Monika Zin, Prof. Dr. phil. habil.

• Studium der Theaterwissenschaft, Literatur und Kunstgeschichte an der Jagiellonen-Universität, Krakau (Magister 1981), sowie Bühnenbild an der Kunstakademie der bildenden Künste, Krakau.
  Studies of dramatics, literature and art history at Jagiellonian University, Krakow (Master of Arts 1981), as well as stage design at the Academy of Fine Arts, Krakow.
• Anschließend Studium der Indologie und Indischen Kunstgeschichte an der Ludwig-Maximilians-Universität, München.
  Subsequently studies of Indology and Indian art history at the Ludwig-Maximilians-Universität Munich.
• Nach Promotion (1990) und Habilitation (2000) Dozentin und außerplanmäßige Professorin für indische Kunstgeschichte am Institut für Indologie und Tibetologie der LMU.
  After receiving PhD in 1990 and habilitation in 2000 taught Indian art history as lecturer and associate professor in Munich.
• 1994–2016 Dozentin für Indische Kunstgeschichte, Institut für Indologie und Tibetologie der Ludwig-Maximilians-Universität München.
  1994–2016 lecturer for Indian art history at the Institute of Indology and Tibetology, Ludwig-Maximilians-Universität Munich.
• 2010–2014 kommissarische Leitung der Abteilung Kunstgeschichte Südasiens am Kunsthistorischen Institut der Freien Universität, Berlin.
  2010–2014 acting head of the Department for South and Southeast Asian Art History at Institute for Art History, Berlin.
• Seit 2016 Arbeitsstellenleiterin des Akademievorhabens „Wissenschaftliche Bearbeitung der buddhistischen Höhlenmalereien in der Kuča-Region der nördlichen Seidenstraße“ an der Sächsischen Akademie der Wissenschaften zu Leipzig.
  Since 2016 head of the research team “Buddhist Murals of Kucha Region on the Northern Silk Road” hosted by the Saxon Academy of Science and Humanities in Leipzig (Sächsische Akademie der Wissenschaften zu Leipzig).
• Seit 2017 Honorarprofessorin am Institut für Indologie und Zentralasienwissenschaften der Universität Leipzig.
  Since 2017 honorary professor at the Institute for Indology and Central Asian Studies at Leipzig University.

Forschungsschwerpunkte | Main Areas of Research

Erzählende Malereien und Reliefkunst des frühen Buddhismus in Süd- und Zentralasien, mit Arbeitsschwerpunkten in den Höhlenanlagen von Ajanta, der Kunst der buddhistischen Zentren in den heutigen indischen Bundesstaaten Andhra Pradesh, Telangana und Karnataka (Amaravati, Nagarjunakonda, Kanaganahalli etc.) und in der Region Kuča (heutige Provinz Xinjiang, VR China) an der nördlichen Seidenstraße.

Early Buddhist narrative paintings and reliefs in South and Central Asia. Key topics include the caves of Ajanta in Maharashtra, the art from Buddhist centres in Andhra Pradesh, Telangana and Karnataka like Amaravati, Nagarjunakonda, Kanaganahalli etc. and in the region of Kucha (modern province Xinjiang, PR China) on the Northern Silk Road.

Publikationen | Publications

Monografien | Books

• 2003a, Ajanta – Handbuch der Malereien / Handbook of the Paintings 2: Devotionale und ornamentale Malereien. Wiesbaden: Harrassowitz.
• 2003b, Guide to the Ajanta Paintings, 2, Devotional and Ornamental Paintings. New Delhi: Munshiram.
• 2006, Mitleid und Wunderkraft: Schwierige Bekehrungen und ihre Ikonographie im indischen Buddhismus. Wiesbaden: Harrassowitz.
• zusammen mit Dieter Schlingloff, 2007, Saṃsāracakra: Das Rad der Wiedergeburten in der indischen Überlieferung. München: Iudicium Verlag, Haus der Japanischen Kultur (EKŌ), Buddhist Studies 6/2007.
• 2018, The Kanaganahalli Stūpa: An Analysis of the 60 Massive Slabs Covering the Dome. New Delhi: Aryan Books International.
