About the Forum and the Theme

The 2025 International Doctoral Student Forum for Art Studies will be held at Peking University from August 29 to August 31, 2025. With the theme “Intelligence and Arts”, the forum welcomes outstanding doctoral students and young scholars in the field of art studies from around the world to share their latest research and engage in critical discussions. In addition to the regular sub-forums in art theory, art history, film studies, cultural industry, musicology, drama studies, design studies, and the English-language session, this year’s forum introduces a new sub-forum on Computational Arts, hosted by the Computational Arts Lab of Peking University.

The explosive development of artificial intelligence (AI) has not only ushered in a new technological revolution but also deeply permeated and reshaped the field of art in unprecedented ways. It has transformed the paradigms of research in the humanities. In response to Peking University’s strategic initiative of the “Year of Scientific and Technological Innovation”, this year’s forum aims to go beyond the binary narrative of AI as either technological miracle or apocalyptic threat. It instead seeks to undertake a critical and in-depth examination of the complex relationship between intelligence and the arts.

Human creativity has always been technologically mediated and, to some extent, has always involved forms of “artificial intelligence”. The theme “Intelligence and Arts” reflects not only the intellectual dimension embodied in great works of art throughout history, but also the contemporary implications of AI for artistic production and theoretical inquiry. In this sense, so-called “AI art” is not merely a genre but a bold proposition. The forum does not simply ask whether machines can create—a question that can be misleading—but rather, focuses on AI’s active, agentive roles in artistic creation, dissemination, reception, and theory production. This demands a reevaluation of the entangled relationship between art and technology from the perspectives of post-art history and media theory, exploring how machine intelligence can extend the limits of human capability.

The forum encourages critical engagement with prevailing AI discourses, particularly those founded on narrow conceptions of intelligence. The idealism often associated with AI is frequently entangled with anthropocentric thinking and blind adherence to capital interests. It is thus essential to expose and analyze the underlying logic and cultural blind spots of AI. Machine intelligence is not only a technological issue but also an expression of power structures. We must remain alert to the danger of AI-driven simulated art becoming mere camouflage or a tool of “neural authoritarianism.”

The rise of AI cannot be separated from its broader socio-material conditions and ethical dimensions. These include its entanglement with the crisis of the Anthropocene—AI can be seen both as a potential technological remedy to environmental collapse and as a displacement of planetary thinking. Moreover, the development of AI is closely linked to global labor outsourcing and delegated performance practices (such as mTurk and so-called “hybrid human-machine intelligence”), highlighting unjust labor practices and the erasure of the human.

As part of the Peking University School of Arts’ series of initiatives in response to the “Year of Scientific and Technological Innovation,” this forum brings together the voices of young scholars who are reflecting on and exploring the intersection between AI and the arts. With contributions spanning art theory, art history, film, music, design, drama, and more, the forum provides a platform for rigorous assessments of current technological developments. It aims to probe key questions on the entangled relations between humans and machines: How should we reimagine subjectivity, perception, landscape, and nonhuman agency in the age of AI? How can artistic practice reveal the biases, opacities, and power structures embedded in AI systems? What are the dangers of data-driven and generative AI art becoming banal or meaningless? Can we envision “another” form of intelligent art—one that reshapes the perceptual and ethical frameworks of expression? And how might AI-driven innovation intersect with the social, cultural, historical, and economic dimensions of art research to co-construct new aesthetic experiences?

We welcome submissions that are insightful, conceptually rigorous, and theoretically ambitious. Together, let us cut through the smoke and mirrors surrounding AI, and sketch a new map of intelligence and the arts from a posthumanist perspective.

Introduction of the Sub-forums

Art Theory: The Universe of Technical Arts

The application and integration of Large Model, Diffusion Model, on-chain traceability and immersive hardware in artistic practice is completely rewriting the technology of art.. As a result, technical arts have emerged as the latest manifestation of art, which is also a return to the most ancient state of being of art.

