• 2022 Monograph A Transcultural History of Art: Image and Its Double(《跨文化的藝術史：圖像及其重影》，2020, Peking University Press), selected for the Chinese Academic Foreign Translation Project (English Edition)（入選2022年中華學術外譯項目英文版）
• 2021 Monograph A Transcultural History of Art: Image and Its Double (《跨文化的藝術史：圖像及其重影》，2020, Peking University Press), nominated for the 5^th China Publishing Government Award (2021)（第五屆中國出版政府獎提名獎）, and The 8th China Excellent Publication Award (2022)（第八屆中華優秀出版物獎提名獎）
• 2020 Monograph A Visible History of Art: From Church to Museum (《可視的藝術史：從教堂到博物館》，2016, Peking University Press), won the First Prize of the 8th Outstanding Achievement Award in Scientific Research (Humanities and Social Sciences) of Colleges and Universities (2020)（第八屆高等學校科學研究優秀成果獎（人文社會科學）一等獎）
• 2019 He edited the collection in Annals of Transcultural History of Art , Vol.1: Two Ways to Tell a Story（《跨文化美術史年鑒1：一個故事的兩種講法》）, Shandong Fine Arts Publishing House, October 2019 and won the 29th “Golden Bull Cup” Art Book Gold Award (2021)（第二十九屆「金牛杯」美術圖書獎金獎）
• 2015 His paper “Classicism, Structural Rationalism and Poetic Logic: A Re-Study of Lin Huiyin and Liang Sicheng’s Early Architectural Design and Thought” (《古典主義、結構理性主義與詩性的邏輯：林徽因、梁思成早期建築設計與思想的再檢討》，Journal of Architectural History Review, 5th Series, 2012), won the Third Prize of the 7th Outstanding Achievement Award in Scientific Research (Humanities and Social Sciences) of Colleges and Universities (2015)（第七屆高等學校科學研究優秀成果獎（人文社會科學）三等獎）
• 2007 Selected into the New Century Excellent Talent Support Program of the Ministry of Education（教育部新世紀人才支持計劃）

A. Monograph（專著）:

• A Transcultural History of Art : Image and Its Double, Peking University publishing house（《跨文化的藝術史：圖像及其重影》）, 2020
• Eight Days Talk: Can We Touch the Pulse of Art? (《八日談——我們能摸准藝術的脈搏嗎？》，co-authored with Yin Jinan and Xichuan), China Art Publishing House, 2020
• A Visible History of Art: From Church to Museum（《可視的藝術史：從教堂到博物館》）, Peking University Press, 2016
• Crossing Theory and History: Li Jun’s Selected Papers（《穿越理論與歷史：李軍自選集》）, Shanghai People’s Publishing House, 2012
• Hesitation Before Birth: A New Interpretation of Franz Kafka（《出生前的躊躇：卡夫卡新解》）, Peking University Press, 2011
• Greek Art and the Greek Spirit（《希臘藝術與希臘精神》）, Hebei Art Press, 2003
• Allegories of Family: Identity and Gender in Contemporary Chinese Literature and Art（《家的寓言：當代文藝的身份與性別》）, Writers Press, 1996

B. Translation（翻譯）:

• Image on the Edge: The Margins of Medieval Art （《邊緣圖像——中世紀藝術中的邊際》）by Michael Camille, translated from English into Chinese by Pan Sangrou, translated, reviewed and introduced by Li Jun, Peking University Press,2022
• Le Croire et le voir: L’art des cathédrales (XIIᵉ-XVᵉ siècle)  （《信仰與觀看：哥特式大教堂藝術》）by Roland Recht, translated from French into Chinese by Ma Yuexi, reviewed and introduced by Li Jun, Peking University Press, 2017
• Les Visions de Raphael（《拉斐爾的異象靈見》） by Daniel Arasse, translated from French into Chinese by Li Jun, Peking University Press,2014
• Religion as Art : An Interpretation（《宗教藝術論》） by T.R. Martland, translated from English into Chinese by Li Jun, China Today Press,1992
• Beyond Death : The Gates of Consciousness（《死亡探秘——人死後的另一種境況》） by Stanislav Grof, translated from English into Chinese by Li Jun, Renmin University of China Press, 1991

