著者

早川 陽 Yo HAYAKAWA

出版者

昭和女子大学近代文化研究所

雑誌

昭和女子大学近代文化研究所紀要 = Bulletin of the Institute of Modern Culture, Showa Women’s University (ISSN:24369128)

巻号頁・発行日

no.17, pp.44-65, 2022-01-01

著者

早川 陽 Yo HAYAKAWA

出版者

昭和女子大学近代文化研究所

雑誌

学苑 = Gakuen (ISSN:13480103)

巻号頁・発行日

no.964, pp.38-62, 2021-02-01

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This paper explores descriptions of natural planting as a hobby in the book, Shumi Taikan published in 1935, focusing on bonsai. The study explains how the number of cultural pundits who enjoyed hobbies and built relationships with each other increased in early Showa Japan.Chapter 1 describes the community and context surrounding bonsai and explains its importance. Earlier studies on the history of bonsai are also examined. Chapter 2 summarizes hobbies related to natural planting that are described in Shumi Taikan. Chapter 3 classifies bonsai pundits by experience and describes their characteristics. Chapter 4 summarizes the construction of hobby organizations by area and name of organization and also appraises a large-scale exhibition held at Hibiya Park.This study verifies that an increasing number of publications by bonsai pundits and of botanical centers on natural planting as a hobby in early Showa Japan resulted in widespread recognition of bonsai. Bonsai was initially recognized as a new type of culture that was considered harmonious with sencha and suitable as ornaments for tokonoma. Thereafter, hobby groups were systematically formed and small- to large-scale exhibitions were held. Bonsai was favorably received by the public, leading to an increase in exhibitions. Bonsai developed into an art form from the time it came to be considered unique to Japan, rather than as part of Asian culture in general.

著者

早川 陽 Yo Hayakawa

雑誌

學苑 = GAKUEN (ISSN:13480103)

巻号頁・発行日

vol.896, pp.2-18, 2015-06-01

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In the field of Japanese art education, the pigments employed in traditional Japanese paintings are rarely used, though using them in an educational context could be very valuable in imparting an understanding of Bijutsu Bunka(art culture)currently required in curriculum guidelines. In an attempt to explore how they can be adopted in today's art education, this paper explores two Japanese traditional painting technique books from the Taisho Period and highlights the common characteristics of the pigments described in the books and compares them with pigments that have survived from those times, or have been more recently developed for use in traditional-style paintings. The origins of various Japanese pigments are organized in such a way that they can be used as educational material. In order to provide background for this research, the first chapter considers how Japanese traditional paintings are created, displayed and enjoyed today. Also the significance of Bijutsu Bunka, which was newly specified in curriculum guidelines, is discussed. The second chapter, focusing on the refinement and elutriation of pigments used in Japanese traditional paintings, categorizes and organizes the features of the pigments used. The third chapter refers to the above two books and considers the changes made since then in the types of the pigment. The final chapter summarizes the characteristics of the pigments and gives a general view of how they were traditionally used and concludes that the pigments, many of which have been refined by elutriation, can be utilized effectively in the field of art education today. The author believes that intercourse between the past and present, and understanding and appreciating traditional art, offer new possibilities in the future of art education.

著者

早川 陽 Yo Hayakawa

出版者

光葉会

雑誌

学苑 (ISSN:13480103)

巻号頁・発行日

no.896, pp.2-18, 2015-06

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In the field of Japanese art education, the pigments employed in traditional Japanese paintings are rarely used, though using them in an educational context could be very valuable in imparting an understanding of Bijutsu Bunka(art culture)currently required in curriculum guidelines. In an attempt to explore how they can be adopted in today's art education, this paper explores two Japanese traditional painting technique books from the Taisho Period and highlights the common characteristics of the pigments described in the books and compares them with pigments that have survived from those times, or have been more recently developed for use in traditional-style paintings. The origins of various Japanese pigments are organized in such a way that they can be used as educational material. In order to provide background for this research, the first chapter considers how Japanese traditional paintings are created, displayed and enjoyed today. Also the significance of Bijutsu Bunka, which was newly specified in curriculum guidelines, is discussed. The second chapter, focusing on the refinement and elutriation of pigments used in Japanese traditional paintings, categorizes and organizes the features of the pigments used. The third chapter refers to the above two books and considers the changes made since then in the types of the pigment. The final chapter summarizes the characteristics of the pigments and gives a general view of how they were traditionally used and concludes that the pigments, many of which have been refined by elutriation, can be utilized effectively in the field of art education today. The author believes that intercourse between the past and present, and understanding and appreciating traditional art, offer new possibilities in the future of art education.

著者

鈴木 陽彦 菅野 信之 赤澤 明彦 早川 陽子 手塚 あさみ 森 啓太 松浦 功泰 奥中 麗衣 白石 陽造

出版者

一般社団法人 日本獣医麻酔外科学会

雑誌

日本獣医麻酔外科学雑誌 (ISSN:21896623)

巻号頁・発行日

vol.47, no.2, pp.33-37, 2016 (Released:2016-12-20)

参考文献数

8

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15歳3ヶ月齢の未去勢雄のミニチュア・ピンシャーが摂食困難を主訴に来院した。口腔内検査にて舌小体付着部正中にSCCを認め、腫瘍の完全切除を目的に舌全摘出術を実施した。術後は胃瘻チューブによる補助的な飲水管理を必要としたが自力採食は可能であり、術後18ヶ月生存した。悪性度が極めて高い舌SCCに対しても舌全摘出術を行うことで局所再発を防ぎ、飼主が満足できるQOLを維持することが可能であった。

著者

早川 陽

出版者

昭和女子大学

雑誌

學苑 (ISSN:13480103)

巻号頁・発行日

vol.896, pp.2-18, 2015-06-01

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In the field of Japanese art education, the pigments employed in traditional Japanese paintings are rarely used, though using them in an educational context could be very valuable in imparting an understanding of Bijutsu Bunka(art culture)currently required in curriculum guidelines. In an attempt to explore how they can be adopted in today's art education, this paper explores two Japanese traditional painting technique books from the Taisho Period and highlights the common characteristics of the pigments described in the books and compares them with pigments that have survived from those times, or have been more recently developed for use in traditional-style paintings. The origins of various Japanese pigments are organized in such a way that they can be used as educational material. In order to provide background for this research, the first chapter considers how Japanese traditional paintings are created, displayed and enjoyed today. Also the significance of Bijutsu Bunka, which was newly specified in curriculum guidelines, is discussed. The second chapter, focusing on the refinement and elutriation of pigments used in Japanese traditional paintings, categorizes and organizes the features of the pigments used. The third chapter refers to the above two books and considers the changes made since then in the types of the pigment. The final chapter summarizes the characteristics of the pigments and gives a general view of how they were traditionally used and concludes that the pigments, many of which have been refined by elutriation, can be utilized effectively in the field of art education today. The author believes that intercourse between the past and present, and understanding and appreciating traditional art, offer new possibilities in the future of art education.