Notes on Contributors
Jaqueline BERNDT is professor of Japanese Language and Culture at Stockholm University. A specialist in visual art and media aesthetics, she served as Professor of Comics Theory at the Graduate School of Manga, Kyoto Seika University, Japan (2009–2017). Her publications include the coedited Manga’s Cultural Crossroads (2013) and the monograph Manga: Medium, Art and Material (2015).
Eugenia BOGDANOVA-KUMMER is lecturer in Japanese Arts, Culture, and Heritage at the Sainsbury Institute for the Study of Japanese Arts and Cultures in Norwich in the United Kingdom. An art historian specializing in modern Japanese art, her research interests include postwar art in Japan, modern calligraphy history in East Asia, transcultural studies, abstract art, and the relationship between image and language in Japanese art. Her publications include Bokujinkai: Japanese Calligraphy and the Postwar Avant-Garde (2020).
Martha CHAIKLIN is the author of several book chapters and articles about ivory as well as numerous other books, book chapters, and articles about material culture and the history of Japan. Her publications include Cultural Commerce and Dutch Commercial Culture: The Influence of European Material Culture in Japan, 1700–1850 (2003) and Ivory and the Aesthetics of Modernity in Meiji Japan (2014).
Craig CLUNAS is Professor Emeritus of the History of Art, University of Oxford. He has worked as a curator in the V&A Museum, and taught art history at Sussex University and SOAS, University of London. His most recent book is Chinese Painting and Its Audiences (2017), based on the Mellon Lectures delivered at the National Gallery of Art, Washington DC, in 2012.
Doris CROISSANT is senior associate professor of East Asian Art History at the Institute of East Asian Art History, Heidelberg University, where she has taught since 1978. She has published on Chinese tomb art and portraiture, rinpa school painting, Meiji- and Taishō-period painting and art politics, photography, and on gender aspects in Japanese culture. She has also published on the Japanese painting collections of Erwin Bälz and Adolf and Frieda Fischer.
Silvia DAVOLI specializes in the history of collections and patronage with a particular focus on the eighteenth and nineteenth centuries. She is a research associate at Oxford University and Curator at Strawberry Hill House (the Horace Walpole Collection). Silvia is also associate editor of the Journal of the History of Collections (Oxford University Press). She is currently working on a book on the Italo-French collector Henri Cernuschi that will be published by Brill in 2022.
Christine M.E. GUTH led the Asian design history strand in the V&A/RCA History of Design Programme between 2007 and 2016. She has written widely about aspects of the history of collecting, transnational cultural exchange, and material culture, particularly in relation to Japan. Her publications include Art, Tea, and Industry: Masuda Takashi and the Mitsui Circle (1993); Art of Edo Japan: The Artist and the City 1615–1868 (1996); Hokusai’s Great Wave: Biography of a Global Icon (2015); and Craft Culture in Early Modern Japan: Materials, Makers, and Mastery (2021). She is one of the coeditors of this volume.
Michio HAYASHI is an independent scholar. His publications include Painting Dies Twice, or Never (絵画は二度死ぬ、あるいは死なない), vols. 1–7, Tokyo: Art Trace, 2003–2007); Shizukani Kuruu Manazashi (静かに狂う眼差し), Tokyo: Suiseisha, 2017; Natsuyuki Nakanishi, New York: Fergus McCaffrey Gallery, 2014; Tadaaki Kuwayama, Fellbach: Edition Axel Menges, 2014; “Tracing the Graphic in Postwar Japanese Art,” Tokyo 1955–1970: A New Avant-Garde, MoMA, New York: 94–119. He co-edited a volume of Japanese postwar art criticism, From Postwar to Postmodern: Art in Japan 1945–1989 (New York: MoMA, 2012), and co-curated “Cubism in Asia” exhibition (A collaborative project among three national museums in Japan, Korea and Singapore, 2005–2007).
HIDAKA Kaori is curator and professor at the National Museum of Japanese History, Chiba. She contributed to NIHU Transdisciplinary Projects: Japan-Related Documents and Artifacts Held Overseas (National Institutes for the Humanities, 2010–2015, 2016–2020). She also curated Revisiting Siebold’s Japan Museum (2016) and The Wonders of URUSHI: 12,000-Year History of People and Lacquer in Japan (2017) at the National Museum of Japanese History. Her publications include Ikoku no hyōshō: kinsei yushutsu shikki no sōzōryoku (Expressions of Foreign Lands: The Creativity of Early Modern Export Lacquer, 2008).
Monica JUNEJA is professor of Global Art History at the Heidelberg Centre for Transcultural Studies. Her areas of research span the fields of European and South Asian studies. They include practices of visual representation, the disciplinary trajectories of art history in South Asia, gender and political iconography in modern France, and the interface between Christianisation, religious identities, and cultural practices in early modern South Asia. Among her recent publications is Can Art History be Made Global? Meditations from the Periphery (2023).
