University of Heidelberg

Contact information

Institute of East Asian Art History
Heidelberg University
Seminarstraße 4
69117 Heidelberg
Germany

Email:

trede@asia-europe.uni-heidelberg.de

Phone:

+49 (0) 6221 54 3969

Fax:

+49 (0) 6221 54 3384

About Melanie Trede

Melanie Trede ist professor for the Histories of Japanese Art at Heidelberg University since 2004, after she had taught at Columbia University and the Institute of Fine Arts, New York University.

She is the author of Image, Text and Audience: The Taishokan Narrative in Visual Representations of the Early Modern Period in Japan (2003), Hiroshige. One Hundred Famous Views of Edo (2007) and the editor of two exhibition catalogues related to Japanese premodern art (2006) and East Asian contemporary art (2009).

She works currently on two projects that involve the Political Iconography of Pictorial Narratives, and art exhibition strategies between Japan and Germany in the 1930s and 40s. Her research and publication interests include pictorial narratives, gender issues and art history, collecting histories, art historiographies and terminologies.

Projects

• B4 Transcultural Visuality
• B8 Rethinking Gender
• B16 Parcours Exhibition in Heidelberg
• D1 Historicizing Violence
• D13 Multi-Centred Modernisms
• HRA3 Visual Database Enhancement
• HRA6 HyperEvaluation

Curriculum vitae

2011 - 2012: Toyota Visiting Professor, Center for Japanese Studies, University of Michigan, Ann Arbor

2010 -  :  Co-Editor of "Heidelberg Studies of Transculturality," University Publishers Winter, Heidelberg

2010 -  : International Advisory Board, "Presentation of non-European Collections in the Humboldt-Forum," Berlin National Museums  

2010 -  : Speaker, Institute of East Asian Art History, Heidelberg University

2007 – 2008 : Fellow, Institute of Advanced Studies (Wissenschaftskolleg), Berlin 

2005-2010: Dean of Graduate Studies, Faculty of Philosophy, University of Heidelberg 

since 2004: Full professor, History of Japanese art, Heidelberg University

2003: Visiting Research Fellow, Gakushûin University, Faculty of Letters, Tokyo  

since 2000: Member, editorial board of “Impressions”

1999 – 2004: Assistant Professor of Fine Arts, Institute of Fine Arts, New York University     

1999: Visiting Assistant Professor of Japanese Art History, Department of Art History and Archaeology, Columbia University  

1999: PhD in East Asian Art History, Heidelberg University

1996 – 1999: Assistant Professor, Institute of East Asian Art History, Heidelberg University

1994 – 1996: Postgradute studies at Gakushûin University, Tokyo

1991 – 1993: Member of research and editorial committee of the exhibition and catalogue “Japan and Europe 1543–1929” (Berlin, 1993)

1989 – 1994: MA in East Asian Art History, Heidelberg University

1988 – 1989: Language Studies, Waseda University, Tokyo

1984 – 1988: Undergraduate Studies, Free University, Berlin

Selected publications

Monographs

Hiroshige. One Hundred Famous Views of Edo, [with Lorenz Bichler], Cologne, New York: Taschen, 2007 (XXL series). Republished in a smaller edition by Taschen, 2010.

Image, Text and Audience. The Taishokan Narrative in Visual Representations of the Early Modern Period in Japan, Hamburg: Peter Lang 2003.

Edited Books

Becoming Intense, Becoming Animal, Becoming…, exhibition catalogue, co-editor with Martina Köppel-Yang, Heidelberg: Kehrer Publishers, 2009.

Arts of Japan. The John C. Weber Collection, Berlin: Museum für Ostasiatische Kunst und Staatliche Museen zu Berlin 2006 (separate editions in English and German).

Articles

 “’Konda sôbyô engi emaki’ no denrai ni okeru ‘chi’ no hen’yô ni tsuite no ichikôsatsu Tracing the changing qualities of “knowledge” in the transmission of the Illuminated handscrolls of the Karmic Origins of the Konda Imperial Tumulus], Ajia yûgaku, special issue “Interprétation des représentations relatives à la diffusion du savoir, edited by Abe Yasurô, Takahashi Tôru, and Itô Nobuhiro, 2011, (Fall, forthcoming).  

