YOSHIAKI SHIMIZU Frederick Marquand Professor Emeritus Curriculum Vitae PERSONAL: Born: February 27, 1936, Tokyo, Japan USA
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YOSHIAKI SHIMIZU Frederick Marquand Professor Emeritus Curriculum Vitae PERSONAL: Born: February 27, 1936, Tokyo, Japan USA since 1953 US Citizen since 1999 Married: Mary Hirsch Home/Mailing Address: 2544 NW Mildred Street Portland, Oregon 97210 USA 503-223-5020 Office Address: Department of Art and Archaeology McCormick Hall Princeton University Princeton, New Jersey 08544 USA 609-258-3781 (Retired as of June 2009) EDUCATION: 1951-53 Seikei Upper High School, Tokyo 1953-55 St. Paul's School, Concord, New Hampshire 1955-57 Harvard College, Cambridge, Massachusetts 1957-61 School of Museum of Fine Arts, Boston; Staatliche Landes Kunsthochschule, Hamburg, Germany; Art Students League, New York, 1964 Harvard College, A.B. 1968 University of Kansas, A.M. 1974 Princeton University, Ph.D. 1 PROFESSIONAL POSITIONS: 1973-74 Lecturer of Art and Archaeology, Princeton University 1974-75 Assistant Professor of Art and Archaeology, Princeton University 1975-78 Assistant Professor of History of Art, University of California, Berkeley 1978-79 Associate Professor of History of Art, University of California, Berkeley 1979-84 Curator of Japanese Art, Freer Gallery of Art, Washington, D.C. 1984 Professor of Art and Archaeology, Princeton University 1987-88 Curator, "Shaping Daimyo Culture", National Gallery of Art, Washington, D.C. 1990- 92 Chairman, Department of Art and Archaeology 1992 Frederick Marquand Professor of Art and Archaeology 1992 (Summer) East Asian Art History Division, Heidelberg University 1996 Visiting Research Fellow, University of Tokyo 1996 Visiting Professor, Faculty of Letters, Ritsumeikan University, Kyoto, Japan 2009 (Summer) Retired as Frederick Marquand Professor, Emeritus 2011 (April – May) Visiting Professor of Japanese Art History, Freie University, Berlin 2012 (June – July) Guest Scholar, Getty Research Institute 2013 Elected Member of the American Academy of Arts and Sciences THESES: M.A. Thesis: Itō Jakuchū (1716-1800), submitted to the University of Kansas, Department of History of Art, 1968. Ph.D. Thesis: Problems of Moku'an Rei'en (?-1323-1345), submitted to Princeton University, Department of Art and Archaeology, 1974. PUBLICATIONS: 1967 The Exhibition Catalog of Japanese Paintings from the Joe D. Price Collection, The University of Kansas Museum of Art, Lawrence, Kansas. 1970 Entries #32: Frontispiece of an illuminated Daihannya-kyō; #34: Frontispiece and text of the Kan Fugen-Bosatsu-Gyōbō-kyō; #35: Frontispiece of an illuminated sutra (Muryōgi-kyō); #66: Calligraphy Scroll by Ikkyū Sōjun; #98: Screen with Love Lyrics; in John M. Rosenfield and Shūjirō Shimada, eds., Traditions of Japanese Art: Selections from the Kimiko and John Powers Collection, Fogg Museum, Harvard University, Cambridge. 1972 (In Japanese) “Reconstruction Problems of the Late 12th Century Narrative Scroll Kokawadera Engi,” Ars Buddhica (Bukkyō Geijutsu) #86, July, pp. 50-64. 1976 (Co-edited and authored with Carolyn Wheelwright) Japanese Ink Paintings, The Art 2 Museum, Princeton University, Princeton. 1979 (In Japanese) Descriptive commentaries for: Ryōzen, Arhat seated upon a Rock (one of a set of sixteen), Freer Gallery of Art; Takuma Eiga, Samantabhadra on an Elephant, Freer Gallery of Art; Tesshū Tokusai, Orchids and Bamboo, anonymous loan to The Art Museum, Princeton University: Mokuan Reien, White-robed Avalokitesvara, Freer Gallery of Art; Attributed to Kaō, Priest Sewing under the Morning Sun, The Cleveland Museum of Art; Attributed to Kaō, Priest Reading in the Moon Light, Boston Museum of Fine Arts; Gyokuen Bompō, Orchids and Rock, The New York Metropolitan Museum of Art; Gyokuen Bompō, Orchids and Rock, The Cleveland Museum of Art; Attributed to Isshi, White-robed Avalokitesvara, Sansō Collection, USA; Josui Sōen, Landscape with Willows, Sansō Collection, USA; Yamada Dōan, Budai, The Cleveland Museum of Art, in Shūjirō Shimada, ed., Zaigai Nihon no Shihō (Japanese Art in Foreign Collections), vol. III, Suibokuga (Ink Painting), Mainichi Shinbunsha, Tokyo. 