A. Renaissance art studies（文藝復興藝術研究）

• “The Another Side of the Frontal-Portrait: A Re-study of Leonardo da Vinci’s John the Baptist”（ 正面像的另一面——達•芬奇《施洗約翰》再研究）, published in Art History Studies, edited by Sun Yat-sen University Art History Research Center, Vols. 28, 2022
• “Leonardo da Vinci, World Map and China”（ 達•芬奇、世界地圖與中國）, China Literary Review (CSSCI), No. 8, 2022
• “Double Presence: Da Vinci’s Knot Decorations and the Mural of the Sala delle Asse of Milan’s Castello Sforza”（ 雙重在場：達•芬奇的繩結裝飾與米蘭斯福爾扎城堡木板廳壁畫再研究）, Art Panorama Magazine, No. 9, 2022
• “From the ‘Oriental’ Image to the ‘Son’ of the Orient: Da Vinci and the ‘Oriental’ Problem Re-study (Part I)”（ 從「東方」意象到東方之「子」——達•芬奇與「東方」問題再研究（上））, Journal of Fine Arts Research (CSSCI), No. 5, 2022
• “From the ‘Oriental’ Image to the ‘Son’ of the Orient: Da Vinci and the ‘Oriental’ Problem Re-study(Part II)（從「東方」意象到東方之「子」——達•芬奇與「東方」問題再研究（下））, Journal of Fine Arts Research (CSSCI), No. 5, 2022
• “The New Aesthetics of Frontal-Portrait: A Re-study of Leonardo da Vinci’s Painting Salvator Mundi”（ 正面像的新美學：達•芬奇繪畫作品《救世主》再研究）, in Art and Design Research (CSSCI), No. 2, 2022
• “Discovering the ‘Mountain’ – A Re-study of Leonardo da Vinci’s Early Painting Annunciation”（ 發現「山」——達•芬奇早期繪畫作品《天使報喜》再研究）,  in Art and Design Research (CSSCI), No. 5, 2021
• “Discovering ‘Horses’: A Re-study of Leonardo da Vinci’s Early Painting Adoration of the Magi（發現「馬」——達•芬奇早期繪畫作品《三王來拜》再研究）, in Art and Design Research (CSSCI), No. 6, 2021
• “Nature and Miracle: Re-study of two versions of The Virgin of the Rocks by Leonardo da Vinci at the Louvre and the National Gallery”（ 自然與奇跡：達•芬奇盧浮宮版與倫敦國家畫廊版《岩間聖母》再研究）, London , in Fine Arts Research (CSSCI), No. 6, 2021
• “Transcultural Renaissance on the Silk Road: Revisiting Ambrogio Lorenzetti’s Allegory of Good Government and Lou Shu’s Pictures of Tilling and Weaving”, in Annals of Transcultural History of Art , Vol.2: “How was the ‘Europa’ made?” Shandong Fine Arts Publishing House, January 2021“ ‘Angels Rising from the East’: Two Ways to Tell a Story”（ “從東方升起的天使”：一個故事的兩種講法）, Architectural Journal( CSSCI), No. 4, 2018
• “The ‘Uffizi Gallery’ and the Art Museum in Florence: An Art Historical and Philosophical Examination on the Origin of the Museum (Part I)”（ 佛羅倫薩“烏菲奇畫廊”與美術博物館生成考：關於博物館起源問題的藝術史與哲學考辨之一（上））, Journal of Fine Art Research (CSSCI), No. 2, 2008
• “The ‘Uffizi Gallery’ and the Art Museum in Florence: An Art Historical and Philosophical Examination on the Origin of the Museum (Part II)”（ 佛羅倫薩「烏菲奇畫廊」與美術博物館生成考：關於博物館起源問題的藝術史與哲學考辨之一（下））, Journal of Fine Art Research (CSSCI), No. 3, 2008
• “Origin and End: A Study of the Modern Art History System from Vasari to Danto”（ 起源與終結：從瓦薩里到但托的現代藝術史體制研究）, Art History Studies, Vol. 10, 2008
• “History and Space: The Origin of Vasari’s Art History Model and a Spatial Layout of Churches from the Late Middle Ages to the Renaissance”（ 歷史與空間：瓦薩里藝術史模式之起源與中世紀晚期至文藝復興教堂的一種空間佈局）, in Studies in Art History Studies, Vol. 9, 2007

