CONTRIBUTORS

Source: Japan Review , 2013, No. 26, Shunga: Sex and Humor in Japanese Art and
Literature (2013), pp. 277-280
Published by: International Research Centre for Japanese Studies, National Institute for
the Humanities

Stable URL: https://www.jstor.org/stable/41959828

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 CONTRIBUTORS

Rosina Buckland is Senior Curator at the National Museum of Scotland (Edinbur

United Kingdom), with responsibility for the Japanese collections. Her primary rese
interest is pictorial art of the nineteenth century, with a focus on literati painting
Sino-Japanese cultural exchanges. She read Japanese Studies at the University of Cambr
and obtained her Ph.D. in Art History from the Institute of Fine Arts, New York Univers
Her recent publications are Shunga: Erotic Art in Japan (British Museum Press, 2010)
Painting Nature for the Nation: Taki Katei and the Challenges to Sinophile Culture in
Japan (Brill, 2013). She is currently preparing an exhibition of kabuki woodblock pr
from the collection of the National Museum of Scotland.

Timothy Clark is Head of the Japanese Section in the Department of Asia at the Bri
Museum. He has authored and co-authored many books about aspects of Japanese art
including ukiyo-e painting, Kyösai, Utamaro, early ukiyo-e, images of Mt Fuji, Hoku
Osaka ukiyo-e and Kuniyoshi. He curated and wrote the catalogue for the 2009 exhibit
Kuniyoshi from the Arthur R. Miller Collection , held at the Royal Academy of Arts, Lon
In 2011 he published a small monograph for British Museum Press, Hokusai s Great W
Clark is curator of the exhibition and co-editor, with C. Andrew Gerstle, Aki Ishigam
Akiko Yano of the catalogue Shunga: Sex and Pleasure in Japanese Art (forthcoming 2013).

Amaury A. García Rodríguez received his Ph.D. in Japanese History (2007), and
in Japanese Studies (2000) from the Center for Asian and African Studies, El Colegio
México. He received his B.A. in Art History from the University of Havana in 1995,
has taught courses and given lectures on Japanese Art History at universities in Me
Cuba, Argentina, Spain, Japan and the United States, and participated in academic ev
in Mexico and abroad. His research topics center on Japanese popular-urban culture
its visual production, in particular the relationships between the power structures and
production of erotic prints and books during the Edo period. He has published: The Co
of the Japanese Shunga Prints (2011), Popular Culture and the Prints in Japan (2005),
co-edited the book Visuality in Japan: Eleven Iberoamerican Essays (2009), as well as art
and essays in academic journals. He is currently Professor-researcher at the Center for
and African Studies, El Colegio de México.

C. Andrew Gerstle is Professor of Japanese Studies at the School of Oriental and Af

Studies (SOAS), University of London. His publications have been on Edo period popu
theatre, literature and art. He was guest curator at the British Museum in 2005 for
exhibition on Osaka kabuki, and is currently working on an exhibition (late 2013) at
British Museum on Japanese erotic art {shunga). His publications include: Shunga: Se
Pleasure in Japanese Art (co-editors with T. Clark, A. Ishigami and A. Yano, forthcom
2013); Edo onna no shungabon: Tsuya to war ai no füfu shinan (2011); Bidõ nichiya johõki (
M. Hayakawa, 2010); Ryükösai zuroku: Kamigata yakusha nigao-e no reimei (with Ak
Yano, 2009); Onna shimegawa oeshi-bumi (with M. Hayakawa, 2007); Kabuki Heroes on
Osaka Stage , 1780-1830 (co-author, 2005; also published in Japanese); and Chikamatsu
Five Late Plays (2001).

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CONTRIBUTORS

Alfred Haft (Ph.D., SOAS, University of London) is Project Curator in the

Section of the British Museum, and Research Associate of the Sainsbury Institute
Study of Japanese Arts and Cultures (Norwich). He has also contributed lectures
SOAS Asian Arts course. His publications include Aesthetic Strategies of the Floatin
Mitate, Yatsushi and Füryü in Early Modern Japanese Popular Culture (Brill, 201
"Immortalizing the Yoshiwara Courtesan: A Surimono Series by Gakutei," in
Surimono , ed. John T. Carpenter (Brill, 2008). From 2010-2011, he held the Ann
Biema Postdoctoral Fellowship at the Freer Gallery of Art and Arthur M. Sackler
Smithsonian Institution, Washington, D.C.

