| No. 424 |
March., 2018 |
| |
Principal Article: Dream Journey to the Peach Blossom Land : The Reappearance of Paradise and
the Establishment of Classical Landscape Paintings |
| |
|
HONG, Sunpyo |
| |
Research Note: Using Wordpress to Construct a Dynamic Website: With the Web Versions of Bukkosha kiji and Bijutsukai nenshi (Ihô) as Examples |
| |
|
OYAMADA, Tomohiro |
| |
Materials for Art Research: Thoughts on Hashimoto Gahô’s Four Saints: Inoue Enryô’s Philosophy and its Pictorialization |
| |
|
TANAKA, Jun’ichirô |
| |
Index to Bijutsu Kenkyu, Nos. 419-424 |
| No. 423 |
Jan., 2018 |
| |
Principal Article: Positioning the Konrenji Version of the Yugyô Shonin Engi-e（Illustrated Biography Handscrolls of Ippen and his Disciple Shinkyô）on the Basis of the Text Calligraphers and their Writing Styles |
| |
|
TSUDA, Tetsuei |
| |
Principal Article: Kanô Sansetsu and “Japanese （Wa）” Painting Themes ― Regarding the Buke sumô emaki （Samurai Sumô Handscroll) |
| |
|
YAMASHITA, Yoshiya |
| |
Materials for Art Research: Letters from Yamamoto Hôsui to Kuroda Seiki and to Sugi Takejirô: Reproductions, Transcriptions and Interpretations |
| |
|
SHIINO, Akifumi |
| No. 422 |
Aug., 2017 |
| |
Principal Article: A Primary Study of a Thousand-Armed, Thousand-Eyed Avalokitesvara Mural Excavated at a Buddhist Temple Site in Domoko, Khotan – Including a Comparison with Dunhuang |
| |
|
YAO Chong-xin |
| |
Principal Article: Research on Kishida Ryûsei – Focusing on his Recuperation in “Komazawa-mura
Shinmachi” |
| |
|
TANAKA Atsushi |
| |
Materials for Art Research: Letters from Kuroda Sadako to Her Adopted Son Kuroda Seiki |
| |
|
TANAKA Jun |
| No. 421 |
Mar., 2017 |
| |
Principal Article: Ogata Kôrin’s Time in Edo and Changes in his Brushwork –Focusing on A Budding Plum Tree in the Freer Gallery of Art |
| |
|
EMURA Tomoko |
| |
Exhibition Review: Viewing the Kakutei on Exhibition |
| |
|
YASUNAGA Takuyo |
| |
Materials for Art Research: Reading Goseda Yoshimatsu’s Letters to Kuroda Seiki |
| |
|
TSUNODA Takurô |
| No. 420 |
December., 2016 |
| |
Principal Article: Tenth-century Japanese Painters –Various Aspects of Wayô-ka (Shift to
Japanese Aesthetics) as Seen from East Asian Painting History |
| |
|
MASUKI Ryûsuke |
| |
Research Note: Initial Research on Kurihara Gyokuyô |
| |
|
TADOKORO Tai |
| |
Material for Art Research: Okada Saburôsuke’s Letters to Kuroda Seiki |
| |
|
TAKAYAMA Yuri |
| |
Material for Art Research: Okada Saburôsuke and his Wife Yachiyo’s Critiques of the Artist – A Sad Encounter Between Art and Literature |
| |
|
MATSUMOTO Seiichi |
| No. 419 |
Jun., 2016 |
| |
Principal Article: The Role and Status of Japanese “Nanga (南画)” Painters in Korean Modern Painting |
| |
|
HWANG Bitna |
| |
Research Note: The Cultural Properties Database of the National Research Institute for Cultural Properties, Tokyo – The Aims, Elements and Realization of Publications Archives Focused Databases |
| |
|
FUKUNAGA Hachirô |
| |
Material for Art Research: Album of Nihonga, in the Charles Stewart Smith Collection, Metropolitan Museum of Art, New York |
| |
|
TOMIZAWA-Kay Eriko |
| No. 418 |
Mar., 2016 |
| |
Principal Article: Regarding the Ichiryû Sôshô keizu (Illustrated School Lineage) of the Shinran School in Medieval Japan, Through a Survey of Works Preserved at Chôshôin, Kyoto and Kôshôji, Hiroshima |