Nowadays, the materials, production modes, and circulation structures of technical arts have undergone significant changes. Traditional discussions on originality, authorship, mediality, and publicness are facing unprecedented tensions as technical arts integrate algorithms, installations, and networks into one generative chain.This propels artistic activities into a new universe that is real-time, interfaced, and programmable. The universe of technical art encompasses not only the most cutting-edge generative AI, blockchain protocols, computer arts, and green computing power, but also the discussions on “technology-technique” by Plato, the critique of technology by Theodor Adorno, the insights on “The Age of Mechanical Reproduction” of Walter Benjamin, and the reflections on media perception from scholars like Marshall McLuhan, Vilém Flusser, and Lev Manovich.The Art Theory Sub-Forum aims to dissect the logic and power structures underlying intelligent art, examine new symptoms in contemporary art theory and practice within classical theoretical frameworks, and explore creative pathways and artistic ethics in the contexts of open-source data, new media, algorithmic illusions, and biases. We look forward to interdisciplinary dialogue in the fields of art theory, philosophy, media studies, computer science and so on, to jointly create the panoramic image of the era of technical arts.

This year, under the theme of “The Universe of Technical Arts”, the Art Theory Sub-Forum is open to outstanding doctoral students and young scholars at home and abroad. Papers are encouraged to focus on, but not limited to, the following topics:
·Technical Arts and Contemporary Aesthetic Categories
·Media Archaeology and/or the Rewriting of Art History
·Technology-Technique and the Reshaping of Authorship·Synthetic Subjects and Shared Sensibility
·Algorithmic Aesthetics and Formal Analysis
·Algorithmic Illusions, Data Bias, and Artistic Ethics
·Art, Ethics, and Data Politics

Musicology: Performance as Research

What is the role of performance in musical research? What, indeed, is a researcher? When defining “research” in Western art music, we traditionally locate its objects among works and scores, and we usually understand its practitioners to be scholars engaged with music theory, history, culture, and aesthetics, instead of people performing with instruments. A reductive yet salient way of putting it is that we generally assume that research involves the production of texts about texts. This dominance of literacy and literate modes of transmission on musical scholarship relies on a particular ontology of the musical work, according to which notated scores produced by composers constitute the essence of the artwork, with the performer’s role being one of executing or realizing the work. Performances have therefore often been relegated to a subsidiary or even irrelevant status in scholarship, treated as ephemera of interest principally to music criticism and journalism. This text-centrism is supported by underlying historiographical assumptions about the evolution of Western art music and the formation of the “work concept.” These assumptions have led scholars to diminish the role of oral transmission and improvisation along with the repertoires that depend upon them, including event-oriented practices associated with experimental music emerging in the 1950s and 1960s.This picture of research in Western art music has been increasingly challenged since the 1990s by scholars such as Nicholas Cook, Carolyn Abbate, Lydia Goehr, Richard Taruskin, and more recently, Paulo de Assis. Although these scholars have been motivated by their own distinctive agendas, they have all issued warnings about an over-reliance on written texts (scores) and the pitfalls of neglecting musical performances. Ethnomusicologists such as Charles Seeger and Christopher Small have in part inspired this move away from the hegemony of notation, scores, and works to consider performances and diverse forms of transmission as objects of study. Likewise, the “one-way system of communication, running from composer to individual listener through the medium of the performer” (Small, Musicking: The Meanings of Performing and Listening, 6) has been disrupted by considering multiple lines of communication, influence, and agency.

More recently, Paulo de Assis has argued for considering performance not only as an object of inquiry but as an experimental medium or site for research. He has drawn upon Michel Foucault’s conception of historical and philosophical writing as a form of experimentation: ‘I am an experimenter in the sense that I write in order to change myself and in order not to think the same thing as before.’ For de Assis, performance no longer necessarily represents or interprets an idea but rather problematizes an idea, challenging the traditional, Platonic conception of a completed, self-standing artwork. In short, performance as a site for research involves the “generation of new and unprecedented sonic events” (de Assis,Logic of Experimentation: Rethinking Music Performance through Artistic Research, 13).

Our forum welcomes research on any subjects and periods in Western art music, Chinese music, or world music that examines ways in which performance—as an object and/or method of inquiry—may challenge, destabilize, enrich, or transform our perspective of musical practice.Topics may include oral musical cultures, performance practice, event-oriented practices, experimental music, sound art, and electronic music. We particularly invite papers that engage with the broader theme of the forum (“Intelligence and the Arts”) by considering the role of AI in our current understanding of performance and musical agency. Abstract submissions and papers may be in Chinese or English.

