Vol. 51-55

VOLUME 51, 1/2 (1991)

  • A Northern Wei Painted Coffin
    Patricia Eichenbaum Karetzky and Alexander Soper
  • The Taotie Reconsidered: Meanings and Functions of the Shang Theriomorphic Imagery
    Ladislav Kesner
  • The Alaeddin Mosque in Konya Reconsidered
    Scott Redford
  • Images of Agastya in Nepal
    Carol Radcliffe Bolon
  • Images of Divine Kings from the Muktesvara Temple, Bhubaneswar
    Walter Smith
  • The Sava-Vahana as Purusha in Orissan Images: Camunda to Kali/Tara
    Thomas Eugene Donaldson

VOLUME 51, 3/4 (1991)

  • Antecedents of Sui-Tang Burial Practices in Shaanxi
    Mary H. Fong
  • Yen Li-Pen, Yen Li-Te, Yen P’i, Yen Ch’ing: Three Generations in Three Dynasties
    Alexander Coburn Soper
  • A Study of the “Ox-Herding Theme” as Sculptures at Mt. Baoding in Dazu County, Sichuan
    Henrik H. Sørensen
  • Arhats in the Treetops
    Charles Lachman
  • The Problem of Retouching in Ancient Chinese Paintings or Trying to See through Centuries
    Joan Stanley-Baker
  • A Heterodox Painting of Shussan Shaka in Late Tokugawa Japan: Part I
    Patricia J. Graham

VOLUME 52, 1/2 (1992)

  • The King and the Goddess: The Nolamba Period Laksmanesvara Temple at Avani
    Andrew L. Cohen
  • A Brick Temple of the Ninth Century
    Michael D. Willis
  • A New Interpretation of “Panca-Ganesa” Sculptures
    Y. Krishan
  • Ox-Herding Painting in the Sung Dynasty
    Scarlett Ju-Yu Jang
  • Further Observations on the Yuan Wall Painter Zhu Haogu and the Relationship of the Chunyang Hall Wall Paintings to “The Maitreya Paradise” at the ROM
    Ka Bo Tsang
  • A Document on Himalayan Painting
    Mary Shepherd Slusser
  • A Heterodox Painting of Shussan Shaka in Late Tokugawa Japan
    Patricia J. Graham


  • The Kishangarh Artist Bhavani Das
    Toby Falk
  • Some Unknown Works by Kawanabe Kyôsai
    Hugo K. Weihe

VOLUME 52, 3/4 (1992)

  • The Shi Ke xu: Reconsideration of an Inscribed Late Western Zhou Ritual Vessel
    Yang Xiaoneng
  • Shen Zhou’s Collection of Early Ming Paintings and the Origins of the Wu School’s Eclectic Revivalism
    Kathlyn Liscomb
  • The Arhats in China and Tibet
    Stephen Little
  • Overpainting in the Cleveland Tutinama
    John Seyller
  • Le prince Salim à la chasse: une miniature inédite peinte à Allahabad
    Amina Okada
  • Chong Son (1676-1759): His Life and Career
    Kumja Paik Kim

VOLUME 53, 1/2 (1993)

  • The Rise of Portraiture in Chinese Art
    Dietrich Seckel
  • Gold in the Ancient World: A Cultural Puzzle
    Emma C. Bunker
  • Concerning the Inscription “May Sons and Grandsons Eternally Use This [Vessel]”
    Minao Hayashi
  • Readings and Re-Readings of Narrative in Dunhuang Murals
    Hsio-yen Shih
  • VERB. SAP. on Asuka Bronze or, Who Would Be a Museum Curator?
    William Watson
  • The Epitaphs of Two Chan Patriarchs
    Jan Fontein
  • The “Great Stupa” at Alchi
    Roger Goepper
  • The Door Paintings in the Phoenix Hall of the Byodoin as Yamatoe
    Terukazu Akiyama
  • Li Gonglin’s Copy of Wei Yan’s Pasturing Horses
    Richard Edwards
  • Recent Studies on Zhao Mengfu’s Painting in China
    Chu-Tsing Li
  • Yan Hui, Zhong Kui, Demons and The New Year
    Sherman E. Lee
  • Tang Yin and Wen Zhengming as Artist Types: A Reconsideration
    James Cahill
  • Woman Painters of the Ming Dynasty
    Tseng Yuho
  • The Taiheiki Emaki: The Use of the Past
    Miyeko Murase
  • The Modern Chinese Art Debate
    Wen C. Fong

