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CYNTHEA BOGEL Last modified date:2020.06.26

Professor / Faculty of Humanities、Kyushu University
Department of Philosophy
Faculty of Humanities


Graduate School
Undergraduate School
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Homepage
https://kyushu-u.pure.elsevier.com/en/persons/cynthea-jean-bogel
 Reseacher Profiling Tool Kyushu University Pure
https://www.imapkyudai.net/
https://kyushu-u.academia.edu/CyntheaBogel
Phone
092-802-5041
Fax
092-802-5041
Academic Degree
Harvard University. Ph.D. 1995 USA, Harvard University. M.A. USA, Smith College. B.A. 1980 USA
Country of degree conferring institution (Overseas)
Yes
Field of Specialization
Japanese art history, Japanese and East Asian Buddhist art history and visual culture, Pre-modern Japanese architectural history
Total Priod of education and research career in the foreign country
25years07months
Outline Activities
Bogel’s research interests are diverse. Her research and publications feature the study of ancient religious icons and ritual materials, especially those created during the seventh through tenth century. As Professor of Japanese Art History and Buddhist Visual Cultures in East Asia at Kyūdai, she teaches courses on Japanese religious icons, temples, and shrines; ukiyoe (prints); Japanese painting; material culture and its relevance to the exchange of ideas and people in Asia; gender, race and "difference" in Japanese art history; on site-specific and current-exhibition-specific topics; museum studies and museum practice; contemporary art history; and both premodern and living craft traditions. Field work at historical sites and in museums is an important part of her teaching philosophy.

Bogel's research and publications feature the study of ancient religious icons, most often Buddhist statues and their historical and temple context. She is especially interested in icons that have received attention in art history scholarship but pose unique challenges or suggest to her alternative narratives, including the 9th century Nyoirin Kannon statue at Kanshinji 観心寺如意輪観音 (see article in _Art Bulletin_ 2002), and the 7th to 8th century Yakushiji Main Hall triad 薬師寺金堂薬師三尊像 (see forthcoming article "Cosmoscapes Beneath the Buddha: Upholding the Realm of the Sovereigns on the Pedestal of Yakushiji’s Main Icon" in French, ,” _Revue Perspective– JAPON/JAPAN_ vol. 2020–1). Her first book is about icons and temples associated with the early 9th-c. Esoteric masters Kūkai and Saichō. Discussions of patronage, devotional or ritual elements, historiography, and modes of visual reception that may have formed meanings for ancient icons—as well as our interpretations today—underpin much of her research. Other publications and areas of expertise include Shrine icons, demons and the demonic and converted in ancient Japanese visual culture and ritual sites (current Kaken grant project), Buddhism and Buddhist visual culture in Kyushu (current projects on Dazaifu temples nad shrines and Kunisaki hantō), ukiyoe prints, crafts--especially ceramics and textiles, cultural heritage systems, museum practice, contemporary art--especially that featuring "Buddhist influence" or by Buddist-identifying artists, and Japanese design and contemporary fashion.

