Vistopia
Wu Hung
DIGITAL LIBRARY

Wu Hung

Digital Library · 200+ items
Wu Hung was born in 1945. He is an art historian, critic, and curator. He is a professor at the University of Chicago and a fellow of the American Academy of Arts and Sciences.

About this library

Introduction: Encountering Wu Hung Through Art and Thought
Limited-time access Introduction: Encountering Wu Hung Through Art and Thought
Zheng Yan discusses Wu Hung’s scholarly life.
Audio 21:09 7 comments 2025/12/26

Break through the conventions of academic research.

With Wu Hung, recover a first sense of wonder before art,
and look anew at art and civilization.

Wu Hung

Wu Hung

Born in 1945
Art historian, critic, and curator

Professor of Art History and East Asian Languages and Civilizations and Director of the Center for the Art of East Asia at the University of Chicago; member of the American Academy of Arts and Sciences and the American Philosophical Society; and K.C. Wong Visiting Chair at Peking University.

1940s–1970s

“Seeing Art in China”

From the posters that first awakened his interest to his years as a researcher at the Palace Museum, he observed and studied the traditions of Chinese art history through a turbulent era.

1980s–2000s

“Seeing Art in America”

After earning his doctorate at Harvard and moving from Harvard to the University of Chicago, he developed art-historical research spanning antiquity and the present through subjects such as monuments and screens.

2000s–present

“Seeing Art Globally”

Working between China and the United States, he has built platforms, fostered dialogue, and explored new materials, curatorial methods, artistic sites, and global perspectives.

Wu Hung signature

Zheng Yan, professor at Peking University’s School of Arts, serves as the archive’s curator and organizes materials scattered across many sources.

He has recorded a series of introductions for general readers interested in art.

Together they offer a broad guide to Wu Hung’s rich body of research.

Zheng Yan
Zheng Yan

Professor, School of Arts, Peking University

Curator of the Wu Hung Digital Library

Across audio, video, essays, and images, the archive includes Chinese- and English-language courses, public lectures, memoirs, and more.

Newly edited and produced by Vistopia, the materials are presented as a coherent collection.

Four areas and more than 200 items, including—

Three new items each week, excluding public holidays

20+ items

“Wu Hung’s World of Art”

Why is art indispensable to life? Begin with the archive’s key works and discover how Wu Hung entered the history of art.

100+ items

“Art Across Time and Space”

Through images, space, materiality, and ways of seeing, examine how art and history travel through time and illuminate each other.

50+ items

“Ancient Art”

Combine archaeology and art history to reconsider tombs, ritual, images, space, and the traditions of Chinese art.

40+ items

“Contemporary Art and the Site”

Focus on exhibitions, artists, experimental art, and encounters on site to rethink visual culture and contemporary practice.

More

Chronology and Bibliography

An authoritative chronology and bibliography for readers who wish to explore further.

My greatest interest is really people: people in art, behind art, and before art. It is all about people. — Wu Hung

Subscription benefits

Digital collector’s ticket

After subscribing to Wu Hung’s Digital Library, find your collector’s ticket in Vistopia App · Me · Achievements.

Wu Hung collector’s ticket

Commemorative pencil set

Set of 10
Commemorative pencil set

*Exclusive gift for the first 1,000 subscriptions*

Chronology

Wu Hung: Scholarly and Curatorial Chronology

66 years · 66 scholarly and curatorial records

Scholarly Chronology

1945

  • Born in Leshan, Sichuan, to economist Wu Baosan and Sun Jiaxiu; his elder sister is Wu Yunming.

1950

  • Moved with his parents to Beijing.

1951

  • Entered Baofusi Primary School, now Zhongguancun No. 1 Primary School.

1957

  • Graduated from Baofusi Primary School and entered Beijing 101 Middle School.

1963

  • Entered the Central Academy of Fine Arts as a member of its second undergraduate cohort in art history.

1968

  • Received a bachelor’s degree from the Department of Art History at the Central Academy of Fine Arts.

1972–1978

  • Worked in the painting-and-calligraphy and epigraphy divisions of the Palace Museum.

