{"id":13990,"date":"2024-08-13T15:19:17","date_gmt":"2024-08-13T07:19:17","guid":{"rendered":"https:\/\/arthistory.ntnu.edu.tw\/?page_id=13990"},"modified":"2024-08-13T15:24:00","modified_gmt":"2024-08-13T07:24:00","slug":"prof-lin-li-chiang-cv","status":"publish","type":"page","link":"https:\/\/arthistory.ntnu.edu.tw\/index.php\/prof-lin-li-chiang-cv\/","title":{"rendered":"Prof. Lin Li Chiang CV"},"content":{"rendered":"\t\t
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CURRICULUM VITAE \u7c21\u6b77\u8868\n<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Lin Li Chiang \u6797\u9e97\u6c5f
Ph.D., M.A.
lilin@ntnu.edu.tw<\/a><\/span><\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Current Position <\/span><\/span>\u73fe\u8077<\/span><\/span>
<\/span><\/strong>Professor, Graduate Institute of Art History,National Taiwan Normal University
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Work Address \u5de5\u4f5c\u5730\u5740<\/span> <\/strong><\/span>
Graduate Institute of Art History, National Taiwan Normal University
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162, He-ping East Road, Section 1, Taipei 10610, Taiwan 10610
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Education\u5b78\u6b77<\/span><\/span><\/strong><\/p>

1994\/6 – 1998\/2<\/p><\/td>

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Ph.D., Program in Chinese Art, Department of Art and Archaeology, Princeton University<\/p><\/td><\/tr>

1991\/9 – 1994\/6<\/p><\/td>

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M.A., Program in Chinese Art, Department of Art and Archaeology, Princeton University<\/p><\/td><\/tr>

1989\/9 – 1991\/6<\/p><\/td>

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M.A., Graduate Institute of Art History, National Taiwan University<\/p><\/td><\/tr>

1984\/10 – 1988\/6<\/p><\/td>

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B.A., Department of Foreign Languages and Literature, National Taiwan University<\/p><\/td><\/tr><\/tbody><\/table>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Expertise and Current Research\u5c08\u9577\u8207\u7814\u7a76\u00a0<\/span><\/strong><\/span>
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Chinese Art History, History of Chinese Woodblock Prints, History of Chinese Painting Art and Culture exchange between China and Japan, East and West<\/p>

\u78a9\u58eb\u4e3b\u4fee\u4e2d\u570b\u7e6a\u756b\u3001\u526f\u4fee\u4e2d\u570b\u66f8\u6cd5\uff0c\u535a\u58eb\u4e3b\u4fee\u4e2d\u570b\u7e6a\u756b\u53ca\u7248\u756b\u3002\u5e0c\u671b\u7e7c\u7e8c\u5c0d\u4e2d\u570b\u7e6a\u756b\u8207\u7248\u756b\u6709\u66f4\u6df1\u5165\u7684\u63a2\u7d22\uff0c\u7814\u7a76\u665a\u660e\u7e6a\u756b\u8207\u8996\u89ba\u6587\u5316\u9593\u76f8\u4e92\u5f71\u97ff\u8207\u50b3\u64ad\uff08\u5373\u5305\u542b\u4e0d\u540c\u7684\u85dd\u8853\u5a92\u6750\u76f8\u4e92\u4ea4\u6d41\u5b78\u7fd2\u4e4b\u8907\u96dc\u95dc\u4fc2\uff09\u3001\u8fd1\u4ee3\u4e2d\u570b\u85dd\u8853\u5c0d\u897f\u65b9\u6587\u5316\u4e4b\u61c9\u8b8a\u8207\u5b78\u7fd2\u3001\u4e2d\u65e5\u6587\u5316\u8207\u85dd\u8853\u4ea4\u6d41\uff0c\u4ee5\u53ca\u6771\u897f\u6587\u5316\u65bc\u8fd1\u4ee3\u4e16\u754c\u4ea4\u6d41\u6240\u7522\u751f\u4e4b\u885d\u64ca\u8207\u5f71\u97ff\u7b49\u8b70\u984c\u3002
I major in Chinese paintings and calligraphy in my MA study and later specialize in Chinese woodblock prints for the PhD study. I have written extensively on woodblock-print illustration, print culture and narrative pictures in late Ming China. Recently I also extend my research on the cultural exchanges in Pre-modern East-Asia, with a focus on Nagasaki area where China, Japan and the Netherlands encountered with one another. Currently, I am working on the Suzhou narrative paintings, a genre made mostly in late Ming and early Qing periods. These paintings were first made for the late Ming thriving art market and were later transported to Japan and even Europe, deemed as the ancient Chinese master pieces, which then had impact on the local painting making business. I am interested in investigating the encounters of different cultures and different countries and hope to gain more insight on the impact of 17th-century globalization to cultures and the making of arts.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\tWork Experience \u7d93\u6b77<\/span><\/span>\n<\/strong>\n\n\n\n\n\n\n\n\n\n\n
2012\/7 \u2013 \u81f3\u4eca<\/td>\n\u570b\u7acb\u53f0\u7063\u5e2b\u7bc4\u5927\u5b78\u85dd\u8853\u53f2\u7814\u7a76\u6240\u6559\u6388\nProfessor, Graduate Institute of Art History, National Taiwan Normal University<\/td>\n<\/tr>\n
2021\/8 \u2013 2023\/7<\/td>\n\u501f\u8abf\u81f3\u570b\u7acb\u6545\u5bae\u535a\u7269\u9662\u64d4\u4efb\u66f8\u756b\u6587\u737b\u8655\u8655\u9577\nChief Curator, Dept. of Painting and Calligraphy & Rare Books and Historical Documents, National Palace Museum<\/td>\n<\/tr>\n\n2014\/8 \u2013 2017\/7<\/td>\n\u570b\u7acb\u53f0\u7063\u5e2b\u7bc4\u5927\u5b78\u85dd\u8853\u53f2\u7814\u7a76\u6240\u6559\u6388\u517c\u6240\u9577\nProfessor & Director, Graduate Institute of Art History, National Taiwan Normal University<\/td>\n<\/tr>\n
2012\/8 \u2013 2013\/7<\/td>\n\u7f8e\u570b\u52a0\u5dde\u5927\u5b78\u67cf\u514b\u840a\u5206\u6821\u6771\u4e9e\u7814\u7a76\u4e2d\u5fc3\u8a2a\u554f\u5b78\u8005\uff08\u9802\u5927\u8a08\u756b\u8d0a\u52a9\uff09\nVisiting Scholar in the Institute of the East Asian Studies, University of California, Berkeley (funded by “Top University Strategic Alliance”)<\/td>\n<\/tr>\n
2008\/8 \u2013 2012\/1<\/td>\n\u570b\u7acb\u53f0\u7063\u5e2b\u7bc4\u5927\u5b78\u85dd\u8853\u53f2\u7814\u7a76\u6240\u526f\u6559\u6388\nAssociate Professor, Graduate Institute of Art History, National Taiwan Normal University<\/td>\n<\/tr>\n
2006\/8 \u2013 2008\/7<\/td>\n\u570b\u7acb\u53f0\u7063\u5e2b\u7bc4\u5927\u5b78\u7f8e\u8853\u5b78\u7cfb\u526f\u6559\u6388\nAssociate Professor, Department of Fine Arts, National Taiwan Normal University<\/td>\n<\/tr>\n
2003\/8 \u2013 2006\/7<\/td>\n\u570b\u7acb\u53f0\u7063\u5e2b\u7bc4\u5927\u5b78\u7f8e\u8853\u5b78\u7cfb\u52a9\u7406\u6559\u6388\nAssistant Professor, Department of Fine Arts, National Taiwan Normal University<\/td>\n<\/tr>\n
2001\/8 \u2013 2003\/7<\/td>\n\u6e05\u83ef\u5927\u5b78\u901a\u8b58\u6559\u80b2\u4e2d\u5fc3\u66a8\u6b77\u53f2\u6240\uff08\u5408\u8058\uff09\u52a9\u7406\u6559\u6388\nAssistant Professor, Center for General Education & Institute of History, National Tsing-hua University<\/td>\n<\/tr>\n
1998\/8 – 2001\/7<\/td>\n\u83ef\u68b5\u5927\u5b78\u7f8e\u8853\u5b78\u7cfb\u52a9\u7406\u6559\u6388\nAssistant Professor, Department of Fine Arts, Hua-Fan University<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Publications \u51fa\u7248<\/span>
Periodical \u671f\u520a\u8ad6\u6587<\/span><\/strong>\u00a0<\/p>

2022<\/p><\/td>

\u6797\u9e97\u6c5f\u8457\uff0c\u90fd\u7532\u3055\u3084\u304b\u7ffb\u8b6f\uff0c\u3008\u53e4\u5178\u306e\u518d\u751f\u8003\u2015\u72e9\u91ce\u5c71\u96ea\u3068\u300c\u9577\u6068\u6b4c\u56f3\u300d\u7814\u7a76\u2015\u3009(The Rebirth of Classics: Kan\u014d Sansetsu and his Ch\u014dgonka Scrolls) \uff0c\u300a\u570b\u83ef\u300b1516\uff1a7-28\u3002<\/p><\/td><\/tr>

