Publications

BOOKS

  • Japanese Design: Art, Aesthetics, & Culture (Tuttle Publishing, 2014), 160pp.  Original edition at  Amazon.com 
  • Chinese language edition: Ri ben she ji: Yi shu,Shen mei yu wen hua 日本设计 : 艺术,审美与文化 = Japanese design. Translated by Zhang Yin 张寅 and Yin Yanxia 银艳侠. Beijing: Sheng huo·Du shu·Xin zhi san lian shu dian, 2017.
  • Revised paperback edition (with slightly revised title): Japanese Design: An Illustrated Guide to Art, Architecture and Aesthetics in Japan, 2021. Revised edition at Amazon.com
    DESIGNATED A CHOICE MAGAZINE OUTSTANDING ACADEMIC TITLE IN 2015.
  • Faith and Power in Japanese Buddhist Art, 1600-2005 (University of Hawai’i Press, 2007), 353pp.
  • Tea of the Sages: the Art of Sencha (University of Hawai’i Press, 1998), 259pp.

Faith and Power in Japanese Buddhist Art and Tea of the Sages can be ordered from the University of Hawaii Press website

Reviews of Faith and Power in Japanese Buddhist Art have appeared in numerous scholarly journals, including College Art Association Reviews online (CAA Reviews), Monumenta Nipponica, Buddhist Art News, New Zealand Journal of Asian Studies, Religious Studies Review

Reviews of Tea of the Sages have appeared in the journals Japanese Studies (Japanese Studies Association of Australia), Andon, International Institute for Asian Studies Newsletter (University of Leiden), The Journal of Asian Studies, Monumenta Nipponica, and online at the Amazon.com website.

ARTICLES IN JOURNALS

Many of my articles are available for free download from my Academia.edu web page