B. Transcultural history of art Studies between East and West（東西方跨文化藝術史研究）

• “Leonardo da Vinci, World Map and China”, China Literary Review (CSSCI), No.8, 2022
• “Double Presence: Da Vinci‘s Knot Decorations and the Mural of the Sala delle Asse of Milan’s Castello Sforza”, Art Panorama Magazine, No. 9, 2022
• “From the ‘Oriental’ Image to the ‘Son’ of the Orient: Da Vinci and the ‘Oriental’ Problem Re-study (Part I)”, Journal of Fine Arts Research (CSSCI), No. 5, 2022
• “From the ‘Oriental’ Images to the ‘Son’ of the Orient: Da Vinci and the ‘Oriental’ Problem Re-study (Part II)”, Journal of Fine Arts Research (CSSCI), No. 5, 2022 (13,000 words)
• “‘Texture’ and ‘Text’: A Case Study of Trans-medial Art History”（「紋」與「文」——一個跨媒介藝術史研究的案例）, Arts Management Magazine, No. 1, 2022
• “On the other side of l’Impression, soleil levant: Normandy, ‘Water’, ‘Oriental’ and the New Interpretation of the Origin of Impressionism（在《日出• 印象》的另一面——諾曼底、「水」、「東方」與印象派起源新論）, in Art Panorama Magazine , No. 10, 2021
• “How was the ‘Europa’ made? Revisiting Jiao Bingzhen and Leng Mei School’s Meirentu (Portraits of Beauties) and François Boucher’s Goddess Images”（ “歐羅巴”的誕生——焦秉貞、冷枚傳派美人圖與法蘭索瓦·布歇的女神形象）, Annals of Transcultural History of Art ,Volume 2, How was the “Europa” made ? , Shandong Fine Arts Publishing House, 2020
• “Boucher‘s dress-up game: How was ‘Europa’ born? ——Chinese Beauties and François Boucher’s Goddess Image Rethinking”（ 布歇的換裝遊戲：“歐羅巴”是怎樣誕生的？ ——中國美人圖與法蘭索瓦·布歇的女神形象再思）, in Art and Design Research (CSSCI), No.3, 2020
• “Jiao Bingzhen, Leng Mei School’s Beauties and the Female Images of François Boucher”（ 焦秉貞、冷枚傳派美人圖與法蘭索瓦•布歇的女性形象）, Journal of the National Museum of China, No. 9, 2020
• “The ‘True Form’ of Korean Mappa Mundi in a Transcultural Context, concerning on the Methodological Issues of Ancient Map Research”（ 跨文化語境下朝鮮《天下圖》之「真形」——兼論古代地圖研究的方法論問題）, Art Panorama Magazine, No. 12, 2020
• “Why can a story always be told in two ways?” （為什麼故事總是可以有兩種講法？）Published in Journal of Fine Arts Research (CSSCI), Issue 4, 2019
  “Diagrams as Knowledge: A Transcultural Journey in Ten World Maps (Part I)”（ 圖形作為知識：十幅世界地圖的跨文化旅行（上））, Journal of Fine Arts Research (CSSCI), No. 2, 2018
• “Diagrams as Knowledge: A Transcultural Journey in Ten World Maps (Part II)”（ 圖形作為知識：十幅世界地圖的跨文化旅行（下））, Journal of Fine Arts Research (CSSCI), No. 3, 2018
• “Transcultural Art History from the Double of Image”（ 從圖像的重影看跨文化藝術史）, Art and Design Research Magazine (CSSCI), No. 2, 2018
• “Transcultural Renaissance on the Silk Roads: Ambrogio Lorenzetti’s Allegory of Good Government and Lou Shu’s The Picture of Tilling and Weaving”（ 絲綢之路上的跨文化文藝復興：安布羅喬•洛倫采蒂《好政府的寓言》與樓璹《耕織圖》再研究） , Hong Kong Baptist University, Jao Tsung-I College Bulletin No. 4, 2017