1980 (In Japanese) Descriptive commentaries for: Anonymous, The Bodhisattva Samantabhadra and Raksasi Attendants, Freer Gallery of Art; Anonymous, Mandala of Yama, Freer Gallery of Art; Anonymous, Avalokitesvara of the Magic Jewel and the Wheel, Freer Gallery of Art, in Shūjirō Shimada, ed., Ibid., vol. I, Bukkyō Kaiga (Buddhist Painting) (In Japanese) Descriptive commentaries for: Hanabusa Itchō, Country Scenes and Occupations, Freer Gallery of Art; Anonymous, Red and White Plum Blossoms, Shinenkan, USA; Kano Naonobu, Scenes from the Tale of Genji, Freer Gallery of Art, in Shūjirō Shimada, ed., Ibid., vol. IV, Shōbyōga (Screen Painting). (In Japanese) Descriptive commentaries for: Yamamoto Baiitsu, Playing the Qin beneath Trees, Freer Gallery of Art; Watanabe Kazan, Satō Issai, Freer Gallery of Art, in Shujiro Shimada, ed., Ibid., vol. VI, Bunjinga/shoha (Literati painting and other schools). (In Japanese) Short notes to plates on p. 114, 118, 122, 127, 129 and 140, in Akiyama, Terukazu, et al, eds., Sekai no Bijutsu (Arts of the World): Muromachi Jidai no suibokuga (Ink painting of the Muromachi period), Shūkan Asahi Hyakka (Weekly Asahi Encyclopaedia) #115, Asahi Shinbunsha, Tokyo, June 8. (In Japanese) “Zaibei no Muromachi Suibokuga to sono Kenkyū no Haikei (Muromachi Ink Paintings in American Collections: Their Study and Ambience)” and notes to plates on p. 145, 153, 165, 166 and 167 in Akiyama, Terukazu, et al, eds., Sekai no Bijutsu (Arts of the World): Sesshu-Sesson to Sengoku Gadan (From Sesshu to Sesson: Painting during the Period of Provinces at War), Shūkan Asahi Hyakka (Weekly Asahi Encyclopaedia) #116, Asahi Shinbunsha, Tokyo, June 15, pp. 164-168. 3 1981 “Six Narrative Paintings by Yin T'o-lo: Their Symbolic Content,” Archives of Asian Art, vol. XXXIII, Asia Society, New York, pp. 6-37. “Seasons and Places in Yamato-e and Yamato-uta,” Ars Orientalis (new series), vol. XII, Freer Gallery of Art and University of Michigan, pp. 1-18. “Workshop Management of the Early Kano Painters (ca. 1530-1600),” Archives of Asian Art, vol. XXXIV, Asia Society, New York, pp. 32-47; plates on pp. 20-31. “Foreword,” for Japanese Influences in American Art 1853-1900, exhibition catalog for a special exhibition by Sally Mills, Sterling and Francine Clark Art Institute, Williamstown. 1982 Co-authored with Suzan E. Nelson, “Genji”: The World of a Prince, exhibition catalog in conjunction with the International Symposium “The World of Genji,” Indiana University, Bloomington, Indiana. “Some Fundamental Problems of the Japanese Narrative, Hikohoho-demi no Mikoto,” Studia Artium Orientalis et Occidentalis, vol. I, Department of Art and Aesthetics, Osaka University, Osaka, pp. 29-41. 1983 Entries in Encyclopaedia of Japan, Kodansha, Tokyo and Cambridge, “Japanese Calligraphy,” “Mokuan Reien,” “Tesshū Tokusai,” “Kichizan Minchō,” “Josetsu,” and “Tenshō Shūbun.” “Individual Taste for Japanese Painting,” Apollo, vol. CXVIII, no. 258 (Special Issue on Freer Gallery of Art), August, pp. 136-149. 1984 “A Chinese Album Leaf from the former Ashikaga Collection in the Freer Gallery of Art,” Archives of Asian Art, vol. XXXVII, pp. 96-108. Co-authored with John M. Rosenfield, Masters of Japanese Calligraphy 8th - 19th Century, Japan House Gallery and the Asia House Galleries, New York. 1985 “Zen Art?,” Zen in China, Japan and East Asian Art, Schweizer Asiatische Studien, Studienheft 8, Bern, pp. 73-98 (Proceedings of the International Symposium "Zen in der Kunst Ostasiens," University of Zürich, November 16-18, 1982). Shigisan Engi Scrolls of c. 1175 A.D., Studies in the History of Art, vol. 16, Pictorial Narrative in Antiquity and Middle Ages, the National Gallery of Art, Washington, D.C., pp. 115-129 (Proceedings of the Symposium “Pictorial Narrative in Antiquity and the Middle Ages,” organized jointly by the History of Art Department, the Johns Hopkins University and Center for Advanced Study in the Visual Arts, Washington, D.C., on March 17, 1984). 1986 “Transmission and Transformation: Chinese Calligraphy and Japanese Calligraphy,” 4 in J. Thomas Rimer, ed., Multiple Meanings: The Written Word in Japan - Past, Present and Future, a selection of papers on Japanese Language and Culture and their Transmission, presented at the Library of Congress on June 15, 1984, Library of Congress, Washington, D.C., pp. 5-24. 1988 “The Rite of Writing: Thoughts on the Oldest Genji Text,” Department of Anthropology, Harvard University, ed., Res, #16, August, Peabody Museum of Archaeology and Ethnology, Cambridge, pp. 54-63. (Originally read at the International Symposium “The World of Genji,” Indiana University, Bloomington, Indiana, August 17-21, 1982) Entries in Encyclopedia of Asian History. Prepared Under the Auspices of the Asia Society, vol. 3; “Okakura Tenshin (1862-1913),” “Japanese Painting,” and “Sesshū Tōyō (1420-1506),” Charles Scribner's Son, New York and Collier MacMillan Publisher's, London, pp. 149; 186-190; 416-417. Japan: The Shaping of Daimyō Culture 1185-1868, National Gallery of Art, Washington, D.C. 1989 Introduction for “The Written Word in Art and as Art,” in Irving Lavin, ed., World Art: Themes of Unity in Diversity, vol. II, Acts of the XXVIth International Congress of History of Art (August, 1986), The Pennsylvania State University Press, pp. 269- 273. 1990 (In Japanese) “Some Problems of Shigajiku-Type Ink Landscape Painting: Picture- Viewing Through Written Words, ca. 1400-1480,” in International Symposium of the Conservation and Restoration of Cultural Property: Periods