Dr Chia-Ling Yang received her first degree from Chinese Literature at the National Taiwan University, a MA from Art History at the University of Warwick and her PhD at the University of London (SOAS) in Art and Archaeology. She was a visiting scholar at the Academia Sinica (Taiwan, 2000) and the University of Heidelberg (Germany, 2001-02), and was awarded a postdoctoral fellowship to research and teach in Art History at the University of Chicago (2003-04). Yang was Lecturer in Chinese Art at the University of Sussex (2004-07) and University of London (SOAS, 07-09) before she arrived in Edinburgh. She also lectures at the V&A and the British Museum on Chinese Painting.
Service to the Field
Quality Assurance Agency for Higher Education (QAA) Benchmark Committee, UK (2007-17; 2017-27)
Arts and Humanities Research Council, UK
Leverhulme Trust Funding, UK
The Academy of Sciences of the Czech Republic
London School of Economy Journal
The University of Hawai'i Press
Blackwell / Oxford University Publishing
Art History, Late Imperial China
Han'guk Misul Yŏn'guso Journal (韓國美術研究所集刊)
Programme Director, MSc in History of Art, Theory and Display
MSc: Art and Society in Contemporary World-CHINA
MSc/Honours: Chinese Painting and Calligraphy-The Elite World of China
MSc: Culture and Politics in Display (convenor)
MSc: Art in the Global Middle Ages (lecture on core course)
MSc in Modern Art: History, Curating and Criticism (lecture on theory and methods)
Third Year: Modern Art in Shanghai, 1840-1930
Second Year: History of Art 2
Dr Yang researches principally on the Chinese painting, archaism in modern Chinese art, visual culture in Shanghai and its interactions with Japan and the West in 19th and 20th centuries.
She welcomes research students who are interested in Chinese painting and calligraphy, cross-cultural artistic production, and the visual culture of modern/contemporary China.
For full details of Dr Yang’s research activities, please visit her Edinburgh Research Explorer profile.
(2012) Yun-Ju Chou, Timing Art: Analyzing And Comparing Hsieh Tehching And Zhang Huan
(2012) Shiyu Gao, Social Changes In Contemporary Chinese Photography
(2012) Xiaoxiao Huang, Comparison Between Wu Guanzhong And Lin Fengmian: Composition, Colour And Meaning
(2012) Chia-Jung Kuo, The Influence Of Art After The Cultural Revolution: The Analysis Of Three Dimensions
(2012) Wei-Hsiu Lin, The Western Products In China Seen Through Posters, 1841-1949
(2011) Viktorija Kasperovica, Translating China: A Role Of Private And Public Capital In A Process Of Cultural Translation A Case Study Of Contemporary Chinese Art Exhibitions In Britain
(2011) Zhuoran Zhang, Cultural Nationalism And Lu Xun’s Woodcut Movement
(2011) Sau Wai Chim, The Global Diffusion Of Art Museum And Large-Scale Perennial Exhibition, And Their Mutation In The Twenty-First-Century China: A Case Study Of Guangdong Museum Of Art And Its Triennial
(2011) Marcus Pibworth, The Aesthetics Of Dismemberment: The Use Of Violence In Chinese Experimental Art 1990 – 2000
(2011) You Wang, Chinese Export Art: Past, Present And Future