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Ling U

Ling U

Ling U

Ling U

Ling U
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Prof. Huiping PANG

Assistant Professor

Department of Visual Studies Lingnan University

VISUAL STUDIES Image ALT

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huipingpang@ln.edu.hk

  • Biography

    Prof. Pang teaches East Asian art history and curatorial practice at the Department of Visual Studies, Lingnan University. She holds two PhD degrees in Art History, from Stanford University and Central Academy of Fine Arts, Beijing. Before coming to Lingnan University, she was an Andrew W. Mellon Postdoctoral Fellow at the Art Institute of Chicago, and taught at the University of Iowa as a Visiting Assistant Professor of Asian Art. In addition to participating in major international symposiums, she has been invited to present her findings at leading universities with in Northern America, Europe, and Asia.


    A naturalized US citizen with multi-continental education from Taiwan (BA and MA), China (PhD), and US (PhD and postdocs), Pang’s research was supported by Smithsonian Institution Postdoctoral Fellowship, Humanities Center Geballe Fellowship, and Andrew W. Mellon Fellowships. Her articles appear in more than two dozen peer-reviewed journals, indexed in AHCI (e.g. Artibus Asiae, Journal of Song-Yuan Studies, and Journal of the American Oriental Society) and CSSCI (e.g. Cultural Relics, Palace Museum Journal). Her first book (“Southern Song Painting Academy: Its Organization and Post-1279 Historiographical Reconstruction”) was published by Beijing University Press in 2018. Currently, she is completing her second book on the Ming-dynasty Imperial Art Collecting Culture. Her research interests include 6th-18th century Chinese imperial court culture, institutional history, climate change and landscape paintings.

  • Areas of Interest

    Transnational trade in maritime Asia, Sino-Japanese diplomacy, art and politics in imperial China, connoisseurship of Chinese painting and calligraphy, eco-art history, nomadic culture along the silk roads.

  • Academic & Professional Qualifications

    • Ph.D. in Art History, Stanford University

    • Ph.D. in Art History, Central Academy of Fine Arts, Beijing

    • M.A. in Art History, National Taiwan Normal University

    • B.A. in Sociology, Fu Jen University, Taipei

  • Working Experience

    • Andrew W. Mellon Postdoctoral Fellow, Department of Asian Art, Art Institute of Chicago. 2016-2019.

    • Visiting Assistant Professor, School of Art and Art History, University of Iowa. 2015-2016.

    • Smithsonian Institution Postdoctoral Fellow, Freer Gallery of Art, Washington, D.C. 2007-2008.

    • Consultant, Quanta Culture & Education Foundation, Taipei, Taiwan. 2005-2007.

  • Publications

    Book

    • Southern Song Painting Academy: Its Organization and Post-1279 Historiographical Reconstruction 虛擬的殿堂: 南宋畫院之省舍職制與後世想像 (Beijing: Beijing University Press, 2018), pp. 1-323. [ISBN:9787301290859]


    Peer-Reviewed English Journals

    • “Art History Under the Microscope: Integrating Methodologies in the Case of Wangchuan Villa Landscape Painting,” Artibus Asiae 79.2 (2019), upcoming. [AHCI or Arts Humanities Citation Index]
    • “Heritage or Imperial Violence: A Hidden History of Early Ming (ca. 1368-1393) Princely Acquisition of Art,” Ming Studies 74 (2016): 2-26. [ESCI or Emerging Sources Citation Index
    • “Competition and Confiscation: Reconstructing The Siyin Seal Networks in Late-Ming China,” Artibus Asiae 75.2 (2015): 221-267. [AHCI]
    • “The Confiscating Henchmen: The Masquerade of Ming Embroidered-Uniform Guard Liu Shouyou (ca. 1540-1604),” Ming Studies 72 (2015): 24-45. [ESCI]
    • “The Multiple Half Seals: Reconsidering the Dianli jicha si (1373-1384) Argument,” Journal of the American Oriental Society 134.3 (2014): 361-384. [AHCI]
    • “Stolen Art and Lost Inscriber: Inventory Codes on Artworks in the Tumultuous Ming Wanli Period (r. 1573-1619),” Artibus Asiae 73.2 (2012): 399-441. [AHCI]
    • “Strange Weather: Art, Politics, and Climate Change in the Middle of Emperor Huizong’s Reign (r. 1100-1125),” Journal of Song-Yuan Studies 39 (2009): 1-49. [AHCI]