C. Cultural Heritage and Exhibition Curation Studies（文化遺產與展覽策劃研究）

• “Macao and the World in Chiaroscuro”，in Catalogue of Art Macao，2019
• “Transforming Academia into Art: An Exclusive Interpretation of Hunan Museum’s Exhibition Finding A Homeland at the End of the World : The Transcultural Exchanges and Interactions between China and Italy from the 13^th to the 16th Century”（ 學術轉化為藝術——獨家解讀湘博展「在最遙遠的地方尋找故鄉：13-16世紀中國與義大利的跨文化交流」）, in Annals of Transcultural History of Art , Vol.1: Two Ways to Tell a Story, Shandong Fine Arts Publishing House, October 2019
• “The Three Keys to Interpreter the Exhibition Embracing the Orient and the Occident: When the Silk Road Meets the Renaissance ”（ 解讀國博展「無問西東：從絲綢之路到文藝復興」的三把鑰匙）, in Annals of Transcultural History of Art , Vol.1: Two Ways to Tell a Story, Shandong Fine Arts Publishing House, October 2019
• “ ‘A Visible History of Art’: On the Theory, Practice and Image Representation of Art Works in the Grand Galerie of the Louvre at the Turn of the 18th~19th Centuries”（ “可視的藝術史”：關於18~19世紀之交盧浮宮大畫廊作品陳列的理論、實踐與圖像表現）, Journal of Art and Design Research (CSSCI), No. 4, 2014
• “Classicism, Structural Rationalism and Poetic Logic: A Re-Review of Lin Huiyin and Liang Sicheng’s Early Architectural Design and Thought”（ 古典主義、結構理性主義與詩性的邏輯：林徽因、梁思成早期建築設計與思想的再檢討）, Journal of Architectural History Review, No.5, 2012
• “Origin of Fletcher’s ‘Tree of Architecture’ Image”（ 弗萊切爾「建築之樹」圖像淵源考）, in Art History Research, No. 11, 2009
• “Exhibition Hall and Salon of Academies : Exhibition System of  Museum Re-Examination”（ 美術學院陳列館與沙龍：博物館展覽制度考）, Journal of Fine Arts Research (CSSCI), No. 1 and 2, 2009
• “From the Mouseion to the Cabinet of Curiosities: An Examination of the Origins of Museum Collections”（ 從繆司神廟到奇珍室：博物館收藏起源考）, Literature and Artistic Studies (CSSCI), No. 4, 2009
• “Cultural Heritage and Politics”（ 文化遺產與政治）, in Art Museum, No. 1, 2009
• “Origin and End: A Study of the Modern Art History System from Vasari to Danto”（ 起源與終結：從瓦薩里到但托的現代藝術史體制研究）, Art History Research Vol. 10, 2008
• “Centralization of Territory: the Louvre and the Creation of Universal Museum”（ 地域的中心化：盧浮宮與普世性博物館的生成）, Literature and Artistic Studies (CSSCI),  No. 7, 2008
• “The ‘Uffizi Gallery’ and the Art Museum in Florence: An Art Historical and Philosophical Examination on the Origin of the Museum (Part I)”, Journal of Fine Art Research (CSSCI), No. 2, 2008
• “The ‘Uffizi Gallery’ and the Art Museum in Florence: An Art Historical and Philosophical Examination on the Origin of the Museum (Part II)”, Journal of Fine Art Research (CSSCI), No. 3, 2008
• “Wrong Conceptions Lead to Wrong Practices: Rethinking the Concept of the Intangible Cultural Heritage”（ 錯誤的觀念將導致錯誤的實踐：有關文化遺產概念的再思考）, National Heritage Magazine, No. 1, 2008
• “Basic Principles of Lending and Exchange Works of Art Between Museums”（ 博物館之間藝術作品外借與交換管理的基本原則）, in Art Museum, No. 2, 2008
• “Exploring the Economic Value of Cultural Heritage”（ 文化遺產經濟價值探源）, Literature and Artistic Studies (CSSCI), No. 1, 2007
• “Is China really a Powerful World Heritage Country?”（ 中國真的是世界遺產大國嗎？），Journal of South-Central University for Nationalities (Humanities and Social Sciences Edition), No. 5, 2007
• “Cultural Heritage Protection and Restoration: A Comparative Study of Theoretical Models”（ 文化遺產保護與修復：理論模式的比較研究）, Literature and Artistic Studies (CSSCI), No. 2, 2006
• “A misreading of the Convention for the Safeguarding of the Intangible Cultural Heritage”（ 對《保護非物質文化遺產公約》的一個誤讀）, Chinese Cultural Heritage Magazine, No. 1, 2006
• “ What is Cultural Heritage? ——An Archaeology of Knowledge of a Contemporary Concept”（ 什麼是文化遺產？ ——對一個當代觀念的知識考古）, Literature and Artistic Studies (CSSCI), No. 4, 2005