Theater Studies: Yixiang and Space

The advancement and application of technology have influenced the historical development of theater as a comprehensive art. From the invention of the proscenium stage and the application of painted scenery, to the replacement of candles by electric lighting and the employment of high-tech scene-changing mechanisms, each innovation reflects the integration of theater and technology. The Bauhaus’ ideal of “the synthesis of art and technology” found concrete expression in stage design, where modern achievements in mechanics, optics, acoustics, and related fields were widely explored and applied. Since the 20th century, directors and stage designers have embraced cutting-edge technologies, reconceptualized spatial paradigms and pursued experimental creativity. As an “invisible actor” in the production process, technology coordinates, integrates, and enables conditions essential for live performance. In today’s diverse theatrical landscape, advanced stage machinery and computer-controlled systems have significantly reduced the demands on human labor, while artificial intelligence now presents unprecedented possibilities that challenge our expectations of what theater can be.

Yet critical reflection has always accompanied technological progress. Concerns about the overuse of stage technology or the unchecked expansion of technological rationality remain ever-relevant. Whether in theoretical explorations of the ontology of theater or the practice of “poor theater,” these efforts reaffirm technology’s subordinate role in serving artistic expressions of truth and beauty. The driving force behind theatrical innovation since the 20th century lies not in the technology itself, but in the deep inquiry into how art, aesthetics, and science may be unified.Over the past four decades, Chinese theater has actively absorbed and experimented with modern and postmodern artistic ideas and staging methods. While contemporary Chinese theater is largely on par with its global counterparts in terms of technological understanding and application, challenges remain in terms of conceptual innovation and cultural influence. The imperative of our era demands that Chinese theater, through comparative analysis with Eastern and Western theatrical traditions and through the conscious assimilation of all beneficial achievements in human dramatic culture, further establish the subjective consciousness of its aesthetic spirit and discourse system. Such cultivation is imperative for enhancing Chinese theater’s global impact.

The theme of this theater studies sub-forum, “Yixiang and Space,” intends to highlight our theoretical concerns and scholarly aspirations. On a humanistic level, how can we protect and affirm the enduring value of theater in human history? In an age of rapidly evolving technology and artificial intelligence, how can we guide audiences away from superficial entertainment and sensory spectacle, and toward authentic theater, true art, and the boundless worlds of yixiang and meaning? True theatrical prosperity resides not in the degree of technological integration, but in theater’s inner artistic spirit—summarized as its impact and function upon humanity at the levels of value and humanistic significance. We hope this sub-forum, centered on “Yixiang and Space,” will contemplate the crucial question of how Chinese theater can establish its distinctive aesthetic character and cultural coordinates amidst accelerating global cultural integration via the internet and the convergence of AI and art. This endeavor aims to cultivate a disciplinary mission and discursive consciousness grounded in artistic ontology and cultural subjectivity.We welcome paper submissions from PhD students and early-career scholars in China and abroad, encouraging topics related to (but not limited to) the following:

·Yixiang (imagery) and Space in Theater
·Technological Innovation and New Forms of Theater
·Aesthetic Discourse and Modern Interpretation in Chinese Theater·Innovation and Historical Responsibility of Chinese Theater
·Media Ecologies and Theater Criticism
·Intercultural Critiques of Theater Technology
·AI Applications and the Ethics of Theatrical Creation


Art History: Paradigms and Transformations

Through the lens of "Intelligence and Art," the field of art historical study is undergoing paradigm reconstruction and methodological transformation. This forum, themed "Paradigms and Transformations," investigates the profound impacts of intelligent technologies on art history's narrative frameworks, research instruments, and knowledge production. It addresses two core questions: first, the feasibility of using digital humanities tools to overcome the methodological limitations of traditional art historical approaches, such as stylistic analysis and iconography; second, the potential for reconstructing the cognitive paradigms of art history research from an interdisciplinary perspective. Through this discourse, we aim to advance art historical writing toward a dynamic and interactive knowledge system while establishing methodological pathways and future research directions for the discipline.

 Film Studies: Cinema and Film Studies in the Age of Intelligence

With the rapid development of artificial intelligence and digital technologies, cinema is becoming a site of experimentation and convergence for technological evolution. The logic of film making, mechanisms of dissemination, structures of reception, and methods of research are all undergoing profound transformations. The Film Studies Sub-Forum of the Doctoral Forum of the School of Arts at Peking University, themed Cinema and Film Studies in the Age of Artificial Intelligence, seeks to respond to this historical turning point by re-examining the ontology, media attributes, and social functions of cinema at the intersection of technology and aesthetics.

