资料来源（第8/26页）

当然，所有头像和一些服饰褶纹残块都是原物：引自史克曼写给华尔纳的信。Sickman to Warner,June 14,1934,Langdon Warner Files,Box 13,HUG 4872.1010,HUA.

我深感遗憾：引自伯查德写给史克曼的信。Otto Burchard to Sickman,August3,1934,MS 001,Series I,Box 1 a,NAMA.

完美无比的中式住宅里：引自普艾伦写给萨克斯的信。Alan Priest to Paul Sachs,February 14,1926,Paul J.Sachs Papers（HC 3）,File 540,HAMA.

我第一次发现，东西方在同一屋檐下共享真正的快乐：引自普艾伦给萨克斯的报告。as reported to Priest to Sachs,February 26,1927,Paul J.Sachs Papers（HC 3）,in Paul Sachs Archive,HUAMA,China Expedition Alan Priest Files（1925-1927）.

满城沸沸扬扬：引自普艾伦写给萨克斯的信。Priest to Sachs,October 1,1927,Paul J.Sachs Papers（HC 3）,File 540,HAMA.

完全中国化：引自卡尔写给约翰的信。Carl Bishop to John Lodge,November 8,1927,Carl Bishop 1917 File,FSGA,quoted in Cohen,East Asian Art and American Culture,117.

机智诙谐、温文尔雅、一副学者派头：引自詹姆斯·卡荷尔的博客。James Cahill,“Fellowship at the Met,”James Cahill Blog,http://www.jamescahill.info/the-writings-of-james-cahill/responses-a-reminiscences/14624 fellowship-at-the-met-1953-54（accessed November 11,2013）.

然而，我很清楚：引自普艾伦写给萨克斯的信。Priest to Sachs,October 1,1927,Paul J.Sachs Papers（HC 3）,File 540,HAMA.

如瓷器和青铜器那样的美物：引自普艾伦写给罗宾逊的信。Priest to Edward Robinson,July 8,1927,Paul J.Sachs Papers（HC 3）,File 540,HAMA.

构建与纽约这座城市和大都会艺术博物馆规模相匹配的收藏：引自2013年第2期《美成在久》杂志。Alan Priest,“Recommendation for Purchase”（1929）,quoted in Daisy Wang,“Papa’s Pagoda in Paris:The Gift of the C.T.Loo Family Photographs to the Freer and Sackler Galleries,”Orientations,Vol.44:2（February 2013）,140.

龙门石窟的伟大浮雕：引自普艾伦写给温洛克的信。Priest to Herbert Winlock,February 15,1934,35.146,Curatorial Files Far Eastern Art,MMA.

正与老福开森神父、年轻可爱的史克曼、兰登·华尔纳和堪萨斯城串通实施某种阴谋：引自《东亚艺术与美国文化》。Cohen,East Asian Art and American Culture,118.

显得相当尴尬：引自史克曼写给华尔纳的信。Sickman to Warner,May 28,1934,Langdon Warner Files,Box 13,HUG 4872.1010,HUA.

如果山里面出事：引自《龙门石窟供养人：中世纪中国佛教雕塑中的信仰、政治与庇护》。Amy McNair,Donors of Longmen:Faith,Politics and Patronage in Medieval Chinese Buddhist Sculpture（Honolulu:University of Hawaii Press,2007）,43.

那份合同一清二楚地表明：同上。

龙门石窟是如此遭受蹂躏的：引自普艾伦《大都会艺术博物馆所藏中国雕塑》。Alan Priest,Chinese Sculpture in the Metropolitan Museum of Art（New York:MMA,1944）,26.

有关龙门石窟头像：see letter from C.T.Currelly to Edward Forbes,December 23,1936,Edward Waldo Forbes Papers（HC 2）,File 1791,HAMA.

现在，我已是古稀之年：引自卢芹斋公司的停业声明。“C.T.Loo,Inc.Announcement of Liquidation,”Copy in Langdon Warner Files,Loo Folder,HUG 4872.1010,HUA.

从原属国出口考古文物：引自中央古物保护委员会声明。National Commission for the Preservation of Antiquities（1931）,copy in Carl Tilden Keller collection concerning Sir Aurel Stein,MS Am 2532,HLHU.

我认为那是一种暴行：引自福布斯写给加德纳的信。Edward Forbes to Paul Gardner,April 25,1934,Edward Waldo Forbes Papers（HC 2）,File 1215,HAMA.

如果我们因购买那些浮雕碎块遭受批评：引自鲍威《透过通信看华尔纳》。Bowie,Langdon Warner through His Letters,147.

我深感羞愧：引自卢芹斋《中国石造像展览》前言。C.T.Loo,An Exhibition of Chinese Stone Sculptures,preface.

据说，博物馆的主要功能之一，是保存过去的纪念物：引自《龙门石窟的碎块》，1941年5月《大都会艺术博物馆馆刊》。Alan Priest,“A Stone Fragment from Lung Men,”Metropolitan Museum of Art Bulletin 36,no.5（May 1941）,115~116.

宾阳洞那两块男女供养人的浮雕：同上，27页。

那些浮雕很像我们人类：引自《龙门石窟供养人》。McNair,Donors of Longmen,43.

整个项目得到了爱德华·福布斯的资助：引自史克曼写给费正清的信。Laurence Sickman to Wilma Fairbank,July 21,1981,courtesy of Holly Fairbank.

第六章 宾州大学套住唐皇骏马

那是一个具有划时代意义的中国艺术国际展览会：见《皇家学院国际博览会目录，伦敦1935~1936》等。See Catalogue of the International Exhibition of Chinese Art,Royal Academy of Arts,London 1935-36（London:Royal Academy of Arts,1935），8;Jason Steuber，“The Exhibition of Chinese Art at Burlington House，London，1935-36，”Burlington Magazine，August2006，528 et seq.;and France Wood，“Paul Pelliot，Aurel Stein and Chinese Opposition to the Royal Academy’s International Exhibition of Chinese Art1935-36，”http://www.britishmuseum.org/pdf/15_Wood-（Pelliot）.pdf.