Tokyo National Research Institute for Cultural Properties - Publications
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Gathering and Communicating Information about Intangible Cultural Heritage in the Midst of Covid-19
Get PDFThe Department of Intangible Cultural Heritage of the Tokyo National Research Institute for Cultural Properties has been collecting information, both domestic and overseas, widely since April 2020 on the influence of Covid-19 on intangible cultural heritage. Included among the collected information are: those associated with cancellation, postponement and re-opening of performances, exhibitions, religious rites and others; information regarding support (provisions, subsidies and others) by the nation, local governing bodies, private organizations and others; information about new attempts such as online communication of performances and exhibitions; and information related to conditions in various nations and attempts made by international organizations such as UNESCO.
In the present paper, an outline of these attempts made from April to December 2020 is reported and their issues and future outlook are considered.departmental bulletin pape
Materials for Art Researchs: Newly Discovered Shuten-Dôji by Sumiyoshi Hiroyuki in the Grassi Museum of Ethnology in Leipzig
Get PDFThe Grassi Museum of Ethnology in Leipzig, one of the group of Saxon State museums in Germany, was established in 1869 and today houses approximately 200,000 cultural properties from around the world, including examples of Japanese art. While it has been known that the Shuten-Dôji handscrolls introduced here were formerly in the collection of the German doctor Heinrich Botho Scheube (1853-1923) who lived in Japan from 1877 to 1882, its existence has been little known in the scholarly world until now. The work consists of six handscrolls, with 50 registers of narrative text and 49 pictures, making up the magnificent full color on silk handscrolls. In total, the scrolls measure approximately
118 meters in length. The scrolls are in good condition, with the richly hued color pigments, which were unsparingly used in the scrolls, remaining in a completely intact state. Judging from the signature and seals at the end of each scroll, we know that these scrolls were painted by Sumiyoshi Hiroyuki (1755-1811). According to the Sumiyoshi school document, Sumiyoshi ryû shiso yori gaden yuishosho (住吉流従始祖画伝由緒書), in 1786 (Tenmei 6) Sumiyoshi Hiroyuki painted a “six-scroll Shuten-dôji handscroll set” as part of the wedding trousseau for Tanehime (1765-1794), an adopted daughter of the 10th Tokugawa shogun Tokugawa Ieharu, upon her marriage to Tokugawa Harutomi (1771-1853), the 10th head of the Kishû-Tokugawa family. It is thought that this set of scrolls might be the set described in the document. Tanehime’s older brother by birth, Matsudaira Sadanobu, was active as a senior advisor to the shogunate at the time of her marriage. Under the direction of Matsudaira Sadanobu, Sumiyoshi Hiroyuki was charged with important painting projects for the shogunate and imperial court. This work would have been fitting as a wedding trousseau item for a bride marrying into one of the three branch Tokugawa families from the Tokugawa shogunal family.
The narrative portrayed in the scrolls essentially consists of two parts. The first half recounts how in ancient times the mythical Yamata-no-Orochi, an eight-headed, eighttailed serpent who was killed by Susanoo-no-Mikoto, was then transformed into the god Ibuki-myôjin. The first half continues with the tale of Shuten-dôji, the child born to Ibuki-myôjin and the daughter of a district governor of Shiga. This child, however, loved sake from the age of three and used to become violent as he endlessly drank. The governor forced the child into Buddhist training at Enryakuji on Mt. Hiei, hoping the alcohol prohibition there would cure him. But it didn’t, the child broke the rules and was banished from the temple. This saga led to the boy’s nickname, Shuten-dôji, literally drinking boy. Shuten-dôji tried to return to his grandfather, the governor’s house, but was rejected. Thus forsaken by both his family and the Buddhist community, he was transformed into a demon. The second half of the set recounts how Minamoto no Yorimitsu, also known as Raikô, defeated Shuten-dôji. There are various points in common between the Grassi version depiction and examples by Kanô school painters, such as the Shuten-dôji scrolls by Kanô Motonobu today in the Suntory Museum of Art. The Grassi version adds the tale of how Shuten-dôji became a demon to the renowned Yorimitsu defeating Shuten-dôji narrative, in a construct seemingly to complete the tale of the demon being vanquished. The overall structure of the scrolls is essentially the layering and combining of the myth of Susanoo-no-Mikoto vanquishing Yamata-no-Orochi, and Yorimitsu vanguishing Shutendôji. The calligraphy in the first half texts and second half texts differ, and thus we can consider that two different calligraphers were commissioned to write the texts. Mori Masayoshi, a shogunate calligraphy master who did some collaborative works with Sumiyoshi Hiroyuki, may have been the calligrapher for the second half. As the first introduction of this work in Japan, this article includes an overview of each scene in each scroll and a transcription of the text. A detailed study of the work is planned for a later article.journal articl
The Auction Catalogue Digital Archive : exploring the potential of auction catalogues in art historical research
