Bibliography

BIBLIOGRAPHY FOR JAMES CAHILL

1957:

"A Clouded View of Chinese Painting" (a review of The Tao of Painting by Mai-mai Sze).  In:  Virginia Quarterly Review (Summer, 1957), pp. 476-480.

Review of:  The Arts of the T'ang Dynasty, catalog of a loan exhibition organized by the Los Angeles County Museum.  In:  The Journal of Asian Studies, 17 (1957), pp. 142-143.

1958:

Wu Chen:  A Chinese Landscapist and Bamboo Painter of the Fourteenth Century.  Doctoral dissertation, published by University Microfilms, University of Michigan, Ann Arbor, 1958.

"Ch'ien Hsuan and his Figure Paintings."  In:  Archives of the Chinese Art Society of America, 12 (1958), pp. 11-29.

1959:

"A Rejected Portrait of Lo P'ing:  Pictorial Footnote to Waley's Yuan Mei."  In Arthur Waley Anniversary Volume of Asia Major, London, Lund Humphries (1959), pp. 32-39.

Review of:  The Arts of the Ming Dynasty, catalog of an exhibition organized by the Arts Council of Great Britain and the Oriental Ceramic Society.  In:  The Journal of Asian Studies, 18 (1959), pp. 289-290.

Review of:  The Tao of Painting:  A Study of the Ritual Disposition of Chinese Paintings, by Mai-mai Sze.  In:  Ars Orientalis, 3 (1959), pp. 232-241.

Introduction to brochure of exhibition of paintings by Chi-chuan Wang, Mi Chou Gallery, New York, 1959.

1960:

Chinese Painting.  In:  Treasures of Asia series, Editions d'Art Albert Skira, Geneva, Switzerland (1960).  (Published also in French and German editions.)

Chinese Paintings, XI-XIV Centuries.  New York, Crown Publishers (1960)  French edition published by B. Arthaud, Paris (1962).

"Confucian Elements in the Theory of Painting."  In:  The Confucian Persuasion, edited by Arthur F. Wright, Stanford University Press (1960), pp. 115-140.  Reprinted in:  Confucianism and Chinese Civilization, edited by Arthur F. Wright, New York, Athaneum (1964)

"The Chinese Imperial Art Treasures."  In:  Horizon, January (1961), pp. 12-25.

"Concerning the I-p'in Style of Painting," by S. Shimada.  Translated by J. Cahill.  In:  Oriental Art, 7 (1961), pp. 66-74 (continued in 1962).

"The Return of the Absent Servants:  Chou Fang's Double Sixes Restored."  In:  Archives of the Chinese Art Society of America, 15 (1961), pp. 26-28.

"The Six Laws and How to Read Them."  In:  Ars Orientalis, 4 (1961), pp. 372-381.

Introduction and entries for the section on calligraphy and assistance with entries for painting, in:  Chinese Art Treasures:  A Selected Group of Objects from the Chinese National Palace Museum and the Chinese National Central Museum which were exhibited in the United States, 1961-1962.

Review of:  Chinese Pictorial Art as Viewed by the Connoisseur, by R.H. van Gulik.  In:  Journal of the American Oriental Society, 81 (1961), pp. 448-450.

Review of:  Some T'ang and Pre-T'ang Texts on Chinese Painting, by W.R.B. Acker.  In:  Ars Orientalis, 4 (1961), pp. 440-444.

"Chinese Art."  Entry for Grolier Encyclopedia.  Also sixteen biographies of individual Chinese artists, published in the same encyclopedia.

1962:

"Archibald G. Wenley, 1898-1962."  Obituary in:  Artibus Asiae, 25 (1962), pp. 197-198.

The Art of Southern Sung China, New York, Asia House Gallery (1962), 103 pp., illustrated.  Text of the catalog reprinted in:  Art News, 60, no. 10 (1962), pp. 26-29, 49-50, under title:  "The Plum Tree and the Buffalo."

Chinese Album Leaves in the Freer Gallery of Art, Washington, D.C., Smithsonian Institution (1962).  Printed by Benrido, Kyoto, Japan.

Chinese Calligraphy and Painting in the Collection of John M. Crawford, Jr. (Written in collaboration with five other scholars.)  New York, The Pierpont Morgan Library, (1962).

"Concerning the I-p'in Style of Painting," Part II, by S. Shimada.  Translated by J. Cahill.  In:  Oriental Art, 8 (1962), pp. 130-137.

"The Crawford Collection:  Chinese Painting and Calligraphy."  In:   Oriental Art, 8 (1962), pp. 163-166.

Introduction and plate descriptions to Chinese Drawings.  In:  Great Drawings of All Time.  New York, Shorewood Press, Vol. IV, 2 pp., plates 878-906.

"Some Rocks in Early Chinese Painting."  In:  Archives of the Chinese Society of America, 16 (1962), pp. 77-87.

Introduction to brochure on exhibition of paintings by Chi-Kwan Chen, Mi Chou Gallery, New York, 1962.

Review of:  An Introduction to Chinese Art by Michael Sullivan.  In:  Bulletin of the School of Oriental and African Studies, London University, Vol. XXV, no. 2 (1962), pp. 396-398.

1963:

"Collecting Paintings in China."  In:  Arts Magazine, 37 (1963), pp. 66-72.

"Yuan Chiang and His School."  Part I.  In:  Ars Orientalis, 5 (1963), pp. 259-272.

Introduction to:  Chang Dai-Chien, Exhibition of Paintings, October 22 - November 2, 1963.  New York, Hirschl and Adler Galleries, Inc., (1963).

Review of:  The Birth of Landscape Painting in China, by Michael Sullivan.  In:  The Burlington Magazine, 105 (October 1963), page 452.

1964:

"Concerning the I-p'in Style of Painting."  Part III, by S. Shimada.  Translated by J. Cahill.  In:  Oriental Art, 10, no. 1 (June 1964), pp. 19-26.

"Li Kung-lin."  In:  Encyclopedia of World Art, New York, McGraw-Hill, Vol. IX (1964), pp. 249-251, plates 132-136.

Review of:  A History of Far Eastern Art, by Sherman E. Lee.  In:  Saturday Review, 47 (December 12, 1964), page 45.

1965:

Review:  of  Chinese Art:  Painting, Calligraphy, Stone Rubbing, Wood Engraving, by Werner Speiser, et al.  In:  The New York Review of Books (June 3, 1965).

1966:

"Yuan Chiang and his School," Part II.  In Ars Orientalis, Vol. VI (1966), pp. 191-212.

Review of:  Treasures of the Peking Museum, by Françoise Fourcade.  In:  The Asian Student (May 28, 1966).

"Oriental Art Studies and the Brundage Collection."  In:  The Avery Brundage Collection of Asian Art, Special issue of:  The Asia Foundation Program Bulletin (August 1966).

Preface to:  Seals of Chinese Painters and Collectors by Victoria Contag and Wang Chi-ch'ien.  Hong Kong (1966), pp. v-vi.

Two articles on Chinese art in connection with the opening of the Brundage Wing at the de Young Museum:  "Arts of China -- Bronzes and Sculpture," San Francisco Chronicle, This World Magazine (June 12, 1966), pp. 27-28.  "Arts of China -- Scrolls and Wares," San Francisco Chronicle, This World Magazine (June 19, 1966), pp. 26 and 28.

1967:

The Freer Chinese Bronzes, Vol. I, in collaboration with John Pope, R.J. Gettens and Noel Barnard (Sections on Style and Chronology by James Cahill).  Washington, D.C., Freer Gallery of Art, Smithsonian Institution (1967).

Fantastics and Eccentrics in Chinese Painting, exhibition catalog, Asia House Gallery, New York, (1967).

"Chinese Paintings in Honolulu."  In:  Archives of Asian Art, Vol. 21 (1967), pp. 70-72.

Introduction to:  Allison Stilwell Cameron, Chinese Painting Techniques, Rutland, Vermont, Tuttle (1967).

Review of:  Chinese Sculpture, Bronzes, and Jades in Japanese Collections by Yuzo Sugimura.  In:  The Asian Student (January 21, 1967).

Review of:  The Chinese Theory of Art, by Lin Yutang.   In:  The Asian Student (November 11, 1967).