2021\/<\/span>3<\/p><\/td>

\u6797\u9e97\u6c5f\uff0c\u3008\u89e3\u69cb\u8207\u91cd\u5efa\uff1a\u660e\u4ec7\u82f1\u300a\u81e8\u5b8b\u5143\u516d\u666f\u300b\u5716\u518a\u7814\u7a76\u3009 (Deconstruct and Reconstruct: A Study of Qiu Ying\u2019s Painting Album of Six Scenic Views in Song and Yuan Styles)\uff0c\u300a\u6545\u5bae\u5b78\u8853\u5b63\u520a\u300b\u537738\u671f3\uff0c\u98011-56\u3002 \uff08\u79d1\u6280\u90e8\u8a08\u756b\u7de8\u865f MOST 105-2410-H-003 -055 -MY2\uff09<\/p><\/td><\/tr>

2016<\/p><\/td>

\u6797\u9e97\u6c5f\uff0c\u3008\u5716\u7e6a\u9577\u5d0e\uff1a\u5510\u862d\u9928\u5716\u7814\u7a76\u3009 (Depicting Nagasaki: the T\u014djinyashiki and Dejima Pictures)\uff0c\ubbf8\uc220\uc0ac\uc5f0\uad6c Misulsa Yeongu vol.31 : 113-151. \uff08\u570b\u79d1\u6703\u8a08\u756b\u7de8\u865fNSC 99 – 2410 – H – 003 – 049 – MY2-\uff09<\/p><\/td><\/tr>

2015\/<\/span>12<\/p><\/td>

\u6797\u9e97\u6c5f\uff0c\u3008\u665a\u660e\u898f\u8aeb\u7248\u756b\u300a\u5e1d\u9451\u5716\u8aaa\u300b\u4e4b\u7814\u7a76\u3009(A Study on the Late Ming Woodblock Printing of Admonitions in A Mirror for the Emperor, Illustrated and Explained)\uff0c\u300a\u6545\u5bae\u5b78\u8853\u5b63\u520a\u300b\u537733\u671f2\uff0c\u980183-142\u3002 \uff08\u570b\u79d1\u6703\u8a08\u756b\u7de8\u865f NSC-90-2411-H-007-038-\uff09<\/p><\/td><\/tr>

2012\/<\/span>9<\/p><\/td>

\u6797\u9e97\u6c5f\uff0c\u3008\u660e\u4ee3\u7248\u756b\u300a\u990a\u6b63\u5716\u89e3\u300b\u4e4b\u7814\u7a76\u3009(The study of the Ming woodblock prints Yangzheng tujie)\uff0c\u300a\u570b\u7acb\u81fa\u7063\u5927\u5b78\u7f8e\u8853\u53f2\u7814\u7a76\u96c6\u520a\u300b33\uff0c\u9801163-224\u3002 \uff08\u570b\u79d1\u6703\u8a08\u756b\u7de8\u865fNSC-93-2411-H-003-035-\uff09<\/p><\/td><\/tr>

2012<\/p><\/td>

Lin, Li-chiang, \u201cWang Tingne Unveiled\u2014through the Study of the Late Ming WoodblockPrinted Book Renjing Yangqiu,\u201d Bulletin de l’Ecole Fran\u00e7aise d’Extr\u00eame-Orient 95-96, 2008- 2009: 291-329. \uff08\u570b\u79d1\u6703\u8a08\u756b\u7de8\u865f NSC-94-2411-H-003-013-\uff09<\/p><\/td><\/tr>

2011\/8<\/p><\/td>

Lin, Li-chiang, \u201cThe Making of Images\u2014Reading Wang Tingna\u2019s \u2018Everyday Life\u2019 through the Huancui tang yuanjing tu,\u201d\u300a\u7f8e\u8853\u53f2\u5b78\u300b25\uff0c\u9801401-449\u3002<\/p><\/td><\/tr>

2010<\/p><\/td>

\u6797\u9e97\u6c5f\uff0c\u3008\u665a\u660e\u5fbd\u5dde\u58a8\u5546\u7a0b\u541b\u623f\u8207\u65b9\u4e8e\u9b6f\u58a8\u696d\u7684\u958b\u5c55\u8207\u7af6\u722d\u3009(The development and competition of ink-making business between the Huizhou merchants Cheng Jungfang and Fang Yulu in the late Ming China )\uff0c\u300a\u6cd5\u570b\u6f22\u5b78\u300b\uff08Faguo hanxue\uff0913\uff0c\u9801121-197\u3002<\/p><\/td><\/tr>

2010\/6<\/p><\/td>

\u6797\u9e97\u6c5f\uff0c\u3008\u65e5\u672c\u53e4\u6885\u5712\u76f8\u95dc\u58a8\u66f8\u4e4b\u7814\u7a76\uff0d\u5341\u516b\u4e16\u7d00\u4e2d\u65e5\u85dd\u8853\u6587\u5316\u4ea4\u6d41\u4e4b\u4e00\u7aef\u3009 (Ink Catalogues by Kobaien: Cultural Exchange and Interaction between 18th-Century China and Japan)\uff0c\u300a\u6f22\u5b78\u7814\u7a76\u300b28.2\uff0c\u9801127-168\u3002 \uff08\u570b\u79d1\u6703\u8a08\u756b\u7de8\u865fNSC-89-2411-H-211-006-\uff09<\/p><\/td><\/tr>

2003<\/p><\/td>

\u6797\u9e97\u6c5f\uff0c\u3008\u7531\u50b7\u611f\u800c\u81f3\u98a8\u6708\u2014\u767d\u5c45\u6613\u300a\u7435\u7436\u884c\u300b\u8a69\u4e4b\u5716\u6587\u8f49\u7e79\u3009 (from sadness to romance\u2014the interpretation from literature to pictures of the Pipa song by Po Juyi)\uff0c\u300a\u6545\u5bae\u5b78\u8853\u5b63\u520a\u300b\u7b2c3\u671f\uff0c\u98011-50\u3002<\/p><\/td><\/tr><\/tbody><\/table>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\u00a0Article in Book \u5c08\u66f8\u53ca\u5c08\u66f8\u8ad6\u6587<\/span><\/strong><\/p>

2022\/10<\/p><\/td>

\u6797\u9e97\u6c5f\uff0c\u3008\u738b\u4e16\u8c9e\u8207\u5176\u7b46\u4e0b\u7684\u4e16\u7d00\u7e41\u83ef\u3009(Wang Shizhen and the Flourishing World under his Accounts)\uff0c\u6536\u65bc\u6797\u9e97\u6c5f\uff0c\u4f55\u708e\u6cc9\u7de8\uff0c\u300a\u5beb\u76e1\u7e41\u83ef\uff1a\u665a\u660e\u6587\u5316\u4eba\u738b\u4e16\u8c9e\u8207\u4ed6\u7684\u5fd7\u696d\u300b(\u53f0\u5317\uff1a\u570b\u7acb\u6545\u5bae\u535a\u7269\u9662)\uff0c\u9801289-303\u3002<\/p><\/td><\/tr>

2022\/8<\/p><\/td>

\u6797\u9e97\u6c5f\uff0c\u3008\u9867\u6137\u4e4b\u5973\u53f2\u7bb4\u5716\u3009(The Admonitions Scroll by Gu Kaizhi)\uff0c\u6536\u65bc\u8cf4\u6bd3\u829d\u7de8\uff0c\u300a\u7269\u898b\uff1a\u56db\u5341\u516b\u4f4d\u7269\u4ef6\u7684\u95b1\u8b80\u8005\u8207\u4ed6\u5011\u6240\u898b\u7684\u4e16\u754c\u300b(\u53f0\u5317\uff1a\u9060\u8db3\u6587\u5316\u4e8b\u696d\u80a1\u4efd\u6709\u9650\u516c\u53f8)\uff0c\u9801188-200\u3002<\/p><\/td><\/tr>

2022\/7<\/p><\/td>

\u6797\u9e97\u6c5f\uff0c\u3008\u4e07\u66c6\u5e1d\u3001\u5f35\u5c45\u6b63\u3068\u300e\u5e1d\u9451\u56f3\u8aaa\u300f\u3009(Emperor Wangli, Zhang Juzheng and the Making of Dijian tushou)\uff0c\u6536\u65bc\u6c34\u91ce\u88d5\u53f2\u7de8\uff0c\u300a\u5112\u6559\u601d\u60f3\u3068\u7d75\u753b : \u6771\u30a2\u30b8\u30a2\u306e\u52e7\u6212\u753b\u300b(\u6771\u4eac\uff1a\u52c9\u8aa0\u51fa\u7248)\uff0c\u9801174-191\u3002<\/p><\/td><\/tr>

2021<\/p><\/td>

\u6797\u9e97\u6c5f\uff0c\u76e7\u6167\u7d0b\uff0c\u65bd\u975c\u83f2\uff0c\u90b1\u51fd\u59ae\uff0c\u3008\u85dd\u8853\u53f2\u7814\u7a76\u7684\u56de\u9867\u8207\u5c55\u671b\u3009\uff0c\u6536\u65bc\u6f22\u5b78\u4e2d\u5fc3\u4e3b\u7de8\uff0c\u300a\u6df1\u8015\u8301\u58ef\u2014\u81fa\u7063\u6f22\u5b78\u56db\u5341\u56de\u9867\u8207\u5c55\u671b\u300b(\u53f0\u5317\uff1a\u570b\u5bb6\u5716\u66f8\u9928)\uff0c\u9801427-470\u3002<\/p><\/td><\/tr>