1978

  • Returned to the Central Academy of Fine Arts for graduate study under Jin Weinuo, joining its first art-history master’s cohort. Published early studies of jade carving, artifacts from the Zhongshan state, and Qin weights.

1980

  • Went to Harvard University and became the first doctoral student from mainland China recruited by archaeologist and anthropologist K. C. Chang.

1984

  • Began organizing exhibitions of Chinese artists at Harvard’s Adams House, including Chen Danqing, Mu Xin, Zhang Hongtu, Weng Rulan, Qiu Deshu, Zhang Jianjun, Luo Zhongli, and Chinese Artists in America. A detailed curatorial chronology follows below.

1987

  • Graduated from Harvard with doctorates in art history and anthropology and joined Harvard’s Department of Fine Arts.

1989

  • Stanford University Press published The Wu Liang Shrine: The Ideology of Early Chinese Pictorial Art, developed from his dissertation.

1990

  • The Wu Liang Shrine received the Association for Asian Studies’ Joseph Levenson Book Prize.

1994

  • Received tenure at Harvard and became the Harrie A. Vanderstappen Distinguished Service Professor in Art History and East Asian Languages and Civilizations at the University of Chicago.

1996

  • Stanford University Press published Monumentality in Early Chinese Art and Architecture.

1997

  • The University of Chicago Press published The Double Screen: Medium and Representation in Chinese Painting. He contributed to Three Thousand Years of Chinese Painting and, later, Chinese Sculpture, and organized a symposium on ruins in Chinese visual culture.

1999

  • Launched the three-year Art and Archaeology between Han and Tang project with Luce Foundation support; its first conference addressed religious art and archaeology, followed by an edited volume. Received a Guggenheim Fellowship. Artforum named Monumentality one of the best books of the 1990s.

2000

  • Convened the second Art and Archaeology between Han and Tang conference on cultural interaction and edited its proceedings. The University of Chicago Press published Exhibiting Experimental Art in China.

2001

  • Convened the project’s third conference on secular art and material culture and later edited Visual and Material Culture between the Han and Tang.

2002

  • Founded and became director of the Center for the Art of East Asia at the University of Chicago and consulting curator at the Smart Museum of Art. Edited Chinese Art at the Crossroads and curated the First Guangzhou Triennial, Reinterpretation: A Decade of Experimental Chinese Art (1990–2000).

2003

  • Served as a visiting chair professor at Peking University.

2005

  • Published Remaking Beijing, Body and Face in Chinese Visual Culture, and Transience. Took part in the Central Academy of Fine Arts symposium “Questioning Wu Hung”; the Chinese essay collection Works and Exhibition Sites appeared.

2006

  • The Chinese edition of The Wu Liang Shrine was published and later reissued in 2015.

2007

  • Was elected a fellow of the American Academy of Arts and Sciences and received the University of Chicago’s Faculty Award for Excellence in Graduate Teaching.

2008

  • Received the College Art Association’s Distinguished Teaching of Art History Award and joined the Robert H. N. Ho Family Foundation advisory board. Published Going My Own Way and Ten Discussions on Art History. With Budi Tek, launched the Bali Conversations, an ongoing forum for artists, collectors, curators, and scholars whose discussions were published in four volumes.

2009

  • The Chinese Monumentality appeared. With Zheng Yan, initiated the International Conference on Ancient Tomb Art. Edited Making History: Wu Hung on Contemporary Art.

2010

  • Edited Reinventing the Past: Archaism and Antiquarianism in Chinese Art and Visual Culture. Published The Art of the Yellow Springs and Contemporary Chinese Art: Primary Documents; a Chinese Yellow Springs followed. Joined the advisory council of New York University’s Institute for the Study of the Ancient World.

2011

  • Published Waste Not: The People’s Contemporary Art. Co-organized the second Ancient Tomb Art conference and co-edited its first volume. Held NYU’s Kirk Varnedoe Visiting Professorship in 2011–12 and joined the Guggenheim Museum’s Asian Art Council.

