{"id":21528,"date":"2026-04-01T08:00:13","date_gmt":"2026-03-31T23:00:13","guid":{"rendered":"https:\/\/www.waseda.jp\/inst\/wias\/?p=21528"},"modified":"2026-03-24T10:19:26","modified_gmt":"2026-03-24T01:19:26","slug":"%e7%a7%8b%e5%b1%b1-%e5%be%b9-2-6-2-5-19-16","status":"publish","type":"post","link":"https:\/\/www.waseda.jp\/inst\/wias\/other-en\/2026\/04\/01\/21528\/","title":{"rendered":"TIAN, Mi"},"content":{"rendered":"<h5>Name<\/h5>\n<p>TIAN, Mi<\/p>\n<h5>Degree<\/h5>\n<p>Ph.D. in Art History<\/p>\n<h5>Status<\/h5>\n<p>Assistant Professor<\/p>\n<h5>Research Topic<\/h5>\n<p>Collective Making: The &#8220;Practical&#8221; Turn of Chinese Art in the Nineteenth Century<\/p>\n<p>This research project explores the intersection of art and technology in nineteenth-century China. Challenging conventional court-centered narratives that frame this era as one of artistic exhaustion amid crisis and catastrophe, it shifts attention to long-overlooked collective modes of artmaking among grassroots-level literati artists in local society. I argue that traditional arts, particularly calligraphy and painting, underwent a profound \u201cpractical\u201d transformation. No longer functioning primarily as vehicles of individualized aesthetic expression, these ink-based practices were reconfigured as technical labor, integrating artistry with craft knowledge and skilled workmanship in the service of local administration. From heritage conservation to water management and military defense, painting and calligraphy were mobilized as actionable tools rather than rarefied accomplishments. In doing so, these practices fostered a functional mode of artistic-technical knowledge production aligned with the rising intellectual current of \u201cpractical statecraft.\u201d<\/p>\n<h5>Education and Academic Employment<\/h5>\n<p><strong>Education<\/strong><\/p>\n<table class=\"table table-striped table-chronology table-colored-tbhd\" style=\"width: 100%; border-collapse: collapse; height: 115px;\" border=\"0\">\n<tbody>\n<tr style=\"height: 23px;\">\n<td style=\"width: 17.1004%; height: 23px;\">2018-2024<\/td>\n<td style=\"width: 82.8996%; height: 23px;\">PhD, Department of Art and Archaeology, Princeton University<\/td>\n<\/tr>\n<tr style=\"height: 23px;\">\n<td style=\"width: 17.1004%; height: 23px;\">2016-2018<\/td>\n<td style=\"width: 82.8996%; height: 23px;\">MA, Institute of Fine Arts, New York University<\/td>\n<\/tr>\n<tr style=\"height: 23px;\">\n<td style=\"width: 17.1004%; height: 23px;\">2015-2018<\/td>\n<td style=\"width: 82.8996%; height: 23px;\">MA, Central Academy of Fine Arts, China<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 17.1004%;\">2011-2015<\/td>\n<td style=\"width: 82.8996%;\">BA, Central Academy of Fine Arts, China<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><strong>Academic Employment<\/strong><\/p>\n<table class=\"table table-striped table-chronology table-colored-tbhd\" style=\"width: 100%; border-collapse: collapse; height: 29px;\" border=\"0\">\n<tbody>\n<tr style=\"height: 23px;\">\n<td style=\"width: 17.1004%; height: 19px;\">2025-2026<\/td>\n<td style=\"width: 82.8996%; height: 19px;\">Early Career Fellow in China Studies, American Council of Learned Societies<\/td>\n<\/tr>\n<tr style=\"height: 23px;\">\n<td style=\"width: 17.1004%; height: 10px;\">2024-2025<\/td>\n<td style=\"width: 82.8996%; height: 10px;\">Postdoctoral Fellow and Lecturer, Department of Art and Archaeology, Princeton University<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<h5>Fields of Research Interests<\/h5>\n<p>History of Chinese painting and calligraphy, material culture, heritage conservation, intraregional exchanges in East Asia, and cross-cultural interactions between East Asia and the West.