著者

土屋 貴裕

出版者

一般財団法人 アジア政経学会

雑誌

アジア研究 (ISSN:21882444)

巻号頁・発行日

vol.58, no.4, pp.50-68, 2012-10-31 (Released:2014-02-05)

著者

土屋 貴裕

雑誌

美術研究 = The bijutsu kenkyu : the journal of art studies

巻号頁・発行日

no.399, pp.1-36, 2010-01-07

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The Tesshinsai Bunko Ise Monogatari Bunkakan in Odawara city, Kanagawa prefecture, is well known for its collections regarding The Tales of Ise. The single-volume The Tales of Ise Album (hereafter referred to as Tesshinsai version) is one of these works. It is thought that the paintings in the album were created by Tosa Mitsunobu and the text passages were brushed by Konoe Nobutada, as indicated by the inscription on the inside of the storage box lid. Not much attention has been accorded to the Tesshinsai version, and there have been no thorough studies of the work. This article is an introduction to the Tesshinsai version and presents observations that will hopefully advance an understanding of its position with the history of art. First, the article provides an overview of the work. It then goes on to evaluate the attributions to Tosa Mitsunobu and Konoe Nobutada. Similarities can be noted between the Tesshinsai version paintings and the group of works known to have been painted by Tosa Mitsunobu. However, there are also pages within the album that are extremely close to works by Tosa Mitsumochi, Mitsunobu's son, and the workshop of Mitsumochi, such as the Taimadera Engi Emaki and the Kuwanomidera Engi Emaki. Further, in terms of the text passages, the Tesshinsai version has gold and silver painted decoration rather than gold leaf decoration on its the text papers, and thus the paper used in the painting is thought to date from around the Momoyama period. The calligraphy appears to have characteristics typical of Konoe Nobutada, as found in works such as the Screens of Assorted Poems from the Tale of Genji in the Yômei Bunko collection. Thus the author concluded that it is highly likely that thecalligraphy is in fact that of Nobutada. Next, a comparison was made of scenes presented in various versions of The Tales of Ise paintings created up until the Momoyama period and the works in the Tesshinsai version, as a confirmation of their positioning within specific lineages of such works. As a result, the Tesshinsai version is seen to bear an extremely close relationship with the Chester Beatty Library version and the Suntory Museum of Art version. These two versions bear a close affiliation to the so-called Sagabon version that is considered to be the model for many Edo period examples. To be more specific, the Tesshinsai version appears to be the oldest copy version in this Sagabon lineage. This means that the Tesshinsai version must play a major role in future research on The Tales of Ise paintings. Given this chronology, the Tesshinsai version influenced many Tales of Ise paintings. Also, because it is considered that this work was painted by the Tosa Mitsumochi workshop, the Tesshinsai version stands as important material for the future study of the Tosa school. Finally, the Tesshinsai version was compared to the two Tales of Ise paintings created by Sumiyoshi Jokei, a painter who inherited and continued the Tosa school tradition. The comparison indicates that undoubtedly Jokei referred to the Tesshinsai version in the creation of his works. This connection also indicates the importance of the Tesshinsai version in the consideration of such issues as handing on models and copy works, and the development of Yamato-e iconography during the pre-modern period.

著者

土屋 貴裕

雑誌

尚美学園大学総合政策研究紀要 = Bulletin of policy and management, Shobi University (ISSN:13463802)

巻号頁・発行日

vol.22/23, pp.107-125, 2013-03-31

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本研究は、軍事財務関連資料から中国人民解放軍の予算内経費の定義と特徴を明らかにすることを目的とする。中国の「軍事経費」は「軍事予算経費」と「軍事予算外経費」とに分かれている。その内、「軍事予算経費」の主要な構成要素である「軍隊予算経費」は軍内部の予算科目規定が存在する。そこで、軍の予算経費の分類項目が記されている「予算科目」から各項目とその範囲などを分析した。分析の結果、(1)「軍事予算経費」は中央財政から拠出され、「軍隊予算経費」や「人民武装警察部隊予算経費」などで構成されていること、(2)「軍隊予算経費」は建軍当初から規定しており、1953 年に初めて制度化され、軍の予算経費管理制度および科目表は2001年までに過去8 回の大規模な修訂がなされてきたこと、(3)軍事予算外経費の減少とは対照的に軍事予算経費の主財源である国防費が増額されてきたこと、などが明らかとなった。この軍事予算経費は、国防費以外の国家財政項目からも拠出されているが、その詳細は依然として不透明である。他方、党は軍の自律性を抑え、腐敗を減らすために、予算外経費を減少させ、その代わりに国家財政の枠から拠出することで、軍を統制する意図があるものと考えられる。

著者

土屋 貴裕

出版者

国際安全保障学会

雑誌

国際安全保障 (ISSN:13467573)

巻号頁・発行日

vol.49, no.1, pp.74-91, 2021-06-30 (Released:2022-08-31)

著者

水野 貴之 土井 翔平 土屋 貴裕 栗崎 周平

出版者

一般社団法人 人工知能学会

雑誌

人工知能学会全国大会論文集 第35回 (2021)

