These invigorating reference volumes chart the influence of key ideas, discourses, and theories on art, and the way that it is taught, thought of, and talked about throughout the English-speaking world. Each volume brings together a team of respected international scholars to debate the state of research within traditional subfields of art history as well as in more innovative, thematic configurations. Representing the best of the scholarship governing the field and pointing toward future trends and across disciplines, the Blackwell Companions to Art History series provides a magisterial, state-of-the-art synthesis of art history.

1. A Companion to Contemporary Art since 1945 edited by Amelia Jones
2. A Companion to Medieval Art edited by Conrad Rudolph
3. A Companion to Asian Art and Architecture edited by Rebecca M. Brown and Deborah S. Hutton
4. A Companion to Renaissance and Baroque Art edited by Babette Bohn and James M. Saslow
5. A Companion to British Art: 1600 to the Present edited by Dana Arnold and David Peters Corbett
6. A Companion to Modern African Art edited by Gitti Salami and Monica Blackmun Visonà
7. A Companion to American Art edited by John Davis, Jennifer A. Greenhill and Jason D. LaFountain
8. A Companion to Chinese Art edited by Martin J. Powers and Katherine R. Tsiang

Qianshen Bai is Associate Professor of Zhejiang University, formerly at Boston University and author of Fu Shan's World: The Transformation of Chinese Calligraphy in the Seventeenth Century (2003) and is currently working on a book on Wu Dacheng, a government official, scholar, collector, and artist in the nineteenth century.

Tani E. Barlow is T. T. and W. F. Chao Professor at Rice University where she teaches in the History Department. Professor Barlow's research focus is Chinese women's history. Her study of early twentieth century Chinese vernacular sociology and commercial art, In the Event of Women, is forthcoming. She is founding senior editor of positions: asia critique.

Susan Bush is an Associate-in-Research at the Fairbank Center for Chinese Studies at Harvard University. Her publications include: The Chinese Literati on Painting: Su Shih (1037–1101) to Tung Ch'i-ch'ang (1555–1636) (2012), Early Chinese Texts on Painting compiled with Hsio-yen Shih (1985), and Theories of the Arts in China, co-edited with Christian Murck (1983).

Jianhua Chen received his PhD in Literature from Fudan University and Harvard University. He is currently Ziyuan Professor at the School of Humanities, Shanghai Jiao Tong University. His recent publications include books and articles on revolution and literary modernity, popular literature, print culture, and cinema in modern and contemporary China.

Dora C. Y. Ching is Associate Director of the P. Y. and Kinmay W. Tang Center for East Asian Art at Princeton University. She has co-edited numerous volumes on East Asian art and has published several articles on Chinese imperial portraiture. She is currently writing a book on the history of portraiture in China.

Patricia Ebrey is Professor of History at the University of Washington. A specialist on the Song period, she was awarded the 2010 Shimada Prize in East Asian art history for Accumulating Culture: The Collections of Emperor Huizong (2008). Earlier books include The Inner Quarters: Marriage and the Lives of Women in the Sung Period (1993) and The Cambridge Illustrated History of China (1996, 2010). She recently published Emperor Huizong (2014), bringing to completion a project that absorbed many years.

Ronald Egan is Professor of Chinese Poetry at Stanford University. He is the author of The Problem of Beauty: Aesthetic Thought and Pursuits in Northern Song Dynasty China (2006) and translator of Limited Views: Essays on Ideas and Letter by Qian Zhongshu (1998). His most recent project is The Burden of Female Talent: The Poet Li Qingzhao and Her History in China (forthcoming).

Antonia Finnane is Professor of History at the University of Melbourne, Australia. Her publications include Speaking of Yangzhou, A Chinese City, 1550–1850 (2004), winner of the 2006 Levenson Book Award for a work on pre-1900 China, and Changing Clothes in China: Fashion, History, Nation (2007).

Ginger Cheng-chi Hsü is Professor Emerita at the University of California, Riverside and the author of A Bushel of Pearls: Painting for Sale in Eighteenth-Century Yangchow (2001). She received her PhD from the University of California, Berkeley, with recent work focusing on art and travel in the Qing dynasty.

Scarlett Jang is Professor of Art History at Williams College. Her research and publications include topics such as high-level official patronage of painting in imperial China, the Ming imperial court's publishing enterprise, illustrated, woodblock-printed popular books of the Ming dynasty, and art, politics and palace eunuchs in Ming China.

Jason C. Kuo is Professor of Art History and Archaeology, University of Maryland, College Park where he is also a member of the Graduate Field Committee on Film Studies. He has published monographs on Wang Yuanqi, Hongren, Huang Binhong Chen Qikuan, and Gao Xingjian. His most recent books include Contemporary Chinese Art and Film: Theory Applied and Resisted (editor, 2013) and The Inner Landscape: The Paintings of Gao Xingjian (2013).