• 2020, Representations of the Parinirvāṇa Story Cycle in Kucha. New Delhi: Dev Publishers, Saxon Academy of Sciences and Humanities, Leipzig Kucha Studies 2. URN: urn:nbn:de:bsz:14-qucosa2-895468.
  
• zusammen mit Dieter Schlingloff, 2022, Saṃsāracakra: The Wheel of Rebirth in the Indian Tradition. New Delhi: Dev Publishers.
• 2023, Gods, Deities, and Demons in the Paintings of Kucha, ed. Franco, Eli / Zin, Monika, Delhi: Dev Publishers, Saxon Academy of Sciences and Humanities, Leipzig Kucha Studies 4.

Aufsätze | Papers

• 1996a, Der Elefant mit dem Schwert. In: Wilhelm, F. (ed.), Festschrift Dieter Schlingloff, Reinbeck: Verlag für Orientalische Fachpublikationen, pp. 331–344.
• 1996b, Representations of Architectural Elements in the Oldest Murals of Ajanta. In: Mitra, D. et al. (ed.), Explorations in Art and Archaeology of South Asia: Essays Dedicated to N.G. Majumdar. Calcutta: Directorate of Archaeology and Museums, Govt. of West Bengal, pp. 454–476.
• 1998a, The Oldest Painting of the Udayana Legend. Berliner Indologische Studien 11–12, pp. 435–448.
• 1998b, Der Vidūṣaka jenseits der Bühne. Indo-Asiatische Zeitschrift 2, pp. 30–41.
• 1998c, Der Wandel des Buddha-Bildes im Buddha-Bildnis: Zu den Anfängen der Buddha-Darstellung. In: Schmidt-Leukel, P. (ed.), Wer ist Buddha? München: Eugen Diedrichs, pp. 50–74.
• 2000, Two Nāga-Stories in the Oldest Paintings of Ajanta IX. In: Taddei, M. / De Marco, G. (edd.), South Asian Archaeology 1997, Proceedings of the 14^th International Conference of the European Association of South Asian Archaeologists in Rome. Rome: Istituto per l’Africa e l’Oriente, pp. 1171–1199.
• 2001, The Identification of the Bagh Painting. East & West 51, pp. 299–322.
• 2002, Das Nāgānanda und der Ursprung der Jīmūtavāhana-Legende. Studien zur Indologie und Iranistik 23, pp. 146–164.
• 2003a, Kālakarṇī. Berliner Indologische Studien 15–17, pp. 327–340.
• 2003b, The uṣṇīṣa as a Physical Characteristic of the Buddha’s Relatives and Successors. Silk Road Art and Archaeology 9, pp. 107–129.
• 2004a, Die altindischen vīṇās. In: Hickmann E. / Eichmann, R. (edd.), Musikarchäologie IV. Musikarchäologische Quellengruppen: Bodenurkunden, mündliche Überlieferung. Rahden: Verlag Marie Leidorf GmbH, Orient-Archäologie 15, pp. 321–362.
• 2004b, The Mūkapaṅgu Story in the Madras Government Museum: The Problem of the Textual Affiliations of the Narrative Reliefs in Amaravati and Nagarjunikonda. Annali dell’ Istituto Universitario Orientale 64, pp. 157–180.
• 2004c, Bücherbesprechung: Falk Reitz: Pancayatana Tempel Complexes in Northern India. The origin, development and regional specificity of an Indian architectural form (Doctoral Dissertation, FU Berlin)
• 2005a, The Identification of Kizil Paintings I (1. Yaśa, 2. Mākandika). Indo-Asiatische Zeitschrift 9, pp. 23–36; repr. in: Shashibala (ed.), Sanskrit on the Silk Route. Delhi: Bharatiya Vidya Bhavan, 2016, pp. 199–215.
• 2005b, The Unknown Ajanta Painting of the Aṅgulimāla Story. In: Jarrige, C. / Lefèvre, V. (edd.), South Asian Archaeology 2001. Proceedings of the Sixteenth International Conference of the European Association of South Asian Archaeologists, Held in Collège de France, Paris, 2–6 July 2001. Paris: Édition Recherche sur les Civilisations, vol. 2, pp. 704–713.
