[Papers are only available for participants]

Handicraft and Statecraft: Tang Ying’s Album of Imperial Porcelain Manufacture

Chen Kaijun

A Phenomenology of the Technical Mind

Lisa Claypool

Finger Painting as Contemporary Art at the Qing Court

Cura, Nixi

Why realism at the end of the Qing? Socio-political reforms, visual choices and new ways of seeing

Francesca Dal Lago

Cultural Commerce between China and France in the 18th Century: The “40 Views of the Yuanming Yuan” in the Collections of Henri-Léonard Bertin

John Finlay

Canonization of Qing Art in the Early Twentieth Century

Guo Hui

Illustrating Perception and Deception: Nian Xiyao and The Study of Vision

Kristina Kleutghen

Gods at Leisure: Myth, History and Intimacy in Su Renshan's Buddhist Art

Yeewan Koon

Priming the World: Appropriating Renaissance Images and Knowledge in Album of Beasts at the Qianlong Court

Lai Yu-chih

Landscape for Biography and Diplomacy: Zou Yigui’s Art Before the Court, 1722-1742

Liu Lihong

Three Friends, a Crane, and a Constellation: The Cult of Su Shi in Eighteenth-century China

Michele Matteini

Writing Liminality: Yue Jiazao’s Chinese Architectural History

Cole Roskam

Beijing as Imperial Theater: A Global Perspective on the Images of Qianlong’s Eightieth Birthday Celebration

Wang Cheng-hua

Rethinking Early Qing Court Painting: Some First Steps into Wang Yuanqi’s Topographic Landscapes

Stephen Whiteman

Big Names and Little Games: Shanghai’s Dianshizhai Publisher, Artist Prints and Their Audiences

Roberta Wue