Julia Murray Interviewed by Kathleen Ryor

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Disclosure Statement

No potential conflict of interest was reported by the authors.

Notes

1 “Representations of Hāritī, the Mother of Demons, and the Theme of ‘Raising the Alms-bowl’ in Chinese Painting,” Artibus Asiae 43 (1981/82): 253–84. https://doi.org/10.2307/3249844.

2 “Sung Kao-tsung, Ma Ho-chih, and the Mao Shih Scrolls” (1981), later expanded into a book, Ma Hezhi and the Illustration of the Book of Odes (Cambridge: Cambridge University Press, 1993).

3 “The Ladies’ Classic of Filial Piety and Southern Sung Textual Illustration: Problems of Reconstruction and Artistic Context,” Ars Orientalis 18 (1988): 95–129 (open access, from https://archive.org/details/arsorient181919881989univ/page/n106/mode/1up to https://archive.org/details/arsorient181919881989univ/page/n140/mode/1up); also “Didactic Art for Women: The Ladies’ Classic of Filial Piety,” in Flowering in the Shadows: Women in the History of Chinese and Japanese Painting, edited by Marsha Weidner (Honolulu: University of Hawaii Press, 1990), pp. 27–53.

4 See https://archive.org/details/arsorient181919881989univ/page/n110/mode/1up.

5 “The Evolution of Buddhist Narrative Illustration in China after 850,” in Latter Days of the Law: Chinese Buddhist Pictorial Art, 850–1850, edited by Marsha Weidner (Honolulu: University of Hawai’i Press, 1994), pp. 125–49.

6 “Varied Views of the Sage: Illustrated Narratives of the Life of Confucius,” in On Sacred Grounds: Culture, Society, Politics, and the Formation of the Temple of Confucius, edited by Thomas A. Wilson (Cambridge, Mass.: Harvard University Press, 2002), pp. 222–64. My initial study, with a detailed appendix listing all the examples I had found to date, was published as “Illustrations of the Life of Confucius: Their Evolution, Functions, and Significance in Late Ming China,” Artibus Asiae 57, no. 1–2 (1997): 73–134. https://doi.org/10.2307/3249952.

7 “Didactic Illustrations in Printed Books,” in Printing and Book Culture in Late Imperial China, edited by Cynthia J. Brokaw and Kai-wing Chow (Berkeley: University of California Press, 2005), pp. 417–50. https://doi.org/10.1525/california/9780520231269.003.0011.

8 The Aura of Confucius: Relics and Representations of the Sage at the Kongzhai Shrine in Shanghai (Cambridge: Cambridge University Press, 2021); Confucius: His Life and Legacy in Art, co-authored with Wensheng Lu (New York: China Institute in America, 2010); and Mirror of Morality: Chinese Narrative Illustration and Confucian Ideology (Honolulu: University of Hawai’i Press, 2007); Chinese edition 道德镜鉴：中国叙述性图画与儒家意识形态。何前译。开放的艺术史丛书 (北京：三联书店有限公司, 2014).

9 “Didactic Picturebooks for Late Ming Emperors and Princes” in Culture, Courtiers, and Competition: The Ming Court, 1368–1644, edited by David Robinson (Cambridge, Mass.: Harvard University Asia Center, 2008), pp. 231–68.

10 A Decade of Discovery: Selected Acquisitions, 1970–1980 (Washington, DC: Freer Gallery of Art, 1979). Available online at https://library.si.edu/digital-library/book/decadeofdiscover02free.

Additional information

Notes on contributors

Kathleen Ryor

Kathleen Ryor, PhD, Institute of Fine Arts, New York University, is the Tanaka Memorial Professor of International Understanding and Art History at Carleton College. She is also a Research Associate at the Institute for Global Studies, University of Minnesota and was a past editor of the journal, Ming Studies. She has published on the artist and polymath Xu Wei (1521-93), the relationship between civil and military cultures in the late Ming period, Buddhist painting by secular artists, as well as contemporary Chinese art. Her current research focuses on the genre of flower and planting painting from 1500-1650 and its connections with the production of botanical knowledge.

Julia K. Murray

Julia K. Murray, PhD, Princeton University (1981), is Professor Emerita of Art History, East Asian Studies, and Religious Studies at the University of Wisconsin, and a Nonresident Associate at the Fairbank Center for Chinese Studies, Harvard University. Prior to entering academe, she worked in curatorial positions at the Metropolitan Museum of Art, Freer Gallery of Art (Smithsonian Institution), and Harvard Art Museums. She has published on a wide range of topics and time-periods in Chinese art. Her current research focuses on visual and material elements of the cult of Confucius from the Han dynasty to the present.