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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).

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Contents
No.1~No.99 No.100~No.199 No.200~No.299 No.300~No.399 No.400~

No. 399 Jan., 2010
Tsuchiya Takahiro Positioning The Tales of Ise in the Teshhinsai Bunko Collection
Shioya Jun Study of Kawabata Gyokusyô (Part II)
Emura Tomoko 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)
No. 398 Aug., 2009
Sarai Mai The Yakushi Triad at Daigoji and the Structures of Temple Foundation during the Early Heian Period (Vol. III)
Yen Chuan-ying The Demise of Japanese-style Painting (Nihonga) in Taiwan: Local Color and Refracted Modernity
Tanaka Atsushi 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
Tsuda Tetsuei Material for Art Research: Hollow Dry Lacquer Standing Bodhisattva
Kikuya Yoshio, Shioya Jun Material for Art Research: Compilation of Materials Related to the Sango-Kai (Appendix, Part II)
  Report of the Department of Research Programming
No. 397 Mar., 2009
Lim Young-ae Images of “Foreigners” in Pictures of Wrestling in Tomb Wall Paintings During the Koguryo Dynasty
Tsunoda Takuro A Long-Puzzling Self-Portrait by Mitsutani Kunishiro: The Importance of the Goseda Studio in Modern Japanese Art History
Tanaka Atsushi Explanation of the Plates: Yorozu Tetsugoro’s Acrobats and Road under the Sun
Tsuda Tetsuei Book Review: Onishi Makiko, Saiho-jodohen no Kenkyu [Study of Paintings of Amitabha’s Western Paradise]
No. 396 Nov., 2008
Watanabe Yuji The Context of the Juko-in Main Hall Wall Panel Paintings
Watada Minoru A Hypothesis on the Establishment Date of Juko-in: For A Reconsideration of its Wall Panel Paintings
Takahashi Shuji Research Note: Report on the Discovery of Torn Trousers by Fuji Gazo
Watada Minoru Exhibition Review: Kano Eitoku Exhibition (Kyoto National Museum)
No. 395 Aug., 2008
Zheng Yan Reflections on the Problem of Audience for Han Dynasty Funerary Carved Pictorial Images
Watada Minoru Jiboku Sôtan (Part 3)
Tanaka Atsushi Research Note: Odaka Sen’nosuke and Kishida Ryûsei
Kobayashi Mioko Research Note: For a Smooth Surface: A Reconsideration of Koide Narashige
  Report of the Department of Research Programming
No. 394 Mar., 2008
Watada Minoru Jiboku Sôtan (Part 2)
Aizawa Masahiko Tosa Mitsuyoshi and Large-Format Paintings
Chang Chin-sung Between Non-Attachment and Obsession: The Collecting Culture of Late Choson Korea
Emura Tomoko Material for Art Research: Scenes from the Tale of the Soga Brothers, Pair of Six-panel Screens by Tosa Mitsuyoshi
  Index to Bijutsu Kenkyu, Nos. 389-394
No. 393 Jan., 2008
Katsuki Gen'ichirô 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
Sarai Mai The Yakushi Triad at Daigoji and the Structures of Temple Foundation
during the Early Heian Period (Part 2)
Watada Minoru Jiboku Sôtan (Part 1)
Tanaka Atsushi Exhibition Review: Three Early Shôwa Era Painters: Kojima Zenzaburô, Tsuruoka Masao, Ai-Mitsu
Tsuda Tetsuei 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]
No. 392 Sep., 2007
Sarai Mai The Yakushi Triad at Daigoji and the Structures of Temple Foundation
during the Early Heian Period (Part 1)
Emura Tomoko The Wealth from Birth on the Path to Becoming a Painter: The Environment Surrounding Ogata Kôrin and his Creation of Art Works
Shioya Jun Research on Kawabata Gyokusyô -I-
Kuraya Mika The Lower Half of the Painting: Japanese Nude Paintings from 1890 to 1945
Toda Teisuke Exhibition Review: Urgami Gyokudô Exhibition
  Reports from the Editorial Committee and the Department of Fine Arts
No. 391 Mar., 2007
Chen Fangmei Seeking the Three Dynasties among the Ritual Vessels of Old: The Sung Dynasty Shift from "Investigating Antiquity" to "Appreciating Antiquity"
Pak Eunkyung A New Interpretation of the Food-Offering Figures in the Water-Moon Avalokitesvara Painting at Daitokuji in Kyoto
Aizawa Masahiko Haboku Landscape and Sôen
Aoki Shigeru Exhibition Review: Mori Ôgai and Japanese Modern Art
Tsuda Tetsuei Material for Art Research: Copy Figures of the Central Worship Images at Zenkôji
No. 390 Dec., 2006
Tanaka Atsushi Kôki-Inshoha: Japanese Post-Impressionism around 1912
Shioya Jun Explanation of Plates: Kikuchi Yôsai's Kannon Sutra in the Biblioteque Nationale de France
Tsuruta Takeyoshi Explanation of the Plate: Huang Fuzhou's Shebua (Tongue Painting): Study Materials on Painting during China's Republican Period
Sarai Mai Exhibition Review: Ko-Mikkyô: The Incipient Stages of Japanese Esoteric Buddhism
Tanaka Atsushi Exhibition Review: Cubism in Asia: Unbounded Dialogues
Kim Hyeshin Exhibition Review: The Cubism of Asia as Seen in Seoul's Old Palace, Cubism in Asia: Unbounded Dialogues
Hida Romi Book Review: A Century of Chinese Sculpture Studies in Japan: Reading Ishimatsu Hinako's Buddhist Images in the Northern Wei Period
Yamanashi Emiko Book Review: Arayashiki Toru's Grez-Sur-Loin et le Japon: Deux Artistes Japonais, Kouroda Seiki et Asai Chû
No. 389 Jun., 2006
Xie Mingliang The Appreciation of Guan Wares in Late Ming China and the Taste for Suiqi Cracked Ware
Ushiroshoji Masahiro Public Art at an Imperial University: Aoyama Kumaji's Mural for the Engineering Department of Kyushu University
Asai Kyoko Book Review: Yoshizawa Katsuhiro's Hakuin: Zenga no Sekai [The World of Zen Painting]
Kitazawa Noriaki 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]
Tsuda Tetsuei, Sarai Mai SeMaterial for Art Research: Seated Wooden Bodhisattva at Hôonji, Hyôgo Prefecture
Dainobu Yuji Material for Art Research: Kuroda Seiki's Notebook Recording his Letter Drafts and Diary for 1888 (Part III)
Tanaka Atsushi Material for Art Research: Kuroda Seiki's Notebook recording his Letter Drafts and Diary for 1888
  Reports from the Editorial Committee and the Department of Fine Arts
No. 388 Feb., 2006
Christine Guth The Loaded Language of Cross-Cultural Evaluation: Curiosities, Curios, and Japan
Kim Young-na Lee In-sung's “Local Colors”: Nationalism or Colonialism?
