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Professor Sarah E. Fraser

Publications

Books and Edited Volumes

Performing the Visual

Performing the Visual: The Practice of Buddhist Wall Painting in China and Central Asia, 618 – 960
Stanford, CA: Stanford University Press; 2004.
A study of medieval Chinese wall painting, workshop production, and artistic performance in aesthetic theory

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Reviews

An Yi  安毅,  敦煌學輯刊 [Journal of Dunhuang Studies, Lanzhou], (2007, no. 3): 179-184; Religious Studies Review 33:1 (January  2007): 9–16. History  of Religions 46:2 (Nov. 2006): 175-178; The Art Bulletin, v. 88 no. 2 (June 2006): 389-93; Journal of Asian History v. 40/1 (2006): 116-17; Journal of the Royal Asiatic Society, Nov. 2005, Vol. 15/ 3: 383-86; Canadian Journal of History, Apr. 2005, v. 40/ 1: 156-58; Journal of Asian Studies, Nov. 2004, v. 63/ 4: 1074-76; CAA Reviews May 2004: 1-4; Choice Reviews (Sept. 2004).

Awards

Choice Outstanding Academic Book Award 2004, American Library Association (ALA). Finalist, Charles Rufus Morey Award, Distinguished Book in Art History, College Art Association, 2005.

Merit, Opulence, and the Buddhist Network of Wealth

佛教物质文化: 寺院财产与世俗供养. [Buddhist material culture: temple wealth and secular patronage]. Conference Proceedings Merit, Opulence, and the Buddhist Network of Wealth, Peking University June 27-30, 2001. Shanghai: Shanghai Fine Arts Publishers, 2003 (in Chinese). Twenty-seven essays address the expansion of Buddhist arts in the Tang-Song dynasties (eighth-thirteenth centuries) and links to patronage practices for good karma and merit. Also available on website: http://buddhist-art.arthistory.northwestern.edu/buddhistweb/essays_buddhist.html

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Work in progress

How Chinese Art Became Chinese: War, Archaeology, and the Refashioning of Sino-Modernity (1928-1945). Book manuscript in process.

Short Abstract

This book takes as its subject the collaboration between Chinese and Tibetan artists in China’s northwestern frontier in the 1940s. Wartime dynamics propelled Buddhist archaeology to the center of debates about the cultural past and the roots of Han culture. Artists copied motifs and styles associated with an imagined, primitive artistic past. This radical, aggressive cultural retreat distinguishes wartime Republican modern Chinese art from the rupture associated with an earlier Shanghai modernity. Book proposal and sample chapter submitted to Stanford Univ. Press.

China Treaty Port Photographic Practices and the Migration of European Chinoiseries, 18th-19th c.

Short Abstract

In this book I explore how European Chinoiserie and treaty port export painting provided technical and substantive models for early photography of China. Intermediality––the migration of motifs and techniques across media––is of central concern. In the second half of the book the focus shifts to how the category of ‘Chinese’ constructed along racial genres in earlier tourist idioms, becomes the ground for more violent constructions around the Boxer Rebellion ca. 1900 both by foreign travellers and in the Qing court response.

Online Research Edition

  • Editor in Chief, Wall Painting and Architecture, Mellon International Dunhuang Archive (MIDA), ARTstor. Comprehensive analysis, image creation, and archaeological laser data acquisition of forty-two medieval Buddhist cave shrines, comprising ca. 4500 sq. meters and 8 centuries of mural iconography and historical data. Bilingual-Chinese and English; Buddhist Sanskrit terminology. Directed acquisition of accompanying, interactive photographic documentation in 3-D virtual format over 5 years on site, Dunhuang.
    MIDA Archive––a new genre of research publication. http://www.artstor.org/

Commissioner / Co-Author

  • Our Cultural Commonwealth. Report of the American Council of Learned Societies Commission on Cyberinfrastructure for the Humanities and Social Sciences. Commission Member 2004-06, conducted hearing and authored volume assessing state of digital humanities nationwide. New York: ACLS, 2006 http://www.acls.org/cyberinfrastructure/OurCulturalCommonwealth.pdf