KOMINE Kazuaki is professor emeritus at Rikkyo University in Tokyo and a senior visiting scholar at the School of Foreign Languages at Renmin University in China. His research centers on Japanese medieval literature and comparative anecdotes (setsuwa) in East Asia. His publications include Konjaku monogatarishū no keisei to kōzō (Formation and Structure of the Collection of Tales of Times Now Past, 1993), Chūsei setsuwa no sekai o yomu (Reading the World of Medieval Setsuwa Tales, 1998), and Chūsei hōe bungei ron (Literature in Medieval Buddhist Assemblies, 2009).
KURAYA Mika is director of the Yokohama Museum of Art. She has organized the exhibitions Waiting for Video: Works from the 1960s to Today (cocurated with Miwa Kenjin, MOMAT, 2009), Undressing Paintings: Japanese Nudes 1880–1945 (MOMAT, 2011, the 29th Ringa Art Award), and Abstract Speaking: Sharing Uncertainty and Other Collective Acts (artist: Tanaka Kōki, the Japan Pavilion at the 55th Venice Biennale, 2013, Special Mention Award).
LAI Yu-chih is an associate researcher in the Institute of Modern History, Academia Sinica, in Taiwan. Her two fields of research are Chinese visual culture in Shanghai in the nineteenth century, especially its interactions with Japan, and the globalized visual and material culture of the Manchu Chinese court since the eighteenth century. She has published extensively on late nineteenth-century print culture in Shanghai and is currently working on a book manuscript, with the provisional title Visual Governance: Cataloguing Birds, Beasts, and People at the Qianlong Court.
Radu LECA is an Assistant Professor of theory and history of art at the Academy of Visual Arts, Hong Kong Baptist University. He is a historian of visual, scribal and cartographic culture in Japan. Among forthcoming publications is “Fluttering Ambition: Heteroglossic Geographic Knowledge on a Sixteenth-Century Folding Fan.” In: Michael Zimmerman et al. (eds.), Dialogical Imaginations. Zürich: Diaphanes.
Tamaki MAEDA is an art historian, specializing in painting and calligraphy in Japan and China, and historiography of art history in East Asia. She has published numerous essays in English, Japanese, and Chinese, including: “Four Perfections: Tomioka Tessai and a Sino-Japanese Network, 1895–1945” (Smithsonian Institute Scholarly Press, 2023); “National Painting Unbound: Modernizing Ink Painting in the Sino-Japanese Art World” (Routledge 2019); “From Feudal Hero to National Icon: The Kusunoki Masashige Image, 1660–1945” (Artibus Asiae, 2012); and “(Re-)Canonizing Literati Painting; The Kyoto Circle” (University of California Press, 2012). She is currently completing a book manuscript with a working title Japan’s Visual Dialogue with China: Tomioka Tessai (1836–1924) and the Kyoto Circle, and is coediting an anthology, Modern Japanese Art and China.
MAEZAKI Shinya is associate professor at Kyoto Women’s University. He specializes in the history of Japanese ceramics and bamboo art of the nineteenth and twentieth centuries. His publications include the articles. “Late 19th Century Japanese Export Porcelain for the Chinese Market,” Transactions of Oriental Ceramic Society (vol. 73, 2008–2009) and “Meiji-ki ni okeru Shinkoku muke Nihon tōjiki” (1) and (2) (“Japanese Ceramics of the Qing Dynasty in the Meiji Period,” Design riron 60/62, 2012/2013).
D. Max MOERMAN is professor in the Department of Asian and Middle Eastern Cultures, Barnard College, Columbia University. His research interests lie in the visual and material culture of premodern Japanese Buddhism. He is the author of Localizing Paradise: Kumano Pilgrimage and the Religious Landscape of Premodern Japan (2005) and The Japanese Buddhist World Map: Religious Vision and the Cartographic Imagination (2021).
Noriko MURAI is associate professor of Art History at Sophia University in Tokyo, where she teaches modern Japanese art. Her research interests also include the reception of Japanese art in the West, the history of modern ikebana, and feminist art history. She publishes widely in English and Japanese. Her publications in English include Journeys East: Isabella Stewart Gardner and Asia (2009), Beyond Tenshin: Okakura Kakuzō’s Multiple Legacies, a special issue of Review of Japanese Culture and Society (vol. 24, 2012), Inventing Asia: American Perspectives Around 1900 (2014), and Japan in the Heisei Era: Multidisciplinary Perspectives (2022).
Ingeborg REICHLE has been professor of media theory at the University of Applied Arts Vienna, Austria since 2016, is the chair of the Department of Media Theory, and since 2017, the founding chair of the Department of Cross-Disciplinary Strategies. Among her many publications are the “Vom Ursprung der Bilder und den Anfängen der Kunst. Zur Logik des interkulturellen Bildvergleichs um 1900,” in IMAGE MATCH. Visueller Transfer, “Imagescapes” und Intervisualität in globalen Bild-Kulturen (coeditor, 2012) and “Charles Darwins Gedanken zur Abstammung des Menschen und die Nützlichkeit von Weltbildern zur Erhaltung der Art,” in Atlas der Weltbilder (coeditor, 2011).