Shioya Jun Explanation of Plate: Kano Shosen'in Tabdanobu's Tatsuta Screen in the Baur Collections, Geneva
Watada Minoru Exhibition Review: A Feeling of “Inkiness” Hard to Position in Art History: Viewing the Takada Keiho and Koizumi Ayaru Exhibition
Toda Teisuke Exhibition Review: Sesshu and painting of the Ming Dynasty (Nezu Institute of Fine Arts)
Dainobu Yuji Material for Art Research: Kuroda Seiki's Notebook Recording his Letter Drafts and Diary for 1888 (Part II)
  Index to Bijutsu Kenkyu, Nos. 383-388
No. 387 Oct., 2005
Tsuruta Takeyoshi 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--
Tanaka Atsushi Exhibition Review: Regarding Early Showa Era Paintings
Nagoya Akira Exhibition Review: Thoughts on the Early Sutra Copies Exhibition
Arayashiki Toru Book Review: The Pantheon-kai Journal: A Social Meeting Ground for Japanese Students in Paris from 1900-1903
Dainobu Yuji Material for Art Research: Kuroda Seiki's Notebook Recording his Letter Drafts and Diary for 1888 (Part I)
No. 386 Jun., 2005
Watada Minoru The Twenty-eight Patriarchs at Sofukuji: From Unkoku Toeki and Mincho to Sesshu and Bunsei
Christophe Marquet Emmanuel Tronquois and the Mid-Meiji Era Western Painting Circles
Kobayashi Hiromitsu Exhibition Review: Southern Song Paintings: Elegant and Noble in Soul (Nezu Institute of Fine Arts)
Omote Tomoyuki Book Review: Changing Antiquarian Interests in the Early Meiji Era: A Review of Suzuki Hiroyuki's Antiquarian's 19th Century
Namiki Seishi Book Review: Takagishi Akira's Power and Painting in Muromachi Japan: A Study of the Early Tosa School
No. 385 Feb., 2005
Yanagisawa Taka New Information Regarding the Yellow Acalanatha (Ki-Fudo) Painting of Onjoji: Conservation Report
Takata Osamu Reading Yanagisawa Taka's “New Information Regarding the Yellow Acalanatha (Ki-Fudo) Painting of Onjoji”
Choe Song-geun Research on the Stone Standing Triad at Gaetaesa Temple: The Emergence of the Newly Unified Goryeo Dynasty and Buddhist Sculpture
Toda Teisuke Exhibition Review: Thoughts on the Rimpa Exhibition (National Museum of Modern Art, Tokyo)
No. 384 Nov., 2004
Rong Xin-jiang From Sogdia to China: The Transformation of Sogdian Zoroastrian Art during its Eastward Migration
Murakami Hiroya The Dialectics of Self-Image: An Interpretation of Matsumoto Shunsuke's Portrait of the Artist, Standing Figure, Five People, and Three People (Part II)
Shioya Jun Explanation of Plates: Gyoshu's Drawings of an Infant
Tsuruta Takeyoshi 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--
No. 383 Aug., 2004
Tsuruta Takeyoshi 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--
Murakami Hiroya The Dialectics of Self-Image: An Interpretation of Matsumoto Shunsuke's Portrait of the Artist, Standing Figure, Five People, and Three People (Part I)
Suzuki Hiroyuki Research Note: W. Anderson’s “A History of Japanese Art” (1879)
No. 382 Mar., 2004
Shih Shou-chien The Spirit of Immortals: Chen Zihe and the Taoist Ink Painting during the Ming Dynasty
Tsuda Tetsuei Explanation of Plates: A Portrait of Honen Shonin at Chion-in, Kyoto
Tanaka Atsushi Exhibition Review: Aoki Shigeru and Romanticism in Modern Japanese Art
  Index to Bijutsu Kenkyu, Nos. 377-382
No. 381 Mar., 2004
Watada Minoru Sesshu in China: Unique Experiences for a Monk-Painter
Hayashi Yoko The Peripatetic Artist Foujita Tsuguharu: Discovering America after Japan and France
Asano Toru Book Review: Memories and Records: Reading Kimura Shohachi Diaries, Meiji Volume, Annotation and Research
No. 380 Mar., 2004
Editorial Committee New Editorial Policies
Hong Sun-pyo The Realm of “Self-Pleasure” and “Depicting Thoughts”: Creative Trends and Painting Production Amongst Yeohang Munin during the Late Choson Period
Tanaka Atsushi Research Note: Aoki Shigeru and Kishida Ryusei
No. 379 Mar., 2003
Suzuki Hiroyuki Koji Junrei (A Pilgrimage to Old Temples) by Watsuji Tetsuro: A Pervasive Aesthetic
Shioya Jun Explanation of Plates: Painting Albums in the Collection of the Kunsthistorisches Museum, Vienna
No. 378 Mar., 2003
Tsuda Tetsuei Thoughts on the Komyo Honzon Sacred Light Buddhist Inscription
Yamanashi Emiko Material for Art Research: The Kawahara Keiga Painting Archives in the Kunstkamera, Peter the Great Museum of Anthropology and Ethnography, St. Petersburg