2018<\/p><\/td>

\u6797\u9e97\u6c5f\uff0c\u3008\u4ee5\u8607\u5dde\u70ba\u5178\u7bc4\u2014\u5716\u6587\u76f8\u896f\u6620\u7684\u8607\u5dde\u7247\u88fd\u4f5c\u8207\u5f71\u97ff\u3009 (Suzhou as model: the production and influence of the Suzhou-Pien )\uff0c\u6536\u9304\u65bc\u90b1\u58eb\u83ef\u3001\u6797\u9e97\u6c5f\u3001\u8cf4\u6bd3\u829d\u7de8\uff0c\u300a\u507d\u597d\u7269 \u2014\u5341\u516d\u81f3\u5341\u516b\u4e16\u7d00\u300c\u8607\u5dde\u7247\u300d\u53ca\u5176\u5f71\u97ff\u300b\uff08\u53f0\u5317\uff1a\u570b\u7acb\u6545\u5bae\u535a\u7269\u9662\uff09\uff0c\u9801366-385\u3002 \uff08\u79d1\u6280\u90e8\u8a08\u756b\u7de8\u865fMOST 105-2410-H-003 -055 -MY2\uff09<\/p><\/td><\/tr>

2011<\/p><\/td>

Lin, Li-chiang, \u201cA Study of the Xinjuan hainei qiguan, a Ming Dynasty Book of Famous Sites,\u201d in Bridges to Heaven: Essays on East Asian Art in Honor of Professor Wen C. Fong, ed. Jerome Silbergeld, Dora C.Y. Ching, Judith G. Smith, and Alfreda Murck (Princeton: P.Y.and Kinmay W. Tang Center for East Asian Art, Princeton University in association with Princeton University Press), pp.779\u2013812. \uff08\u570b\u79d1\u6703\u8a08\u756b\u7de8\u865fNSC92-2411-H-003-069-\uff09<\/p><\/td><\/tr>

2011<\/p><\/td>

\u6797\u9e97\u6c5f\uff0c\u3008\u6b64\u6068\u7dbf\u7dbf\u7121\u7d55\u671f\u2014 \u72e9\u91ce\u5c71\u96ea\u7684\u300a\u9577\u6068\u6b4c\u5716\u300b\u7814\u7a76\u3009(The sorrow will continue and never end\u2014study of Kan\u014d Sansetsu\u2019s Ch\u014dgonka Scrolls)\uff0c\u6536\u65bc\u77f3\u5b88\u8b19\u3001\u5ed6\u8087\u4ea8\u4e3b\u7de8\uff0c\u300a\u6771\u4e9e\u6587\u5316\u610f\u8c61\u4e4b\u5f62\u5851\u300b\uff08\u53f0\u5317\uff1a\u5141\u6668\u6587\u5316\uff09\uff0c\u9801 539-600\u3002 \uff08\u570b\u79d1\u6703\u8a08\u756b\u7de8\u865f NSC 97-2410-H-003-064-MY2\uff09<\/p><\/td><\/tr>

2009<\/p><\/td>

Lin, Li-chiang, \u201cMing Paintings and Prints: Possible Source for Kano Sansetsu\u2019s Ch\u014dgonka Scrolls,\u201d in Shane McCausland and Matthew Philip McKelway ed., Chinese Romance from a Japanese Brush: Kano Sansetsu’s (1590-1651) Ch\u014dgonka Scrolls in the Chester Beatty Library (London: Scala Publishers Ltd), pp.151-163. \uff08\u570b\u79d1\u6703\u8a08\u756b\u7de8\u865f NSC 97-2410-H-003-064-MY2\uff09<\/p><\/td><\/tr>

2008<\/p><\/td>

Lin, Li-chiang, \u201cThe Creation and Transformation of Ancient Rulership in the Ming Dynasty (1368-1644) \u2014 A look at the Dijian tushuo (Illustrated Arguments in the Mirror of the Emperors),\u201d in Perceptions of Antiquity in Chinese Civilization, edited by Dieter Kuhn & Helga Stahl. Heidelberg: Edition Forum, pp.321-359. \uff08\u570b\u79d1\u6703\u8a08\u756b\u7de8\u865f NSC-90-2411-H-007-038-\uff09<\/p><\/td><\/tr>

2001<\/p><\/td>

\u6797\u9e97\u6c5f\uff0c\u3008\u5fbd\u5dde\u7248\u756b\u300a\u74b0\u7fe0\u5802\u5712\u666f\u5716\u300b\u4e4b\u7814\u7a76\u3009(study of the Huizhou woodblock prints Huancui tang yuanjing tu)\uff0c\u300a\u5340\u57df\u8207\u7db2\u7d61\u2014\u8fd1\u5343\u5e74\u4f86\u4e2d\u570b\u7f8e\u8853\u53f2\u7814\u7a76\u570b\u969b\u5b78\u8853\u7814\u8a0e\u6703\u8ad6\u6587\u96c6\u300b\uff08\u53f0\u5317\uff1a\u570b\u7acb\u53f0\u7063\u5927\u5b78\u85dd\u8853\u53f2\u7814\u7a76\u6240\uff09\uff0c\u9801299-328\u3002 \uff08\u672c\u6587\u7372\u570b\u5bb6\u79d1\u5b78\u59d4\u54e1\u670389\u5e74\u5ea6\u7532\u7a2e\u7814\u7a76\u734e\u52f5\uff09<\/p><\/td><\/tr>

1998<\/p><\/td>

Lin, Li-chiang, The Proliferation of Images: The Ink-stick Designs and the Printing of the Fangshih mo-p’u and the Ch’eng-shih mo-yuan. Ph.D. Dissertation, Princeton University. \uff08\u672c\u6587\u7372\u570b\u5bb6\u79d1\u5b78\u59d4\u54e1\u670387\u5e74\u5ea6\u7532\u7a2e\u7814\u7a76\u734e\u52f5\uff09<\/p><\/td><\/tr><\/tbody><\/table>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Conference Paper \u7814\u8a0e\u6703\u8ad6\u6587\u00a0<\/strong><\/span>
<\/strong><\/p>

2018\/4\/9-4\/10<\/p><\/td>

Li-chiang Lin, \u201cReport from the East: Images and Texts of China by Martino Martini (1614- 1661) and Beyond,\u201d Conference Paper, present in International Conference on \u201cFalsehood, Forgery, and Knowledge Production in Early Modern World: A Comparative Perspective from Studies on Ming-Qing China to Global History,\u201d9-10 April, 2018 \u300c\u8fd1\u4ee3\u65e9\u671f\u7684\u8b2c\u8aa4\u3001\u507d\u4f5c\u8207\u77e5\u8b58\u751f\u7522\uff1a\u5f9e\u660e\u6e05\u4e2d\u570b\u5230\u5168\u7403\u53f2\u7684\u6bd4\u8f03\u8996\u91ce\u300d\u570b\u969b\u7814\u8a0e\u6703<\/p><\/td><\/tr>

2017\/12\/21-12\/22<\/p><\/td>

\u6797\u9e97\u6c5f\uff0c\u3008\u540d\u8de1\u4f5c\u6210\uff1a\u5f9e\u8607\u5dde\u7e6a\u756b\u4e2d\u7684\u4ec7\u6587\u5408\u4f5c\u8ac7\u8d77\u3009\uff0c\u767c\u8868\u65bc\u570b\u7acb\u4e2d\u592e\u7814\u7a76\u9662\u8fd1\u4ee3\u53f2\u7814\u7a76\u6240\u8209\u8fa6\u4e4b\u300c\u507d\u4f5c\u8207\u6587\u5316\u5a92\u4ecb\uff1a\u660e\u6e05\u8607\u5dde\u5546\u696d\u7e6a\u756b\u300d\u5de5\u4f5c\u574a<\/p><\/td><\/tr>

2017\/8\/24-8\/26<\/p><\/td>

Li-chiang Lin, \u201cPresenting China: Reading the Images on the Maps of the Novus Atlas Sinensis (New Atlas of China,1655) by Martino Martini (1614-1661),\u201d Conference Paper, present in the 2nd Conference of the European Association for Asian Art and Archaeology, University of Zurich<\/p><\/td><\/tr>

2017\/7\/29-7\/30\u00a0<\/p><\/td>

Li-chiang Lin, \u201cFolk Images On Corners: Visual Information in the Novus Atlas Sinensis (New Atlas of China,1655) by Martino Martini,\u201d Conference Paper, present in the \u201cFolk Images and Late Imperial China\u201d International Conference held by The State Museum of the History of Religion (St. Petersburg, Russia), Institute of Oriental Manuscripts of the Russian Academy of Sciences (St. Petersburg, Russia) and Mazu Culture Research Center, National Chung Cheng University (Chiayi, Taiwan), St. Petersburg<\/p><\/td><\/tr>

2016\/5\/28\u00a0<\/p><\/td>

Lin, Li-chiang, \u201cDepicting Nagasaki: the T\u014djinyashiki and Dejima Pictures,\u201d Conference paper, 2016 International Academic Symposium \u201cArt and Trade\u201d in Commemoration of the 30th Anniversary of Misulsa Yeonguhoe \u97d3\u570b\u7f8e\u8853\u53f2\u7814\u7a76\u6703<\/p><\/td><\/tr>

2016\/4\/1<\/p><\/td>

Lin, Li-chiang, \u201cThe Appropriation of Printed Images from China in Kano Sansetsu\u2019s (1590- 1651) Ch\u014dgonka Scrolls,\u201d Conference paper in organized panel: Coping and the Circulating Image in Early Modern East Asia, AAS 2016 Annual Conference<\/p><\/td><\/tr>

