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Corresponding and Adjunct Research Fellows

方聞

Wen Fong

Education

Areas of Research

History of Fine Arts

Dissertation

"Five Hundred Lohans at the Daitokuji" (Ph.D. dissertation, Princeton University, 1957).

Books
  1. Wen Fong and Sherman E. Lee, Streams and Mountains without End: A Northern Sung Handscroll and its Significance in the History of Early Chinese Painting (Artibus Asiae Supplementum 14)(Ascona: Artibus Asiae Publishers, 1955; second edition 1967).
  2. Wen Fong, The Lohans and a Bridge to Heaven(Washington D.C.: Smithsonian Institution, 1958).
  3. Wen Fong and Marilyn Fu, The Wilderness Colors of Tao-ch’i (New York: Metropolitan Museum of Art, 1973).
  4. Sung and Yuan Paintings (New York: Metropolitan Museum of Art, 1973).
  5. Wen Fong and Robert A. Rorex, Eighteen Songs of a Nomad Flute: The Story of Lady Wen-Chi: A Fourteenth-Century Handscroll in the Metropolitan Museum of Art (New York: Metropolitan Museum of Art; distributed by New York Graphic Society, Greenwich, Conn., 1974).
  6. Wen Fong, Summer Mountains: The Timeless Landscape (New York: Metropolitan Museum of Art, 1975).
  7. Wen Fong, Returning Home: Tao-chi's Album of Landscapes and Flowers (New York: George Braziller, 1976).
  8. Wen Fong ed., The Great Bronze Age of China: An Exhibition from The People's Republic Of China (New York: Metropolitan Museum of Art, 1980. 386 pages).
  9. Wen Fong, Maxwell K. Hearn and Alfreda Murck, Douglas Dillon Galleries: Chinese Paintings, Sculpture and Decorative Arts, Second Floor, North Wing (New York: Metropolitan Museum of Art, 1982).
  10. Wen Fong et. al., Images of the Mind: Selections from the Edward L. Elliott Family and John B. Elliott Collections of Chinese Painting and Calligraphy at The Art Museum, Princeton University (Princeton, N.J.: The Art Museum, Princeton University, 1984. 504 pages).
  11. WenFong and Alfreda Murck eds., Words and Images: Chinese Poetry, Calligraphy, and Painting (New York: Metropolitan Museum of Art; Princeton, N.J.: Princeton University Press, 1991. 589 pages).
  12. Wen Fong, Beyond Representation: Chinese Painting and Calligraphy, 8th -14th Century (New York: Metropolitan Museum of Art; New Haven: Yale University Press, 1992. 508 pages).
  13. 《心印 (Images of the Mind)》,李維琨譯(上海:上海書畫出版社,1993)。
  14. Wen Fong, Amelia Peck, James Parker, William Rieder, Olga Raggio, Mary B. Shepard, Annie-Christine Daskalakis Mathews, Daniëlle O. Kisluk-Grosheide, Wolfram Koeppe, Joan R. Mertens, and Alfreda Murck, Period Rooms in the Metropolitan Museum of Art (New York: Metropolitan Museum of Art; H.N. Abrams, 1996).
  15. WenFong, Richard M. Barnhart, and Maxwell K. Hearn, Mandate of Heaven: Emperors and Artists in China: Chinese Painting and Calligraphy from the Metropolitan Museum of Art (New York; Zurich: Metropolitan Museum and Museum Rietberg, 1996).
  16. Wen Fong, James C. Y. Watt and Lin-sheng Chang eds., Possessing the Past: Treasures from the National Palace Museum, Taipei (New York: Metropolitan Museum of Art; National Palace Museum, 1996. 648 pages).
  17. Wen Fong, and Robert E Harrist eds., Embodied Image: Chinese Calligraphy from the John B. Elliott Collection (Princeton: Art Museum, Princeton University, 1999. 449 pages).
  18. Wen Fong and Maxwell K. Hearn, Along the Riverbank: Chinese Painting from the C.C. Wang Family Collection (New York: Metropolitan Museum of Art: Distributed by Abrams, 1999).