No. 377 Feb., 2003
Shioya Jun The Road to “the Ideal Painting”: After Hashimoto Gaho's Dragon and Tiger
Kikuya Yoshio Thoughts on the Sango-kai
Kikuya Yoshio, Shioya Jun eds. Material for Art Research: Compilation of Materials Related to the Sango-kai
No. 376 Mar., 2002
Shimao Arata Research on Sesshu Toyo (4): Information Gleaned from the Autumn and Winter Landscape
Shirono Seiji The Formation and Use of Infra-red Images
Nakano Teruo Explanation of Plate: Hungry Ghosts, The Kannonkyo-ji, Chiba
Kikuya Yoshio, Shioya Jun eds. Material for Art Research: Compilation of Materials Related to the Sango-kai
  Index to Bijutsu Kenkyu, Nos. 371-376
No. 375 Mar., 2002
Tsuda Tetsuei Shinran's Face: Preliminary Research on Shinshu Sect Portrait Sculpture from Japan's Medieval Period
Nagai Takanori 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
No. 374 Feb., 2002
Cho Sum-mie The Portrait Paintings of the Choson Dynasty: Categories and Social Function
Tanaka Atsushi Koki-Inshoha: Japanese Post-Impressionism around 1912 (III of Second Series)
No. 373 Mar., 2000
Okada Ken Research on Dharma-cakra Mudra Amitabha Images in the Early Tang Dynasty
Ide Seinosuke Material for Art Research: Introduction to Jianxin Laifu’s Dangyouji (With a Brief Chronology of Jianxin Laifu)
No. 372 Mar., 1999
Shimao Arata Research on Sesshu Toyo (3): Information Gleaned from the Autumn and Winter Landscape
Tanaka Atsushi Koki-Inshoha: Japanese Post-Impressionism around 1912 (II of Second Series)
No. 371 Mar., 1999
Tamamushi Satoko Transitions in the Image of Korin -- 1815-1915
Okada Ken Toji’s Bishamonten Image: Thoughts on the Traditional Belief that the Image was Installed in the Rajomon Gate and its Dating (Second Half)
No. 370 Mar., 1998
Okada Ken Toji’s Bishamonten Image: Thoughts on the Traditional Belief that the Image was Installed in the Rajomon Gate and its Dating
Matsuura Masaaki The Transmission to Japan of the Bishamonten Doctrine and the Bishamonten Statue Enshrined on the Rajomon Gate
  Index to Bijutsu Kenkyu, Nos. 365-370
No. 369 Mar., 1998
Tanaka Atsushi Koki-Inshoha: Japanese Post-Impressionism around 1912 (First Half of Second in a Series of Three)
Tsuruta Takeyoshi Chinese Art Students in Europe: Research on the History of Chinese Painting of the Past 100 Years --VI--
No. 368 Dec., 1997
Tanaka Atsushi Koki-Inshoha: Japanese Post-Impressionism around 1912 (Part I)
Okada Ken Explanation of the Plates: Standing Buddha, Komyoji, Nara
No. 367 Mar., 1997
Arayashiki Toru Seiki Kuroda in Grez-sur-Loing: His Friendship with William Blair Bruce and Caroline Benedicks Bruce
Tsuruta Takeyoshi Chinese Art Students in Japan: Research on the History of Chinese Painting of the Past One Hundred Years (Part V)
Shimao Arata Explanation of the Plates: Two Landscape Handscrolls in the Xia Gui Style
No. 366 Feb., 1997
Andrew M. Watsky Memorializing Sutemaru: Regarding the Moya of the Tsukubushima Sanctuary Main Hall
Okada Ken Material for Art Research: Buddhist Sculptures of Huangshi-ya (Yellow-stone) Cliff in Licheng, Shandong
No. 365 Oct., 1996
Tsuruta Takeyoshi Art Education in the Late Qing Dynasty and Early Chinese Republic Period
Ide Seinosuke Explanation of the Plates: The Putuoloushan-shengjingtu at Joshoji, Nagano
No. 364 Mar., 1996
Nakano Teruo Chinese Style Paintings in the Kucha Region
Miyazaki Noriko 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
Ueno Kenzo Material for Art Research: Newspaper Articles Related to the Hakuba-kai
  Index to Bijutsu Kenkyu, Nos. 359-364
No. 363 Jan., 1996
Miyazaki Noriko 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
Shimao Arata Painting as Document: The Image and Poem of Wang Xizhi Writing on a Fan
Tsuruta Takeyoshi Concerning Tao Lengyue (Complement)
Tanaka Atsushi Explanation of the Plates: Study of Face by Sogame Hirotaro
No. 362 Mar., 1995
Ide Seinosuke A Koryo Painting of Amida and the Fugen Gyogan-bon
Tani Akira Material for Art Research: Paintings Mentioned in Tea Ceremony Diaries
No. 361 Mar., 1995
Suzuki Hiroyuki Paintings Crossing Sea Borders: The Significance of “Kara-e” in Fifteenth-century East Asia