2012

  • Was elected to the American Philosophical Society and received research fellowships from the ACLS, SSRC, and NEH. Became chair of the NYU Institute of Fine Arts advisory council. Princeton University Press published A Story of Ruins, followed by its Chinese edition.

2013

  • Co-authored The Liao Tomb at Baoshan with Li Qingquan, co-organized the third Ancient Tomb Art conference, and co-edited the series’ second volume.

2014

  • Published the Chinese RongRong’s East Village and edited Painting in Action: Notes on Liu Xiaodong, 1998–2014.

2015

  • Co-edited Ancient Tomb Art, volume 3, and convened the fourth conference. Fudan University named him a Guanghua Distinguished Scholar. The first OCAT Wu Hung Workshop examined monumentality and ruins. Modern Media honored him as a “Builder of the National Spirit.”

2016

  • Delivered Oxford University’s prestigious Slade Lectures—eight lectures on “Space in Art History: The Untold Story of Women in Chinese Painting.” A second OCAT workshop explored reconstructing art history; he gave OCAT’s annual lectures on spatial art history. Chinese Exhibiting Experimental Art in China and the English Zooming In: Histories of Photography in China were published. An international conference at the University of Chicago honored his scholarship.

2017

  • Published Chinese Art in a Global Context. Co-edited Ancient Tomb Art, volume 4, and convened the fifth conference.

2018

  • Was named the College Art Association’s Distinguished Scholar. Chinese editions of Zooming In and A History of Art in “Space” were published.

2019

  • Received an honorary doctorate from Harvard and an NEH fellowship. Published or co-authored Refiguring East Asian Religious Art, Feminine Space in Chinese Painting, and The Allure of Matter. Delivered the National Gallery of Art’s six Mellon Lectures on Chinese art and dynastic time. Two volumes of his art-history essays appeared, and the sixth and final Ancient Tomb Art conference was held.

2020

  • Co-edited World 3: Overseas Studies of Chinese Art. Three more volumes of collected art-history essays appeared, along with The First Class: Teaching Chinese Art History at Harvard and Chicago.

2021

  • Published The Full-Length Mirror: A Short Global History, World 3: Art History and Museums, and Where Is the Broken Stele? Gave lecture series for Peking University, the University of Chicago, and the Chinese National Academy of Arts on archaeological landscapes, destruction and reconstruction, and the puzzle of Wu Daozi.

2022

  • Received the College Art Association’s Lifetime Achievement Award for Distinguished Writing on Art. Became honorary director of OCAT Shenzhen and OCAT Institute. Published Spatial Dunhuang, Chinese Painting: From Antiquity to the Tang, Chinese Art and Dynastic Time, The Leopard, four volumes on experimental contemporary art, Ancient Tomb Art volume 5, and Comparative Sites. Convened “Materiality and Affect: Emotion in Chinese Art”; Reaktion Books published The Full-Length Mirror.

2023

  • Edited Art and Materiality and published Chinese Painting: Five Dynasties to Southern Song. Became a K. C. Wang visiting chair professor at Peking University, where he delivered seven “Journeying through Art across Time and Space” lectures. Gave a three-part Shandong University series and received Peking University’s Shiying Philosophy Prize for Academic Achievement.

2024

  • Edited Ritual and Devotion, published Landscapes between Heaven and Humanity, Thinking about Scale, and Encounters. Gave eight Peking University lectures, a Tsinghua lecture on the archaeology of emotion, and advised the Dunhuang contemporary-art exhibition “Dunhuang Realms.” Joined a University of Chicago symposium on Longmen Grottoes and co-edited Ancient Tomb Art, volume 6.

2025

  • Edited four further volumes in the Chinese Material Art series—Materials and Genealogies, Time and Temperature, Local and Global, and Dialogues of Materials. Published Chinese Painting: From Antiquity to the Tang and Vivid: Discovering Art while Wandering. Lectured at the China Academy of Art and Peking University. UCCA presented a documentary exhibition for his eightieth birthday. The Wu Hung Digital Library went online in December.

