魏玛莎（Marsha Weidner），主要研究中国古代女画家绘画以及明代佛教艺术。现为堪萨斯大学教授。

Placed at the heart of Italy, Florence was already in the Middle Ages a center of commerce and fine craftsmanship. Spurred on by a few powerful dynasties of merchants and financiers—above all the Medici, but also the Strozzi, the Pitti, and others—the city became the leading force in the Renaissance of the arts, literature, and science. Challenging the primacy of the Venetian R...(展开全部)

"The Question of Women in Chinese Feminism" is a history of ideas about women in twentieth-century China. Tani E. Barlow tracks the categories that Chinese intellectuals have developed to think about women and connects these paradigms to transnational debates about eugenics, gender, sexuality, and the psyche. Contending that Chinese feminism has a basis in eugenicist thought, B...(展开全部)

"The Question of Women in Chinese Feminism" is a history of ideas about women in twentieth-century China. Tani E. Barlow tracks the categories that Chinese intellectuals have developed to think about women and connects these paradigms to transnational debates about eugenics, gender, sexuality, and the psyche. Contending that Chinese feminism has a basis in eugenicist thought, B...(展开全部)

"The Question of Women in Chinese Feminism" is a history of ideas about women in twentieth-century China. Tani E. Barlow tracks the categories that Chinese intellectuals have developed to think about women and connects these paradigms to transnational debates about eugenics, gender, sexuality, and the psyche. Contending that Chinese feminism has a basis in eugenicist thought, B...(展开全部)

"The Question of Women in Chinese Feminism" is a history of ideas about women in twentieth-century China. Tani E. Barlow tracks the categories that Chinese intellectuals have developed to think about women and connects these paradigms to transnational debates about eugenics, gender, sexuality, and the psyche. Contending that Chinese feminism has a basis in eugenicist thought, B...(展开全部)

In this series of lectures on the painters Hsia Kuei (twelfth-thirteenth centuries), Shen Chou (fifteenth-sixteenth centuries), and Shih-t'ao (seventeenth-eighteenth centuries), Richard Edwards explores the special relationship between the self and landscape in Chinese art. These three painters, each important in his own time and deemed a master by later critics, were all conce...(展开全部)

In this series of lectures on the painters Hsia Kuei (twelfth-thirteenth centuries), Shen Chou (fifteenth-sixteenth centuries), and Shih-t'ao (seventeenth-eighteenth centuries), Richard Edwards explores the special relationship between the self and landscape in Chinese art. These three painters, each important in his own time and deemed a master by later critics, were all conce...(展开全部)

Product Description In the first exploration of Chinese paintings as both material products and pictorial representations, The Double Screen shows how the collaboration and tension between material form and image gives life to a painting. A Chinese painting is often reduced to the image it bears; its material form is dismissed; its intimate connection with social activities and...(展开全部)

巫鸿（Wu Hung）早年任职于故宫博物院书画组、金石组，获中央美术学院美术史系硕士。1987年获哈佛大学美术史与人类学双重博士学位，后在该校美术史系任教，1994年获终身教授职位。同年受聘主持芝加哥大学亚洲艺术的教学、研究项目，执“斯德本特殊贡献教授”讲席，2002年建立东亚艺术研究中心并任主任。 其著作《武梁祠：中国古代画像艺术的思想性》获1989年全美亚洲学年会最佳著作奖（李文森奖）；《中国古代美术和建筑中的纪念碑性》获评1996年杰出学术出版物，被列为20世纪90年代最有意义的艺术学著作之一；《重屏：中国绘画中的媒介与表现》获全美最佳美术史著作提名。参与编写《中国绘画三千年》（1997）、《剑桥中国先秦史》（1999）等。多次回国客座讲学，发起“汉唐之间”中国古代美术史、考古学研究系列国际讨论会，并主编三册论文集。 近年致力于中国现当代艺术的...(展开全部)