Peter Sturman 石慢
性別 Sex：男 Male
國籍 Nationality：美國 USA
獎助期間 Period for Grants：3個月
漢學研究中心獎助學人
研究期間：2009/6~2009/8
研究機構：Department of the History of Art and Architecture, University of California, Santa Barbara, USA美國加州大學聖塔芭芭拉分校藝術史系
職稱：副教授
研究主題：Painters and Historians in Song Dynasty China
著作目錄(文章) Article catalog
- Sturman, Peter. 1985. “Wild Beasts and Winged Immortals: Early Representations of Landscape in China.” The National Palace Museum Bulletin, 10.2-4.
- Sturman, Peter. 1985. “A Reevaluation of Chiang Shen and Early Twelfth Century Landscape Painting.” The National Palace Museum Scholarly Quarterly (Gugong xueshu jikan, in English and Chinese), pp. 1-35.
- Sturman, Peter. 1988. “Celestial Journeys: Meditations on (and in) Han Painted Pots at the Metropolitan Museum of Art.” Orientations 19.5: 54-67.
- Sturman, Peter. 1990. “Wu Guanzhong and the Task of Painting a New China.” Orientations, 21.3: 36-45.
- Sturman, Peter. 1990. “Cranes Above Kaifeng: The Auspicious Image at the Court of Huizong.” Ars Orientalis 10: 33-68.
- Sturman, Peter. 1992. “Mi Youren as Filial Son--Notes on the Collecting of Mi Fu's Calligraphy and its Influence at the Court of Gaozong.” The National Palace Museum Scholarly Quarterly (Gugong xueshu jikan, in Chinese with English summary), 9.4: 89-126.
- Sturman, Peter. 1992. “Measuring the Weight of the Written Word: Reflections on the Character-Paintings of Chu Ko and the Role of Writing in Contemporary Chinese Art.” Orientations 23.7: 44-52.
- Sturman, Peter. 19994. “The ‘Thousand Character Essay’ Attributed to Huaisu and the Tradition of Kuangcao Calligraphy.” Orientations 25.4: 38-46.
- Sturman, Peter. 1995. “The Donkey Rider as Icon: Li Cheng and Early Chinese Landscape Painting.” Artibus Asiae vol. LV, 1/2: 43-97.
- Sturman, Peter. 1996. “In the Realm of Naturalness: Problems of Self-Imaging by the Northern Sung Literati.” Arts of the Sung and Yuan, 165-88. New York: The Metropolitan Museum of Art.
- Sturman, Peter. 1998. “Calligraphy.” In China 5000 Years: Innovation and Transformation in the Arts, 159-70. New York: The Guggenheim Museum.
- Sturman, Peter. 1999. “Wine and Cursive: The Limits of Individualism in Northern Song Calligraphy.” In Character and Context in Chinese Calligraphy. Princeton: The Princeton Art Museum, pp. 200-231.
- Sturman, Peter. 1999. “Confronting Dynastic Change: Painting After the Mongol Reunification of North and South China.” RES 35: 143-169.
- Sturman, Peter. 2000. “Silencing the Cry of Cold Insects: Meaning and Design in the Exile Calligraphy of Huang Tingjian and Su Shi.” Oriental Art XLVI/no. 5: 10-18.
- Sturman, Peter. 2002. “Sung Loyalist Calligraphy in the Early Years of the Yuan Dynasty.” The National Palace Museum Research Quarterly 19.4: 59-102.
- Sturman, Peter. 2004. Celebrating Richard Barnhart.” Orientations 35.6: 88-89.
- Sturman, Peter. 2006. “Grids, Ground Planes, Fragments and Fractures: Modernism and the Chinese Landscape.” Ershi shiji shanshuihua yanjiu wenji (Shanghai: Shanghai shuhua chubanshe, 2006), 335-355. Reprinted in At the East-West Crossroads—The Art of Wucius Wong (Hong Kong: Hong Kong Museum of Art, 2006), 15-25.
- "The Poetic Ideas Scroll Attributed to Mi Youren and Sima Huai." Zhejiang University Journal of Art and Archaeology, 1 (2014): 84-128.