The sub-forum encourages discussions beginning with the evolution of creative practices, exploring the integration and intervention of AI technologies in areas such as script generation, visual effects, editing algorithms, sound synthesis, and virtual actors. It invites reflections on the redefinition of the concept of authorship in the context of generative technologies. At the same time, the sub-forum focuses on the far-reaching impact of AIGC (Artificial Intelligence-Generated Content) tools on the film production chain and how emerging image-generation platforms are reshaping the aesthetic paradigms and industrial logic of cinema.

In terms of film research methodologies, AI technologies are rapidly permeating various dimensions of film analysis, including image recognition, visual style, scene segmentation, character identification, and cross-modal matching. The multimodal recognition and high-dimensional processing capabilities offered by AI open up new avenues for both microstructural analysis of film texts and macro-level historical reconstructions. These developments make it possible to conduct systematic comparisons of visual styles, narrative rhythms, and audiovisual strategies. Meanwhile, the integration of digital humanities and AI technologies provides groundbreaking tools for film historiography, prompting a reevaluation of the boundaries and methods of film studies. However, while expanding the scope of research, AI also brings significant methodological and ethical challenges. This sub-forum pays particular attention to how, under a critical understanding of algorithmic structures, data biases, and model assumptions, artificial intelligence can serve as an extended tool for film research—thus expanding the academic boundaries of film studies in the age of artificial intelligence and addressing the theoretical transformations and anxieties engendered by the human-machine symbiosis.We sincerely invite young scholars interested in the following topics to submit papers and participate in discussions (including but not limited to) :

·Transformations in film production driven by AI technologies
·The challenges and reconstruction of film studies in the era of AI·Research paradigms, theories, and practices of cinema in the age of artificial intelligence
·Narrative and viewing mechanisms in the algorithmic era
·Practices and reflections on digital humanities in film historiography·Film databases and database cinema
·Media archaeology and the rewriting of film history
·Algorithmic aesthetics and film studies
·Digital humanities and the knowledge system of cinema
·Algorithm-driven reconstruction of film history and methodological innovation……


Cultural Industry Studies: Aesthetic Intelligence and Collaborative Creativity

With the rapid advancement of artificial intelligence, large models, diffusion algorithms, and immersive hardware, the cultural industries are undergoing a profound paradigm shift. Every link in the cultural value chain—including artistic creation, content production, user experience, media distribution, copyright management, and even cultural capital itself—is being reshaped by the waves of intelligent technologies and collaborative creativity. In this transformative landscape, “Intelligent Aesthetics and Collaborative Creativity” has emerged not only as a key phrase for innovation but also as a frontier for interdisciplinary exploration.Intelligent aesthetics challenges the traditional boundaries between aesthetic subject and object, integrating algorithms, data, machine perception, and deep learning models into the aesthetic process. This integration fundamentally changes how taste, perception, and meaning are constructed. From generative AI and multimodal algorithms to real-time rendering and algorithmic color grading, AI has introduced unprecedented diversity into cultural products, fostering new aesthetic experiences and consumption patterns. Meanwhile, collaborative creativity highlights the distributed nature of cultural production: human-machine co-creation, collective intelligence, cross-disciplinary collaboration, and open-source communities are transforming the organizational structures and ecological relationships of cultural production, with increasing tensions between technical arts, platform economies, data governance, and creative communities.

This sub-forum aims to explore in depth how artificial intelligence, large models, and related technologies are embedded in various stages of cultural production, focusing on the latest developments in content generation, aesthetic evaluation, collaborative creation, copyright management, and data ethics. We invite early-career researchers, doctoral students, and industry experts from art, media, cultural industries, artificial intelligence, philosophy, sociology, and related fields to engage with topics such as:

·The impact of AI on cultural product generation, distribution, and experience
·Intelligent aesthetics: algorithm-driven taste, perception, and meaning construction
·Models, methods, and ethical challenges of human-machine co-creation
·The Study of Human Creators’ Subjectivity in Collaborative Creativity
·Immersive technologies and cross-media dissemination of cultural content
·Copyright, algorithmic bias, and data governance in collaborative creativity
·Mechanisms of intelligent storytelling and their impact on audiences
·The transformation of cultural industry value chains and business models
·Art education and professional identity in the age of intelligent aesthetics
·Algorithmic hallucinations and bias issues in creative practices: revisiting art ethics
·Cultural consumption, participation, and community ecologies under intelligent paradigms……

Through interdisciplinary dialogue and case studies, this sub-forum aims to chart a comprehensive map of the cultural industries reshaped by intelligent technologies, exploring both opportunities and challenges for intelligent aesthetics and collaborative creativity in a globalized world.