| |
|
TSUDA Tetsuei |
| |
Principal Article: Calligraphy and Everyday Life among Late Qing Officials |
| |
|
BAI Qianshen |
| |
Research Note:Akasegawa Gnpei and The Yamanote Line Incident – Anonymity as a Clue
|
| |
|
KAWAI Daisuke |
| |
Material for Art Research:Letters by Fujishima Takeji Addressed to Kuroda Seiki and Kume Keiichirô: Facsimiles, Transcriptions and Explanatory Notes (III, cont.) – Focusing on Conditions in his Pre and Post Overseas Study Years |
| |
|
KOJIMA Kaoru |
| No. 417 |
Jan., 2016 |
| |
Principal Article: Transformation in Bird and Flower Painting from the Eighth to
Eleventh Centuries |
| |
|
CHEN Yunru |
| |
Research Note: A Consideration of Namban Lacquer Lecterns and Their Dating |
| |
|
KOBAYASHI Kôji |
| |
Exhibition Reviews: |
| |
Introduction, Exhibitions Held on the 70th Anniversary of the End of World War II
|
| |
|
TANAKA Atsushi |
| |
Exhibitions Held on the 70th Anniversary of the End of World War II – As considered in terms of an awareness of the period designations “pre-war” and “post-war”
|
| |
|
SAWADA Keizô |
| |
The Curator’s Gaze: Creating History
|
| |
|
TANAKA Atsushi |
| |
Material for Art Research:Letters by Fujishima Takeji Addressed to Kuroda Seiki and Kume Keiichirô:
Facsimiles, Transcriptions and Explanatory Notes (III) – Focusing on Conditions in his
Pre and Post Overseas Study Years |
| |
|
KOJIMA Kaoru |
| No. 416 |
Aug., 2015 |
| |
Principal Article: Fugen Bosatsu (Skt: Samantabhadra, National Treasure, Tokyo National Museum): An Art Historical Analysis of Its Painting Methods and the “Shôgon” Concept in Heian Period Buddhist Paintings |
| |
|
Kobayashi Tatsurô |
| |
Materials for Art Research: Letters by Fujishima Takeji Addressed to Kuroda Seiki and Kume Keiichirô: Facsimiles, Transcriptions and Explanatory Notes (II) – The Early Days of the Western Painting Department at Tokyo Bijutsu Gakkô |
| |
|
Kojima Kaoru |
| |
Material for Art Research:Regarding the Shinkai Taketarô Materials |
| |
|
Tanaka Shûji |
| |
"Report of the Department of Art Research, Archives and Information Systems" |
| |
|
[Editor] |
| No. 415 |
Mar., 2015 |
| |
Principal Article: A Study of Material Culture Exchanges of the Early Joseon Court Based on Korean Objects in the Môri Museum: With a Focus on the Ôuchi Clan and the Môri Clan |
| |
|
Lee Sangnam |
| |
International Symposium on the Conservation and Restoration of Cultural Property-Recovering “Form”: Towards a More Open Discussion |
|
Introduction
|
| |
|
Yamanashi Emiko |
|
The Katachi of Biennial : Katachi = Bild, Katachi = Image
|
| |
|
Fujikawa Satoshi |
| |
The Potential of Katachi [Form] in the History of Japanese Art: Thoughts from a History of Western Art Viewpoint
|
| |
|
Satô Naoki |
| |
Research Note: The “Aspects of Art Archives” Mini-Symposium |
|
Introduction
|
| |
|
Kikkawa Hideki |
| |
Art History in Art Archives
|
| |
|
Kajiya Kenji |
| |
Archives and the Avant-Garde: Ephemerality of Expression and the Totality of Archive Materials
|
| |
|
Uesaki Sen |
| |
Records and Materials in the Notes Made by the Artist Nakamura Hiroshi: Focusing on the Sightseeing Art Research Institute and the Tokyo Art Pillar Exhibition
|
| |
|
Kikkawa Hideki |
| |
Discussion
|
| |
|
Kajiya Kenji, Uesaki Sen and Kikkawa Hideki |
| |