巻号頁・発行日

pp.4H2GS11c05, 2021 (Released:2021-06-14)

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約6600万ノード(企業とその株主)で構成されるグローバルな株所有ネットワークに,約80万種の投資ファンドを結合する.投資運用会社は,投資家の投資ファンドを運用することにより多くの企業の直接的または間接的な株主になり,収益を得る.そして,株主として企業を支配する.我々は,複雑でグローバルな株所有ネットワークを紐解き,社会的責任を伴うESGの投資ファンドとヴァイス企業(たばこ,軍需産業など)とを繋げる経路が存在することを指摘する.投資をやめれば,ヴァイス企業からの収益はなくなるが,支配することができず野放しになる.一方で,投資をおこなえば,ヴァイス企業からの収益を受け取ることになる.このジレンマは,グローバル株所有ネットワークで線形におこなわれる収益の配分と,多数決を通じて非線形におこなわれる支配力の配分を定量化し,収益と支配力とのバランスで投資の可否を決断することにより解決できる.

著者

土屋 貴裕

出版者

国際安全保障学会

雑誌

国際安全保障 (ISSN:13467573)

巻号頁・発行日

vol.46, no.2, pp.135-139, 2018-09-30 (Released:2022-03-14)

著者

土屋 貴裕

雑誌

美術研究 = The bijutsu kenkiu : the journal of art studies

巻号頁・発行日

no.403, pp.25-57, 2011-03-29

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The Tengu Sôshi is an illustrated handscroll thought to have been created in the 10th month of Ei'nin 4 (1296). The date inscription that reads "Ei'nin yonnen jûgatsu" is written in the foreword on the Kôfukuji scroll of the seven scrolls that constitute the Tengu Sôshi. Given the inscription, this set of scrolls is positioned as one of the basic works of late Kamakura period painting. However, the Tengu Sôshi indicates the existence of a source version that is now lost, and it is not clear whether this Ei'nin 4 date inscription refers to the production of the existing scrolls or to the reported source version. Thus, a reconsideration based on painting style is required. In terms of the painting style of the Tengu Sôshi, previous scholars have indicated that it was painted by a studio related to the imperial painting bureau. Given these factors, this article attempts a re-analysis based on the nature of the connection between this work and other Kamakura period paintings. First, the article presents the various previous discussionson the matter, and reconfirms the painting's art historical position. This positioning reconfirmed its extremely close stylistic connections to the mid-Kamakura period works that continued the style of Late Heian period court painting, seen in such works as the Heiji Monogatari Handscrolls and the Kōan version of the Kitano Tenjin Engi Handscrolls. Next, paintings with the same compositional style as the Tengu Sôshi were sought out. This resulted in the confirmation that the Tengu Sôshi is extremely close in compositional style to the Yugyô Shônin Engi Handscrolls. In particular, the detached segments of the Yugyó Shônin Engi Handscrolls, today in the Museum Yamato Bunkakan collection and a private collection, are thought highly likely to have been produced in the same workshop as the Tengu Sôshi. At the same time, the many extant versions of the Yugyó Shônin Engi Handscrolls are thought to have an expressive style that continues the style of the Tengu Sóshi. This fact suggests that it is highly likely that the source version of the Yugyô Shônin Engi Handscrolls was produced at the same workshop as the Tengu Sôshi. In other words, the Yugyô Shônin Engi Handscrolls fragments in the Yamato Bunkakan and the private collection are all from the source version of the Yugyo Shônin Engi Handscrolls. This analysis indicates some fascinating facts regarding painting production places in the late Kamakura period. In other words, the Yugyo Shônin Engi Handscrolls that feature the activities of the Jishû sect, whose patriarch was Ippen, and the Tengu Sóshi, whose contents criticize the activities ofIppen, were painted in the same workshop. The production site of the Tengu Sôshi was thus a painting workshop that did not differentiate between opposing sectarian stances. This stands as proof that the Tengu Sôshi was created in the one powerful painting studio of the late Kamakura period, namely the imperial court painting studio. This finding reconfirms the extremely important position of the painting studio of the Tengu Sôshi in considerations of painting production sites of the late Kamakura period.

著者

池田 忍 柴 佳世乃 久保 勇 伊東 祐子 亀井 若菜 水野 僚子 土屋 貴裕 成原 有貴 メラニー トレーデ 須賀 隆章 中村 ひの

出版者

千葉大学

雑誌

基盤研究(B)

巻号頁・発行日

2007

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本研究は、日本の中世の物語絵画、とりわけ多様な知識や情報を共有し伝達する媒体であった絵巻の描写を手がかりに、身分と階層を跨る絵巻制作者と享受者の重層的な世界観を明らかにしようとするものである。本研究では、中世の人々の日常生活、労働、信仰、行事、儀礼、合戦の他、異国や異域、神仏化現の舞台となる「場」(型)を抽出・収集し、そこに描かれた建築や環境、多様な「もの」に、身分差や階層差、ジェンダーの差異がどのように描き分けられ、関連付けられているかを具体的に検証し、物語絵画、とりわけ絵巻という媒体の歴史的特性を明らかにした。