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李雨航博士

副教授
威斯康星大學麥迪遜分校(威斯康星)

交流項目

李雨航博士於中國北京故宮博物院進行為期五個月的交流(2022年8月至2023年1月),研究清宮戲曲文物收藏。

簡歷

李雨航博士為美國威斯康星大學麥迪遜分校 (University of Wisconsin-Madison) 的中國藝術史教授及該校設計與物質文化中心主任學術委員(2022-2028,研究範疇側重於明清時期的性別與物質文化研究,如觀音信仰與觀音圖像製作者的性別問題模仿與宗教奉獻戲曲與中國視覺藝術等。她的首本著作《成為觀音:明清女性佛教徒的藝術奉獻》 (Becoming Guanyin: Artistic Devotion of Buddhist Women in Late Imperial China) 由哥倫比亞大學出版社於2020出版,同時她也是《表演圖像:戲曲與中國視覺藝術》(Performing Images: Opera in Chinese Visual Culture) 展覽的共同策展人及圖錄合編人。 

近期發展和參與項目

    • 李雨航博士現正開展其第二本著作研究計劃,從舞臺美術的角度研究探討慈禧太后參與晚清戲曲舞臺的改革。
    • 李博士的首部著作《成為觀音:明清女性佛教徒的藝術奉獻》先後榮獲美國宗教學會(AAR2021年度宗教與藝術圖書獎、2023年度明代研究學會Geiss-Hsu首屆最佳第一部專著獎。 

精選出版

  • 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” 修改細部與轉換冥畫:重新思考陝西大荔李氏家族墓的山水圖像 (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) 古代墓葬美術研究第六輯 (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)。〈摹仿觀音髮簪: 明代女性往生的物質媒介〉。載於賴毓芝、高彥頤與阮圓(主編),《看見與觸碰性別:近現代中國藝術史新視野》。台北:石頭出版社,頁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.