Hiroi Yuichi Hyogo-kusari and Nagafukurin Swords: Their Date of Production: Focussing on the Swords at Itukushima Shrine
Tsumori Atsuo, Nakamura Setsuko Material for Art Research: List of Catalogues of Auctions for All of Japan
No. 360 Oct., 1994
Okada Ken The Gongxian Grottoes and Early Tang Dynasty Sculptural Style
Maribeth Graybill Painting as Family Business: The Rhetoric of Style in Portraiture by Nobuzane and His Heirs
Tsumori Atsuo, Nakamura Setsuko Material for Art Research: List of Catalogues of Auctions for All of Japan
No. 359 Mar., 1994
Nagaoka Ryusaku The Topology of the Standing Image of Yakushi-Nyorai of Jingoji: The Mountain and Yakushi in the Early Heian Period
Tsuruta Takeyoshi Explanation of the Plates: Papier Colle Works by Yang Weiquan
Yokomizo Hiroko Material for Art Research: Draft for Japanese Catalogue of Vienna Universal Exhibition (Section of Arts and Crafts, Part III)
No. 358 Dec., 1993
Suzuki Hiroyuki The Reception and Reproduction of Eight Views of the Xiao and Xiang Rivers: Paintings’ Milieu in the Fifteenth Century
Tsuruta Takeyoshi Concerning Tao Lagyue: A Study of Chinese Painting in the Past One Hundred Years (Part III)
Yokomizo Hiroko Material for Art Research: Draft for Japanese Catalogue of Vienna Universal Exhibition (Section of Arts and Crafts, Part II)
  Index to Bijutsu Kenkyu, Nos. 353-358
No. 357 Jul., 1993
Okada Ken, Ishimatsu Hinako A Study of the Robes of Buddha Images in the Period of the Northern and Southern Dynasties (Part II)
Sato Doshin Painting and Language (Part II): Artists’ “Gago (Elegant Pseudonym)” and Ideal World View
Yamanashi Emiko Explanation of the Plates: Koyama Shotaro “Autumn Landscape”
Yokomizo Hiroko Material for Art Research: Draft for Japanese Catalogue of Vienna Universal Exhibition (Section of Arts and Crafts, Part I)
No. 356 Mar., 1993
Okada Ken, Ishimatsu Hinako A Study of the Robes of Buddha Images in the Period of the Northern and Southern Dynasties (Part I)
Shimao Arata A Study of Sesshu Toyo (Part II): Painters Described in the Gozan Literature
Nakano Teruo Explanation of the Plates: On Two “Ksitigarbha with the Ten Kings of Hell” Paintings
No. 355 Jan., 1993
Aizawa Masahiko A Short Study on Maejima Soyu: A Report on the Newly Discovered Farming Scenes of the four Seasons Screen
Ide Seinosuke On Lu Xinzhong: Historical Changes in Nirvana Paintings (Part II)
The Modern and Contemporary Japanese Art Section Material for Art Research: Hakuba-kai (White Horse Society) Exhibition Catalogues (Part II)
No. 354 Sep., 1992
Nagasaka Ichiro The Establishment of Jinguji Temples and the Significance of Their Principal Icons: Taking a Clue from the Motive for Making the Jingoji Yakushi
Ide Seinosuke On Lu Xinzhong: Historical Changes in Nirvana Paintings
The Modern and Contemporary Japanese Art Section Material for Art Research: The Modern and Contemporary Japanese Art Section: Hakuba-kai (White Horse Society) Exhibition Catalogues (Part I)
No. 353 Mar., 1992
Inoue Kazutoshi Worship of the Nyoirin Kannon (Cintamani-cakra Avalokitesvara) in Nara Period and its Sculpture: Focusing on the Statue at Ishiyama-dera
Sato Doshin Painting and Language (Part I): “Ga (Chinese Style Painting)” and “Kanji (Chinese Characters)”
Yamanashi Emiko Explanation of the Plates: Studies for “The End of the Day” by Kuroda Seiki
Miyake Hisao Material for Art Research: Report of Research on Japanese Art Works in Western Collections: Sitting Amitabha, The Metropolitan Museum of Art
Soejima Hiromichi Material for Art Research: Report of Research on Japanese Art Works in Western Collections: Sitting Ksitigarbha, The Metropolitan Museum of Art
The Modern and Contemporary Japanese Art Section Material for Art Research: The Whereabouts of Literary Materials of Expositions (Part II)
No. 352 Feb., 1992
Suzuki Hiroyuki Value and Acceptance of Painting: Through the Study of Shoji-painting at Shosenken at Shokokuji-temple, Muromachi Period
Nagaoka Ryusaku “Patterns of Form” in Buddhist Sculpture and Their Transmission: A Study of Early Heian Bodhisattva Sculpture
Yonekura Michio Explanation of the Plates: Utatane-zoshi Kept by National Museum of Japanese History
Tsuruta Takeyoshi 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)
  Index to Bijutsu Kenkyu, Nos. 347-352