"Dan Destry's Dilemma, or Publish or Perish, or Both,"  libretto for a comic opera performed at the Men's Faculty Club (December 1967) and subsequently repeated several times there and elsewhere.  Published in mimeographed form and copyrighted.

Abstracts prepared regularly, averaging 6-10 entries each year for:  Revue Bibliographique de Sinologie.  Volumes published to date cover 1956-1967.

1968:

Tomioka Tessai.  Catalog of an exhibition of the works of this artist (1837-1924) which opened at the University Art Museum, November 25, 1968.  Translated some introductory material, wrote or translated the explanatory entries on paintings and other objects, and contributed an essay, "The Painting of Tessai."

"Tomioka Tessai at the U.C. Art Museum," Daily Californian Weekly Magazine (November 19, 1968).

Essay for brochure on exhibition of paintings by Chi-chuan Wang, M.H. de Young Memorial Museum, San Francisco, October 11 - November 24, 1968.

Review of:  "The Arts of China:  Recent Discoveries," by Yonezawa, Yoshiho, and others.  In:  The Asian Student (November 30, 1968).

1969:

"T'ang Yin or Chou Ch'en?"  In:  National Palace Museum Quarterly, Vol. IV, no. l (July 1969), pp. 23-25.

Review of:  Ritual Vessels of Bronze Age China by Max Loehr.  In:  The Asian Student

(April 1969), page 8.

Review of:  Textual Evidence for the Secular Arts of China in the Period from Liu Sung through Sui (A.D. 420-618) by Alexander Soper.  In:  Journal of the American Oriental Society, 89.l (1969), pp. 257-258.

1970:

"The Early Styles of Kung Hsien."  In:  Oriental Art, Vol. XVI, no. l (Spring 1970), pp. 51-71.

"Twentieth Century Chinese Painting at Stanford."  In:  Oriental Art, Vol. XVI, no. 2 (Summer 1970), pp. 191-193.

"Three Japanese Paintings in the Dayton Art Institute."  In:  Dayton Art Institute Bulletin (September 1970).

Review of Arts of China, Volume II:  Buddhist Cave Temples, New Researches by Terukazu Akiyama and Saburo Matsubara.  In:  The Asian Student (March 14, 1970), page 8.

Excerpts from two of my writings, Fantastics and Eccentrics in Chinese Painting and "A Rejected Portrait by Lo P'ing:  Pictorial Footnote to Waley's 'Yüan Mei'."  In:  Modern China:  An Interpretive Anthology compiled by Joseph R. Levenson, New York (1970), pp. 74-79.

1971:

The  Restless Landscape:  Chinese Painting of the Late Ming Period.  Berkeley, University Art Museum, 1971.  Catalog of an exhibition, later shown also at the Fogg Museum, Cambridge, Massachusetts.  Edited, with a preface, and in some part rewritten, from manuscripts produced by seminar students working under my direction.

1972:

Scholar-Artists of Japan:  The Nanga School.  New York, Asia House Gallery, 1972.  Catalog of an exhibition also shown at the University Art Museum, Berkeley, California.

"Wu Pin and His Landscape Painting."  Paper for International Conference on Chinese Painting, Palace Museum, Taipei, 1970.  Expanded and rewritten for publication in:  Proceedings of the International Symposium on Chinese Painting, Taipei (1972), pp. 637-698.

Review of:  Chinese Connoisseurship:  The Ko Ku Yao Lun, The Essential Criteria of Antiquities by Sir Percival David.  In:  The Asian Student (December 23, 1972), page 11.

"Chûgoku bijutsushika no mita Rimpa-ten" (The Rimpa Exhibition as Seen by a Chinese Art Specialist), in Japanese.  In:  Geijutsu Shinchô, no. 12 (1972), pp. 97-99.

1973:

"The Life and Paintings of Tessai."  In:  Tessai, Tokyo, Asahi Press (1973), pp. IV-VIII.

1974:

"Hsia Kuei."  Article in:  Encyclopedia Brittanica (1974), fifteenth edition, Vol. 8, pp. 1122-1124.

1975:

"Max Loehr at Seventy."  In:  Ars Orientalis, Vol. X (1975), pp. 1-8.

"Chûgoku kaiga ni okeru kisô to yûsô."  (Japanese translation of my Fantastics and Eccentrics in Chinese Painting.)  In:  Kokka no. 978 (1975), pp. 9-20; no. 979 (1975), pp. 11-21; no. 980 (1975), pp. 23-32.  Translated by Takehiro Shindo.

Review of:  Jack Hillier, The Uninhibited Brush:  Japanese Art in the Shijo Style.  In:  Oriental Art, New Series, Vol XXI, no. 4 (Winter 1975), pp. 377-379.

Ike-no Taiga and His Circle.  Catalog of exhibition held at the University Art Museum, April 15-June 22, 1975.  (Written chiefly by myself, with some contributions from four graduate students, as noted on page 1.)  Reproduced from typescript for sale at time of exhibition, distributed to colleagues.

1976:

Hills Beyond a River:  Chinese Painting of the Yüan Dynasty, 1279-1368.  Tokyo and New York, John Weatherhill, Inc. (1976).

"Sakaki Hyakusen no kaiga yôshiki:  sono Chûgoku to no kanren to Nihon Nanga e no eikyô ni tsuite."  (The Styles of Sakaki Hyakusen:  Their Chinese Souces and Their Effect on Nanga.)  Part I of a three-part article.  In:  Bijutsu-shi, Journal of the Japan Art History Society, no. 93-96 (March 1976), pp. 1-31.

"Style as Idea in Ming Ch'ing Painting."  In:  The Mozartian Historian:  Essays on the Works of Joseph R. Levenson, Maurice Meisner and Rhoads Murphy, editors, Berkeley (1976), pp. 137-156.

Biographies of two artists in:  Dictionary of Ming Biography, Columbia University (1976).

Hung-jen, Vol. I, pp. 675-578 and Wu Pin, Vol. II, pp. 1492-1494.

Biographies of six Sung Dynasty painters in:  Sung Biographies, Herbert Franke, editor, Wiesbaden (1976).  Volume III, Painters:  Chou Wen-chü, pp. 28-31; Kung K'ai, pp. 64-69; Li An-chung, pp. 76-78; Ma Ho-chih, pp. 101-105; Su Han-ch'en, pp. 134-136; Ts'ui Po, pp. 136-139.

"The Orthodox Movement in Early Ch'ing Painting."  In:  Artists and Traditions:  Uses of the Past in Chinese Culture, Princeton (1976), pp. 169-181.

1977:

Go Shôseki Sai Hakuseki (Wu Ch'ang-shih and Ch'i Pai-shih).  Tokyo, Chuo Koron-sha (1977).  Volume on 19th - 20th Century Chinese painting in:  Bunjinga Suihen series, selection of plates and principal text by J. Cahill.

"Liu Kuo-sung."  Brief essay on this contemporary Chinese artist in exhibition brochure, Laky Gallery, Carmel, California, October-November 1977.  Reprinted in:  Liu Kuo-sung Exhibition of Paintings, Monterey Peninsula Museum of Art, Monterey, California and Trisolini Gallery of Ohio University, Athens, Ohio, 1980.  Chinese translation published in:  Hsintu, no. 5 (1980), New York, page 53.

Review of:  A Dictionary of Japanese Artists:  Painting, Sculpture, Ceramics, Prints, Laquers by Laurance P. Roberts.  In:  Journal of Asian Studies, vol XXXVII, no. 1 (November l977), pp. 146-148.

1978:

Parting at the Shore:  Chinese Painting of the Early and Middle Ming Dynasty, 1368-1580.  Tokyo and New York, John Weatherhill, Inc. (1978).

"Sakaki Hyakusen no kaiga yôshiki:  sanzui-ga oyobi sanzui jimbutsu-ga ni tsuite" (The Styles of Sakaki Kyakusen, II:  Landscapes and Figure-in-landscape Compositions.)  In:  Bi jutsu-shi, no. 105 (November 1978), pp. 1-17.

"Ch'ien Hsuan ho Chao Meng-fu."  Chinese translation of chapter II of my Hills Beyond a River, translated by Yen Chuan-ying.  In:  The National Palace Museum Quarterly, vol. XII, no. 4, (Summer 1978), pp. 63-81.

