In the introduction to Performing the Visual: The Practice of Buddhist Wall Painting in China and Central Asia, 618–960, Sarah Fraser describes her project as an inquiry into the medieval artist’s practice through close analysis of several of the sixty-five ink sketches from the ninth and tenth centuries that were preserved in the sealed Cave 17 of the Mogao Grottoes at Dunhuang and are now mostly in the British Museum in London and the Bibliothèque...