Professor Tseng received her Ph.D. from Harvard in 2001, and joined the Yale faculty in 2003. She has published a number of articles concerned with diverse cultural issues in Chinese art, such as history and memory, visual replication and political persuasion, pictorial representation and historical writing, and the interchangeability of the self and the other. Her research has been acknowledged and supported by prestigious fellowships from the Getty Foundation and the Chiang Ching-kuo Foundation. Currently she is at work on two book projects, tentatively entitled “Picturing Heaven: Visibility and Visuality in Early China” and “The Frontier and Visual Imagination in Han Empire.” At Yale, Professor Tseng is developing the Chinese art curriculum. The graduate seminars she has given include “Materiality of Death in Chinese Art” and “History, Memory and Media in Chinese Art.” For undergraduate students, she regularly offers lectures on “Art and Archaeology in China” and “Chinese Art and the Modern World,” and leads seminars on “Mapping the Art of Chu China” and “Art and Architecture of the Forbidden City.” 

Selected Publications
“Representation and Appropriation: Rethinking the TLV Mirror in Han China,” Early China 29 (2004), 163-215.

“Visual Replication and Political Persuasion: The Celestial Image in Yuan Yi's (486-526) Tomb,” in Between Han and Tang: Art and Material Culture in a Transformative Period, ed. Wu Hung (Beijing: Cultural Relics Publishing House, 2003), 377-424.

“Retrieving the Past, Inventing the Memorable: Huang Yi's (1744-1801) Visit to the Song-Luo Monuments,” in Monument and Memory, Made and Unmade, eds. Robert Nelson & Margaret Olin (Chicago: University of Chicago Press, 2003), 37-58.

“Pictorial Representation and Historical Writing: Zhao Wangyun's (1906-1977) Visual Reports on Rural North China for L'Impartial,” in When Images Speak: Visual Representation and Cultural Mapping in Modern China [Hua zhong you hua: jindai Zhongguo de shijue biaoshu yu wenhua goutu], ed. Ko-wu Huang (Taipei: Institute of Modern History, Academia Sinica, 2003), 63-122; republished in Zhongguo xiangcun yanjiu 3 (2005), 152-231.

“Interchange of the Self and the Other: Wu Zuoren’s (1908-1997) Visual Representation of the Northwestern Frontier,” in Regions and Networks: One Thousand Years of Chinese Art [Quyu yu wangluo: jin qiannian lai Zhongguo meishushi yanjiu guoji xueshu yantaohui lunwenji], ed. Pao-chen Chen (Taipei: Institute of Art History, National Taiwan University, 2001), 669-700.