  • “Obaku and Sencha (Huangbo and Tea-making) – Second Lecture of ‘Huangbo Lecture Series’ 黄檗与煎茶 ——“黄檗讲堂”第二讲,” Journal of Studies on Fujianese Entrepreneurs Culture Supplement 2023 Special Issue Huangbo (Ōbaku) Studies 黄檗艺术号特稿 (translated into Chinese by Jia Guangzuo, Pi Jinling, Chen Zhiqi): pp. 96-109.
  • “Japanese Literati Painting and Calligraphy,” co-authored with Frank L. Chance. Oxford Bibliographies in Art History. Ed. Thomas DaCosta Kaufmann. New York: Oxford University Press, 2021. https://www.oxfordbibliographies.com/view/document/obo-9780199920105/obo-9780199920105-0163.xml
  • “Langdon Warner’s Vision for the Japanese Collection at the Nelson-Atkins Museum of Art, 1930-1935,” The Journal of the History of Collection, Oxford University (2015, in an issue dedicated to “Ideas of Asia in the Museum”). Download available HERE
  • “The Visual Culture of Japanese Buddhism from the Early Modern Period to the Present,” Religion Compass 5/8 (2011): 389–411, 10.1111/j.1749-8171.2011.00294.  Online journal available by subscription: http://onlinelibrary.wiley.com/doi/10.1111/j.1749-8171.2011.00294.x/full
  • “Compassion, Craft, and Connectedness: Shinji Turner-Yamamoto’s Cincinnati ‘Global Tree Project,’ Orientations (May 2011): 80-85.
  • “The Savior as Ascetic, Shakyamuni Undergoing Austerities by Kano Kazunobu.” Register, Spencer Museum of Art, University of Kansas, (summer 2010): 12-29. Available online: http://hdl.handle.net/1808/6823
  • “Kenkyū shiryō: Kano Einō hitsu ‘Higashiyama ki” (Research materials: Kano Einō’s painting of ‘A record of Higashiyama’). Kokka 1327 (May 2006): 36-38.
  • “Naritasan Shinshōji and Commoner Patronage During the Edo Period,” Early Modern Japan: An Interdisciplinary Journal, Fall-Winter 2004: 11-25. Available online at: https://kb.osu.edu/dspace/bitstream/1811/5824/1/V12N2Graham.pdf
  • “Fans Afloat: Samurai Taste in Japanese Yamatoe Design,” Orientations (December 2003): 20-29.
  • “Shingon in Japanese Visual Culture, 17th to 20th Century,” Bulletin of the Research Institute of Esoteric Buddhist Culture (Mount Kōya, Japan), October 2003: 119-138.
  • “An Interview with Dr. Kurt A. Gitter and Alice Rae Yelen,” Orientations (Sept. 2002): 77-81.
  • “Early Modern Japanese Art History: An Overview of the State of the Field,” Early Modern Japan: An Interdisciplinary Journal 10/2 (Fall 2002): 2-21. Available online: https://kb.osu.edu/dspace/bitstream/1811/607/1/V10N2Graham.pdf
  • “California Shoin: The Ian and Sue Wilson House,” co-authored with David M. Dunfield, Orientations (March 2002): 90-99.
  • “Ōkubo Shibutsu, Vagabond Poet of Edo, and His Nanga Painter-Friends,” Kaikodo Journal (Fall 2001): 63-73.
  • “China’s Influence on Japanese Edo Period Paintings at the Indianapolis Museum of Art,” Orientations (March 2001): 78-92.
  • “Sencha: Japan’s Chinese-style Tea Ceremony,” Tea, a Magazine 19 (Jan/Feb 1999): 4-11.
  • “Aoki Mokubei: Japan’s 1st Master Teapot Maker,” Tea, a Magazine 18 (Nov/Dec 1998): 30-32.
  • “Studio Potters and Porcelain Manufacture in Japan,” Orientations (December 1996): 45-52.
  • “Searching for the Spirit of the Sages: Baisaō and Sencha in Japan,” in: Sino-Japanese Studies 9/1 (October 1996): 34-46.
  • “Japanese Popular Ceramics in the Nelson-Atkins Museum of Art,” Orientations (Sept. 1994): 32-39.
  • “Kinsei Nihon no Bukkyō bijutsu ni okeru Chūgoku no eikyō” (Chinese Influences on Professional Buddhist Painting of Early Modern Japan), in: Uji: Manpukuji, Ōbaku Bunka Kenkyūjo, Ōbaku Bunka (Ōbaku culture) 114 (March 1994): 42-45.
  • “Documents and Monuments in the History of the Sencha Tea Ceremony in Japan,” in: Kansai Daigaku Tōzai Gakujutsu Kenkyū Kiyō (Proceedings of the Institute of Oriental and Occidental Studies, Kansai University), 26 (3/1993): 51-67.
  • “A Heterodox Painting of Shussan Shaka in Late Tokugawa Japan,” Artibus Asiae, Part I, vol. 51 no. 3/4 (1991): 275-292 and Part II, vol. 52 no. 1/2 (1992): 131-145.
  • “On the Development of an Architectural Setting for the Sencha Tea Ceremony,” Orientations (Sept. 1991): 65-75.
  • “Lifestyles of Scholar-Painters in Edo Japan” Bulletin of the Cleveland Museum of Art, vol. 77/ 7 (Sept. 1990), 262-283.
  • “Exhibition Report: Tokyo: Form and Spirit,” in Orientations (March 1987): 45-54.
  • “Conservation and Integration of Historic Architecture in Contemporary Japan,” with David M. Dunfield. Orientations (June 1986): 42-53.
  • “Yamamoto Baiitsu no Chūgokuga kenkyū” (Yamamoto Baiitsu’s Study of Chinese Painting), Kobijutsu 80 (Fall 1986): 62-75.
  • “Japanese Art at the Nelson-Atkins Museum,” Orientations (August 1985): 12-30.
  • “Sencha and Its Contribution to the Spread of Chinese Literati Culture in Edo Period Japan,” Oriental Art n.s. vol. 31/2 (Summer 1985): 186-195.
  • “Japan Through an Artist’s Eyes: The True-View Pictures of Yamamoto Baiitsu,” Orientations (February 1985): 12-27.
  • “Nanga Painters of Nagoya,” Orientations (Oct. 1984): 34-48.

