The Bijutsu Kenkyu
(The Journal of Art Studies)


 Since 1932. The journal, edited by the Department of Art Research, Archives and Information Systems, carries monograms, research notes, explanations of plates, book reviews, Exhibition Reviews and materials for art research pertaining not only to Japanese and East Asian classical art but also European and American art related to modern and contemporary Japanese art (English summaries included).

The Search System(Ja.) (The Bijutsu Kenkyu No.1-410)

 

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 Contents
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 Young-na
 Explanation of Plate: Kano Shosen'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: Sesshu 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
No. 387Oct., 2005
 On Western-Style Japanese Paintings Displayed in the First National Art Exhibition Held by the Ministry of Education of the Republic China, 1929: Research on the History of Chinese Painting of the Past 100 Years --VIII--
  Tsuruta Takeyoshi
 Exhibition Review: Regarding Early Showa Era Paintings
  Tanaka Atsushi
 Exhibition Review: Thoughts on the Early Sutra Copies Exhibition
  Nagoya Akira
 Book Review: The Pantheon-kai Journal: A Social Meeting Ground for Japanese Students in Paris from 1900-1903
  Arayashiki Toru
 Material for Art Research: Kuroda Seiki's Notebook Recording his Letter Drafts and Diary for 1888 (Part I)
  Dainobu Yuji
No. 386Jun., 2005
 The Twenty-eight Patriarchs at Sofukuji: From Unkoku Toeki and Mincho to Sesshu and Bunsei
  Watada Minoru
 Emmanuel Tronquois and the Mid-Meiji Era Western Painting Circles
  Christophe Marquet
 Exhibition Review: Southern Song Paintings: Elegant and Noble in Soul (Nezu Institute of Fine Arts)
  Kobayashi Hiromitsu
 Book Review: Changing Antiquarian Interests in the Early Meiji Era: A Review of Suzuki Hiroyuki's Antiquarian's 19th Century
  Omote Tomoyuki
 Book Review: Takagishi Akira's Power and Painting in Muromachi Japan: A Study of the Early Tosa School
  Namiki Seishi
No. 385Feb., 2005
 New Information Regarding the Yellow Acalanatha (Ki-Fudo) Painting of Onjoji: Conservation Report
  Yanagisawa Taka
 Reading Yanagisawa Taka's “New Information Regarding the Yellow Acalanatha (Ki-Fudo) Painting of Onjoji”
  Takata Osamu
 Research on the Stone Standing Triad at Gaetaesa Temple: The Emergence of the Newly Unified Goryeo Dynasty and Buddhist Sculpture
  Choe Song-geun
 Exhibition Review: Thoughts on the Rimpa Exhibition (National Museum of Modern Art, Tokyo)
  Toda Teisuke
No. 384Nov., 2004
 From Sogdia to China: The Transformation of Sogdian Zoroastrian Art during its Eastward Migration
  Rong Xin-jiang
 The Dialectics of Self-Image: An Interpretation of Matsumoto Shunsuke's Portrait of the Artist, Standing Figure, Five People, and Three People (Part II)
  Murakami Hiroya
 Explanation of Plates: Gyoshu's Drawings of an Infant
  Shioya Jun
 Material of Art Research: Publication of the Entire Set of Exhibited Works Catalogues for the Nikka (Chunichi) Kaiga Rengo Tenrankai (The Sino-Japanese Joint Exhibitions of Paintings): Research on the History of Chinese Painting of the Past 100 Years --VII, Continued--
  Tsuruta Takeyoshi
No. 383Aug., 2004
 Regarding the Nikka (Chunichi) Kaiga Rengo Tenrankai (The Shino-Japanese Joint Exhibitions of Paintings): Research on the History of Chinese Painting of the Past 100 Years --VII--
  Tsuruta Takeyoshi
 The Dialectics of Self-Image: An Interpretation of Matsumoto Shunsuke's Portrait of the Artist, Standing Figure, Five People, and Three People (Part I)
  Murakami Hiroya
 Research Note: W. Anderson’s “A History of Japanese Art” (1879)
  Suzuki Hiroyuki
No. 382Mar., 2004
 The Spirit of Immortals: Chen Zihe and the Taoist Ink Painting during the Ming Dynasty
  Shih Shou-chien
 Explanation of Plates: A Portrait of Honen Shonin at Chion-in, Kyoto
  Tsuda Tetsuei
 Exhibition Review: Aoki Shigeru and Romanticism in Modern Japanese Art
  Tanaka Atsushi
 Index to Bijutsu Kenkyu, Nos. 377-382
No. 381Mar., 2004
 Sesshu in China: Unique Experiences for a Monk-Painter
  Watada Minoru
 The Peripatetic Artist Foujita Tsuguharu: Discovering America after Japan and France
  Hayashi Yoko
 Book Review: Memories and Records: Reading Kimura Shohachi Diaries, Meiji Volume, Annotation and Research
  Asano Toru
No. 380Mar., 2004
 New Editorial Policies
  Editorial Committee
 The Realm of “Self-Pleasure” and “Depicting Thoughts”: Creative Trends and Painting Production Amongst Yeohang Munin during the Late Choson Period
  Hong Sun-pyo
 Research Note: Aoki Shigeru and Kishida Ryusei
  Tanaka Atsushi
No. 379Mar., 2003
 Koji Junrei (A Pilgrimage to Old Temples) by Watsuji Tetsuro: A Pervasive Aesthetic
  Suzuki Hiroyuki
 Explanation of Plates: Painting Albums in the Collection of the Kunsthistorisches Museum, Vienna
  Shioya Jun
No. 378Mar., 2003
 Thoughts on the Komyo Honzon Sacred Light Buddhist Inscription
  Tsuda Tetsuei
 Material for Art Research: The Kawahara Keiga Painting Archives in the Kunstkamera, Peter the Great Museum of Anthropology and Ethnography, St. Petersburg
  Yamanashi Emiko
No. 377Feb., 2003
 The Road to “the Ideal Painting”: After Hashimoto Gaho's Dragon and Tiger
  Shioya Jun
 Thoughts on the Sango-kai
  Kikuya Yoshio
 Material for Art Research: Compilation of Materials Related to the Sango-kai
  Kikuya Yoshio, Shioya Jun eds.
