll analysis. He organized international conferences, including a Song dynasty painting conference in Hangzhou (2014). Awards: Alfred H. Barr Jr. Award for The Artful Recluse Advising: No listed advisees. Current projects include collaborative research and book projects. Labs/Teams: No dedicated lab mentioned, but collaborates on Xu Wei studies.

• Chinese Art
• Art History
• Text-Image Relationships
• +3 more

Mia Yinxing Liu is an Assistant Professor in the Department of the History of Art at Johns Hopkins University, affiliated with the Krieger School of Arts & Sciences. She holds a PhD from the University of Chicago and specializes in modern and contemporary Chinese art, cinema, and media culture. Her research explores the interplay between traditional and modern media, diaspora, and political contexts in Chinese artistic practices. Education: PhD in History of Art, University of Chicago Her current research focuses on intermedial dialogues between photography and ink painting in 20th-century China, exemplified by her book manuscript on Lang Jingshan and Zhang Daqian. She has been awarded the Taiwan Fellow (2017) and Getty Scholar (2021). Her work bridges global and local perspectives, analyzing diasporic communities and transregional exchanges in modern Chinese art. Key Projects: The Literati Lenses (2019): Examines cinematic representations of landscape and censorship in Mao-era China. In-progress documentary Les Ombres Chinoises , exploring rural shadow theater traditions. Awards & Recognition: Taiwan Fellow (2017) Getty Scholar (2021) Grants & Affiliations: Supported by institutions including the Getty Research Institute. Guest curator at the Asian Art Museum, San Francisco. Her interdisciplinary approach integrates art history, cultural studies, and film analysis, with future projects addressing women’s voices in cinema and the concept of shadow in Chinese art.

• Modern and Contemporary Chinese Art
• Cinema Studies
• Media Culture
• +3 more

Michael J. Hatch is an Assistant Professor of East Asian art history at Miami University, Ohio. He specializes in Chinese painting from the 18th to 21st centuries, focusing on theories of painting, modernity in China, and the historiography of Chinese art. His research explores sensuous modes of appreciating literati painting (1100–1900 CE) and the role of senses like touch, hearing, and smell in art critique. He also investigates linearity and brushwork in early modern/modern Chinese painting. Hatch holds a Ph.D. (2015) and has professional experience in museums, auction houses, and galleries. Notably, he curated Qian Du (1764–1844) and Style in Qing Dynasty Landscape Painting at Princeton University Art Museum (2012). He has contributed art criticism to The Brooklyn Rail , Artforum International , and Yishu . From 2006–2008, he worked in Beijing at China Guardian Auction House and previously at New York’s Kaikodo Gallery. His publications analyze intersections between Chinese and global art, modernity, and exhibition practices. He combines academic research with curatorial and market expertise, bridging historical and contemporary art discourse.

• Chinese Art
• History of Chinese Painting
• Modernity in China
• +3 more

Professor Juliane Noth is Professor of East Asian Art History and Managing Director of the Institute of Art History at Freie Universität Berlin since 2021, with additional affiliation as Research Professor at China Institute for Visual Studies, China Academy of Art since 2020. Her academic journey includes a Heisenberg position at University of Hamburg (2019-2021), leadership of DFG research projects on Chinese painting, and teaching positions at Heidelberg University and FU Berlin. Her research focuses on 20th century Chinese art, particularly examining artistic practices during politically turbulent periods like the Cultural Revolution, and the institutional frameworks of Chinese art education. She investigates how artists navigated political constraints while developing aesthetic strategies that both conformed to and countered official frameworks. Her current major project, CHINACADEMY (2023-2028), studies leading Chinese art academies to understand their role in introducing Western art education approaches while defining the social role of modern artists in China. Professor Noth's recent publications include the award-winning monograph Transmedial Landscapes and Modern Chinese Painting (2022) and numerous articles examining Cultural Revolution art, gender representation, socialist period art education, and transnational connections in Chinese art history. Her work consistently challenges simplistic narratives about Chinese art under socialism by documenting the diversity of artistic production during these periods. Bei Shan Tang Monograph Prize (2024) for Transmedial Landscapes and Modern Chinese Painting Extensive publications in peer-reviewed journals including Art History , Twentieth-Century China , and Ars Orientalis Editor of multiple volumes on East Asian art history As an educator, Professor Noth teaches courses on 20th century East Asian art, socialist Chinese art, and specialized seminars on topics ranging from Shanghai Modern to Ming Dynasty visual culture. She supervises Master's and doctoral students through regular colloquia and provides guidance on research methodology and thesis writing. Her international connections through the China Academy of Art and extensive publication record in multiple languages reflect her commitment to transcultural art history that moves beyond Western-centric narratives.