  19. Wen Fong and Judith G. Smith eds., Issues of Authenticity in Chinese Painting (New York: Metropolitan Museum of Art, 1999).
  20. Wen Fong, Between Two Cultures: Late-Nineteenth- and Twentieth-Century Chinese Painting from the Robert H. Ellsworth Collection in the Metropolitan Museum of Art (New York: Metropolitan Museum of Art; New Haven: Yale University Press, 2001. 286 pages).
Monographs
  1. “Buddha on Earth and in Heaven: A Chinese Buddhist Stele,” Record of the Art Museum 13.2(1954): 38-61.
  2. “A Letter from Shih-t’ao to Pa-ta-shan-jen and the Problem of Shi-t’ao’s Chronology,” Archives of the Chinese Art Society of America 13 (1959): 22-53.
  3. “Sparrow on an Apple Branch by Ch’ien Hsuan,” Record of the Art Museum 19 (1960): 17-20.
  4. “The Problem of Ch’ien Hsuan,” The Art Bulletin 42.3 (Sept., 1960): 173-189.
  5. “The Problem of Forgeries in Chinese Painting,” Artibus Asiae 25.2/3 (1962): 95-140.
  6. “Chinese Painting: A Statement of Method,” Chinese Culture 5.1 (1963): 122-131.
  7. “On Hsieh Ho’s ‘Liu-fa’,” Chinese Culture 5.1 (1963): 132-139.
  8. “Ch’i-yun-sheng-tung: Vitality, Harmonious Manner and Aliveness,” Oriental Art 12.3 (Autumn 1966): 159-164.
  9. 〈謝赫第一法 (Hsieh Ho’s First Principle)〉,《故宮學術季刊》1.3(1966):5-14。
  10. “Reply to Professor Soper’s Comments on Tao-chi’s Letter to Chu Ta,” Artibus Asiae 29.4 (1967): 351-357.
  11. “The Orthodox Master,” Art News Annual XXXIII (1967).
  12. 〈董其昌與正宗派繪畫理論 (Tung Ch’i-chang and the Orthodox Theory of Painting)〉,《故宮學術季刊》2.3(1967-1968):1-26。
  13. “A Gilt Bronze Kuan-Yin,” (Notes on Recent Acquisitions of the Princeton Art Museum) Record of the Art Museum 27.2 (1968): 60-62.
  14. “A Chinese Album and its Copy.” (Notes on Recent Acquisitions of the Princeton Art Museum) Record of the Art Museum 27.2 (1968): 74-78.
  15. 〈王翬集大成 (Wang Hui: the Great Synthesis)〉,《故宮學術季刊》3(1968-1969):5-10。
  16. “Toward a Structural Analysis of Chinese Landscape Painting,” Art Journal 28.4 (Summer 1969): 388-397.
  17. 〈中國山水畫結構之分析〉,《慶祝蔣復璁先生七十歲論文集》,臺北:國立故宮博物院,1969,頁1-12。
  18. 〈山水畫結構之分析—國畫斷代問題之一〉(羅劉先譯),《故宮學術季刊》4.1(1969):23-30。
  19. “Addendum: Wang Hui, Wang Yüan-chi, and Wu Li,” in Roderick Whitfield, In Pursuit of Antiquity: Chinese Paintings of the Ming and Ch‘ing Dynasties from the Collection of Mr. and Mrs. Earl Morse. Princeton: Art Museum, Princeton University, 1969, pp. 175-194.
  20. “Orthodoxy and Change in Early-Ch’ing Landscape Painting,” Oriental Art 16.1 (Spring 1970): 38.
  21. “How to Understand Chinese Painting,” Proceedings of the American Philosophical Society 115.4 (Aug. 1971): 282-292.
  22. “Metropolitan’s Sung and Yuan Paintings: We Can Now Examine a Major Turning Point in the History of Chinese Art,” Art News 72.9 (November 1973): 22-29.
  23. Wen Fong, and Maxwell K. Hearn, “The Arts of Ancient China,” The Metropolitan Museum of Art Bulletin 32.2 (1973-74).
  24. “Asian Art for the Metropolitan Museum,” in Thomas Hoving, The Chase, the Capture: Collecting at the Metropolitan Museum of Art. New York: Metropolitan Museum of Art, 1975, pp. 131-147.
  25. “Archaism as a ‘Primitive’ Style,” in Christian F. Murck, ed., Artists and Traditions: Uses of the Past in Chinese Culture. Princeton, N.J.: Princeton University Press, 1976, pp. 89-109.
  26. “Rivers and Mountains after Snow (Chiang-shan hsueh-chi) Attributed to Wang Wei,” Archives of Asian Art 30 (1976-1977): 6-33.
