In recent years my interest has been focusing on the field work on investigating the relic sites of Tibetan or Sino-Tibetan Buddhist art, especially in the areas where Tangut had been active from the 12th to 14th century. I think that earlier Xixia art with a "Tibetan style" has no immediate relation with systematic Tibetan Buddhism but its stylistic sources may directly connect with parallels of Pala, Pagan and areas in Central Asia. This tradition shaped in the period was so strong that the monuments like the images in Feilaifeng in Hangzhou and in Juyongguan Pass in Beijing still followed the arrangements.
Though some scholars paid a great interest on the monastery, the source of Drathang mural is still a difficult problem. The crux is that the researchers who work in it, after a fixing thinking, are keen to look for evidence from Pala, or the texts by great masters such as Atisa. Perhaps we have a misunderstanding to the situation of Tibetan art from the 11th to 13th century. In which we confirmed that the rise of the art in phyir-dar was stimulated by Pala art, all the appearance of the style also supported our estimation. In 2015, I hope to finished my research on Drathang murals, which will interpret why the opinion originate.
By the way, on Oct 16 to 20, 2015 we will hold the Sixth International Conference on Tibetan Archaeology and Arts in Zhejiang University.
Teaching & research in both Tibetan and Han-Chinese art history.