VOLUME 61, 1 (2001)

• Summoning the Gods: Paintings of the Officials of Heaven, Earth, and Water and Their Association with Daoist Ritual Performance in the Southern Song Period (1127-1279)
  Shih-shan Susan Huang
• Unfinished Work at Mamallapuram or, What is an Indian Art Object?
  Samuel Parker
• From Delhi to the Deccan: Newly Discovered Tughluq Monuments at Warangal-Sultanpur and the Beginning of Indo-Islamic Architecture in Southern India
  Phillip B. Wagoner and John Henry Rice

VOLUME 61, 2 (2001)

• The Earliest Buddhist Statues in Japan
  Donald F. McCullum
• Images for the Temple: Imperial Patronage in the Development of Tang Daoist Art
  Yang Liu
• Realizing the Buddha’s Dharma Body during the Mofa Period: A Study of Liao Buddhist Relic Deposits
  Shen Hsueh-man
• An Attempt to Identify and Classify Scenes with a Central Buddha depicted on Ceilings of the Kyzil Caves (former Kingdom of Kutcha, Central Asia)
  Emanuelle Lesbre

VOLUME 62,1 (2002)

• Visualization Meditation and the Siwei Icon in Chinese Buddhist Sculpture
  Eileen Hsiang-ling Hsu
• Autumn Moon and Lingering Snow: Kano Sansetsu’s West Lake Screens
  Matthew P. McKelway
• Sekhari Temples
  Adam Hardy
• Drawings for the Renewal of Murals: Notes on the Documents of Murals of the Kalika Temple near Jayapur in the Koraput District, Orissa
  Eberhard Fischer and Dinanath Pathy

VOLUME 62,2 (2002)

• Expanding Form”: The Architectural Sculpture of the South Indian Temple ca. 1500-1700
  Crispin Branfoot
• Pardah and Portrayal: Rajput Women as Subjects, Patrons, and Collectors
  Molly Emma Aitken

VOLUME 63,1 (2003)

• Text and Practice in South Asian Art: An Ethnographic Perspective
  Samuel K. Parker
• Recherchen über den Gupta-Tempel in Deogarh (Research on the Gupta Temple in Deogarh)
  Klaus Imig
• Sekhari Temples
  Adam Hardy
• Luoxuan Biangu Jianpu and Shizhuzhai Jianpu: Two Late-Ming Catalogues of Letter Paper Designs
  Suzanne E. Wright

VOLUME 63,2 (2003)

• Empress Liu’s Icon of Maitreya: Privacy and Portraiture at the Early Song Court
  Heping Liu
• Motifs with an Intention: Reading the Eight Trigrams on Official Porcelain of the Jiajing Period (1522-1566)
  Maggie C. K. Wan
• Uncredited Photographs by Gobindram & Oodeyram
  Joachim K. Bautze

VOLUME 64,1 (2004)

• Naga Sculptures in Sanchi’s Archaeological Landscape: Buddhism, Vaisnavism, and Local Agricultural Cults in Central India, First Century BCE to Fifth Century CE
  Julia Shaw
• The Emperor’s Lady Ghostwriters in Song-Dynasty China
  Hui-shu Lee

VOLUME 64,2 (2004)

• Interpreting the Hindu Temple Form: A Model Based on the Core Conceptualization of its Formal Expression of Movement
  Pinna Indorf
• Der Dreifuss in gandhârischen Szenen vom ersten Bad des Siddhârtha Gautama: Überlegungen zu Herkunft und Bedeutung eines visuellen Zitats (The Tripod in Gandhâran Scenes of the First Bath of Siddhârtha Gautama: Reflections on the Provenance and Meaning of a Visual Quote)
  Martina Stoye
• Financial and Material Aspects of Tibetan Art under the Yuan Dynasty
  Anning Jing
• Art and Politics at the Mongol Court of China: Tugh Temür’s Collection of Chinese Paintings
  Ankeney Weitz
• Tiger with Cubs: A Rediscovered Ming Court Painting
  Hou-mei Sung

VOLUME 65,1 (2005)

• Narrating Krsna’s Biography: Temple Imagery, Oral Performance, and Vaisnava Mission in Seventeenth-Century Bengal
  Pika Ghosh
• Early Buddha Images from Hebei
  Roderick Whitfield
• Body Matters: Presentation of the Body in the Liao Tombs at Xuanhua, Hebei Province
  Hsueh-man Shen
• Laksmindralokesvara, Main Deity of the Dong Duong Monastery: A Masterpiece of Cham Art and a New Interpretation
  Trian Nguyen

VOLUME 65,2 (2005)

• Images, Relics, and Jewels: The Assimilation of Images in the Buddhist Relic Cult of Gandhara – or Vice Versa
  Juhyung Rhi
• The Divine in the Human World: Sculpture at Two Tenth-Century Temples at Angkor
  Alexandra Haendel
• Temple Architecture in Bhatkal and the Ramayana Tradition in Sixteenth-Century Coastal Karnataka
  Crispin Branfoot and Anna L. Dallapiccola
• Drunken Village Elder or Scholar-Recluse? The Ox-Rider and its Meanings in Song Paintings of “Returning Home Drunk”
  Wen-chien Cheng

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