Bogel served as Co-chair of the International MA program in Japanese Humanities (IMAP) from 2012–18. She is co-founder of the International Doctorate Program in Japanese Humanities (IDOC). In 2015 Bogel established the _Journal of Asian Humanities at Kyushu University_ (JAH-Q) with Faculty of Humanities Professor Tomoyuki Kubo and the support of Associate Professor Ellen Van Goethem. Bogel served as Editor for the Journal from its inception until 2019, and continues to be lead Editor of the Editors Group. Before assuming her current position at Kyushu University in spring 2012 she taught Japanese and Asian art history for twenty years in the USA including five years at the University of Oregon and 13.5 years at the University of Washington (Seattle), where she received promotion and tenure in 2007. She relocated to Kyūdai in 2012. Bogel was Curator of Asian Art and Ethnology at the Museum of Art, Rhode Island School of Design (RISD) for several years, and has continued as an occasional independent curator, with exhibitions of Meiji decorative arts, Meiji prints, contemporary textiles, and contemporary fashion. Bogel holds MA and PhD degrees from Harvard University in Japanese art history and architectural history and the Buddhist visual cultures of East Asia (PhD 2005).
Research
Research Interests
  • “Talismans and Talisman Culture in Vietnam, Korea and Japan,”
    keyword : talisman, evil, ritual,
    2019.11~2022.11.
  • JSPS (Kaken) Grant, Kiban B category. Primary Investigator. 5-year project.
    The Representation of Wrath and Evil: Conceptions of the World and Expressions of the Wicked and the Converted in Ancient Japan
    keyword : Japanese art history, Japanese visual culture, Buddhist Studies, East Asian Cultural Exchange, Buddhist Visual Culture, Yakushiji temple, Yakushiji, Buddhist icon, Emperor Tenmu, Nara period
    2018.04~2022.03.
  • JSPS (Kaken) Grant, Kiban C category. Research Collaborator of Principal Investigator. Yamamoto Satomi.
    Research on the Genesis and Realization of "Sacrality" (reisei) in the Buddhist Arts of Medieval Japan
    keyword : Japanese art history, Japanese visual culture, Buddhist Studies, East Asian Cultural Exchange, Buddhist Visual Culture, Yakushiji temple, Yakushiji, Buddhist icon, Emperor Tenmu, Nara period
    2018.04~2022.03.
  • Kyushu University QR Jump Research initiative, New Research category grant
    Asian Cosmologies (世界観) in Flux: Changing Concepts and Representation in Tenmu’s Japan
    keyword : Japanese art history, Japanese visual culture, Buddhist Studies, East Asian Cultural Exchange, Buddhist Visual Culture, Yakushiji temple, Yakushiji, Buddhist icon, Emperor Tenmu, Nara period
    2017.04~2018.03.
  • Center for Advanced Study in the Visual Arts (CASVA), National Gallery of Art, Washington, D.C. Ailsa Mellon Bruce Visiting Senior Fellow, Summer 2017.
    Detailed study of the Yakushiji temple history in Fujiwara and Nara, the icons made for the main hall at each temple, and the surviving Yakushiji triad
    keyword : Yakushiji temple, Yakushiji, Buddhist icon, Emperor Tenmu, Empress Jito, Nara period
    2017.06~2017.08.
  • Center for Advanced Study in the Visual Arts (CASVA), National Gallery of Art, Washington, D.C. Ailsa Mellon Bruce Visiting Senior Fellow, Spring 2016.
    The research features the central Buddha in Yakushiji, Nara, an early-eighth-century temple
    keyword : Yakushiji temple, Yakushiji, Buddhist icon, Emperor Tenmu, Nara period
    2016.05~2016.07.
  • Kyushu University Short-term International Research Exchange Program, Second Round
    Thangka Conservation and Preservation Center of Bhutan and The Royal University of Bhutan
    keyword : Japanese art history, Japanese visual culture, Buddhist Studies, East Asian Cultural Exchange, Buddhist Visual Culture
    2015.11~2015.12.
  • Kyushu University Interdisciplinary Programs in Education and projects in Research Development (P&P), “Ancient Borders and Crossroads: Transmission, Traces, and Omission” Research member (Primary Investigator: Dr. William John Matsuda)
    keyword : Japanese art history, Japanese visual culture, Buddhist Studies, East Asian Cultural Exchange, Buddhist Visual Culture
    2015.04~2016.03.
  • Kyushu University Interdisciplinary Programs in Education and projects in Research Development (P&P), “A New Proposal for the Eighth-Century Yakushiji Buddha Pedestal: A Copy of the Original and Its Historical Context”
    keyword : Japanese art history, Japanese visual culture, Buddhist Studies, East Asian Cultural Exchange, Buddhist Visual Culture
    2015.04~2016.03.
  • JSPS (Kaken) Grant, Kiban C category. Primary Investigator. Four-year grant.
    Unexplored Avenues: The Esoteric and the Sacred in the Buddhist Arts and Temples of the Nara Period
    keyword : Japanese art history, Japanese visual culture, Buddhist Studies, East Asian Cultural Exchange, Buddhist Visual Culture
    2014.04~2017.03.
  • Kyushu University Interdisciplinary Programs in Education and Projects in Research Development (P&P) Grant
    Fundamental Research Relating to Early Esoteric Buddhist Visual Culture
    keyword : Japanese art history, Japanese visual culture, Buddhist Studies, East Asian Cultural Exchange, Buddhist Visual Culture
    2014.04~2015.03.
  • JSPS (Kaken) Grant for Start-Up Research,
    Ancient Japanese Esoteric Visual Culture, Icons, and Temples
    keyword : Japanese art history, Japanese visual culture, Buddhist Studies, East Asian Cultural Exchange, Buddhist Visual Culture
    2012.09~2014.03.
Current and Past Project
  • This cluster project investigates the religious, historical, material, practical, and iconographic dimensions of talismans/amulets in contemporary contexts in Vietnam, Korea, and Japan, with particular attention to talismans that share Buddhist and non-Buddhist functions, including those from Daoist, shaman, Shinto or other religious traditions.
  • This interdisciplinary research-hub project explores the circulation of material objects and performance cultures throughout Asia. Material objects and structures will include buildings, statues, paintings, and crafts; performance cultures will include theatrical genres, musical styles, and embodied practices in a variety of spatial and temporal contexts. We will bring together top researchers from around the world with different academic backgrounds, including art historians, literary scholars, musicologists, performance studies scholars, ritual practitioners, and historians. As an English-language graduate program comprised of five non-Japanese but Japanese-fluent faculty members researching in Japan fields, we IMAP and IDOC faculty (International MA Program in Japanese Humanities, International Doctorate in Japanese Humanities) will strive to pair our knowledge with that of Japanese and non-Japanese colleagues within Kyudai and globally. The project will encourage a holistic rethinking of Asian humanities, resulting in the formulation of new research trajectories and related publications that move beyond national and disciplinary borders. It will introduce Japanese and non-Japanese Kyudai faculty to a global audience.