• 2006a, About Two Rocks in the Buddha’s Life Story. East & West 56, pp. 329–358.
• 2006b, The Story of the Conversion of Nanda in Borobudur. In: Bruhn, K. / Mevissen, G.J.R. (edd.), Vanamālā, Festschrift Adalbert Gail. Berlin: Weidler, pp. 265–275.
• 2006c, Ajanta Paintings and Mahāyāna Buddhism. In: Transactions of the International Conference of Eastern Studies 51. Tokyo: Toho Gakkai, pp. 100–101.
• 2007a, Ajanta Paintings and Mahāyāna Buddhism. In: Daijo Bukkyo no Kigen to Jittai ni kansuru Sogoteki Kenkyu–Saishin no Kenkyu Seika wo Fumaete [A Comprehensive Study of the Origin and the Facts of Mahāyāna Buddhism: Taking Into Account the Latest Study]. Tokyo: Toho Gakkai, pp. 146–150.
• 2007b, The Identification of Kizil Paintings II (3. Sudāya, 4. Bṛhaddyuti). Indo-Asiatische Zeitschrift 11, pp. 43–52; repr. in: Shashibala (ed.), Sanskrit on the Silk Route. Delhi: Bharatiya Vidya Bhavan, 2016, pp. 216–226.
• 2008a, Śabaras: The Vile Hunters in Heavenly Spheres. In: Raven, E.M. (ed.), South Asian Archaeology 1999, Proceedings of the 15^th International Conference of the European Association of South Asian Archaeologists in Leiden. Groningen: Forsten, pp. 375–394.
• 2008b, The Identification of Kizil Paintings III (5. kalamacchedya, 6. Sundarika-Bhāradvāja). Indo-Asiatische Zeitschrift 12, pp. 50–61; repr. in: Shashibala (ed.), Sanskrit on the Silk Route. Delhi: Bharatiya Vidya Bhavan, 2016, pp. 227–240.
• 2009a, The Water Tank from Gandhara. In: Mevissen, G.J.R. / Banerji, A. (edd.), Prajñādhara – Essays on Asian Art, History, Epigraphy and Culture, in Honour of Gouriswar Bhattacharya. New Delhi: Kaveri Books, pp. 7–21.
• 2009b, Vajrapāṇi in the Narrative Reliefs. In: Fröhlich, C. (ed.), Migration, Trade and Peoples, Part 2: Gandharan Art. London: The British Academy, The British Association for South Asian Studies (Proceedings of the 18th International Conference of the European Association of South Asian Archaeologists in London 2005), pp. 73–88. Online publication: https://doi.org/10.5281/zenodo.253811.
• 2010a, Brahmanische Asketengräber. In: Franco, E. / Zin, M. (edd.), From Turfan to Ajanta, Festschrift for Dieter Schlingloff on the Occasion of his Eightieth Birthday. Bhairahawa: Lumbini International Research Institute, pp. 1075–1098.
• 2010b, The Identification of Kizil Paintings IV (7. Kapila, 8. The Promise of the Four Kings). Indo-Asiatische Zeitschrift 14, pp. 22–30; repr. in: Shashibala (ed.), Sanskrit on the Silk Route. Delhi: Bharatiya Vidya Bhavan, 2016, pp. 241–252.
• 2010c, The Purchase of Jetavana in an Amaravati Relief. In: Callieri, P. / Colliva, L. (edd.), Proceedings of the 19th Meeting of the European Association of South Asian Archaeology in Ravenna, Italy, July 2007, vol. 2, Historic Periods. Oxford: Archeopress, pp. 369–373.
• 2011a, Die Reliefs der Amaravati-Schule, Tribus, Jahrbuch des Linden-Museums 60, pp. 174–191.
• 2011b, Narrative Reliefs in Kanaganahalli – A Short Outline of Their Importance for Buddhist Studies. Marg 63.1, pp. 12–21.
• 2011c, The Identification of Kizil Paintings V (9. The painted dome from Simsim and its Narrative Programme, 10. Elapatra). Indo-Asiatische Zeitschrift 15, pp. 57–69; repr. in: Shashibala (ed.), Sanskrit on the Silk Route. Delhi: Bharatiya Vidya Bhavan, 2016, pp. 253–270.
