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I would like to share my article, “Epigraphic Aesthetics and Layered Histories: Li Jian and Wen C. Fong’s Bond Across Time and Continents,” published in the latest issue of Orientations (March/April 2026). The materials discussed in this article are currently on view at the Metropolitan Museum of Art in New York (through May 10) ( EXHIBITION｜Chinese Painting and Calligraphy: Selections from the Collection ) . I would like to thank Mrs. Fong for her trust in inviting me to wri

Journal articles and Book chapters (in English) 2026     “Looking Back and Looking In: Tracing Women Calligraphers in Taiwan across Time and Disciplines,” in Lin Yong-neng, ed., Walking Their Own Paths: Women Calligraphers in Contemporary Taiwan (Taoyuan: Taoyuan Museum of Fine Arts). Journal articles and Book chapters (in Chinese) 2025     “A Study of Several Versions of the 'Hai Character Edition' of The Essay on Yue Yi, ”  The National Palace Museum Research Quarterly 《故宮學

#豈止於善 ：受贈渡海書畫集 終於出版了 過去數月反覆修訂、校稿、全都是血淚！ Preface “Striving for Perfection: Donated Paintings and Calligraphy from the 1949 Cross-Strait Migration” is the third exhibition presented by our institution since its founding, and the first to focus on the theme of calligraphy and painting. The works on display were originally part of the private collection of Mr. Yuan Shouqian (styled Qizhi, 1903–1992). Thanks to the generous donation by artist Ms. Yuan Jai (b. 1941), this valuable

拙文出版，敬請指教。 這篇文章其實早在數年前便已開始撰寫，但期間因其他研究題目與迫切事務陸續插入，長時間進度停滯。直到2025年上半年於普林斯頓大學客座訪問期間，得以暫時放下公私諸務，才終於將其完成。 感謝普林斯頓大學藝術與考古系的邀請，這半年的訪問期間成為我得以暫時喘息並追趕研究進度的珍貴時光。 感謝兩位匿名審稿人的寶貴意見與指正，並感謝《故宮學術季刊》編輯團隊的協助。 拙文或仍有諸多未盡完善之處，尚祈各方不吝指教。 _____________________________ 〈海字本〈樂毅論〉若干版本考〉，《故宮學術季刊》43卷2期（2025），頁1-57。 “A Study of Several Versions of the 'Hai Character Edition' of The Essay on Yue Yi ,” The National Palace Museum Research Quarterly , 43:2, pp. 1-57. _____________________________ Abstract Wang X

This interview by LEE JING-HUA was originally posted on ARTouch 典藏 （2025.10.1）and Artco Monthly & Investment  (No.387, 2025.10)。 「臺灣書法史上，女性在哪裡？」 這不僅是一個簡單的提問，更是「自由自在：臺灣當代女性書藝展」策展人盧慧紋在訪談中反覆提及的現狀：「如果你問任何人，知不知道臺灣有什麼女性書法家？他只要是對臺灣當代藝術有一點概念的人，就回答『董陽孜』，之後便想不起別人。」一個名字之後，便是一片巨大的空白。這份長久以來的集體失語，正是這場展覽的破冰之處，並不尖銳抵抗，反而以溫柔而堅定的姿態，試圖補寫那段在既有藝術史敘事中長期被忽略的女性篇章。 一段待補遺的篇章，一段自由自在的路徑 展覽命題的過程本身，即是對「女性」定位的一次深刻思索。策展人盧慧紋反思，她更進一步探問：在身分標籤之外，女性的生命樣態究竟為何？最終，展覽由英文副標「Walking Their Own Paths」回譯為：「自由自在」。對此，盧慧紋解釋：

The "Writing and Women Calligraphers in East Asia" Workshop on April 4th went successfully. Thank you to all the speakers, moderators, the behind-the-scenes team who ensured everything ran smoothly, as well as everyone who participated in person and online.

2025/4/4, 10:00 am - 17:00 pm. Workshop convened by Hui-Wen Lu and Cheng-hua Wang.

Thank you, Michael, for conducting this interview. *This interview was originally posted on Michael Fei 's Blo g A Conversation On Princeton With - Talking to Princeton Alumni in Taiwan. A Conversation on Princeton with Hui-Wen Lu 盧慧紋 *03 Hui-Wen Lu 盧慧紋 *03 is a Director and Professor of the Graduate Institute of Art History at National Taiwan University (NTU). She is also the Director of the Art Museum of the Graduate Institute of Art History at NTU. She graduated from NTU