2015\/10\/31-11\/1<\/p><\/td>

\u6797\u9e97\u6c5f\uff0c\u3008\u5716\u8207\u6587\uff1a\u660e\u4ee3\u6558\u4e8b\u756b\u5728\u8607\u5dde\u3009\uff0c\u767c\u8868\u65bc\u65e5\u672c\u5927\u548c\u6587\u83ef\u9928\u6240\u8209\u8fa6\u4e4b\u300c\u8607\u5dde\u3092\u3081\u3050\u308b \u8af8\u554f\u984c\u2015\u4e2d\u56fd\u3068\u65e5\u672c\u306e\u89b3\u70b9\u304b\u3089\u2015\u300d\u570b\u969b\u5b78\u8853\u7814\u8a0e\u6703<\/p><\/td><\/tr>

2015\/5\/9\u00a0<\/p><\/td>

Lin, Li-chiang, \u201cImages Redefined: Studies of Chinese Woodblock Prints,\u201d Conference Paper, the \u201cArt History in Korea in the Age of Asia\u201d International Conference, 2015 Spring Conference by the Art History Association of Korea \u97d3\u570b\u7f8e\u8853\u53f2\u5b78\u6703<\/p><\/td><\/tr>

2014 \/12\/5-12\/6\u00a0<\/p><\/td>

\u6797\u9e97\u6c5f\uff0c\u3008\u5716\u7e6a\u9577\u5d0e:\u6c5f\u6236\u5f8c\u671f\u7684\u5510\u862d\u9928\u5716\u7814\u7a76\u3009\uff0c\u767c\u8868\u65bc\u4e2d\u592e\u7814\u7a76\u9662\u4e2d\u570b\u6587\u54f2\u7814\u7a76\u6240\u300c\u660e\u6e05\u6587\u5b78\u7d93\u5178\u4e2d\u4e4b\u77e5\u8b58\u5efa\u69cb\u8207\u6587\u5316\u601d\u7dad\uff1a\u6587\u672c\u2027\u7406\u8ad6\u2027\u6587\u5316\u4ea4\u6d41\u300d\u8a08\u756b\u6240\u8209\u8fa6\u4e4b\u300c\u5275\u65b0\u8207\u5275\u9020\uff1a\u660e\u6e05\u77e5\u8b58\u5efa\u69cb\u8207\u6587\u5316\u4ea4\u6d41\u300d\u570b\u969b\u5b78\u8853\u7814\u8a0e\u6703<\/p><\/td><\/tr>

2014\/11\/21-11\/23\u00a0<\/p><\/td>

Lin, Li-chiang, \u201cDepicting Nagasaki: Ishizaki Y\u016bshi\u2019s T\u014djinyashiki and Dejima Pictures,\u201d Conference Paper, the \u201cEurAsian Objects: Art and Material Culture in Global Exchange, 1600- 1800,\u201d International Conference, Cluster of Excellence Asia and Europe in a Global Context at Heidelberg University<\/p><\/td><\/tr>

2011\/4\/30\u00a0<\/p><\/td>

Lin, Li-chiang, \u201cThe Making of Images\u2014Reading Wang Tingna\u2019s \u2018Everyday Life\u2019 through the Huancui tang yuanjing tu,\u201d Conference Paper, the \u201cArt and Everyday Life\u201d International Conference, Korean Association of Art History Education<\/p><\/td><\/tr>

2009\/9\/11<\/p><\/td>

\u6797\u9e97\u6c5f\uff0c\u3008\u72e9\u91ce\u5c71\u96ea(1560\u20131651)\u9577\u6068\u6b4c\u5716\u4e4b\u7814\u7a76\u3009\uff0c\u767c\u8868\u65bc\u4e2d\u592e\u7814\u7a76\u9662\u6b77\u53f2\u8a9e\u8a00\u7814\u7a76\u6240 \u300c\u6771\u4e9e\u6587\u5316\u610f\u8c61\u4e4b\u5f62\u5851\u300d\u8a08\u756b\u6240\u8209\u8fa6\u4e4b\u300c\u6771\u4e9e\u6587\u5316\u610f\u8c61\u4e4b\u5f62\u5851\u2500\u2500\u7b2c\u5341\u4e00\u81f3\u5341\u4e03\u4e16\u7d00\u9593\u4e2d\u65e5\u97d3\u4e09\u5730\u7684\u85dd\u6587\u4e92\u52d5\u570b\u969b\u5b78\u8853\u8a0e\uf941\u6703\u300d<\/p><\/td><\/tr>

2009\/5\/20<\/p><\/td>

\u6797\u9e97\u6c5f\uff0c\u3008\u6b64\u6068\u7dbf\u7dbf\u2014\u72e9\u91ce\u5c71\u96ea(1560\u20131651)\u9577\u6068\u6b4c\u5716\u4e2d\u7684\u300c\u4e2d\u570b\u5143\u7d20\u300d\u3009\uff0c\u767c\u8868\u65bc\u570b\u7acb\u6545\u5bae\u535a\u7269\u9662\u6240\u8209\u8fa6\u4e4b\u300c\u532f\u805a\uff1a\u4ea4\u6d41\u4e2d\u6240\u5f62\u5851\u7684\u4e9e\u6d32\u300d\u570b\u969b\u5b78\u8853\u7814\u8a0e\u6703<\/p><\/td><\/tr>

2008\/3\/28-3\/29<\/p><\/td>

\u6797\u9e97\u6c5f\uff0c\u3008\u5f9e\u660e\u4ee3\u300a\u5e1d\u9451\u5716\u8aaa\u300b\u4e00\u66f8\u770b\u5f35\u5c45\u6b63\u7684\u300c\u8056\u738b\u518d\u5851\u300d\u3009\uff0c\u767c\u8868\u65bc\u570b\u7acb\u81fa\u7063\u5927\u5b78\u6587\u5b78\u9662\u3001\u4e8c\u677e\u5b78\u820d\u5927\u5b7821\u4e16\u7d00COE\u5353\u8d8a\u8a08\u756b\u4e3b\u8fa6\uff0c\u570b\u7acb\u81fa\u7063\u5927\u5b78\u4eba\u6587\u793e\u6703\u9ad8\u7b49\u7814\u7a76\u9662\u300c\u6771\u4e9e\u7d93\u5178\u8207\u6587\u5316\u7814\u7a76\u8a08\u756b\u300d\u3001\u4e2d\u592e\u7814\u7a76\u9662\u4e2d\u570b\u6587\u54f2\u7814\u7a76\u6240\u5408\u8fa6\u4e4b\u300c\u7b2c\u4e94\u5c46\u65e5\u672c \u6f22\u5b78\u570b\u969b\u5b78\u8853\u7814\u8a0e\u6703\u300d<\/p><\/td><\/tr>

2008\/3\/18<\/p><\/td>

\u6797\u9e97\u6c5f\uff0c\u3008\u5e1d\u9452\u5716\u8aaa\u7814\u7a76\u3009\uff0c\u767c\u8868\u65bc\u65e5\u672c\u79d1\u5b78\u7814\u7a76\u88dc\u52a9\u8a08\u756b\u300c\u6709\u95dc\u300e\u8096\u50cf\u300f\u7684\u8de8\u9818\u57df\u7814\u7a76\u300d\u7814\u7a76\u5c0f\u7d44\u3001\u570b\u7acb\u53f0\u7063\u5e2b\u7bc4\u5927\u5b78\u85dd\u8853\u53f2\u7814\u7a76\u6240\u7c4c\u5099\u8655\u3001\u570b\u7acb\u53f0\u7063\u535a\u7269\u9928\u4e3b\u8fa6\u4e4b\u300c\u8096\u50cf\u756b\u7684\u6771\u897f\u89c0\u9ede\u300d\u570b\u969b\u5b78\u8853\u7814\u8a0e\u6703<\/p><\/td><\/tr>

2004\/5\/27-5\/29\u00a0<\/p><\/td>

Lin, Li-chiang, \u201cThe Making and Transformation of the Ancient Rulership in Ming Dynasty: Dijian Tushuo [A Study of the Illustrated Texts of the Mirror for Emperors],\u201d Conference Paper, the \u201cPerceptions of Antiquity in China\u2019s Civilization\u201d International Conference, Universit\u00e4t W\u00fcrzburg, W\u00fcrzburg\uff08\u570b\u79d1\u6703\u8a08\u756b\u7de8\u865fNSC-90-2411-H-007-038-\uff09<\/p><\/td><\/tr>

2002\/12\/13-12\/14<\/p><\/td>

\u6797\u9e97\u6c5f\uff0c\u3008\u65e5\u672c\u300a\u53e4\u6885\u5712\u58a8\u8b5c\u300b\u4e4b\u7814\u7a76\u2014\u5341\u516b\u4e16\u7d00\u4e2d\u65e5\u85dd\u6587\u4e4b\u4ea4\u6d41\u8207\u4e92\u52d5\u3009\uff0c\u767c\u8868\u65bc\u570b\u7acb\u6545\u5bae\u535a\u7269\u9662\u6240\u4e3b\u8fa6\u4e4b\u300c\u5341\u516b\u4e16\u7d00\u7684\u4e2d\u570b\u8207\u4e16\u754c\u300d\u5b78\u8853\u7814\u8a0e\u6703\uff08\u570b\u79d1\u6703\u8a08\u756b\u7de8\u865fNSC-89-2411-H-211-006-\uff09<\/p><\/td><\/tr>

