Chinese art; Daoist and Buddhist visual culture; Chinese painting (especially Song and Yuan periods); visual cultures of Middle Period China; cross-cultural study; book and print culture; East and West
Shih-shan Susan Huangâs current research focuses on the 10th-to-14th-century Daoist and Buddhist visual culture in China. Prior to joining the Rice faculty, she taught at the University of Washington, Seattle, and was a Mellon Post-Doctoral Fellow at Columbia University. Her dissertation, âThe Triptych of Taoist Deities ofÂ Heaven, Earth, and WaterÂ and the Making of Visual Culture in the Southern Song China (1127-1279),â has been awarded the Blanshard Prize at Yale University. Her article publications appeared in such peer-reviewed journals asÂ Artibus Asiae,Â Ars Orientalis,Â Journal of Daoist Studies, Palace Museum Research Quarterly, theÂ Zhejiang University Journal of Art and Archaeology, and in various edited volumes published in U.S., Taiwan, Hong Kong, and China.
Huang's first book,Â Picturing the True Form: Daoist Visual Culture in Traditional China, was published by the Harvard University Asia Center Publication (distributed by Harvard University Press) in 2012 (the paperback edition, 2015; Chinese translated edition, forthcoming by Henan University Press). This book has been granted the 2008-09 Junior Scholar Award and the 2010-2011 Publication Subsidies Award by the Chiang Ching-kuo Foundation for International Scholarly Exchange (CCK), as well as the Milliard Meiss Publication Fund awarded by the College Art Association (CAA) and the Geiss Subvention Award (James P. Geiss Foundation) in Spring 2011.Â Selected reviews of this book have been published in theÂ Journal of Asian StudiesÂ (2013),Â Harvard Journal of Asiatic StudiesÂ (2013),Â Daoism: Religion, History and SocietyÂ (2013),Â Journal of Chinese ReligionsÂ (2013),Â Religious Studies ReviewÂ (2014),Â Journal of Song-Yuan StudiesÂ (2014), and theÂ Journal of the Royal Asiatic SocietyÂ (2016).
Huang's current book-length project,Â First Impressions: Chinese Religious Woodcuts and Cultural Transformation, is about Buddhist and Daoist woodcuts from the first "Golden Age" of Chinese printmaking, from 850 to 1450. During this period, China's neighborsâincluding not only the "conquest dynasties" established by the nomadic Khitan, Jurchen, and Tangut peoples in the north and northwest but also Japan and Koreaâadopted Chinese-style printing. Together, these people participated in the production of religious prints, stimulating the spread and exchange of ideas and images and contributing to a shared sense of culture in East Asia. In contrast to studies of Chinese printing by historians of the book, Huang's project uses visual analysis of extensive materials drawn from archaeological finds, and makes comparisons to Korean and Japanese prints and paintings. It addresses issues of media and mediation, standardization, regional diversity, and religious and ritual functions. Huang's book project has received generous support from the Scholar Grant of the Chiang Ching-kuo Foundation (CCFK), the travel fellowship of the Asian Cultural Council (ACC), the teaching release fellowship of the Humanities Research Center at Rice, and the American Council of Learned Societies(ACLS) Frederick Burkhardt Residential Fellowships for Recently Tenured Scholars.
âMeijie zhuanhuan yu mojian gouzao: Songdai Zhongguo Fahuajing diaoban feihuaâ åªä»è½¬æ¢ä¸æ¨¡ä»¶æé ââå®ä»£ä¸å½ãæ³åç»ãéçæç». In Niu Kecheng çå
è¯et al. eds., Haiwai Zhongguo yishushi yanjiu æµ·å¤ä¸å½èºæ¯å²ç ç©¶, vol. 1, 3-34. Changsha: Hunan meishu chubanshe, 2018.Â
"Illustrating the Efficacy of the Diamond Sutra in Vernacular Buddhism" (éä¿ä½æçç«æè¦çéåç¶éé©å).Â National Palace Museum Research QuarterlyÂ ãæ
å®®å¸è¡å£å ã35.4 (2018): 35-120.