Materials for Art Research: Comment on Little Known Paintings: A Brief Introduction to Works in the Portland Art Museum (Ⅱ) |
| |
|
Emura Tomoko |
| |
Material for Art Research: Letters by Fujishima Takeji Addressed to Kuroda Seiki and Kume Keiichirô: Facsimiles, Transcriptions and Explanatory Notes (Ⅰ): Focusing on Conditions during his Tsu Period |
| |
|
Kojima Kaoru |
| No. 414 |
Feb., 2015 |
| |
Research Note: Research on the Internet Version of Mizue: Prospects for the Digital Publication of Art-related Materials and Art Archives |
| |
|
Tsuda Tetsuei, Marukawa Yuso, Yoshizaki Mayumi,
Nakamura Yoshifumi and Kikkawa Hideki |
| |
Material for Art Research: Wooden Core, Dry Lacquer Standing Eleven-Headed Ekādaśmukha (Jûichimen-Kan’non), Kanzanji, Shiga Prefecture |
| |
|
Tsuda Tetsuei |
| |
Material for Art Research: Comments on Little Known Paintings: A Brief Introduction to Works in the Portland Art Museum (1) |
| |
|
Watada Minoru, Emura Tomoko, Tsuchiya Takahiro |
|
Material for Art Research: Gaden Yôgaku Enogu Saishiki Hitorigeiko (1834, Tenpô 5) |
| |
|
Someya Kaori |
|
Material for Art Research: Letters from Foreign Students Studying in Japan to Kuroda Seiki: Reproductions, Transcriptions, Interpretations |
| |
|
Yoshida Chizuko |
| No. 413 |
Nov., 2014 |
| |
A Reconsideration of the Seated Nyoirin Kannon Bosatsu (Cakravarti-cintamani avalokitesvara bodhisattava) at Kanshinji |
| |
|
Satô Masatoshi |
| |
Korean Buddhism in Modern Era and the Production of Buddhist Paintings |
| |
|
Choi Yeob |
| |
Exhibition Revieews : Two Exhibitions held on Namban Lacquer in 2013:-Lacas Namban (Madrid) and Date Masamune's Dream: The Keicho Envoy to Europe and Namban Culture (Sendai) |
| |
|
Kobayashi Kôji |
|
Materials for Art Research: Introduction of a Newly Discovered Work: The Exhibition Catalogue for the 8th Hakuba-kai Exhibition |
| |
|
Ueno Kenzô |
| No. 412 |
Mar., 2014 |
| |
New Discoveries at Tuyuq Grottoes in Turfan: A Discussion on Gaochang Buddhist Images in the 5th century |
| |
|
Li Qingquan |
| |
Exhibition Revieews : Kano Sanraku and Sansetsu |
| |
|
Suzuki Hiroyuki |
| |
Materials for Art Research: The Guimet Version Illustrated Handscrolls of the Legend of Tenjin, (Dajôitokuten-engi-emaki) - Transcription of All Text Passages and Reproduction of All Painting Sections (Pt. III) |
| |
|
Watada Minoru, Tsuchiya Takahiro, Ôtsuki Chifuyu and Sato Naoko |
| |
Materials for Art Research: Transcription of Ogawa Kazumasa’s Letters to Kuroda Seiki and Kuroda Seiki’s View on Photography |
| |
|
Tanaka Atsushi |
| |
Materials for Art Research: Meiji Photography Groups and the Nobility - From Considerations of Ogawa Kazumasa’s Achievements |
| |
|
Okatsuka Akiko |
| No. 411 |
Feb., 2014 |
| |
Spatial Logic and Visual Meaning (Pt. II): A New Theory on the Furan Qimen Images in Song, Liao and Jin Dynasties Tomb Chambers |
| |
|
Li Qingquan |
| |
Ai-Mitsu's Landscape with an Eye (Pt. II) |
| |
|
Ôtani Shôgo |
| |
Materials for Art Research: The Guimet Version Illustrated Handscrolls of the Legend of Tenjin, (Dajôitokuten-engi-emaki) - Transcription of All Text Passages and Reproduction of All Painting Sections (Pt. II) |
| |
|
Watada Minoru, Tsuchiya Takahiro, Ôtsuki Chifuyu and Sato Naoko |
| |
Materials for Art Research: Thoughts on Hana-no-kage, a Photography journal Published by the Japanese Nobility: Activities of Noble Photography Aficionados in the Late Meiji Period and Their Interactions with Ogawa Kazumasa and Kuroda Seiki |
