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I have always known I wanted to earn a PhD in the Preservation Studies Program (PSP) at the University of Delaware (UD). Ten years ago, Art Conservation and Historic Preservation were still somewhat “unknown" disciplines in China. A coincidence brought me to a short course on cross-section microscopy in the CRAFT workshop, which was co-sponsored by the World Monuments Fund, New York, and the Palace Museum, Beijing. The course was taught by Dr. Susan Buck, a distinguished PSP doctoral graduate and now a member of my dissertation committee. My first peek at the brilliant azurite, vermilion, and gold layers through the microscopic oculars was an incredible and life-changing moment for me. As a master's student in architecture at that time, I found myself already having more interest in academic research than architectural design. Susan's lectures introduced us to a brand new field integrating art, science, and history, which was exactly what I had been looking for. The interdisciplinary methodology, a highlight of PSP, has also shaped my comprehension of cultural heritage ever since.
Determined to pursue the career path of conservation/preservation, I gradually re-oriented to historic preservation and Chinese lacquer studies. In 2013, I finished my master's degree on red and gold lacquer painted marriage beds, a type of Chinese vernacular furniture, at the University of Tsinghua, China. Then, I continued my education in the European Erasmus Mundus master programs in Archaeological Materials Science. In order to strengthen my chemistry knowledge, my second master's thesis focused on material characterization and art technical analysis of two lacquered architectural decorations from the Qianlong Garden, the Forbidden City. In the process I developed a deep love for, and bond to, Chinese lacquer art and encountered my PhD subject matter, guqin (古琴), a plucked musical instrument with thick lacquer-based surface coatings.