<\/p>\n<h5>Academic Publications<\/h5>\n<ul>\n<li>\u201cContesting the Past: Pilgrimage to the Island of Jiaoshan in Nineteenth-Century China.\u201d forthcoming in Artibus Asiae, no.1 (2026)<\/li>\n<li>\u5f9e\u8d99\u4e4b\u8b19\u65e9\u5e74\u4ea4\u904a\u8a66\u6790\u5176\u65e9\u5e74\u7bc6\u523b\u98a8\u683c\u7684\u767c\u5c55\u548c\u4f86\u6e90 [A Study of the Early Style of Zhao Zhiqian\u2019s Seal Cutting Art in Relation to His Early Social Circles], in Zhongguo shuhua \u4e2d\u570b\u66f8\u756b [Chinese Painting and Calligraphy], no.8 (2016), pp.38-45.<\/li>\n<li>\u201cSong Ming liangdai shushi xushu yu jiancang xitong zhong \u2018Huaisu\u2019 gainian de shengcheng he yanbian\u201d \u5b8b\u660e\u5169\u4ee3\u66f8\u53f2\u6558\u8ff0\u8207\u9452\u85cf\u7cfb\u7d71\u4e2d\u201c\u61f7\u7d20\u201d\u6982\u5ff5\u7684\u751f\u6210\u548c\u6f14\u8b8a (The Making of an Icon: Revisiting \u201cHuaisu\u201d in Writings and Collections of the Song and Ming Dynasties) (MA thesis, Central Academy of Fine Arts, 2018), China Master\u2019s Theses Full-text Database in CNKI (China Academic Journal)<\/li>\n<li>\u5433\u540c\u300a\u9f8d\u4e4b\u570b\u7684\u50b3\u8aaa\uff1a\u4e2d\u570b\u5343\u5e74\u7e6a\u756b\u5c55\u300b\uff08\u5317\u4eac\uff1a\u5317\u4eac\u5927\u5b78\u51fa\u7248\u793e\uff0c2023\uff09, translated from Tung Wu, Tales from the Land of Dragons: 1,000 Years of Chinese Painting, (Boston: Museum of Fine Arts, Boston, 2000).<\/li>\n<\/ul>\n<h5>Other Interests<\/h5>\n<p>Painting, Anime, Movie, and Mahjong<\/p>\n<h5>Affiliated Academic Organizations<\/h5>\n<p>American Council of Learned Societies<br \/>\nCollege of Art Association<br \/>\nAssociation for Asian Studies<\/p>\n<h5>Awards<\/h5>\n<p>Early Career Fellowship in China Studies (Henry Luce Foundation\uff0fAmerican Council of Learned Societies\u3008ACLS\u3009\uff0fNational Endowment for the Humanities\u3008NEH\u3009) (2025\u20132026)<br \/>\nPostdoctoral Fellowship (Princeton University) (2024\u20132025)<br \/>\nDonald and Mary Hyde Dissertation Fellowship (The Four Oaks Foundation) (2022)<br \/>\nMulford Fellowship (Princeton University) (2018\u20132023)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Name TIAN, Mi Degree Ph.D. in Art History Status Assistant Professor Research Topic Collective Making: The &#038;#8 [&hellip;]<\/p>\n","protected":false},"author":6,"featured_media":21501,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[97],"tags":[],"class_list":["post-21528","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-other-en"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.waseda.jp\/inst\/wias\/wp-json\/wp\/v2\/posts\/21528","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.waseda.jp\/inst\/wias\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.waseda.jp\/inst\/wias\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/wias\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/wias\/wp-json\/wp\/v2\/comments?post=21528"}],"version-history":[{"count":1,"href":"https:\/\/www.waseda.jp\/inst\/wias\/wp-json\/wp\/v2\/posts\/21528\/revisions"}],"predecessor-version":[{"id":21895,"href":"https:\/\/www.waseda.jp\/inst\/wias\/wp-json\/wp\/v2\/posts\/21528\/revisions\/21895"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/wias\/wp-json\/wp\/v2\/media\/21501"}],"wp:attachment":[{"href":"https:\/\/www.waseda.jp\/inst\/wias\/wp-json\/wp\/v2\/media?parent=21528"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/wias\/wp-json\/wp\/v2\/categories?post=21528"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/wias\/wp-json\/wp\/v2\/tags?post=21528"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}