• 20th Century Chinese Art
• Cultural Revolution Art
• Socialist Period Chinese Art
• +6 more

Quincy Ngan is an Assistant Professor of History of Art and Research Fellow at Yale University’s MacMillan Center. He holds a B.A. from the Chinese University of Hong Kong and a Ph.D. from the University of Chicago. Prior to Yale, he served as a visiting assistant professor at the University of Iowa. His research focuses on visual and material cultures of early modern China, with emphasized interests in Chinese painting, color symbolism, alchemical practices, and gender/sexuality studies. His first book project, The Matter of Color: Azurite Blue in Early Modern China , explores the interdisciplinary significance of azurite across medicinal, artistic, and socio-economic contexts. His second project examines intermedial connections between drama and painting in 14th–17th century China, informed by his co-organized ACLS-funded conference Art in Drama . Ngan teaches courses such as Chinese Painting and Culture , Gender and Sexuality in Asian Art , and Global Materiality of Color . His publications bridge scientific pigment analysis with historical and literary interpretation, challenging traditional literati-centric narratives in art history. Key grants include the ACLS-funded Art in Drama conference (2019), co-organized with Dr. Peng Xu. While no awards are explicitly listed, his work demonstrates sustained engagement with interdisciplinary research and academic leadership.

• Visual and Material Cultures of Early Modern China
• Chinese Painting
• Color Studies
• +5 more

Loreta Poškaitė is an Associate Professor and senior research fellow at the Lithuanian Culture Research Institute (LCRI) and the Institute of Asian and Transcultural Studies at Vilnius University. She has held these dual appointments since 2000, establishing herself as a leading scholar in Chinese philosophy and cross-cultural studies within the Baltic academic community. Her work bridges classical Eastern thought with contemporary Western cultural phenomena, with particular emphasis on aesthetic theory and self-cultivation practices. Her academic foundation includes: Lithuanian Academy of Music (1990): Specialized in music performance of the traditional Lithuanian instrument kanklės Lithuanian Culture Research Institute (2000): Earned Ph.D. in Philosophy with dissertation on 'The problem of Individual's Aesthetic being in classical Confucianism and Daoism' Professor Poškaitė's research explores the dynamic interplay between Chinese traditional aesthetics and global everyday aesthetics, examining how classical Daoist and Confucian concepts inform contemporary life. She investigates the reception of Chinese self-cultivation practices in Western contexts, with special attention to Lithuania as a case study for cultural adaptation. Her work on the human body in Chinese culture reveals how psychosomatic practices like qigong are transformed when transplanted into Western frameworks, challenging conventional mind-body dualisms. This research program demonstrates remarkable continuity from her early focus on classical texts to current investigations of globalization's impact on aesthetic experience. With over 70 academic publications including one monograph, Professor Poškaitė maintains a robust scholarly output that spans international and Lithuanian academic venues. Her publication trajectory shows increasing engagement with contemporary issues—particularly the globalization of Chinese cultural practices and the emergence of everyday aesthetics as a field—while maintaining deep roots in classical Chinese philosophy. This dual focus creates unique opportunities for cross-cultural dialogue, as evidenced by her work appearing in both Western philosophical journals and Chinese studies publications. Her notable research fellowships include: Research Fellowship at Xiamen University (2000-2001) Research Fellowship at Beijing University (2002-2003) Professor Poškaitė actively mentors graduate students at Vilnius University, guiding research that connects classical Chinese philosophy with contemporary cultural analysis. Her international lecturing engagements—including positions at University of Iceland, Tartu University, and Granada University—demonstrate strong collaborative networks across Europe. These connections provide students with exceptional opportunities for cross-border research and academic exchange. While specific current grants aren't detailed, her sustained publication record and editorial board positions indicate successful research funding and academic leadership. Though no dedicated laboratory is maintained, Professor Poškaitė's research thrives within the collaborative environments of LCRI's Department of Comparative Culturology and Vilnius University's Institute of Asian and Transcultural Studies. These institutional homes provide rich interdisciplinary contexts for exploring East-West philosophical dialogues, particularly regarding aesthetics, embodiment, and cultural reception. Students and collaborators benefit from her extensive network of international scholars and her commitment to rigorous comparative methodology that avoids cultural essentialism.

• Chinese Traditional Aesthetics
• Global Everyday Aesthetics
• Classical Daoist Philosophy
• +4 more