The book employs a case-study approach, drawing on extensive fieldwork at over ten major surviving Ming-period artistic sites across Tibet, Qinghai, Gansu, Yunnan, Nanjing, Beijing, and Inner Mongolia. Through meticulous analysis of iconography, dating, style, and documentary sources—integrated with the historical context of the Ming court's governance over Tibet and other Tibetan-inhabited areas—the study covers a wide range of subjects, including imperial court Tibetan Buddhist paintings and sculptures, Tibetan monastic art from various regions, the influence of Chinese art in Tibet, and the Sino-Tibetan artistic synthesis seen in murals at Gongkar Chöde and Phuntsok Ling monasteries, as well as the Chinese-style thangkas of the 17th-century Tibetan artist Chöying Dorje. The book's central thesis is that Sino-Tibetan artistic exchange reached a scale, scope, and depth surpassing that of the Yuan dynasty, driven by effective Ming governance and intensive multi-ethnic cultural interaction between Tibet and the interior. Key breakthroughs include the first dating of the Tibetan Buddhist murals at the Great Jewel Sutra Hall in Lijiang to 1643, the dating of a silk tapestry portrait of the Dalai Lama's predecessor in the Norbulingka to 1434–1443, and the reconstruction of the original distribution of early works by the Khyenri master Khyentse Chenmo at Gongkar Chöde. Text in Chinese.

2020, China Tibetology Press, softcover, 535 pp., as new.