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C o n t r i b u t o r s Laura W. Allen is a research associate at the Center for Japanese Studies, University of California, Berkeley. Her essay on models of exemplary behavior in the thirteenthcentury Illustrated Life of Saigy≤ (Saigy≤ monogatari emaki) appeared in the Journal of Japanese Studies in 1995. Her chapter is part of her larger study of figure paintings by Tosa Mitsuoki (1617–1691). Karen M. Gerhart holds a Ph.D. in Japanese art history from the University of Kansas. She is the author of The Eyes of Power: Art and Early Tokugawa Authority (1999) and her essays on paintings and murals of Nij≤ and Nagoya castles have appeared in Monumenta Nipponica and Ars Orientalis. Currently she is associate professor of the history of art and architecture at the University of Pittsburgh. Elizabeth Lillehoj received her Ph.D. in Japanese art history from Columbia University in 1988. She is the author of the catalog Woman in the Eyes of Man: Images of Women in Japanese Art (1995) along with other publications on medieval and early modern Japanese art. Her current research relates to imperial sponsorship of art in seventeenthcentury Japan. She is associate professor of art history at DePaul University, Chicago. Joshua S. Mostow is associate professor in the Department of Asian Studies at the University of British Columbia. He is the author of Pictures of the Heart: The Hyakunin Isshu in Word and Image (1996) along with numerous articles on literary and visual analysis of Japanese art. Among these is the essay “Picturing Love Among the One Hundred Poets,” in Love in Asian Art and Culture (1998). Keiko Nakamachi is professor in the Department of Aesthetics and Art History at Jissen Women’s University, Tokyo. She has examined numerous topics related to later Japanese art, focusing often on Edo-period Rimpa. Her books include Rimpa ni yume miru (Dreaming of Rimpa, 1999) and Ogata K≤rin (1998). Quitman Eugene Phillips received his doctorate from the University of California at Berkeley in 1992. Since then he has taught Japanese art history and art-historical theory and methods at the University of Wisconsin, Madison, achieving the rank of associate professor in 1998. He is the author of The Practices of Painting in Japan, 1475–1500 (2000) and articles on the Kano school, Japanese pictorial narration, and a variety of other topics. His current research deals with Buddhist painting of the Muromachi period , especially as it relates to rituals for the dead. Satoko Tamamushi received her master’s degree from T≤hoku University. Formerly she served as chief curator of the Seikad≤ Bunko Art Museum and currently she is a professor of Japanese art history at Musashino Art University. Among her publications are “Sakai H≤itsu hitsu Natsuakikusa-zu by≤bu in E wa Kataru 13 ,” which won the six- teenth Suntory Gakugei Sh≤ Award in 1994, and “Transition of the Image of K≤rin, 1815–1915” (1999). Melanie Trede has studied in Berlin, Heidelberg, and Tokyo and received her M.A. and Ph.D. in the history of East Asian art from the University of Heidelberg. She has published articles and reviews, mainly on the subject of Japanese pictorial narratives, in English, German, and Japanese. She has taught at the University of Heidelberg and was a visiting professor at Columbia University in 1999. Currently she is assistant professor of Japanese art histories at the Institute of Fine Arts, New York University. 262 Contributors ...

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