• 2011d, The Parable of “The Man in the Well”: Its Travels and its Pictorial Traditions from Amaravati to Today. In: Balcerowicz, P. / Malinowski, J. (edd.), Art, Myths and Visual Culture of South Asia. Delhi: Manohar, pp. 33–93.
• 2012a, When Stones are all that Survived: The Case of Andhra Buddhism. Rocznik Orientalistyczny 65.1, pp. 236–253.
• 2012b, Māndhātar, the Universal Monarch, and the Meaning of Representations of the cakravartin in the Amaravati School, and of the Kings on the Kanganhalli stūpa, In: Skilling, P. / McDaniel, J. (edd.), Buddhist Narrative in Asia and Beyond. In Honour of HRH Princess Maha Chakri Siringhorn on Her Fifty-Fifth Birth Anniversary. Bangkok: Institute of Thai Studies, Chulalongkorn University, vol. 1, pp. 149–164.
• 2013a, Buddhist Narrative Depictions in Andhra, Gandhara and Kucha – Similarities and Differences that Favour a Theory about a Lost “Gandharan School of Paintings”. In: Miyaji, A. (ed.), Gandhara, Kucha no Bukkyo to Bijutsu, vol. 1 [Kokusai Symposium “Silk Road no Bukkyo Bunka – Gandhara, Kucha, Turfan” 2012. 11.3–5, Ryukoku Daigaku, Seika Houkokusho I]. Kyoto: Ryukoku Daigaku, March 2013, pp. 35–66.
• 2013b, The Identification of Kizil Paintings VI (11. The Descent of the Buddha from the Trāyastriṃśa Heaven of the God Indra, 12. Crossing of the River Gaṅgā – The Legend of the Umbrellas). Indo-Asiatische Zeitschrift 17, pp. 5–15; repr. in: Shashibala (ed.), Sanskrit on the Silk Route. Delhi: Bharatiya Vidya Bhavan, 2016, pp. 271–285.
• 2014a, Imagery of Hell in South, South East and Central Asia. Rocznik Orientalistyczny 67, pp. 269–296.
  Japanese: モニカ・ジン, 2014, Jigoku o egaku, Shūkyō shisō no kaiga hyōgen: Yūrashia no higashi to nishi 2. / Illustrating Hell: Illustrating Religious Thought in East and West Eurasia 2. Tokyo: Keio University EIRI Project, Proceedings of the Conference ‘Illustrating the Hell: The End of the World Seen in East and West Eurasia’, pp. 15–48.
• 2014b, Non-Buddhist Narrative Scenes at Nagarjunakonda. In: Klimburg-Salter, D. / Lojda, L. (edd.), South Asian Archaeology and Art, Changing Forms and Cultural Identity: Religious and Secular Iconographies, vol: 1, Papers from the 20^th conference of the European Association for South Asian Archaeology and Art held in Vienna from 4^th to 9^th July 2010. Turnhout: Brepols, pp. 77–89.
• 2015a, Buddhas Löwenstimme und das römische Wagenrad: Buddhistische Kunst im Reich der Satavahanas. Antike Welt 5/2015, pp. 51–56.
• 2015b, Nur Gandhara? Zu Motiven der klassischen Antike in Andhra (incl. Kanaganahalli). Tribus, Jahrbuch des Linden-Museums 64, pp. 178–205.
• 2015c, Pictures of Paradise for Good Luck and Prosperity: Depictions of Themes Irrelevant for Enlightenment in the Older Buddhist Tradition (with special reference to the paintings of Ajanta). In: Kumar, V. / Rawat, B. (edd.), Mani-Sushma, Archaeology and Heritage (Dr. B.R. Mani Festschrift). Delhi: B.R. Publishing Corporation, vol. 1, pp. 125–147, pls. pp. 49–56.
  Japanese: モニカ・ジン, 2015, Proceedings of the International Symposium “Illustrating Heaven: The Hereafter Seen in East and West Eurasia” at Mita Campus, Keio University, Tokyo, on March 4^th 2014, for the EIRI Project sponsored by the MEXT–Supported Program for the Strategic Research Foundation at Private Universities (2009–2013), Tokyo: Keio University EIRI Project.