No. 376Mar., 2002
 Research on Sesshu Toyo (4): Information Gleaned from the Autumn and Winter Landscape
  Shimao Arata
 The Formation and Use of Infra-red Images
  Shirono Seiji
 Explanation of Plate: Hungry Ghosts, The Kannonkyo-ji, Chiba
  Nakano Teruo
 Material for Art Research: Compilation of Materials Related to the Sango-kai
  Kikuya Yoshio, Shioya Jun eds.
 Index to Bijutsu Kenkyu, Nos. 371-376
No. 375Mar., 2002
 Shinran's Face: Preliminary Research on Shinshu Sect Portrait Sculpture from Japan's Medieval Period
  Tsuda Tetsuei
 Cezannism in Japan: The Aesthetic Roots of 1920s Japan's Personalist Interpretation of Cezanne and the Context of Thought and Artistic Creation Related to the Formation of this Interpretation
  Nagai Takanori
No. 374Feb., 2002
 The Portrait Paintings of the Choson Dynasty: Categories and Social Function
  Cho Sum-mie
 Koki-Inshoha: Japanese Post-Impressionism around 1912 (III of Second Series)
  Tanaka Atsushi
No. 373Mar., 2000
 Research on Dharma-cakra Mudra Amitabha Images in the Early Tang Dynasty
  Okada Ken
 Material for Art Research: Introduction to Jianxin Laifu’s Dangyouji (With a Brief Chronology of Jianxin Laifu)
  Ide Seinosuke
No. 372Mar., 1999
 Research on Sesshu Toyo (3): Information Gleaned from the Autumn and Winter Landscape
  Shimao Arata
 Koki-Inshoha: Japanese Post-Impressionism around 1912 (II of Second Series)
  Tanaka Atsushi
No. 371Mar., 1999
 Transitions in the Image of Korin -- 1815-1915
  Tamamushi Satoko
 Toji’s Bishamonten Image: Thoughts on the Traditional Belief that the Image was Installed in the Rajomon Gate and its Dating (Second Half)
  Okada Ken
No. 370Mar., 1998
 Toji’s Bishamonten Image: Thoughts on the Traditional Belief that the Image was Installed in the Rajomon Gate and its Dating
  Okada Ken
 The Transmission to Japan of the Bishamonten Doctrine and the Bishamonten Statue Enshrined on the Rajomon Gate
  Matsuura Masaaki
 Index to Bijutsu Kenkyu, Nos. 365-370
No. 369Mar., 1998
 Koki-Inshoha: Japanese Post-Impressionism around 1912 (First Half of Second in a Series of Three)
  Tanaka Atsushi
 Chinese Art Students in Europe: Research on the History of Chinese Painting of the Past 100 Years --VI--
  Tsuruta Takeyoshi
No. 368Dec., 1997
 Koki-Inshoha: Japanese Post-Impressionism around 1912 (Part I)
  Tanaka Atsushi
 Explanation of the Plates: Standing Buddha, Komyoji, Nara
  Okada Ken
No. 367Mar., 1997
 Seiki Kuroda in Grez-sur-Loing: His Friendship with William Blair Bruce and Caroline Benedicks Bruce
  Arayashiki Toru
 Chinese Art Students in Japan: Research on the History of Chinese Painting of the Past One Hundred Years (Part V)
  Tsuruta Takeyoshi
 Explanation of the Plates: Two Landscape Handscrolls in the Xia Gui Style
  Shimao Arata
No. 366Feb., 1997
 Memorializing Sutemaru: Regarding the Moya of the Tsukubushima Sanctuary Main Hall
  Andrew M. Watsky
 Material for Art Research: Buddhist Sculptures of Huangshi-ya (Yellow-stone) Cliff in Licheng, Shandong
  Okada Ken
No. 365Oct., 1996
 Art Education in the Late Qing Dynasty and Early Chinese Republic Period
  Tsuruta Takeyoshi
 Explanation of the Plates: The Putuoloushan-shengjingtu at Joshoji, Nagano
  Ide Seinosuke
No. 364Mar., 1996
 Chinese Style Paintings in the Kucha Region
  Nakano Teruo
 The Iconography of Chinese Bird and Flower Painting: The Reception of and Hidden Meanings in Fish in Duckweed, Waterfowl in Lotus Pond, and Insects in Grass
  Miyazaki Noriko
 Material for Art Research: Newspaper Articles Related to the Hakuba-kai
  Ueno Kenzo
 Index to Bijutsu Kenkyu, Nos. 359-364
No. 363Jan., 1996
 The Iconography of Chinese Bird and Flower Painting: The Reception of and Hidden Meanings in Fish in Duckweed, Waterfowl in Lotus Pond, and Insects in Grass
  Miyazaki Noriko
 Painting as Document: The Image and Poem of Wang Xizhi Writing on a Fan
  Shimao Arata