Curatorial Chronology

2025

  • Curated “Models of the Cosmos: Reimagining Dunhuang’s Library Cave—Works by Xie Xiaoze” at Ditan Park, and “Amber of History,” another Xie Xiaoze exhibition, at the Tsinghua University Art Museum and Pingshan Art Museum in Shenzhen.

2024

  • Curated Yin Xiuzhen: Sky Patch at the Power Station of Art; Shen Shaomin: Rice—Poetry Swallowed into the Stomach at Jiayuanhai Art Museum; Beyond Documentary at Guardian Art Center; Ceramics: Material and Narrative at the Smart Museum; and Peng Wei: Feminine Space at the Guangdong Museum of Art.

2019

  • Co-curated Stars 1979 and OCAT’s research-exhibition finalists. Curated The Painted Screen in Chicago’s Beijing Center; Luo Zhongli: The Course of Art in Chongqing; The Painted Screen: Tradition and Future in Suzhou; Double Duet: Tan Ping Retrospective in Shanghai; and the touring US exhibition The Allure of Matter: Material Art from China.

2018

  • Curated Forty Years of Chinese Contemporary Photography at OCAT Shenzhen and co-organized OCAT’s research-exhibition finalists. The photography exhibition had opened at Three Shadows in Beijing in 2017.

2017

  • Co-curated Contemporary Chinese Photography at Tokyo’s Mori Art Museum. Curated Daydream Forest: Wu Jian’an’s Image World, Wang Dongling: Bamboo Path, and Wang Huangsheng: Boundary/Space.

2016

  • Curated Portent: New Work by Wu Jian’an; Permanence and Impermanence: New Work by Zhang Dali; Exhibiting Experimental Art in China; and Twin Tracks: Yang Fudong Solo Exhibition.

2015

  • Curated Myth/History II and Shanghai Galaxy at the Yuz Museum, and RongRong’s East Village at the Smart Museum.

2014

  • Curated Myth/History I and Inspired by the Opera: Contemporary Chinese Photography and Video; co-curated Yang Fudong: East of the Que Village.

2013

  • Curated Liu Hong: Crane and Butterfly and Wang Luyan: Diagrams and Fables.

2012

  • Curated Xu Weixin: Seven Miners at the University of Chicago Center in Beijing.

2011

  • Curated Ye Yongqing: Broken Flow, Zhu Ming: Mountain Rock Series, and Wang Luyan: Paradox—Political Fable.

2010

  • Curated exhibitions devoted to Zhan Wang, Bingyi, Zhang Dali, Zeng Hao, Zeng Fanzhi, and Gao Lei, as well as Re-Imagining the Real, a four-artist photography exhibition in Jakarta.

2009

  • Co-organized Liu Xiaodong’s documentary exhibition and Song Dong: Waste Not at MoMA. Curated Sui Jianguo: The Tension of Movement; Lu Hao: The Present City; A Conversation with Chicago: Contemporary Sculpture from China; and Conversing with the Ancients: Photographs by Hong Lei.

2008

  • Curated Displacement: The Three Gorges Dam and Contemporary Chinese Art and exhibitions by Liu Hong, Lin Shumin, Shi Jinsong, and Xia Xiaowan; co-curated Zhang Xiaotao and Li Yifan’s Micro-Narratives and Re-imagining Asia. Also organized 2D/3D, RongRong and inri’s Six Villages to Three Shadows, and Portraying Food (and Its Absence).

2007

  • Co-curated Ten Years of New Photography. Curated Web: Reimagining Culture and Time-Space; Miao Xiaochun: H2O; Shen Shaomin: Between Heaven and Humanity; Mo Yi: My Neighborhood; Lin Shumin: Streaming; and Hong Lei: Seven Sages.

2006

  • Served as chief curator of the first chapter, “Trace Root: Unfolding Asian Stories,” at the Sixth Gwangju Biennale. Curated Shu: Reinventing Books in Contemporary Chinese Art and exhibitions by Zhu Jinshi and Tan Ping, Miao Xiaochun, and Zhang Dali.