Note:  An unauthorized translation into Korean of my book Chinese Painting also appeared in 1978, published in Seoul.

1979:

"Sakaki Hyakusen no kaiga yôshiki" (The Styles of Sakaki Hyakusen), Part III:   Landscapes and Figure-in-landscape Paintings (conclusion).  In:  Bijutsu-shi, no. 107 (1979), pp. 36-53.  Copies of the English text of this long, three-part articles have also been distributed to many colleagues in the field.

1980:

Traditional and Contemporary Painting in China:  A Report of the Visit of the Chinese Painting Delegation to the People's Republic of China, Washington, D.C., Committee on Scholarly Communication with the People's Republic of China (1980).  Editor (as chairman of the delegation); contributed Introduction, pp. 1-3, essay "Chinese Paintings in Chinese Museums," pp. 4-21 , and annotated list of "Paintings Seen in China," pp. 133-164.

An Index of Early Chinese Painters and Paintings:  T'ang, Sung, Yüan.  Berkeley, University of California Press (1980).

Two brief treatments of Japanese paintings in:  Zaigai Nihon No Shihô (Treasures of Japanese Art Abroad), Volume 6, Bunjinga Shoha (Literati Painting; Various Schools), Tokyo, Asahi Shimbunsha (1980).  Wrote, for translation into Japanese:  Hyakusen, "Two Women in a Valley," page 122; Kazan, "Autumn Scene with Houses by a River," page 135.

Kôzan shiki:  Chûgoku Gen-dai no kaiga (Japanese translation of my Hills Beyond a River:  Chinese Painting of the Yüan Dynasty).  Translated by Takehiro Shindo, with a new preface by me for the Japanese edition, Tokyo, Meiji Shoin (1980).

1981:

Shadows of Mt. Huang:  Chinese Painting and Printing of the Anhui School.  Catalog of an exhibition at University Art Museum (January 21, 1981), later shown at three other museums.  Principal essays by students; edited, with some rewriting and supplementary writing by J. Cahill, with an introductory essay.

1982:

The Compelling Image:  Nature and Style in Seventeenth Century Chinese Painting.  Cambridge, Harvard University Press (1982) (The Charles Eliot Norton Lectures).

Sogen-ga:  12th - 14th Century Chinese Painting as Collected and Appreciated in Japan.  Catalog of an exhibition, Berkeley, University Art Museum, March 31 - June 27, 1982.

The Distant Mountains:  Chinese Painting of the Late Ming Dynasty, 1570-1644.  Tokyo, John Weatherhill, Inc. (1982).

Note:  A Japanese translation of chapter 4 of The Distant Mountains, the chapter on Tung Ch'i-ch'ang, has been published in:  Hironobu Kohara, ed., Tô Kishô no shoga (Calligraphy and Painting of Tung Ch'i-ch'ang), Tokyo, Nigensha, 1981, vol. I, pp. 25-57.

"Yosa Buson and Chinese Painting."  In:  Reports of the 5th International Symposium of the Conservation and Restoration of Cultural Property:  Interregional Influences in East Asian Art History, Tokyo (1982), pp. 245-263. Reprinted by Institute of East Asian Studies, Univ. of California, Berkeley, Faculty Reprint Series no. 8, n.d.

"Some Aspects of Tenth Century Painting as seen in Three Recently Published Works."  In:  Proceedings of the International Conference on Sinology, Section on History of Art, Taipei, Academia Sinica (1982), pp. 1-36.

"Late Ming Landscape Albums and European Printed Books."  In:  The Early Illustrated Book:  Essays in Honor of Lessing J. Rosenwald, edited by Sandra Hindman, Washington, D.C., Library of Congress (1982), , pp. 150-171.

"The Decorative Style in Later Japanese Painting."  Short essay for brochure to accompany exhibition at University Art Museum, September, 1982.

"Tomioka Tessai,"  entry for The Encyclopedia of Japan, Cambridge, Massachusetts (1982).

The Barnhart-Cahill-Rogers Correspondence, 1981.  U.C. Berkeley, Institute of East Asian Studies (1982).  (Letters exchanged between Richard Barnhart of Yale University, Howard Rogers of Sophia University, and myself concerning questions of methodology in Chinese painting studies.  Appended are several statements on methodology by myself.  Distributed free to Chinese painting specialists with the aim of clarifying issues and arousing discussion.)

Paintings Seen in China, 1981-82.  58-page typescript, distributed at cost to colleagues.

Review of:  Chûgoku kaiga-shi, Part I by Kei Suzuki.  In:  Ars Orientalis, XIII (1982), pp. 195-196.

1983:

Sakaki Hyakusen and Early Nanga Painting.  U.C. Berkeley, Institute of East Asian Studies (Japan Research Monograph series), (1983).  (English version, somewhat rearranged and rewritten, from study published first in Japanese.)

"Jih-pen shou-tsang ti Chung-kuo Sung Yüan Ch'an-tsung hui-hua" (Ch'an Buddhist Chinese Paintings of the Sung and Yüan Dynasties in Japanese Collections).  In:  Mei-shu yen-chiu (Art Historical Studies), no. 2 (1983), pp. 70-75.  (Note:  this is published by the Central Academy of Fine Arts, Beijing.)

"The 18th Century Yangchow School of Chinese Painting and Calligraphy." Short essay for brochure to accompany exhibition, Berkeley, University Art Museum, 1983.

"Some Early Chinese Bird-and-Flower Paintings in Chinese Collections," in Ajiya ni okeru kachô hyôgen (Flowers and Birds Motif in Asia), International Symposium in Art Historical Studies, Kyoto, Society for International Exchange of Art Historical Studies, 1983, pp. 45-56.

"Flower, Bird, and Figure Painting in China Today," in Contemporary Chinese Painting:  An Exhibition from the People's Republic of China, San Francisco Chinese Culture Center, 1983, pp. 21-27.

"Eccentric Visions of Nature:  Japanese Art in the Oklahoma Residence of Mr. and Mrs. Joe D. Price," in Architectural Digest, December 1983, pp. 150-155; Italian translation in AD, no. 36, March 1984, pp. 76-81.

Review of:  Sherman E. Lee, et. al., Reflections of Reality in Japanese Art, exhibition catalog, Cleveland Museum of Art, 1983.  In:  Burlington Magazine, August 1983. p. 513.

1984:

"Types of Text-Object Relationships in Chinese Art," abstract in:  Proceedings of the Thirty-First International Congress of Human Sciences in Asia and North Africa (Tokyo-Kyoto, August-September 1983), Tokyo, Toho Gakkai, 1984, vol. I, pp. 576-577.

"Dan Destry's Return, or the Academic Beggar's Opera:  A Wry Entertainment for Academic Beggars."  Libretto for musical comedy performed at Men's Faculty Club, December 14 and 15, 1984.  Reproduced for sale.

"The 'Noble Scholar' Ideal and Image in Paintings by Kôyô and Buson:  Examples in the Gitter Collection."  In:  The Arts of the Edo Period:   An International Symposium Presented by the New Orleans Museum of Art, November 13-15, 1983, New Orleans Museum of Art, 1984, pp. 1-29.

"The Shanghai School:  19th and 20th Century Chinese Paintings from the Collections."  Short essay for brochure accompanying exhibition, University Art Museum, U.C. Berkeley, September 12 - December 2, 1984.

Chung-kuo hui-hua shih.  Translation by Li Yü (Stella Lee) of my Chinese Painting (Skira, 1960).  Taipei, 1984.

“The New Chinese Painting: Out of the Dark.” Asia Magazine, Jan.-Feb. 1084. (?check)

1985:

"Phases and Modes in the Transmission of Ming-Ch'ing Painting Styles to Edo Period Japan."  In: Yu-him Tam, ed.,  Papers of the International Symposium on Sino-Japanese Cultural Interchange, vol. I:  Aspects of Archaeology and Art History, Hong Kong, Institute of Chinese Studies, The Chinese University of Hong Kong, 1985, pp. 65-97.

"Introduction" to:  The Single Brushstroke:   600 Years of Chinese Painting from the Ching Yüan Chai Collection, Vancouver Art Gallery, March - May 1985, pp. 11-12.