2001\/5\/18<\/p><\/td>

\u6797\u9e97\u6c5f\uff0c\u3008\u7531\u50b7\u611f\u800c\u81f3\u98a8\u6708\u2014\u767d\u5c45\u6613\u300a\u7435\u7436\u884c\u300b\u8a69\u4e4b\u5716\u6587\u8f49\u7e79\u3009\uff0c\u767c\u8868\u65bc\u570b\u7acb\u6545\u5bae\u535a\u7269\u9662\u6240\u4e3b\u8fa6\u4e4b\u300c\u6587\u5b78\u540d\u8457\u8207\u7f8e\u8853\u300d\u5b78\u8853\u7814\u8a0e\u6703<\/p><\/td><\/tr>

2000\/7\/3-7\/5<\/p><\/td>

\u6797\u9e97\u6c5f\uff0c\u3008\u5fbd\u5dde\u7248\u756b\u300a\u74b0\u7fe0\u5802\u5712\u666f\u5716\u300b\u4e4b\u7814\u7a76\u3009\uff0c\u767c\u8868\u65bc\u570b\u7acb\u53f0\u7063\u5927\u5b78\u85dd\u8853\u53f2\u7814\u7a76\u6240\u6240\u4e3b\u8fa6\u4e4b\u300c\u5340\u57df\u8207\u7db2\u7d61\u2014\u8fd1\u5343\u5e74\u4f86\u4e2d\u570b\u7f8e\u8853\u53f2\u7814\u7a76\u570b\u969b\u5b78\u8853\u7814\u8a0e\u6703\u300d<\/p><\/td><\/tr><\/tbody><\/table>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Book Review \u66f8\u8a55<\/strong><\/span><\/p>

2008\/7<\/p><\/td>

Lin, Li-chiang, \u201cBook Review: Mirror of Morality: Chinese Narrative Illustration and Confucian Ideology by Julia Murray,\u201d The International Journal of Asian Studies, vol.5, issue 2 : 272-274<\/p><\/td><\/tr><\/tbody><\/table>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Project Report \u8a08\u756b\u5831\u544a\u66f8<\/span><\/strong><\/p>

2017<\/p><\/td>

\u5433\u65b9\u6b63\uff08\u8a08\u756b\u53ec\u96c6\u4eba\uff09\uff0c\u6797\u9e97\u6c5f\u3001\u65bd\u975c\u83f2\u3001\u76e7\u6167\u7d0b\u3001\u90b1\u51fd\u59ae\u3001\u8b1d\u4f73\u5a1f\u3001\u5442\u5fc3\u7d14\u3001\u6731\u5922\u6148\u3001\u5468 \u6167\u73b2\u3001\u5b6b\u677e\u69ae\u3001\u8d99\u60e0\u73b2\u3001\u5f35\u5a49\u771f\u3001\u9673\u73b2\u9234\uff08\u4ee5\u4e0a\u5747\u70ba\u5171\u540c\u53ec\u96c6\u4eba\uff09\uff0c\u300a\u79d1\u6280\u90e8\u4eba\u6587\u793e\u6703\u79d1\u5b78 \u7814\u7a76\u4e2d\u5fc3\u300c\u85dd\u8853\u5b78\u5b78\u9580\u71b1\u9580\u8207\u524d\u77bb\u5b78\u8853\u7814\u7a76\u8b70\u984c\u300d\u898f\u5283\u6848\u7d50\u6848\u5831\u544a\u300b\uff0c\u53f0\u5317\u3002\uff08MOST 104-2420-H-002-016-MY3-PH10414\uff09<\/p><\/td><\/tr><\/tbody><\/table>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Others \u5176\u4ed6<\/strong><\/span><\/p>

2023\/12<\/p><\/td>

\u6797\u9e97\u6c5f\uff0c\u3008\u76f8\u9047\u6771\u897f\u2500\u300a\u7a0b\u6c0f\u58a8\u82d1\u300b\u4e2d\u7684\u56db\u5f35\u9285\u7248\u756b\u7684\u4eff\u88fd\u8207\u5f71\u97ff\u3009\uff0c\u300a\u6545\u5bae\u6587\u7269\u6708\u520a\u300b489 \u671f\uff0c\u98014-17\u3002<\/p><\/td><\/tr>

2019\/7<\/p><\/td>

\u6797\u9e97\u6c5f\uff0c\u3008\u6b50\u6d32\u98a8\u60c5\u8207\u6771\u65b9\u60c5\u8abf\u7684\u8ff7\u822a\uff1a\u5927\u822a\u6d77\u6642\u4ee3\u7684\u5716\u50cf\u50b3\u64ad\u8207\u88fd\u4f5c\u3009\uff0c\u300a\u5178\u85cf\u53e4\u7f8e\u8853\u300b\uff0c\u980144-53\u3002<\/p><\/td><\/tr>

2018\/8<\/p><\/td>

\u6797\u9e97\u6c5f\uff0c\u3008\u773e\u7f8e\u756b\u4e2d\u770b\u2014\u5f9e\u3008\u4e5e\u5de7\u5716\u3009\u8ac7\u8d77\u3009\uff0c\u300a\u6545\u5bae\u6587\u7269\u6708\u520a\u300b425\u671f\uff0c\u980168-82\u3002\uff08\u79d1\u8a08\u90e8\u8a08\u756b\u7de8\u865f MOST 105-2410-H-003 -055 -MY2\uff09<\/p><\/td><\/tr>

2022\/5<\/p><\/td>

\u6797\u9e97\u6c5f\uff0c\u3008\u6f2b\u8ac7\u5931\u610f\u6587\u4eba\u3001\u5112\u5546\u8207\u665a\u660e\u51fa\u7248\u696d\u3009\uff0c\u6536\u65bc\u300a\u6f2b\u904a\u602a\u5947\u85dd\u8853\u53f2\u300b\uff0c\u53f0\u5317\uff1a\u539f\u9ede\u51fa\u7248\u793e\uff0c\u980176-85\u3002<\/p><\/td><\/tr><\/tbody><\/table>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Academic Service\u5b78\u8853\u670d\u52d9<\/strong><\/span><\/span><\/p>

1<\/p><\/td>

\u64d4\u4efb\u570b\u7acb\u6e05\u83ef\u5927\u5b78\u3001\u570b\u79d1\u6703\u3001\u6545\u5bae\u5b78\u8853\u5b63\u520a\u3001\u53f0\u5927\u7f8e\u8853\u53f2\u7814\u7a76\u96c6\u520a\u3001\u4e2d\u592e\u5927\u5b78\u4eba\u6587\u5b78\u5831\u3001\u65b0\u53f2\u5b78\u3001\u6f22\u5b78\u7814\u7a76\u7b49\u5b78\u8853\u55ae\u4f4d\u8207\u5b78\u5831\u4e4b\u8ad6\u6587\u8207\u8a08\u756b\u5be9\u67e5<\/p><\/td><\/tr>

2<\/p><\/td>

\u64d4\u4efb\u6821\u5167\u8207\u6821\u5916\u4e4b\u78a9\u58eb\u5b78\u4f4d\u8ad6\u6587\u8003\u8a66\u4e4b\u8003\u8a66\u59d4\u54e1<\/p><\/td><\/tr>

3<\/p><\/td>

\u64d4\u4efb\u6587\u5efa\u6703\u4e4b\u5be9\u67e5\u59d4\u54e1\u5354\u52a9\u5be9\u67e5\u570b\u5167\u535a\u7269\u9928\u904b\u884c\u76f8\u95dc\u4e8b\u5b9c<\/p><\/td><\/tr>

4<\/p><\/td>

\u64d4\u4efb\u6545\u5bae\u5b78\u8853\u5b63\u520a\u3001\u660e\u4ee3\u7814\u7a76\u3001\u85dd\u8853\u5b78\u7814\u7a76\u3001\u6587\u53f2\u54f2\u5b78\u520a\u4e4b\u7de8\u8f2f\u59d4\u54e1\u6703\u59d4\u54e1<\/p><\/td><\/tr>

5<\/p><\/td>

\u64d4\u4efb\u6587\u5316\u90e8\u6587\u8cc7\u5c40\u4e4b\u570b\u5bf6\u8207\u91cd\u8981\u53e4\u7269\u5be9\u67e5\u59d4\u54e1<\/p><\/td><\/tr>

6<\/p><\/td>

\u64d4\u4efb\u6545\u5bae\u535a\u7269\u9662\u4e4b\u85cf\u54c1\u5fb5\u96c6\u5be9\u67e5\u59d4\u54e1<\/p><\/td><\/tr><\/tbody><\/table>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Awards and Support \u734e\u52f5\u8207\u8a08\u756b<\/strong><\/span><\/p>

2023\/8\/1 – 2025\/7\/31<\/p><\/td>

\u57f7\u884c\u570b\u79d1\u6703112\u5e74\u5ea6\u88dc\u52a9\u4e4b\u5c08\u984c\u7814\u7a76\u8a08\u756b \u665a\u660e\u7248\u756b\u8207\u897f\u65b9\u6587\u5316\u7684\u76f8\u9047 (NSTC 112-2410-H-003 -136 -MY2) National Science and Technology Council, 2023-2025 \u201cThe Encounters of the Late Ming Woodblock Prints with the Western Cultures\u201d<\/p><\/td><\/tr>

2021\/8\/1 – 2022\/7\/31<\/p><\/td>

\u57f7\u884c\u79d1\u6280\u90e8110\u5e74\u5ea6\u88dc\u52a9\u4e4b\u5c08\u984c\u7814\u7a76\u8a08\u756b \u7e6a\u5716\u6f14\u7fa9\uff1a\u660e\u842c\u66c6\u671d\u300a\u8056\u8aed\u5716\u89e3\u300b\u7814\u7a76 (MOST 110-2410-H-003-143 -) Ministry of Science and Technology, 2021-2022 \u201cThe Study of the Illustrated Stele of Hongwu Emperor’s Six Sacred Edicts in the Wanli Period \u201d<\/p><\/td><\/tr>

