Marsha Haufler specializes in the history of Chinese painting, Chinese Buddhist art, and Tibeto-Chinese painting, and maintains a strong interest in the arts of Korea. She is currently working on two very different research projects, a visual history of Pyongyang, DPRK, and a study of the thangkas collected by Laurence Sickman in the 1930s. Now retired, she is no longer accepting doctoral students, but encourages students to apply to our graduate program to study the arts of China, Korea, and Japan with the department’s exceptionally strong team of East Asian specialists.
1982—Ph.D., History of Art, University of California, Berkeley
Fellowships and Awards
2007—W.T. Kemper Fellowship for Teaching Excellence
2004—University of Kansas Provost's Award for Leadership in International Education
2002—Keeler Intra-University Professorship for study of Korean language & culture
2000—National Endowment for the Humanities Faculty Research Fellowship
1997—Metropolitan Center for Far Eastern Art Studies grant for research in China
1995—Asian Cultural Council grant to conduct of an on-site graduate seminar in China
1995—National University Continuing Education Association Award of Excellence (for video Images of Chinese Buddhism: The Monastic Setting)
1989—NEH subvention for Flowering in the Shadows: Women in the History of Chinese and Japanese Painting
2012—“Faces from China’s Past: Paintings for Entertainment and Remembrance,” Nelson-Atkins Museum, Kansas City, with University of Kansas graduate students and assistant curator Ling-en Lu, April 28-December 9, 2012.
2007-08—“Senses and Sensibilities,” Nelson-Atkins Museum, Kansas City, with University of Kansas graduate students and museum director Marc Wilson.
2006—“Using the Past to Serve the Present in 20th-Century Chinese Painting,” Spencer Museum of Art, University of Kansas.
2001—“Ming Painting through the Eyes of Connoisseurs,” Spencer Museum of Art, with students in a graduate seminar.
1994—“Latter Days of the Law: Images of Chinese Buddhism 850-1850,” Spencer Museum of Art and The 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.
2011-2015—Member, Editorial Board, Archives of Asian Art
2009-2012—Member of the Advisory Board, National Gallery of Art, Center for Advanced Study in the Visual Arts
2000-11—Chair, Editorial Board, Archives of Asian Art
Cultural Intersections in Later Chinese Buddhism, editor and contributor. Honolulu: University of Hawaii Press, 2001.
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.
Articles and Chapters since 2005
“Purchased by L. Sickman in Peking,” forthcoming in Studia Ars Buddhica.
"Faces of Transnational Buddhism at the Early Ming Court," in Ming China: Courts and Contacts 1400-1450, Craig Clunas, Jessica Harrison-Hall and Yu-ping Luk eds. London: British Museum Press, 2016, pp. 143-151.
“Ming Court Contacts and Belief,” in Ming: 50 years that Changed China, Craig Clunas and Jessica Harrison-Hall, eds. London: British Museum, 2014, pp. 204-253.
“Re-inscribing Mount Myohyang: From Pohyŏn Temple to the International Friendship Exhibition” in Art of Merit: Studies in Buddhist Art and its Conservation. David Park, Kuenga Wangmo, Sharon Cather eds. London: Archetype Publications, 2013, pp. 332-348.
“Reflections on Reflections,” Archives of Asian Art (2012): 90-99.
“Mosaic Murals of North Korea,” in Exploring North Korean Arts, Ruediger Frank, ed., (Vienna and Nuremberg: MAK and Verlag für moderne Kunst Nürnberg, 2011), 241-275.
“Viewing Paintings in Buddhist Monasteries: Episodes from the Ming and Qing Dynasties,” in Beyond Boundaries, National Museum of Korea, 2009, 297-321.
"Fit for Monks' Quarters," Ars Orientalis (2009), 47-75.
“Beyond Yongle: Tibeto-Chinese Thangkas for the Mid-Ming Court,” Artibus Asiae, 69, no. 1(2009), 7-37.
"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.
“Picturing Monks as Connoisseurs and Monasteries as Sites of Aesthetic Engagement,” in Zurich Studies in the History of Art, Georges-Bloch-Annual 13/14 (Zurich: University of Zurich, Institute of Art History, 2006/07), 399-417.