"Lun Hung-jen Huang-shan t'u-ts'e ti kuei-yü (On the Album of Scenes of Huang-shan Attributed to Hung-jen), Duoyun (Flowery Cloud) no. 9, 1985, pp. 108-124.  (With rejoinders by Xu Bangda, ibid., pp. 125-129, and Shi Guofeng, pp. 130-136.)

"Brushlessness and Chiaroscuro in Early Ch'ing Landscape Painting:  Lu Wei and His Background."  International Symposium on Art Historical Studies 3 (Landscape Painting of Far East II), Osaka, 1985, pp. 58-63.  (Summary of longer paper presented at symposium in previous year).

1986:

"Preface" to:  Catherine Yi-yu Cho Woo, Chinese Aesthetics and Ch'i Pai-shih, Hong Kong, 1986, pp. i-ii.

"Wang Chi-ch'ien and His Landscape Painting,"  Introduction to:  C.C. Wang:   Landscape Paintings, Seattle and London, 1986, pp. 9-13; Chinese translation pp. 14-17.

1987:

"Bada Shanren huihua-zhong di 'kuangdian'," translation of my paper "The 'Madness' in Bada Shanren's Paintings," Zhongguo-hua (Chinese Painting), 1987, no. l, pp. 20-29.

Kôzan betsui:  Chûgoku mindai shochûki no kaiga, Tokyo, 1987.  Japanese translation of my Parting at the Shore:  Chinese Painting of the Early and Middle Ming Dynasty.

1988:

Three Alternative Histories of Chinese Painting, University of Kansas (The Franklin D. Murphy Lectures IX), Lawrence, Kansas, 1988.

"Tung Ch'i-ch'ang's 'Southern and Northern Schools' in the History and Theory of Painting:   A Reconsideration."  In:  Peter N. Gregory, ed., Sudden and Gradual:  Approaches to Enlightenment in Chinese Thought, University of Hawaii Press, Honolulu, 1988 (Studies in East Asian Buddism 5), pp. 429-446.

"The Shanghai School in Later Chinese Painting."  In:  Mayching Kao, ed., Twentieth-century Chinese Painting, Hong Kong, 1988, pp. 54-77.

Zhongguo minghua jicui (Chinese translation of my Chinese Painting, 1960.  Translated by Zhu Yongyi, Chengdu, Sichuan Fine Arts Publishing Company, 1987.)

(Note:  This is the second translation into Chinese of this book to be published; another, by my former student Stella Lee, was published in Taiwan in 1984, see above.)

1989:

“Types of Artist-Patron Transactions in Chinese Painting.” In: Chu-tsing Li, ed., Artists and Patrons: Some Social and Economic Aspects of Chinese Painting, Seattle, Univ. of Washington Press, 1989, pp. 7-20. Also served as co-editor of this volume, editing Section III, “Patronage in Other Regions of Chiang-nan,” and contributing an Introduction to this section (pp. 161-163).

"Styles and Methods in the Painting of Wu Guanzhong." In:  Wu Guanzhong:  A Contemporary Chinese Artist, exhibition catalog, Chinese Culture Foundation of San Francisco, 1989, pp. 18-23 (with Tsao Hsingyuan).

"The 'Madness' in Bada Shanren's Paintings."  Asian Cultural Studies 17.  March 1989, pp. 119-43.

"Tessai in Foreign Eyes," in:  Tomioka Tessai:  hito to sho, special issue no. 10 of Sumi, Tokyo, April 1989, pp. 217-219 (in Japanese).

"Huang-shan t'e-chan mu-lu t'ao-lun" (Chinese translation of my "Introduction" to:  Shadows of Mt. Huang catalog, 1981).  In:  Lun Huang-shan chu-hua-p'ai wen-chi (Essays on the Huang-shan School of Painting), Shanghai, 1989, pp. 372-382.

"Chung-kuo hui-hua shih fang-fa lun" (Methodology in the Study of Chinese Painting.) Trans. of my "Introductory Remarks" for CAA session on "New Directions in Chinese Art Studies," 1985,  and discussant paper" for "Chinese Landscape: Content, Context, and Style" (?) session in CAA New York, Feb. 1986, organized by Jerome Silbergeld. In: Chiu-chou,  v. 3 no. 1, June 1989.

Part of my article "Some Chinese Thoughts on the Rimpa-ten" (1972) reprinted in:  Nihon bijutsu o kataru vol. 9:  Kenran no sôshoku-bi (Dazzling Decorative Beauty), pp. 18-19.  Tokyo, 1989.

"Hui-hua shih ho hui-hua li-lun chung Tung Ch'i-ch'ang te 'Nan-pei tsung lun' tsai ssu-k'ao" (Chinese translation by Yen Wei of my "Tung Ch'i-ch'ang's 'Southern and Northern Schools'.  In:  Zhang Lian and Kohara Hironobu, ed., Wen-jen hua yü Nen-pei tsung lun-wen hui-pien, Shanghai, 1989, pp. 753-770.

"Tui kuo-ch'ü te jen-k'o" (Chinese translation by Hong Zaixin of ch. II, "Tung Ch'i-ch'ang and the Sanction of the Past," from my The Compelling Image:  Nature and Style in Seventeenth Century Chinese Painting.)  In:  Duoyun, 1989 no. 4, 1989, pp. 32-42.

Review of Jack Hillier, The Art of the Japanese Book.  In Oriental Art, XXXV 13, Autumn 1989, pp. 169-171.

“The Paintings of Fang Jun.”  In:  Fang Jun:  Tones of Tranquility, Hong Kong, 1989, pp. 3-4.  Introduction to an exhibition catalog.

1990:

“The Paintings of Liu Yin.” In: Marsha Weidner, ed., Flowering in the Shadows: Women in the History of Chinese and Japanese Painting,” Honolulu, Univ. of Hawaii Press, 1990,.pp. 103-124.

“The Painting of Yang Yanping.” In: Hetang, Fengjing, Yang Yanping (Lotus Ponds, Scenery, Yang Yanping), Taipei, 1990. In English (pp. 4-5), Chinese (pp. 2-3). Also published (Chinese text) in: Hsiung-shih mei-shu #238, Dec. 1990, pp. 146-148.

1991

“On the Periodization of Later Chinese Painting: The Early to Middle Ch’ing (K’ang-hsi to Ch’ien-lung) Transition.” In: The Transition and Turning Point in Art History (Ninth International Symposium, The Society for Internation Exchange of Art-historical Studies), Kobe, 1991, pp. 52-67.

“The New Guohua: Chinese-style Painting in China Today.” In: New Dimensions in Chinese Ink Painting, Middlebury, CT, 1991, pp. 13-27.

"K'un-ts'an and His Inscriptions." in:  "Words and Images: Chinese Poetry, Calligraphy, and Painting," eds. Alfreda Murck and Wen Fong, New York, Metropolitan Museum of Art, 1991, pp. 513-534.

Review of:  Wang Fangyu and Richard M. Barnhart, Master of the Lotus Garden:  The Life and Art of Bada Shanren (1626-1705), in Journal of Asian Studies, v. 50 no. 3, August 1991, pp. 683-84.

“Pi-cho ching-ch’i: lun Fa Jo-chen ti shan-shui hua” (Awkwardness and Imagery in the Landscapes of Fa Jo-chen), in Xin meishu (New Art), Journal of the China National Academy of Fine Arts in Zhejiang, v. 46 no. 4, 1991, pp. 73-78.

1992

"Huangshan Paintings as Pilgrimage Pictures." In:  Susan Naquin and Chün-fang Yü, ed., Pilgrimages and Sacred Sites in China, Berkeley, 1992, pp. 246-292.

“Tung Ch’i-ch’ang’s Painting Style:  Its Sources and Transformations.” In:  Wai-kam Ho, ed., The Century of Tung Ch’i-ch’ang 1555-1636, v. 1, Kansas City, 1992, pp. 55-79.

"Letter to the Editor" (concerning an article on Bada Shanren by Hui-shu Lee in the previous issue, criticizing my article on Bada, see above under 1989). Archives of Asian Art XLV, 1992, 93-94.