 Concerning Tao Lengyue (Complement)
  Tsuruta Takeyoshi
 Explanation of the Plates: Study of Face by Sogame Hirotaro
  Tanaka Atsushi
No. 362Mar., 1995
 A Koryo Painting of Amida and the Fugen Gyogan-bon
  Ide Seinosuke
 Material for Art Research: Paintings Mentioned in Tea Ceremony Diaries
  Tani Akira
No. 361Mar., 1995
 Paintings Crossing Sea Borders: The Significance of “Kara-e” in Fifteenth-century East Asia
  Suzuki Hiroyuki
 Hyogo-kusari and Nagafukurin Swords: Their Date of Production: Focussing on the Swords at Itukushima Shrine
  Hiroi Yuichi
 Material for Art Research: List of Catalogues of Auctions for All of Japan
  Tsumori Atsuo, Nakamura Setsuko
No. 360Oct., 1994
 The Gongxian Grottoes and Early Tang Dynasty Sculptural Style
  Okada Ken
 Painting as Family Business: The Rhetoric of Style in Portraiture by Nobuzane and His Heirs
  Maribeth Graybill
 Material for Art Research: List of Catalogues of Auctions for All of Japan
  Tsumori Atsuo, Nakamura Setsuko
No. 359Mar., 1994
 The Topology of the Standing Image of Yakushi-Nyorai of Jingoji: The Mountain and Yakushi in the Early Heian Period
  Nagaoka Ryusaku
 Explanation of the Plates: Papier Colle Works by Yang Weiquan
  Tsuruta Takeyoshi
 Material for Art Research: Draft for Japanese Catalogue of Vienna Universal Exhibition (Section of Arts and Crafts, Part III)
  Yokomizo Hiroko
No. 358Dec., 1993
 The Reception and Reproduction of Eight Views of the Xiao and Xiang Rivers: Paintings’ Milieu in the Fifteenth Century
  Suzuki Hiroyuki
 Concerning Tao Lagyue: A Study of Chinese Painting in the Past One Hundred Years (Part III)
  Tsuruta Takeyoshi
 Material for Art Research: Draft for Japanese Catalogue of Vienna Universal Exhibition (Section of Arts and Crafts, Part II)
  Yokomizo Hiroko
 Index to Bijutsu Kenkyu, Nos. 353-358
No. 357Jul., 1993
 A Study of the Robes of Buddha Images in the Period of the Northern and Southern Dynasties (Part II)
  Okada Ken, Ishimatsu Hinako
 Painting and Language (Part II): Artists’ “Gago (Elegant Pseudonym)” and Ideal World View
  Sato Doshin
 Explanation of the Plates: Koyama Shotaro “Autumn Landscape”
  Yamanashi Emiko
 Material for Art Research: Draft for Japanese Catalogue of Vienna Universal Exhibition (Section of Arts and Crafts, Part I)
  Yokomizo Hiroko
No. 356Mar., 1993
 A Study of the Robes of Buddha Images in the Period of the Northern and Southern Dynasties (Part I)
  Okada Ken, Ishimatsu Hinako
 A Study of Sesshu Toyo (Part II): Painters Described in the Gozan Literature
  Shimao Arata
 Explanation of the Plates: On Two “Ksitigarbha with the Ten Kings of Hell” Paintings
  Nakano Teruo
No. 355Jan., 1993
 A Short Study on Maejima Soyu: A Report on the Newly Discovered Farming Scenes of the four Seasons Screen
  Aizawa Masahiko
 On Lu Xinzhong: Historical Changes in Nirvana Paintings (Part II)
  Ide Seinosuke
 Material for Art Research: Hakuba-kai (White Horse Society) Exhibition Catalogues (Part II)
  The Modern and Contemporary Japanese Art Section
No. 354Sep., 1992
 The Establishment of Jinguji Temples and the Significance of Their Principal Icons: Taking a Clue from the Motive for Making the Jingoji Yakushi
  Nagasaka Ichiro
 On Lu Xinzhong: Historical Changes in Nirvana Paintings
  Ide Seinosuke
 Material for Art Research: The Modern and Contemporary Japanese Art Section: Hakuba-kai (White Horse Society) Exhibition Catalogues (Part I)
  The Modern and Contemporary Japanese Art Section
No. 353Mar., 1992
 Worship of the Nyoirin Kannon (Cintamani-cakra Avalokitesvara) in Nara Period and its Sculpture: Focusing on the Statue at Ishiyama-dera
  Inoue Kazutoshi
 Painting and Language (Part I): “Ga (Chinese Style Painting)” and “Kanji (Chinese Characters)”
  Sato Doshin
 Explanation of the Plates: Studies for “The End of the Day” by Kuroda Seiki
  Yamanashi Emiko