    In the first year we will build a research network through the following endeavors:
    • Host two international pre-conferences at two venues, National University of Singapore and Kyudai. Top researchers from Japan, Korea, China, Singapore, Europe, and the US will be invited to present papers. A balance of emerging younger voices in each field and established senior scholars will be achieved.
    • Collect and edit the most suitable papers from the two pre-conferences to be published in a special issue of The Journal of Asian Humanities at Kyushu University (JAH-Q), a peer-reviewed (査読) English-language international journal of the Faculty of Humanities.
    In the second year we will hold a major international symposium in September 2019. As with the pre-conferences, several papers will be published in JAH-Q. Additionally, we will collect a group of thematically coherent papers for an essays volume to be published by an international publisher.
Academic Activities
Books
1. Cynthea Jean Bogel, Editor, Co-Editor, Journal of Asian Humanities at Kyushu University (JAH-Q), vol. 5 (March 2020), Kyushu University, 2020.03.
2. Cynthea Jean Bogel, Editor, Editor, Journal of Asian Humanities at Kyushu University (JAH-Q), vol. 4 (March 2019), Kyushu University, 2019.03.
3. Cynthea Jean Bogel, "Buddhist Aesthetics," in Oxford Encyclopedia of Aesthetics, volume 2, ed. ed. Michael Kelly, Oxford University Press, 48-57, 2014.06.
4. Cynthea Jean Bogel, “Esoteric Art, East Asia,” article in the Encyclopedia of Buddhism, ed. Robert E. Buswell, Jr., Macmillan Reference USA, 252–57, 2004.01.
5. Cynthea Jean Bogel, "Situating Moving Objects: A Sino-Japanese Catalogue of Imported Items, 800 CE to the Present," Chapter Six in "What’s the Use of Art?: Asian Visual and Material Culture in Context," ed. Morgan Pitelka and Jan Mrazek, University of Hawai'i Press, 142-176, 2008.12.
6. Cynthea Jean Bogel, “The Tōji Lecture Hall Statue Mandala and the Choreography of Mikkyō,” in Japan, vol. 3, Esoteric Buddhism and the Tantras in East Asia, ed. Robert Payne , Brill, 936–981, 2011.05.
7. Cynthea Jean Bogel, With a Single Glance: Buddhist Icon and Early Mikkyō Vision, University of Washington, 2009.08, With a Single Glance considers the visual culture of the Japanese esoteric Buddhist tradition, Mikkyo, at the time of its introduction to Japan early in the ninth century. Bogel examines the visual components of Mikkyo through a huge range of sources on art and imagery, philosophy and critical theory, religious studies, cognitive science, cultural analysis, and ritual theory. She presents a framework for understanding the sectarian construction of Japanese Esoteric Buddhist art and doctrine and, for the first time, explores the cultural sources and representational practices that define Mikkyo visual culture.
Recipient of a Getty Foundation publication subvention award and a Metropolitan Center for the Study of Far Eastern Art publication subvention award; recipient of an Association of American University Presses (AAUP), Design award.
8. Cynthea Jean Bogel, Volume Special Editor and Editor, Journal of Asian Humanities at Kyushu University (JAH-Q), vol. 1, Kyushu University, vol. 1, 2016.03, A double-blind peer-reviewed journal. 61 pages.
9. Cynthea Jean Bogel, Editor, Journal of Asian Humanities at Kyushu University (JAH-Q), vol. 2, Kyushu University, vol. 2, 2017.03, A double-blind peer-reviewed journal. 150 pages.
10. Cynthea Jean Bogel, Editor, Journal of Asian Humanities at Kyushu University (JAH-Q), vol. 3, Kyushu University, vol. 3, 2018.03, A double-blind peer-reviewed journal. 160 pages.
Reports
1. Cynthea Jean Bogel, Cosmoscapes: Interpreting Buddhist Imagery in Ancient Japan, CENTER 38, National Gallery of Art, Center for Advanced Study in the Visual Arts, 2018.05.
2. Igata, Susumu Cynthea Jean Bogel (annotated translator) Lindsey E. DeWitt (annotated translator), “Demon Roof Tiles: A Study of the Dazaifu Type Onigawara Style I-A” by Igata Susumu, Journal of Asian Humanities at Kyushu University (JAH-Q), vol. 4, 2019.03.
3. Cynthea Jean Bogel, Hybridity and Hypothesis: Interpreting Buddhist Imagery in Ancient Japan, CENTER 38, National Gallery of Art, Center for Advanced Study in the Visual Arts, 2018.12.
4. Cynthea Jean Bogel, Sovereign and Cosmology in Two Capitals: An Eighth-Century Buddhist Icon at Yakushiji, CENTER 37, National Gallery of Art, Center for Advanced Study in the Visual Arts, 2017.12.
Papers
1. Cynthea Jean Bogel, Contemplations and Imagery: Issues Relevant to Ancient Japanese Buddhist Icons, Ritual Practice, and Cultural Contexts, Pacific World: Journal of the Institute of Buddhist Studies, 191–222, 2010.09.
2. Cynthea Jean Bogel, The Objects of Transmission and the Subjects of History: Kūkai’s Shōrai mokuroku, Bulletin of the Research Institute of Esoteric Buddhist Culture (Mikkyō Bunka Kenkyūsho Kiyō), 2, 67–99, 2004.10.
3. Cynthea Jean Bogel, Canonizing Kannon
The ninth-century Esoteric Buddhist Altar at Kanshinji, Art Bulletin, 84, 1, 30-64, 2002.03.
Presentations
1. Bogel, Cynthea, “Japanese Prints (ukiyoe 浮世絵) and Đông Hồ Painted Prints in a Comparative Light.”, International Symposium on the Safeguarding and Promotion of Dong Ho Woodblock Paintings in Contemporary Life, 2019.11, Paper abstract (panel chair duties described in next section) Bogel’s presentation focused on the block - print techniques used for creating Dong Ho "painted prints" in a comparative framework with 18th and 19th century Japanese woodblock prints (ukiyoe). Each genre deploys what we might call meta-print techniques (Meta is a prefix used in English to indicate a concept that is an "abstraction behind another concept, used to complete or add to the latter.”). In the case of the printed images made in Dong Ho village, the print is completed with hand -applied pigments (thus the name "painted prints," whereas Japanese prints achieve painterly effects by manipulating the color application on the block or utilizing the grain of the block itself, and also by adding metallic or lacquer materials to the pigments. Some are hand painted, usually within block-printed lines. Although both genres are produced using cutting tools on woodblocks, and both use multiple blocks for colors and a line block, the tools and techniques for cutting vary greatly (printing is inverse, i.e., Dong Ho prints are usually block to flat paper, not paper applied on the block as in Japan), as do the materials for engraving and coloring. Dong Ho painted prints limit the colors according to tradition; Japanese prints began with a limited range of pigments in the 18th c. then added a huge variety of pigment coloration, techniques to make the colors more painterly, and finely carved patterns and lines.