1993

“Tang Yin and Wen Zhengming as Artist Types:  A Reconsideration,” in Artibus Asiae 43, 1/2, pp. 228-248. Chinese translation in Wu School Symposium volume to be published by Palace Museum, Beijing (1994?)

"The Paintings of Zhou Sicong."  In Ink Paintings of Zhou Sicong, Singapore, L'Atelier Productions, 1993, pp. 4-6 (Chinese transl. pp. 7-8).

1994

The Painter's Practice.  How Artists Lived and Worked in Traditional China, New York, Columbia University Press, 1994.

"The Place of the Artist in Chinese Society." In: Halcyon: A Journal of the Humanities (Nevada Humanities Comittee and University of Nevada Press), 1993, pp. 1-24.

"Some Late Ming Landscapes in the Wong Nan-p'ing Collection." In: The Jade Studio: Masterpieces of Ming and Qing Painting from the Wong Nan'ping Collection, New Haven, 1994, pp. 26-34.

Introduction and entries in Xue Yongnian and James Cahill, eds., New Interpretations of Ming and Qing Paintings (Shanghai: People’s Art Publishing Co., 1994)

"Che-p'ai ti Hsieh-i? Kuan yü Huai-an mu ch'u-t'u shu-hua ti i-hsien k'an-fa." (Chinese translation of my "Hsieh-i in the Che School? Some Thoughts on the Huai-an Tomb Paintings.") In: Shanghai bowuguan jikan (The Bulletin of the Shanghai Museum), no. 6 (Fortieth Anniversary of the Founding of the Shanghai Museum), pp. 1-23.

(Note: Chinese-language editions of two of my books, Hills Beyond a River: Chinese Painting of the Yüan Dynasty and The Compelling Image: Nature and Style in 17th-century Chinese Painting, were published in Taipei in September, 1994 by Rock Publishing International under the titles Ko-chiang shan-se and Ch'i-shih han-jen, respectively. A very favorable review of both by Ho Huai-shuo appeared in the largest newspaper in Taiwan, Chung-kuo shih-pao or China Times, October 13, 1994, p. 43.)

1995

"Ren Xiong and His Self-Portrait." In Ars Orientalis, XXV, 1995, special issue on Chinese Painting in honor of Richard Edwards, pp. 119-132.

"Introduction: Oil Painting in China--Rejecting, Reshaping, or Replacing the Tradition?" (with Hsingyuan Tsao.) In: History of Chinese Oil Painting from Realism to Post-Modern, Hong Kong, Shoen Art Gallery, 1995.

1996.

The Lyric Journey: Poetic Painting in China and Japan. The Reischauer Lectures, 1993; Cambridge, Harvard University Press, 1996.

"The Imperial Painting Academy." In Wen C. Fong and James C. Y. Watt, ed., Possessing the Past: Treasures from the National Palace Museum, Taipei, New York, 1996, pp. 159-199.

"Exploring the Zhi Garden in Zhang Hong's Album." In: June Li and James Cahill, Paintings of the Zhi Garden by Zhang Hong: Revisiting a Seventeenth-Century Chinese Garden, Los Angeles, Los Angeles County Museum of Art, 1996, pp. 9-15.

"Nihonga Painters in the Nanga Tradition." Oriental Art vol. XLII no. 2, Summer 1996, pp. 2-12.

"Foreword" to Reflections in Ink: the Paintings of Constance Chang. Berkeley, University Art Museum, 1996, pp. 7-8.

"The Three Zhangs, Yangzhou Beauties, and the Manchu Court." In: Orientations, October, 1996, pp. 59-68.

"Commentary: Misdirected Scruples." In: Orientations, October, 1996, pp. 93-94.

"A 'Late Period' for C. C. Wang." In: C. C. Wang, San Francisco, Asian Art Museum, 1996, pp. 4-5.

Six essays for The Dictionary of Art, London, MacMillan, 1996:

- "Anhui School," v. 2, pp. 95-97.

- "Chan Buddhist Painting," v. 6, pp. 782-85.

- "Nanjing School," v. 22, pp. 459-61.

- "Orthodox School," v. 23, pp. 579-81.

- "Yangzhou School," v. 33, pp. 496;-98.

- "Zhe School," v. 33, pp. 656-7.

Also co-authored, with Vyvyan  Brunst, approx. twenty artist entries.

1997

Three Thousand Years of Chinese Painting, New Haven and London, Yale University Press, 1997. (Chinese version published by  Foreign Languages Press, Beijing.) First volume in series:  The Culture and Civilization of China. Written in collaboration with Yang Xin, Nie Chongzheng, Lang Shaojun, Richard Barnhart, and Wu Hung. I was responsible for general plan of the volume, and wrote “Approaches to Chinese Painting,” pp. 5-12, and “The Yuan Dynasty (1271-1368),” pp. 139-195.

"The Tu Chin Correspondence, 1994-95." In: Kaikodo Journal V, Autumn 1997, pp. 8-62. (This is a correspondence between myself and three colleagues concerning the authenticity of certain paintings ascribed to the Ming artist Tu Chin; my letters and notes make up about half the text.)

"Authenticity Issues Re-emerge in Chinese Painting Studies." In: Lotus Leaves, Vol. 1 no. 1, Fall 1997, pp. 4-6. (Publication of Society for Asian Art, San Francisco.)

(Chinese-language translations of two of my books,  Parting At the Shore: Chinese Painting of the Early and Middle Ming Dynasty and The Distant Mountains: Chinese Painting of the Late Ming Dynasty, were published in Taipei in August, 1997 by Rock Publishing International.)

1998

"Chinese Painting: Innovation After 'Progress' Ends." In: China 5000 Years: Innovation and Transformation in the Arts. New York, Guggenheim Museum, 1998, pp. 174-192.

"Where Did the Nymph Hang? (Ching Yüan Chai so-shih I.) In: Kaikodo Journal VII, 1998, pp. 1-9.

"Ch'ing-ch'ao ch'u-ch'i shan-shui hua chung wu-pi fa ho ming-an fu: Lu Wei chi ch'i shan-shui ga pei-ching." Chinese translation (by Hu Kuang-hua) of my 1985 article "Brushlessness and Chiaroscuro in Early Ch'ing Landscape Painting:  Lu Wei and His Background." In: I-shu chia (Artist Magazine), July1997,  pp. 392-395.

"Continuations of Ch'an Painting into Ming-Ch'ing and the Prevalence of Type-images." In: Archives of Asian Art L/1997-98, pp. 17-41.

"Some Alternative Sources for Archaistic Elements in the Paintings of Qian Xuan and Zhao Mengfu." In: Ars Orientalis, XXVIII, 1998, pp. 63-75.

1999

"The Emperor's Erotica" (Ching Yüan Chai so-shih II) In: Kaikodo Journal XI, 1999, pp. 24-43.

“The Case Against Riverbank: An Indictment in Fourteen Counts.” In: Issues of Authenticity in Chinese Painting, New York, Metropolitan Museum of Art, 1999, pp. 12-63. Chinese translation published in Tang-tai (Contemporary), no. 152, April 2000, pp. 8=31, and ibid. #153 (?? check)

2000

“Seeing Paintings in Hong Kong” (Ching Yuan Chai so-shih III). In: Kaikodo Journal XVIII, 2000, pp. 20-25.

“James Cahill” (interview). In: Jason C. Kuo, ed., Discovering Chinese Painting: Dialogues with American Art Historians, Dubuque, Iowa, Kendall/Hung Publishing Co., 2000, pp. 29-83.

“Chung-kuo hui-hua shih fang-fa lun” (Methodology of Chinese Painting History). In: Duoyun no. 52, July 2000, pp. 28-45. (Note: this is a translation of two earlier writings: an unpublished paper for the College Art Assn. 1985 session on “New Directions in Chinese Art Studies,” and excerpts from the chapter on “Meanings and Functions in Chinese Landscape Painting” in my book Three Alternative Histories, 1988).

2001

“The Present Status of ‘Riverbank’.” In: Orientations, January 2001, p. 84.

“Five Rediscovered Ming and Qing Paintings in the University of Pennsylvania Museum.” In: Orientations, February  2001, pp. 62-68.

“Two Palace Museums: An Informal Account of Their Formation and History” (Ching Yuan Chai so-shih IV). In: Kaikodo Journal XIX, 2001, pp. 30-39.