No. 351 Jan., 1992
Nagaoka Ryusaku “Patterns of Form” in Buddhist Sculpture and Their Transmission: A Study of Early Heian Bodhisattva Sculpture
Shimao Arata A Study of Sesshu Toyo (Part I): The Artist’s Tactics in the Spread of his Image
Miyake Hisao Material for Art Research: Standing Figures of Amitabha Triad by Kaikei at Kodai-in
Tsuruta Takeyoshi 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)
No. 350 Mar., 1991
Miwa Hideo Seiki Kuroda and “Compositions”: “Talk on Ancient Romance” and Others
Sato Doshin Japanese Art of the Meiji Period and Its Administration
Tsuruta Takeyoshi Material for Art Research: National Art Exhibitions after Liberation: A Study of History of Chinese Painting in the Past One Hundred Years Part II)
No. 349 Mar., 1991
Yamanashi Emiko Western Literature and the Works by Seiki Kuroda
Tsuruta Takeyoshi Nationwide Art Exhibitions during the Republic Period: A Study of History of Chinese Painting in the Past One Hundred Years (Part I)
Yamanashi Emiko Explanation of the Plates: “Portrait of Widow” by Takeshiro Kanokogi (1912, Kyoto Municipal Art Museum)
No. 348 Aug., 1990
Takeda Koichi Taiga Ikeno’s Utilization of Illustrated Books
Takeda Koichi Explanation of Plate: “Finger-painting Landscape” by Taiga Ikeno (1745, Yamatane Art Museum, Tokyo)
Miwa Hideo Explanation of Plates: “Girl: Yukiko, Eleven Years Old” by Seiki Kuroda (1899, Tokyo National Research institute of Cultural properties)
The Modern and Contemporary Japanese Art Section Material for Art Research: The Whereabouts of Literary Materials of Expositions
No. 347 Mar., 1990
Shimbo Toru Kitano Honji E with Ink Drawings
Sugano Yoh Anatomical Etching Series by Michihei Motoki “Shinkei Ketsuraku Kaigen Zu” and Tabulae Anatomicae by Eustachius
Sekiguchi Masayuki Explanation of Plates: “Nirvana” kept by the Chohoji, Osaka
No. 346 Mar., 1990
Kato Hideyui 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)
Yamanashi Emiko Material for Art Research: Letters of Takeshiro Kanokogi Written during His Stay in the West (Part III)
Ide Seinosuke Explanation of Plates: “Nirvana” Kept by the Gokurakuji, Kagawa
  Index to Bijutsu Kenkyu, Nos. 341-346
No. 345 Nov., 1989
Kato Hideyui 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)
Sato Doshin Transformation of Ink Painting (Continuation)
Yamanashi Emiko Material for Art Research: Letters of Takeshiro Kanokogi Written during His Stay in the West (Part II)
No. 344 Mar., 1989
Sato Doshin Transformation of Ink Painting: With Special Reference to Two Works in Fenollosa and Bigelow Collections
Sekiguchi Masayuki “Eight Phases of the Life Sakyamuni” Owned by the Jikoji, Hiroshima (Part V)
Yamanashi Emiko Material for Art Research: Letters of Takeshiro Kanokogi Written during His Stay in the West (Part I)
Sekiguchi Masayuki Explanation of Plates: “Nirvana” Painting Owned by the Fumonji, Chiba
No. 343 Feb., 1989
Inoue Kazutoshi Amitabha Statues with Curled Hair and Crown
Ide Seinosuke Portraits of Chung-Feng Ming-Pen with Autograph Inscription
Suzuki Hiroyuki Explanation of Plates: “Amitabha Triad” by Nobukiyo Kato, Kongoji, Tokyo
No. 342 Mar., 1988
Tsuruta Takeyoshi An Aspect of Ch’ing Period Bird-and-Flower Painting as Seen from Works of Painters who Came to Japan
Yonekura Michio Descendants of Nobuzane Fujiwara (Part I)
Miwa Hideo Kaneyuki Hyakutake and His Work “Pietro Micca”
Wen C. Fong The Study of Chinese Painting in the West
No. 341 Feb., 1988
Kamiya Eiko Two Wartime Coats Handed Down by Katakura Family (Part I)
Tsuruta Takeyoshi Material for Art Research: Letters of Tetsuo and Letters to Tetsuo
Matsushima Ken Explanation of Plates: The Main Image in the Ishiyamadera Pagoda Carved by Kaikei
No. 340 Nov., 1987
Sato Doshin Again on the Kangakai
Miya Tsugio Material for Art Research: Illustrated Stories of Hachiman Daibosatsu and Illustrated Stories of Hachimangu (Appendix II)
Sekiguchi Masayuki Explanation of Plates: “Lotus Sutra Paintings” in the Tomioka Art Museum
  Index to Bijutsu Kenkyu, Nos. 335-340
No. 339 Mar., 1987
Suzuki Hiroyuki Study of the Original Usage of the Partition Paintings in Rinshunkaku of Sankeien
Yonekura Michio “Illustrated Biography of Priest Honen” and Pictorialization of Stories Concerning Lotus Sutra Belief
