妙心寺養源院の障壁画 : 花井常棟の襖絵及び壁貼付絵残欠

平成十三（二〇〇一）年度妙心寺養源院の建築及び障壁画の調査研究報告〈論文・資料紹介

浮田一蕙「長篠合戦図」 : 建仁寺久昌院客殿障壁画

平成十四（二〇〇二）年度建仁寺久昌院の建築及び障壁画の調査研究報告〈論文・資料紹介

大雄院方丈の障壁画 : 柴田是真の襖絵「郭子儀図」

平成十二（二〇〇〇）年度妙心寺大雄院の建築及び障壁画の調査研究報告〈論文・資料紹介

あとがき

文部科学省グローバルCOEプログラム 関西大学文化交渉学教育研究拠点松浦章教授古稀記念

\u27The Scroll of Hell\u27 by Nichosai

Nichosai, an Osalca artist in the latter part of Edo period, produced a caricature scroll titled \u27The Scroll of Hell\u27 (property of the Kansai University Library). The inscription at the beginning states that learning has become popular and people are not frightened by Hell any more, so the King of Hell is flustered. In 21 scenes of Hell, the strange Hells of the present day are described in very amusing ways, beginning with \u27the Hell of the Smokers\u27 and concluding with \u27the Hell of the Road-horse Drivers\u27. It is filled with humor and satire, which reflects great credit on him as a caricature artist. The scroll adopts motifs from the medieval period \u27Storybook of the Hell\u27. But the demons in these scenes are not like the medieval period fearful demons but folksy and human ones. The sharp forms drawn in this scroll clearly show the talent of Nichosai as a professional artist. As they are remarkably similar to the sophisticated images presented in his illustrated book \u27Ehon Kotozukai\u27 published in the 2nd year of Bunka (1805), it is presumed the work was completed in his late years

Research on Japanese art history concerning the aesthetic interaction with East Asia

For more than a century, from the Meiji Restoration onward, art history in Japan has followed the trajectory of Japan\u27s efforts to "escape from Asia" and to join the global world as an advanced nation, with research in the field strongly oriented toward Western culture, and tending to undervalue Asian culture including that of China. However, today, the study of Japanese art history now appears to have reached a major turning point. In this regard, major revisions of the Japanese art history based on the values articulated by Okakura Tenshin are being carried out. Conversely, the conception of Asian art history, grounded in Okakura\u27s perception of Asian history, is likely to reemerge in new guises. At least as far as early modern painting is concerned, it seems to be the time for the birth of an "East Asian art history," i.e., art historical research that deals with the arts in Japan, China, and Korea as a single field. If in the near future such an East Asian art history is to be established, it must arise out of the scholarly traditions and the ethos of Asia

Works of the Kyo Kano School and the Yuan School－Comments on East Asian paintings created at the end of the Edo period－

At the end of the Edo period, Kano Eigaku (1790-1867), the ninth school-master of the Kyo Kano School, created a series of paintings featuring gorgeous mountain scenery in the style of the famous court paintings created during the Qing Dynasty in China. However, according to studies of modern painting history, the ink-and-wash paintings (Suiboku-ga) by Eigaku and others at the end of the Edo period were not highly appreciated, and his works were largely ignored because the evaluation after theMeiji Restoration viewed Eigaku as showing too much of a modern taste in Chinese style.Also, the public\u27s attention to Chinese culture was moving elsewhere. Since then, for more than a hundred years, Eigaku\u27s landscape paintings in the Chinese style have not been reviewed for appreciation and have almost faded into obscurity. In this paper, the forgotten works by Eigaku as well as those by others from the Kyo Kano School, and some related works on Chinese paintings, are introduced to clarify the significance of the Chinese style landscape paintings created at the end of the Edo period. In addition, works by the Chinese painters, Yuan Jiang and Yuan Yao, who were active during the Qing Dynasty are also discussed

Modern and contemporary Japanese painters influenced by the inflow of foreign culture

In the history of Japanese painting from the Edo Period to Modern Age, the style of painting underwent considerable change and development due to the exposure of other cultures, with an evolutionary transition from one culture (China) to another (Western countries). Tracing the Japanese history of painting during the later Edo period and onward, an overall change to "Modernization" progressed slowly on the whole, but individual paintings, however, influenced by the inflow of the Western aesthetics showed rapid changes. In fact, the changes in the expression and motifs running through individual works are not quite as simple as we think. Intermittent, back-and-forth movements were found in the works created under the influence of other Western and Asian countries such as France and China. Japanese painters, who were conscious of their indigenous culture, sought for a unique painting technique based on their own regional traditions. In this article, the author introduces Japanese painters who were active in the modern and contemporary age and who addressed their specific and individual problems in their works. In addition, the underlying events effecting developments in the history of art such as "propagation", "influence", and "cross-cultural exposure" are discussed in terms of "contact and assimilation with other cultures in art". The Japanese painters discussed in this article are AISEKI, SATO Gyodai, KANO Eigaku, and YOROAZU Tetsugoro, and their acculturated works are presented for discussion