 Material for Art Research: Report of Research on Japanese Art Works in Western Collections: Sitting Amitabha, The Metropolitan Museum of Art
  Miyake Hisao
 Material for Art Research: Report of Research on Japanese Art Works in Western Collections: Sitting Ksitigarbha, The Metropolitan Museum of Art
  Soejima Hiromichi
 Material for Art Research: The Whereabouts of Literary Materials of Expositions (Part II)
  The Modern and Contemporary Japanese Art Section
No. 352Feb., 1992
 Value and Acceptance of Painting: Through the Study of Shoji-painting at Shosenken at Shokokuji-temple, Muromachi Period
  Suzuki Hiroyuki
 “Patterns of Form” in Buddhist Sculpture and Their Transmission: A Study of Early Heian Bodhisattva Sculpture
  Nagaoka Ryusaku
 Explanation of the Plates: Utatane-zoshi Kept by National Museum of Japanese History
  Yonekura Michio
 Material for Art Research: National Art Exhibitions after Liberation: A Study of History of Chinese Painting in the Past One Hundred Years Part II (Supplement II)
  Tsuruta Takeyoshi
 Index to Bijutsu Kenkyu, Nos. 347-352
No. 351Jan., 1992
 “Patterns of Form” in Buddhist Sculpture and Their Transmission: A Study of Early Heian Bodhisattva Sculpture
  Nagaoka Ryusaku
 A Study of Sesshu Toyo (Part I): The Artist’s Tactics in the Spread of his Image
  Shimao Arata
 Material for Art Research: Standing Figures of Amitabha Triad by Kaikei at Kodai-in
  Miyake Hisao
 Material for Art Research: National Art Exhibitions after Liberation: A Study of History of Chinese Painting in the Past One Hundred Years Part II (Supplement I)
  Tsuruta Takeyoshi
No. 350Mar., 1991
 Seiki Kuroda and “Compositions”: “Talk on Ancient Romance” and Others
  Miwa Hideo
 Japanese Art of the Meiji Period and Its Administration
  Sato Doshin
 Material for Art Research: National Art Exhibitions after Liberation: A Study of History of Chinese Painting in the Past One Hundred Years Part II)
  Tsuruta Takeyoshi
No. 349Mar., 1991
 Western Literature and the Works by Seiki Kuroda
  Yamanashi Emiko
 Nationwide Art Exhibitions during the Republic Period: A Study of History of Chinese Painting in the Past One Hundred Years (Part I)
  Tsuruta Takeyoshi
 Explanation of the Plates: “Portrait of Widow” by Takeshiro Kanokogi (1912, Kyoto Municipal Art Museum)
  Yamanashi Emiko
No. 348Aug., 1990
 Taiga Ikeno’s Utilization of Illustrated Books
  Takeda Koichi
 Explanation of Plate: “Finger-painting Landscape” by Taiga Ikeno (1745, Yamatane Art Museum, Tokyo)
  Takeda Koichi
 Explanation of Plates: “Girl: Yukiko, Eleven Years Old” by Seiki Kuroda (1899, Tokyo National Research institute of Cultural properties)
  Miwa Hideo
 Material for Art Research: The Whereabouts of Literary Materials of Expositions
  The Modern and Contemporary Japanese Art Section
No. 347Mar., 1990
 Kitano Honji E with Ink Drawings
  Shimbo Toru
 Anatomical Etching Series by Michihei Motoki “Shinkei Ketsuraku Kaigen Zu” and Tabulae Anatomicae by Eustachius
  Sugano Yoh
 Explanation of Plates: “Nirvana” kept by the Chohoji, Osaka
  Sekiguchi Masayuki
No. 346Mar., 1990
 Problems of Identification of Portrayed Warriors: The Cases of “Takeda Shingen” and “Nawa Nagatoshi (?),” both by Hasegawa Nobuharu, “Ashikaga Takauji” and “Ashikaga Yoshihisa” (Part II)
  Kato Hideyui
 Material for Art Research: Letters of Takeshiro Kanokogi Written during His Stay in the West (Part III)
  Yamanashi Emiko
 Explanation of Plates: “Nirvana” Kept by the Gokurakuji, Kagawa
  Ide Seinosuke
 Index to Bijutsu Kenkyu, Nos. 341-346
No. 345Nov., 1989
 Problems of Identification of Portrayed Warriors: The Cases of “Takeda Shingen” and “Nawa Nagatoshi (?),” both by Hasegawa Nobuharu, “Ashikaga Takauji” and “Ashikaga Yoshihisa” (Part I)
  Kato Hideyui
 Transformation of Ink Painting (Continuation)
  Sato Doshin
 Material for Art Research: Letters of Takeshiro Kanokogi Written during His Stay in the West (Part II)