Sofía SANABRAIS is an independent scholar based in Los Angeles. The recipient of fellowships from the Metropolitan Museum of Art and the Mellon and Getty Foundations, her curatorial and scholarly work include the exhibition Contested Visions in the Spanish Colonial World (2011) and the recent article “From byōbu to biombo: The Transformation of the Japanese Folding Screen in Colonial Mexico” (Art History, Fall 2015) and “ ‘The Spaniards of Asia’: The Japanese Presence in Colonial Mexico.” Bulletin of Portuguese/Japanese Studies (vol. 18/19, 2009).
Bernd SCHNEIDMÜLLER is professor of Medieval History at the University of Heidelberg and president of the Heidelberg Academy of Sciences and Humanities. His research focuses on the whole of European nation-building and the emergence of political, social, and societal identities. His publications include “Die Welfen: Herrschaft und Erinnerung (819–1252)” (2000); “Die Kaiser des Mittelalters. Von Karl dem Großen bis Maximilian I.” (2007); and “Grenzerfahrung und monarchische Ordnung: Europa 1200–1500” (2011).
Reiko TOMII is an independent art historian and curator who investigates post-1945 Japanese art as part of world art history of modernisms. She is codirector of PoNJA-GenKon, a listserv group established in 2003 to collaborate with specialists interested in contemporary Japanese art in both real and virtual contexts. Her recent publication Radicalism in the Wilderness: International Contemporaneity and 1960s Art in Japan (2016) received the 2017 Robert Motherwell Book Award; it was turned into an exhibition at Japan Society in New York in 2019.
Melanie TREDE is professor of Japanese Art History at the Institute of East Asian Art History, Heidelberg University. She has extensively published on illuminated narratives, political iconographies, gender issues in the visual field, and collecting histories of Japanese art. She cocurated the exhibition Love, Fight, Feast: The World of Japanese Narrative Art (Zurich: Museum Rietberg, 2021). She is one of the coeditors of this volume.
Mio WAKITA is head and curator of the Asian Collection MAK—Museum of Applied Arts in Vienna/Austria. She specializes in the histories of early Japanese photography and Meiji visual and material cultures. Her publications include Staging Desires: Japanese Femininity in Kusakabe Kimbei’s Nineteenth-Century Souvenir Photography (Berlin: Reimer, 2013), “Site of ‘Disconnectedness’: The Port City of Yokohama, Souvenir Photography, and its Audience.” Transcultural Studies 2013/2 (2013) and The 1873 Vienna World’s Fair Revisited: Egypt and Japan as Europe’s “Orient”, (Vienna: Museum of Applied Arts, 2024). She curated the “Falten/Folds” and “The 1873 Vienna World’s Fair Revisited: Egypt and Japan as Europe’s “Orient” exhibitions at the MAK in Vienna (both in 2023). She is one of the coeditors of this volume.
Sono Yuan WERHAHN is currently undertaking her doctoral research in Japanese art history at Heidelberg University. In addition to her academic studies, she has previously worked as a fine art specialist in the commercial art industry, including at Sotheby’s in London.
Aida Yuen WONG is Nathan Cummings and Robert B. and Beatrice C. Mayer Professor in Fine Arts at Brandeis University in Waltham, Massachusetts. She has written extensively on transcultural modernisms. Her publications include Parting the Mists: Discovering Japan and the Rise of National-Style Painting in Modern China (2006); The Other Kang Youwei: Calligraphy, Art Activist and Aesthetic Reform in Modern China (2016); Fashion, Identity and Power in Modern Asia (2018); and the coedited volume Seeing and Touching Gender: New Perspectives on Modern Chinese Art (2020).
YAMANASHI Emiko became a researcher in the history of modern Japanese art at the National Research Institute for Cultural Properties (Tobunken), Tokyo, in 1984, and from 2016 to 2021 was the deputy director of that institution. She is currently the director of the Chiba City Museum of Art. She authored Wisdom, Impression, Sentiment by Kuroda Seiki (2002), and coedited/coauthored Hayashi Tadamasa ateshokanshū/Correspondance addressée à Hayashi Tadamasa (2001).
YASUMATSU Miyuki is professor of art history at Beppu University in Ōita Prefecture in Kyushu. Her areas of research include German-Japanese artistic relations in the modern era, the subject of her recent book Nachisu Doitsu to “teikoku” Nihon bijutsu: rekishi kara kesareta tenrankai (Nazi Germany and Arts of “Imperial” Japan: Exhibitions Erased from History, 2016). She also coauthored Itagaki Takao kurashikku to modan (Itagaki Takao Classic and Modern) (2010).