ゼブラフィッシュ視蓋損傷モデルにおける組織再生の分子機構の解析

早大学位記番号:新7850早稲田大

Commerce and Craft in the Illustrated Companion to Murray’s Japan Guide-Book

Session IV : Crafts as Cultural ResourcesA Handbook for Travellers published by the British publisher John Murray, was one of the leading guidebook series in the 19th century, covering not only Europe but also popular ports of call. The fourth edition of Murray’s guidebook on Japan, A Handbook for Travellers in Japan (1894), has a photo album titled Illustrated Companion to Murray’s Japan Guide-Book (1894), which serves as an addendum and is not found in any other books in the series. Although it has ‘Murray’s Japan Guide-Book’ in the title, the album was published not by John Murray but by Kazuma Ogawa, a Japanese photographer. This paper discusses the conversion and adaptations in photographic formats made for different purposes by comparing his other works on a companion album. As it is a ‘companion’ piece, it had a role in promoting the guidebook and helped achieve commercial value. Simultaneously, it put Ogawa’s photographic craft works into mass production. Rather than taking new photographs for the work, Ogawa adapted works from his other collotype prints, which was his speciality, and introduced halftone printing, which was cheaper and could be mass-produced. This was his second introduction of a halftone print, but it was employed from a more commercial perspective. Ogawa also reorganised and published this guidebook supplement into a two-volume photographic collection for Japanese readers titled Nihon Hyakkei (『日本百景』 A Hundred Views in Japan, 1894). He changed the form again and expanded countrywide readerships. Ogawa took advantage of the opportunity to produce a photo book as an addendum to the guidebook, transforming expensive technical work into a more commercial product for a Japanese audience depending on its intended use. This transition in format not only broadened the readership but also added new value to the same work, and expanded the possibilities of photography

Visualisation of Japanese Nature in Josiah Conder’s Works

Since Japan had opened her ports to the world, the country aggressively assembled Westerner to introduce systems, techniques, and cultures from the West, and those who came Japan studies the unknown country in the Far East and published books. A British architect Josiah Conder (1852-1920) is one of them who tried to reveal Japanese culture. He wrote books about Japanese flowers and flower arrangement in The Flowers of Japan and the Art of Floral Arrangement (1891) and The Floral Art of Japan (1899). In addition, he published Landscape Gardening in Japan (1893) with its companion book Supplement to Landscape Gardening in Japan (1893). This paper is going to focus illustrations and photographs in those books to illuminate Conder’s attempt to discuss Japanese beauty with Western point of view and Japanese artistic sense. His first book about flowers in Japan The Flowers of Japan and The Art of Floral Arrangement adopted Japanese style while its content was written in Western scientific point of view that based on a paper for Asiatic Society of Japan in 1889. The cover of the book was drawn by a popular Japanese woodcut painter and has some coloured Japanese woodcuts by native artists. In Contrast to the first book, Landscape Gardening in Japan contains Western style expressions. He cited pictures by a Japanese Western-style painter instead of woodcuts. He also adopted photographs in Supplement to Landscape Gardening in Japan as he explains them “the most scientific means”. However, these Western style expressions could not be seen in his third book though the contents become more scientific. These shifts of illustrations reflects Conder’s attempt to illuminate possibility of Japanese art and ‘universally accepted art truths’.Theme I : Nature And Desig