Citation: J. Ebert, NICHES, COLUMNS, AND FIGURES IN SOME PETROGLYPHIC STUPA DEPICTIONS OFTHE KARAKORAM HIGHWAY, Artibus Asiae, 54(3-4), 1994, pp. 268-295
Citation: T. Lawton, RECORD OF THE VICISSITUDES OF NATIONAL TREASURES - INVESTIGATION OF THE DISPERSED AND LOST CALLIGRAPHIES AND PAINTINGS FROM THE FORMER PALACE THAT I HAVE SEEN AND HEARD ABOUT - CHINESE - YANG,R, Artibus Asiae, 54(3-4), 1994, pp. 378-380
Citation: R. Kerr, CHINA RENAISSANCE IN BRONZE, THE ROBERT-H-CLAGUE-COLLECTION OF LATER CHINESE BRONZES 1100-1900, THE PHOENIX-ART-MUSEUM - MOWRY,RD, Artibus Asiae, 54(3-4), 1994, pp. 380-382
Citation: A. Jing, THE PORTRAITS OF KHUBILAI-KHAN AND CHABI BY ANIGE (1245-1306), A NEPALI ARTIST AT THE YUAN COURT, Artibus Asiae, 54(1-2), 1994, pp. 40
Citation: G. Beguin et S. Colinart, VAISRAVANA, GOD OF WEALTH, GOD OF ARMIES, AN EXAMINATION OF A NEW TIBETAN THANG-KA PAINTING IN THE MUSEE-GUIMET, Artibus Asiae, 54(1-2), 1994, pp. 137
Citation: M. Matsumoto, THE ICONOGRAPHY OF SHAKAS SERMON ON THE VULTURE-PEAK AND ITS ART-HISTORICAL MEANING + THE BOSTON 'HOKKEDO KONPON MANDARA', Artibus Asiae, 53(3-4), 1993, pp. 358
Citation: E. Isacco et J. Darrah, THE ULTRAVIOLET-INFRARED METHOD OF ANALYSIS, A SCIENTIFIC APPROACH TOTHE STUDY OF INDIAN MINIATURES, Artibus Asiae, 53(3-4), 1993, pp. 470