  27. “The Study of Chinese Bronze Age Arts: Methods and Approaches,” in Wen Fong ed., The Great Bronze Age of China: An Exhibition from The People’s Republic of China. New York: Metropolitan Museum of Art, 1980, pp. 20-38.
  28. Wen Fong and Alfreda Murck, “A Chinese Garden Court: The Astor Court at the Metropolitan Museum of Art,” The Metropolitan Museum of Art Bulletin 38.3 (Winter, 1980-81).
  29. Wen Fong and Maxwell K. Hearn, “Silent Poetry: Chinese Paintings in the Douglas Dillon Galleries,” The Metropolitan Museum of Art Bulletin 39.3 (Winter, 1981-82): 1-80.
  30. 〈詩、書、畫三絕 (The Three Perfections: Poetry, Calligraphy, and Painting)〉(林柏亭譯),《故宮學術季刊》3.4(1986):5-24。
  31. “The Study of Chinese Painting in the West,”《故宮學術季刊》4.2(1986):1-17。
  32. 〈西方的中國畫研究〉(石守謙譯),《故宮學術季刊》4.2(1986):3-4。
  33. “Stages in the Life and Art of Chu Ta: A.D. 1626-1705,” Archives of Asian Art 40 (1987): 7-23.
  34. 〈八大山人生平與藝術之分期研究 (Stages in the Life and Art of Bada shanren)〉(馮幼衡譯),《故宮學術季刊》4.4(1987):1-14。
  35. “Modern Art Criticism and Chinese Painting History,” in Ching-i Tu, ed. Tradition and Creativity: Essays on East Asian Civilization. New Brunswick, N.J.: East Asian Studies, University Publications, Rutgers, the State University of New Jersey: Transaction Books, 1987, pp. 98-108.
  36. “The Time of Qianlong (1736-1795),” in Ju-hsi Chou and Claudia Brown eds., Chinese Painting Under the Qianlong Emperor, 2 volumes. Tempe, Arizona: Arizona State University, 1988, pp. 9-16.
  37. “Words and Images in Late Ming and Early Ch’ing Painting,” in Alfreda Murck and Wen Fong, eds., Words and Images: Chinese Poetry, Calligraphy, and Painting. New York: Metropolitan Museum of Art; Princeton, N.J.: Princeton University Press, 1991, pp. 501-512.
  38. “The Classic of Filial Piety by Li Kung-lin,” In Proceedings of the International Colloquium on Chinese Art History, 1991: Painting and Calligraphy Part2. Taipei: National Palace Museum, 1992 , pp. 139-162.
  39. “Tung Ch'i-ch'ang and Artistic Renewal” in Wai-kam Ho, ed. The Century of Tung Ch'i-ch'ang, vol.1. Kansas City, Mo.: Nelson-Atkins Museum of Art; Seattle: University of Washington Press, 1992, pp. 43-54.
  40. 〈論中國畫的研究方法 (Chinese Painting: a Statement of Method)〉,張欣瑋譯,收入洪再辛編,《海外中國畫研究文選(1950-1987)》,上海:上海人民出版社,1992,頁93-105。
  41. 〈山 水畫的結構分析 (Toward a Structural Analysis of Chinese Landscape Painting)〉,呂衞民譯,收入洪再辛編,《海外中國畫研究文選(1950-1987)》,上海:上海人民出版社,1992,頁106-122。
  42. 〈一 幀北宋山水卷在前期中國繪畫史上的意義 (Streams and Mountains Without End: A Northern Sung Handscroll and Its Significance in the History of Chinese Painting)〉,錢志堅譯,收入洪再辛編,《海外中國畫研究文選(1950-1987)》,上海:上海人民出版社,1992,頁167-210。
  43. “The Modern Chinese Art Debate.” Artibus Asiae 53.1/2 (1993): 290-305.
  44. “Imperial Portraiture in the Song, Yuan, and Ming Periods.” Ars Orientalis 25 (1995): 47-60.
  45. “The Emperor as Artist and Patron,” Mandate of Heaven : Emperors and Artists in China. New York & Zurich: Metropolitan Museum of Art & Museum Rietberg, 1996, pp. 37-71.
  46. “Reflections on Chinese Art History.” Proceedings of the American Philosophical Society 142.1 (March 1998): 47-59.
  47. “Chinese Calligraphy: Theory and History,” in Robert E. Harrist and Wen Fong eds., Embodied Image: Chinese Calligraphy from the John B. Elliott Collection. Princeton, N.J.: Art Museum, Princeton University, 1999, pp. 28-84.