D. Visual Culture and Art History Methodology Studies（視覺文化與藝術史方法論研究）

• “Pictures themselves are history: four cases in which the relationship between pictures and texts does not correspond”（ 圖像本身就是歷史：圖-文關係不對應的四個案例）, in Art Panorama Magazine , No. 3, 2020
• “ ‘Angels Rising from the East’: Two Ways to Tell a Story”（ 「從東方升起的天使」：一個故事的兩種講法）, Architectural Journal (CSSCI), No. 4, 2018
• “Understanding the Five Moments of the Medieval Cathedrals”（ 理解中世紀大教堂的五個瞬間）, in Journal of Fine Arts Research (CSSCI), No. 2, 2017
• “Shen Congwen’s Picture-Turn: A Culture Study with a Transmedial Perspective”（ 沈從文的圖像轉向：一項跨媒介的視覺文化研究）, Chinese Literature Magazine (CSSCI Source Extended Edition), No. 3, 2014
• “Staggered Synchronic Times: Approaching to construct an aesthetic of contemporary art”（ 交錯的共時：為了建構一種當代藝術的美學）, Art Orientation Magazine, No. 4, 2014
• “Arasse‘s Visions : A Preface for the Chinese Version of Les visions de Raphaël  by Daniel Arasse ”（ 阿拉斯的異象靈見：《拉斐爾的異象靈見》譯序）, Art Orientation Magazine, No. 2, 2014
• “The Interpretation of Shen Congwen’s Four Drawings: Regards on Wang Dewei’s ‘Seeing’ and ‘Not Seeing’”（ 沈從文四張畫的闡釋問題：兼論王德威的“見”與“不見”）, Literature and Artistic Studies (CSSCI), No. 1, 2013
• “Classicism, Structural Rationalism and Poetic Logic: A Re-examination of Lin Huiyin and Liang Sicheng’s Early Architectural Design and Thought”（ 古典主義、結構理性主義與詩性的邏輯：林徽因、梁思成早期建築設計與思想的再檢討）, Journal of Architectural History Review, No.5, 2012
• “Visualized Poem: A New Interpretation on the “Qiao Zhongchang” Handscroll of the second Red Cliff Prose-Poem by Su Shi , and Its Specific and Competitive Way of Design for the Poetry-Painting Relationship in the Painting”（ 視覺的詩篇：傳喬仲常《后赤壁賦圖》與詩畫關係新議）, Art History Research, No. 15, 2015
• “The Completion of the Modern Art History System: A Re-examination of Belting and Groys’s Propositions on the ‘End’ of Art History and of Museum”（ 現代藝術史體制之完成：對貝爾廷與格羅伊斯關於藝術史與博物館「終結論」命題的再考察）, Art and Design Research Magazine (CSSCI), No. 4, 2011
  “Three Considerations on Design and Space”（ 設計與空間三題）, in Art and Design Research Magazine (CSSCI), No. 1, 2011
• “The Distorted Danto: A Necessary Factual Statement for the ‘End of Art’”（ 被扭曲的但托：對「藝術終結論」的一項必要的事實陳述）, Art and Design Research Magazine (CSSCI), No. 3, 2010
• “Origin of Sir Fletcher’s ‘Tree of Architecture’ Image”（ 弗萊切爾「建築之樹」圖像淵源考）, in Art History Research, No. 11, 2009

