Anna Andreeva is a research fellow at the Heidelberg Centre for Transcultural Studies at the University of Heidelberg where she is currently working on her second monograph on the cultural history of childbirth in Japan, as well as another project on “Buddhism, Medicine, and Gender in the 10th–16th century Japan.” She has worked as a postdoctoral and research fellow at Harvard, Cambridge, the International Research Center for Japanese Studies (Kyoto), the Max Planck Institute for the History of Science (Berlin), and the International Consortium for Research in the Humanities at the University of Erlangen-Nürnberg. In 2016–2017, she served as interim chair of Japanese History at the Faculty of East Asian Studies, Ruhr-Universität-Bochum.
Monica Bethe is Director of the Medieval Japanese Studies Institute in Kyoto, Japan. She is a world-renown authority on Japanese textiles and has contributed essays to numerous books and exhibition catalogues, including The Preservation of Religious Textiles, Textieldag gehouden in de Koninklijke Bibliotheek in Den Haag (Stichting Textielcommissie Nederlands/Jaarboek, 2005), Amamonzeki, A Hidden Heritage: Treasures of the Japanese Imperial Convents (Sankei Shinbunsha, 2009), and Transmitting Robes, Linking Minds: The World of Buddhist Kasaya (Kyoto National Museum, 2010).
Patricia Fister is Professor at the International Research Center for Japanese Studies in Kyoto. She began focusing her research on Japanese women artists after completing her doctorate at the University of Kansas in Japanese art history. In 1988, with support from the National Endowment of the Arts, she curated the world’s first exhibition devoted to Japanese women artists from 1600–1900 (Spencer Museum of Art), and in 1994 she brought this subject to the attention of Japanese readers with her book Kinsei no josei gakatachi: Bijutsu to jendā (Japanese Women Artists of the Kinsei Era: Art and Gender). Since moving to Japan, she has been involved in organizing two exhibitions featuring Buddhist art by women: Art by Buddhist Nuns: Treasures from the Imperial Convents of Japan (Nomura Art Museum, Kyoto, 2003) and Amamonzeki, A Hidden Heritage: Treasures of the Japanese Imperial Convents (University of Art Museum, Tokyo University of the Arts, 2009). Her current research continues to revolve around the art, history, and culture connected with Japan’s remaining Buddhist imperial convents.
Sherry Fowler is Professor in the Department of Art History at the University of Kansas. Her scholarly interests range from ninth-century Buddhist sculpture to nineteenth-century Japanese prints. Her publications include the books Murōji: Rearranging Art and History at a Japanese Buddhist Temple (University of Hawai‘i Press, 2005) and Accounts and Images of Six Kannon in Japan (Honolulu: University of Hawai‘i Press, 2016). She is currently researching the relationship between Japanese prints and pilgrimage practices as well as the changing perceptions of Buddhist temple bells.
Karen M. Gerhart is Professor of Japanese Art History in the Department of the History of Art and Architecture in the Dietrich School of Arts and Sciences at the University of Pittsburgh. Her current research explores Japanese medieval women, art, and ritual, and her publications include The Eyes of Power: Art and Early Tokugawa Authority (University of Hawai‘i Press, 1999) and The Material Culture of Death in Medieval Japan (University of Hawai‘i Press, 2009).
Hank Glassman is the Janet and Henry Ritchotte ’85 Professor of Asian Studies and Associate Professor of East Asian Languages and Cultures at Haverford College in Pennsylvania. His scholarly work focuses on religious culture in medieval Japan. Glassman has published on the iconology and cult of the bodhisattva Jizō, as well as on gender and family history. His current project examines the history of the stone grave monuments known as gorintō.
Naoko Gunji is an independent scholar. Her primary research interests lie in the cultural, social, political, and religious functions of Japanese premodern art. Her current research centers on visual representations of the Tale of the Heike, Emperor Antoku’s mortuary temple Amidaji, and premodern rites of passage. Her recent publications include “The Ritual Narration of Mortuary Art: The Illustrated Story of Emperor Antoku and Its Etoki at Amidaji,” Japanese Journal of Religious Studies (Fall 2013), “Horrified Victors: Spirit Pacification of Taira Losers,” in Mikael Adolphson and Anne Commons, eds., The Ise Taira in Action and Memory (University of Hawai‘i Press, 2015), and “Heike Paintings in the Early Edo Period: Edification and Ideology for Elite Men and Women,” Archives of Asian Art (April 2017).
Elizabeth Morrissey is currently ABD in the Department of the History of Art and Architecture in the Dietrich School of Arts and Sciences at the University of Pittsburgh and expects to receive her PhD in May 2018. Her dissertation, “Memorializing Imperial Power Through Ritual in the Illustrated Legends of Ishiyamadera Handscroll,” explores the depiction of esoteric Buddhist rituals in illustrated handscrolls.
Chari Pradel is Professor in the Department of Art at California State Polytechnic University, Pomona. Her research focuses on Japanese religious art, especially Buddhist art, and she has published numerous articles about art works associated with Prince Shōtoku (574–622). Her book, Fabricating the Tenjukoku Shūchō Mandara and Prince Shōtoku’s Afterlives (Brill, 2016), reconstructs the history of the assemblage of embroidered textiles fragments, known as Tenjukoku Shūchō Mandara, and its changing significance and perception over the centuries.
Elizabeth Self is currently Visiting Assistant Professor at the University of Pittsburgh, specializing in the study of women and artistic patronage in early modern Japan. She received her PhD in art history from the University of Pittsburgh in 2017, with a dissertation on the patronage associated with the three Asai sisters of seventeenth-century Japan. Her article, “Fit for a Shogun’s Wife: The Two Seventeenth-Century Mausolea for Sūgen-in,” was recently published in Japan Review (November 2017).