âDaoist Seals, Part 2: Classifying Different Types.âÂ Journal of Daoist StudiesÂ 11 (2018): 46-81.Â
âBanhua yuÂ huihuaÂ de hudongâcong Song YuanÂ fojiaoÂ banhuaÂ suojianÂ zhiÂ SongÂ huaÂ yuansuÂ tanqiâÂ çç«èç¹ªç«çäºåï¼ï¼å¾å®å
ç´ è«èµ·Â (Painting and Printing Connections: Elements of Song Painting in Song-Yuan Buddhist Woodcuts). In The Center for the Study of Art and Archaeology, Zhejiang University ed.,Â ZhejiangÂ daxueÂ yishuÂ yuÂ kaoguÂ yanjiuÂ (tejiÂ 1): SonghuaÂ guojiÂ xueshuÂ huiyiÂ lunwenjiÂ ãæµæ±å¤§å¸èè¡èèå¤ç ç©¶ï¼ç¹è¼¯ä¸ï¼ï¼å®ç«åéå¸è¡æè°è«æéãÂ (Hangzhou: Zhejiang University Press, 2017): 1-75.Â Â
âCong Daozang de 'tu' tan Songdai daojiao yishi de kongjianxing yu wuzhixingâ å¾ãéèãçãåãè«å®ä»£éæåå¼çç©ºéæ§èç©è³ªæ§. In Deng Fei é§è²ãed., Tuxiang yu yishi: Zhongguo gudai zongjiao yu yishu de ronghe ååèåå¼ ï¼ä¸åå¤ä»£å®æèèè¡çèå, 231-58. Beijing: Zhonghua shuju, 2017.
"Xixia fojing banhua zaitan" è¥¿å¤ä½ç»çç»åæ¢, trans. Yang BinghuaÂ æ¨å°åÂ ,Â Sichou zhi lu yanjiu jikanÂ ä¸ç»¸ä¹è·¯ç ç©¶éåÂ 1 (2017; Xi'an: Shaanxi shifan daxue): 279-309.
"Daoist Seals, Part I: Activation and Fashioning."Â Journal of Daoist StudiesÂ 10 (2017): 70-101.
"DaojiaoÂ wuzhiÂ wenhuaÂ chutan:Â congÂ DaozangÂ suozangÂ tuxiangÂ tan SongdaiÂ daojiaoÂ yishiÂ yongpin"Â éæç©è³ªæååæ¢ï¼å¾ãéèãæèååè«å®ä»£éæåå¼ç¨åÂ (Daoist material culture: a study of ritual objects in Song Daoism based on the visual evidence in Daoist Canon). In Lai ChiÂ Timé»å¿æ·»Â ed.,Â DaojiaoÂ tuxiang,Â kaoguÂ yuÂ yishi:Â SongdaiÂ daojiaoÂ deÂ yanbianÂ yuÂ teseÂ éæååãèå¤èåå¼ââå®ä»£éæçæ¼è®èç¹è²Â (Hong Kong: Chinese University of Hong Kong, 2016), 1-56.
"Tang SongÂ shiqiÂ fojiaoÂ banhuaÂ zhongÂ suoÂ jianÂ deÂ meijieÂ zhuanhuaÂ yuÂ zimoÂ sheji"Â åå®æ¶æä½æçç»ä¸æè§çåªä»è½¬åä¸åæ¨¡è®¾è®¡ .Â InÂ Yishu shiÂ zhongÂ de Han Jin yu Tang SongÂ zhiÂ bianÂ èºæ¯å²ä¸çæ±æä¸åå®ä¹å, edited by é¢å¨è± and ç³å®è°¦ (Reprint of the 2014 edited volume; Beijing: Beijing University Press, 2016).Â
âTuxiang yuÂ lingying:Â SongdaiÂ fojiaoÂ heÂ daojiaoÂ huihuaÂ yishuâÂ å¾åä¸çµåº:å®ä»£ä½æåéæç»ç»èºæ¯Â (a Chinese translation of âImaginingÂ Efficacy: The Common Ground between Buddhist and Daoist Pictorial Art in Song Chinaâ published in Orientations 2005). Translated by YangÂ XinyueÂ æ¨æ°è¶.Â MeichengÂ zaiÂ jiuÂ ç¾æå¨ä¹
Â 2 (2015): 63-69.