2019\/8\/1 – 2022\/7\/31<\/p><\/td>

\u57f7\u884c\u79d1\u6280\u90e8108\u5e74\u5ea6\u88dc\u52a9\u4e4b\u5c08\u984c\u7814\u7a76\u8a08\u756b \u660e\u5ba3\u5fb7\u5bae\u5ef7\u5beb\u7e6a\u672c\u7814\u7a76-\u4ee5\u5fa1\u88fd\u5916\u621a\u4e8b\u9452\u70ba\u4e2d\u5fc3 (MOST 108-2410-H-003 -035 -MY2) Ministry of Science and Technology, 2019-2021 \u201cThe Illustrated Manuscripts of the Ming Xuanzong Court- Study of the Yuzhi waiqi shiqian\u201d<\/p><\/td><\/tr>

2016\/8\/1 – 2019\/1\/31<\/p><\/td>

\u57f7\u884c\u79d1\u6280\u90e8105\u5e74\u5ea6\u88dc\u52a9\u4e4b\u5c08\u984c\u7814\u7a76\u8a08\u756b \u660e\u4e2d\u5f8c\u671f\u8607\u5dde\u5730\u5340\u6558\u4e8b\u756b\u4e4b\u7814\u7a76 (MOST 105-2410-H-003 -055 -MY2) Ministry of Science and Technology, 2016-2018 \u201cThe Study of Narrative Paintings in Suzhou area in Mid and Late Ming Periods\u201d<\/p><\/td><\/tr>

2013\/8 – 2015\/7<\/p><\/td>

\u57f7\u884c\u570b\u5bb6\u79d1\u5b78\u59d4\u54e1\u6703101\u5e74\u5ea6\u88dc\u52a9\u4e4b\u5c08\u984c\u7814\u7a76\u8a08\u756b \u591a\u65b9\u89c0\u7167\uff1a\u8fd1\u4ee3\u65e9\u671f\u6b50\u6d32\u8207\u6771\u4e9e\u5728\u8996\u89ba\u3001\u7269\u8cea\u6587\u5316\u4e0a\u7684\u4ea4\u6703\u4e92\u52d5II\uff0d\u65e5\u672c\u5357\u883b\u5c4f\u98a8\u7684\u7570\u570b\u89c0\u7167\u8207\u8f49\u7e79 (NSC 101 – 2410 – H – 003 – 117 – MY2-) National Science Council, 2013-2015 \u201cPerspectives and Interpretations of Foreign Barbarians in the Japanese Namban Screens,\u201d joint project of Perspectives on Artistic and Cultural Exchanges between Europe and East Asia, 1600-1800, II<\/p><\/td><\/tr>

2012\/8 – 2013\/7<\/p><\/td>

\u7372\u9078\u70ba2012\u5e74\u4e2d\u83ef\u6c11\u570b\u9802\u5c16\u5927\u5b78\u7b56\u7565\u806f\u76df\u9078\u6d3e\u512a\u79c0\u4eba\u624d\u8d74\u7f8e\u570b\u67cf\u514b\u840a\u52a0\u5dde\u5927\u5b78\u8a2a\u554f\u5b78\u8005 Elected as the 2012 visiting scholar of the Academic Exchange and Cooperation Project between the “Top University Strategic Alliance” in the Republic of China (Taiwan) and the University of California, Berkeley, in the United States<\/p><\/td><\/tr>

2010\/8 – 2012\/7<\/p><\/td>

\u57f7\u884c\u570b\u5bb6\u79d1\u5b78\u59d4\u54e1\u670399\u5e74\u5ea6\u88dc\u52a9\u4e4b\u5c08\u984c\u7814\u7a76\u8a08\u756b \u591a\u65b9\u89c0\u7167\uff1a\u8fd1\u4ee3\u65e9\u671f\u6b50\u6d32\u8207\u6771\u4e9e\u5728\u8996\u89ba\u3001\u7269\u8cea\u6587\u5316\u4e0a\u7684\u4ea4\u6703\u4e92\u52d5-\u9577\u5d0e\u610f\u8c61\u7684\u591a\u91cd\u532f\u96c6-\u81ea\u5510\u9928\u862d\u9928\u5716\u50cf\u7684\u89e3\u8b80\u958b\u59cb (NSC 99 – 2410 – H – 003 – 049 – MY2-) National Science Council, 2010-2012 \u201cThe Convergence of the Nagasaki Images: Analysis of the T\u014djinyashiki and the Dejima Pictures,\u201d joint project of Perspectives on Artistic and Cultural Exchanges between Europe and East Asia, 1600-1800.<\/p><\/td><\/tr>

2008\/8 – 2010\/7<\/p><\/td>

\u57f7\u884c\u570b\u5bb6\u79d1\u5b78\u59d4\u54e1\u670397\u5e74\u5ea6\u88dc\u52a9\u4e4b\u5c08\u984c\u7814\u7a76\u8a08\u756b \u9577\u6068\u4e4e\uff1f\u6d6e\u4e16\u4e4b\uf914\u4e4e\uff1f-\u8fd1\u4e16\u4e2d\u65e5\uf978\u570b\u660e\u7687\u8cb4\u5983\u6545\u4e8b\u5716\u7e6a\u4e4b\u69cb\u6210\u8207\u8f49\u5316 (NSC 97-2410 – H – 003 – 064- MY2-) National Science Council, 2008-2010 \u201cEverlasting Sorrow or Pleasure in the Floating World?-The Study of the Construction and Transformation of the Tang Minghuang and Yang Guifei Legends in Pictures in Pre-modern China and Japan\u201d<\/p><\/td><\/tr>

2005\/8 – 2006\/7<\/p><\/td>

\u57f7\u884c\u570b\u5bb6\u79d1\u5b78\u59d4\u54e1\u670394\u5e74\u5ea6\u88dc\u52a9\u4e4b\u5c08\u984c\u7814\u7a76\u8a08\u756b \u660e\u4ee3\u7248\u756b\u300a\u4eba\u93e1\u967d\u79cb\u300b\u4e4b\u7814\u7a76 (NSC 94 – 2411- H- 003 – 013-) National Science Council, 2005-2006 \u201cThe Study of the Ming Woodblock Prints Renjing Yangqiu\u201d<\/p><\/td><\/tr>

2004\/8 – 2005\/7<\/p><\/td>

\u57f7\u884c\u570b\u5bb6\u79d1\u5b78\u59d4\u54e1\u670392\u5e74\u5ea6\u88dc\u52a9\u4e4b\u5c08\u984c\u7814\u7a76\u8a08\u756b \u660e\u4ee3\u7248\u756b\u300a\u990a\u6b63\u5716\u89e3\u300b\u4e4b\u7814\u7a76 (NSC 93-2411-H-003-035-) National Science Council, 2004-2005 \u201cThe Study of the Ming Woodblock Prints Yangzheng tujie\u201d<\/p><\/td><\/tr>

2003\/8 – 2004\/7<\/p><\/td>

\u57f7\u884c\u570b\u5bb6\u79d1\u5b78\u59d4\u54e1\u670393\u5e74\u5ea6\u88dc\u52a9\u4e4b\u5c08\u984c\u7814\u7a76\u8a08\u756b \u660e\u4ee3\u300a\u6d77\u5167\u5947\u89c0\u300b\u5716\u518a\u4e4b\u7814\u7a76 (NSC-92-2411-H-003-069-) National Science Council, 2003-2004 \u201cThe Study of the Ming Woodblock Prints Hainei qiguan\u201d<\/p><\/td><\/tr>

2001\/8 – 2002\/7<\/p><\/td>

\u57f7\u884c\u570b\u5bb6\u79d1\u5b78\u59d4\u54e1\u670390\u5e74\u5ea6\u88dc\u52a9\u4e4b\u5c08\u984c\u7814\u7a76\u8a08\u756b \u5e1d\u9451\u5716\u8aaa\u7248\u756b\u4e4b\u69cb\u6210\u8207\u6771\u50b3\u2014\u8fd1\u4e16\u4e2d\u65e5\u5c0d\u898f\u9451\u5716\u7e6a\u4e4b\u8a6e\u91cb\u8207\u8b8a\u6613 (NSC-90-2411-H-007-038-) National Science Council, 2001-2002 \u201cThe Making and Transmission of the Dijian tushuo- Interpretation and Transformation of the Didactic Paintings in Pre-modern China and Japan \u201d<\/p><\/td><\/tr>

2001\/6<\/p><\/td>

\u7372\u570b\u5bb6\u79d1\u5b78\u59d4\u54e1\u670389\u5e74\u5ea6\u7532\u7a2e\u7814\u7a76\u734e\u52f5 General Research Award from National Science Council, 2000<\/p><\/td><\/tr>

2000\/8-01\/7<\/p><\/td>

\u57f7\u884c\u570b\u5bb6\u79d1\u5b78\u59d4\u54e1\u670389\u5e74\u5ea6\u88dc\u52a9\u4e4b\u5c08\u984c\u7814\u7a76\u8a08\u756b \u65e5\u672c\u53e4\u6885\u5712\u58a8\u8b5c\u4e4b\u7814\u7a76-\u5341\u516b\u4e16\u7d00\u4e2d\u65e5\u85dd\u6587\u4e4b\u4ea4\u6d41\u8207\u4e92\u52d5 (NSC-89-2411-H-211-006-) National Science Council, 2000 \u201cInk Catalogues by Kobaien: Cultural Exchange and Interaction between 18th-Century China and Japan\u201d<\/p><\/td><\/tr>