Hayakawa Monta is Professor at the International Research Center for Japanese

(Nichibunken). His research has focused on Edo period art, and in recent years par
on erotic art {shunga). His many publications include: Gendaigo-yaku: shunga (201
bunken shozõ kinsei enpon shiryõ shüsei (5 vols.) (co-editor, 2004-10); Nihon no zuz
(co-author, 2010); Shunga no mikata: Jü no pointo (2008); Shunga : Himetaru warai
(co-editor, 2003); The Shunga of Suzuki Harunobu ; Mitate- e and Sexuality in Edo'
shunga o yomu , 2 vols, (co-author, 2000); Shunga no naka no kodomotachi (2000
shunga to nanshoku (1998).

Higuchi Kazutaka is Curator at the Mitsui Memorial Museum. His field is Edo pe
and particularly ukiyo-e, and has been organizing a number of exhibitions featu
period paintings and ukiyo-e. He also teaches History of Japanese Art at Keio U
as a part-time lecturer. His publications include: Motto shiritai : Maruyama Oky
Utagawa Toyokuni: Shunga no sekai (2008); Bessatsu Taiyõ: Shunga: Edo no eshi shijü
(co-author, 2006); Bessatsu Taiyõ: Nikuhitsu shunga (co-author, 2009); "Maruyam
and his Patrons in the Mitsui Family," in Matthew P. McKelway, ed., Traditions U
Groundbreaking Painters of Eighteenth-century Kyoto (2005).

Ishigami Aki is Postdoctoral Fellow at Ritsumeikan University, she specializes in Ed

literature and art. Her publications include: Shunga: Sex and Pleasure in Japanese Art
with T. Clark, C. A. Gerstle and A. Yano, forthcoming 2013); "Nishikawa Sukeno
ehon to Edo no ehon" in Füzoku kaiga no bunkagaku II: Kyojitsu o utsusu kichi (co
2012). "Poetry and Parodies in Suzuki Harunobus Eight Fashionable Parlor Views
zashiki hakkei )," Andon (2011).

Matsuba Ryõko is JSPS Postdoctoral Fellow at Nanzan University and holds a Fel
for Japanese Studies Young Scholars awarded by the Sainsbury Institute for the S
Japanese Arts and Cultures (U.K.), and from 2004 to present she has been en
major projects to digitize Japanese ukiyo-e prints and illustrated books in the follo
stitutions: Museo Di Arte Orientale Chiossone (Genoa); Musees Royaux dArt et d'
(Brussels); Bibliothèque royale de Belgique (Brussels); British Museum (London); V
and Albert Museum (London); Freer Gallery of Art and Arthur M. Sackler
Smithsonian Institution (Washington, D.C.); Foundation Baur; and the Musée
d'Extrême-Orient (Geneva); and several private collections in Europe and Japan.
she assisted the British Museum in preparations for an upcoming shunga exhibition

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 JAPAN REVIEW 26 Speical Issue Shunga

uled to open in October 2013. Her recent publications include: "Edo no gekijõ-zu:
Hishikawa-ha o chüshin ni," in Füzoku kaiga no bunkagaku (2009); "Image Databases and
Early Modern Kabuki Performance Research," in Image-Database and Studies for Japanese
Arts and Cultures (2010); "Edo yakusha ehon no shuppan," in Kimbrough and Shimazaki,
eds., Publishing the Stage: Print and Performance in Early Modern Japan (2011); "Yakusha
nigao shunpon Shina kagami: Yakusha nigao no kõshõ to shuppan no haikei," Art Research
(2012).

Laura Moretti is Lecturer of Pre-modern Japanese Studies at the University of Cambridge.