  Yamanashi Emiko
No. 344Mar., 1989
 Transformation of Ink Painting: With Special Reference to Two Works in Fenollosa and Bigelow Collections
  Sato Doshin
 “Eight Phases of the Life Sakyamuni” Owned by the Jikoji, Hiroshima (Part V)
  Sekiguchi Masayuki
 Material for Art Research: Letters of Takeshiro Kanokogi Written during His Stay in the West (Part I)
  Yamanashi Emiko
 Explanation of Plates: “Nirvana” Painting Owned by the Fumonji, Chiba
  Sekiguchi Masayuki
No. 343Feb., 1989
 Amitabha Statues with Curled Hair and Crown
  Inoue Kazutoshi
 Portraits of Chung-Feng Ming-Pen with Autograph Inscription
  Ide Seinosuke
 Explanation of Plates: “Amitabha Triad” by Nobukiyo Kato, Kongoji, Tokyo
  Suzuki Hiroyuki
No. 342Mar., 1988
 An Aspect of Ch’ing Period Bird-and-Flower Painting as Seen from Works of Painters who Came to Japan
  Tsuruta Takeyoshi
 Descendants of Nobuzane Fujiwara (Part I)
  Yonekura Michio
 Kaneyuki Hyakutake and His Work “Pietro Micca”
  Miwa Hideo
 The Study of Chinese Painting in the West
  Wen C. Fong
No. 341Feb., 1988
 Two Wartime Coats Handed Down by Katakura Family (Part I)
  Kamiya Eiko
 Material for Art Research: Letters of Tetsuo and Letters to Tetsuo
  Tsuruta Takeyoshi
 Explanation of Plates: The Main Image in the Ishiyamadera Pagoda Carved by Kaikei
  Matsushima Ken
No. 340Nov., 1987
 Again on the Kangakai
  Sato Doshin
 Material for Art Research: Illustrated Stories of Hachiman Daibosatsu and Illustrated Stories of Hachimangu (Appendix II)
  Miya Tsugio
 Explanation of Plates: “Lotus Sutra Paintings” in the Tomioka Art Museum
  Sekiguchi Masayuki
 Index to Bijutsu Kenkyu, Nos. 335-340
No. 339Mar., 1987
 Study of the Original Usage of the Partition Paintings in Rinshunkaku of Sankeien
  Suzuki Hiroyuki
 “Illustrated Biography of Priest Honen” and Pictorialization of Stories Concerning Lotus Sutra Belief
  Yonekura Michio
 Material for Art Research: Illustrated Stories of Hachiman Daibosatsu and Illustrated Stories of Hachimangu (Appendix I)
  Miya Tsugio
No. 338Mar., 1987
 “Kakinomoto no Hitomaro” Owned by the Tokiwayama Bunko
  Shimao Arata
 To Depict the Camel: “Camels” by Maruyama Oshin
  Suzuki Hiroyuki
 “View of Takanawa Ushimachi under the Hazy Moon” by Kobayashi Kiyochika: Influence of American Art in Meiji Era (Part I)
  Yamanashi Emiko
No. 337Feb., 1987
 Harada Naojiro and “Historical” Paintings (Part I)
  Nakae Akira, Miwa Hideo
 “Hoto Mandara” Transcribed in Gold Pigment Owned by the Myohoji
  Miya Tsugio
 Paintings Depicting the Lives of Eight Patriarchs of Shingon Sect, Originally Owned by the Eikyuji (Part V)
  Yanagisawa Taka
 Jih-kuan and the Ink Painting of Grapes
  Shimada Shujiro
No. 336Mar., 1987
 Sculptor Gyokai and His Works
  Miyake Hisao
 Illustrated Stories of Hachiman Daibosatsu and Illustrated Stories of the Hachimangu (Part III)
  Miya Tsugio
 Repairs and Restorations of Three Dogi Shirts Handed Down by the Rinnoji, Nokko (Part II)
  Kamiya Eiko
No. 335Feb., 1987
 Identification and Stylistic Analysis of a 13th Century Illustration from the “Tale of Ise”: Prince Koretaka’s Hermitage at Ono in the Snow
  Akiyama Terukazu
 Illustrated Stories of Hachiman Daibosatsu and Illustrated Stories of the Hachimangu (Part II)
  Miya Tsugio
 Study of “Catching a Catfish with a Gourd”: The Meaning of “Novel Mode” in the Inscription by Daigaku Shusu
  Shimao Arata
No. 334Jan., 1986
 Repairs and Restorations of Three Dogi Shirts Handed Down by the Rinnoji, Nokko (Part I)
  Kamiya Eiko
 Problems in Connection with the Standing Figure of Amitabha in the Gyokkeiji
  Miyake Hisao
 Material for Art Research: Evaluation of Japanese Art in the United States from the Late Nineteenth Century to the Early Twentieth Century
  Sakakida Emiko [Yamanashi Emiko]
 Material for Art Research: Bibliographical Introduction to Current Chinese Periodicals on Art (Part III)