1999\/6<\/p><\/td>

\u7372\u570b\u5bb6\u79d1\u5b78\u59d4\u54e1\u670387\u5e74\u5ea6\u7532\u7a2e\u7814\u7a76\u734e\u52f5 General Research Award from National Science Council, 1998<\/p><\/td><\/tr>

1996\/9 – 1997\/8<\/p><\/td>

\u7372\u5fb7\u5bcc\u6587\u6559\u57fa\u91d1\u6703\u734e\u5b78\u91d1 Scholarship from Wu\u2019s Foundation<\/p><\/td><\/tr>

1995\/9 – 1996\/8<\/p><\/td>

\u7372\u8523\u7d93\u570b\u570b\u969b\u5b78\u8853\u4ea4\u6d41\u57fa\u91d1\u6703\u734e\u5b78\u91d1 Scholarship from Chiang Ching-kuo Foundation for International Scholarly Exchange<\/p><\/td><\/tr>

1994\/9 – 1995\/8<\/p><\/td>

\u7372\u7f8e\u570b\u7d10\u7d04\u5927\u90fd\u6703\u535a\u7269\u9928\u734e\u5b78\u91d1\u4e26\u65bc\u8a72\u9928\u5be6\u7fd2 Internship and scholarship from the Metropolitan Museum of Art, New York<\/p><\/td><\/tr>

1991\/8 – 1994\/8<\/p><\/td>

\u7372\u6559\u80b2\u90e8\u516c\u8cbb\u7559\u5b78\u734e\u5b78\u91d1 Scholarship from the Ministry of Education, Taiwan<\/p><\/td><\/tr><\/tbody><\/table>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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MA Thesis Advised \u6307\u5c0e\u4e4b\u78a9\u58eb\u502b\u6587<\/span> <\/strong>
<\/span><\/span><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n

2006<\/p>\n<\/td>\n

\n

\u5289\u99a5\u8ce2<\/p>\n<\/td>\n

\n

\u5433\u5f6c\u300a\u6b72\u83ef\u7d00\u52dd\u5716\u300b\u518a\u4e4b\u7814\u7a76 The study of Wu Bin “Sui-hua Chi-sheng T’u”<\/p>\n<\/td>\n<\/tr>\n

\n

2008<\/p>\n<\/td>\n

\n

\u9673\u6631\u5168<\/p>\n<\/td>\n

\n

\u5317\u5b8b\u300a\u5fa1\u88fd\u79d8\u85cf\u8a6e\u300b\u7248\u756b\u7814\u7a76 A Study on Northern Song Woodblock Prints, Yuzhi Mizangquan<\/p>\n<\/td>\n<\/tr>\n

\n

2008<\/p>\n<\/td>\n

\n

\u5f6d\u55bb\u6b46<\/p>\n<\/td>\n

\n

\u5317\u4eac\u574a\u523b\u7248\u756b\u4e4b\u5947\u8469\uff0d\u660e\u5f18\u6cbb\u300a\u65b0\u520a\u5927\u5b57\u9b41\u672c\u5168\u76f8\u53c3\u589e\u5947\u5999\u8a3b\u91cb\u897f\u5ec2\u8a18\u300b\u7248\u756b\u7814\u7a76 A Study on the Woodblock Illustrations in “Xinkan dazi kuiben quanxiang canzeng qimiao zhushi Xixiang ji”<\/p>\n<\/td>\n<\/tr>\n

\n

2009<\/p>\n<\/td>\n

\n

\u9673\u9999\u541f<\/p>\n<\/td>\n

\n

\u660e\u6e05\u3008\u82e5\u862d\u7487\u74a3\u5716\u3009\u7814\u7a76 The Study of Su Hui(Ruo-lan) Palindrome Scrolls in the Ming-Qing Period<\/p>\n<\/td>\n<\/tr>\n

\n

2009<\/p>\n<\/td>\n

\n

\u8521\u4f73\u84a8<\/p>\n<\/td>\n

\n

\u665a\u660e\u300c\u6c92\u9aa8\u5c71\u6c34\u300d\u7814\u7a76 The Study of “Mo-Ku” Landscapes in the Late Ming<\/p>\n<\/td>\n<\/tr>\n

\n

2009<\/p>\n<\/td>\n

\n

\u6d2a\u9e97\u541b<\/p>\n<\/td>\n

\n

\u660e\u6e05\u98f2\u4e2d\u516b\u4ed9\u5716\u4e4b\u7814\u7a76 The Study of the Yinzhong baxian in Ming and Qing dynasties<\/p>\n<\/td>\n<\/tr>\n

\n

2009<\/p>\n<\/td>\n

\n

\u8607\u739f\u7444<\/p>\n<\/td>\n

\n

\u5f9e\u660e\u4ee3\u5b98\u54e1\u96c5\u96c6\u5716\u770b\u660e\u4ee3\u96c5\u96c6\u5716\u53ca\u7fa4\u9ad4\u8096\u50cf\u7684\u767c\u5c55 The Study of the Literary Gatherings and Group Portraits of the Ming Officials<\/p>\n<\/td>\n<\/tr>\n

\n

2009<\/p>\n<\/td>\n

\n

\u8a31\u745c\u7fce<\/p>\n<\/td>\n

\n

\u660e\u4ee3\u5b54\u5b50\u300c\u8056\u8e5f\u5716\u300d\u7814\u7a76\u2014\u4ee5\u50b3\u4e16\u6b63\u7d71\u4e5d\u5e74\u672c\u300a\u8056\u8e5f\u5716\u300b\u70ba\u4e2d\u5fc3 The Study of the Shengji tu<\/p>\n<\/td>\n<\/tr>\n

\n

2009<\/p>\n<\/td>\n

\n

\u5f35\u6bd3\u73ca<\/p>\n<\/td>\n

\n

\u300a\u53f8\u99ac\u91d1\u9f8d\u6f06\u756b\u5c4f\u98a8\u300b\u7814\u7a76 The Study of the Lacquered Screen-Painting In the Tomb of Sima Jinlong<\/p>\n<\/td>\n<\/tr>\n

\n

2012<\/p>\n<\/td>\n

\n

\u90ed\u5955\u862d<\/p>\n<\/td>\n

\n

\u5f90\u6e2d\u300a\u56db\u8072\u733f\u300b\u7248\u756b\u7814\u7a76 A study on the Woodblock Illustrations in Xu Wei’s (1521-1593) “Four Cries of a Gibbon” (Sisheng Uuan)<\/p>\n<\/td>\n<\/tr>\n

\n

2013<\/p>\n<\/td>\n

\n

\u912d\u5a77\u5a77<\/p>\n<\/td>\n

\n

\u77f3\u6797\u5c45\u58eb\u5e8f\u672c\u300a\u7261\u4e39\u4ead\u9084\u9b42\u8a18\u300b\u7248\u756b\u7814\u7a76 A Study on the Woodblock Illustrations in Shilin Jushi’s Edition of Peony Pavilion<\/p>\n<\/td>\n<\/tr>\n

\n

2015<\/p>\n<\/td>\n

\n

\u95d5\u5b87\u5f64<\/p>\n<\/td>\n

\n

\u5f35\u5922\u5fb5\u300a\u9752\u6a13\u97fb\u8a9e\u300b\u7814\u7a76 The Study of Chang Mang-Cheng “Chinglou yunyu”<\/p>\n<\/td>\n<\/tr>\n

\n

2015<\/p>\n<\/td>\n

\n

\u838a\u9594\u7404<\/p>\n<\/td>\n

\n

\u5c24\u6c42\u4eba\u7269\u756b\u7814\u7a76 The Study of You Chiu’s Figure Paintings<\/p>\n<\/td>\n<\/tr>\n

\n

2018<\/p>\n<\/td>\n

\n

\u5289\u5bb6\u9298<\/p>\n<\/td>\n

\n

\u4ee5\u4e39\u9752\u5bd3\u5409\u51f6\u2014\u300a\u5929\u7afa\u9748\u7c64\u300b\u5716\u6587\u95dc\u4fc2\u8207\u5716\u50cf\u89e3\u8b80 The Fortune-telling Images: A Study of Narrative Technique and Iconography of Tianzhu lingqian<\/p>\n<\/td>\n<\/tr>\n

\n

2019<\/p>\n<\/td>\n

\n

\u8a31\u8a69\u654f<\/p>\n<\/td>\n

\n

\u7e6a\u523b\u517c\u5584\uff1a\u5289\u7d20\u660e\u8207\u660e\u672b\u7248\u756b\u7684\u88fd\u4f5c A Study on Liu Suming\u2018s Achievement and the Woodblock Illustration Making in Late Ming Dynasty (17th Century)<\/p>\n<\/td>\n<\/tr>\n

\n

2019<\/p>\n<\/td>\n

\n

\u9ec3\u99a8\u5e73<\/p>\n<\/td>\n

\n

\u4e8c\u5341\u56de\u672c\u300a\u4e09\u9042\u5e73\u5996\u50b3\u300b\u7248\u756b\u7814\u7a76 A Study on the Woodblock Illustrations in Twenty-Chapter Edition of The Three Sui Quash the Demons\u2019 Revolt<\/p>\n<\/td>\n<\/tr>\n

