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精选出版

• Li, Y. H. (forthcoming). “Fragrant Orchid as Feminine Body: Ma Xianglan’s Orchid Painting and the Emergence of Courtesan Painters in Early Modern China,” in Suyoung Son, Ariel Fox and Paize Keulmans eds., The Sensorium of the Early Modern Chinese Text. Ithaca: Cornell University Press. [P] 
• Li, Y. H. (2025). “Engineering Religious Bliss at the Qing Court: Jile shijie in the Beihai Park,” in Wu Hung and Jeehee Hong eds., Materiality and Affect: Emotion in Chinese Art. Chicago: Art Media Resources, 221-255. 
• Li, Y. H. (forthcoming). “Xiugai xibu yu zhuanhuan minghua: chongxin sikao shanxi dali lishi jiazumu de shanshui tuxiang” 修改细部与转换冥画：重新思考陕西大荔李氏家族墓的山水图像 (Modifying Details into Spiritual Paintings: Rethinking the Visuality of Landscape Images from the Li Family Tombs in Shaanxi Dali during the Nineteenth Century). Wu Hung, Zhu Qingsheng and Zheng Yan eds., Gudai muzang meishu yanjiu (di liu ji) 古代墓葬美术研究第六辑 (The Sixth International Conference on Chinese Ancient Tomb Art). Changsha: Hunan meishu chubanshe, 319-355.  
• Li, Y. H. (2024). “Wearing a Gendered Tree: A New Style of Chinese Garments at the Turn of the Twentieth Century,” in Melia Belli Bose ed., Threads of Globalization: Fashion, Textiles, and Gender in Asia in the Long Twentieth Century. Manchester: University of Manchester Press, 25-46. [P] 
• Li, Y. H. (2022). “Qingdai kesi zhenzhuta wen kuanxiu changpao [Narrating Pearl Pagoda on a Qing Dynasty Kesi Robe,” in Yu-chih Lai ed., Seeing 48 Objects & Their Worlds [物見：四十八位物件的閱讀者與他們所見的物質世界]. Taibei: Yuanzu wenhua chubanshe, 70-79. 
• Li, Y. H. (2021). “Classing the Classics: Investigating Artisanal Reproduction of Landscape Imagery in Nineteenth-Century Chinese Tombs.” Selva: A Journal of the History of Art, 3 (Fall 2021): 7-44. [P] 
• Li, Y. H. (2021). Burning Big Dharma Boats: Paper as Efficacious Medium. In Lin, W. C. and Cacchione, O. (Eds.). The Allure of Matter: Materiality Across Chinese Art (pp.150-179). Chicago: Center for the Art of East Asia and Smart Museum of Art.
• Li, Y. H. (2020). Becoming Guanyin: Artistic Devotion of Buddhist Women in Late Imperial China. New York: Columbia University Press. (Podcast Interview with New Books Network | Columbia University Press Blog for 2020 Women’s History Month)
• 李雨航（2020）。〈摹仿观音髮簪: 明代女性往生的物质媒介〉。载於赖毓芝、高彦颐与阮圆（主编），《看见与触碰性别：近现代中国艺术史新视野》。台北：石头出版社，页16-49。
• Li, Y. H. (2018). Producing Empress Dowager Cixi as Guanyin for Missionaries’ Eyes. Orientations, 49(6), 62–73.
• Zeitlin, J., & Li, Y. H. (Eds.). (2014). Performing Images: Opera in Chinese Visual Culture. Chicago: Smart Museum of Art, The University of Chicago Press.
• Li, Y. H. (2014). Representing Theatricality on Textile, in Zeitlin, J., and Li, Y. H. eds., Performing Images: Opera in Chinese Visual Culture. Chicago: Smart Museum of Art, The University of Chicago Press, 74-87.
• Li, Y. H. (2012). Oneself as a Female Deity: Representations of Cixi Posing as Guanyin. Nannü: Men, Women, and Gender in China, 14(1), 75–118.
• Li, Y. H. (2012). Communicating with Guanyin through Hair: Hair Embroidery in Late Imperial China. Journal of East Asian Science, Technology and Medicine, 36, 131–66.
• Li, Y. H., & Zurndorfer, H. T. (2012). Rethinking Empress Dowager Cixi through the Production of Art. Nan Nü: Men, Women, and Gender in China, 14(1), 1-20.