| |
|
Saitô Yôich |
| No. 410 |
Sep., 2013 |
| |
Spatial Logic and Visual Meaning (Pt. I): A New Theory on the Furan Qimen Images in Song, Liao and Jin Dynasties Tomb Chambers |
| |
|
Li Qingquan |
| |
The Subject and Source of Kikkawa Reika's Encountering Sorro |
| |
|
Tanaka Den |
| |
Ai-Mitsu's Landscape with an Eye (Pt. I) |
| |
|
Ôtani Shôgo |
| |
Materials for Art Research: An Explication of the Guimet Version Illustrated Handscrolls of the Legend of Tenjin, (Dajôitokuten-engi-emaki) |
| |
|
Watada Minoru |
| |
Materials for Art Research: The Guimet Version Illustrated Handscrolls of the Legend of Tenjin, (Dajôitokuten-engi-emaki) - Transcription of All Text Passages and Reproduction of All Painting Sections (Pt. I) |
| |
|
Watada Minoru, Tsuchiya Takahiro, Ôtsuki Chifuyu and Sato Naoko |
| No. 409 |
Mar., 2013 |
| |
The Changed Principle of the Placement Form of the Four Deva’s Images and Their Names in the Joseon Dynasty |
| |
|
"Park Eun-kyung, Han Jung-ho" |
| |
Research Note: "Kokuzo Bosatsu (Skt: Akasagarbha, National Treasure, Tokyo National Museum): An Art Historical Analysis of its Painting Methods" |
| |
|
Kobayashi Tatsuro |
| |
"Exhibition Review: Two Exhibitions of Chen Cheng-po in Taipei: Journey through Jiangnan - A Pivotal Moment in Chen Cheng-po’s Artistic Quest (Taipei Fine Arts Museum), and Under a Searing Sun - A Solo Exhibition by Chen Cheng-po (Taiwan Soka Association’s Chih-shan Art and Culture Center)" |
| |
|
Yamanashi Emiko |
| No. 408 |
Jan., 2013 |
| |
Regarding the Dating of the Bukkoji Version of the Illustrated Life of Shinran (Shinran-e) |
| |
|
Tsuda Tetsuei |
| |
"Standing Image of Jizo Bosatsu at Jinkoin, Kyoto" |
| |
|
Sarai Mai |
| |
The On-E-Kagami: A Printed Painting Manual from 1700 (Genroku 13) |
| |
|
Watada Minoru |
| No. 407 |
Sep., 2012 |
| |
"A Preliminary Methodology on Han Dynasty Carvings: Taking “The Retrieval of the Tripod Carving” as an Example" |
| |
|
Hsing I-tien |
| |
"Paintings Inscribed by Chikuan Daien in 1435 (Eikyo 7): The Matsuoka Museum of Art’s Shubun Painting and the Museum of East Asian Art, Cologne’s Girl Ling-chao" |
| |
|
Watada Minoru |
| |
Akimoto Shatei and Meiji Era Nihonga (Part II) |
| |
|
Shioya Jun |
| |
"Book Review: Ito Daisuke, Shozoga no Jidai: Chusei Keiseiki ni okeru Kaiga no Shisoteki Shinso ［The Age of Portraits: The Philosophical Depths of Painting During Japan’s Early Medieval Period］" |
| |
|
Tsuda Tetsuei |
| |
"Report of the Department of Art Research, Archives and Information Systems" |
| |
|
[Editor] |
| No. 406 |
Mar., 2012 |
| |
Imperial Cultural Properties and Kaifeng in the Early Northern Song Dynasty: The Culture of the Imperial Court and the Buddhist Temples Qishengchanyuan and Daxiangguosi (Part II) |
| |
|
Tsukamoto Maromitsu |
| |
The Production of Portrait Sculptures of Deceased Medieval Period |
| |
|
Tsuda Tetsuei |
| |
Index to Bijutsu Kenkyu, Nos. 401-406 |
| No. 405 |
Jan., 2012 |
| |
Special Edition: Japanese-Korean Symposia “The Dynamics of Interaction between People and Objects: ‘Appraisal’ in Art History” |
| |
Foreword for Special Edition |
| |
|
Tanaka Atsushi |
| |
Report of Two Symposia |
| |
|
(Editor) |
| |