“Eikyô gonen Hachiman engi emaki no ‘raifu” to sono ‘afutâraifu”「永享五年八幡縁起絵巻の「ライフ」とその「アフターライフ」」 “The Life and Afterlives of Hachiman Paintings  dated to 1433 CE” [in Japanese], in The Potentialities of Works: To the Point that Japanese Literature Takes Form: 書物としての可能性―日本文学がカタチになるまで―, Proceedings of the 34th International Conference on Japanese Literature 第34回国際日本文学研究集会会議録,人間文化研究機構, 国文学研究資料館, Tokyo: Kokubungaku kenkyû shiryôkan, 2011 (in press for Spring 2011).

“Eikyô gonen Hachiman engi emaki no ‘shôgai” to sono ‘yosei’” “The Life and Afterlives of Hachiman Paintings (1433 CE)” [in Japanese], in Chûsei kaiga no matorikkusu [The Matrix of Medieval Painting], edited by Sano Midori and Shinkawa Tetsuo, Tokyo: Seikansha, 2010, 220-247.
  

“Vorwort: Körperkunst / Preface: Body Art,” in Becoming Intense, Becoming Animal, Becoming…, 2009, 7-11.

“Banknote Design as a Battlefield of Gender Politics and National Representation in Meiji Japan,” in Performing “Nation”: Gender Politics in Literature, Theater, and the Visual Arts of China and Japan, 1880—1940, edited by Doris Croissant, Catherine Vance Yeh, and Joshua Mostow, Leiden: Brill, 2008, 55-104.

“Lives of the Japanese Picture”, in: Melanie Trede (ed.): Arts of Japan. The John C. Weber Collection, Berlin: Museum für Ostasiatische Kunst und Staatliche Museen zu Berlin 2006,20–27.

“Edo: Images of a city between visual poetry and idealized reality / Edo: Bilder einer Stadt zwischen visueller Poesie und idealisierter Wirklichkeit / Images d’une ville entre poésie visuelle et réalité idéale”, in One Hundred Famous Views of Edo, Cologne, New York: Taschen, 2007, 7-27.

“Kindai kokka no shôchô toshite no kodai megami. Shihei ni okeru ’Jingû kôgô no hyôshô(Ancient Goddesses as Symbols of the Modern Nation State. The Representation of ‘Empress Jingû’ on Bank Notes)”, in: Kajima bijutsu kenkyû 2006, 327–338.

“Appell an den Kriegsgott: Ikonographische Innovationen im Dienst politischer Rivalität,” in Pfetsch, Frank R., Hg.: Konflikt, Heidelberger Jahrbücher, 2004, 255-277.

“Terminology and Ideology. Coming to Terms with ‘Classicism’ in Japanese Art Historical Writing”, in: Elizabeth Lillehoj (ed.): Critical Perspectives on Classicism in Japanese Painting,1600–1700, Honolulu: Hawaii Press 2003, 21–52.

“Shikaku ni yoru shôri: Nihon kinsei shoki monogatari kaiga ni okeru nitchû kankei no hyôgen to kaiga media no yakuwari (Victory via vision: Representations of “China” and the role of medium in Japanese pictorial narrative of the 17th century)”, in: Nishi Kazuo (ed.): Kenchiki no mawaributai. Jidai to dezain wo kataru (The turning stage of architectural history:a story told by time periods and design), Tokyo: Shôkokusha 1999, 184–212.

"Kerun tôyô bijutsukan shozô <Taishokan'e> no juyô bigakuteki kôsatsu (The 'Taishokan' Paintings in the Cologne Museum of East Asian Art -- A Study in the Theory of Reception Aesthetics)", Bijutsushi 141 (October 1996), 45-63.   

“Das Bild der Fremden. Nanban-Stellschirme und Genremalerei im Westlichen Stil des 16.und 17. Jahrunderts. Begegnungen zweier Kulturen. Nanban-Kunst und Kunstgewerbe and numerous catalogue entries, in: Doris Croissant, Doris and Lothar Ledderose (eds.): Japan und Europa 1543–1929, Berlin: Argon 1993, 235–239, 243–247. 

Further information

CV at the Institute of East Asian Art History, Heidelberg University
Publications at the Institute of East Asian Art History, Heidelberg University