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Materials for Art Researchs: Interactions Between Kuroda Seiki and Kume Keiichirô as Seen in Their Correspondence
Get PDFThis article discusses the letters exchanged between two trend setting artists in Japan’s Western style painting circles, Kuroda Seiki (1866-1924) and Kume Keiichirô (1866-1934). These letters are among the materials held by the two institutions closely linked to these two men, the TNRICP and the Kume Museum of Art. Since issue No. 412 (March 2014) The Bijutsu Kenkyu has sporadically published transcriptions and introductions of the letters addressed to Kuroda Seiki held in the TNRICP. This article continues that process, and is at the same time an element of a joint research project between the TNRICP and the Kume Museum of Art begun in fiscal 2016. This joint project has transcribed the letters between Kuroda and Kume, translated into Japanese the sections in French which were previously published in Kume Keiichirô Nikki (Chûô Kôron Bijutsu Shuppan, 1990), and are making the texts of Kuroda’s and Kume’s diaries available online.
As is well known, Kuroda and Kume studied painting under Raphaël Collin in France. After returning to Japan, they worked together to found the Hakuba-kai and on arts education and arts policy. Their friendship and interactions deepened throughout their lives. The letters exchanged between the two men are unquestionably an aid to understanding the inner workings of Japan’s Western style painting circles from the mid-Meiji through Taishô periods. The letters which form the subject of this current joint project include a scattering of such information, such as a sense of the 4th Domestic Industrial Exposition held in 1895 and information on the operation of the Hakuba-kai and interactions between its members. Upon the holding of the Japan-British Exhibition in London in 1910, Kume traveled to England to help with the administration of the exhibition. He sent letters to Kuroda during that trip that are important documents providing information on the atmosphere of that exhibition.
This issue No. 433 of The Bijutsu Kenkyu introduces a list of the contents of all the Kuroda-Kume letters, with the succeeding issues scheduled to publish a selection of particularly interesting letters in facsimile and transcript form.journal articl
The Historical Context of Yosa Buson’s Ten Pleasures (Kawabata Yasunari Foundation)
Get PDFThe painting album, Ten Conveniences and Ten Pleasures of Rural Living (NT, Kawabata Yasunari Foundation) is renowned as a joint work by Ikeno Taiga (1723-1776) and Yosa Buson (1716-1783). Taiga and Buson created the album by combining their paintings based on poems composed in a seven-character style by the late Ming- early Qing literatus, Li Yu (1610-1680) at his villa Yiyuan. Taiga chose to depict the Ten Conveniences, Li Yu’s verses describing the convenience and ease of life at Yiyuan. In turn, Buson chose Li Yu’s Ten Pleasures verses that heralded the beauty of nature that changes with the seasons and the weather. While the Ten Conveniences and Ten Pleasures have long been known as a major work by the two artists, full studies contextualizing them within the history of Japanese literati painting have not yet been conducted, and their painting expression has not been fully interpreted or researched. In this article I reexamine the Ten Pleasures, which have been less highly valued than Taiga’s Ten Conveniences, and consider them in terms of Buson’s study of Chinese painting and Taiga’s influence on Buson.
This reexamination revealed how Buson employed his high-level understanding of the use of dry brush and scrubbed brushstrokes in the ink expression of his Ten Pleasures. I indicated that this expression reflects influence from the “imitate the ancients” pictures of the late Ming to early Qing dynasties. In sum, while the Ten Conveniences and Ten Pleasures are “poetic intent pictures” based on Li Yu’s poems, Taiga gives his ten images a ""pictures of a garden grove” aspect, while Buson gave his an “imitate the ancients” aspect. This means that the pictures in the painting album fully reflect Chinese tastes in spite of the fact that they are Japanese literati paintings. The album shows Japan’s understanding of late Ming-early Qing Chinese painting at the time all while being, in a sense, constructed like a type of haiku linked verse.