The greatest differences between Japanese prints and Dong Ho prints may be in the act of printing itself: both genres deploy complex processes, but the Japanese print aims for a more technically precise and finished look - in a sense "masking" the multi -layered labors - whereas the Dong Ho painted prints often seem to celebrate both the precision of technical elements alongside folk style and freehand methods (for example, aligning the block and paper, using the eye for registration). Dong Ho prints also use pigmented papers for contrast. Bogel’s presentation considered the print techniques in detail, alongside a consideration of the reception and functions (religious, commemorative, economic) of each print genre, and the structure of the artistic community that produced them. It avoids making value judgements about the relative simplicity or complexity of the print techniques and materials, instead recognizing the agencies that preserve certain techniques, materials, and desired final effects vs those that alter them and the reasons why..
2. CYNTHEA BOGEL, "Cosmology Beneath the Master of Medicine: The Eighth-Century Pedestal at Yakushiji, Nara", Japan Colloquium Series at Yale University, Council on East Asian Studies at Yale University, 2016.11, Yakushiji temple in Nara houses a 2.5-meter bronze sculpture of the Master of Medicine Buddha with two attendant bodhisattvas; the triad was completed ca. 718. A temple of the same name was vowed by Emperor Tenmu (r. 672–686) in 680 for an earlier capital, Fujiwara, when his chief consort, later Empress Jitō (r. 686–697), became ill. Visually and metaphorically, the 1.5-meter bronze pedestal beneath the Master of Medicine icon supports his promise to quell forces that sicken people and foster chaos. The elegant and powerful blend of Indic foreign figures, Chinese cosmology, grape vines, and symbolic motifs on the pedestal have intrigued scholars for over a century as they seek to explain their possible meanings. Focusing on a search for continental sources, motifs in Buddhist contexts alone, or “Silk Road” origins, and falling back on unrelated meanings for symbolics such as the four directional animals, art historians have overlooked evidence provided by the histories and literature of “ancient Japan” that create and narrate the realm of Tenmu "all under heaven.” What emerges from a reexamination of Yakushiji in two times and places and a review of copious scholarship on the pedestal is, in large part, the creation and maintenance of memory: the Empress and her Emperor carried forward in image and concept to Nara from the old Fujiwara capital, and the representation of Tenmu’s realm—re-presented or imagined—on the pedestal in artistic bronze relief.
3. CYNTHEA BOGEL, “Two Capitals, One Cosmology: Clues to a Dual History of the Temple of the Medicine Master Buddha (Yakushiji in the Fujiwara and Nara Capitals)”, Reassessing Kodai Workshop, ミシガン大学 University of Michigan, 2016.02.
4. CYNTHEA BOGEL, “Moving Icons, Changing Contexts: Statues and Paintings in Ancient Japanese Temples and Comparative Questions for Bhutan”, The Inaugural lecture for the Wellington and Virginia Yee Art Lecture Series, 2015.11.
Membership in Academic Society
  • THE BUDDHIST ART SOCIETY
  • American Alliance of Museums (AAM), formerly the American Association of Museums
  • Japanese Art History Association
  • Japanese Art History Association, Western Division
  • Association for Asian Studies
  • College Art Association
  • Japanese Art History Association
Educational
Educational Activities
GENERAL COURSES
History of Asian Art and Visual Culture. This survey covers the arts of India, Tibet, Cambodia, China, Korea, and Japan.
Arts of Japan: A Visual and Cultural History. this survey covers the arts of Japan, pre-history to the present.

