Anne Burkus-Chasson
Associate Professor
Art History: East Asia


Teaching areas:

China and Japan

Research areas:

Painting and woodblock-printed books of late imperial China


B.A., Oberlin College; M.A. and Ph.D., University of California, Berkeley

In her work on late imperial China, Anne Burkus-Chasson has focused on literary and visual strategies of self-representation, the relationship between words and pictorial images, optics and the nature of seeing, the structures and readerships of illustrated foliated books. Her article “Elegant or Common? Chen Hongshou’s Birthday Presentation Pictures and His Professional Status,” published in The Art Bulletin (June 1994) was awarded the Arthur Kingsley Porter Prize, College Art Association, January 1995. Her research has been supported by the Louise W. Hackney Fellowship for the Study of Chinese Painting (American Oriental Society), the Association of American University Women, and the J. Paul Getty Postdoctoral Fellowship Program in the History of Art and Humanities.

Selected Work


  • Through a Forest of Chancellors: Fugitive Histories in Liu Yuan’s ‘Lingyan ge,’ an Illustrated Book from Seventeenth-Century Suzhou. Cambridge: Harvard University Asia Center, 2010.
  • “Visual Hermeneutics and the Act of Turning the Leaf: A Genealogy of Liu Yuan’s Lingyan ge,” in Printing and Book Culture in Late Imperial China, ed. Cynthia J. Brokaw and Kai-wing Chow, pp. 371-416. Berkeley: University of California Press, 2005.
  • “Between Representations: The Historical and the Visionary in Chen Hongshou’s Yaji,” The Art Bulletin 4, 2 (June 2002): 315-33.
  • “‘Clouds and Mists That Emanate and Sink Away’: Shitao’s Waterfall on Mount Lu and Practices of Observation in the Seventeenth Century,” Art History 19, 2 (June 1996): 168-90. (Translated into Chinese as “‘Yun yan chu mo’: Shitao Lushan guan bu tu he shiqi shiji de guancha fangshi,” Meishu yanjiu (Art Research) (Central Art Academy, Beijing) 90, 2 (May 1998): 51-52, 61-64.)
  • “Elegant or Common? Chen Hongshou’s Birthday Presentation Pictures and His Professional Status,” The Art Bulletin 76, 2 (June 1994): 227-300.


  • “Introduction to East Asian Art,” thematic introduction to issues in Chinese and Japanese art that concern painting and woodblock prints, ceramics, sculpture, architecture and gardens, and film.
  • “Word and Image in Chinese Art,” three-part analysis of interaction between words and images in Chinese art from 11th-17th centuries, including calligraphy, inscribed images, words about images (Shitao’s Hua yulu).
  • “Ways of Seeing in Edo Japan,” three-part analysis of the nature of seeing in Japanese arts from 17th-19th centuries, including visual culture of political power, envisioning the past, and technologies of seeing.
  • “Early Chinese Art,” survey of Chinese art, with a focus on painting and calligraphy, from Six Dynasties through Southern Song.
  • “Collecting East Asia,” analysis of issues pertinent to the exhibition and collection of East Asian art, with student production of ethnographic videos about local collectors and/or planning exhibitions in the university art museum.
  • “China into Film,” cinematic representations of China produced in the U.S. and the People’s Republic of China.
  • Graduate seminars (1995-2009): on Chinese portraits, Chinese illustrated books, visual anthropology/art history, Mainland Chinese films from the 1980s, transformation of Chinese landscape in contemporary art, “visual studies,” Orientalism.