  48. “Riverbank: From Connoisseurship to Art History,” in Judith Smith and Wen Fong eds., Issues of Authenticity in Chinese Painting. New York: Metropolitan Museum of Art, 1999, pp. 259-291.
  49. “A Reply to James Cahill’s Queries about the Authenticity of Riverbank,” Orientations 31.3 (March 2000): 114-128.
  50. 〈論溪岸圖真偽問題〉,《文物》2000.11:76-96。
  51. 〈為《溪岸圖》答高居翰的質疑〉,《當代》162(2001):58-81。
  52. 〈溪岸圖與山水畫史〉,《朵雲》58(2003):7-43。
  53. 〈中西交匯—《兩種文化之間》序言 (Introduction of Between Two Cultures)〉,蕭芬琪、馮華年、羅淑敏及高昕丹譯,《美術史研究》105.1(2002):27-32; 37-39.
  54. “The Admonitions Scroll and Chinese Art History in Gu Kaizhi and the Admonitions Scroll,” Shane McCausland and Wen Feng eds., First Masterpiece of Chinese Painting: The Admonitions Scroll. London: British Museum Press and Percival David Foundation of Chinese Art, 2003, pp. 18-40.
  55. 〈傳 顧愷之《女史箴圖》與中國古代藝術史 (“Female Scholar” Attributed to Gu Kaizhi and Ancient Chinese Art)〉,《美術史研究集刊》12(2002):6-14。後收入《文物》561.2(2003):82-96。
  56. “Chinese Painting is History,” The Art Bulletin 85.2 (June 2003): 258-280.
  57. “ Chukoku no ,” Osaka catalogue, pp. 262-282.
  58. 〈東洋画の発生源としての書 (Calligraphy as the Matrix of East Asian Painting)〉,阿部修英、板倉聖哲譯,《美術史論叢》20(2004):113-136。
Conference Papers
  1. “Ao-t'u-hua or Receding-and-protruding Painting at Tun-huang,” in Proceedings of the International Conference on Sinology: Section of History of Arts (Taipei: Academia Sinica, 1981), pp. 73-94.
  2. “Words and Images in Sung and Yuan Paintings,” in Landscape Painting of the Far East II, The Third International Symposium on Art Historical Studies organized by the Society for International Exchange of Art historical Studies and sponsored by the Taniguchi Foundation (Kyoto), 1984, pp. 1-10.
  3. “The Wang Hsi-chih Tradition and its Relationship to T'ang and Sung Calligraphy,” in The International Seminar on Chinese Calligraphy in Memory of Yen Chen-ching's 1200th Posthumous Anniversary (Taipei: Council for Cultural Planning & Development, Executive Yuan, 1987), pp. 255-266.
  4. “Remembering Chang Dai-chien (1899-1983),” in The International Conference on the Poetry, Calligrpahy, and Painting of Chang Dai-chien and P’u Hsin-yu (Taipei: National Palace Museum, 1993), pp. 4-31.
Book Reviews
  1. “Reviewed Work: The Existence of Intangible Content in Architectonic Form Based upon the Practicality of Laotzu's Philosophy by Amos Ih Tiao Chang,” Journal of Asian Studies 16.3 (May 1957): 421-423.
  2. “Reviewed Work: The Compelling Image: Nature and Style in Seventeenth-Century Chinese Painting (The Charles Eliot Norton Lectures, 1979) by James Cahill,” The Art Bulletin 68.3 (Sept. 1986): 504-508.

Education:
B.A., Princeton University (1951)
M.F.A., Princeton University (1954)
Ph.D., Princeton University (1958)

Current Positions:
Correspondence Research Fellow, Institute of History and Philology, Academia Sinica (1995.1- )
Emeritus Professor, Princeton University

Previous Positions:
Princeton University:
Edwards S. Sanford Professor of Art Archaeology(1971-1999)
Edwards S. Sanford Professor Emeritus(1999- )
Metropolitan Museum of Art, New York:
Consultative Chairman, Department of Asian Art(1971-2000)

Bollingen Foundation Fellow (1956-1987)
Guggenheim Foundation Fellow (1961-1962)
American Council of Learned Societies Fellow (1965-1966, 1969-1970)
Elected, American Philosophical Society (1992- )
Academician, Academia Sinica (1992)
Harvard Honorary Doctor of Arts (2008)

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