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    2023年7月1日,何小蘭博士就任德國科隆東亞藝術博物館(Museum für Ostasiatische Kunst Köln)館長。



  • 鄭簠(1622–1693)到張仃(1917-2010)之間: 三百年的 金石氣——清華大學藝術博物館收藏的篆隸書法. Postdoctoral dissertation, Tsinghua University, 2021, Tsinghua University Library, Beijing.
  • The Inner Workings of Brush-and-Ink: A Study on Huang Binhong 黃賓虹 (1865–1955) as Calligrapher, with Special Respect to the Concept of ‘Interior Beauty’ (neimei 內美). Doctoral dissertation, Freie Universität Berlin (online), 2017.


  • Bergmann, A., Hertel, S., Noth, J., Papist-Matsuo, A., & Schrape, W. (Eds.) (2015). Elegant Gathering in a Scholar’s Garden: Studies in East Asian Art in Honor of Jeong-hee Lee-Kalisch. Weimar: Verlag und Datenbank für Geisteswissenschaften.


  • Hertel, S.(即將出版). Reconstructing Early Modern Archtitectural Spaces in Late-Ming (1368–1644) and Early-Qing (1644–1911) China: Formats and Functions of Large-Scale Calligraphy. In Hopkins, A. (Ed.), Lost and Found in Translation: Citation and Early Modern Architecture. Cambridge: Cambridge University Press.
  • 何小蘭(forthcoming)。〈追尋「線條的內美」:黃賓虹(1865–1955)、林散之(1898–1989)與王冬齡(1945–)之間的師承路徑及草書藝術的審美意義〉。載於寒碧(主編),《現象》。香港:商務印書館。
  • Hertel, S. (2018). Whither the methods of the ancients? Huang Binhong’s clerical-scripted painting as a response to the “harmonious uniting of red-and-green and ink”. In Bergmann, A., & Lee-Kalisch, J. (Eds.), Transcultural Interwinements in East Asian Art and Culture, 1920s – 1950s (101 – 126). Berlin: Eine Publikation der Studien für Ostasiatische Kunstgeschichte, Freie Universität Berlin.
  • Hertel, S. (2016). Re-membering the peach blossom stream: image, word, and commemoration in late works by Huang Binhong (1865–1955). In Li, S., & Ding, N. (Eds.), Selected Papers from the International Graduate Symposium of Art History, Peking University, 2013–2015 (55 – 82). Guilin: Guangxi Normal University Press.
  • Hertel, S. (2016). Lines in translation: cross-cultural encounters in modernist calligraphy, early 1980s – early 1990s. Yishu: Journal of Contemporary Chinese Art, 15(4), 6 – 28.
  • Hertel, S. (2016). Concept of transformation or transformation of concept? Investigating a calligraphic lineage in twentieth-century China. In Lee-Kalisch, J., & Renger, A. (Eds.), Meister und Schüler. Master and Disciple: Tradition, Transfer, Transformation (339 – 356). Weimer: VDG.


  • Hertel, S. (2020). Deterritorializing Chinese calligraphy: Wang Dongling and Martin Wehmer’s “Visual Dialogue” (2010). The Journal of Transcultural Studies, 11(2), 113 – 149.
  • Hertel, S. (2020). Creating academic-museal dialogue in-between ivory towers and unwritten pages: Tsinghua University Art Museum and its collection of Chinese contemporary calligraphy. Génération: Histoires nouvelles en Chine et en Asie de l’Est, 37(2), 93 – 137.
  • Hertel, S. (2020). Of Kowloon’s uncrowned kings and true recluses: commemoration, trace, and erasure, and the shaping of a Hong-Kong-topia from Chen Botao (1855 – 1930) to Tsang Tsou-choi (1921 – 2007). Art Research, 1, 24 – 34.
  • Hertel, S. (2019). Tasting antiquity in a ‘newborn palace of art’: collecting and displaying Chinese calligraphy at Tsinghua University Art Museum. Yishu: Journal of Contemporary Chinese Art, 18(4), 23 – 44.
  • Hertel, S. (2017). Texturing the landscape: stone-engraving traditions in China as human refinement, a contemporary position. Ritsumeikan Studies in Language and Culture, 28(4), 21 – 31.


  • Klaas Ruitenbeek (Ed.). (2017). Faces of China: portrait painting of the Ming and Qing dynasties (1368 – 1912). Petersberg: Michael Imhof.