| 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 |
| No. 399
|
Jan., 2010 |
| |
Positioning The Tales of Ise in the Teshhinsai Bunko Collection |
| |
|
Tsuchiya Takahiro |
| |
Study of Kawabata Gyokusyô (Part II) |
| |
|
Shioya Jun |
| |
Research Note: The Colors of Memory: An Observation on the Depiction of Figural Genre Images in Pleasure Quarter Paintings |
| |
|
Emura Tomoko |
| |
Exhibition Review: Paintings of Korea’s Joseon Dynasty and Japan (Tochigi Prefectural Art Museum and Three Other Venues) |
| |
|
Emura Tomoko |
| No. 398
|
Aug., 2009 |
| |
The Yakushi Triad at Daigoji and the Structures of Temple Foundation during the Early Heian Period (Vol. III) |
| |
|
Sarai Mai |
| |
The Demise of Japanese-style Painting (Nihonga) in Taiwan: Local Color and Refracted Modernity |
| |
|
Yen Chuan-ying |
| |
Research Note: The “New Woman” and Woman with a Balloon: What Lay behind the Creation of Yorozu Tetsugoro’s Woman with a Balloon and its Expression |
| |
|
Tanaka Atsushi |
| |
Material for Art Research: Hollow Dry Lacquer Standing Bodhisattva |
| |
|
Tsuda Tetsuei |
| |
Material for Art Research: Compilation of Materials Related to the Sango-Kai (Appendix, Part II) |
| |
|
Kikuya Yoshio, Shioya Jun |
| |
Report of the Department of Research Programming |
| No. 397
|
Mar., 2009 |
| |
Images of “Foreigners” in Pictures of Wrestling in Tomb Wall Paintings During the Koguryo Dynasty |
| |
|
Lim Young-ae |
| |
A Long-Puzzling Self-Portrait by Mitsutani Kunishiro: The Importance of the Goseda Studio in Modern Japanese Art History |
| |
|
Tsunoda Takuro |
| |
Explanation of the Plates: Yorozu Tetsugoro’s Acrobats and Road under the Sun |
| |
|
Tanaka Atsushi |
| |
Book Review: Onishi Makiko, Saiho-jodohen no Kenkyu [Study of Paintings of Amitabha’s Western Paradise] |
| |
|
Tsuda Tetsuei |
| No. 396
|
Nov., 2008 |
| |
The Context of the Juko-in Main Hall Wall Panel Paintings |
| |
|
Watanabe Yuji |
| |
A Hypothesis on the Establishment Date of Juko-in: For A Reconsideration of its Wall Panel Paintings |
| |
|
Watada Minoru |
| |
Research Note: Report on the Discovery of Torn Trousers by Fuji Gazo |
| |
|
Takahashi Shuji |
| |
Exhibition Review: Kano Eitoku Exhibition (Kyoto National Museum) |
| |
|
Watada Minoru |
| No. 395 |
Aug., 2008 |
| |
Reflections on the Problem of Audience for Han Dynasty Funerary Carved Pictorial Images |
| |
|
Zheng Yan |
| |
Jiboku Sôtan (Part 3) |
| |
|
Watada Minoru |
| |
Research Note: Odaka Sen’nosuke and Kishida Ryûsei |
| |
|
Tanaka Atsushi |
| |
Research Note: For a Smooth Surface: A Reconsideration of Koide Narashige |
| |
|
Kobayashi Mioko |
| |
Report of the Department of Research Programming |
| No. 394 |
Mar., 2008 |
| |
Jiboku Sôtan (Part 2) |
| |
|
Watada Minoru |
| |
Tosa Mitsuyoshi and Large-Format Paintings |
| |
|
Aizawa Masahiko |
| |
Between Non-Attachment and Obsession: The Collecting Culture of Late Choson Korea |
| |
|
Chang Chin-sung |
| |
Material for Art Research: Scenes from the Tale of the Soga Brothers, Pair of Six-panel Screens by Tosa Mitsuyoshi |
| |
|
Emura Tomoko |
| |
Index to Bijutsu Kenkyu, Nos. 389-394 |
| No. 393 |
Jan., 2008 |
| |
The Reception of Amitabha Pure Land Images in Ancient Japan and Its Phases: Focusing on the True Nature of the Reception of the Horyûji Kondo Wall Painting No. 6 and the Taima Mandala and the Formation of Related Discourse |
| |
|
Katsuki Gen'ichirô |
| |
The Yakushi Triad at Daigoji and the Structures of Temple Foundation
during the Early Heian Period (Part 2) |
| |
|
Sarai Mai |
| |
Jiboku Sôtan (Part 1) |
| |
|
Watada Minoru |
| |
Exhibition Review: Three Early Shôwa Era Painters: Kojima Zenzaburô, Tsuruoka Masao, Ai-Mitsu |
| |
|
Tanaka Atsushi |
| |
Book Review: Nedachi Kensuke, Nihon Chusei no Busshi to Shakai : Unkei to Keiha,Shichijô Busshi wo Chûsin ni[Japanese Medieval Buddhist Sculptors and Society: Unkei, the Kei School, and the Shichijô Busshi] |
| |
|
Tsuda Tetsuei |
| No. 392 |
Sep., 2007 |
| |
The Yakushi Triad at Daigoji and the Structures of Temple Foundation
