学习经历：
　　1963年获斯坦佛大学学士，1966年获普林斯顿大学硕士，1967年获普林斯顿大学博士。

研究领域：中国古代绘画史

简 介：
　　 作为杰出的中国艺术史学者，般宗华先后执教于耶鲁大学（1967－1975；1979－）、普林斯顿大学（1975－1979），并且为印第安纳波利斯艺术馆（Indianapolis Art Museum）、大都会艺术馆（Metropolitan Museum of Art）作顾问指导。其著作Painters of the Great Ming (1994)曾获得由The College Art Association向博物馆学者颁发的Alfred H. Barr, Jr.奖。

出版著作:
·Three Thousand Years of Chinese Painting, with Nie Chongzheng, Lang Shaojun, and James Cahill. New Haven: Yale University Press, 1997.

·The Jade Studio: Masterpieces of Ming and Qing Painting and Calligraphy from the Wong Nan-p'ing Collection, co-author. New Haven: Yale University Art Gallery, 1994.

·Li Kung-lin's Classic of Filial Piety, with Robert E. Harrist, Jr., and Hui-liang J. Chu, New York: The Metropolitan Museum of Art, 1993.

·Painters of the Great Ming – The Imperial Court and the Zhe School, with Mary Ann Rogers and Richard Stanley-Baker, Dallas: Dallas Museum of Art, 1993.

·Master of the Lotus Garden: the Life and Art of Bada Shanren, (1625-1705), with Frederic Fangyu Wang, Judith E. Smith, ed. New Haven: Yale University Press and Yale University Art Gallery, 1990.

·Peach Blossom Spring - Gardens and Flowers in Chinese Painting. New York: The Metropolitan Museum of Art, 1983.

·Along the Border of Heaven: Sung and Yuan Paintings from the Collection of Wang Chi-ch'ien. New York: Metropolitan Museum of Art, 1983.

·To Gen Kyonen (Tung Yuan and Chu-jan), with Iriya Yoshitaka and Nakata Yuiiro, Bunjinga Suihen, v.2. Tokyo: Chuo Koronsha, 1977.

·Wintry Forests, Old Trees - Some Landscape Themes in Chinese Painting. Exhibition catalogue. New York: China Institute in America, 1972.

·Marriage of the Lord of the River: A Lost Landscape by Tung Yuan. Ascona, Switzerland: Artibus Asiae (Supplementum XXVII), 1970.

发表文章：
·"Heterodox’ Paintings in the National Palace Museum," forthcoming in The National Palace Museum Bulletin, March/April, 1996

·"Fishing in an Autumn River, a Handscroll in the Freer Gallery of Art (Back to the Problem of Li Tang?)," Arts Orientalis,1996

·"Rediscovering an Old Theme in Ming Painting," Orientations, Sept., 1995, pp.52-61

·"The Wong Nan-p’ing Collection and the Orthodox Canon," in Richard Barnhart et al, The Jade Studio: Masterpieces of Ming and Qing Painting and Calligraphy from the Wong Nan-p’ing Collection (new Haven: Yale University Art Gallery, 1994), pp.17-25

·"Landscape Painting Around 1085," in Willard J. Peterson, Andrew H. Plaks, and Ying-shih Yu, editors, The Power of Culture: Studies in Chinese Cultural History (Hong Kong, The Chinese University Press, 1994), pp.195-205

·"An Imaginary Exhibition of Chinese Paintings from the Freer Gallery," Orientations, March, 1993, pp. 32-41

·"Shining Rivers – Eight Views of the Hsiao and Hsiang in Sung Painting," Proceedings of the International Colloquium on Chinese Art History (Taipei, National Palace Museum, tow volumes, 1991 [actually published 1992]), v.1, pp.45-95.

·"Tung Ch’ I-ch’ang’s Connoisseurships of Sung Painting and the Validity of his Historical Theories," in Proceedings of the Tug Ch’I-ch’ang International Symposium, Wai-ching Ho, ed., (Kansas City, The Nelson-Atkins Museum, 1991), pp.11-1 11-20

·"’Hills and Streams Under Fresh Snow’ Attributes to Kao K’o-ming," in Words and Images: Chinese Poetry, Calligraphy and Painting, edited by Alfreda Murck and Wen C. Fong, New York and Princeton, 1991, pp.233-246

·"Figures and Landscape," Archives of Asian Art, XLII/1989, pp.62-70

·"On Dating the Paintings of Ch’en Chia-yen," Yale University Art Gallery Bulletin, Spring, 1987, 47-57

·"The Wild and Heterodox School of Chinese Painting," in Susan Bush and Christian Murck, eds., Theories of the Arts in China, Princeton University press, 1983, 365-396

·"The Wild and Heterodox School of Chinese Painting," in Susan Bush and Christian Murck, eds., Theories of the Arts in China, Princeton University press, 1983, 365-396

·"Yao Yen-ch’ing, T’ing-mei, of Wu-hsing," Artibus Asiae, XXXIX.2 (Summer 1977), 105-123

·"Li Kung-lin’s Use of Past Styles," in Christian R. Murck, ed., Artists and Traditions: Uses of the Past in Chinese Culture, Princeton University Art Museum, 1976, pp.51-71

·"Chinese Calligraphy – The Inner World of the Brush," Bulletin of the Metropolitan Museum of Art, April. May, 1972, 230-241

·"Li T’ang and the Koto-in Landscapes, " The Burlington Magazine, 1972, 304-315
? "Survivals, Revivals, and the Classical Tradition of Chinese Figure Painting," Proceedings of the International Symposium on Chinese Painting, Taipei, 1972, 143-250

·"The ‘Snowscape’ Attributed to Chu-jan," Archives of Asian Art, 1970-71, 6-22

·"Wei Fu-jen’s Pi-chen-t’u and the Early Texts on Calligraphy," Archives of the Chinese Art Society of America, XVIII (1964), 13-25