Design Studies: Between Heavenly Craft and Human Artifice—Artisanal Spirit and AI Technologies in Design

Terms such as“天工开物”and “巧夺天工” embody the spirit of traditional Chinese craftsmanship and aesthetic philosophy. Meanwhile, “artificial science” and “artificial intelligence” represent the cutting-edge technologies that are reshaping design methods and design science. These two seemingly divergent forces, one rooted in tradition and the other in technological innovation, are in fact complementary, and together they constitute the intrinsic tension within the interdisciplinary frontier of contemporary design studies.In the age of intelligence, the intersection and integration of “天工”and “人工” have emerged as focal points in the design industry and as a new form of scholarly awareness among design researchers. At this juncture, how can the enduring values of the “craftsman’s spirit” be redefined in light of contemporary challenges? How can it coexist and co-evolve with intelligent technologies? These questions are not only central to the inheritance and transformation of a Chinese autonomous knowledge system in design studies but also point toward a more philosophical reflection on the essence of “design” itself.

As a methodology, “interdisciplinarity” is a fundamental attribute inherent in the knowledge production of design studies. Since the Renaissance and the Industrial Revolution, design has gradually emerged from the realm of “fine arts”, deeply intertwining with artistic traditions. Entering modern society, design has continued to integrate breakthroughs from the natural sciences and the humanities and social sciences, shaping the epistemology and methodology of contemporary interdisciplinary design studies.

In this global context, Chinese design studies have also undergone a structural transformation—from traditional “arts and crafts” to “modern design,” and from a literary orientation to inclusion under both “art studies” and “interdisciplinary disciplines.” Today, the fields with which design intersects—as well as the contents, methodologies, and paradigms of such intersections—are undergoing profound changes, heralding the arrival of a new era of design that is more open, diverse, and transdisciplinary.

This forum invites submissions from doctoral students and early-career scholars in China and abroad. We encourage discussions on (but not limited to) the following topics:
·The Autonomous Knowledge System of Chinese Design Studies
·Evaluation Standards in Contemporary Design Studies
·Theories, Connotations, Paradigms, and Methodologies of Interdisciplinary Design Studies
·Design and its Criticism in the Age of Digital Intelligence
·Contemporary Chinese Design Industry and Marketing Management
·Contemporary Adaptation of Traditional Chinese Making Philosophy and Handicrafts
·Case Studies of Chinese Design in the Context of Global Design History

Computational Arts: Affective Computing and Intelligent Illusions

Emotion recognition, intelligent feedback, and data-driven intimate interaction are emerging as new entry points for artificial intelligence to intervene in artistic creation and aesthetic experience. Affective computing, reliant on algorithmic identification and modeling, renders “perception” a predictable, optimizable, and controllable object. Within this process, both the hallucinations produced by generative AI and the failed interactions or misreading in human-computer interaction give rise to new aesthetic questions. As intelligent systems increasingly “simulate” human emotions with greater precision, the subjectivity, affective structures, and experiential logic embedded in artistic media—whether images, texts, or sounds—are undergoing profound transformation. AI is no longer merely a creative tool; it is becoming an “intelligent Other” actively constructing emotional contexts.

This panel proposes “alignment” and “misalignment” as central issues: Can emotional states between humans and machines truly be aligned? Are the emotional representations produced by technical systems merely a form of illusion? Are we moving toward a standardized, model-driven, and alienated emotional experience? Or should we instead re-evaluate the value of “misalignment,” capturing perceptual variation and the reconstruction of subjectivity within the fissures of technological mediation?

We invite researchers and practitioners from fields such as perceptual science, interaction design, and artificial intelligence to engage in a critical discussion: When affect becomes a technologically constructed product, how should we rethink the cultural effects and ethical dilemmas brought by the pervasiveness of AI? And under these new conditions, how might we rewrite the relationship between affect and art?

