Why did Buddhist image-makers choose certain materials for their projects? How could woodworkers during the thirteenth century complete the two massive gate guardians in the Nandaimon at Todaiji in less than three months? What is being done to preserve the old traditions of sculpture-making alongside the new, innovative techniques that move the possibilities of sculpture forward?
In this series of monthly classroom-style lectures, Michael VanHartingsveldt will trace the development of sculpture in Japan through its material and technical aspects. These lively discussions invite participants to engage with Japanese sculptures from various time periods and mediums where they will not only learn fundamental information about how the sculptures were made and to what purpose but also encounter obscure topics related to the art and artifacts of Japan. Michael will also incorporate details from his dissertation research on the tools and techniques used by Buddhist image-makers in medieval Japan and the rituals they practiced to maintain the sacrality of the raw materials, especially wood, as they were transformed into icons for worship.
| Date | Topic |
| November 12, 2025 | Before and During the Asuka Period |
| December 3 | Nara Period |
| January 7, 2026 | Heian Period |
| February 4 | Kamakura Period |
| March 11 | From the Muromachi to Edo Periods |
| April 1 | Modern and Contemporary Sculpture |
Michael VanHartingsveldt
A PhD candidate in Art History at the University of Kansas, Michael VanHartingsveldt is currently writing his dissertation about the Buddhist sculptor profession in medieval Japan. He has curated exhibitions, taught university courses, and presented public lectures about Japanese visual culture in California, Kansas, and Japan, and is now working as an Art and Culture Program Officer at the Japan Foundation, Los Angeles.
5700 Wilshire blvd, Suite 100
Los Angeles, CA 90036
jflainfo@jpf.go.jp
323.761.7510
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