Contributors
- Contributors
ANNE BURKUS-CHASSON is associate professor of art history at the University of Illinois at Urbana-Champaign. Her research generally focuses on seventeenth-century Chinese painting and woodblock-printed books. She has a special interest in historical ways of seeing and the relation between words and images. Most recently, she has begun work in the field of environmental history as it pertains to late Ming gardens. She is the author of Through a Forest of Chancellors: Fugitive Histories in Liu Yuan’s Lingyan ge, an Illustrated Book from Seventeenth-Century Suzhou (2010).
HUI-SHU LEE is associate professor at the University of California, Los Angeles. Her field of specialization is Chinese painting and visual culture in the premodern era, with a particular focus on gender issues. She also works extensively on representations of place, cultural mapping, and garden culture. Among her publications are Exquisite Moments: West Lake and Southern Song Art (New York: China Institute, 2001) and Empresses, Art, and Agency in Song Dynasty China (Seattle: University of Washington Press, 2010). She is currently working on two book projects: transference of gender persona in Chinese painting and representations of West Lake in visual culture of the post-Song era.
LIHONG LIU is 2014–16 Andrew W. Mellon Postdoctoral Fellow at the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC. Liu obtained her doctorate from the Institute of Fine Arts at New York University in 2013. She was a postdoctoral fellow at the Getty Research Institute in 2013–14. Liu specializes in Chinese art of the Ming and Qing dynasties; her research interests include painting history, material culture, cross-cultural studies, and critical theory.
SHANG WEI is Du Family Professor of Chinese Culture at Columbia University. A specialist in early-modern Chinese fiction and culture history, he is the author of Rulin waishi and Cultural Transformation in Late Imperial China (2003) and “Writing and Speech: Rethinking the Issue of Vernaculars in Early Modern China” in Rethinking East Asian Languages, Vernaculars, and Literacies, 1000–1919 (ed. Benjamin Elman, 2014).
PETER STURMAN is professor of art history at the University of California, Santa Barbara. He specializes in the study of Chinese painting and calligraphy with a particular focus on text-image relationships. His primary focus is on literati culture of the Northern Song and its immediate aftermath, though he has also published on landscape painting of the tenth and eleventh centuries, court art of the late Northern Song, loyalist art of the Song-Yuan transition, and most recently, painting and calligraphy of the seventeenth century. Among his notable publications are Mi Fu: Style and the Art of Calligraphy in Northern Song China (Yale University Press, 1997) and The Artful Recluse: Painting, Poetry, and Politics [End Page 249] in Seventeenth-Century China (Santa Barbara Museum of Art, 2012), winner of the Alfred H. Barr Jr. Award for museum scholarship. His current projects include a book on the development of literati painting in the late Northern Song and participation in a collaborative study of Xu Wei (1521–1593), the noted Ming dynasty playwright, poet, calligrapher, and painter.
YUAN XINGPEI, professor of Chinese literature and director of the Institute for the Study of Chinese Civilization at Beijing University, is a specialist in classical Chinese literature. His research interests include classical Chinese poetry; literature of the Wei, Jin, Sui, and Tang dynasties; and the study of Tao Yuanming. His publications include The Art of Chinese Poetry (1987), Studies on Tao Yuanming (1997), The History of Chinese Literature (co-editor-in-chief, 4 volumes, 1999) and The History of Chinese Civilization (co-editorin-chief, 4 volumes, 2006; English edition, trans. and ed. David R. Knechtges, Cambridge University Press, 2012). [End Page 250]