• 2015d, Reflections on the Purpose of the Kucha Paintings. Journal of the International Association of Buddhist Studies 38, pp. 373–390.
• 2015e, The Case of the “Repainted Cave” (Kizil, Cave 117). Indo-Asiatische Zeitschrift 19, pp. 19–27.
• 2015f, The One Who was Against the Pavvajjā., In: Soni, L. / Soni, J.S. (edd.), Essays Felicitating Professor Hampa Nagarajaiah on the Occasion of his 80^th Birthday. Bengaluru: Sapna Book House, pp. 437–447.
• 2016a, Buddhist Narratives and Amaravati. In: Shimada, A. / Willis, M. (edd.), Amaravati: The Art of an Early Buddhist Monument in Context. London: The British Museum, pp. 46–58.
• 2016b, Sanskrit Literature and the Indian Pictorial Tradition in the Paintings of Kucha. In: Shashibala (ed.), Sanskrit on the Silk Route. Delhi: Bharatiya Vidya Bhavan, pp. 99–111.
• 2016c, The Buddha’s Relics and the Nāgas: An Attempt to Throw Light on Some Depictions in the Amaravati School. In: Lefèvre, V. / Didier, A. / Mutin, B. (edd.), South Asian Archaeology and Art 2012, South Asian Religions and Visual Forms in their Archeological Context. Turnhout: Brepols, vol. 2, pp. 757–776.
• 2016d, The Jester and the vidūṣaka. In: Esposito, A.A. et al. (edd.), „In ihrer rechten Hand hielt sie ein silbernes Messer mit Glöckchen...“ / „In her right hand she held a silver knife with small bells...“ Studien zur indischen Kultur und Literatur / Studies in Indian Culture and Literature, Festschrift für Heidrun Brückner. Wiesbaden: Harrassowitz, pp. 379–396.
• with Vinay K. Gupta, 2016, Parinirvāṇa Representations in the Art of Mathura: A Study Based on the Discovery of a Unique Parinirvāṇa Stele from the Varāha Temple of Mathura. Art of the Orient 5. pp. 37–60.
• 2017a, A Bizarre Story about Two Kings: Identification of some Andhra Reliefs as Scenes from the Sutasoma-Saudāsa Narrative. In: Sheel, K. / Willemen, C. / Zysk, K. (edd.), From Local to Global, Papers in Asian History and Culture, Prof. A.K. Narain Commemoration Volume. Delhi: Buddhist World Press, vol. 2, pp. 550–580.
• 2017b, Kucha no Bukkyo Setsuwa Bijutsu ni kansuru Kinnnen no Kenkyu Jokyo ni tsuite [Recent Research on the Narrative Paintings in Kucha]. In: Asia Bukkyo Bijutsu Ronshu, Central Asia (I), Tokyo: Chuo Koron Bijutsu Shuppan, pp. 333–366.
• 2017c, Narrated with Chisel and Paintbrush. On the Importance of Research into Art History for Understanding Buddhism – Some Examples. Rocznik Orientalistyczny 70.2, pp. 274–306.
  Japanese: モニカ・ジン, 2020, Nomi to Efude de Katarareta Setsuwa – Bukkyo Kenkyu ni okeru Bijutsushi no Juyosei [Narrated with Chisel and Paintbrush. On the Importance of Research into Art History for Understanding Buddhism], In: Asia Bukkyo Bijutsu Ronshu, Minami Asia (I), Maurya cho – Gupta cho, Tokyo: Chuo Koron Bijutsu Shuppan, pp. 593–626.
• 2018b, Buddhist Art’s Late Bloomer: The Genius and Influence of Gandhara. In: Rienjang, W. / Stewart, P. (edd.), Problems of Chronology in Gandhāran Art, Proceedings of the First International Workshop of the Gandhāra Connections Project, University of Oxford, 23^rd–24^th March, 2017. Oxford: Archaeopress Archaeology, pp. 103–121.