“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.
“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.
Doctoral Dissertations Chaired
Myenghee Son, “Like Life: Royal Portaits of the Joseon Dynasty (1392-1910) in Ritual Context,” 2018.
Ghichul Jung, “The Diamond Ordination Platform of Tongdosa: Buddhist Spaces and Imagery in 18th-Century Korea,” 2016.
Janet Chen, “Representing Talented Women in Eighteenth-century Chinese Painting: Thirteen Female Disciples Seeking Instruction at the Lake Pavilion,” 2016.
Sangnam Lee, “Traces of a Lost Landscape Tradition and Cross-cultural Relationships between Korea, China, and Japan in the Early Joseon Period (1392-1560),” 2014.
Sooa McCormick, “Comparative and Cross-Cultural Perspectives on Chinese and Korean Court Documentary Painting in the Eighteenth Century,” 2014.
Kevin Greenwood, “Yonghegong: Imperial Universalism and the Art and Architecture of Beijing’s ‘Lama Temple’,” 2013.
Hui Wang Martin, “Guangsheng Monastery: The Creation of Local Identities Through Art and Architecture,” 2012.
Youmi Efurd, “Baiyun guan: the Development and Evolution of a Quanzhen Daoist Temple,” 2012.
Amanda Wright, “Qiu Ti’s Contributions to Juelanshe and the Intersection of Modernist Ideology, Public Receptivity, and Personal Identity for a Woman Oil Painter in Early Twentieth-Century China,” 2011.
Kyung-won Choe [Gyeong-won Choe], “Marginalized yet Devoted: Buddhist Paintings Commissioned by Nuns of the Early Joseon Palace Cloisters,” 2010.
Noelle Giuffrida, “Representing the Daoist God Zhenwu, the Perfected Warrior, in Late Imperial China,” 2008.
Ling-en Lu, “Sagas, deities, and hells: Ming dynasty wall paintings at the Temple of the Three Lords,” 2007.
Chang Qing, “Feilaifeng and the flowering of Chinese Buddhist sculpture from the tenth to fourteenth centuries,” 2005.
Lili Chiu, “The depictions of “Lohans' Journey Across the Water”: The complex water-crossing symbolism and popular culture in the Ming dynasty (1368–1644),” 2005.
Insoo Cho, “Images of Liu Haichan: The formation and transformation of a Daoist immortal's iconography,” 2002.
Dianne Morton, “Paintings as social rhetoric: Wei -Jin themes in Ming dynasty illustrations and inscriptions,” 2001.
Dissertations Co-Chaired (with Dr. Chu-tsing Li)
Alan Atkinson, “New songs for old tunes: The life and art of Wang Duo,” 1997.
An-yi Pan, “Li Gonglin's Buddhist beliefs and his "Lotus Society Picture": An iconographic diagram of the bodhisattva path,” 1997.
Hsing-li Tsai, “Ch'en Hung-shou's "Elegant Gathering": A late Ming pictorial manifesto of Pure Land Buddhism,” 1997.
Joseph Tsenti Chang, “A study of "Large Emerging from Small" in the collection of the National Palace Museum, Taibei,” 1995.
Si-liang Yang, “Pan Tianshou and twentieth-century traditional Chinese painting,” 1995.
Master's Thesis Directed
Meghan Kirkwood, “Postcolonial Architecture through North Korean Modes: Namibian Commissions of the Mansudae Overseas Project,” 2011.
Recent Graduate Seminars
Versailles to the Garden of Perfect Clarity: Circuits of Exchange in the Eighteenth Century (From Rome, Paris, and London to Beijing and Back), Spring 2009.
Court Arts of the Ming Dynasty, Spring 2010
Later Chinese Figure Painting: Exhibition Seminar, Fall 2011.
A Time of Miracles and Wonder: China AD 1400-1450, Spring 2013
Beijing, spring 2014
Asian Art: Theory and Method, Spring 2015
Sites of Memory/Cultural Heritage in Asia, Spring 2016