Miya Tsugio Material for Art Research: Illustrated Stories of Hachiman Daibosatsu and Illustrated Stories of Hachimangu (Appendix I)
No. 338 Mar., 1987
Shimao Arata “Kakinomoto no Hitomaro” Owned by the Tokiwayama Bunko
Suzuki Hiroyuki To Depict the Camel: “Camels” by Maruyama Oshin
Yamanashi Emiko “View of Takanawa Ushimachi under the Hazy Moon” by Kobayashi Kiyochika: Influence of American Art in Meiji Era (Part I)
No. 337 Feb., 1987
Nakae Akira, Miwa Hideo Harada Naojiro and “Historical” Paintings (Part I)
Miya Tsugio “Hoto Mandara” Transcribed in Gold Pigment Owned by the Myohoji
Yanagisawa Taka Paintings Depicting the Lives of Eight Patriarchs of Shingon Sect, Originally Owned by the Eikyuji (Part V)
Shimada Shujiro Jih-kuan and the Ink Painting of Grapes
No. 336 Mar., 1987
Miyake Hisao Sculptor Gyokai and His Works
Miya Tsugio Illustrated Stories of Hachiman Daibosatsu and Illustrated Stories of the Hachimangu (Part III)
Kamiya Eiko Repairs and Restorations of Three Dogi Shirts Handed Down by the Rinnoji, Nokko (Part II)
No. 335 Feb., 1987
Akiyama Terukazu Identification and Stylistic Analysis of a 13th Century Illustration from the “Tale of Ise”: Prince Koretaka’s Hermitage at Ono in the Snow
Miya Tsugio Illustrated Stories of Hachiman Daibosatsu and Illustrated Stories of the Hachimangu (Part II)
Shimao Arata Study of “Catching a Catfish with a Gourd”: The Meaning of “Novel Mode” in the Inscription by Daigaku Shusu
No. 334 Jan., 1986
Kamiya Eiko Repairs and Restorations of Three Dogi Shirts Handed Down by the Rinnoji, Nokko (Part I)
Miyake Hisao Problems in Connection with the Standing Figure of Amitabha in the Gyokkeiji
Sakakida Emiko [Yamanashi Emiko] Material for Art Research: Evaluation of Japanese Art in the United States from the Late Nineteenth Century to the Early Twentieth Century
Tsuruta Takeyoshi Material for Art Research: Bibliographical Introduction to Current Chinese Periodicals on Art (Part III)
Miwa Hideo Explanation of the Plate: Study for “Susanoo no Mikoto Slaying the Serpent” by Harada Naojiro (1895, The Okayama Prefectural Cultural Center)
  Index to Bijutsu Kenkyu, Nos. 329-334
No. 333 Sep., 1985
Miya Tsugio Illustrated Stories of Hachiman Daibosatsu and Illustrated Stories of the Hachimangu (Part I)
Sekiguchi Masayuki “Eight Phases of the Life Sakyamuni” Owned by the Jikoji, Hiroshima (Part IV)
Miya Tsugio Material for Art Research: Yugyo Shonin Engi E in Eifukuji
Suzuki Hiroyuki Material for Art Research: Kaikoku Michi no Ki (Part III)
Tsuruta Takeyoshi Material for Art Research: Bibliographical Introduction to Current Chinese Periodicals on Art (Part II)
No. 332 Jun., 1985
Yanagisawa Taka Paintings Depicting the Lives of Eight Patriarchs of Shingon Sect Originally Owned by the Eikyuji (Part IV)
Yonekura Michio Material for Art Research: The Muryokoji Version of Shui Kotokuden E
Kamiya Eiko Material for Art Research: Repairs and Replicas of the Dobuku of Komon Design Handed Down by the Katakura Family
Tsuruta Takeyoshi Material for Art Research: Bibliographical Introduction to Current Chinese Periodicals on Art (Part I)
No. 331 Mar., 1985
Miyajima Shin’ichi Recepience of “Demon Annihilation” Painting in Japan
Tamura Etsuko 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
No. 330 Dec., 1984
Ikawa Kazuko Seryoji-Type Sakyamuni Images in Ehime Prefecture
Sugano Yoh Etchings by Denzen Aodo and Dutch Map Book Nieuwe Atlas (Part II)
Tamura Etsuko 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
Sekiguchi Masayuki Explanation of Plates: A “Skanda” Painting in the Possession of the Sennyuji
No. 329 Sep., 1984
Sato Doshin Late Landscapes of Hogai Kano and Western Painting
Sugano Yoh Etchings by Denzen Aodo and Dutch Map Book Nieuwe Atlas (Part I)
Suzuki Hiroyuki Material for Art Research: Kaikoku Michi no Ki (Part II)
No. 328 Jun., 1984
Ebine Toshiro On the Group of Figure Paintings Titled “Lu Tung-pin”: Transfiguration of the Image
Miwa Hideo On “Wisdom, Impression, Sentiment” by Seiki Kuroda
Suzuki Hiroyuki Explanation of Plates: “Po-i and Shu-ch’i” Attributed to Eitoku Kano (Private Collection, Yamagata)
  Index to Bijutsu Kenkyu, Nos. 323-328
No. 327 Mar., 1984
