• Abby Aldrich Rockefeller Professor of Asian Art
  • eywang@fas.harvard.edu
  • https://scholar.harvard.edu/ewang
  • 485 Broadway | Sackler 506 | Cambridge | MA 02138

Research interests: Chinese art history; ancient bronzes; Buddhist murals and sculptures; reliquaries; scroll paintings; calligraphy; woodblock prints; architecture; photography; films

Eugene Wang (Ph.D Harvard, 1997) began teaching at the University of Chicago in 1996 before joining the faculty at Harvard University in 1997. He was appointed the Abby Aldrich Rockefeller Professor of Asian Art at Harvard in 2005. A Guggenheim Fellow (2005) and recipient of ACLS and Getty grants, he served as the art history associate editor of the Encyclopedia of Buddhism (Macmillan, 2004). His book, Shaping the Lotus Sutra: Buddhist Visual Culture of Medieval China (2005) received the Academic Excellence Award from Japan in 2006. His extensive publications cover the entire range of Chinese art history from ancient funerary art to modern and contemporary Chinese art and cinema. He serves on the advisory board of the Center for Advanced Studies, National Gallery of Art in Washington D.C. and the editorial board of The Art Bulletin.

Chinese Name: 汪悅進

From the Fairbank Podcast: 

汪悦进是哈佛大学亚洲艺术史教授,研究兴趣包括中国艺术史,古代铜器,佛教壁画与雕塑,圣物箱,画卷,书法,木刻画,建筑,摄影,以及电影。出版书籍有《Shaping the Lotus Sutra: Buddhist Visual Culture of Medieval China (2005)。此外,汪悦进教授还任华盛顿国家艺术馆高级研究中心顾问,以及学术期刊The Art Bulletin编辑委员会的一员。


Shaping the Lotus Sutra: Buddhist Visual Culture in Medieval China. Seattle: University of Washington
Press, 2005. Received Academic Achievement Award from Japan.

Associate Editor. Encyclopedia of Buddhism. Ed. Robert E. Buswell, Jr. et al. 2 vols. New York:
Macmillan Reference USA/Thomson/Gale, 2004.



“Why Pictures in Tombs? Mawangdui Once More.” Orientations, no. 3 (March 2009).

“Whereto Heaven? New Perspective on Mawangdui Paintings,” in Noble Tombs at Mawangdui:
Art and Life of the Changsha Kingdom, Third Century BCE-First Century CE. New York,
2009, pp. 41-52.

“The Elegiac Cicada: Problems of Historical Interpretation of Yuan Painting.” Ars Orientalis
37 (2007).

“‘Picture Idea’ and Its Cultural Dynamics in Northern Song China.” The Art Bulletin. LXXXIX, no. 3
(2007): 463-81.

“Patterns Above and Within: The Picture of the Turning Sphere and Medieval Chinese Astral
Imagination.” In Book by Numbers, edited by Wilt Idema, 49-89. Hong Kong: Hong Kong University
Press, 2007.

“Buddha Seal” and “Relic Casket.” In Buddhist Sculpture from China: Selections from the Xi’an Beilin
Museum Fifth Through Ninth Centuries, edited by Annette L. Juliano, 118-26. New York: China
Institute Gallery, 2007.

“Crystallizing the ‘Bleary Blur’: Bronze Mat Weights and the Emergence of New Plastic Thinking in
Western Han Dynasty.” In A Bronze Menagerie: Mat Weights of Early China, 64-74. Isabella Stewart
Gardner Museum, 2006.

“Sound-Observer and Ways of Representing Presences.” In Presence and Images: Essays on the
‘Presence’ of the Prototype within the Image, edited by Rupert Shepherd, 259-78. Aldershot: Ashgate,

“Mirror, Moon, and Memory in Eighth Century China: From Coiling Dragon to Lunar Landscape.” In
Clarity and Luster: New Light on Bronze Mirrors in Tang and Post-Tang Dynasty China, 600-1300,
edited by Claudia Brown and Ju-hsi Chou, 42-67. Cleveland: The Cleveland Museum of Art in
Association with Brepols Publishers, 2005. Special issue of Cleveland Studies in the History of Art.
Vol. 9, 2005.