ESSAYS IN BOOKS AND CONFERENCE PROCEEDINGS

  • “The Importance of Imports: Ingen’s Chinese Material Culture at Manpukuji,” essay for a book, Zen and Material Culture, edited by Pamela Winfield and Steven Heine. Oxford University Press (2017).
  • “East Asian Art,” essay in Appraising Art The Definitive Guide to Appraising the Fine and Decorative Arts, by Aleya Lehmann Bench, et al. Appraisers Association of America, 2013, 291-296. Available online: here
  • “Compassion, Craft, and Connectedness,” essay in Shinji Turner-Yamamoto Global Tree Project, by Shinji Turner-Yamamoto, Patricia Graham, and Justine Ludwig. Bologna: Damiani Editore, 2012, pp. 49-54.
  • “Craftsmanship in Japanese Arts,” chapter in a book, Reading Asian Art and Artifacts: Windows to Asia on American College Campuses, a project of the ASIANetwork (a consortium of undergraduate colleges with Asian Studies Programs). Lehigh University Press/Rowman & Littlefield, 2011, 123-148.
  • Chapter 11: “Japan to 1333” and chapter 25: “Japan After 1333,” of Art History, 4th edition. By Marilyn Stokstad and Michael Cothren. Upper Saddle River, NJ: Pearson-Prentice Hall, 2010.
  • Foreword to: ‘Gyahtei’:Manabu Yamanaka Photographs. Tokyo: POT Publishing Co., 2009.
  • Foreword, Notes to Readers, and Bibliography of the Writings of Tsuda Noritake, in a new edition of the 1935 Handbook of Japanese Art by Noritake Tsuda, published with the new title: A History of Japanese Art, From Prehistory to the Taisho Period. Rutland, VT: Tuttle, 2009, 14-31, 455-463.
  • “Karamono for Sencha, Transformations in the Taste for Chinese Art” in Japanese Tea Culture: Art, History, and Practice, edited by Morgan Pitelka. London: Routledge-Curzon Press, 2003, 110-136.
  • ” ‘Fans Floating in Waves’ as a Representative Design Motif of Japanese Visual Culture,” Review of Japanese Culture and Society, 15 (December 2003). Tokyo: Center for Inter-Cultural Studies and Education, Josai University: 91-93. Summary of paper presented at Chino Kaori Memorial Conference, 2003.
  • “Japanese Appreciation of Chinese Flower Baskets,” in: Japanese Bamboo Baskets: Masterworks of Form and Texture, from the Collection of Lloyd Cotsen. Los Angeles: Cotsen Occasional Press, 1999, 60-83.
  • “Edo jidai ni okeru sencha bijutsu to Chūgoku bunjin kyōmi” (Arts for Senchadō and Chinese Literati Taste in Edo period Japan), in: Nihon bijutsushi no sumiyaku (Currents in Japanese Art History, festschrift for Professor Tsuji Nobuo of Tokyo University), Tokyo: Pelican, 1993, 860-880.
  • “Chinese Influences on Professional Buddhist Painting of Early Modern Japan,” in: Proceedings of the Conference on East Asia and Modernization of the China Association for the Study of Sino-Japanese Relations, Beijing, PRC, March 1991,  55-58 (translated into Chinese).

CONTRIBUTIONS TO EXHIBITION AND MUSEUM COLLECTION CATALOGUES

  • “#10: Prince Shotoku Taishi as a Child Praying,” pp. 136-137; “#28: Kishi Chikudō, Crows in Early Winter,” pp. 172-173, 75 in 25: Important Acquisitions at the Santa Barbara Museum of Art, 1990-2015. Santa Barbara Museum of Art, 2016.
  • “Ōbaku and Sencha,” essay in Eat This and Drink Some Tea: Huangbo / Obaku Crosscultural Zen Calligraphy, by Paul Moss. London, Sydney L. Moss, Ltd.: 2014,  44-54 (an exhibition catalogue on Ōbaku art)
  • Catalogue of the Asian Collection of the Santa Barbara Museum of Art, ca. thirty 1,000 word entries on Japanese painting, Buddhist sculpture and sutras, ceramics, and lacquer (forthcoming).
  • “Dissention in the World of Tea: The Fashion for Sencha and Chinese Culture in Early Modern Japan,” essay in the exhibition catalogue, Steeped in History: The Art of Tea, edited by Beatrice Hohenegger. Los Angeles: Fowler Museum at UCLA, 2009, 90-105.
  • “Ōtagaki Rengetsu and the Japanese Tea Ceremony,” essay in the exhibition catalogue, Black Robe, White Mist: The Art of the Japanese Buddhist Nun Ōtagaki Rengetsu. Canberra: National Gallery of Australia, 2007, 63-68.
  • “The Later Flourishing of Literati Painting in Edo-period Japan,” in the exhibition catalog, An Enduring Vision: Paintings from the Manyo’an Collection from the 17th to the 20th Century, by Kobayashi Tadashi et al. New Orleans: New Orleans Museum of Art, 2002, 69-87.
  • “Festivals of the Twelve Months: Japanese Ceremonial and Seasonal Time,” in Tempus Fugit: Time Flies (exhibition catalogue), edited by Jan Schall. Kansas City, MO: The Nelson-Atkins Museum of Art, 2000, 282-287.
  • “The Political and Economic Importance of the Tōkaidō,” chap. 1 of Tōkaidō–Adventures on the Road in Old Japan, Spencer Museum of Art, University of Kansas, 1980, 2-18.
  • Catalogue of the Oriental Collection, Helen Foresman Spencer Museum of Art, University of Kansas, 1980. Catalogue entries on Japanese haniwa, paintings, and ceramics.

