Ching-Ling Wang

Ching-Ling Wang is Curator of Chinese Art

Curriculum vitae and work

wang Dr. Ching-Ling Wang previously worked as curator of pre-modern Chinese art at Museum für Asiatische Kunst, also being in charge of the Chinese collection of Ethnologisches Museum, both Staatliche Museen zu Berlin - Preußischer Kulturbesitz. From 2012-2013 he was research fellow of “Connecting Art Histories in the Museum”, a joint research and fellowship program of the Kunsthistorisches Institut in Florenz, Marx-Planck-Institut and the Staatliche Museen zu Berlin. His research interests focus mainly on Chinese literati painting, Ming and Qing court art and questions concerning visual, material, cultural and artistic exchanges between China and Europe in the 17th and 18th centuries.

Publications (selection)

  • “The Date and Image-Text Relation of the Combination of Ding Guanpeng’s Picture of Śūraṅgama Sūtra and Zhang Zhao’s Calligraphy,” in Gugong wenwu yuekan (National Palace Museum Journal Monthly) 363 (2013): 88-97
  • “Ein Elegantes Geschenk: Die Querrolle »Frühlingsregen am Xiang-Fluss « von Xia Chang im Museum Für Asiatische Kunst Berlin,” in Ostasiatische Zeitschrift 24 (2012): 11-26
  • “When Contemporary Art Encounters a National Treasure: Fan Kuan’s Travellers within Mountains and Streams,” in: Birgit Hopfener, Franziska Koch et al., Negotiating Difference. Contemporary Chinese Art in the Global Context, (Weimar: Verlag und Datenbank für Geistwissenschaften, 2012), 99-112
  • “The Interaction and Integration between Chinese and European Art: On the case of Bodhisattva Mañjuśrī on the Lotus Throne painted by Ding Guanpeng,” in Gugong wenwu yuekan (National Palace Museum Journal Monthly) 349 (2012): 94-101
  • “The Chinese Painting Collection in the Berlin Museum: In the Past, Now, and the Future,” in Proceedings of International Symposium on Chinese Painting and Calligraphy Collections in Western Japan (Kyoto: Kansai Collection of Chinese Painting and Calligraphy Research Committee, 2012), 133-145
  • “Fengshui in the Painting: Reading Huang Gongwang’s Dwelling in the Mt. Fuchun,” in Zijincheng (Forbidden City) 205 (2012): 88-99
  • “The Ruler of the Universe and World: The Ivory-crafted Geometrical Balls Produced and Collected by Saxon Kings and Princes in Dresden,” in Zijincheng (Forbidden City) 203 (2011): 57-67
  • “Image as Historical Evidence: On The Dutch Paying Tribute of Horses and Oxen,” in Gugong wenwu yuekan (The National Palace Museum Monthly of Chinese Art) 336 (2011): 66-77
  • “An Elegant Gift: Xia Chang’s Spring Rain over the Xiang River,” in Zijingcheng (Forbidden City) 180 (2010): 88-101
  • “Li Ri-Hua’s Connoisseurship towards Antiquities,” in Shiwu luntan (Forum for Historical Artifacts) 7 (2008): 25-60
  • “Illusion or Real-Image? -The Position of Along the River Bank, Attributed to Dung Yuan on Chang Da-Qian’s Painting Career,” in Gugong wenwu yuekan (The National Palace Museum Monthly of Chinese Art) 303 (2008): 114-127
  • “Establishing Paradigm: Wang Shi-Min and Album to See the Large within the Small,” in Meishushi yianjio jikan (National Taiwan University (Tai-da) Art History Journal), 24 (2008): 175-258
  • “Issues on Making the Album ‘To See Large within the Small’,” in Gugong wenwu yuekan (The National Palace Museum Monthly of Chinese Art) 295 (2007): 78-89
  • “Issues of the Authorship of the Album ‘To See Large within the Small’,” in Gugong wenwu yuekan (The National Palace Museum Monthly of Chinese Art) 291 (2007): 72-87
  • “Literati at the East Fence attributed to Liang Kai and the Iconography of Tao Yuan-Ming’s Images,” in Looking Forward and Back to Chinese Painting: Graduate Student Conference on Art 2005 (Taipei: Au Ho-Nien Cultural Foundation: 2006), 3-28.
  • “The Style and Iconography of Literati at the East Fence: Also on Issues of Liang Kai’s Fine-line Style,” in Gugong wenwu yuekan (The National Palace Museum Monthly of Chinese Art) 280 (2006): 66-77
  • “Ingenious: on the Format of Chen Hongshou’s Sixteen Views of Living in Seclusion album,” in Gugong wenwu yuekan (The National Palace Museum Monthly of Chinese Art) 273 (2005): 68-77
  • “The Autumn Melon and Chien Xuan’s Professional Painting,” in Gugong wenwu yuekan (The National Palace Museum Monthly of Chinese Art) 267 (2005): 4-15

The Curator of Chinese Art is financed by the Familie Staal Fonds/Rijksmuseum Fonds.