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          <dc:identifier>https://hdl.handle.net/2286/R.I.51990</dc:identifier>
          <dc:identifier>Phoebus 6-2</dc:identifier>
                  <dc:rights>http://rightsstatements.org/vocab/InC/1.0/</dc:rights>
          <dc:rights>open access</dc:rights>
                  <dc:date>1991</dc:date>
                  <dc:format>230 Pages</dc:format>
                  <dc:language>eng</dc:language>
                  <dc:contributor>Vinograd, Richard</dc:contributor>
          <dc:contributor>Murck, Alfreda</dc:contributor>
          <dc:contributor>Hsu, Ginger Cheng-chi</dc:contributor>
          <dc:contributor>Wu, Marshall P. S.</dc:contributor>
          <dc:contributor>Chu, Christina</dc:contributor>
          <dc:contributor>Li, Chu-tsing</dc:contributor>
          <dc:contributor>Chou, Ju-hsi</dc:contributor>
                  <dc:description>&lt;p&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;strong&gt;&lt;span&gt;&lt;span&gt;Phoebus 6, Number 2: A Journal of Art History - Table of Contents&lt;/span&gt;&lt;/span&gt;&lt;/strong&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;

&lt;p&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;“Preface” p. 207.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;

&lt;p&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;“Figure, Fiction, and Figment in Eighteenth-century Chinese Painting” by Richard Vinograd, p. 209-227.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;

&lt;p&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;“Yuan Jiang: Image Maker” by Alfreda Murck, p. 228-260.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;

&lt;p&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;“Zheng Xie&#039;s Price List: Painting as a Source of Income in Yangzhou” by Ginger Cheng-chi Hsü, p. 261-271.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;

&lt;p&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;“Jin Nong: The Eccentric Painter with a Wintry Heart” by Marshall P. S. Wu, p. 272-294.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;

&lt;p&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;“An Overview of Li Jian’s Painting” by Christina Chu, p. 295-315.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;

&lt;p&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;“Eighteenth-century Foundations in Modern Chinese Painting” by Chu-tsing Li, p. 316-327.&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;

&lt;p&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;“Rubric and Art History: The Case of the Eight Eccentrics in Yangzhou” by Ju-hsi Chou, p. 329-350.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;

&lt;p&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;“Notes” p. 351-379.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;

&lt;p&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;“Glossary” p. 381-391.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;

&lt;p&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;“Index” p. 393-418&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;
</dc:description>
                  <dc:title>Phoebus 6, Number 2: Chinese Painting Under the Qianlong Emperor</dc:title></oai_dc:dc></metadata></record></GetRecord></OAI-PMH>
