https://jerryqiao.com/macleish-1 daily 0.75 2021-06-11 https://jerryqiao.com/11inter daily 0.75 2025-12-14 https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/1635347521303-ZGHB6G7DWJUUBTS1M7AK/j1a.jpg Stills The Spins, 2021. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/1635347521303-ZGHB6G7DWJUUBTS1M7AK/j1a.jpg Stills The Spins. Exhibited at Artexpo New York, at Pier 36, New York, 2021. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/1570433808851-58IZ3R2QLWH90GGWMC9E/DSC_1465+copy.jpg Stills HITACHI https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/1631029114807-PX1BNR77OOD5Y3SPH5K3/jq2+2.jpg Stills Scramble. Exhibited at On Media. Signals and Connections, International Group Exhibition curated by LoosenArt Magazine at Millepiani Rome, Italy, 2021. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/1570433789774-AGNX01VSJNYM907V6M07/DSC_1464+copy.jpg Stills https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/1612413588674-BAHOZ94BY4LT3CVA3X8J/untitled6.jpg Stills https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/1651469053207-3S0UPE40BRK9TPX1DBB5/000028840025.jpg Stills dunes https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/1570434315804-8KP4P3YXKCMOC4OB0ZFT/DSC_1469.jpg Stills https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/1612414501029-BKM2N6LTT956OGGO1XOA/Qiao_Jerry_SmokeBreak_11.jpg Stills Smoke Break. Exhibited at Forsaken, juried by Leslie-Claire Spillman at the Southeast Center for Photography, South Carolina, 2020. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/1612414795926-5B3TYKNQGMJP7J18CNKD/ContemplationHongruiQiao.jpg Stills Exhibited at Freedom for Free, International Group Exhibition curated by LoosenArt Magazine at Millepiani Rome, Italy, 2021. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/1632702645699-KBU1MDXVAE502XA4YAZA/Time+Warp+%232.jpg Stills Exhibited at London Contemporary Art Fair, at Badiani Art Space, England, 2022. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/1651639204747-MLOFQ46MYQM410309CCC/mdayp.jpg Stills briny https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/1635346993076-1MYKKVVEE2QN6TZ8OFKS/j4d.jpg Stills Foxes #2 https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/1651639352006-L6SCRI0IOFTMJ83GLY2X/000028840016.jpg Stills https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/1632702839699-3SYWWR4Z2DA7YSKS5A6T/jq7.jpg Stills https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/1612414401173-9JKENQJLH3ISL02ZL7IW/growingpains.jpg Stills Exhibited at Freedom for Free, International Group Exhibition curated by LoosenArt Magazine at Millepiani Rome, Italy, 2021. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/1612419918255-EF3B1VY1EBMLROQPZX3G/DSC_1069+copy+copy.jpg Stills https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/1651469105188-6B48OP0M8HQ3OFH88PC9/000028850035.jpg Stills https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/1695497619266-8Q21GQ938F1REY0ZMLPF/55357_JQI_002_12.jpg Stills No flash, please https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/1651469036943-924MR71MKNEOELN8WOYG/000028840005.jpg Stills https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/1612421624504-A0IHK6H3HD4F1RWN2X76/DSC_2930.jpg Stills https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/1612421624504-A0IHK6H3HD4F1RWN2X76/DSC_2930.jpg Stills To feel is to, 2021. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/1651468982373-XU6PZUMXLCTDWE1NAB6N/000028840015.jpg Stills https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/1645324739912-2WN1QDYVMI03M03QQ3B2/A1.jpg Stills https://jerryqiao.com/about daily 1.0 2026-03-22 https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/690bbd09-c749-445d-bf7f-4d59edf543ba/IMG_0691.jpg About - About Jerry https://jerryqiao.com/contact daily 0.75 2026-01-13 https://jerryqiao.com/ancientglobaleconomies daily 0.75 2026-05-08 https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/12444cc5-f78f-4e89-8b7e-3809cb1831c6/Roman_Roman_-_Roman_merchant_marine_and_lighthouse_ancient_Ostia_%28Ostia%29_Piazza_delle_Corporaz_-_%28MeisterDrucke-1004926%29.jpg Ancient Global Economies: Final - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/903266cc-0c5b-49a8-8a99-8e7ae4331f64/10053CAD_jpg_1.jpg Ancient Global Economies: Final - Make it stand out Muziris Papyrus (Papyrus Vindobonensis G 40822), mid-2nd century CE, ink on papyrus, approx. 