    Peer-Reviewed Chinese Journals and Edited Volumes

    • “Khitan Liao (916-1125) or Jurchen Jin Tribe (1115-1234)? The Painting Nomadic Hunters on Horseback Attributed to Zhang Kan 契丹或女真?傳張戡《獵騎圖》軸, in Palace Museum Journal 故宮博物院院刊: upcoming. [CSSCI]
    • “Catastrophe and Deception: Emperor Huizong (r. 1100-1125) and His Ex-Grand Councilor Cai Jing (1046-1126)” 詭譎氣象: 徽宗朝雪景畫暨蔡京題跋之政治意涵, in Research on Chinese Court Painting 中國宮廷繪畫研究 (Palace Museum, Beijing, 2015), pp. 63-84.
    • “The Season of the Qingming Shanghe tu scroll” 清明上河圖的季節, in A Story of Qingming Shanghe tu (Beijing: The Palace Museum, 2012), pp. 46-71.
    • “The Shirtless Men in the Cold Period: Rethinking the Seasonal Debates of Qingming Shanghe tu” 小冰期時代的赤膊者: 清明上河圖的季節論辯與寫實神話, in New Perspectives on Qingming Shanghe tu 清明上河圖新論 (Beijing: The Palace Museum, 2011), pp. 42-77.
    • “Unraveling the Problems of the Institutional History of the Department of State Affairs” 尚書省印之研究回顧暨五項商榷, in Palace Museum Journal, 1 (2009): 44-59. [CSSCI]
    • “Analysis of the Authenticity of Eight Seals of the Department of State Affairs” 存世書畫所鈐尚書省印考, in Cultural Relics 文物, 11 (2008): 77-93. [CSSCI]
    • “How Did Court Painters Operate in the Southern Song Dynasty (1127-1279)?” 南宋宮廷畫師之供職模式研究, in Journal of Gugong Studies 故宮學刊, 3 (2007): 230-251.
    • “Get Out of the Palace: From Southern Song (1127-1279) Court Painters to Folk Limners,” 走出宮墻: 由畫家十三科談南宋宮廷畫師的民間性, in The Study of Art History 藝術史研究, 7 (2005): 179-216. [CSSCI]
    • “The Organization of the So-Called Southern Song Painting Academy as a Post-1279 Imaginary Construct” 南宋畫院之省舍職制與後世想像, in Journal of Gugong Studies 2 (2005): 62-86. [CSSCI]
    • “A Study of the Institutional Evolution of the Song Palace Library (960-1279),” 兩宋宮廷書畫儲藏制度之變: 以秘閣為核心之鑒藏機制研究, in Palace Museum Journal 1 (2005): 12-40. [CSSCI]
    • “A Study of the Periodization of the Painting Eighteen Songs of a Nomad Flute in the Metropolitan Museum of Art” 時代的烙痕: 大都會博物館本胡笳十八拍圖卷官字燙印之斷代研究, in Journal of National Museum of China 中國歷史文物 (今改名為中國國家博物館館刊), 4 (2004): 36-46. [CSSCI]
    • “Branded Horses: Decoding the Eighteen Songs of a Nomad Flute in the Museum of Fine Arts, Boston” 燙印的破綻: 由馬臀燙印質疑波士頓本胡笳十八拍圖冊之版本年代, in Palace Museum Journal 2 (2004): 77-91. [CSSCI]
    • “The Date of Three Liushan School Editions of Eighteen Songs of a Nomad Flute” 錯綜的血親: 對波士頓本胡笳十八拍圖冊作為劉商譜系祖本原型之數點質疑, in Palace Museum Journal 1 (2004): 12-27. [CSSCI]
    • “From Southern Song Court Painter to Ambassador: A Case Study of Chen Juzhong (ca. 1201-1232 )” 南宋宮廷畫師外轉使臣之身分變換機制: 以陳居中為例的個案研究, in The Study of Art History 5 (2003): 399-443. [CSSCI]
    • “A Study of Hunters with Greyhounds from the Collection of the Taipei Palace Museum” 台北故宮藏出獵圖、回獵圖之畫題源流析探, in Bulletin of the National Museum of History 國立歷史博物館館刊: 歷史文物 8 (2002): 30-40. [THCI = Taiwan Humanities Citation Index]
    • “Horse Branding in the Album Painting Eighteen Songs of a Nomad Flute in the Taipei Palace Museum” 馬臀燙印與番馬畫鑒定: 以台北故宮本胡笳十八拍圖冊為例的斷代研究, in The Study of Art History 4 (2002): 403-432. [CSSCI]
  • International Symposium (within the last 5 years)