  Tsuruta Takeyoshi
 Explanation of the Plate: Study for “Susanoo no Mikoto Slaying the Serpent” by Harada Naojiro (1895, The Okayama Prefectural Cultural Center)
  Miwa Hideo
 Index to Bijutsu Kenkyu, Nos. 329-334
No. 333Sep., 1985
 Illustrated Stories of Hachiman Daibosatsu and Illustrated Stories of the Hachimangu (Part I)
  Miya Tsugio
 “Eight Phases of the Life Sakyamuni” Owned by the Jikoji, Hiroshima (Part IV)
  Sekiguchi Masayuki
 Material for Art Research: Yugyo Shonin Engi E in Eifukuji
  Miya Tsugio
 Material for Art Research: Kaikoku Michi no Ki (Part III)
  Suzuki Hiroyuki
 Material for Art Research: Bibliographical Introduction to Current Chinese Periodicals on Art (Part II)
  Tsuruta Takeyoshi
No. 332Jun., 1985
 Paintings Depicting the Lives of Eight Patriarchs of Shingon Sect Originally Owned by the Eikyuji (Part IV)
  Yanagisawa Taka
 Material for Art Research: The Muryokoji Version of Shui Kotokuden E
  Yonekura Michio
 Material for Art Research: Repairs and Replicas of the Dobuku of Komon Design Handed Down by the Katakura Family
  Kamiya Eiko
 Material for Art Research: Bibliographical Introduction to Current Chinese Periodicals on Art (Part I)
  Tsuruta Takeyoshi
No. 331Mar., 1985
 Recepience of “Demon Annihilation” Painting in Japan
  Miyajima Shin’ichi
 The Bokka-juku’s Memoranda of Works of Calligraphy and Pictorial Art, Chinese and Japanese, by Asano Baido, Edited from the Original Text, with Explanatory Notes
  Tamura Etsuko
No. 330Dec., 1984
 Seryoji-Type Sakyamuni Images in Ehime Prefecture
  Ikawa Kazuko
 Etchings by Denzen Aodo and Dutch Map Book Nieuwe Atlas (Part II)
  Sugano Yoh
 Material for Art Research: The Bokka-juku’s Memoranda of Works of Calligraphy and Pictorial Art, Chinese and Japanese, by Asano Baido, Edited from the Original Text, with Explanatory Notes
  Tamura Etsuko
 Explanation of Plates: A “Skanda” Painting in the Possession of the Sennyuji
  Sekiguchi Masayuki
No. 329Sep., 1984
 Late Landscapes of Hogai Kano and Western Painting
  Sato Doshin
 Etchings by Denzen Aodo and Dutch Map Book Nieuwe Atlas (Part I)
  Sugano Yoh
 Material for Art Research: Kaikoku Michi no Ki (Part II)
  Suzuki Hiroyuki
No. 328Jun., 1984
 On the Group of Figure Paintings Titled “Lu Tung-pin”: Transfiguration of the Image
  Ebine Toshiro
 On “Wisdom, Impression, Sentiment” by Seiki Kuroda
  Miwa Hideo
 Explanation of Plates: “Po-i and Shu-ch’i” Attributed to Eitoku Kano (Private Collection, Yamagata)
  Suzuki Hiroyuki
 Index to Bijutsu Kenkyu, Nos. 323-328
No. 327Mar., 1984
 Ornamentation of the Indigo-paper Lotus Sutra with Silver Text in the Possession of the Enryakuji
  Egami Yasushi
 The Seiryoji Type Sakyamuni Images in Western Japan (Part II)
  Ikawa Kazuko
 Material for Art Research: Kaikoku Michi no Ki (Part I)
  Suzuki Hiroyuki
No. 326Dec., 1983
 Notes on the In-no-Dainagon Picture-scroll
  Tamura Etsuko
 Frontispieces in Sung and Yuan Printed Lotus Sutra (Part II)
  Miya Tsugio
 Explanation of Plates: Painting of Samantabhadra Kept by the Agency for Cultural Affairs
  Yanagisawa Taka
No. 325Sep., 1983
 Kuan-yin-ching Painting Owned by the Hondoji
  Miyajima Shin’ichi
 Narikane Version of the Handscroll Painting of Thirty-six Celebrated Poets
  Shimbo Toru
 Frontispieces in Sung and Yuan Printed Lotus Sutra (Part I)
  Miya Tsugio
 Explanation of Plate: “Rocks” by Hogai Kano (Tokyo National University of Fine Arts and Music)
  Sato Doshin
No. 324Jun., 1983
 The Seiryoji Type Sakyamuni Images in Western Japan (Part I)
  Ikawa Kazuko
 On the Rin’a Version of the Pictorial Biography of Priest Honen
  Yonekura Michio
 Lu Hsueh-ku and Hu T’ieh-mei: Study of Chinese Painters Who Came to Japan in the Meiji Era
  Tsuruta Takeyoshi
 Striped Ramie Haori Used by Tsunanari Tokugawa
  Kamiya Eiko
No. 323Mar., 1983