The Glory and Failure of a Nationalist Korean Art History: The Interpretation and Evaluation of Late Choson Painting |
| |
|
Hong Sun-pyo |
| |
Creativity and Value: Focusing on Yorozu Tetsugoro’s Woman with a Balloon |
| |
|
Tanaka Atsushi |
| |
The Long Landscape Handscroll: Towards a Re-Evaluation of Sesshu |
| |
|
Watada Minoru |
| |
The Fallacy of Love: How to Interpret and Write about the Life and Work of Chong Son |
| |
|
Chang Chin-sung |
| |
The Expressive World of Early Edo Period Genre Paintings |
| |
|
Emura Tomoko |
| |
Shi Tao, the Sight of Evaluation as the Modern Individualism |
| |
|
Moon Jung-hee |
| |
Review of the Symposium in Tokyo |
| |
|
Tanaka Atsushi |
| |
Review of the Symposium in Seoul |
| |
|
Inaba Mai |
| No. 404
|
Aug., 2011 |
| |
Imperial Cultural Properties and Kaifeng in the Early Northern Song Dynasty: The Culture of the Imperial Court and the Buddhist Temples Qishengchanyuan and Daxiangguosi (Part I) |
| |
|
Tsukamoto Maromitsu |
| |
Akimoto Shatei and Meiji Era Nihonga (Part I) |
| |
|
Shioya Jun |
| |
The Original Context of the Modern History of Craft Reflected in a Photograph |
| |
|
Choi Gongho |
| |
Material for Art Research: Standing Image of Yakushi Nyorai at Jinkoin, Kyoto |
| |
|
Sarai Mai |
| |
Material for Art Research: Standing Image of Prince Shotoku at Korinji, Iwate |
| |
|
Tsuda Tetsuei |
| |
Book Review: Kojima Michihiro, Egakareta Sengoku no Kyoto |
| |
|
Matthew P. McKelway |
| |
Report of the Department of Art Research, Archives and Information Systems |
| No. 403
|
Mar., 2011 |
| |
Historical Consideration of the Yakushi Nyorai Image at Jingoji |
| |
|
Sarai Mai |
| |
The Studio That Painted the Tengu Soshi |
| |
|
Tsuchiya Takahiro |
| No. 402
|
Feb., 2011 |
| |
From Xia Wenyan to Sesshu: The Precious Mirror of Painting and the Shaping of Historical Knowledge of Landscape Painting in East Asia in the 14th and 15th centuries
|
| |
|
Shih Shou-chien |
| |
Explanation of the Plates: Works by Kuroda Seiki Donated to the Tokyo National Museum in the Fiscal Year of 2009: Boat, Peonies, Battle of Niryusan in Sino-Japanese War and Two Portraits of Hayashi Masahumi |
| |
|
Yamanashi Emiko |
| No. 401
|
Aug., 2010 |
| |
An Iconographic Study of Birth of Sakyamuni Imagery in the Joseon Dynasty Korea
|
| |
|
Chung Woo-thak |
| |
Study of Kawabata Gyokusho (Part III) |
| |
|
Shioya Jun |
| |
Material for Art Research: Standing Image of the Two-year-old Prince Shotoku (Namu-butsu Taishi) in the Nara National Museum
|
| |
|
Tsuda Tetsuei |
| |
Book Review: Tomishima Yoshiyuki, Mikkyo Kukan Shiron [Research on the History of Esoteric Buddhist Spaces] |
| |
|
Sarai Mai |
| |
Report of the Department of Research Programming |
| No. 400
|
Mar., 2010 |
| |
Southern Dynasty Buddhist Stone Sculptures in Wenchuan County, Sichuan Province |
| |
|
Lei Yuhua, Li Yuqun, Luo Jinyong |
| |
Study of Unkoku Togan’s Crows in Plum Trees: From the Guest House at Najima Castle to the Audience House at Fukuoka Castle |
| |
|
Watada Minoru |
| |
Research Note: Contemporary Art and Museums: Artist Interview Archives of the Tate and the INCCA |
| |
|
Morishita Masaaki |
| |
Book Review: Yoshida Chizuko, Kindai Higashi Asia Bijutsu Ryugakusei no Kenkyu [Research on Modern East Asian Overseas Art Students]: Imagining a Transnational Archive |
| |
|
Park So-hyun |
| |
Index to Bijutsu Kenkyu, Nos. 359-400 |
|
Nos. 300-399