\n

2020<\/p>\n<\/td>\n

\n

\u5f35\u672b<\/p>\n<\/td>\n

\n

\u73a9\u5473\u8056\u8ce2\u66f8\uff1a\u665a\u660e\u300a\u4e03\u5341\u4e8c\u671d\u4eba\u7269\u6f14\u7fa9\u300b\u7248\u756b\u7814\u7a76 Relishing Confucian Canon: A Study on the Woodblock Illustrations in Qishier Chao Renwu Yanyi<\/p>\n<\/td>\n<\/tr>\n

\n

2020<\/p>\n<\/td>\n

\n

\u6c5f\u91c7\u860b<\/p>\n<\/td>\n

\n

\u5f9e\u5f65\u6839\u57ce\u85cf\u300a\u56db\u5b63\u5c71\u6c34\u5716\u300b\u770b\u660e\u4ee3\u56db\u5b63\u6545\u4e8b\u4eba\u7269\u5716\u4e4b\u767c\u5c55 The Study of \u201cLandscapes of the Four Seasons\u201d painting in the Hikone Castle Museum Collection: Unfolding the Development of Historical Figure Paintings of the Four Seasons in the Ming Dynasty<\/p>\n<\/td>\n<\/tr>\n

\n

2020<\/p>\n<\/td>\n

\n

\u5510\u5553\u7fd4<\/p>\n<\/td>\n

\n

\u660e\u4ee3\u56db\u5b63\u5c71\u6c34\u5716\u5377\u7814\u7a76 Research of Four Seasons Landscape Handscroll Paintings in Ming Dynasty<\/p>\n<\/td>\n<\/tr>\n

\n

2021<\/p>\n<\/td>\n

\n

\u90ed\u4f69\u73ca<\/p>\n<\/td>\n

\n

\u9678\u6cbb\u300a\u5510\u4eba\u8a69\u610f\u5716\u300b\u7814\u7a76 The Study of Lu Zhi\u201cTang Album of Poetic Paintings\u201d<\/p>\n<\/td>\n<\/tr>\n

\n

2021<\/p>\n<\/td>\n

\n

\u674e\u946b<\/p>\n<\/td>\n

\n

\u99ac\u8efe\u3001\u674e\u5728\u3001\u590f\u82b7\u5408\u7e6a\u300a\u6b78\u53bb\u4f86\u8fad\u5716\u5377\u300b\u7814\u7a76 A Study of the Handscroll Tao Yuanming’s Home Again by Ma Shi, Li Zai and Xia Zhi<\/p>\n<\/td>\n<\/tr>\n

\n

2021<\/p>\n<\/td>\n

\n

\u76e7\u51a0\u84c1<\/p>\n<\/td>\n

\n

\u5f9e\u3008\u6d1b\u795e\u8ce6\u5168\u5716\u3009\u770b\u6558\u4e8b\u756b\u50b3\u7d71\u5728\u5b8b\u4ee3\u7684\u878d\u5408\u8207\u6f14\u9032 The Study of \u201cNymph of the Luo River\u201d Handscroll in the Palace Museum Collection: The Evolution and Fusion of Narrative Painting Tradition in the Song Dynasty<\/p>\n<\/td>\n<\/tr>\n

\n

2022<\/p>\n<\/td>\n

\n

\u7f85\u7b60\u5a77<\/p>\n<\/td>\n

\n

\u3008\u5927\u7406\u570b\u68b5\u50cf\u5377\u3009\u4e4b\u5e1d\u738b\u8096\u50cf\u7814\u7a76 The Study of the Imperial Portraits in Chang Sheng-wen’s Long Roll of Buddhist Images<\/p>\n<\/td>\n<\/tr>\n

\n

2022<\/p>\n<\/td>\n

\n

\u9673\u4e9e\u771f<\/p>\n<\/td>\n

\n

\u660e\u4ee3\u521d\u4e2d\u671f\u798f\u5efa\u300a\u526a\u71c8\u9918\u8a71\u300b\u7248\u756b\u7814\u7a76 A Study on the Woodblock Illustrations of \u201cJian Deng Yu Hua\u201d Published in Fujian during Early Ming Dynasty<\/p>\n<\/td>\n<\/tr>\n

\n

2023<\/p>\n<\/td>\n

\n

\u7d00\u6155\u59ae<\/p>\n<\/td>\n

\n

\u5317\u5b8b\u958b\u5316\u5bfa\u897f\u58c1\u5831\u6069\u7d93\u8b8a\u6558\u4e8b\u756b\u7814\u7a76 The Study of The Murals of The Baoen Jingbian on The West Wall in The Kaihua Temple of The Northern Song Dynasty<\/p>\n<\/td>\n<\/tr>\n

\n

2023<\/p>\n<\/td>\n

\n

\u5b6b\u73a5<\/p>\n<\/td>\n

\n

\u5357\u5b8b\u300a\u6cd5\u83ef\u7d93\u300b\u6249\u756b\u7684\u6558\u4e8b\u3001\u69cb\u5716\u53ca\u7a3f\u672c\u7814\u7a76 The Narrative, Composition and Sketches Study of the Lotus Sutra Frontispieces in the Southern Song Dynasty<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

CURRICULUM VITAE \u7c21\u6b77\u8868 Lin Li Chiang \u6797\u9e97\u6c5fPh.D., M.A.lilin@ […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ocean_post_layout":"","ocean_both_sidebars_style":"","ocean_both_sidebars_content_width":0,"ocean_both_sidebars_sidebars_width":0,"ocean_sidebar":"","ocean_second_sidebar":"","ocean_disable_margins":"enable","ocean_add_body_class":"","ocean_shortcode_before_top_bar":"","ocean_shortcode_after_top_bar":"","ocean_shortcode_before_header":"","ocean_shortcode_after_header":"","ocean_has_shortcode":"","ocean_shortcode_after_title":"","ocean_shortcode_before_footer_widgets":"","ocean_shortcode_after_footer_widgets":"","ocean_shortcode_before_footer_bottom":"","ocean_shortcode_after_footer_bottom":"","ocean_display_top_bar":"default","ocean_display_header":"default","ocean_header_style":"","ocean_center_header_left_menu":"","ocean_custom_header_template":"","ocean_custom_logo":0,"ocean_custom_retina_logo":0,"ocean_custom_logo_max_width":0,"ocean_custom_logo_tablet_max_width":0,"ocean_custom_logo_mobile_max_width":0,"ocean_custom_logo_max_height":0,"ocean_custom_logo_tablet_max_height":0,"ocean_custom_logo_mobile_max_height":0,"ocean_header_custom_menu":"","ocean_menu_typo_font_family":"","ocean_menu_typo_font_subset":"","ocean_menu_typo_font_size":0,"ocean_menu_typo_font_size_tablet":0,"ocean_menu_typo_font_size_mobile":0,"ocean_menu_typo_font_size_unit":"px","ocean_menu_typo_font_weight":"","ocean_menu_typo_font_weight_tablet":"","ocean_menu_typo_font_weight_mobile":"","ocean_menu_typo_transform":"","ocean_menu_typo_transform_tablet":"","ocean_menu_typo_transform_mobile":"","ocean_menu_typo_line_height":0,"ocean_menu_typo_line_height_tablet":0,"ocean_menu_typo_line_height_mobile":0,"ocean_menu_typo_line_height_unit":"","ocean_menu_typo_spacing":0,"ocean_menu_typo_spacing_tablet":0,"ocean_menu_typo_spacing_mobile":0,"ocean_menu_typo_spacing_unit":"","ocean_menu_link_color":"","ocean_menu_link_color_hover":"","ocean_menu_link_color_active":"","ocean_menu_link_background":"","ocean_menu_link_hover_background":"","ocean_menu_link_active_background":"","ocean_menu_social_links_bg":"","ocean_menu_social_hover_links_bg":"","ocean_menu_social_links_color":"","ocean_menu_social_hover_links_color":"","ocean_disable_title":"default","ocean_disable_heading":"default","ocean_post_title":"","ocean_post_subheading":"","ocean_post_title_style":"","ocean_post_title_background_color":"","ocean_post_title_background":0,"ocean_post_title_bg_image_position":"","ocean_post_title_bg_image_attachment":"","ocean_post_title_bg_image_repeat":"","ocean_post_title_bg_image_size":"","ocean_post_title_height":0,"ocean_post_title_bg_overlay":0.5,"ocean_post_title_bg_overlay_color":"","ocean_disable_breadcrumbs":"default","ocean_breadcrumbs_color":"","ocean_breadcrumbs_separator_color":"","ocean_breadcrumbs_links_color":"","ocean_breadcrumbs_links_hover_color":"","ocean_display_footer_widgets":"default","ocean_display_footer_bottom":"default","ocean_custom_footer_template":"","footnotes":""},"class_list":["post-13990","page","type-page","status-publish","hentry","entry"],"_links":{"self":[{"href":"https:\/\/arthistory.ntnu.edu.tw\/index.php\/wp-json\/wp\/v2\/pages\/13990","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/arthistory.ntnu.edu.tw\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/arthistory.ntnu.edu.tw\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/arthistory.ntnu.edu.tw\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/arthistory.ntnu.edu.tw\/index.php\/wp-json\/wp\/v2\/comments?post=13990"}],"version-history":[{"count":10,"href":"https:\/\/arthistory.ntnu.edu.tw\/index.php\/wp-json\/wp\/v2\/pages\/13990\/revisions"}],"predecessor-version":[{"id":14000,"href":"https:\/\/arthistory.ntnu.edu.tw\/index.php\/wp-json\/wp\/v2\/pages\/13990\/revisions\/14000"}],"wp:attachment":[{"href":"https:\/\/arthistory.ntnu.edu.tw\/index.php\/wp-json\/wp\/v2\/media?parent=13990"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}