Section I: Studies of Canonical Paintings

1. Chen Pao-chen, “Painting as History: A Study of the Thirteen Emperors Attributed to Yan Liben”
2. Robert E. Harrist, Jr., “Layman Pang and the Enigma of Li Gonglin”
3. Shimao Arata, “Sessu’s Xia Gui-Style Landscape Paintings in Light of ‘Comparative Culture Theory’”
4. Sato Yasuhiro, “Classic and Colloquial Urban Views: Yosa Buson’s Houses on a Snowy Night”

Section II: Buddhist Painting

1. Lee Yu-min, “A Preliminary Study of the Mural Paintings in Cave 321 at Mogao, Dunhuang”
2. Youngsook Pak, “Naksan Legend and Water-Moon Avalokitesvara (Suwol Kwanum) of the Koryo Period (918-1392): The Role of Legend in Koryo Iconography (II)”
3. Marsha Weidner, “Portraits and Personalities in the Temples of Ming Beijing: Responses to Portraits of the Monk Daoyan”
4. Donohashi Akio, “The Production Location of Priest Portraits”

Section III: Literati Painting

1. Yi Song-mi, “Ideals in Conflict: Changing Concepts of Literati Painting in Korea”
2. Craig Clunas, “Commodity and Context: The Work of Wen Zhengming in the Late Ming Art Market”
3. Jonathan Hay, “Wen Zhengming’s Aesthetic of Disjunction”
4. Shih Shou-chien, “Wen Xhengming, Zhong Kui, and Popular Culture”

Section IV: Art Historical Methodology

1. Itakura Masaaki, “Texts and Images: The Interrlationship of Su Shi’s Odes on the Red Cliff and Illustrated Handscroll of the Later Ode by Qiao Zhongchang”
2. Sano Midori, “The Narration of Tales, The Narration of Painting”
3. Timon Screech, “A Japanese Construction of Chinese Painting in the Eighteenth Century”
4. Sato Doshin, “‘Hisotry of Art’: The Determinants of Historicization”

Section V: Recent and Contemporary Painting

1. Richard Vinograd, “The Ends of Chinese Painting”
2. Wan Qingli, “Chinese Merchants as Influential Artist: 1700-1848”
3. Yen Chuan-ying, “Images of Cultural Identity in Colonial Taiwan: From Huang Tushui’s Water Buffalo to Lin Yushan’s Home Series”
4. Wu Hung, “Contemporaneity in Contemporary Chinese Art”

宋元組

1. 陳葆真，〈南唐繪畫特色和相關問題的探討〉
2. 李慧漱，〈南宋臨安圖與文化空間解讀〉
3. Jennifer Purtle, “Foundations of a Min Regional Visual Tradition, Visuality, and Identiy: Fu-chien Painting of the Sung and Yüan Dynasties”
4. 謝明良，〈探索四川宋元器物窖藏〉
5. 蕭燕翼，〈黃公望繪畫的時空意義〉
6. 板倉聖哲，〈張雨題《倪瓚像》與元末江南文人圈〉

明清組

1. Mette Siggstedt, “Topographical Motifs in Middle Ming Su-chou: An Iconographic Implosion”
2. 蔡玫芬，〈蘇州工藝家周丹泉及其時代〉
3. 林麗江，〈徽州版畫《環翠堂園景圖》之研究〉
4. 王正華，〈從陳洪綬的〈畫論〉看晚明浙江畫壇：兼論江南繪畫網絡與區域競爭〉
5. 西上實，〈《探幽縮圖》中所畫的張仙像〉
6. 徐澄琪，〈新安方士庶：揚州繪畫的區域色彩〉
7. 聶崇正，〈故宮倦勤齋天頂畫、全景畫探究〉
8. 趙力，〈江南風象—從地域創作的異動談晚清畫風的嬗變〉

近現代組

1. 莊素娥，〈十九世紀廣東外銷畫的贊助者—廣東十三行行商〉
2. 薛永年，〈民國初期北京畫壇傳統派的再認識〉
3. 萬青力，〈南風北漸—民國初年南方畫家主導的北京畫壇〉
4. 周芳美、吳方正，〈一九二零及三零年代中國畫家赴巴黎習畫後對上海藝壇的影響〉
5. 曾藍瑩，〈邊疆與內地的互置—吳作人畫中的西北意象〉
6. 傅立萃，〈網絡與認同—嶺南畫派的傳播與延續〉
7. Britta Erickson, “Changing Places, Changing Meanings: Chinese Contemporary Art in a Global Environment”