• Annals of Transcultural History of Art（《跨文化美術史年鑒》）, 4 vols., Shandong Fine Arts Publishing House, selected into the “14th Five-Year Plan” National Key Book Publishing Special Plan)
• Annals of Transcultural History of Art, vol.IV: Towards the Art of Art History, 2023
• Annals of Transcultural History of Art, vol.III: Images of Ancient History, 2022
• Annals of Transcultural History of Art, vol.II: How was the “Europa” made ?,2020
• Annals of Transcultural History of Art, vol.I: A Story Told by Two Ways,2019
• Eye and Mind: New Horizons in Art History （眼睛與心靈「藝術史新視野」）, Peking University Press – Image on the Edge: The Margins of Medieval Art by Michael Camille, translated from English into Chinese by Pan Sangrou, translated, reviewed and introduced by Jun Li, Peking University Press,2022
• Le Croire et le voir: L’art des cathédrales (XIIᵉ-XVᵉ siècle)  by Roland Recht, translated from French into Chinese by Yuexi Ma, reviewed and introduced by Jun Li, Peking University Press, 2017
• La querelle de l’art contemporain by Marc Jimenez, translated from French into Chinese by Mingnan Wang, Peking University Press, 2015
• Les Visions de Raphael by Daniel Arasse, translated from French into Chinese and introduced by Jun Li, Peking University Press, 2014
• La crise de l’art contemporain by Henri Michaud, translated from French into Chinese by Mingnan Wang, introduced by Jun Li, Peking University Press, 2013
• Il Genio di Leonardo：Artista e Scienziato（《達芬奇全集》），18 vols, translated from Italian into Chinese by Jingjing Li and Yuanwen Pan, introduced by Jun Li, Hunan Fine Arts Press, they are expected to be published in 2013-2024

• Finding A Homeland at the End of the World：The Trans-Cultural Exchanges and Interactions Between Italy and China From the 13th Century to the 16th Century(《在最遙遠的地方尋找故鄉——13-16世紀中國與義大利的跨文化交流》，2018, Hunan Provincial Museum); Catalogue Finding A Homeland at the End of the World The Trans-Cultural Exchanges and Interactions Between Italy and China From the 13th Century to the 16th Century “, Commercial Press, 2018; Served as lead curator and lead writer.
• Embracing the Orient and the Occident: When the Silk Road Meets the Renaissance (《無問西東：從絲綢之路到文藝復興》，2018, National Museum of China); Catalogue Embracing the Orient and the Occident: When the Silk Road Meets the Renaissance, Beijing Times Chinese Publishing House, 2018; Served as lead curator and lead writer.
• Mirroring while Wandering: Chinese Reverse Glass Paintings in the 18th and 19^th Centuries (《閑步觀妝：18-19世紀的中國平板玻璃畫》，2021, CAFA Art Museum; Catalogue Mirroring while Wandering: Chinese Reverse Glass Paintings in the 18th and 19th Centuries, Shanghai Calligraphy and Painting Publishing House, 2021; Serve as an academic advisor.
• The World of Light and Shadow from Normandy, France: From Courbet, Corot to Impressionism (《來自法國諾曼底的光影世界：從庫爾貝、柯羅到印象派》，2021, China Millennium Monument World Art Museum); Catalogue From Courbet, Corot to Impressionism: The World of Light and Shadow from Normandy, France,
• Beijing Yanshan Publishing House, 2021; Serves as chief curator and academic advisor. A Dialogue Across Time and Space of Qi Baishi with Italy (《滿園青青百草同——齊白石的跨時空對話》，2022, Beijing Academy of Fine Arts Art Museum), served as an academic advisor.