Buson’s experiences dealing with Taiga’s Ten Conveniences as he created his own Ten Pleasures paintings went on to exert a massive influence on his later works. In this article I mentioned that Buson may have encountered Taiga’s Landscapes in Six Perspectives / Four Chinese Sages (Kosetsu Museum of Art) in the process of coming to grips with and utilizing Taiga’s Ten Conveniences expression in his own truly Buson fashion. In detail, I indicate that the 4th picture in Taiga’s Four Chinese Sages resembles several of the landscapes of the four seasons pictures painted by Buson after he produced the Ten Pleasures pictures, and that he was close to the human network of Kimura Kenkadô (1736-1802), Hayashi Rôen and Amenomori Shôteki (1732-86). These factors heighten the likelihood that Buson knew Taiga’s Landscapes in Six Perspectives / Four Chinese Sages.
I further mentioned how the Ten Conveniences and Ten Pleasures influenced Buson’s late period works; the fact that his study of Chinese painting can be seen in the expressive elements he shared with the painters active in the late Ming and early Qing, and the understanding of Yuan painting seen in Japanese literati paintings which forms the background for his highly developed understanding of dry brush and scrubbing strokes, and thereby offered suggestions for areas for future research.journal articl
Regarding the Use of Brass in Kuno-ji kyo, a National Treasure
Get PDFThe present report shows the analytical results of the materials used in Kuno-ji kyo, a national treasure. Kuno-ji kyo is a set of sutras composed of 30 volumes, decorated with gold, silver, and coloring, and produced in the late Heian period (12th century).
Volume 5 of Kuno-ji kyo, Yakuso-Yuhon, was recently restored because many of their golden parts had peeled off and the color had changed. Non-destructive investigation using X-ray fluorescence analysis was carried out after the restoration. As a result, both copper and zinc were detected from the boundary lines where the materials had peeled off severely. No gold was detected from the lines. Since the intensity ratio of copper and zinc is almost constant, it can be estimated that the material used for the boundary lines is brass. Brass was used only in the boundary lines and was not found in other colored parts. Careful judgment was needed to determine whether the brass found in the present analysis is original or from subsequent repairs. Up to now, it has been thought that brass began to be used after the early Edo period (16th century). Even if brass was found in a work produced before the Edo period, it was often thought that the work would be an imitation made during and after the Edo period. However, regarding the brass found in the present analysis, it can be judged that the brass is original because there is no data or image to substantiate that brass was used in the past repairs. This analytical result shows that brass was used in the Heian period and in sutras.journal articl
A Consideration on in situ Conservation of Cultural Properties
Get PDFThe concept of the term in situ is a subject of consideration in various categories of
cultural properties. The significance of in situ conservation of cultural properties is discussed in this study. The concept of in situ is usually associated with real estate cultural properties such as constructions and historic sites but not commonly with movable cultural properties such as arts and crafts. However, each cultural property can have its own meaning of in situ; even movable artistic objects or fossils designated as a natural monument can be treated as in situ properties. It is difficult even with digital information such as VR or AR to reproduce completely in situ spacial characterization of a cultural property. Therefore, it will be needed to conserve cultural property in situ, if the main value of a cultural property exists on the specific place of the property.journal articl
Workshop on Restoration Treatments for Cultural Property : Cleaning with Gels and Emulsions
Get PDF本報告書は、東京文化財研究所 保存科学研究センターが令和元年10月8 日～ 10月10日に開催した「文化財修復処置に関するワークショップ ―ゲルやエマルションを使用したクリーニング法― 」の内容を編集したものです。
This is the proceedings of “Workshop on Restoration Treatment for Cultural Property ‒ Cleaning with Gels and Emulsions‒” held by the Center for Conservation Science, Tokyo National Research Institute for Cultural Properties on October 8th‒10th, 2019.boo
Lin Bu, Lu Shang : restoration report : the cooperative program for the conservation of Japanese art objects overseas : No.2017-2
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紙本墨画 掛軸装 2 幅 Ink on paper, hanging scrolls, two scrolls平成 29 年度修復事業 2017 Japanese Fiscal Yearboo