Marsha Haufler (Weidner) Professor魏瑪莎LATER CHINESE ART

COURSES OFFERED:

Visual Arts of East Asia

Art and Culture of China

Art and Culture of Korea

Chinese Painting

Song and Yuan Painting

Buddhist art

Graduate seminars in Chinese art (topics vary, e.g.

Theory and Methodology in the Study of Chinese Painting;

Connoisseurship in Chinese Painting; Painting in Suzhou in

the Ming Dynasty; Chinese Buddhist Painting; Ming and Qing

Topographical Painting; Chinese Women Painters;

Monasteries as Centers of Aesthetic Culture in the Ming Dynasty)

Korean Painting

Graduate Seminars in Korean Art (Topics vary, e.g.

Korean Painting, Buddhist Korean Art, etc.)

EDUCATION

1982 Ph.D., History of Art, University of California, Berkeley.

1973 M.A., History of Art, University of California, Berkeley

1970 M.A., Folklore, University of California, Berkeley

1966 B.A., Studio Art, Mills College, Oakland, California.

EMPLOYMENT

2007-2008 Professor, History of Art and Acting Director of the Center for East Asian Studies, University of Kansas

2005-2006 Professor, History of Art and Acting Director of the Center for East Asian Studies, University of Kansas

2001-2004 Professor, History of Art, University of Kansas

1998-2000 Professor, History of Art and Director of the Center for East Asian Studies, University of Kansas

1991-98 Associate Professor, History of Art, University of Kansas

1984-91 Assistant Professor, History of Art, University of Virginia

1979-84 Lecturer and Assistant Professor of Art and East Asian studies, Oberlin College

RECENT FELLOWSHIPS AND AWARDS

2007 W.T. Kemper Fellowship for Teaching Excellence

2004 Provost's Award for Leadership in International Education

2002 Keeler Intra-University Professorship, for the study of Korean language and culture

2000 National Endowment for the Humanities Faculty Research Fellowship

RECENT INSTITUTIONAL GRANTS

2006 Title VI, National Resource Center grant for the Center for East Asian Studies (CEAS), University of Kansas

2003 Metropolitan Center for Far Eastern Art Studies subvention for Archives of Asian Art, for the Asia Society, New York

2000 Title VI, National Resource Center grant for the CEAS, University of Kansas

EDITORIAL

2000- Chair, Editorial Board, Archives of Asian Art

1997-99 Member of the Editorial board, Archives of Asian Art; and East Asian editor, CAA.Reviews. (College Art Association online review journal)

PUBLICATIONS (as Marsha Weidner)

Books and scholarly catalogues:

Cultural Intersections in Later Chinese Buddhism, editor and contributor. Honolulu: University of Hawaii Press, 2001.

Perspectives on Heritage of the Brush, editor and contributor. Lawrence, Kansas: Spencer Museum of Art, 1997.

Latter Days of the Law: Images of Chinese Buddhism (exhibition catalogue), editor and primary author. Lawrence, Kansas: Spencer Museum of Art; Honolulu: University of Hawaii Press, 1994.

Flowering in the Shadows: Women in the History of Chinese and Japanese Painting, editor and contributor. Honolulu: University of Hawaii Press, 1990.

Views from Jade Terrace: Chinese Women Artists, 1300-1912 (exhibition catalogue), editor and primary author. Indianapolis: Indianapolis Museum of Art, and New York: Rizzoli, 1988.

Recent articles:

"Only Fit for the Monks' Quarters," forthcoming in Ars Orientalis in 2009

“Picturing Monks as Connoisseurs and Monasteries as Sites of Aesthetic Engagement,” forthcoming in Georges Bloch Jahrbuch, Institute of Art History, Zurich University (festschrift for Dr. Helmut Brinker).

"A Vaishravana Thangka from the Ming Dynasty," Orientations, (Nov/Dec. 2008): 92-99.

“Portraits and Personalities in the Temples of Ming Beijing: Responses to Portraits of the Monk Daoyan,” in The History of Painting in East Asia: Essays on Scholarly Method (Taipei: Rock Publishing International, 2008), 224-42.

“Sino-Tibetan Thangkas of the Chenghua and Zhengde Periods in Western Collections,” in Palace Museum Journal (October 2007), 78-97; Selected from the Third International Conference on Tibetan Archaeology & Arts papers, Beijing, 2006. Revised version in English forthcoming in Artibus Asiae in 2009.

