Kano Hōgai’s Late Works and Ernest Francisco Fenollosa

This thrust of this essay is to consider the changes and the relationship of the various influences in Hōgai’s works through a comparison of two works, Kannon with Hibo Kannon, and an analysis of Niōsokki. From an analysis of these works, the newness of Hōgai’s later works can be seen in his technical use of ink painting and colour painting. Two other examples unrelated to motif are the uniformity of his brushstrokes and an expressive “smearing”. Hōgai’s late works reflect a wide range of elements: designs inherited from the early Edo period, the influence of techniques that appeared at the end of the Edo period and early Meiji period, techniques from Western painting, and Fenollosa’s theories. The relationship between Hōgai and Fenellosa cannot be reduced to the simplistic statement that “Japanese culture had changed after the acceptance of Western culture”. It should, I suggest, be seen as a mutual exchange. Hōgai’s late works can only be understood as the product of a cultural exchange of multiple periods, places and peopl

Paulownia and Phoenixes by Kano Tan’yu and the spread of the phoenix pattern

In this essay, I consider about the meaning of the works of the Kanō school painters in the Edo period who repeatedly used the same motifs, compositions, patterns and designs as the older paintings\u27 through analyses of Paulownia and Phoenixes of Kanō Tan\u27yū and the related works. Phoenix, though it had been regarded as Buddhist subject in Japan when it had been introduced from China, was regarded as the symbol of the good statesman in the end of the Muromachi period and the Momoyama period, and the Kano school painters worked on many paintings of Paulownia and Phoenixes. Paulownia and Phoenixes of Kanō Tan\u27yū had more Confucianism meanings because of five Phoenixes. Moreover the painters of Kobikichō Kanō School in the Edo period gave this subject the authority by making the similar paintings repeatedly; meanwhile, Tachibana Morikuni who had studied in the Kanō school published a book which carried the same pattern of Phoenix painted by Tan\u27yū. Finally, the same pattern of Phoenix appeared in Ukiyoe paintings

The Study about Elements of \u27Sesshiga\u27 in "Sechūbaichikuchōzu" by Kanō Tan\u27yū

The paintings by Kanō Tan\u27yū in Jōrakuden of Nagoya Castle are referred as good examples that have the characters of the Kanō Tan\u27yūs style. They are also recognized as masterpiece in the Edo period. Therefore, this paintings are important in Japanese Art history. Of the paintings by Tan\u27yū of Nagoya Castle, "Sechūbaichikuchōzu" is the best example of Tan\u27yū style because it has much space in its background. In this thesis, I analysis this painting and "Sechūchikurinkyūjakuzu" which is the pair of it. Especially, I argue that Tan\u27yu used the composition of \u27sessiga\u27 which is painted in South Asia in this painting

The Study about ‘One Hundred Pictures of Flowers and Birds’

‘One Hundred Pictures of Flowers and Birds’ is the book published in 1719 by Sekichushi. It is said that it is a copy of the sketchbook painted by Kanō Tan’yu and Tsunenobu. We cannot prove that this book is a direct copy of the sketchbook because the sketchbook does not exist now. However, in ‘One Hundred Pictures of Flowers and Birds’, there are a lot of the same images as the images of paintings by Tan’ yu and Tsunenobu. Several scholars said that the Inro designers in the Edo used the images ‘One Hundred Pictures of Flowers and Birds’ for their works. ‘One Hundred Pictures of Flowers and Birds’ and the other books published in the Edo period were good image sources of the painters and the designers in the Edo. In such books, there are a lot of same images as the image painted by the Kano school painters. Kanō school painters could have opportunities for copying Chinese paintings and Japanese older paintings and sketching rare animals and plants because they worked for Shogun, who had many rare things. ‘One Hundred Pictures of Flowers and Birds’ that had many images of rare birds and flowers was the valuable book for the painters and the designers because there were not photographs in the Edo period. Analyzing ‘One Hundred Pictures of Flowers and Birds’ and related works, we can understand that the images of Kanō school painters were spread widely in the Edo period.東アジアの言語と表

近世日本美術史と狩野派研究 －探幽から芳崖まで－

関西大

近世日本美術史と狩野派研究 －探幽から芳崖まで－ [論文要旨及び審査の要旨]

関西大

Combined vitreous and cataract surgeries in highly hyperopic eye

We report a case of a patient with a highly hyperopic eye who underwent cataract surgery combined with vitreous surgery to create a posterior vitreous detachment (PVD) to prevent choroidal neovascularization (CNV). A 78-year-old man noticed a decrease in his vision due to a cataract in his right eye. The patient had a severe visual loss in his left eye because of a CNV 2 years after a cataract surgery. His visual acuities were 20/30 OD and 20/600 OS, and funduscopic examination showed an orange-colored lesion OD and degenerative subretinal fibrosis OS. The posterior vitreous was attached to the retina in both eyes. The axial length was 18.9 mm OD and 19.0 mm OS. Cataract surgery combined with vitreous surgery to create PVD was performed on the right eye, and the vision improved to 20/20 with no signs of developing CNV after 5 years. We conclude that cataract surgery combined with vitreous surgery to create a PVD may prevent the development of CNV in highly hyperopic eyes