UPPER LEVEL COURSES
Arts of Japan
Arts of Japan: Jomon (pre-history) to 1200
Arts of Japan: 1200-1500
Arts of Japan: 1500-Present
Arts of Contemporary East Asia
Japanese Ukiyo-e (woodblock prints), Edo Period (1603-1868)
Japanese Prints, Modern and Contemporary
Print Making and Print History in Japan (studio and art history course)
Japanese Painting
Edo Period Painting (1603-1868)
Japanese Buddhist Painting
East Asian Buddhist Visual Culture
Japanese Buddhist Visual Culture
Religious Art and Architecture of Japan
Korean and Chinese Painting

SEMINAR-LEVEL COURSES
Japanese Handscroll Painting, 11th-14th Centuries
Arts of the Heian Period (794-1185) (Japan)
Japanese Crafts: High Art in the Japanese Context (textiles, ceramics, lacquer)
Esoteric Buddhist Representation and Ritual
Japanese Buddhist Painting
Arts of the Edo Period (1603-1868) (Japan)
Edo-Period Painting (Japan)
Japanese Woodblock Prints (Ukiyo-e) I (early artists) (Japan)
Japanese Woodblock Prints (Ukyo-e) II (Utamaro and his contemporaries) (Japan)
Japanese Woodblock Prints (Ukiyo-e) III (19th c., Hokusai and Hiroshige) (Japan)
Kyoto: Tradition and Tradition Redefined (Japan)
Contemporary Japanese Art (1945-present)

3 WEEK-SEMINARS IN JAPAN
Exploration Seminar in Japan: Mountain Pilgrimage and Religious Arts (2010). Planned.
Exploration Seminar in Japan: Buddhist Temples Past and Present (2009). Taught and directed.
Exploration Seminar in Japan: Buddhism and Temples in Kyoto and Nara (2008). Taught and directed.