“A Hypothetical Account of the ‘Admonitions’ Scroll.” (transcript of brief informal talk given at symposium “The Admonitions Scroll,” British Museum, London, June 2001.) In: Orientations, October 2001, p. 118.

“Chinese Art and Authenticity.” In: Bulletin of the American Academy of Arts and Sciences,  Vol. LV, No. 1, Fall, 2001, pp. 17-29

"Shih-ch'i shih-chi chung Chung-kuo hui-hua chung ti chia-chih wen-t'i" (The Question of Value in Seventeenth Century Chinese Painting.) In: Chung-kuo wan-ch’I shu-hua (“Enchanting Images: Late Chinese Painting and Calligraphy from the Shih-t’ou Shu-wu [Chen Chite] Collection”), Taipei, 2001, v. 1,  26-39.  Also in: Ch'ü-ts'ang (Art and Collection) no. 107, August 2001, pp. 84-97.

2002

“Keigan-zu wa Chô Taisen no gisaku de aru” (Riverbank as a Chang Dai-chien Forgery.) In Geijutsu Shinchô, May 2002 (special issue on Chang Dai-chien), pp. 64-72. (Written especially for this publication, translated into Japanese.)

“Lothar Ledderose, Ten Thousand Things: Module and Mass Production in Chinese Art, 1999.” In: The A. W. Mellon Lectures in the Fine Arts: Fifty Years (Washington, D.C., National Gallery of Art, Center for Advanced Study in the Visual  Arts, 2002) pp. 198-201.

"Erotische Malerei in China" (Erotic Painting in China), in Liebeskunst: Liebeslust und Liebeslied in der Weltkunst (Zurich: Museum Rietberg, 2002), pp. 201-215.

2003

"Judge Dee and the Vanishing Ming Erotic Colour Prints." In: Orientations, November 2003, pp. 40-46.

"Reminiscences of Sherman Lee." In: Celebrating the Lees. (Hanford, Calif., The Ruth and Sherman Lee Institute of Japanese Art at the Clark Center, 2003) pp. 11-13.

"Preface" to reprint of An  Index of Early Chinese Painters and Paintings (New York? Floating World Editions, 2003), ix-xii.

Shan Wai Shan. Cbinese translation of The Distant Mountains. Shanghai, Shanghai Calligraphy and Painting Press, 2003. (Poorly-produced edition)

Qishi Hanren. Chinese Translation of The Compelling Image. Shanghai, Shanghai Calligraphy and Painting Press, 2003. (Poorly=produced edition.)

2004.

"Introduction to R. H. van Gulik, Erotic Colour Prints of the Ming Period." In: R. H. van Gulik, Erotic Colour Prints of the Ming Period, reprint (Leiden and Boston: Brill, 2004, 2 vols.) vol. 1   pp. ix-xxv.

"Wang Chi-ch'ien (1907-2003)." Obituary. In: Archives of Asian Art LIV, 2004, 95-96.

2005.

“Some Thoughts on the History and Post-History of Chinese Painting.” In: Archives of Asian Art LV, 2005, 17-37.

“Note on Pedagogy.” Brief note in series by awardees of College Art Association’s Distinguished Teaching of Art and Art History Award. In: CAA News, 30/5, Sept. 2005, p. 12.

“Guoli Gugong Bowuyuan zai wo Xueshu Shengyai zhong di Lizhi” (The Place of the Naitonal Palace Museum in My Scholarly Career). In: Gugong Wenwu (National Palace Museum Monthly), 272, Nov. 2005, 92-99. Also published in Pa-cheng Lao-nien:  Kuo-li Ku-kung Po-wu-yüan pa-shih nien ti tien-ti huai-hsiang ( ) (Taipei, National Palace Museum, 2007, 57-64.)

"Ming Qing shiji wei nüxing er zuo di huihua?"   (Paintings Done for Women in Ming-Qing China?) In: Yishushi Yanjiu (The Study of Art History) 7, Dec.  2005, 1-37.

(Note: my Index of Early Chinese Painters and Paintings re-issued in new edition by Floating World Editions, Warren CT, 2005)

2006

"A Song of Experience: James Cahill by Himself."   (Answers to questions posed by Orientations staff.) Orientations, Jan/Feb 2006, 41. (Part of 17-page tribute to me for 80^th birthday, the rest written by Howard Rogers and other former students.)

"Les peintures érotiques chinoises de la collection Bertholet." In: Le Palais du printemps: Peintures érotiques de Chine., exhib. cat. (Paris, Musée Cernuschi, 2006), 29-42.

- "After the Afterword." In Jason C. Kuo, ed., Discovering Chinese Painting: Dialogues with Art Historians, second edition (Dubuque, Iowa, Kendall/Hunt Publishing Co., 2005) 92-95.

"Paintings for Women in Ming-Qing China?" In Nan Nü: Men, Women, and Gender in China, vol. 8 (2006), 1-54. (Note: the original Nan Nü publication, through an error, lacked the color illustrations, which were later sent separately in a packet to subscribers.) Chinese translation published in Yishushi Yanjiu (The Study of Art History), vol. 7, 1-37.

"Visual, Verbal, and Global (?): Some Observations on Chinese Painting Studies." In: Meishu Shi yu Guannian Shi (History of Art and History of Ideas) III,  pp. 23-63.

2008

"Chinese Art and Authenticity." In: Jason C. Kuo, ed., Perspectives on Connoisseurship of Chinese Painting (Washington, DC: New Academia Publishing, 2008. 33-66.

"Response" to section IV, Art Historical Methodology, in Naomi Noble Richard and Donald E. Brix, eds., The History of Painting in East Asia: Essays on Scholarly Method. Taipei, Rock Publishing International, 2008, 487-96.

2009

“The Shibui Printed Books in Chinese and Japanese Pictorial Art.” In: Orientations vol. 40 no. 3, April 2009, pp. 43-48.

“Patterns of Interchange in Chinese, Japanese, and Korean Painting.” Keynote speech. In: National Museum of Korea, Beyond Boundaries, Seoul, 2009, 32-47.

Note: new editions of four of my books: Hills Beyond a River, Parting At the Shore, The Distant Mountains, and The Compelling image, were published in Beijing by Sanlian Book Co. in August 2009. By mid-September, less than a month after publication, this first printing was sold out.

Note: An “article” by me, actually a Chinese translation of the opening pages of Pictures for Use and Pleasure, appeared in the Sept. 2009 issue of Yishu pinglun or “Arts Criticism,” pp. 39-46, with inappropriate decorative pictures (added by them) and with the opening paragraph identifying it as an excerpt from the book moved later, without my authorization.

Note: my Visual/Global essay (CLP 176 on my website) and my correspondence with Jim Elkins is published in Jason C. Kuo, ed., Stones from Other Mountains: Postwar American Scholarship on Chinese Painting (Washington, D.C., New Academic Publishing, 2009.)

Note: A Korean translation of my article about my involvement with musical circles in Seoul, Korea while I was stationed there as a language officer, 1946-48,  was published in the May 2009 issue of Gak Suk (Auditorium), pp. 126-131. The essay corresponds roughly with, but is longer than, Reminiscence no. 49, “Music in Korea,” on my website.

2010

Pictures for Use and Pleasure: Vernacular Painting in High Qing China. Berkeley, Univ. of California Press, 2010.

“Comments on the Field of Chinese Painting.” In: Kaikodo Journal XXVI, Jan. 2010, 213-15.

“Early Chinese Paintings in Japan: An Outsider’s View.” In: Masterpieces of Ancient Chinese Paintings; Paintings from the T’ang to Yuan Dynasty in Japanese and Chinese Collections. Shanghai, Shanghai Museum,  2010, pp. 1-14; Chinese translation pp. 52-76.

Note: My essay on “Joseph Levenson’s Role in My Development as a Scholar and Writer” (Reminiscence #75) published in Chinese translation in Dushu, May 2010, 82-87.

Note: My essays on Qi Baishi and Wu Changshi,  published in 1977 in the Bunjinga Suihen volume, were republished with a Chinese translation and a new preface in: Wang Mingming, ed., Qi Baishi: Guoji taolunhui lunwen ji. 2 vols., Beijing, 2010, vol. 2, 310-345.