Get PDF売立目録デジタルアーカイブの概要 = An overview of the Auction Catalogue Digital Archive / 安永拓世著彫刻史研究と売立目録 = Research on the history of sculpture and auction catalogues / 山口隆介著土方稲嶺展(於鳥取県立博物館)での売立目録の活用と展開 = The use and development of auction catalogues in the Tôrei Hijikata : a Retrospective Exhibition held at Tottori Prefectural Museum / 山下真由美著売立目録の「見かた」と「読みかた」 : 工芸作品を例とした売立目録デジタルアーカイブの活用について = How to “See" and “Read" auction catalogues : decorative arts as an example of the use of the Auction Catalogue Digital Archive / 月村紀乃著売立目録デジタルアーカイブから浮かび上がる近世絵画の諸問題 = Various issues regarding early modern painting that emerge from the Auction Catalogue Digital Archive / 安永拓世著東京文化財研究所における売立目録収集と公開の歩み = The process of making auction catalogues available to the public at the Tokyo National Research Institute for Cultural Properties / 中村節子著売立目録デジタル化事業におけるシステムの役割について = The function of the systems used in the creation of the Auction Catalogue Digital Archive / 小山田智寛著boo
Cypress Tree, Bridge over Iris Pond : restoration report : the cooperative program for the conservation of Japanese art objects overseas : No.2017-1
Get PDFインディアナポリス美術館（アメリカ合衆国）所蔵 The Indianapolis Museum of Art, USA本紙金地着色 屏風装 6 曲1 双 Color on paper with gold leaf, six-panel folding screens平成 29 年度修復事業 2017 Japanese Fiscal Yearboo
Korea’s Awareness of the “Landscape” Painting Genre and Its Acceptance in the Early 20th Century
Get PDFThe “landscape” concept was introduced to Korea from Japan at the start of the 20th century. Translated from the English term “landscape,” the Japanese term fûkei (風景) acquired a new meaning, “the state of the visible features of an area, or its scenery and customs.” The new Korean term pungyeong (風景) replaced the traditional term for such imagery, sansu (山水), literally “mountains and water,” and thus a new genre of Korean landscape painting was created. In particular, the Joseon Arts Exhibition (1922 - 1944) provided Korean artists with opportunities to study ways of reproducing and embracing Korean landscapes. Based on the winning artworks at the exhibition, landscape painting subject matter was largely classified into natural scenery, urban scenery, and historic places and sites. In the early years of this annual exhibition, most of the landscape paintings entered in the competition were realistic depictions of nature. Some works featured scenery as it changed from moment to moment and depicted its seasonal and climatic characteristics, while others included people living amid nature. Conversely, after the mid-1920s, the exhibition saw an increase in the number of works which aimed to reproduce urban spaces as centers of modern daily life. After Japan’s annexation of Korea, the Japanese either damaged or demolished parts of many Korean cities, including the capital, Gyeongseong (present day Seoul), in order to build Japanese government offices and facilities for its colonial rule, and that entire process was represented in Korean landscape paintings. Other subjects included historic sites or places and buildings bearing traces of the country’s history. The Joseon Arts Exhibition, in which painters from all over the country participated, served as a venue that brought together Korean landscape paintings of famous historic sites around the country. Some painters expressed a sense of empathy toward a particular historic site in their hometown where they were born and raised, revealing the identity and historicity of the space. As described above, early 20th century landscape paintings display the process by which the landscape painting genre was accepted and established in Korea since its introduction to the country. Early landscape paintings capturing the natural landscapes, sentiments and regional identities of the Korean Peninsula have been regarded as highly significant from Korea’s liberation to the present day as they embody the origin of Korean landscape paintings.journal articl
Research Note: The Ueno Naoteru Materials in the Collection of the Faculty of Fine Arts, Tokyo University of the Arts
No full textUeno Aki, a former researcher at Tokyo National Research Institute for Cultural Properties (TNRICP, Tobunken), died in the autumn of 2014. Aki was the second daughter of Ueno Naoteru, the final president of Tokyo Bijutsu Gakkô and the first president of Tokyo University of the Arts (Geidai). After Aki’s death her descendants applied to donate the Ueno Naoteru materials remaining in the Ueno family, the materials of Ueno Hisa, Naoteru’s wife a violinist who graduated from Tokyo Ongaku Gakkô, and Ueno Aki materials to Tokyo University of the Arts and TNRICP. In July 2015 the Ueno Aki materials were accepted as donations to the TNRICP, and the Ueno Naoteru materials to the Faculty of Fine Arts Archives, and the Ueno Hisa materials to the Faculty of Music Archives of Tokyo University of the Arts.
Naoteru was a Japanese art history scholar, but after he retired as Tokyo University of the Arts president he became the first president of Aichi University of the Arts, and today more so than as an art historian he is remembered for his accomplishments in the administration of arts universities, and as such he has been little studied as an art historian.
This article is based on the Ueno Naoteru materials donated to the Kyôikushiryô-Hensanshitsu archives, Tokyo University of the Arts in 2015 and focuses on the process by which he became an art historian and then gradually shifted to university administration, while also noting the meaning of the Ueno Naoteru materials. The Kyôikushiryô-Hensanshitsu archives closed on March 30, 2020, and at present these materials are preserved in the Geidai Archives Center of Modern Art (GACMA), established by the University in April 2020. Given that these materials were donated to the University during the Kyôikushiryô-Hensanshitsu archives period, in this article the term Hensanshitsu is used to refer to that office.journal articl