 The Hokke-do Kompon-Mandara: An Examination of Its Composition and Stylistic Techniques
  Akiyama Terukazu
 Handscroll painting of Thirty-six Celebrated Poets with Text Attributed to Fujiwara no Tamesuke
  Shimbo Toru
No. 322Dec., 1982
 A Mahamayuri Painting with Exceptional Iconography
  Yanagisawa Taka
 Material of Art Research: Illustrated Handscrolls of the Life of Priest Saigyo in Hakubyo Drawing
  Miya Tsugio
 Index to Bijutsu Kenkyu, Nos. 317-322
No. 321 Sep., 1982
 Dutch Book Konstkabinet and Hakuin’s “Oranda Dohan-e-ho”
  Sugano Yoh
 “Eight Phases of the Life Sakyamuni” Owned by the Jikoji, Hiroshima (Part III)
  Sekiguchi Masayuki
 Shinkuro Kunisawa’s Career as Painter and His Works
  Miwa Hideo
 Explanation of Plate: Standing Avalokitesvara Unearthed near the Musashi-Kokubunji Site
  Kuno Takeshi
 Explanation of Plate: “Goose” by Noriaki Iwahashi (Mie Prefectural Art Museum)
  Miwa Hideo
No. 320Jun., 1982
 Ornamentation Painting of the Wakanroeishu Manuscript Transcribed by Fujiwara no Koreyuki
  Egami Yasushi
 Shinran’s Calligraphy: With Special Reference to the Kyo Gyo Shin Sho (Part II)
  Tamura Etsuko
 Material for Art Research: Platform for Unrolling the Illustrated Handscrolls of the Miraculous Stories of Kasuga Shrine
  Egami Yasushi
No. 319Mar., 1982
 Study of a Chinese Painter Who Came to Japan in the Early Meiji Period: Wang Yin
  Tsuruta Takeyoshi
 “Hokoku Festival” Attributed to Matabei Iwasa: Variations of Themes in Genre Painting (Part I)
  Suzuki Hiroyuki
 “Eight Phases of the Life Sakyamuni” Owned by the Jikoji, Hiroshima (Part II)
  Sekiguchi Masayuki
 Material for Art Research: “Myna Bird” by Niu-shih-hui
  Tsuruta Takeyoshi
No. 318Jan., 1982
 Sculpture of Sakyamuni in Nirvana
  Ikawa Kazuko
 Shinran’s Calligraphy: With Special Reference to the Kyo Gyo Shin Sho (Part I)
  Tamura Etsuko
No. 317Jul., 1981
 How Poems Are Inserted in Prose in Japanese Written Literature
  Tamura Etsuko
 “Eight Phases of the Life Sakyamuni” Owned by the Jikoji, Hiroshima (Part I)
  Sekiguchi Masayuki
No. 316Jan., 1981
 On the “Pictorial Biography of Priest Honen” in Hanging-scroll Form in the Saidoji, Mie
  Yonekura Michio
 Four Kosode in Kishu Toshoku Shrine Said to Have Been used by Ieyasu Tokugawa: Research Report of Textile Works in Kishu Toshogu Shrine (Part II)
  Kamiya Eiko
 Material for Art Research: Drawings of Hogai Kano (Part II)
  Seki Chiyo
 Index to Bijutsu Kenkyu, Nos. 311-316
No. 315Dec., 1980
 Birth of Asuka Period Buddhist Sculpture
  Kuno Takeshi
 I Fu-chiu and Li Yung-yun: Study of Chinese Painters Who Came to Japan in Edo Period
  Tsuruta Takeyoshi
 Explanation of the Plates: “Meandering Thoughts of Death” by Shoji Sekine
  Kagesato Tetsuro
No. 314Sep., 1980
 Newly Recovered Illustrated Indigo-paper Sutra Set Owned by the Kongoshoji
  Egami Yasushi
 Chin Pin: Study of Chinese Painters Who Came to Japan in the Edo Period
  Tsuruta Takeyoshi
No. 313Mar., 1980
 Otogi-zoshi and Mitsunobu Tosa: With Special Reference to the Nezumi Soshi
  Miya Tsugio
 Preaching Scene Murals of the Cave of Maya, the Third Area, Kizil (Part I): Study of Central Asian Murals Collected by A. von Le Coq (Part II)
  Ueno Aki
 Material for Art Research: Vajradhara Statues by Master Buddhist Sculptor Insho Owned by Chuzenji, Kyoto
  Ikawa Kazuko
 Explanation of Plates: Northern Wei Standing Avalokitesvara Image Dated 484 (Private Collection)
  Matsubara Saburo
 Explanation of the Plate: “Costume of a Doll” by Yoshimatsu Goseda (Private Collection)
  Kagesato Tetsuro
No. 312Feb., 1980
 Study of Chinese Painters Who Came to Japan in the Edo Period: Ts’ai Chien, Hsieh Shih-chung and Wan Ku-shan
  Tsuruta Takeyoshi
 Preaching Scene Murals of the Cave of Maya, the Third Area, Kizil (Part I): Study of Central Asian Murals Collected by A. von Le Coq (Part II)
  Ueno Aki
 Material for Art Research: Cover Paintings of Bommokyo Scrolls Handed Down by the Horyuji