This panel welcomes submissions from PhD students and early-career scholars both in China and abroad. We encourage explorations on, but not limited to, the following topics:
·Human-machine empathy in affective computing
·Bias and control mechanisms in emotion recognition technologies
·understanding AI aesthetics from the perspective of affective dissonance
·Transformations in emotional experience within interaction design
·Technology and subjectivity: from empathic machines to indifferent Others
·The commodification of emotion and the politics of data governance

English-Language Forum: AI and Artistic Responsibility

The rapid rise and development of AI technology poses several challenges to the theory and practice of the arts. A central question concerns the disruptive potential of AI when it comes to our conception of artistic responsibility. It is increasingly possible for an artist to leave important details of their creative process to AI decision-making. How should the interaction between human artists and AI tools be understood? Is AI threatening to undermine our traditional conception of artistic merit and responsibility?Some more specific questions include, but are not limited to:
·How does AI relate to more traditional modes of artistic outsourcing and collaboration?
·What kind or degree of involvement is needed to consider an artist’s employment of AI as analogous to the use of other creative tools?
·Can it be possible for creations that are uniquely the product of AI to count as artworks?
·Should critical and historiographical discourse adapt its categories and frameworks to the emergence of AI technology, and how?
……

Time and Location
Forum duration: 8/29/2025-8/31/2025
Location: School of Arts, Peking University
Schedule: 

Time	Event
8/29/2025 9:00-12:00	Opening Ceremony
8/29/2025 13:00-8/31/2025 12:00	Sub-forums
8/31/2025 13:00-17:00	Closing Ceremony

Application

1.Resume and Abstract Submission (June 1–June 30, 2025)

(a) Applicants are required to carefully read the thematic introductions and activity arrangements of each sub-forum provided in this announcement.

(b) Please fill in your personal information, academic resume, and paper abstract in the attached “Registration Form for the Peking University International Doctoral Student Forum of Art Studies”, and send it as an email attachment to pkuphdforum@163.com. The forum gives priority to doctoral students under the age of 35. Please use the subject line format: “Sub-forum + Name”, and ensure that the contact details in the registration form are accurate. Notifications will be sent via email. Each applicant may apply to only one sub-forum.

(c) If submitting to the English Sub-Forum, the requirements are as follows: Abstracts must not exceed 500 English words. A minimum of two and a maximum of five keywords are required, separated by semicolons. Full papers must not exceed 6,000 words. The recommended font is Times New Roman, font size 12. Footnotes only are allowed; endnotes are not permitted. References must conform to the Chicago Manual of Style (either Notes and Bibliography or Author-Date format).

For details, please refer to:https://www.chicagomanualofstyle.org/tools_citationguide.htmlFor submissions to all other sub-forums, full papers may be written in either Chinese or English, with a length of 8,000 to 12,000 words. The first page of the paper should include the paper title (in both Chinese and English), an author biography (no more than 300 words), and an abstract in both Chinese and English. Abstracts should not exceed 500 words and must be provided in both Chinese and English. A maximum of five keywords should be included, separated by semicolons.

(d)Each sub-forum will select papers, and acceptance will be notified by email on July 8.

(e) If you have any questions regarding the submission format or other related matters, please contact the secretary of the respective sub-forum. Contact information for each secretary can be found in previous announcements.

Description of the Forum

1. Certificate of ParticipationAfter participating in the 2025Peking University International Doctoral Student Forum of Art Studies, participant will receive an attending certification from Peking University. The forum will select outstanding papers, which will be collected in the forum proceedings and further recommended to other academic publications.

2. Attendance Treatment

(a)The accommodation and round-trip transportation costs sustained by the participants during the forum will be borne by the participants themselves. The organizing committee can assist guests to book rooms in hotels on or around campus. Please indicate in the registration form whether you need our assistance to book a room.
(b)During the conference, in order to avoid a large concentration of people, the organizing committee will issue a certain amount of cafeteria dining cards for off-campus guests. Please go to the designated restaurant by yourself.
(c)The organizing committee will choose no more than 6 excellent papers in all sub-forums, according to the quality of the paper presentations, and give the authors a subsidy of 500 dollars or 3000RMB for attending the conference.

Attachments: (Click READ MORE for download)Registration Form for Peking University International Doctoral Student Forum of Art Studies Full Paper Template

Source: School of Arts Peking University WeChat