“Of the True Body: The Buddha’s Relics and Corporeal Transformation in Tang Imperial Culture.” In
Body and Face in Chinese Visual Culture, edited by Wu Hung and Katherine T. Mino. Cambridge,
Mass.: Harvard University Press, 2004.

“Oneiric Horizons and Dissolving Bodies: Buddhist Cave Shrine as Mirror Hall.” In Art History 27, no.
4 (2004): 494-521. Special issue on Visual Culture.

“Romancing the Stone: An Archway in Shandong.” Orientations 35, no. 2 (March 2004): 90-97.

“Sanyu ou un surréaliste chinois à Paris: Sanyu: A Chinese Surrealist in Paris.” Sanyu: l’écriture du
corps: Language of the Body, 53-65. Paris: ARAA; Skira, 2004.

“The Rhetoric of Book Illustration.” In Treasures of the Yenching: The Seventy-Fifth Anniversary
Exhibit Catalogue of the Harvard-Yenching Library, edited by Patrick Hanan, 181-217. Cambridge,
Mass.: Harvard-Yenching Library; Hong Kong: The Chinese University Press, 2003.

“Re-Figuring: Visual Rhetoric of Filial Piety in Sixth Century Northern Wei China.” In Gu Kaizhi and
the Admonitions Scroll, edited by Shane McCausland, 88-101. London: British Museum, 2003.

“Tope and Topos: the Leifeng Pagoda and the Discourse of the Demonic.” In Writing and Materiality
in China, edited by Judith Zeitlin and Lydia Liu, 488-552. Cambridge, Mass.: Harvard University Press,

“Pure Land Art.” In Encyclopedia of Buddhism, edited by Robert Buswell et al. New York: Macmillan.

“Preface.” In Always Bright, vol. II, edited by Eugene Y. Wang et al. Dumont, NJ: Homa & Sekey
Books, 2001.

“Sketch Conceptualism as Modernist Contingency.” In Chinese Art: Modern Expressions, edited by
Maxwell Hearn and Judith Smith: 102-61. New York: The Metropolitan Museum of Art, 2001.

“Perceptions of Change, Changes of Perception—West Lake as Contested Site/Sight in the Wake of
1911 Revolution.” Modern Chinese Literature and Culture 12, no. 2 (Fall 2000): 73-122, special issue,
“Visual Culture and Memory.”

“The Winking Owl: An Art Historical Thick Description.” Critical Inquiry 26 (Spring 2000): 435-73.

“Watching the Steps: Peripatetic Vision in Medieval China.” In Visuality Before and Beyond the
Renaissance: Seeing as the Others See, edited by Robert Nelson: 116-42. New York: Cambridge
University Press, 2000.

“Grotto-Shrine as Chronotope and the Workings of Analogous Iconography: The Sixth-century
Sculptural Program in Cave 38 at Yungang in Perspective.” In Between Han and Tang: Religious Art in
the Age of Transformation, edited by Wu Hung et al.: 70-91. Beijing: Wenwu Press, 2000.

“What Do Trigrams Have to Do with Buddhas? The Northern Liang (397-439) Stupas as a Hybrid
Spatial Model.” RES: Anthropology and Aesthetics. 35 (Spring 1999): 71-91.

“The Taming of the Shrew: Wang Hsi-Chih (303-361) and Calligraphic Gentrification in Seventhcentury
China” in Character and Context, edited by Cary Liu et al., 132-73. Princeton Art Museum,

“Coffins and Confucianism—The Northern Wei (386-534) Sarcophagus at the Minneapolis Institute of
Arts.” Orientations (June, 1999): 56-64.

“Transformation in Heterotopia: The Longhuta and Its Relief-Sculptures.” Orientations (June 1998):

“Samsara and the Crisis of Visual Narrative.” In Narratives of Agency edited by W. Dissanayake, 35-55.
University of Minnesota Press, 1996.