She is also an official Fellow and Director of Studies for Asian and Middle Eastern Studies
at Emmanuel College. Her main research field is Edo period popular prose in the vernac-
ular, with a specific focus on the seventeenth-century. On-going research projects include
"Broadsheets of Japan: The Production of the Osaka Bookseller Shioya Kihei" and "Chal-
lenges of the Digital Era: Critical Editions of Japanese Early-modern Texts in the Digital
Format." Her recent publications include: Narrativity and Fictionality in Edo period Prose
Literature (ed.), special issue of Japan Forum (2009); " Kanazõshi revisited: reconsidering
the beginnings of Japanese popular literature in print," Monumenta Nipponica (2011); "The
Japanese Early-modern Publishing Market Unveiled: A Survey of Edo period Booksellers'
Catalogues," East Asian Publishing and Society (2012).

Jennifer Preston has completed a Ph.D. at SOAS, University of London, on the early
eighteenth-century Kyoto artist Nishikawa Sukenobu, entitled Nishikawa Sukenobu: The
Engagement of Popular Art in Socio-political Discourse (2012). She has been teaching classical
language and literature at SOAS, and has recently been awarded a Leverhulme Early Career
Fellowship. Publications include: "Intimations of War: Sukenobu s Warrior Imagery," in A.
Ishigami, ed., Nishikawa Sukenobu o y omu (2013).

Ellis Tinios is Honorary Lecturer in History, University of Leeds. He teaches courses on

Japanese illustrated books of the Edo and Meiji eras at the Freer and Sackler Galleries,
Washington, D.C. under the auspices of the Rare Book School, University of Virginia. He
is author of Japanese Prints: Ukiyo-e in Edo , 1615-1900 (British Museum Press, 2011), and
co-authored Understanding Japanese Woodblock-printed Illustrated Books: A Short Introduction
to Their History, Bibliography and Format (Brill, forthcoming) with Professor Suzuki Jun
of the National Institute of Japanese Literature. He is participating in the construction, by
the Art Research Center, Ritsumeikan Univesity, of online image databases devoted to Edo
and Meiji books and prints. His research interests include the illustrated woodblock-printed
book in Japan 1615-1912, and the representation of China in Japanese books of the eigh-
teenth and nineteenth centuries.

Yamamoto Yukari received her Ph.D. from Gakushüin University in Japanese art,
focusing on popular arts in eighteenth century Kamigata (Kyoto/Osaka). She has worked
at the Idemitsu Museum of Arts, Azabu Museum of Arts and Crafts, and New Otani Art
Museum, and is now employed at Kokkasha, as well as part-time at Tama Art University
and Wakõ University. Her monograph Kamigata füzokuga no kenkyü: Nishikawa Sukenobu ,
Tsukioka Settei o chüshin ni was published in 2010. Other publications include Edo no ehon:

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CONTRIBUTORS

Gazò to tekisuto no ayanaseru sekai (co-author, 2010); "Hanshinzõ o egaku: 'Bijin õku
no seiritsu to kamigata," Minzoku geijutsu (2011); "Bijin-ga seisaku to kanshi: Tsukio
Settei hitsu Tõshisen o shutten to suru chakusan sakuhin kara ?Ukiyo-e geijutsu (200
"Nishikawa Sukenobu to ehon, õraimono: Jûhasseiki zenhanki no gakumonshi to no ka
kara," Chiba Shi Bijutsukan kiyõ (2007); and "Tsukioka Settei shiron: Koten o meguru k
seisaku no saikentõ," Bijutsushi (2003).

Akiko Yano is Leverhulme Research Fellow at SOAS, University of London. Her prim
area of specialization is premodern Japanese painting history. She completed her Ph.D
Japanese art history at Keio University. Her publications include: Shunga ; Sex and Ple
in Japanese Art, co-editor with T. Clark, C.A. Gerstle and A. Ishigami (forthcoming 2
"Capturing the Body: Ryûkôsais Notes on 'Realism' in Representing Actors on Stage,
Publishing the Stage; Print and Performance in Early Modern Japan , edited by Keller
brough and Satoko Shimazaki (2011); Ryükösai zur oku: Kamigata yakusha nigao-e no r
(co-author with C. Andrew Gerstle, 2009); Kabuki Heroes on the Osaka Stagey 1780-1
(co-author, 2005; also published in Japanese); and "Kanõ-ha kinpeki shõhekiga no yõs
teki tenkai ni kansuru shiron: Shiki kachõ zu byõbu o chùshin ni," Kokka 1340 (2007).

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