2005

  • Curated Zhang Dali: Sublimation; Waste Not: Zhao Xiangyuan and Song Dong; and Beyond: Recent Photographs by RongRong & inri. Served as chief curator of About Beauty at Berlin’s House of World Cultures.

2004

  • Curated Phantasmagoria: Recent Photographs by Miao Xiaochun; Xu Bing: Tobacco Project, Shanghai; Intersection; and RongRong and inri’s Transformation. Co-curated Visual Performance and the international touring exhibition Between Past and Future: New Photography and Video from China.

2002

  • Curated the First Guangzhou Triennial, Reinterpretation; Variations of Ink in New York; and co-curated The Art of Mu Xin and Heaven and Earth: New Visions of China.

2000

  • Curated Canceled: Exhibiting Experimental Art in China at the Smart Museum and First Encounter: Lu Shengzhong in New York.

1999

  • Curated Transience: Experimental Chinese Art at the End of the Twentieth Century at the Smart Museum.

1986

  • Curated Chinese Artists in America at Harvard’s Adams House, presenting twelve artists including Li Quanwu, Han Xin, Jin Gao, Tang Xiaoming, Chen Danqing, and Zhang Hongtu.

1985

  • Curated Oil Paintings by Luo Zhongli, Zhang Jianjun: Landscape Impressions, and Qiu Deshu: Fission at Adams House.

1984

  • Curated Weng Rulan: Minority Images, Zhang Hongtu: Variations on Dunhuang Themes, Mu Xin: Images of the Mind, and Chen Danqing: Tibetan Paintings at Adams House.