Egami Yasushi Ornamentation of the Indigo-paper Lotus Sutra with Silver Text in the Possession of the Enryakuji
Ikawa Kazuko The Seiryoji Type Sakyamuni Images in Western Japan (Part II)
Suzuki Hiroyuki Material for Art Research: Kaikoku Michi no Ki (Part I)
No. 326 Dec., 1983
Tamura Etsuko Notes on the In-no-Dainagon Picture-scroll
Miya Tsugio Frontispieces in Sung and Yuan Printed Lotus Sutra (Part II)
Yanagisawa Taka Explanation of Plates: Painting of Samantabhadra Kept by the Agency for Cultural Affairs
No. 325 Sep., 1983
Miyajima Shin’ichi Kuan-yin-ching Painting Owned by the Hondoji
Shimbo Toru Narikane Version of the Handscroll Painting of Thirty-six Celebrated Poets
Miya Tsugio Frontispieces in Sung and Yuan Printed Lotus Sutra (Part I)
Sato Doshin Explanation of Plate: “Rocks” by Hogai Kano (Tokyo National University of Fine Arts and Music)
No. 324 Jun., 1983
Ikawa Kazuko The Seiryoji Type Sakyamuni Images in Western Japan (Part I)
Yonekura Michio On the Rin’a Version of the Pictorial Biography of Priest Honen
Tsuruta Takeyoshi Lu Hsueh-ku and Hu T’ieh-mei: Study of Chinese Painters Who Came to Japan in the Meiji Era
Kamiya Eiko Striped Ramie Haori Used by Tsunanari Tokugawa
No. 323 Mar., 1983
Akiyama Terukazu The Hokke-do Kompon-Mandara: An Examination of Its Composition and Stylistic Techniques
Shimbo Toru Handscroll painting of Thirty-six Celebrated Poets with Text Attributed to Fujiwara no Tamesuke
No. 322 Dec., 1982
Yanagisawa Taka A Mahamayuri Painting with Exceptional Iconography
Miya Tsugio Material of Art Research: Illustrated Handscrolls of the Life of Priest Saigyo in Hakubyo Drawing
  Index to Bijutsu Kenkyu, Nos. 317-322
No. 321 Sep., 1982
Sugano Yoh Dutch Book Konstkabinet and Hakuin’s “Oranda Dohan-e-ho”
Sekiguchi Masayuki “Eight Phases of the Life Sakyamuni” Owned by the Jikoji, Hiroshima (Part III)
Miwa Hideo Shinkuro Kunisawa’s Career as Painter and His Works
Kuno Takeshi Explanation of Plate: Standing Avalokitesvara Unearthed near the Musashi-Kokubunji Site
Miwa Hideo Explanation of Plate: “Goose” by Noriaki Iwahashi (Mie Prefectural Art Museum)
No. 320 Jun., 1982
Egami Yasushi Ornamentation Painting of the Wakanroeishu Manuscript Transcribed by Fujiwara no Koreyuki
Tamura Etsuko Shinran’s Calligraphy: With Special Reference to the Kyo Gyo Shin Sho (Part II)
Egami Yasushi Material for Art Research: Platform for Unrolling the Illustrated Handscrolls of the Miraculous Stories of Kasuga Shrine
No. 319 Mar., 1982
Tsuruta Takeyoshi Study of a Chinese Painter Who Came to Japan in the Early Meiji Period: Wang Yin
Suzuki Hiroyuki “Hokoku Festival” Attributed to Matabei Iwasa: Variations of Themes in Genre Painting (Part I)
Sekiguchi Masayuki “Eight Phases of the Life Sakyamuni” Owned by the Jikoji, Hiroshima (Part II)
Tsuruta Takeyoshi Material for Art Research: “Myna Bird” by Niu-shih-hui
No. 318 Jan., 1982
Ikawa Kazuko Sculpture of Sakyamuni in Nirvana
Tamura Etsuko Shinran’s Calligraphy: With Special Reference to the Kyo Gyo Shin Sho (Part I)
No. 317 Jul., 1981
Tamura Etsuko How Poems Are Inserted in Prose in Japanese Written Literature
Sekiguchi Masayuki “Eight Phases of the Life Sakyamuni” Owned by the Jikoji, Hiroshima (Part I)
No. 316 Jan., 1981
Yonekura Michio On the “Pictorial Biography of Priest Honen” in Hanging-scroll Form in the Saidoji, Mie
Kamiya Eiko 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)
Seki Chiyo Material for Art Research: Drawings of Hogai Kano (Part II)
  Index to Bijutsu Kenkyu, Nos. 311-316
No. 315 Dec., 1980
Kuno Takeshi Birth of Asuka Period Buddhist Sculpture
Tsuruta Takeyoshi I Fu-chiu and Li Yung-yun: Study of Chinese Painters Who Came to Japan in Edo Period
Kagesato Tetsuro Explanation of the Plates: “Meandering Thoughts of Death” by Shoji Sekine
No. 314 Sep., 1980
Egami Yasushi Newly Recovered Illustrated Indigo-paper Sutra Set Owned by the Kongoshoji
Tsuruta Takeyoshi Chin Pin: Study of Chinese Painters Who Came to Japan in the Edo Period
No. 313 Mar., 1980
Miya Tsugio Otogi-zoshi and Mitsunobu Tosa: With Special Reference to the Nezumi Soshi
Ueno Aki 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)
Ikawa Kazuko Material for Art Research: Vajradhara Statues by Master Buddhist Sculptor Insho Owned by Chuzenji, Kyoto