during the Early Heian Period (Part 1) |
| |
|
Sarai Mai |
| |
The Wealth from Birth on the Path to Becoming a Painter: The Environment Surrounding Ogata Kôrin and his Creation of Art Works |
| |
|
Emura Tomoko |
| |
Research on Kawabata Gyokusyô -I- |
| |
|
Shioya Jun |
| |
The Lower Half of the Painting: Japanese Nude Paintings from 1890 to 1945 |
| |
|
Kuraya Mika |
| |
Exhibition Review: Urgami Gyokudô Exhibition |
| |
|
Toda Teisuke |
| |
Reports from the Editorial Committee and the Department of Fine Arts |
| No. 391 |
Mar., 2007 |
| |
Seeking the Three Dynasties among the Ritual Vessels of Old: The Sung Dynasty Shift from "Investigating Antiquity" to "Appreciating Antiquity" |
| |
|
Chen Fangmei |
| |
A New Interpretation of the Food-Offering Figures in the Water-Moon Avalokitesvara Painting at Daitokuji in Kyoto |
| |
|
Pak Eunkyung |
| |
Haboku Landscape and Sôen |
| |
|
Aizawa Masahiko |
| |
Exhibition Review: Mori Ôgai and Japanese Modern Art |
| |
|
Aoki Shigeru |
| |
Material for Art Research: Copy Figures of the Central Worship Images at Zenkôji |
| |
|
Tsuda Tetsuei |
| No. 390 |
Dec., 2006 |
| |
Kôki-Inshoha: Japanese Post-Impressionism around 1912 |
| |
|
Tanaka Atsushi |
| |
Explanation of Plates: Kikuchi Yôsai's Kannon Sutra in the Biblioteque Nationale de France |
| |
|
Shioya Jun |
| |
Explanation of the Plate: Huang Fuzhou's Shebua (Tongue Painting): Study Materials on Painting during China's Republican Period |
| |
|
Tsuruta Takeyoshi |
| |
Exhibition Review: Ko-Mikkyô: The Incipient Stages of Japanese Esoteric Buddhism |
| |
|
Sarai Mai |
| |
Exhibition Review: Cubism in Asia: Unbounded Dialogues |
| |
|
Tanaka Atsushi |
| |
Exhibition Review: The Cubism of Asia as Seen in Seoul's Old Palace, Cubism in Asia: Unbounded Dialogues |
| |
|
Kim Hyeshin |
| |
Book Review: A Century of Chinese Sculpture Studies in Japan: Reading Ishimatsu Hinako's Buddhist Images in the Northern Wei Period |
| |
|
Hida Romi |
| |
Book Review: Arayashiki Toru's Grez-Sur-Loin et le Japon: Deux Artistes Japonais, Kouroda Seiki et Asai Chû |
| |
|
Yamanashi Emiko |
| No. 389 |
Jun., 2006 |
| |
The Appreciation of Guan Wares in Late Ming China and the Taste for Suiqi Cracked Ware |
| |
|
Xie Mingliang |
| |
Public Art at an Imperial University: Aoyama Kumaji's Mural for the Engineering Department of Kyushu University |
| |
|
Ushiroshoji Masahiro |
| |
Book Review: Yoshizawa Katsuhiro's Hakuin: Zenga no Sekai ［The World of Zen Painting] |
| |
|
Asai Kyoko |
| |
Book Review: Living Painters, Or the Paradox of Distance: Tanaka Atsushi's Gaka no iru 'basho': Kindai NIhon Bijutsu no kisô kara[The Place of Painter: From the basic levels of Modern Japanese Painting] |
| |
|
Kitazawa Noriaki |
| |
SeMaterial for Art Research: Seated Wooden Bodhisattva at Hôonji, Hyôgo Prefecture |
| |
|
Tsuda Tetsuei, Sarai Mai |
| |
Material for Art Research: Kuroda Seiki's Notebook Recording his Letter Drafts and Diary for 1888 (Part III) |
| |
|
Dainobu Yuji |
| |
Material for Art Research: Kuroda Seiki's Notebook recording his Letter Drafts and Diary for 1888 |
| |
|
Tanaka Atsushi |
| |
Reports from the Editorial Committee and the Department of Fine Arts |
| No. 388 |
Feb., 2006 |
| |
The Loaded Language of Cross-Cultural Evaluation: Curiosities, Curios, and Japan |
| |
|
Christine Guth |
| |
Lee In-sung's "Local Colors": Nationalism or Colonialism? |
| |
|
Kim Youngna |
| |
Explanation of Plates: Kanô Shôsen'in Tabdanobu's Tatsuta Screen in the Baur Collections, Geneva |
| |
|
Shioya Jun |
| |
Exhibition Review: A Feeling of "Inkiness" Hard to Position in Art History: Viewing the Takada Keiho and Koizumi Ayaru Exhibition |
| |
|
Watada Minoru |
| |
Exhibition Review: Sesshû and painting of the Ming Dynasty (Nezu Institute of Fine Arts) |
| |
|
Toda Teisuke |
| |
Material for Art Research: Kuroda Seiki's Notebook Recording his Letter Drafts and Diary for 1888 (Part II) |
| |
|
Dainobu Yuji |
| |
Index to Bijutsu Kenkyu, Nos. 383-388 |
|