2011

` "A Group of Northern Figure Paintings from the Qianlong Period." In Bridges to Heaven: Essays on East Asian Art in Honor of Professor Wen C. Fong. Princeton U. Press, 2011l, vol. 1, pp. 387-420.

- “Early Chinese Paintings in Japan: An Outsider’s View.” Published, in original and Chinese translation, in Qiannian danqing, Beijing, Peking U. Press, 2011, 1-14 (English), 55-76 (Chinese). This is the volume compiled to accompany the Shanghai Museum exhibition of early Chinese paintings from Japan, September-November 2010. Also published, shortened, in the Shanghai newspaper Dongfang Zaobao, and in the art history journal of the China Academy of Art, Hangzhou.

Fan Jingzhong and Gao Xindan, eds. Fengge yu guannian: Gao Juhan Zhongguo huihua shi wenji (Style and Idea: An Anthology of James Cahill’s Writings on Chinese Painting History.) Hangzhou, China Academy of Arts, 2011. Prefaces by Fan Jingzhong, Cao Yiqiang, and Hong Zaixin.

“Shao Mi’s ‘Landscapes of Dreams’ Album of 1638.” Article for catalog published online by Seattle Art Museum, which owns this album; put online some time in 2011.

- Chinese version of The Painter's Practice published by Sanlian Book Co. in Beijing: big sales in China.

Note: An anthology of my writings in Chinese translation was published in 2011 or early 2012 by the China Academy of Fine Arts in Hangzhou, with introductions by Fan Jingzhong, Cao Yiqiang, and Hong Zaixin, edited by Gao Xindan. Details to be filled in later.

Note: an article by my former student Stella Lee (Li Yu), based on the text of one of my forthcoming video-lectures (a Supplement to my Freer Medal Acceptance talk), was published in the Taiwan magazine Ink Literary Magazine, vol. 7 no. 8, Series no. 82, April 2011, pp. 152-171, under a title translatable as “Storm On the Shore: A Disclosure of the Makings of Riverbank’s Would-be Authenticity.” 

2012

Xieyi In the Zhe School? Some Thoughts on the Huai’an Tomb Paintings.” In: Archives of Asian Art 62, 2012, pp. 7-24. Preceded by: Jerome Silbergeld, “Foreword to James Cahill Article,” ibid. p. 5.

“In Defense of the Visual: Reflections On An Illustrious Career.” My Freer Medal acceptance address, delivered on the occasion of the awarding of this medal to me on November 18, 2010. edited for publication with new title. In: Ars Orientalis 41, pp. 7-26.

A Pure and Remote View: Visualizing Early Chinese Landscape Painting. Series of twelve video-recorded lectures, totaling about 35 hours, put for free viewing on the website of the Institute for East Asian Studies at U.C. Berkeley, and on my website jamescahill.info. Also to be issued on disks by IEAS.

(A second series, titled Gazing Into the Past, will begin to be posted some time in 2012.)

In Press (accepted for publication):

Scenes From the Spring Palace: Chinese Erotic Painting and Printing. More or less finished, accepted for publication by University of California Press. (Expansion of what was once a long sixth chapter in larger book; now to be published separately.) Later: publishing on my website, jamescahill.info; probably will not publish in book form.

"Hsieh-i in the Che School? Some Thoughts on the Huai-an Tomb Paintings." Paper originally to be included in Festschrift volume of essays by Cahill students, edited by Richard Vinograd, to be published by U.C. Press:

Richard Vinograd, ed., Images in Exchange: Cultural Transactions in Chinese Pictorial Arts, Berkeley: University of California Press. Forthcoming. (Ever?)

Now scheduled to be published in Archives of Asian Art.

"Awkwardness and Imagery in the Paintings of Fa Jo-chen."  Was to have appeared in long-delayed volume of papers from a conference held at the Cleveland Museum of Art in 1978. [Later note: probably will never appear. Some of the same material accessible in text of Ch. 1 of my unfinished book on early Qing painting, on my website.]

In Progress

- A follow-up article to my article “Early Chinese Paintings in Japan; An Outsider’s View,” this one titled “Early Chinese Paintings in U.S. Museums: An Insider’s View,” has been completed and will be included in the catalog of the Shanghai Museum exhibition later in 2012.

The Flower and the Mirror:  Representations of Women in Late Chinese Painting. Presented as the Getty Lectures at the University of Southern California, April, 1994; was to have been reworked for publication as a book. (Later: probably never will be; texts of lectures now accessible on my website.)

Many other of my unpublished writings are accessible, or soon will be, on my website: jamescahill.info.

James Cahill - Professor Emeritus, History of Art - UC Berkeley

Welcome to James Cahill's website, which continues his legacy and makes accessible to all colleagues, students, and enthusiasts for Asian art, a diversity of materials: his unpublished writings, lectures, collections of images, and two series of video-recorded lectures. One is titled A Pure and Remote View: Visualizing Early Chinese Landscape Painting.  The other is titled Gazing into the Past: Scenes from Later Chinese & Japanese Painting.  

James Cahill recorded several more video lectures which were completed after his death, and which are now newly posted in the series Gazing into the Past. Both of these series are posted for free viewing on the website of the Institute of East Asian Studies at UC Berkeley, but can also be accessed through this website. The lectures will eventually be made available, through the IEAS, on sets of disks for higher-resolution imagery and easier viewing.

This website also includes a series titled Responses and Reminiscences, made up of essays on many topics, mostly drawing on experiences from Cahill's long career; and the series CLP (Cahill Lectures and Papers), as well as the long file titled CYCTIE or Ching Yuan Chai Treasury of Imperishable Ephemera, a collection of his non-scholarly writings, including a lot of comic verses and song lyrics composed for UC Berkeley Faculty Club Christmas parties and other academic occasions, writings from his early years, and a Shakespearean fragment (recommended) titled Hamlet At Wittenberg.  

A documentary about James Cahill is currently being made by Skip Sweeney and Video Free America, and fundraising efforts are under way.  Please visit the documentary’s website, www.gazingintothepast.com, to see a preview and donate whatever you can to help fund this important film celebrating the life and work of James Cahill.

Trailer on YouTube:  https://youtu.be/YHIXBr1q1aI

Documentary Website:  http://www.gazingintothepast.com

Facebook Page:  https://www.facebook.com/james.cahill.documentary

James Cahill 1926-2014
In Loving Memory by Howard Rogers and Nick and Sarah Cahill

The firmament of Chinese painting studies lost one of its brightest stars on February 14th, 2014 with the death of James Francis Cahill at age eighty-seven while at home in Berkeley, California.   Fluent in both Japanese and Chinese, Cahill was a brilliant scholar, an articulate and dynamic lecturer and teacher, and a writer without peer in his field.  Spanning a period of over sixty years, his lectures, articles, and books defined new parameters for his field of study, influencing generations of students at the University of California at Berkeley, where he taught from 1965 to 1994, as well as students, scholars, and collectors throughout the world, especially in China, where all of his books have been translated into Chinese and where he lectured for some years in both Beijing and Hangzhou.

As a teacher Cahill was notable for his exceptional generosity, sharing with students and other researchers the fruits of his own years of study; as a scholar, he tackled issues and groups of artists ranging from the birth of literati painting (in his dissertation), to fantastic and eccentric artists of the early 17th century, to the influence of Chinese painting on Japanese artists of the 18th and 19th century, and to paintings of women during the 17th to 19th centuries.  A good number of these topics, and his research on them, formed the basis for exhibitions of paintings that explored the issues and provided at least provisional answers to the questions that Cahill had posed for the very first time. The College Art Association awarded him its Lifetime Distinguished Teaching of Art History award in 1995, and at its 2004 annual meeting devoted a Distinguished Scholar session to him, with papers by colleagues and former students. In 2007 the College Art Association presented him with its Distinguished Lifetime Achievement Award for Writing on Art.

In 1973 he was a member of the Chinese Archaeology Delegation, the first group of art historians to visit China from the U.S., and in 1977 he returned to China as chairman of the Chinese Old Painting Delegation, which was given unprecedented access to painting collections there. In the years after that he visited China frequently, lecturing at art academies and universities, organizing and participating in symposia, seeing exhibitions and collections, doing research.