English Editor (Catalogues)

  • Fan Jinshi ed. Dunhuang: A Centennial Commemoration of the Discovery of the Cave Library. Beijing: Morning Glory Press, 2000.
  • Tainan National University of the Arts, ed.荒漠傳奇璀璨再見敦煌藝術大展 [From the Forgotten Deserts: Great Exhibition of Dunhuang Art]. Tainan: Tainan National University of the Arts, 2005.

Essays / Articles

  • Work in progress
  • “Encounters with Chan: Liang Kai’s Eight Eminent Monks.” Arts Asiatiques.
  • “Remaking Taiwan’s Sacred Geography: Tibetan Buddhist Architecture in Taiwan.” In Tibetan Buddhism in Taiwan, ed. F. Jagou. École-française d’extreme-orient, 2015.
  • Review of A Story of Ruins: Presence and Absence in Chinese Art and Visual Culture by Wu Hung. Princeton University Press, 2012 for caa.reviews.
  • “Lucy Lo: The Dunhuang Years.” Gest Library Journal (online), Princeton University, 2014.

Published Essays / Articles

  • “Mimesis.” “Notes from the Field.” Art Bulletin (June 2013) Volume XCV, No. 2: 200-01.
  • Hu Suxin (=Sarah E. Fraser). “ 旅行、視角、朝聖 : 廣義圖像語境下的《清明上河圖 [Travel, Perspective, and Pilgrimage: The Qingming shanghe tu in a Broader Pictorial Context].” 清明上河圖论
    [New Perspectives on (the) “Qingming Festival”], 127-139. Ed. Palace Museum. Beijing: Forbidden City Publishing House, 2011.
    Additional publication: Hu Suxin (=Sarah E. Fraser). "一次朝圣之旅——广义图像语境下的《清明上河图 [A Pilgrimage: Life along the Bian River during the Pure Brightness Festival in General Visual Context]." 紫禁城 [Forbidden City Journal], v. 219 (2013): 64-81.
  • Hu Suxin (=Sarah E. Fraser).“从历史语言研究所藏向達手稿論其對敦煌學的影響 [Xiang Da’s Impact on Buddhist and Silk Road Studies: Overview of Manuscripts in the Taipei Academia Sinica Library].” 敦煌文献 , 考古 , 艺术综合研究 [Comprehensive Research on Dunhuang Manuscripts, Archaeology, and Art, International Conference Commemorating Xiang Da], 43-59. Ed. Peking University, Institute of Early Chinese History. Beijing: National Library of China, 2011 (in Chinese).
  • “Shabo Tshe ring, Zhang Daqian and Sino-Tibetan Cultural Exchange, 1941-43: Defining Research Methods for A mdo Regional Painting Workshops in the Medieval and Modern Periods.” In PIATS 2003: Tibetan Studies: Proceedings of the Tenth Seminar of the International Association for Tibetan Studies, Oxford, 2003, 115-136; plates 67-80. Leiden; Boston: Brill, 2011.
  • Buddhist Archaeology in Republican China: A New Relationship to the Past. Elsley Zeitlyn Lecture on Chinese Archaeology and Culture, London, October 28, 2008. In Proceedings of The British Academy, no. 167 (2011): 155-198. London; New York: Oxford University Press, 2011.
  • “Chinese as Subject: Photographic Genres in the Nineteenth Century.” Chap. in Brush and Shutter, Late Qing Dynasty Photography. 90-109. Eds. Frances Terpak and Jeff Cody. Los Angeles: Getty Publications; Hong Kong University Press, 2011.
    Chinese Edition:
    以華人為題材 : 十九世紀攝影體裁 [Chinese as Subject: Photographic Genres in the Nineteenth Century]. Chap. in Chinese version of Brush and Shutter, Late Qing Dynasty Photography. 91-109. Eds. Frances Terpak and Jeff Cody. Hong Kong: Hong Kong University Press, 2012.