VOLUME 53, 3/4 (1993)

  • The Origins and Development of the Pensive Bodhisattva Images of Asia
    Junghee Lee
  • The Iconography of Shaka’s Sermon on the Vulture Peak and its Art Historical Meaning
    Moritaka Matsumoto
  • Jâtakas, Universal Monarchs, and the Year 2000
    Forrest McGill
  • Die Juwelen des Ärmels
    Rose Hempel
  • The Ultraviolet-Infrared Method of Analysis: A Scientific Approach to the Study of Indian Miniatures
    Enrico Isacco and Josephine Darrah


  • A Dated Hamzanama Illustration
    John Seyller

VOLUME 54, 1/2 (1994)

  • Liao: An Architectural Tradition in the Making
    Nancy Shatzman Steinhardt
  • The Portraits of Khubilai Khan and Chabi by Anige (1245-1306), A Nepali Artist at the Yuan Court
    Anning Jing
  • Painting in Central Tibet, ca 950-1400
    Jane Casey Singer
  • Vaisravana, Dieu des richesses, Dieu des armées: A propos d’un thang-ka du Musée Guimet
    Gilles Béguin and Sylvie Colinart
  • Two Nepalese Shrines of the Saha-Period with Eclectic Characteristics
    Raimundo A. Becker-Ritterspach

VOLUME 54, 3/4 (1994)

  • An Inscribed Early Eastern Zhou Fou in the Arthur M. Sackler Collection
    Jenny F. So
  • From Bodhisattva to Buddha: The Beginning of Iconic Representation in Buddhist Art
    Ju-Hyung Rhi
  • Buddha as a Musician: An Illustration of a Jataka Story
    Bo Lawergren
  • Monumental Wall Paintings of the Assembly of the Buddha from Shanxi Province: Historiography, Iconography, Three Styles, and a New Chronology
    Michelle Baldwin
  • Niches, Columns, and Figures in some Petroglyphic Stupa Depictions of the Karakorum Highway
    Jorinde Ebert
  • Le Livre des Ornementations en usage a la Retraite des Collines de l’Est
    Nicolas Fiévé
  • Notes on Zou Zhilin
    Stephen Little
  • The Bodhisattva with a Mask
    Dorothy H. Fickle

VOLUME 55, 1/2 (1995)

  • Artibus Asiae Seventieth Anniversary
    Thomas Lawton
  • An Iconographic Study of Xiwangmu During the Han Dynasty
    Jean M. James
  • The Donkey Rider as Icon: Li Cheng and Early Chinese Landscape Painting
    Peter C. Sturman
  • Reconsidering the Identity of Ri Shubun
    Elizabeth Lillehoj
  • On Re-Identification of Andhra Buddist Jataka Relief Sculptures
    Ratan Parimoo
  • Orissan Images of Varahi, Oddiyana Marici, and Related Sow-Faced Goddesses
    Thomas E. Donaldson
  • Further Evidence of Early Painting in Mandi
    Catherine Glynn

VOLUME 55, 3/4 (1995)

  • The Harsat-Mata Temple at Abaneri: Levels of Meaning
    Cynthia Packert Atherton
  • The Artist as Antiquarian: Li Gonglin and his Study of Early Chinese Art
    Robert E. Harrist Jr.
  • Confusing Traditions: Elements of the Korean An Kyon School in Early Japanese Nanga Landscape Painting
    Burglind Jungmann
  • Farrukh Beg in the Deccan
    John Seyller
  • Traditionalism of Forgery: A Note on Persian Lacquer Painting
    Eva Baer

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