27 selections

Brook, Timothy. The Confusions of Pleaseure: Commerce and Culture in Ming China.
Berkeley: University of California Press, 1998.
Goodman, Nelson. The Language of Art: An Approach to a Theory of Symbols. Indi
anapolis and Cambridge: Hackett Publishing Company, Inc., 1976.
Hay, John. Surface and the Chinese Painter: The Discovery of Surface. Archives of
Asian Art 38 (1985): 95-123.
Ledderose, Lothar. Ten Thousand Things: Module and Mass Production in Chinese
Art. Princeton University Press, 2001.
Panofsky, Erwin. Perspective as Symbolic Form. Christopher S. Wood, trans. New
York: Zone Books, 1997.
Prown, Jules. Art as Evidence: Writings on Art and Material Culture. New Haven:
Yale University Press, 2001.
________ Mind in Matter: An Introduction to Material Culture Theory and Method. Wi
nterthur Portfolio 17, no. 1 (Spring 1982): 1-19.
WU, Hung. The Double Screen: Medium and Representation in Chinese Painting. Univ
ersity of Chicago Press, 1996.
Zito, Angela, and Tani E. Barlow, eds. Body, Subject and Power in China. The Uni
versity of Chicago Press, 1994.

Berger, Patricia Ann. Empire of Emptiness: Buddhist Art and Political Authority
in Qing China. University of Hawaii Press, 2003.
Cahill, James. The Compelling image: Nature and Style in Seventeenth-century Chi
nese Painting. Harvard University Press, 1982.
___ Pictures for Use and Pleasure: Vernacular Painting in High Qing China. Unive
rsity of California Press, 2010.
Chinese Painting under the Qianlong Emperor: The Symposium Papers in Two Volumes
. Phoebus 6/2 (1991).
Clunas, Craig. Elegant Debts: The Social Art of Wen Zhengming. Reaktion Books Lt
d., 2003.
___. Pictures and Visuality in Early Modern China. Princeton: Princeton Univer
sity Press, 1997.
___. Superfluous Things: Material Culture and Social Status in Early Modern Chi
na. University of Hawaii Press, 2004.
Hay, Jonathan. Sensuous Surfaces: The Decorative Object in Early Modern China.
Honolulu: University of Hawai'i Press, 2010.
___. Shitao: Painting and Modernity in Early Qing China. New York: Cambridge Uni
versity Press, 2001.
Hs, Ginger Cheng-chi. A Bushel of Pearls: Painting for Sale in Eighteenth-Century
Yangchow. Stanford University Press, 2001.

HU, Shih. A Historian Looks at Chinese Painting. Asian (May 1941): 215-19.
Van Gulik, Robert H. Chinese Pictorial Art as Viewed by the Connoisseur. Rome:
I.S. M.E.O., 1958.
Vinograd, Richard. Boundaries of the Self: Chinese Portraits 1600-1900. Cambridg
e, Mass, 1992.
Xue, Yongnian, Richard Vinograd, and James Cahill, eds. New Interpretations of M
ing and Qing Paintings. Shanghai: Shanghai Painting and Calligraphy Press, 1994
.
Karlsson, Kim, et al. Eccentric Visions: The Worlds of Luo Ping (1733-1799). Pa
ul Holberton Publishing, 2009.
Sullivan, Michael.
Cahill, James. The Painters Practice: How Artists Lived and Worked in Traditional
China. Columbia University Press, 1994.
Sze, Mai-mai, and Mai-mai Sze. The Mustard Seed Garden Manual of Painting. Annot
ated edition. Princeton University Press, 1978.