“Whose Paradise Is It Anyway?--The Lotus Sutra Tableau in Cave 217 at Dunhuang.” Orientations
(November, 1996): 44-49.

“Lu Xun” in Dictionary of Art, vol. 18.

“Of Text and Texture: The Cultural Relevance of Xu Bing’s Art,” in Xu Bing: Language Lost,
Exhibition catalogue, Mass. College of Art, Sept. 1995: 7-15.

“Mirror, Death, and Rhetoric—Reading Later Han Chinese Bronze Artifacts.” The Art Bulletin.
VLXXVI, no. 3 (1994): 511-34.

“Anxiety of Portraiture: Ancestral Image-making in Post-Mao China,” in Politics, Ideology, and the
Literary Discourse in Modern China, edited by K. Liu & X. Tang with Forward by F. Jameson, 243-72.
Durham: Duke University Press, 1993.

“Melodrama as Historical Understanding: The Making and the Unmaking of Communist History.” In
Melodrama and Asian Cinema, edited by W. Dissanayake, 73-100. Cambridge University Press.

“The Rhetoric of Mirror, Shadow, and Moon: Samsara and the Problem of Self-Representation in
China.” East-West Film Journal 5, no. 2 (1991): 69-92.

“Red Sorghum: Mixing Memory and Desire.” Public Culture (Fall, 1989): 31-53. Reprinted in
Perspective on Chinese Cinema, edited by C. Berry, 80-113. London: British Film Institute, 1991.

“Cinematic Other and the Cultural Self?” Wide Angle. XI. 2 (1989): 32-39.

“Old Well: a Womb or a Tomb?” Framework 35 (1988): 73-82.



Review of Jerome Silbergeld, China Into Film: Frames of Reference in Contemporary Chinese Cinema
(London: Reaktion Books, 1999). China Review International. 8, no. 2 (Fall 2001)

Review of Rita Wong, Sanyu Catalogue Raisonnê: Oil Paintings (Seattle and London: University of
Washington Press, 2001), Orientations 33, no. 2 (Feb. 2002): 58-59.

Review of Robert Campany, Strange Writing: Anomaly Accounts in Early Medieval China (Albany:
State University of New York Press, 1996). Early Medieval China 4 (1998): 159-66.

Review of Marsha Weidner, The Latter Days of the Law: Images of Chinese Buddhism 850-1850. The
Art Bulletin, LXXVIII, No. 3, Sept. 1996.

Review of Between Silences by Ha Jin (University of Chicago Press, 1990). Chinese Literature: Essays,
Articles, Reviews 13 (1991): 180-82.



The Stony Touch (US., dir. Lora Chen), 3/4-inch video, 35 min. Officially selected for screening at the
9th Hawai’i International Film Festival.




Anshang fang (Archway at Anshang). Co-author with Zheng Yan. Beijing: Sanlian chubanshe, 2008.

Trans. Roland Barthes. Fragments d’un discours amoureux. Shanghai: Remin Press, 1988; Taipei:
Donghai Press, 1989.

Ed. Imagery and Criticism (Yixiang piping). Chengdu: Sichuan wenyi chubanshe, 1988.


ARTICLES (Selections)

“Art History: Some Fundamental Issues and Methodological Directions,” Zhongguo wenhua (Chinese
Culture), 8 (Spring 1993).

“As the Sun Rises in the East, It Rains in the West---The Double Stance in Hong Seng’s Palace of
Immortality and Shakespeare’s Antony and Cleopartra” in Contemporary Consciousness and
Traditional Culture ed. X. Lin. Fudan University Press, 1987.

“Blindness and Tragedy,” Wenyi yanjiu (Studies in Arts), 3 (1986).

“The Fragmented Tower: Roland Barthes and his Fragments d’un discours amoureux” Shulin (Forest of
Books), 8 (1986)

“The Unloosened Spirit in James Joyce’s Portrait of an Artist as a Young Man,” Shulin (Forest of
Books), 7 (1985).

“Polyphony and Shakespeare,” Waiguo wenxue yanjiu (Studies in Foreign Literature), 3 (1985).

Fairbank Center for Chinese Studies