• 2018c, Ciñcā Māṇavikā, the Identification of Some Paintings in Kizil and a Gandhara Relief in the Asian Art Museum, Berlin. In: von Criegern, O. / Melzer, G. / Schneider, J. (edd.), Saddharmāmṛtaṃ, Festschrift für Jens-Uwe Hartmann zum 65 Geburtstag. Wien: Wiener Studien zur Tibetologie und Buddhismuskunde 93, pp. 541–559.
• 2018d, Gandhara & Andhra: Varying Traditions of Narrative Representations (Some Observations on the Arrangement of Scenes Citing the Example of the Bodhisatva Crossing the River Nairañjanā). Indo-Asiatische Zeitschrift 22, pp. 6–17.
• 2018e, Some Details from the Representations of the Parinirvāṇa Cycle in the Art of Gandhara and Kucha: The Iconography of the Wandering Ascetics (Parivrājaka, Nirgrantha and Ājīvika). Art of the Orient 7, pp. 137–170.
• 2018f, Kanaganahalli in Sātavāhana Art and Buddhism: King Aśoka in Front of the bodhi Tree. Journal of the International Association of Buddhist Studies 41, pp. 537–568.
• 2019a, The Pañcatantra in Sogdian Paintings? Berliner Indologische Studien / Berlin Indological Studies 24, pp. 279–298.
  Japanese: モニカ・ジン, 2013, Indo setsuwa bungaku no denpa to hen'yō ni tsuite: `Ido no naka no otoko' no gūwa インド説話文学の伝播と変容について : 「井戸のなかの男」の寓話 / Pañcatantra in the Art of East and West: Transformation of Buddhist Parables in India, Central Asia, Islamic Middle East, Europe, China and Japan. In: Nomoto, S. 野元晋 (ed.), Shūkyō shisō no kaiga hyōgen: Yūrashia no higashi to nishi 宗教思想の絵画表現 : ユーラシアの東と西 / Illustrating Religious Thought in East and West Eurasia, Tokyo: Keio University EIRI Project, 2013, pp. 35–68.
• 2019b, The Techniques of the Narrative Representations in Old India (With an Identification of one Relief in Kanaganahalli). In: Wagner-Durand, E. / Fath, B. / Heinemann, A. (edd.), Image. Narration. Context – Visual Narratives in the Cultures and Societies of the Old World, Proceedings of the Workshop held at the Freiburg Institute for Advanced Studies, Albert-Ludwigs-Universität Freiburg, 18–21.03.2015. Heidelberg: Propylaeum, pp. 137–156.
• 2019c, Heavenly Relics – The Bodhisatva’s Turban and Bowl in the Reliefs of Gandhara and Andhra (including Kanaganahalli). In: Wessels-Mevissen, C. et al. (edd.), Indology’s Pulse: Arts in Context. Essays Presented to Doris Meth Srinivasan in Admiration of Her Scholarly Research. New Delhi: Aryan Books International, pp. 365–378.
• 2019d, Gautama’s Earliest Wanderings: Some Narrative Scenes in Nagarjunakonda and Ajanta. In: Lalji Shravak (ed.), Investigating Principles: International Aspects of Indian Cultures, Festschrift for Charles Willemen. Hong Kong: The Buddha-Dharma Centre of Hong Kong, pp. 425–440.
• 2019e, Cosmological Aspects – Representations of Deities Holding Sun and Moon in Kucha and Beyond. Rivista degli Studi Orientali 42.1–2, pp. 259–285.
• 2019f, Crossing the Ocean of saṃsāra: Berlin, Museum für Asiatische Kunst, no. III 9023. In: Bareja-Starzyńska, A. / Mejor, M. (edd.), Studies on the Collections of Oriental Texts and Artefacts, Proceedings of the 7^th International Conference of Oriental Studies, Cracow, 22^nd–24^th 2018, Rocznik Orientalistyczny 72.2, pp. 183–217.