BOOK AND EXHIBITION REVIEWS

  • Craft Culture in Early Modern Japan: Materials, Makers, and Mastery. By Christine M.E. Guth. Oakland, CA: University of California Press, in association with the Spencer Museum of Art and the Kress Foundation Department of Art History, the University of Kansas, 2021, in the English Historical Review (March 2023).
  • JapanAmerica: Points of Contact, 1876-1970. Nancy E. Green and Christopher Reed, editors (Ithaca, NY: Herbert F. Johnson Museum of Art, Cornell University, 2016) in CAA.Reviews (College Art Association Reviews Online; 2019). 
  • Preserving The Dharma: Hōzan Tankai and Japanese Buddhist Art of the Early Modern Era, by John M. Rosenfield (Princeton: Princeton University Press, 2015﴿ in the Journal of Japanese Studies 43:2 (2017): 414-418.
  • With a Single Glance: Buddhist Icon and Early Mikkyō Vision. By Cynthea J. Bogel (University of Washington Press, Seattle and London, 2009) in Journal of Japanese Studies 38/2 (Summer 2012): 420-425.
  • Portraits of Chōgen: The Transformation of Buddhist art in Early Medieval Japan, by John M. Rosenfield (Leiden and Boston: Brill, 2011), in Religious Studies Review 37/3 (September 2011): 238. Journal available online: http://onlinelibrary.wiley.com/doi/10.1111/j.1748-0922.2011.01544_6.x/full
  • Emplacing a Pilgrimage: The Ōyama Cult and Regional Religion in Early Modern Japan, by Barbara Ambros (Cambridge, MA: Harvard University Asia Center, distributed by Harvard University Press, 2008), in Journal of Japanese Studies (Summer 2009): 357-361.
  • Review article on two books: Ehon: The Artist and the Book in Japan, by Roger S. Keyes (New York: The New York Public Library, in association with the University of Washington Press, Seattle and London, 2006) and Chikanobu: Modernity and Nostalgia in Japanese Prints, edited by Bruce Coats (Claremont, CA: Scripps College, in association with Hotei Publishing, Leiden, The Netherlands, 2006), in the IIAS (International Institute for Asian Studies) Newsletter 45, Leiden, The Netherlands (Autumn 2007): 37-38. Journal available online: http://www.iias.nl/nl/45/IIAS_NL45_3738.pdf
  • The Hotei Encyclopedia of Japanese Woodblock Prints, edited by Amy Reigle Newland (Amsterdam: Hotei Publishing, 2005) in the College Art Association Reviews Online (April 2007). Journal available online: http://www.caareviews.org/reviews/975
  • Painters as Envoys: Korean Inspiration in Eighteenth-Century Japanese Nanga, by Burglind Jungmann (Princeton: Princeton University Press, 2004), in Journal of Asian Studies 64/3 (August 2005): 708-709.
  • Mandalas: Representations of Sacred Geography, by Elizabeth ten Grotenhuis (University of Hawai’i Press, 1999), in College Art Association Reviews Online (1999).
  • Art of Edo Japan: the Artist and the City, by Christine Guth (NY: Abrams, 1996), in Early Modern Japan, 7/1 (November 1998): 7-10.
  • Edo Craftsmen, Master Artisans of Old Tokyo, by Thomas F. Judge with photographs by Tomita Hiroyuki (NY: Weatherhill, 1994), in: Early Modern Japan, 6/1 (Summer 1997): 42-44.
  • “A Celebration of Art,” a review article of Penelope Mason’s Arts of Japan (Abrams, 1993), in: Monumenta Nipponica 49/1 (Spring 1994): 75-87.
  • “Two Artists of the Edo Period,” a review of Melinda Takeuchi’s, Taiga’s True Views, the Language of Landscape Painting in Eighteenth Century Japan (Stanford University Press, 1992) and Richard L. Wilson’s, The Art of Ogata Kenzan, Persona and Production in Japanese Ceramics (Weatherhill, 1991), in Monumenta Nipponica 48/1 (Spring 1993), 89-99.
  • Japanese Art: Masterpieces in the British Museum, by Lawrence Smith, Victor Harris, and Timothy Clark, in Journal of Asian Studies 50/2 (May 1991): 421-422.
  • Yoshitoshi’s Women: The Woodblock Print Series “Fuzoku Sanjuniso,” by John Stevenson, in Journal of Asian Studies 48/ 1 (February 1989): 180-181.

DICTIONARY AND ENCYCLOPEDIA ENTRIES

  • “Carving and Sculpture in Pre-Modern Japan,” in Bloomsbury Encyclopedia of East Asian Design, edited by Haruhiko Fujita and Christine Guth. London: Bloomsbury Publishing, 2020, pp. 242-245.
  • Encarta Encyclopedia 2000, Microsoft Corp. 2,000 word essay on Kyoto, Japan.
  • The Dictionary of Art, London: Macmillan, 1996. Entries on: Maruyama Ōkyo, Tomioka Tessai, Mori Sosen, Ukita Ikkei, Nagasawa Rosetsu, Yamamoto Baiitsu, Shen Nanpin, Kishi Ganku, Shōyū Itsunen, the city of Kurashiki, Manpukuji, Osaka: Urban Development and Artistic Life, Bamboo and Basketry in Japan. Articles available online: https://www.oxfordartonline.com/groveart
  • “Nakabayashi Chikutō,” in Kodansha’s Encyclopedia of Japan. Tokyo: Kodansha, 1983.