Jinah Kim teaches courses in the art and architecture of South and Southeast Asia. She received her B.A. in Archaeology and Art History from Seoul National University (1998), and M.A. (2001) and Ph.D. (2006) in History of Art from University of California, Berkeley. She is a recipient of a few prestigious fellowships, such as a Getty-NEH post-doctoral fellowship (2012-2013), a Mellon Fellowship for AssistantProfessors at the Institute of Advanced Study (Member in the School of Historical Studies, 2009-2010), a research grant from Asian Cultural Council (Ford Foundation Fellow, 2005), and a Junior Fellowship from the American Institute of Indian Studies (2003-2004). Prior to joining the Harvard faculty, she served as an assistant professor of South Asian art at Vanderbilt University and Rutgers the State University of New Jersey.
Professor Kim’s research and teaching interests cover a broad range of topics with special interests in intertextuality of text-image relationship, art and politics, female representations and patronage, issues regarding re-appropriation of sacred objects, and post-colonial discourse in the field of South and Southeast Asian Art. From her childhood exposure to Buddhist art in Korea and a year-long stay in India as well as numerous research trips to various parts of South and Southeast Asia, she has long been interested in the materiality of sacred objects, especially that of paintings and texts. Her passion for learning languages and new scripts has been instrumental in pursuing an interdisciplinary research on illustrated Buddhist Sanskrit manuscripts and Esoteric Buddhist iconography. Understanding people behind an object is one of her main research goals as an art historian.
Her book, Receptacle of the Sacred: Illustrated Manuscripts and the Buddhist book cult in South Asia, was published by University of California Press in 2013. It examines illustrated Buddhist manuscripts as sacred objects of medieval cultic innovation that can be animated through the presence of images and various design strategies. She is currently working on a book project tentatively titled, "Garlands of Visions: Tantric Vision practices and Indian Painting, c. 1100-1500." It aims to shed light on the Indic manuscript culture as it was practiced during the time of dynamic cultural and political changes in South Asia by relating the visual and material strategies of painted palm-leaf manuscripts to concurrently developing ritual strategies of Indic religious traditions. She is also working on a few research projects that examine the socio-political history of religious iconography in South and Southeast Asia. Another research project deals with identifying "visual vernaculars" in South Asia as they developed during the first few centuries of the second millennia.