• 2020a, Representations of the First Council in Kucha: The Monk Kāśyapa in the Parinirvāṇa Cycle and the Furtherance of Buddhist Teaching. In: Franco E. / Zin M. (edd.), Essays and Studies in the Art of Kucha. Delhi: Dev Publishers, Saxon Academy of Sciences and Humanities, Leipzig Kucha Studies 1, pp. 107–172, 226–236. Online publication: https://nbn-resolving.org/urn:nbn:de:bsz:14-qucosa2-840932
• 2020b, Traces of Reciprocal Exchange: From Roman Pictorial Models to the World’s Earliest Depictions of Some Narrative Motifs in Andhra Reliefs, Religions 11(3).103. Online publication: https://doi.org/10.3390/rel11030103
• 2021, Fragments of a Divided Whole – On the Exhibition of Several Narrative Reliefs from the Amaravati School of Sculptures. In:  Parimoo Krishnan, Gauri / R.H. Kulkarni (edd.), Ratna Dipa: New Dimensions of Indian Art History & Theory. Essays in Honour of Prof Ratan Parimoo. Delhi: Agam Kala Prakashan, pp. 13-24.
• With Robert Arlt, 2021, Kanaganahalli (or Sannathi). In: D. Potts et al. (edd.) The Encyclopedia of Ancient History. Online publication: https://doi.org/10.1002/9781119399919.eahaa00327
• 2022a, About Visual Language, Drunken Women, Jesters and Escaping the World. Cracow Indological Studies 24, pp. 91-116.
• 2022b, Visualizing a Teaching: Sermon Scenes in Kucha. In: Appleton, Naomi (ed.), Narrative Visions and Visual Narratives in Indian Buddhism. Sheffield: Equinox Publishing, pp. 88–125.
• 2022c, Nagarjunakonda: Monasteries and Their School Affiliations. Acta Asiatica Varsoviensia35, pp. 315–344. Online publication: http://aav.iksiopan.pl/index.php/pl/numer-biezacy/917-nagarjunakonda-monasteries-and-their-school-affiliations-2
• 2022d, Caves with Ancient Paintings in Kizil’s Periphery. In: Marciniak, Katarzyna / Kania, Stanisław Jan / Wielińska-Soltwedel, Małgorzata / Bareja-Starzyńska, Agata (edd.), Guruparamparā, Studies on Buddhism, India, Tibet and More in Honour of Professor Marek Mejor. Warsaw: University of Warsaw Press, pp. 519–538.
• 2023a, Vidūṣaka’s Cousins: Comic Theatre Characters on Both Sides of the Erythraean Sea. East and West N.S. 4 (63)/1, pp. 153–182.
• 2023b, Buddhist Narratives at Kanaganahalli. In: Guy, John (ed.), Tree & Serpent, Early Buddhist Art in India. New York, The Metropolitan Museum of Art. New Haven / London: Yale University Press, pp. 203–206.
• 2023c, Kucha’s Pictorial Programmes: the Example of Kizil Cave 175 (Temptation Cave). In: Matsuoka, Hiroko / Moriyama, Shinya / Neill, Tyler (eds.), To the Heart of Truth: Felicitation Volume for Eli Franco on the Occasion of His Seventieth Birthday. Wiener Studien zur Tibetologie und Buddhismuskunde 104. Vienna: Arbeitskreis für Tibetische und Buddhistische Studien Universität Wien, vol. 1, pp. 343–386.
• 2023d, Maitreya, the Saviour?: Enigmatic ‘Mahābodhisatvas’ in Kucha. Hualin International Journal of Buddhist Studies 6.1, pp. 338–380. Online publication: https://dx.doi.org/10.15239/hijbs.06.01.07
• 2024a, From Gandhara to Kucha and Back Again. In: Majumdar, Susmita Basu (ed.), Transcending Boundaries, Premodern Cultural Transactions across Asia. Essays in Honour of Osmund Bopearachchi. Delhi: Primus Books, pp. 309–331.
• 2024b, Sun and Moon in the Paintings of Kucha. In: Brentjes, Rana / Brentjes, Sonja / Mastorakou, Stamatina (eds.), Imagining the Heavens across Eurasia, From Antiquity to Early Modernity. Sesto San Giovanni: Mimesis International, pp. 177–190, pls. 10.1–10.8.
• 2024c, Stūpa Shapes from Andhra to Śrīkṣetra. The Journal of Burma Studies 28, pp. 43–71. Online publication: https://doi.org/10.1353/jbs.2024.a923229