âDaoist Uses of Color in Visualization and Ritual Practices.â In Mary Dusenbury ed.,Â Color inÂ Ancient and Medieval East AsiaÂ (New Haven: Yale University Press, 2015), 223-233.
âDaoist Visual Culture.â In John Lagerwey and Pierre Marsone eds.,Â Modern Chinese Religion, Part One: Song-Liao-Jin-Yuan (960-1368)Â (Leiden: Brill, 2014), 929-1050.
"Reassessing Printed Buddhist Frontispieces from Xi Xia."Â Zhejiang University Journal of Art and ArchaeologyÂ 1 (2014): 129-182.
"XieÂ zhenshanÂ zhixing:Â congÂ 'Shanshuitu' 'ShanshuiÂ hua' tan DaojiaoÂ shanshuiguanÂ zhiÂ shijueÂ xingsu"Â å¯«çå±±ä¹å½¢ï¼å¾ãå±±æ°´åãããå±±æ°´ç«ãè«éæå±±æ°´è§ä¹è¦è¦ºåå¡ (Shaping the True Mountains:Â 'ShanshuiÂ tu','ShanshuiÂ hua', and Visuality in Daoist Landscape),Â GugongÂ xueshuÂ jikanÂ æ
å®®å¸è¡å£å (Palace Museum Research Quarterly) 31.4 (2014): 121-204.Â
"Tang SongÂ shiqiÂ fojiaoÂ banhuaÂ zhongÂ suojianÂ deÂ meijieÂ zhuanhuaÂ yuÂ zimoÂ sheji"Â åå®ææä½æçç«ä¸æè¦çåªä»è½åèåæ¨¡è¨è¨ (Media transfer and modular design in Tang-Song Buddhist illustrated prints), in Shih Shou-chienÂ ç³å®è¬ãYan Chuan-yingÂ é¡å¨è± eds.,Â Yishu shiÂ zhongÂ de Han Jin yu Tang SongÂ zhiÂ bianÂ èè¡å²ä¸çæ¼¢æèåå®ä¹è®Â (The Han-Jin and Tang-Song transitions in Chinese Art History). Taipei: Rock Publishing, 2014, pp. 385-434.
"Cong Daozang de 'tu' tan SongdaiÂ daojiaoÂ yishiÂ deÂ kongjianxingÂ yuÂ wuzhixing"Â å¾ãéèãçãåãè«å®ä»£éæåå¼çç©ºéæ§èç©è³ªæ§ (Spatiality and Materiality in Song Daoist Ritual: Visual Evidence in the MingÂ Daoist Canon),Â YishushiÂ yanjiuÂ èè¡å²ç ç©¶ (Studies of Art History) 13 (Guanzhou, 2011): 45-74.
âMedia Transfer and Modular Construction: The Printing ofÂ Lotus SutraÂ Frontispieces in Song China,âÂ Ars OrientalisÂ 41 (2011): 135-163.Â
"Early Buddhist Illustrated Prints in Hangzhou." InÂ Knowledge and Text Production in an Age of Print: China, 900-1400, ed. Lucille Chia and Hilde de Weerdt (Leiden: Brill, 2011), 135-165.
"Daoist Imagery of Body and Cosmos, Part II: Body Worms and Inner Alchemical Body,âÂ Journal of Daoist StudiesÂ 4 (2011): 33-64.Â
âDaoist Imagery of Body and Cosmos, Part I: Body Gods and Starry Travel,âÂ Journal of Daoist StudiesÂ 3 (2010): 57-90.Â
âTianzhuÂ lingqian: Divination Prints from a Buddhist Temple in Song Hangzhou,âÂ Artibus AsiaeÂ vol. 67, no. 2 (2007): 243-296.
"Imagining Efficacy: The Common Ground between Buddhist and Daoist Pictorial Art in Song China,"Orientations, vol. 36, no. 3 (April 2005):63-69.
âSummoning the Gods: Paintings of Three Officials of Heaven, Earth and Water and Their Association with Daoist Ritual Performance in the Southern Song Period (1127-1279),âÂ Artibus AsiaeÂ vol. 61, no. 1 (2001): 5-52.