GRADUATE SEMINARS (ORDERED CHRONOLOGICALLY FROM 2016-1996)
Undocumented Traces, Hidden Powers: The Eighth-Century Hokkedō Hall and Its Status
Esoteric Buddhist Visual Culture in Japan
Collecting and Exhibiting Art: A View from the USA
The Art of the Printed Book in China, Korea, and Japan, 1600-1940
Art in the Mountains: Japanese Religious Sites, Pilgrimage Images, and Syncretic Icons
Painting of the Heian Period (794-1185) (Japan)
Methodology of Art History
Hidden Agendas and Visible Differences: Gender, Sexuality, Ethnicity, and Difference in Japanese Art and the Study of Japanese Art
Topics in Japanese Woodblock Prints: Entertainment Culture in the Edo Period
Esoteric Buddhist Visual Culture (Japan) and its Asian Sources: Practice, Form, and Perception
Japanese Medieval Handscroll Painting
Arts and Crafts of the Meiji Period (1868-1912) (Japan)
Japanese Textiles: Contemporary and Traditional Works and Methods (with exhibition)
Methodology of Art History
Topics in Japanese Buddhist Art and Architecture: The Long Eighth Century
Topics in Japanese Woodblock Prints: New Research and Methods
Artistic Exchange Between Korea and Japan
Religious Architecture and Gardens (Japan)

UNDERGRADUATE COURSES
古代日本の異界表象、そして死と視覚文化 Representations of Other Worlds: Death and Visual Culture i Ancient Japan (2014)
Other Educational Activities
  • 2019.11, 2019 Frogbear program. Northern Vietnam fieldwork with Professor Nguyen Hien Thi. FROGBEAR Cluster 4.1 Talismans and Talisman Cultures in Contemporary Vietnam, Korea, and Japan: Meaning, Making, Medium. November, 7 days.
    https://frogbear.org/portfolio-item/cluster-4-1-talismans-and-talisman-cultures-in-contemporary-vietnam-korea-and-japan-meaning-making-medium/.
  • 2019.12, The Many Shapes of Meaning: Object and Performance in Asia Across Time. 意義の多様性:アジアにおけるモノと表現 International Conference 国際学会 funded by 2018-19 Kyushu University RINK Challenge type 3 grant (Primary Investigator), December 7–8, 2019. 150 participants.
  • 2018.10, 2018 New Terrains in Asian Humanities. Program Chair for day 2 symposium and organizer of the second and third days of the conference. English sessions. International three-day conference on Japanese humanities topics, sponsored by Kyushu University’s World Premier International Researcher Invitation Program (“Progress 100”) RINK grant of Professor Tomoyuki Kubo. September 21–23, 2018.
  • 2017.11, Kokugakuin University, Kyoto. Invited speaker. “International Forum: How are Japanese Religions Being Taught?” Presentation in Japanese on Japanese religions in seminars on art history and visual culture..
Social
Professional and Outreach Activities
Frogbear (From the Ground Up: Buddhism in East Asian Religions), based at University of British Columbia, International;

Bloomsbury Handbook of Japanese Religions, Editorial Board Member

Consulting and editorial board for Bijutsushi (Art History), Art History Association. Bijutsushi is among the three top art history journals in Japan.

Oxford Bibliographies, Oxford University Press. Buddhism, A peer-reviewed bibliography data base/encyclopedia that is updated regularly. Standing Advisory Board member http://www.oxfordbibliographies.com/obo/page/buddhism

2006–2018 Metropolitan Center for Far Eastern Art Studies (Foundation). The Metropolitan Center (Kyoto, Japan and Palo Alto, CA). Art Advisory Board member. The Center supports East Asian art and visual culture research by graduate students and scholars; grants for museums and other institutions, and library acquisitions. http://www.metcenter-grants.net/.