“Two Ming Ritual Scrolls as Harbingers of New Directions in the Study of Chinese Painting,” Orientations (Jan/Feb. 2005), 64-73

“Images of the Nine-Lotus Bodhisattva and the Wanli Empress Dowager,” Chungguksa yongu (The Journal of Chinese Historical Researches) no. 35 (April 30, 2005), 245-278.

Recent papers and lectures

October 2008 "Viewing Paintings in Buddhist Monasteries: Episodes from the Ming and Qing Dynasties," for "Beyond Boundaries: International Symposium on Chinese and Korean Painting," a conference to be held at the National Museum of Korea, Seoul.

May 2008, “Alternate Realities in Pyongyang,” Honolulu Academy of Art

May 2008 “East Meets West: Qing Court Taste and European Style,” Joslyn Art Museum, Omaha, Nebraska.

April 2007 “A Monk at the Party,” for “Returning to the Shore: A Scholarly Symposium in Honor of James Cahill's 80th Year,” University of California at Berkeley.

Sept. 2007 “Tangkas for the Ming Court,” Vanderbilt University

Dec. 2006 “Thangkas for the Ming Court,” Princeton University.

Dec. 2006 "Only Suitable for the Monks' Quarters," for the “New Directions in Yuan Painting” conference at the University of Pennsylvania Museum.

Feb. 2006 “Early and Mid-Ming Dynasty Painting, Gardens, and Temples” for the Asian Art Society of San Francisco.

Oct. 2006 "Mid-Ming Sino-Tibetan Thangkas in Western Collections," for the Third International Conference on Tibetan Archaeology & Arts, in Beijing, China.

Nov 2005 "Art in the Abbot's Quarters: Picturing Monks as Collectors and Connoisseurs," Central Academy of Fine Arts, Beijing, China.

May 2005 "Korean Taste, Korean Tradition,"Virginia Museum of Fine Arts, Richmond.

April 2005 “The Wanli Empress Dowager as Patron and Bodhisattva,” University of Washington.

March 4, 2005 “The Nine-Lotus Bodhisattva on Silk, Stone, and Paper,” annual meeting of The Association for Asian Studies.

Oct. 4, 2004 “A Proposed Exhibition of Ming-Qing and Joseon Buddhist Painting,” ICOM (International Committee on Museums) meeting in Seoul, Korea.

Oct. 9, 2004 “Images of the Nine-Lotus Bodhisattva and the Wanli Empress Dowager,” “Chinese History Through Art,” an international conference at Yeungnam University in Korea.

Oct. 4, 2004 “A Proposed Exhibition of Ming-Qing and Joseon Buddhist Painting,” ICOM (International Committee on Museums) meeting in Seoul, Korea.

VIDEO

Images of Chinese Buddhism: The Monastic Setting (writer, executive producer, and photographer) 1994

EXHIBITIONS CURATED

2001 "Ming Painting through the Eyes of Connoisseurs," Spencer Museum of Art, University of Kansas.

1994 "Latter Days of the Law: Images of Chinese Buddhism 850-1850," Spencer Museum and Asian Art Museum of San Francisco.

1987-88 "Views from Jade Terrace: Chinese Women Painters, 1300-1912," Indianapolis Museum of Art, Virginia Museum of Art, Asian Art Museum of San Francisco, National Women’s Museum (Washington, D.C.), China Institute (New York), and City Museum of Hong Kong.

OTHER RECENT PROFESSIONAL ACTIVITIES

2000 Instructor, intensive two-week course on Chinese Art, Masters of Chinese Studies Program, University of Aveiro, Portugal.

2000 Participant, Second Workshop for Korean Art Curators in Seoul, Korea, sponsored by the Korea Foundation.

1998 Lecturer, "Dunhuang Art and Society," a seminar conducted June 20-July at the Mogao Grottoes of Dunhuang by the Silkroad Foundation and the Dunhuang Institute

1996 Organizer and instructor, seminar on later Chinese Buddhist painting conducted in Beijing, Hebei and Shanxi; sponsored by the Asian Cultural Council.

This collection of essays on "later" Chinese Buddhism takes us beyond the bedrock subjects of traditional Buddhist historiography - scriptures and commentaries, sectarian developments, lives of notable monks - to examine a wide range of extracanonical materials that illuminate cultural manifestations of Buddhism from the Song dynasty (960-1279) through the modern period. Straying from well-trodden paths, the authors often transgress the boundaries of their own disciplines: historians address architecture; art historians look to politics; a specialist in literature treats poetry that offers gendered insights into Buddhist lives. The broad-based cultural orientation of this volume is predicated on the recognition that art and religion are not closed systems requiring only minimal cross-indexing with other social or aesthetic phenomena but constituent elements in interlocking networks of practice and belief.