著者

池田 昌代 小根澤 遥 上坂 奈未 高橋 来実 望月 菜穂 平澤 マキ 関 千代子 澤山 茂

出版者

一般社団法人 日本食育学会

雑誌

日本食育学会誌 (ISSN:18824773)

巻号頁・発行日

vol.8, no.1, pp.9-17, 2014-01-25 (Released:2015-05-09)

参考文献数

25

被引用文献数

3

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The purpose of this study is to obtain basic data to develop a food education program for university students. We investigated the use of student cafeterias and analyzed the energy and nutrient intake of various dish combinations.The criteria for lunch items that university students gave priority to were preference, price, and nutrition balance. Gender differences were observed regarding the frequency of use of school cafeterias, criteria for lunch item selection, and purchase price. Energy and nutrient intake was different across dish combinations. Male students tended to select only “noodle bowl/dish”combinations, which led to greater salt intake; additionally, in such dishes, vitamins, dietary fiber, and iron were present in much fewer quantities than in other dish combinations. Female students tended to select “rice, main dish, and side dish” combinations, which had more calcium, dietary fiber, and iron than other combinations.For university students to put food education into practice in cafeterias, it is necessary to understand about appropriate energy and nutrient intake. Students should be educated about what dish combinations provide the right amount of energy and nutrient intake so that they can independently make decisions regarding this in the future. To facilitate this, the maintenance of a suitable (or “healthy”) meal environment is important.”

著者

関 千代

雑誌

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

巻号頁・発行日

no.195, pp.15-45, 1958-03-12

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Japanese painting has a unique field of subject matters not found in arts of other countries : bijin-ga ("beautiful-women-picture"), depiction of idealized types of feminine beauty which is not necessarily portrayal of real women. Bijin-ga in and after the "early modern" periods (mid-sixteenth to mid-ninteenth centuries) can be roughly classified into two groups; one along the line of Ukiyo-e which had developed chiefly in Edo, and the other of the Bijin-ga within the realm of traditional Japanese painting which had achieved progress through the centuries in Kyoto and its vicinity. The former, which influenced upon Impressionistic artists of the west, evolved distinctive unconventional styles. Utamaro, Harunobu and others are representative of this group. The latter, enhanced by artists of the Maruyama and Shijō Schools during the early modern periods, is characterized by noble grace derived from the elegant style of traditional art. The art of UEMURA Shōen (1875-1949) sprang out of the latter. She created her original type of bijin-ga in contemporary Japanese painting, and won high fame in the art world of the Meji (1868-1911), Taishō (1912-1925) and Shōwa (1926-) eras. Since little girlhood she liked painting. After graduating from a primary school she entered the Kyoto Prefectural School of Painting, which had only a very few girl students, but soon left it and became a pupil of SUZUKI Shōnen. Later on, she studied under KŌNO Bairei, an artist of the Maruyama-Shijo School, and subsequently after his death under TAKEUCHI Seihō, a pupil of Bairei. Her style, starting with the traditional Suzuki, Maruyama and Shijo Schools, was an accumulation of all styles of Japanese painting. Her works manifest the influence also at work of Ukiyo-e and illustrations in picture-books and story-books which were in vogue during the Edo Period. Her interest in the No play was also instrumental in establishing her distinctive art. The present writer divides the period of Shōen's activity into three epochs. The first covers from the time she entered the School of Painting to the beginning of the Governmental art exhibition known as Bun-ten (meaning Education Ministry Exhibition of Arts). This was a sort of a period of training for the artist, during which she at first worked in the rigid brushwork learned from the triditional art and later began to assimilate modern realistic representation. The second epoch, extending over the Taisho era, was the period in which her art achieved maturity in certain respects. Her paintings in this period, such as "Miyuki" and "Mai-jitaku", are notably rich in sweet delicacy. The third epoch was the period of perfection. "Sōshi-arai Komachi", "Yūgure" and other works in this period, especially those after 1935, reveal free, strong drawing and refined colouring: these characteristics as well as her symbolically simplified portrayal have succeeded in establishing a modern type of bijin-ga with an effect of nobleness and profoundness. Shōen was active throughout her life as an artist working for the Governmental exhibitions. In 1941, she was nominated a member of the Imperial Academy of Arts (Teikoku Geijutsu-in); in 1944, a Court Artist; and in 1948, the year before her death, she was awarded with the Cultural Decoration, the highest of honours for Japanese artists. Two exhibitions of her paintings were held after her death, with an illustrated catalogue published each time.

著者

関 千代

雑誌

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

巻号頁・発行日

no.311, pp.29-34, 1979-10-30

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A letter of Hōgai KANO (1828–1888) addressed to Toshisada TAWARA, his father-in-law who was a doctor, is owned by Hōgai's great-grandson, Mr. Hiroshi KANO. The letter has the date of November 6 and, judging from the content, it is recognized as being of the fourth year of Ansei Era (1857). It has an illustration drawn by Hōgai himself representing Townsend HARRIS, the first American Consul General to Japan who arrived at his post in 1856, a Japanese escort and a translator in the audience of the Shōgun. At the head of the letter, Hōgai states that Teppei, a son of Toshisada and a brother of Hōgai's wife Yoshi, should study medicine for continuity in the family occupation. A large part of the letter is on the visit of HARRIS to the Edo Castle which was big news to the people of the time. HARRIS, who sailed into the port of Shimoda in July 1856 and opened a consulate there, proceeded to Edo by land and visited the Shōgun in the Edo Castle to present the letter from the President. The letter was presented on October 21, 1857. Hōgai wrote for the people in his home town the news of HARRIS's overland trip and the audience in the castle to which he added an illustration. The illustration is vividly drawn and has a note saying “The sketchy drawing of the teacher is like this”, suggesting that the illustration was based on a sketchy drawing of Shōsen-in Tadanobu KANŌ who was his teacher. This leeter thus clarified that Hōgai was in Edo in this fall, but not in his home town Chōfu as is presumed by some people. At the same time, it indicates that he was already married then because his wife's name is mentioned without an honorific word in the letter.

著者

関 千代

出版者

東京国立文化財研究所

雑誌

美術研究 (ISSN:00219088)

巻号頁・発行日

no.311, pp.p29-34,図1p, 1979-10