    • “China, Japan, or Korea? An Anonymous Dragon Scroll and Its Diplomatic Significance,” paper presented at the International Symposium, Chinese Art under the Globalized Context in 15th-18th Century (Beijing: Central Academy of Fine Arts, Nov 2, 2019).

    • “A Mural Painter’s Underdrawings on Handscrolls,” College Art Association Annual Conference (Chicago: February 12-15, 2020).

    • “Nine Drafts for One Stroke,” CHIA World Congress: Motion and Transformation (Florence: Italy, September 6, 2019).

    • “The Voyaging Dragon: How Ming-era Diplomacy Inspired the Painting Style of Muromachi Japan (14th-16th c.),” Association for Asian Studies Annual Meeting (Denver: March 22, 2019).

    • Planting Fungus at the Tiaosou-an Cottage: Coded Messages in Chen Jiru’s (1558-1636) Mountain-Garden,” in Scaling the Ming, An International Conference (Vancouver: University of British Columbia, May 18, 2018).

    • “Resurrecting a Tang Legend in the Jurchen Jin Dynasty (1115-1234): The Monochrome Villa Painting,” Second Conference on Middle Period Chinese Humanities (Amsterdam: Leiden University, September 15, 2017).

    • “How Ming Emperors (1368-1644) Used Ledgers to Control Trans-regional Communication,” 2017 Association for Asian Studies Annual Meeting (Toronto: March 18, 2017).

    • “Heritage and Violence: The Unstudied Evidence of Prince Zhu Gang’s (1358-1398) Art Acquisitions,” 2015 Association for Asian Studies Annual Meeting (Chicago, March 26, 2015).

    • “Reconsidering the Dianli jicha si (1373-1384) Argument,” International Conference on Middle Period China, 800-1400 (Harvard University, June 24, 2014).

    • “The Dilemma and Masquerade of Ming Dynasty Embroidered-Uniform Guard Liu Shouyou, ca. 1540-1604.” The Chinese University of Hong Kong, Hong Kong (June 19, 2014).

    • “Dong Qichang's (1555-1636) Landscape Painting to a Deposed Military Guard.” School of Art. Beijing University, China (October 11, 2013).

    • “Dong Qichang's Poems Complementing His Painting Reading in the Mountain Niu,” 2013 Association for Asian Studies Annual Meeting (San Diego, March 24, 2013).

  • Invited Talks and Presentations (within the last 5 years)

    • “Reassessing Song versus Jin Paintings via Their Physical Properties” (Beijing: Central Academy of Fine Arts, Oct 31, 2019).

    • “The World in Their Hands: How Ming Emperors Controlled Treasure and Trade.” Department of Asian and Middle Eastern Studies. University of Cambridge, UK (February 21, 2019).

    • “The Evolution of Architectural Style in Medieval China, 6th-14th Centuries.” History of Art Department. University of Oxford, UK (January 10, 2019).

    • “明代帝王如何掌控財產和貿易” Yuelu Forum for International Scholars. Hunan University, China (December 26-28, 2018).

    • “A Garden Painting during the Bloody Donglin Purge ca. 1625-1627.” Visual and Material Perspectives on East Asia. Department of Art History. University of Chicago(November 16, 2018).