Cary Y. Liu is Curator of Asian Art, Princeton University Art Museum. A specialist in Chinese architectural history and art history, he has MArch and PhD degrees from Princeton University, and is a licensed architect. Exhibitions for which he has been curator include: Outside In: Chinese × American × Contemporary Art (2009), Recarving China's Past: Art, Archaeology, and Architecture of the “Wu Family Shrines” (2005), and The Embodied Image: Chinese Calligraphy from the John B. Elliott Collection (1999). Among his publications are contributions to Art of the Sung and Yüan: Ritual, Ethnicity, and Style in Painting (1999), and the journals Hong Kong University Museum Journal, Oriental Art, Orientations, and T'oung Pao. He has also published the essay “Chinese Architectural Aesthetics: Patterns of Living and Being between Past and Present,” in Ronald G. Knapp and Kai-yin Lo (eds.), House, Home, Family: Living and Being Chinese (2005); and most recently “Archive of Power: The Qing Dynasty Imperial Garden-Palace at Rehe” in the Taida Journal (March 2010).

Shane McCausland is Percival David Professor of the History of Art at SOAS, University of London. He has published books, edited volumes and articles, and organized exhibitions on many aspects of Chinese and Japanese art, including most recently The Mongol Century: Visual Cultures of Yuan China, 1271–1368 (2014).

Alfreda Murck (Jiang Feide) is an authority on Chinese painting. She authored a book on how eleventh-century scholar-officials used poetry with painting to express dissent. She is collaborating with the Museum Rietberg, Zurich, on a 1968 turning point in the Cultural Revolution when Mao Zedong presented mangoes to workers.

J. P. Park teaches Asian Art History at the University of California, Riverside. He is the author of Art by the Book: Painting Manuals and Leisure Life in Late Ming China (2012) and Keeping It Real! Korean Artists in the Age of Multi-Media Representation (2012). He is currently working on the impact of early modern Chinese print media to Chosn Korea and Edo Japan.

Martin J. Powers is Professor Emeritus in the History of Art at the University of Michigan, USA. His publications Art and Political Expression in Early China (1991) and Pattern and Person: Ornament, Society, and Self in Classical China (2006) both received the Levenson Prize for the best book in pre-1900 Chinese Studies. In 2019, he published China and England: the Preindustrial Struggle for Justice in Word and Image.

Jessica Rawson is Professor of Chinese Art and Archaeology at the University of Oxford. Her principal areas of research are the bronzes and jades of ancient China and ornament of all periods. Her current project focuses on China's relations with inner Asia as witnessed in material culture.

Jerome Silbergeld is the P. Y. and Kinmay W. Tang Professor of Chinese Art History at Princeton University and director of Princeton's Tang Center for East Asian Art. He has published more than seventy books, catalogs, articles, and book chapters on topics in traditional and contemporary Chinese painting, traditional architecture and gardens, cinema and photography.

Peter C. Sturman is Professor of Chinese Art History at the University of California, Santa Barbara. He is the author of Mi Fu: Style and the Art of Calligraphy in Northern Song China (1997) and primary editor of The Artful Recluse: Painting, Poetry, and Politics in Seventeenth-Century China (2012). He is currently writing a book on literati painting in the Song dynasty.

Katherine R. Tsiang is Associate Director of the Center for the Art of East Asia in the Department of Art History, University of Chicago, USA, where she oversees research materials and programs, including the development of new technology for digital imaging of dispersed artworks and reconstruction of Chinese heritage sites. Her research is concentrated in the fields of Chinese Buddhist art and Chinese medieval art and visual culture.

Richard Vinograd is the Christensen Fund Professor in Asian Art in the Department of Art and Art History at Stanford University. He is the author of Boundaries of the Self: Chinese Portraits, 1600–1900 (1992) and co-author of Chinese Art & Culture (2001).

Eugene Y. Wang is Abby Aldrich Rockefeller Professor at Harvard. His research ranges from early to modern Chinese art. A Guggenheim Fellow (2005), his book Shaping the Lotus Sutra: Buddhist Visual Culture in Medieval China (2005) received the Sawamoto Nichijin Prize from Japan. His current research explores processes involving art and visualization.

Wu Hung is Harrie A. Vanderstappen Distinguished Service Professor in Chinese Art History at the University of Chicago. He is the author and editors of more than 20 books and anthologies on traditional and contemporary Chinese art, including Monumentality of Early Chinese Art and Architecture (1995) and The Art of the Yellow Springs: Understanding Chinese Tombs (2010)

Xin Wu is an assistant professor of art history at the College of William & Mary. Her research interest focuses on the history of representation of nature in China and East Asia, and contemporary environmental art. Recent publications include books, articles, and columns in English and Chinese.

Xiaoneng Yang, Consulting Professor at Stanford University and Senior Guest Curator at the National Gallery of Art, Washington, DC, specializes in Chinese archaeology, history of art, and material culture. His recent publications include The Golden Age of Chinese Archaeology (1999); New Perspectives on China's Past (2004); Reflections of Early China (2000); Tracing the Past, Drawing the Future (2010); and Hello, Shanghai (2010).