  • Hu Suxin (=Sarah E. Fraser). “禪會與南宋的視像:梁楷的《八高僧圖》[The Chan Encounter and Song Dynasty Optics: Liang Kai’s Eight Eminent Monks].” In 千年丹青細讀中日藏唐宋元繪畫珍品 [Masterpieces of Ancient Chinese Paintings from the Tang-Yuan Dynasties in Japanese and Chinese Collections],” 209-218.” Shanghai Museum, ed. Beijing: Peking University Press, 2010.
  • Hu Suxin (=Sarah E. Fraser).“ 尋找敦煌藝術的中古源泉: 從張大千與熱貢藝術家的合作來審視藝術的傳承 [Searching for the Artistic Roots of Medieval Dunhuang: A Perspective on the Collaboration of Zhang Daqian and the Rebgong Painters as an Example of Cultural Transmission].”《史物論壇》[Forum on Historical Objects], Taiwan National History Museum Journal, no. 10 (June 2010): 37-54.
  • “Photography’s Role in Shaping China’s Image, 1860-1920. Getty Research Journal, no. 2 (2010): 39-52.
  • “Antiquarianism or Primitivism?: The Edge of History in the Modern Chinese Imagination.” In Reinventing the Past: Antiquarianism in East Asian Art and Visual Culture, 342-367. Ed. Wu Hung. London; Chicago: Serindia, 2010.
  • 種攝影:十九世紀殖民地影像再生對二十世紀中國民族誌「自我」的遺贈 [Ethnographic Photography: the Afterlife of Nineteenth Century Colonial Photography in Twentieth Century Chinese Modern Identity]. 《上海·摄影·城市》[Shanghai, Photography, The City]. 《眼.光––摄影文化论丛》 [Bright Vision: Collected Essays on Photographic Culture], no. 2, ed. Li Lu, Winter 2010: 88-102. (in Chinese).
  • Hu Suxin (=Sarah E. Fraser). “夏吾才让、张大千和汉藏文化交流,1941-1943:界定中古和现代安多地区画坊生产的研究方法 [Shaowo Tsering, Zhang Daqian and Sino-Tibetan Cultural Exchange, 1940-1943: Researching the Boundaries of Ancient China and the Artistic Production of Amdo].” 汉臧佛教美术研究 [Studies on Sino-Tibetan Buddhist Art], 485-498. Eds. Xie Jisheng, et al. Shanghai: Guji Publishers, 2009.
  • “The Politics of Archaeology” and “Western Archaeological Explorers in China.” In Encyclopedia of Modern China, vol. 1: 40-41; 54-57, Editor-in-Chief, David Pong. Detroit; New York: Charles Scribner’s Sons, Gale, 2009.
  • “Li Chen: Contemporary Taiwan Buddhist Sculpture.” Catalogue. New York: Motif Art Consulting, 2010, 1-20.
  • Hu Suxin (=Sarah E. Fraser). “夏吾才让,张大千和汉臧文化交流 [Xiawu Cairang, Zhang Daqian and Sino-Tibetan Cultural Exchange.” 中国典籍与文化 [Chinese Classical Texts and Culture], Lecture Series, no. 3: 87-99. Ed. National Library of China, Rare Books Division. Beijing: National Library, 2008.
  • “Approaching the Boundaries of a National Landscape: Picturing the Frontier 1927-1948 (Photography as the new Landscape in 20th c. Chinese art).” In Studies on 20th Century Shanshuihua, 371-86. Ed. Lu Fusheng. Conference Proceedings, 20th c. Chinese Landscape Painting. June 9-11, 2006. Shanghai: Shanghai Fine Arts Publisher, 2006.
  • “An Introduction to the Material Culture of Dunhuang Buddhism: Putting the Object in Its Place.” Special Issue on Buddhist Material Culture, Asia Major, 2005: 1-14. Collected articles developed from 2001 Conference Proceedings; Conference Organizer and Fieldwork Director, Luce Foundation Grant for multi-disciplinary institutional projects. Northwestern University, Dunhuang Research Academy, and Peking University.
