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成為「家法」—民國時期北京畫壇的仿郎世寧畫風 |
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| 2025-05 |
How Should I Put It Now? Positioning China in Exhibitions at the National Palace Museum, Taipei, 1965-2023 |
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| 2023-07 |
《平定準噶爾回部得勝圖》所見之歐洲繪畫圖式 |
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| 2022-12 |
蘭千故宮緣：記「蘭千山館」寄存文物對國立故宮博物院的意義 |
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| 2022-08 |
神州國光集 |
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| 2021-10 |
嘯侶攀蘿帶：溥心畬的猿畫及其仿古 |
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| 2021-08 |
失根的蘭花在台北──記⼤阪市立美術館藏鄭思肖《墨蘭圖》 |
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| 2020-09 |
The “Lang Shining Legacy” and the Pursuit of Modernity in the Early Twentieth-Century Writings of on Chinese Painting History |
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| 2020-07 |
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| 2020-07 |
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| 2019-12 |
評介：Phyllis Teo, Rewriting Modernism: Three Women Artists in Twentieth- Century China |
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| 2019-08 |
The Concept of Art in the Meishu Congshu: From Foreign Loan to National Tradition |
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| 2019-06 |
繡畫大千─謝書賢《繡張大千仕女圖》 |
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| 2019-04 |
拼貼混搭融古今─張大千的古風畫 |
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| 2019-03 |
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| 2018-10 |
Stealing Words, Transplanting Images: Stephen Bushell and the Intercultural Articulation of “Chinese Art” in the Early Twentieth Century |
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| 2018-07 |
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| 2018-07 |
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| 2018-06 |
書評：Chinese Painting and Its Audiences／Craig Clunas |
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| 2018-04 |
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| 2017-12 |
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| 2017-01 |
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| 2017-01 |
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| 2015-11 |
遺落的少作─郎世寧來華前所作油畫 |
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| 2015-09 |
海西妙筆─郎世寧的繪畫藝術 |
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