B.A. (NCCU); M.A. (NCU); Ph.D. (UCLA)
Professor Ka-yi Ho received her Ph.D. degree from the Department of Art History at University of California, Los Angeles. Her research interests include ancient Chinese painting, Chinese court art, religious painting of the Ming and Qing periods, artistic and cultural interactions in East Asia, and the history of art collecting. Professor Ho teaches courses in the history of Chinese painting and calligraphy, including artistic traditions in China, court painting, literati painting, etc. Before joining the Department of Fine Arts in 2020, she was a postdoctoral fellow at the department and the Art Museum, CUHK, and an Andrew W. Mellon predoctoral fellow at the Metropolitan Museum of Art.
1. (Catalogue entries) Minghua quanji, edited by Zhejiang daxue Zhongguo gudai shuhua yanjiu zhongxin. Zhejiang: Zhejiang daxue chubanshe. (Upcoming. Six entries on the paintings in the collection of Art Museum, CUHK)
2. (Deputy editor; catalogue essays and entries) The Bei Shan Tang Legacy: Chinese Painting, edited by Harold Mok. Hong Kong: Department of Fine Arts and the Art Museum, The Chinese University of Hong Kong, 2019, pp. 16-21, 316-232, and cats. 1, 2, 3, 4, 5, 6, 7, 9, 10, 11, 12, 16, 22, 24, 27, 28, 30, 31, 35, 40, 46, 47, 50, 61, 62, 63, 64, 65, 66, 67, 68, 69, 78, 95, 96, 98, 110, 111, 112, 113.
3. (Catalogue entries) The Artful Recluse: Painting, Poetry, and Politics in Seventeenth-Century China, edited by Peter Sturman and Susan Tai. Santa Barbara: Santa Barbara Museum of Art, 2012, cats 9, 32, 55.
1. “Xiang Shengmo’s (1597-1658) Paintings in the Collection of the Art Museum, The Chinese University of Hong Kong” and “Paintings of Deities for Observing Birthdays in the Ming Dynasty.” Two papers presented in “The Bei Shan Tang Legacy: Chinese Painting Symposium” organized by the Art Museum, The Chinese University of Hong Kong, 19/10/2019.
2. “Invitation to Reclusion: Xiang Shengmo (1597-1658) and His Art beyond the Ming-Qing Transition.” A paper presented in the panel “Confronting Displacement: Responses to War, Violence, and Trauma in Premodern China” in the Association for Asian Studies Annual Conference at Denver, 21/3-24/3/2019.
3. “Transformation and Appropriation of Woodcut Illustrated Daoist and Buddhist Figures in the Late-Imperial Period.” A paper presented in the panel “Cross-Cuts: New Approaches to Religious Blockprints in China and Beyond, 11th-17th Centuries” in the Association for Asian Studies Annual Conference at Seattle, 31/3-3/4/2016.
4. “Court Art from the Marketplace: Reconstructing the Pattern of Court Patronage in the Late Ming Period.” A paper presented in the panel “Money Matters: The Art Market in Late Imperial and Modern China” in the College Art Association Annual Conference at New York City, 11/2-14/2/2015.
1. “The Revival of Ming Court Painting during the Wanli Era (1573-1620).” Art History at Lunch, Department of Fine Arts and Art Museum, CUHK, February 2, 2018.
2. “The Two Empress Dowager Cisheng’s Buddhist Paintings in the Met’s Collection and Cisheng’s Patronage Strategy.” A paper present in the Spring Fellows Colloquia organized by the Metropolitan Museum of Art, 4/3/2016.
“The Bei Shan Tang Legacy: Chinese Painting.” The Art Museum, The Chinese University of Hong Kong, 21/9-15/12/2019.