Matsubara Saburo Explanation of Plates: Northern Wei Standing Avalokitesvara Image Dated 484 (Private Collection)
Kagesato Tetsuro Explanation of the Plate: “Costume of a Doll” by Yoshimatsu Goseda (Private Collection)
No. 312 Feb., 1980
Tsuruta Takeyoshi Study of Chinese Painters Who Came to Japan in the Edo Period: Ts’ai Chien, Hsieh Shih-chung and Wan Ku-shan
Ueno Aki 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)
Egami Yasushi Material for Art Research: Cover Paintings of Bommokyo Scrolls Handed Down by the Horyuji
No. 311 Oct., 1979
Miwa Hideo Pictures of “Bodhidharma” in Western Painting Style
Kamiya Eiko Old Costumes in Kishu Toshogu Shrine (Part III): Research Report of Old Costumes in Kishu Toshogu Shrine (Part I)
Seki Chiyo Material for Art Research: A Letter of Hogai Kano
No. 310 Jun., 1979
Kuno Takeshi Donors and Artists of Small Gilt Bronze Buddhist Images in the Asuka-Hakuho Period
Kamiya Eiko Old Costumes in Kishu Toshogu Shrine (Part II): Research Report of Old Costumes in Kishu Toshogu Shrine (Part I)
Tsuji Nobuo Material for Art Research: Sketches of Birds Originally Painted by Tan-yu Kano and Copied by Tomin Noda
Ariga Yoshitaka Material for Art Research: A Newly Found Dated Inscription in the Painting Set of Five Great Vidyarajas Owned by Kibutuji
  Index to Bijutsu Kenkyu, Nos. 305-310
No. 309 Feb., 1979
Egami Yasushi Ornamentation of Indigo-paper Lotus Sutra with Gold-and-silver Text in the Possession of the Enryakuji
Kuno Takeshi Donors and Artists of Small Gilt Bronze Buddhist Images in the Asuka-Hakuho Period
No. 308 Oct., 1978
Ueno Aki Mural Paintings from the “Cave of the Japanese” of Kizil: Study of Central Asian Murals Collected by A. von Le Coq (Part I)
Tamura Etsuko Kyo-ka Jo: Fujiwara no Sari’s Letter: Is the Unit for Kure Timber “Zai” or “Son”?
No. 307 Sep., 1978
Shimbo Toru Newly Found Version of Illustrated Handscrolls of the Heiji War
Tamura Etsuko Explanation of Plate: Fragmentary Text of the Illustrated Handscrolls of Genji Monogatari (Tenri-Matsunaga Version)
Tsuruta Takeyoshi Material of Art Research: Index to Chinese Painters of the Last One Handled Years (Part IV)
No. 306 Mar., 1977
Kagesato Tetsuro Keiga Kawahara, a Painter of Nagasaki
Sekiguchi Masayuki Bodhisattva Painted on the Four Columns in the Saimyoji Three Storied Pagoda (Continuation)
Kamiya Eiko Old Costumes in Kishu Toshogu Shrine (Part I): Research Report of Old Costumes in Kishu Tosyogu Shrine (Part I)
No. 305 Mar., 1977
Miya Tsugio Scroll Painting of Miraculous Stories of Nandikesvara
Yonekura Michio On Nobuzane Fujiwara
Akiyama Terukazu Material of Art Research: A Newly-discovered Fragment of the “Early Ferns” (Sawarabi) Chapter from The Tale of Genji with Black-and-White Illustrations
No. 304 Mar., 1977
Kawakami Kei Painting Activity of Wang Chien (Part I)
Yanagisawa Taka Paintings Depicting the Lives of Eight Patriarchs of Shingon Sect Originally Owned by the Eikyuji (Part III)
Kuno Takeshi Explanation of Plates: Image of Buddha-at-Birth from Kuze Temple Site (Kept by the Board of Education, Joyo City, Nara)
  Index to Bijutsu Kenkyu, Nos. 299 to 304 (May, 1975-March, 1976)
No. 303 Oct., 1976
Ikawa Kazuko Eleven-headed Avarokitesvara Statues of the Nakayamadera, Hyogo
Kamiya Eiko Two Dobuku of Komon Design Handed Down by the Katakura Family and the Toshogu Shrine, Nikko
Tsuruta Takeyoshi Material of Art Research: Index to Chinese Painters of the Last One Handled Years (Part III)
No. 302 Mar., 1976
Kono Motoaki “Dragon in Clouds” Painted by Tan-yu Kano on the Celling of Yomeimon Gate (Part II)
Yanagisawa Taka Paintings Depicting the Lives of Eight Patriarchs of Shingon Sect Originally Owned by the Eikyuji (Part II)
No. 301 Feb., 1976
Egami Yasushi Landscape Depiction in the Frontispiece of Hannya Haramita Shingyo Owned by Jinkoin
Kuno Takeshi The Great Buddha of Asukadera (Part II)
Kono Motoaki “Dragon in Clouds” Painted by Tan-yu Kano on the Celling of Yomeimon Gate (Part I)
No. 300 Jan., 1976
Kuno Takeshi The Great Buddha of Asukadera (Part I)
Yanagisawa Taka Paintings Depicting the Lives of Eight Patriarchs of Shingon Sect Originally Owned by the Eikyuji
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