    • “Broom, Hermit, and Eunuch: Garden-Painting as Chen Jiru’s (1558-1636) Political Statement.’Seven Seas Institute of Chinese Calligraphy, Chicago (July 21, 2018).

    • “Southern Song (1127-1279) Court Painters: How They Multi-Tasked?” Kyushu University, Japan (June 2, 2018).

    • “Transnational Trade in Ming China.” Harvard University (December 8, 2017).

    • “Jingdezhen Porcelain from the Yuan-Ming Era, 1320-1644.” Department of Art, School of Art Institute of Chicago (October 10, 2017).

    • “Art Collecting and Criminality in Ming Imperial China.” Department of East Asian Languages and Culture. Grinnell College, Iowa State (November 21, 2015).

  • Curated Exhibitions and Rotations (Selected)

    • To Predict the Future: Auspicious Omens in Premodern Chinese Paintings. Art Institute of Chicago (December 2018 to April 2019).

    • Xugu (1824-1896): Dawn of the Shanghai School. Art Institute of Chicago (August 2018 to December 2018).

    • Collectable in 16th-20th Century Chinese Prints and Paintings. Art Institute of Chicago (April 2018 to August, 2018).

    • Wandering Landscapes: 17th-19th Century Chinese Topographical Sites. Art Institute of Chicago (December 2017 to April, 2018).

    • Oil Paintings by Jian Wenren. Contemporary art exhibitions at Homerlee Art Center, Taipei

    • Oil Paintings by Liu Guozheng. Contemporary art exhibitions at Homerlee Art Center, Taipei

    • Oil Paintings by Zhu Shengang. Contemporary art exhibitions at Homerlee Art Center, Taipei

    • Ceramic Sculptures by Liu Xinzhou. Contemporary art exhibitions at Homerlee Art Center, Taipei

    • Marble Sculptures by De Lianhuai. Contemporary art exhibitions at Homerlee Art Center, Taipei

  • Professional Services (within the last 5 years)

    • 2020-2023 Elected Board for Society for Ming Studies (Vancouver: University of British Columbia).

    • 2019 Panel Organizer for “The Swirling Winds: Cultural Exchange in East Asia, 8th-16th Centuries,” Association for Asian Studies Annual Meeting (Denver: March 21-24, 2019).

    • 2018 Symposium Discussant for A Comprehensive Look: The Cultural Biography of the Daitokuji Five Hundred Luohans From Local to Global Context. Kyushu University, Japan (June 1-4, 2018).

    • 2017 Panel Co-facilitator for Second Conference on Middle Period Chinese Humanities (Amsterdam: Leiden University, September 14-17, 2017).

    • 2016 Symposium Committee for Material and Method: Chinese Art History Conference (Shenzhen Museum, October 24-25, 2016).

    • 2014 Panel Co-organizer for “Regional Princely Courts of Ming Imperial China, 1368-1644,” Association for Asian Studies Annual Meeting (AAS, Chicago: March 26, 2015).

  • Reviewer (within the last 5 years)

    • 2018 Reviewer for paper, “Empress Dowagers on Horseback: Yingtian and Chengtian of the Khitan Liao (907–1125),” submitted to the peer-reviewed journal Archív Orientální: Quarterly Journal of African and Asian Studies.

    • 2017 Reviewer for Chinese-language manuscript, “Art Collecting at the Yuan Imperial Court,” submitted to the peer-reviewed journal Beijing Palace Museum Journal.

    • 2016 Reviewer for papers submitted to the international symposium Material and Method: Chinese Art History Conference (Shenzhen Museum, October 24-25, 2016).

    • 2016 Reviewer for essay, "China and Korea, 1279 to 1980," submitted to Gardner's Art through the Ages: A Global History (Cengage Learning, the 15th edition), pp. 32-35.

    • 2014 Reviewer for Chinese-language paper, “An Anonymous Tributary Handscroll Attributed to Tang Dynasty,” submitted to the peer-reviewed journal Wenwu (Cultural Relics).