Bibliography

Affect and Materiality: Emotion in Chinese Art
Affect and Materiality: Emotion in Chinese Art
2025年11月
生动:在漫游中发现艺术
生动:在漫游中发现艺术
2025年10月
材料的对话:中国材质艺术
材料的对话:中国材质艺术
2025年10月
“空间”的美术史
“空间”的美术史
2025年9月
本土与全球:中国材质艺术
本土与全球:中国材质艺术
2025年8月
时间与温度:中国材质艺术
时间与温度:中国材质艺术
2025年4月
我们家:一滴水映照的历史
我们家:一滴水映照的历史
2025年4月
中国绘画:元至清
中国绘画:元至清
2025年3月
材料与谱系:中国材质艺术
材料与谱系:中国材质艺术
2025年1月
古代墓葬美术研究(第六辑)
古代墓葬美术研究(第六辑)
2024年12月
偶遇: 在漫游中感知艺术
偶遇: 在漫游中感知艺术
2024年9月
全球景观中的中国古代艺术
全球景观中的中国古代艺术
2024年7月
了不起的敦煌
了不起的敦煌
2024年7月
天人之际:考古美术视野中的山水
天人之际:考古美术视野中的山水
2024年4月
思考尺度:巫鸿美术史文集卷七
思考尺度:巫鸿美术史文集卷七
2024年4月
礼仪与奉献:中国材质艺术
礼仪与奉献:中国材质艺术
2024年4月
宝山辽墓:材料与释读(修订版)
宝山辽墓:材料与释读(修订版)
2023年7月
中国绘画:五代至南宋
中国绘画:五代至南宋
2023年6月
艺术与物性:中国材质艺术
艺术与物性:中国材质艺术
2023年5月
The Full-Length Mirror
The Full-Length Mirror
2022年11月
比较场所 : 巫鸿美术史文集卷六
比较场所 : 巫鸿美术史文集卷六
2022年10月
古代墓葬美术研究 (第五辑)
古代墓葬美术研究 (第五辑)
2022年7月
世界3 : 图像志文献库
世界3 : 图像志文献库
2022年7月
关键在于实验 : 巫鸿中国当代艺术文集
关键在于实验 : 巫鸿中国当代艺术文集
2022年6月
豹迹:与记忆有关
豹迹:与记忆有关
2022年6月
Chinese Art and Dynastic Time
Chinese Art and Dynastic Time
2022年4月
中国绘画:远古至唐
中国绘画:远古至唐
2022年3月
空间的敦煌:走近莫高窟
空间的敦煌:走近莫高窟
2022年1月
世界3 : 艺术史与博物馆
世界3 : 艺术史与博物馆
2021年6月
残碑何在 : 巫鸿美术史文集卷五
残碑何在 : 巫鸿美术史文集卷五
2021年6月
物·画·影: 穿衣镜全球小史
物·画·影: 穿衣镜全球小史
2021年5月
物绘同源:中国古代的屏与画
物绘同源:中国古代的屏与画
2021年3月
无形之神 : 巫鸿美术史文集卷四
无形之神 : 巫鸿美术史文集卷四
2020年7月
第一堂课:在哈佛、芝大和北大教中国美术史
第一堂课:在哈佛、芝大和北大教中国美术史
2020年5月
世界3 : 海外中国艺术史研究
世界3 : 海外中国艺术史研究
2020年1月
陈规再造 : 巫鸿美术史文集卷三
陈规再造 : 巫鸿美术史文集卷三
2020年1月
中国当代摄影四十年
中国当代摄影四十年
2020年1月
传统革新:巫鸿美术史文集卷一
传统革新:巫鸿美术史文集卷一
2019年7月
超越大限:巫鸿美术史文集卷二
超越大限:巫鸿美术史文集卷二
2019年7月
The Allure of Matter: Material Art from China
The Allure of Matter: Material Art from China
2019年5月
Refiguring East Asian Religious Art: Buddhist Devotion and Funerary Practice
Refiguring East Asian Religious Art: Buddhist Devotion and Funerary Practice
2019年1月
中国绘画中的“女性空间”
中国绘画中的“女性空间”
2019年1月
王冬龄:竹径
王冬龄:竹径
2018年10月
On Chinese Art: Cases and Concepts(Volume2:Prehistoric to Han)
On Chinese Art: Cases and Concepts(Volume2:Prehistoric to Han)
2018年1月
聚焦:摄影在中国
聚焦:摄影在中国
2017年12月
遗址与图像
遗址与图像
2017年12月
中国古代艺术与建筑中的“纪念碑性”
中国古代艺术与建筑中的“纪念碑性”
2017年7月
废墟的故事:中国美术和视觉文化中的“在场”与“缺席”
废墟的故事:中国美术和视觉文化中的“在场”与“缺席”
2017年7月
古代墓葬美术研究 (第四辑)
古代墓葬美术研究 (第四辑)
2017年6月
On Chinese Art: Cases and Concepts(Vol. 1: Methodological Reflections)
On Chinese Art: Cases and Concepts(Vol. 1: Methodological Reflections)
2016年11月
关于展览的展览:90年代的实验艺术展示
关于展览的展览:90年代的实验艺术展示
2016年7月
礼仪中的美术: 巫鸿中国古代美术史文编
礼仪中的美术: 巫鸿中国古代美术史文编
2016年6月
美术史十议
美术史十议
2016年1月
黄泉下的美术:宏观中国古代墓葬
黄泉下的美术:宏观中国古代墓葬
2016年1月
南辕北辙
南辕北辙
2015年8月
古代墓葬美术研究(第三辑)
古代墓葬美术研究(第三辑)
2015年7月
武梁祠: 中国古代画像艺术的思想性
武梁祠: 中国古代画像艺术的思想性
2015年5月
Contemporary Chinese Art:A History(1970s-2000s)
Contemporary Chinese Art:A History(1970s-2000s)
2014年10月
行动中的绘画:刘小东笔记(1998—2014)
行动中的绘画:刘小东笔记(1998—2014)
2014年8月
中国艺术与文化
中国艺术与文化
2014年2月
2013巴厘岛对话:当代艺术的实践:美术馆、收藏与研究
2013巴厘岛对话:当代艺术的实践:美术馆、收藏与研究
2014年1月
荣荣的东村:中国实验艺术的瞬间
荣荣的东村:中国实验艺术的瞬间
2014年1月
古代墓葬美术研究(第二辑)
古代墓葬美术研究(第二辑)
2013年8月
2012巴厘岛对话:对话收藏家与美术馆
2012巴厘岛对话:对话收藏家与美术馆
2013年7月