His first major book, Chinese Painting (Skira, 1960) is still widely read and has been reprinted many times. He was also joint author of The Freer Chinese Bronzes, vol. I, 1967. He undertook a five-volume series on later Chinese paintings, of which three volumes were published: Hills Beyond a River: Chinese Painting of the Yuan Dynasty (1976); Parting At the Shore: Chinese Painting of the Early and Middle Ming Dynasty (1978); and The Distant Mountains: Chinese Painting of the Late Ming Dynasty (1982). His encyclopedic knowledge and near-photographic memory made possible his Index of Early Chinese Painters and Paintings (1980, reprinted 2003, a monumental compilation of all known works. Translations of his books have been published in Chinese, Japanese, and Korean, as well as several European languages.

During the 1978-79 academic year he was Charles Eliot Norton Professor of Poetry at Harvard University, delivering a series of lectures titled “The Compelling Image: Nature and Style in 17th Century Chinese Painting.” These were published in 1982 as a book with the same title, which in the following year was awarded the College Art Association’s Morey Prize for the best art history book of 1982. His Franklin D. Murphy lectures at the University of Kansas were published in 1988 as Three Alternative Histories of Chinese Painting, and his Bampton Lectures given at Columbia University appeared in 1994 as The Painter’s Practice: How Artists Lived and Worked in Traditional China. His Reischauer Lectures delivered at Harvard University in 1993 were published in 1996 as The Lyric Journey: Poetic Painting in China and Japan, and a fifth lecture series, the Getty Lectures, were presented at the University of Southern California in 1994 as “The Flower and the Mirror: Representations of Women in Late Chinese Painting.” They remain unpublished, but another book that grew out of them: Pictures for Use and Pleasure: Vernacular Painting in High Qing China, was published in January, 2011. A number of his books and articles have attained an especially wide readership in Chinese translation in China and Taiwan.

In 2010 the Smithsonian Institution awarded him the Charles Lang Freer Medal for his lifetime contributions to the history of Asian and Near Eastern art.  His major late-life project was a series of video-recorded lectures titled A Pure and Remote View: Visualizing Early Chinese Landscape Painting and Gazing into the Past, a collaboration with the Institute for East Asian Studies, available on this website for free viewing.  Before his death he recorded another group of video lectures which will be made available in coming months.

As a connoisseur of Chinese painting Cahill had few peers. Given his phenomenal visual memory and his passionate love of his subject, it is not to be wondered that he began collecting paintings while still a Fulbright student in Japan during the 1950s.  In those years most collectors concentrated on Song and Yuan paintings of the 12th to 14th centuries, so Cahill had little competition in bidding for Ming-Qing paintings of the 15th to 20th centuries as well as Japanese paintings of the Nanga school that were based on Chinese painting done by literati artists.  His very significant collection of several hundred paintings has been distributed among his former wife Dorothy Cahill, his children, and the UC Berkeley Art Museum.

Fortunately, Cahill gathered his lectures, reminiscences, essays, lyrics, childhood poetry, stories from his life, and writings about music, politics, society, art, and a variety of topics, all on www.jamescahill.info.  This website stands as a tribute to his scholarship, his cultural tastes, and his boundless creative imagination.  James Cahill is survived by two older children, Nicholas and Sarah Cahill, two younger sons, Julian and Benedict Cahill, and six grandchildren: Fiona, Maggie, Abigail, Nora, and Phoebe Cahill, and Miranda Sanborn.  A memorial service will be held later this year at the Berkeley Art Museum.

Click to view "A Song of Experience: James Cahill by Himself"
Orientations, vol. 37, no. 1, January/February 2006, p. 41.

About James Cahill

Short c.v. for James Cahill (as of February 2011)

James Cahill was born in Fort Bragg, California in 1926. He received his B.A. degree in Oriental Languages from the University of California, Berkeley, in 1950, and his M.A. (1952) and Ph.D. (1958) in Art History from the University of Michigan, Ann Arbor, working principally with Max Loehr. He studied with Shujiro Shimada at Kyoto University in 1954-55 on a Fulbright Scholarship, after holding a museum training fellowship at the Metropolitan Museum in New York, and then in 1956 worked with Osvald Sirén in Stockholm.

On his return to the U.S. in 1956, he joined the staff of the Freer Gallery of Art in Washington, D.C., where he served until 1965 as Curator of Chinese Art. From 1965 until his retirement in 1994 he was Professor of the History of Art at the University of California, Berkeley. The College Art Association awarded him its Lifetime Distinguished Teaching of Art History award in 1995, and at its 2004 annual meeting devoted a Distinguished Scholar session to him, with papers by colleagues and former students. In 2007 the College Art Association presented him with its Distinguished Lifetime Achievement Award for Writing on Art.

His many publications include the widely-read and much-reprinted Chinese Painting (Skira, 1960) and many other books and exhibition catalogs, in addition to numerous articles on Chinese and Japanese painting that have appeared in both scholarly journals and popular publications. He was also joint author of The Freer Chinese Bronzes, vol. I, 1967. He undertook a five-volume series on later Chinese paintings, of which three volumes were published: Hills Beyond a River: Chinese Painting of the Yuan Dynasty (1976); Parting At the Shore: Chinese Painting of the Early and Middle Ming Dynasty (1978); and The Distant Mountains: Chinese Painting of the Late Ming Dynasty (1982). He has also published An Index of Early Chinese Painters and Paintings (1980, reprinted 2003). Translations of his books have been published in Chinese, Japanese, and Korean, as well as several European languages.

For the 1978-79 academic year he was Charles Eliot Norton Professor of Poetry at Harvard University, delivering a series of lectures titled The Compelling Image: Nature and Style in 17th Century Chinese Painting. These appeared in 1982 as a book, which in the following year was awarded the College Art Association’s Morey Prize for the best art history book of 1982. His Franklin D. Murphy lectures for the University of Kansas were published in 1988 as Three Alternative Histories of Chinese Painting, and the Bampton Lectures given at Columbia University appeared in 1994 as The Painter’s Practice: How Artists Lived and Worked in Traditional China. The Reischauer Lectures delivered at Harvard University in 1993 were published in 1996 as The Lyric Journey: Poetic Painting in China and Japan, and a fifth lecture series, the Getty Lectures, were presented at the University of Southern California in 1994 as The Flower and the Mirror: Representations of Women in Late Chinese Painting, They remain unpublished, but another book that grew out of them, Pictures for Use and Pleasure: Vernacular Painting in High Qing China, was published in January, 2011. A number of his books and articles have appeared in Chinese translation in China and Taiwan, and have attained a wide readership.

In 1973 he was a member of the Chinese Archaeology Delegation, the first group of art historians to visit China from the U.S., and in 1977 he returned to China as chairman of the Chinese Old Painting Delegation, which was given unprecedented access to painting collections there. In the years after that he visited China frequently, lecturing at art academies and universities, organizing and participating in symposia, seeing exhibitions and collections, doing research. His major late-life project has been a series of video-recorded lectures titled A Pure and Remote View: Visualizing Early Chinese Landscape Painting; these are about to be posted on the web for free viewing (February 2011).

He has two children by his first marriage, Nicholas, now an archaeologist and professor of ancient art at the University of Wisconsin in Madison, and Sarah, a pianist specializing in 20th century music who concertizes worldwide. Cahill and his present wife, the art historian and artist Hsingyuan Tsao, spent the 1998-99 academic year at the Institute for Advanced Study in Princeton. They have lived in Vancouver, where she teaches at the University of British Columbia. Their twin sons Julian and Benedict were born in August, 1995. In the summer of 2006 Cahill underwent heart surgery and subsequently suffered a heart attack.  Largely recovering after some time in the hospital, reduced in energy and mobility but still mentally active, he returned to live permanently in Berkeley in his house, surrounded by his books and papers and attended by a host of grateful students, family, friends, caregivers, and frequent visitors.  Until the last month of his life he continued writing blog posts for his website, planning exhibitions including, with Julia White, “Beauty Revealed: Images of Women in Qing Dynasty Paintings” at the Berkeley Art Museum in late 2013, delivering lectures, and working on his series of video lectures about the history of Chinese painting.