文献一覧: 国立文化財機構東京文化財研究所 (出版者)

4. Interactions with Hishida Shunsô As indicated in the earlier section of this study, published in Bijutsu Kenkyû 404, Akimoto Shatei, a brewer in Nagareyama, Chiba prefecture, was a patron of Hishida Shunsô during the artist's later years. Shunsô's major works, Fallen Leaves (1909, Eisei-Bunko Museum) and Black Cat (1910, Eisei-Bunko Museum) were both in Shatei's personal collection. Toya Banzan, a pupil of Terasaki Kôgyô and secretary of the Bijutsu Kenseikai group supported by Shatei, is thought to have been the person who introduced Shatei to Shunsô. Banzan's memoirs state that he took Shatei to Izura in the spring of 1908 and there introduced him to Shunsô and Yokoyama Taikan. Letters handed down to Shatei's descendants confirm that Shatei visited Izura during that period. However, it was also around that time that Shunsô was suffering from eye disease and was forced to temporarily stop painting. According to Banzan's memoirs, Shatei had visited Shunsô intending to commission a painting, but when he learned that Shunsô was ill he instead arranged to pay for his living expenses for a year. Shunsô's Landscape in Autumn (Aichi Prefectural Museum of Art), formerly in Shatei's collection, is probably a painting that Shunsô created for Shatei around the autumn of 1908, once his eyes had healed. The following autumn of 1909, Shunsô entered his work Fallen Leaves in the 3rd Bunten Exhibition (Art Exhibition of the Ministry of Education) after which it entered Shatei's collection. According to Banzan's memoirs of Banzan and the collector Hosokawa Moritatsu, it seems that Shatei had already made up his mind to acquire the painting by the time of the invitation-only, first viewing day of the exhibition. Shunsô's Landscape of the Four Seasons (National Museum of Modern Art, Tokyo), painted around the same time, also found its way into Shatei's collection. The painting's exhibition history cannot be confirmed and there is still some need for investigation regarding the production period of this handscroll, but if the Landscape of the Four Seasons, which was of a large scale suited to exhibition entry, was created solely for Shatei's personal enjoyment, then it would speak of the strong and deep connection between Shunsô and Shatei. Black Cat, which was Shunsô's last entry in a Bunten exhibition, was also a work that Shatei had decided to acquire even prior to its exhibition. The interactions between Shunsô and Shatei were not simply a case of paintings being produced and procured. Around the autumn of 1910, when Shatei acquired Black Cat, Shunsô created a painting primer for Shatei's daughter Matsuko. Shunsô expressed his understanding of painting methods in a letter he wrote to Shatei about Matsuko's study from the primer. That letter simply spells out a list of guiding principles for her study of brush stroke methods and painting study, and even though it is intended for a beginning student, the letter does provide a rare expression of beginning painting study methods espoused by Shunsô, who did not himself take any pupils throughout his lifetime. However, it was around this time that Shunsô fell ill again, and died the following year, on September 16, 1911. Talk of a Shunsô memorial exhibition arose immediately after his death, and Shatei's name was linked to those of Okakura Tenshin, Yokoyama Taikan and others as one of the originators of the idea. Shatei provided financial support for the exhibition when it was held in the following spring of 1912. Shunsô's ashes were divided between his hometown of Iida and Tokyo, and it was Shatei who paid for Shunsô's gravestone in Tokyo.

2021-08-19 16:22:56
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https://ci.nii.ac.jp/naid/120006480229

1 0 0 0 ウェブデータベースによる画像情報の公開 : 尾高鮮之助調査撮影記録を例に

著者: 小山田智寛福永八朗髙橋佑太二神葉子
出版者: 国立文化財機構東京文化財研究所
雑誌: 保存科学 (ISSN:02870606)
巻号頁・発行日: no.56, pp.155-164, 2016

2021-06-24 18:28:24
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https://ci.nii.ac.jp/naid/40021237881

1 0 0 0 IR 斎藤たまの調査カード

著者: 狩野萌
出版者: 国立文化財機構東京文化財研究所
雑誌: 無形文化遺産研究報告
巻号頁・発行日: no.12, pp.129-134, 2018

SAITO Tama (1936-2017) is an independent folklore researcher who walked throughout Japan collecting folklores. Her collection covers a wide area including children's play, words, uses of plants, and events. She has also written many books, but her unique research has not been evaluated much until now.The Department of Intangible Cultural Heritage was donated with approximately 47,000 investigation cards of SAITO Tama in January 2017 and is in the midst of arranging them. By categorizing the cards according to keywords it is hoped that they may be searchable and utilized widely.SAITO Tama's collection related to folklore of children's play is numerous beyond comparison. In particular those about string figures compiled in Ayatori Itotori (Fukuinkan Shoten, 1982) and translated into English ("String Figures of Japan," Bulletin of the International String Figure Association ,11. 2004) is worth noting. Other than these, she has also collected information which is too close to people's daily life, such as what do they use when they defecate or urinate, that theycould not be considered subjects for academic study, although quite interesting from the point of view of folklore study.SAITO Tama also spent much effort collecting vocabulary, and it appears that using investigation cards was quite useful in arranging words that differed from one area to another. Using the enormous number of cards, she developed her own theory of etymology, avoiding simply accepting what a dictionary says.These investigations reflect in close detail the life style of the time when people's relation with nature was very close. The investigation cards are extremely valuable as record of lost customs, and transmit to the present the wisdom of our predecessors who utilized things that exist in nature. It is hoped that the arranging of these investigation cards will shed light on SAITO Tama and evaluate her work.

2020-09-04 18:03:00
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1 0 0 0 IR 楽器を中心とした文化財保存技術の調査報告(1)

著者: 前原恵美橋本かおる
出版者: 国立文化財機構東京文化財研究所
雑誌: 無形文化遺産研究報告
巻号頁・発行日: no.12, pp.41-65, 2018

There are many traditional performing arts in Japan that are accompanied by musical instruments. For the transmission and promotion of traditional performing arts, techniques for making these instruments and repairing them, techniques for the manufacture and repair of the tools necessary for making the instruments, and producing necessary materials are indispensable. The Department of Intangible Cultural Heritage has continued investigation on these techniques. The present report provides an outline of 20 cases of investigation conducted between February and December 2017.According to the Law for the Protection of Cultural Properties in Japan, there is a system to select preservation techniques and for registering persons or groups of persons holding such techniques. For this report investigation was conducted of holders of such techniques, whether they are registered or not, limiting the contents of investigation to the following 7 items so as to avoid imbalance of information, categorized them according to musical instruments and provided information for each holder.(1) name of the person holding the technique(2) year of birth(3) address(4) date of investigation(5) investigator(6) outline of the person holding the technique(7) opinion of the investigatorAdditional investigation is being conducted to supplement information where it is considered necessary. Results will be announced separately.This report contains subjects that were investigated upon request from the Traditional Culture Division of the Cultural Properties Department, Agency for Cultural Affairs. With these, information is shared with the Agency upon acquiring acknowledgment from the persons investigated.