Tenth-Century China and Beyond:Art and Visual Culture in a Multi-centered Age
Tenth-Century China and Beyond:Art and Visual Culture in a Multi-centered Age
2013年4月
2011巴厘岛对话:当代艺术的知识生产
2011巴厘岛对话:当代艺术的知识生产
2012年8月
古代墓葬美术研究(第一辑)
古代墓葬美术研究(第一辑)
2011年9月
隋建国:运动的张力
隋建国:运动的张力
2011年9月
2010巴厘岛对话:当代艺术是个敞开的屋子
2010巴厘岛对话:当代艺术是个敞开的屋子
2011年7月
物尽其用:老百姓的当代艺术
物尽其用:老百姓的当代艺术
2011年4月
汉唐之间文化艺术的互动与交融
汉唐之间文化艺术的互动与交融
2011年
Contemporary Chinese Art: Primary Documents
Contemporary Chinese Art: Primary Documents
2010年10月
Reinventing the Past: Archaism and Antiquarianism in Chinese Art and Visual Culture
Reinventing the Past: Archaism and Antiquarianism in Chinese Art and Visual Culture
2010年
重屏:中国绘画中的媒材与再现
重屏:中国绘画中的媒材与再现
2009年12月
张洹工作室:艺术与劳动
张洹工作室:艺术与劳动
2009年4月
走自己的路:巫鸿论中国当代艺术家
走自己的路:巫鸿论中国当代艺术家
2008年5月
Making History: Wu Hung on Contemporary Art
Making History: Wu Hung on Contemporary Art
2007年7月
中国古代雕塑
中国古代雕塑
2006年8月
徐冰:烟草计划
徐冰:烟草计划
2006年7月
Shu : Reinventing Books in Contemporary Chinese Art
Shu : Reinventing Books in Contemporary Chinese Art
2006年1月
 Transience : Chinese Experimental Art at the End of the Twentieth Century
Transience : Chinese Experimental Art at the End of the Twentieth Century
2005年12月
作品与展场:巫鸿论中国当代艺术
作品与展场:巫鸿论中国当代艺术
2005年12月
Body and Face in Chinese Visual Culture
Body and Face in Chinese Visual Culture
2005年7月
Remaking Beijing: Tiananmen Square and the Creation of a Political Space
Remaking Beijing: Tiananmen Square and the Creation of a Political Space
2005年
汉唐之间的视觉文化与物质文化
汉唐之间的视觉文化与物质文化
2003年12月
首届广州三年展:重新解读:中国实验艺术十年
首届广州三年展:重新解读:中国实验艺术十年
2002年11月
Chinese Art at the Crossroads: Between Past and Future, Between East and West
Chinese Art at the Crossroads: Between Past and Future, Between East and West
2002年4月
汉唐之间文化艺术的互动与交融
汉唐之间文化艺术的互动与交融
2001年9月
汉唐之间的宗教艺术与考古
汉唐之间的宗教艺术与考古
2000年1月
The Cambridge History of Ancient China:From the Origins of Civilization to 221 BC
The Cambridge History of Ancient China:From the Origins of Civilization to 221 BC
1999年3月
The Double Screen:Medium and Representation in Chinese Painting
The Double Screen:Medium and Representation in Chinese Painting
1997年2月
中国绘画三千年
中国绘画三千年
1997年1月
Monumentality in Early Chinese Art and Architecture
Monumentality in Early Chinese Art and Architecture
1996年4月
The Wu Liang Shrine:Ideology of Early Chinese Pictorial Art
The Wu Liang Shrine:Ideology of Early Chinese Pictorial Art
1989年10月

Subscription information

A Digital Library is an annual subscription. From the day your subscription begins, you can access all content in that scholar’s library for one year.

Each library contains an extensive and growing collection of audio, video, and written material. New items are added regularly, excluding public holidays.

This is a virtual online service. Once access has been activated, the subscription cannot be refunded.

Because of licensing restrictions, Digital Libraries are not included in Vistopia membership listening benefits. Members receive an exclusive subscription price.