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Published: 01 April 2019
Figure 10. Zhao Boju (Chinese, 1120–1182), The Han Palace . Fan mounted as a hanging scroll, ink and colors on silk, 24.5 × 24.5 cm. National Palace Museum, Taipei.
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in One Painting, Two Emperors, and Their Cultural Agendas: Reinterpreting the Qingming Shanghe Painting of 1737
> Archives of Asian Art
Published: 01 April 2020
Figure 13. Qiu Ying, Spring Morning in the Han Palace ( Hangong chunxiao 漢宮春曉), 1542–ca. 1552. Handscroll; ink and color on silk, 30.6 × 574.1 cm. National Palace Museum, Taipei. Artwork in the public domain. Photograph: National Palace Museum.
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Published: 01 April 2017
Figure 16. Gaj Mahal (room in the Bikaner Palace); portrait of Sardar Singh, probably by Rahim, visible in the upper right over the bangala -roofed arch, albumen print, 1935–45. Udaipur Palace Collection, 2016.T.0001. Photograph: courtesy of Museum Archives of the Maharanas of Mewar, © MMCF
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in “Utterly False, Utterly Undeniable”: Visual Strategies in the Akaniṣṭha Shrine Murals of Takden Phuntsokling Monastery
> Archives of Asian Art
Published: 01 October 2017
Figure 9. Upper palace of Akaniṣṭha Heaven with crowned Buddha (detail of Figure 8 ). Photograph: author.
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in Interpreting the Eye ( ‘ain ): Poetry and Painting in the Shrine of Aḥmad Shāh al-Walī al-Bahmanī (r. 1422–1436)
> Archives of Asian Art
Published: 01 October 2017
Figure 19. Bidar Palace, pilaster decoration in the place 2 (inner court). Drawing based on photo by Dipti Khera: Vivek Gupta.
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in Gateways to Power and Paradise: Twin Towers in Early Chinese Architecture
> Archives of Asian Art
Published: 01 April 2018
Figure 3. Photograph of the archaeological site of the Shibeidi palace and its que towers. From Hua and Yang, Jiangnüshi , 2: pl. 6.
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Published: 01 April 2021
Figure 8. Zhang Zeduan, Qingming shanghe , detail. The Palace Museum, Beijing.
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Published: 01 April 2021
Figure 9. Zhang Zeduan, Qingming shanghe , detail. The Palace Museum, Beijing.
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in Gateways to Power and Paradise: Twin Towers in Early Chinese Architecture
> Archives of Asian Art
Published: 01 April 2018
Figure 2. Map of the archaeological sites of the Qin palaces. From Hua and Yang, Jiangnüshi , 1:3.
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Journal Article
Archives of Asian Art (2018) 68 (1): 67–86.
Published: 01 April 2018
...Figure 3. Photograph of the archaeological site of the Shibeidi palace and its que towers. From Hua and Yang, Jiangnüshi , 2: pl. 6. ...
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Journal Article
Archives of Asian Art (2023) 73 (1): 1–23.
Published: 01 April 2023
... in the Palace Museum, Beijing. The key to the meaning of this unique coloration lies in the poems inscribed by Shen Zhou (1427–1509) and Qian Renfu (1446–1526), as well as the socioeconomic connotations of silk, cotton, and indigo in those scholars' regions. It is argued that these paintings were made shortly...
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in One Painting, Two Emperors, and Their Cultural Agendas: Reinterpreting the Qingming Shanghe Painting of 1737
> Archives of Asian Art
Published: 01 April 2020
Figure 25. Leng Mei 冷枚 (Chinese, active early eighteenth c.), Spring Morning in the Han Palace , 1703. Handscroll; ink and color on silk, 33.4 × 800.8 cm. National Palace Museum, Taipei. Artwork in the public domain. Photograph: National Palace Museum.
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in The New Emperor's Clothes: Indigo and Allusion in Two Hongzhi Year One Paintings
> Archives of Asian Art
Published: 01 April 2023
Figure 3. Sun Ai, Silkworms and Mulberry , 1488. Hanging scroll; ink and color on paper, 65.7 × 29 cm. Palace Museum, Beijing. Photograph: Palace Museum.
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in Between Concealment and Revelation: Empress Dowager Cixi's Experiments with Representation
> Archives of Asian Art
Published: 01 April 2022
Figure 5. Yu Xunling (Chinese, ca. 1880–1943), Cixi with the Legation Ladies , 1903. Gugong Palace Museum Collection, Beijing. Photograph provided by the Palace Museum, Beijing.
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in The New Emperor's Clothes: Indigo and Allusion in Two Hongzhi Year One Paintings
> Archives of Asian Art
Published: 01 April 2023
Figure 7. Shen Zhou (Chinese, 1427–1509), Magnolia , undated. Handscroll; ink and color on paper, 34.9 × 58.8 cm. Palace Museum, Beijing. Photograph: Palace Museum.
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Published: 01 April 2017
Figure 11. Wang Yuan (active 1310–50), Peonies . Handscroll, ink on paper, 37.7 × 61.6 cm. Collection of the Palace Museum, Beijing. Photograph: Collection of the Palace Museum.
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in Between Concealment and Revelation: Empress Dowager Cixi's Experiments with Representation
> Archives of Asian Art
Published: 01 April 2022
Figure 12. Yu Xunling (Chinese, ca. 1880–1943), Formal Mirror Portrait , 1903–1905. Gugong Palace Museum Collection, Beijing. Photograph provided by the Palace Museum, Beijing.
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in Between Concealment and Revelation: Empress Dowager Cixi's Experiments with Representation
> Archives of Asian Art
Published: 01 April 2022
Figure 2. Yu Xunling (Chinese, ca. 1880–1943), Formal Portrait of the Empress Dowager Cixi , 1903. Gugong Palace Museum Collection, Beijing. Photograph provided by the Palace Museum, Beijing.
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in The New Emperor's Clothes: Indigo and Allusion in Two Hongzhi Year One Paintings
> Archives of Asian Art
Published: 01 April 2023
Figure 1. Sun Ai (Chinese, ca. 1452–1536), Cotton , 1488. Hanging scroll; ink and color on paper, 74.5 × 31.5 cm. Palace Museum, Beijing. Photograph: Palace Museum.
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in An Art of Transformation: Reproducing Yaobian Glazes in Qing-Dynasty Porcelain
> Archives of Asian Art
Published: 01 October 2018
Figure 10. Leaf from the Qing-dynasty ceramic catalog Taoci puce , ca. 1780–90, with characters 博物要覽 ( Bowu yaolan ) outlined in red. National Palace Museum, Taipei. Photograph: National Palace Museum, ed., Qianlong huangdi wenhua daye (Taipei: National Palace Museum Press, 2002), 115, pl
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