  • “Chinese Artist’s Materials in the British Museum and Library.” In Aurel Stein and the Silk Road. S. Whitfield, ed., 266. London: British Library Press, 2004.
  • “新高科技技術 [Technology for Archaeology].“ In Tangsong siyuan caifu he gongyang: 220-225.
    Sarah E. Fraser, ed. Shanghai: Shanghai Fine Arts Publishers, 2003.
  • “佛教藝術的經濟制度 [Economies of Buddhist Art].” In Tangsong siyuan caifu he gongyang: 189-206.
    Sarah E. Fraser, ed. Shanghai: Shanghai Fine Arts Publishers, 2003.
  • “Formulas of Creativity: Artist’s Sketches and Techniques of Copying at Dunhuang.” Artibus Asiae Vol. LIX, 3/4 (2000): 189-224.
  • "A Reconsideration of Archaeological Finds from the Turfan Region," Dunhuang Tulufan yanjiu, Peking University, vol. 4 (1999): 375-418.
  • “Manuals and Drawings of Artists, Calligraphers, and Other Specialists from Dunhuang.” Chap. in Images de Dunhuang--Dessins et Peintures sur Papier des Fonds Pelliot et Stein: 55-95. Ed. J.-P. Drège, President, École Française d’Extrême-Orient. Paris: École Française d’Extrême-Orient, 1999.
  • “Turfan Artists, 5th-9th centuries.” In The Third Silk Road Conference at Yale University. Conference Proceedings, July 10-12, 1998: II: 77-143.
  • Hu Suxin (=Sarah E. Fraser). "Dunhuang de fenben he bihua zhijian de guanxi [The Relationship between Draft Sketches and Wall Paintings at Dunhuang)].” In Tang yanjiu, no. 3 (December 1997) [Beijing, China]: 437-443. (in Chinese)
  • "Regimes of Production, the Use of Pounces in Grotto Construction," Orientations, Special issue on Dunhuang Buddhist cave site, [Editor, Wu Hung, University of Chicago] (November 1996) vol. 27, no. 9: 60-69.
  • "Su Dongpo and his Circle," In Quwei yu jizhu, 'Mingqing huihua touxi guoji yantaohui' tulu [Discernment and Construct: "New Interpretations of Ming and Qing Paintings," Catalogue], J. Cahill, R. Vinograd, and Xue Yongnian, eds., (Shanghai: Shanghai Fine Art Publishers, 1994), 111-112.

Book Reviews; Conference Overview

  • Review of Donors of Longmen, Amy McNair, (University of Hawaii Press, 2007). Art Bulletin v. 93, no. 2 (June 2011): 247-50.
  • Conference Proceedings “Photography in 19th-20th century China,” Northwestern University, April 24-26, 2009. Trans-Asia Photography Review, inaugural issue (fall 2010). http://asianphotos.hampshire.edu/
  • Review of Shaping the Lotus Sutra, Eugene Wang (U Washington Press, 2005). Journal of Asian Studies. 67, no. 4 (Nov. 2008): 1447-8.
  • Review of Early Buddhist Art in China and Central Asia, by Marilyn Rhie, In Journal of Asian Studies, v. 63, no 2 (May 2005): 458-60.
  • Review of Dunhuang: Singing Sands, by Roderick Whitfield. In Orientations (April 1997) vol. 28, no. 4: 95.
  • Review of Latter Days of the Law: Images of Chinese Buddhism, 850-1850, by Marsha Weidner, editor. In China Review International, vol. 3, no. 1 (Spring 1996): 288-293.
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Latest Revision: 2015-02-26
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