  Egami Yasushi
No. 311Oct., 1979
 Pictures of “Bodhidharma” in Western Painting Style
  Miwa Hideo
 Old Costumes in Kishu Toshogu Shrine (Part III): Research Report of Old Costumes in Kishu Toshogu Shrine (Part I)
  Kamiya Eiko
 Material for Art Research: A Letter of Hogai Kano
  Seki Chiyo
No. 310Jun., 1979
 Donors and Artists of Small Gilt Bronze Buddhist Images in the Asuka-Hakuho Period
  Kuno Takeshi
 Old Costumes in Kishu Toshogu Shrine (Part II): Research Report of Old Costumes in Kishu Toshogu Shrine (Part I)
  Kamiya Eiko
 Material for Art Research: Sketches of Birds Originally Painted by Tan-yu Kano and Copied by Tomin Noda
  Tsuji Nobuo
 Material for Art Research: A Newly Found Dated Inscription in the Painting Set of Five Great Vidyarajas Owned by Kibutuji
  Ariga Yoshitaka
 Index to Bijutsu Kenkyu, Nos. 305-310
No. 309Feb., 1979
 Ornamentation of Indigo-paper Lotus Sutra with Gold-and-silver Text in the Possession of the Enryakuji
  Egami Yasushi
 Donors and Artists of Small Gilt Bronze Buddhist Images in the Asuka-Hakuho Period
  Kuno Takeshi
No. 308Oct., 1978
 Mural Paintings from the “Cave of the Japanese” of Kizil: Study of Central Asian Murals Collected by A. von Le Coq (Part I)
  Ueno Aki
 Kyo-ka Jo: Fujiwara no Sari’s Letter: Is the Unit for Kure Timber “Zai” or “Son”?
  Tamura Etsuko
No. 307Sep., 1978
 Newly Found Version of Illustrated Handscrolls of the Heiji War
  Shimbo Toru
 Explanation of Plate: Fragmentary Text of the Illustrated Handscrolls of Genji Monogatari (Tenri-Matsunaga Version)
  Tamura Etsuko
 Material of Art Research: Index to Chinese Painters of the Last One Handled Years (Part IV)
  Tsuruta Takeyoshi
No. 306Mar., 1977
 Keiga Kawahara, a Painter of Nagasaki
  Kagesato Tetsuro
 Bodhisattva Painted on the Four Columns in the Saimyoji Three Storied Pagoda (Continuation)
  Sekiguchi Masayuki
 Old Costumes in Kishu Toshogu Shrine (Part I): Research Report of Old Costumes in Kishu Tosyogu Shrine (Part I)
  Kamiya Eiko
No. 305Mar., 1977
 Scroll Painting of Miraculous Stories of Nandikesvara
  Miya Tsugio
 On Nobuzane Fujiwara
  Yonekura Michio
 Material of Art Research: A Newly-discovered Fragment of the “Early Ferns” (Sawarabi) Chapter from The Tale of Genji with Black-and-White Illustrations
  Akiyama Terukazu
No. 304Mar., 1977
 Painting Activity of Wang Chien (Part I)
  Kawakami Kei
 Paintings Depicting the Lives of Eight Patriarchs of Shingon Sect Originally Owned by the Eikyuji (Part III)
  Yanagisawa Taka
 Explanation of Plates: Image of Buddha-at-Birth from Kuze Temple Site (Kept by the Board of Education, Joyo City, Nara)
  Kuno Takeshi
 Index to Bijutsu Kenkyu, Nos. 299 to 304 (May, 1975-March, 1976)
No. 303Oct., 1976
 Eleven-headed Avarokitesvara Statues of the Nakayamadera, Hyogo
  Ikawa Kazuko
 Two Dobuku of Komon Design Handed Down by the Katakura Family and the Toshogu Shrine, Nikko
  Kamiya Eiko
 Material of Art Research: Index to Chinese Painters of the Last One Handled Years (Part III)
  Tsuruta Takeyoshi
No. 302Mar., 1976
 “Dragon in Clouds” Painted by Tan-yu Kano on the Celling of Yomeimon Gate (Part II)
  Kono Motoaki
 Paintings Depicting the Lives of Eight Patriarchs of Shingon Sect Originally Owned by the Eikyuji (Part II)
  Yanagisawa Taka
No. 301Feb., 1976
 Landscape Depiction in the Frontispiece of Hannya Haramita Shingyo Owned by Jinkoin
  Egami Yasushi
 The Great Buddha of Asukadera (Part II)
  Kuno Takeshi
 “Dragon in Clouds” Painted by Tan-yu Kano on the Celling of Yomeimon Gate (Part I)
  Kono Motoaki
No. 300Jan., 1976
 The Great Buddha of Asukadera (Part I)
  Kuno Takeshi
 Paintings Depicting the Lives of Eight Patriarchs of Shingon Sect Originally Owned by the Eikyuji
  Yanagisawa Taka

Index to Bijutsu Kenkyu
Nos. 400-
Nos. 200-299
Nos. 100-199
Nos. 001-099

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