38 x 25 cm (fragment), Austrian National Library (Österreichische Nationalbibliothek), Vienna. Link. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/402b1c4a-85aa-49d6-9b13-e6b2414fc121/721468-small.jpg Ancient Global Economies: Final Aureus of Emperor Claudius (Slash-Marked), 41-45 CE, gold, 19 mm diameter, Museums Victoria, Melbourne. Link. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/56e9bf5e-b8b8-49ba-ad92-5f6f62bd2517/0795+ostia+-+regio+ii+-+insula+vii+-+piazzale+delle+corporazioni+%28ii%2Cvii%2C4%29+-+station+21+-+navicvl+et+negotiantes+-+karalitani+-+e.jpg Ancient Global Economies: Final - Make it stand out Mosaic of the Shipping Guilds (Station 21, Naviculari et Negotiantes Karalitani), 190-200 CE, black and white floor mosaic, Piazzale delle Corporazioni, Ostia Antica. Link. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/1762a8ff-3162-4fcc-945f-326fbc3fea74/DP121464.jpg Ancient Global Economies: Final - Make it stand out Terracotta Figurine of a Camel Carrying Transport Amphorae, late 2nd-early 3rd century CE, terracotta, 11.8 cm high, The Metropolitan Museum of Art, New York. Link. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/0dc98b47-3727-4c14-8e4e-ab44d35d56be/main-image.jpeg Ancient Global Economies: Final - Make it stand out Bronze Steelyard Weight in the Form of a Bust of Isis, 2nd-3rd century CE, bronze, 7.6 cm high, The Metropolitan Museum of Art, New York. Link. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/5901fe88-353f-43ab-a7ca-419421adaf03/mid_GAA99781.jpg Ancient Global Economies: Final - Make it stand out Transport Amphora (Type AE3), 30 BC-230 CE, pottery, 70 cm high, The British Museum, London. Link. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/105759a1-64cf-4e77-8d6b-f685a2871a18/mid_00612220_001.jpg Ancient Global Economies: Final - Make it stand out Hoxne "Empress" Pepper Pot, 300-400 CE, silver and gold, 10.3 cm high, The British Museum, London. Link. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/cee52904-704c-49b8-9d22-e4047df24f65/Apicius_Handschrift_New_York_Academy_of_Medicine.jpg Ancient Global Economies: Final - Make it stand out Apicius: De re culinaria (Manuscript), 9th century CE (based on 4th-5th century CE text), ink on parchment, 23.1 x 18 cm, New York Academy of Medicine, New York. Link. https://jerryqiao.com/kolata daily 0.75 2026-05-31 https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/2d8e4cfc-3521-44dc-a0d7-9f94692659ff/0f5eda74a7682d882598544265d88902-300x189.png Buddhism and the Senses: Project One - Make it stand out Image 1. Misu over Inner Altar Threshold. Source: Obutsudan Installation Blog. Link (image quality enhanced). Hanging before the gilded altar, the yellow misu (a decorative bamboo blind used in Japanese temple interiors) does not simply restrict vision. The misu’s slats, ties, and partial transparency approach sacred presence through layered concealment, training the eye to experience reverence introspectively as disciplined distance, rather than immediate access. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/4d340235-fb9f-46ab-91db-167b24a0b220/main-image+%281%29.jpeg Buddhism and the Senses: Project One Image 2. Closed Zushi. Source: The Metropolitan Museum of Art. Link. The black lacquered zushi (a shrine) reveals nothing of the figure inside, turning devotion into an encounter structured by waiting, permission, and delayed revelation. Its smooth cylindrical exterior makes access feel controlled and eventful, showing that sacred efficacy is produced not only by what is seen but also by what must remain hidden and shut. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/0977fdbb-706b-4913-b608-fe093f6e52a7/1_Folding_-_Pepijn_Sauer_-_2008.jpg Buddhism and the Senses: Project One - Make it stand out Image 3. Monk Folding Robes after Meditation. Source: Pentax Forums Gallery. Link. Due to the image’s lighting, the monk’s bent silhouette is reduced to a geometric form against the shoji grid. Thus, here, discipline is examined from the two-dimensional form of a silhouette, emphasizing existing visual qualities. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/5e5eb15a-9d23-417b-9c58-d43745393438/010.jpg Buddhism and the Senses: Project One - Make it stand out Image 4. Digital Offering Interface (QR Code) at Zōjōji Temple. Source: Mynavi News. Link. Mounted by the temple doorway, the bright donation sticker interrupts the dark wooden surface before the eye reaches the dim altar beyond. The QR code does not replace the sacred atmosphere so much as reorganize it, transforming it into a cashless transaction where devotion, access, and offering are newly merged. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/368b20f1-9045-480c-8201-f98171cc8622/enhncd.png Buddhism and the Senses: Project One - Make it stand out Image 5. Guanyin Installation in Commercial Space. Source: China Daily. Link (image quality enhanced). The luminous Guanyin, staged within exhibition architecture inside a shopping mall, makes Buddhist presence visible in a space built for display and consumption. Sacred power is not sealed off from public life here but recast through lighting and layout, showing how devotional presence can move through commercial worlds without fully dissolving into them. https://jerryqiao.com/gened1049midterm daily 0.75 2026-05-16 https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/2b3a54f7-a050-4f63-ba72-6bb7e69937cc/clip+1+-+1400.png East Asian Cinema: Midterm - Make it stand out Fig. 1. Chungking Express (Wong Kar-Wai, 1994), 14:00. Close-up of the pineapple can lid; the expiry date and pull-tab ring share the same frame. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/addb3b7b-b173-41be-945d-2bdda1cd5852/clip+2+-+2341.png East Asian Cinema: Midterm - Make it stand out Fig. 2. Chungking Express (Wong Kar-Wai, 1994), 23:41. Cop 223 eating from a pineapple can alone in his kitchen on his birthday. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/16a890c9-a4a6-4002-943a-eb4f8d255769/clip+3+-+4552.png East Asian Cinema: Midterm - Make it stand out Fig. 3. Chungking Express (Wong Kar-Wai, 1994), 45:52. The food stand boss and Cop 663 conversing at the Midnight Express counter. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/4f565951-6329-4276-adfe-417190f14c7e/clip+4+-+010854.png East Asian Cinema: Midterm - Make it stand out Fig. 4. Chungking Express (Wong Kar-Wai, 1994), 1:08:54. Faye's hands washing dishes in the red dish rack in Cop 663's kitchen. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/0a703657-ca42-4cdc-8f0b-b3e4ba67b435/clip+5+-+0729.png East Asian Cinema: Midterm - Make it stand out Fig. 5. In the Mood for Love (Wong Kar-Wai, 2000), 7:29. Mrs. Chan faces the landlord in the corridor doorway, dressed in a qipao. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/cc564161-9151-4137-8293-aecff126be0e/clip+6+-+2548.png East Asian Cinema: Midterm - Make it stand out Fig. 6. In the Mood for Love (Wong Kar-Wai, 2000), 25:48. Mrs. Chan in her narrow doorway, head bowed, seen through Mr. Chow’s door frame. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/e90e4425-b07a-404b-9a65-19c0b508740f/clip+7+-+0858.png East Asian Cinema: Midterm - Make it stand out Fig. 7. In the Mood for Love (Wong Kar-Wai, 2000), 8:58. Neighbors admire Mrs. Chan's rice cooker; the scene is filmed through a doorway threshold. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/7fb065f7-074a-4580-91ba-dedf9f537e72/clip+8+-3922.png East Asian Cinema: Midterm - Make it stand out Fig. 8. In the Mood for Love (Wong Kar-Wai, 2000), 39:22. Mrs. Chan, half out of frame from the doorway, and her landlord in the kitchen. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/bb8ba1ed-9d81-4f26-ad89-e94fbd2b7240/clip+9+-3325.png East Asian Cinema: Midterm - Make it stand out Fig. 9. In the Mood for Love (Wong Kar-Wai, 2000), 33:25. Mrs. Chan and Mr. Chow eating together at the steakhouse in symmetrical fashion. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/c37c8885-54e3-4298-b02f-a89ecaefbf08/clip+10+-+5427.png East Asian Cinema: Midterm - Make it stand out Fig. 10. In the Mood for Love (Wong Kar-Wai, 2000), 54:27. Mrs. Chan exiting Mr. Chow’s room at the end of the red hotel corridor. https://jerryqiao.com/kolata-2 daily 0.75 2026-05-19 https://jerryqiao.com/east-asian-cinema-final daily 0.75 2026-05-31 https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/b4dac5cd-161e-4826-92b7-3080fe1abdcb/2909.png East Asian Cinema: Final - Make it stand out Fig. 1. The Housemaid (Kim Ki-young, 1960), 29:09. Mr. Kim watches from the shadowed base of the staircase as his children ascend toward the bright upper floor; the staircase divides the frame between a dark lower register and a luminous upper one. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/dde03189-0c57-4932-8448-81a5cd616c04/11434.png East Asian Cinema: Final - Make it stand out Fig. 2. The Housemaid (Kim Ki-young, 1960), 1:14:34. Extreme close-up of the poisoned glass being carried up the staircase; the balusters bend and warp inside the curved glass surface as the staircase becomes visible as a distortion inside the poison-carrying glass. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/0891c509-35f8-4af7-814d-2174d04df420/14445.png East Asian Cinema: Final - Make it stand out Fig. 3. The Housemaid (Kim Ki-young, 1960), 1:44:45. Mr. Kim is crawling at the foot of the staircase, calling for his wife, while Myung-sook lies dead on the stairs behind him; the newel posts frame both bodies at vertical extremes. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/3d9f645a-8a38-4466-960b-55f7e5acac19/448.png East Asian Cinema: Final - Make it stand out Fig. 4. A City of Sadness (Hou Hsiao-hsien, 1989), 4:48. The camera is stationed outside the Little Shanghai interior in darkness; the doorframe cuts symmetrically into both edges of the frame, composing the Lin family as a lit rectangle that the camera refuses to enter. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/cca28d43-e6a0-4347-9870-ec405a9a1311/12753.png East Asian Cinema: Final - Make it stand out Fig. 5. A City of Sadness (Hou Hsiao-hsien, 1989), 1:27:53. The camera films the hospital in darkness, looking through a first doorframe into a second arched threshold beyond; the action recedes through nested frames that keep the camera excluded at every depth. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/b9604803-c454-4a3d-a093-78be98003896/13557.png East Asian Cinema: Final - Make it stand out Fig. 6. To Live (Zhang Yimou, 1994), 1:35:57. Fengxia’s wedding is staged before a wall-sized Mao portrait and revolutionary banner; the domestic occasion of marriage is absorbed into political spectacle, as the family is visible within the iconography that surrounds them. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/1643666f-cf74-433d-86d0-fda3c599d912/20958.png East Asian Cinema: Final - Make it stand out Fig. 7. To Live (Zhang Yimou, 1994), 2:09:58. Fugui and Mantou are bent over the shadow-puppet chest holding chicks as Jiazhen sits on the bed beside them; revolutionary posters still line the walls of the film’s smallest domestic space. https://jerryqiao.com/tutorialpaper daily 0.75 2026-05-19 https://jerryqiao.com/kolata-3 daily 0.75 2026-05-19 https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/d642fc56-601b-43f9-864e-6c28a08aa91a/figure+1.jpg Buddhism and the Senses: Project Three - Make it stand out Figure 1. The Interactive Touchscreen at the Threshold. Source: Ideum Interactive Touch Screen. Link. The 3D-media touchscreen offers visitors photogrammetric facsimiles of the seven figures inside, with conservation findings embedded as hot spots and including endoscopic photography of the figure interiors. The visitor encounters the renovation’s digital translation of the figures before encountering the figures themselves. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/420b58ee-b70b-468d-a013-3ae16d66cfc7/figure+2.jpg Buddhism and the Senses: Project Three - Make it stand out Figure 2. Japanese Buddhist Temple Room, Gallery 279, MFA Boston. Source: The Art Newspaper. Link. The open-work lanterns cast a flicker across dark wooden columns adapted from an 8th-century Hōryūji monastic complex; seven Heian and Kamakura period sculptures sit on a low, gently lit platform. The room is an architectural translation of a worship hall, installed with sincerity and designed according to museum traffic and curatorial vision. https://images.squarespace-cdn.com/content/v1/5d1450b49f4d950001f72e2c/7d484261-633a-4202-8635-07612f1a0672/figure+3.jpg Buddhism and the Senses: Project Three - Make it stand out Figure 3. Endoscope Image of the Votive Plaque Inside Bishamonten. Source: MFA Boston. Link. Endoscopic photograph taken during the MFA Boston Conservation in Action project in December 2019. The surgeon's camera reaches an inscription added in 1909-1910 to document Niiro Chūnosuke's restoration of the figure, accessible only through a slight gap between the head and the shoulder; this process makes a sealed religious inscription visible, turning what was once hidden inside the figure into information any visitor can study.