一批流散海外的吐蕃文物的初步考察 解讀《巴協(xié)》中“藏式佛像”之說 Cave Temples in Dunhuang & the Period of Tibetan Rule(781-847)： the Vimaiakirti Debae，the Mahaparinirvana of the Buddha 敦煌石窟歷史的重構(gòu)——敦煌吐蕃期洞窟諸現(xiàn)象之省思 被遺忘的曼陀羅：唐代初傳的金剛界曼陀羅 敦煌藏經(jīng)洞出土五代絹畫降魔圖像解讀 西夏石窟壁畫中水月觀音的傳承與流變 伏虎羅漢、行腳僧、寶勝如來與達(dá)摩多羅——十一世紀(jì)至十三世紀(jì)中國(guó)多民族美術(shù)關(guān)系史個(gè)案分析 Styles in Western Himalayan Art 拉薩藥王山南崖牛頭造像考 Hevajra and Mahakala：A Pair of Tantric Gilt Bronze BuddhistImages from Gansu Province Dating the kesi-Thangka of Acala in the Tibet Museum，Lhasa Is There Any“Anige Style”in Nepalo-Tibetan and Tibeto-Chinese Metal Sculpture of the Sa skya Yuan Period? Chinese Influence in Some Wall Paintings at Zhwa lu and Their Political Meaning within Their Cultural Context 興化寺壁畫與晉南元代寺觀壁畫群的幾個(gè)問題 一幅巨作，幾點(diǎn)猜測(cè)——關(guān)于元代刻絲大威德金剛曼荼羅 從勝利幢到雨傘——談元代居庸關(guān)過街塔基門券兩壁之四天王造形 Sino-Tibetan Influence on Goryeo Buddhist Art in Korea A Yung lo Embroidery Thangka：Iconographic and Historic Analysis A Tibetan Thangka Painted in Beijing Sino-Tibetan Tangkas of the Chenghua and Zhengde Periods in Western Collections A Version ofthe Ngor Mandala Collection 略論明清唐卡繪畫中的玻璃器皿 試考雪堆白及其造像藝術(shù) 四川白埡寺藏傳佛教壁畫調(diào)查報(bào)告——壁畫的內(nèi)容與時(shí)代 藏文題記觀世音銅像考——兼論卻英多吉題記造像的制作年代 Sitatapatra(Baisangai fomu；gDugs dkar po)：Interactions between Chinese and Tibetan Buddhism 清宮大白傘蓋佛母信仰探析 The Qianlong Emperor’s Crypt：Tibetan-Buddhist and Sino-Manchu Representations in the Mingtang Section Qing Buddhist Architecture between Beijing，Inner Mongolia and Amdo： The Huilang Shi Dugang The Iconography of the Sixteen Karmapas of Tibet，Karmapa-Representations in Tibet and the West——13th-21st Century 夏吾才讓、張大千和漢藏文化交流，1941-1943：界定中古和現(xiàn)代安多地區(qū)畫坊生產(chǎn)的研究方法 佛裝與僧裝的概念以及穿著形式 “定光佛授記”與定光佛 西藏曼荼羅緣起 大黑天圖像樣式考 佛教美術(shù)上的仁獸 Research on Technological Style in Studies of Tibetan and Sino-Tibetan Art Regional Styles in Tibetan Furniture 納西族東巴教“神路圖”與藏傳佛教“生死之輪”比較研究
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