ARC-iJAC Activities

Background:
Masami Yamada, leader of the ARC-iJAC project Re-thinking Japonisme: Digitization of the V&A's collection of Japanese illustrated books and researching its formation in the late 19th century, is a Curator in the Victoria and Albert Museum's Asia Department. She has particular responsibility for the collections of Japanese lacquerware, netsuke, ukiyo-e woodblock prints and contemporary craft. Her current area of research is contemporary craft, particularly the work of urushi lacquer artists. In 2022, she received the inaugural Sir Nicholas Goodison Award for Contemporary Craft from the Art Fund to further develop the Museum's internationally renowned Japanese lacquer collection.

Thank you very much for your time today. How did you first connect with the Art Research Center (ARC) or hear about the International Joint Digital Archiving Center for Japanese Art and Culture (ARC-iJAC)?

Yamada: The V&A was the first museum where Professor Ryо̄ Akama from the ARC conducted the digitization of a Japanese art collection in Europe 20 years ago. In this first phase of the partnership project, every single artwork from the Museum's extensive collection of ukiyo-e woodblock prints, numbering over 25,000 in total, was photographed. These images were subsequently uploaded onto the Museum's publicly accessible collection database, Explore the Collections. It was a remarkable achievement in the early 2000s when the digital presence of museums was fairly limited.

Soon after I joined the V&A in 2018, I had a chance to meet with Professor Akama and Dr. Ryо̄ko Matsuba, Lecturer in Digital Japanese Arts and Humanities at the Sainsbury Institute for the Study of Japanese Arts and Cultures (SISJAC), in London to discuss the possibility of initiating the second phase of the digitization project. The collections of ukiyo-e prints and illustrated books remain largely uncatalogued and without photographs in the case of the book collection. We agreed that there was much scope to improve the visibility and accessibility of these important collections. So, a collaborative project with the ARC was something I planned to initiate from the very beginning of my time at the V&A.

Could you please tell us the motivation and significance for your ARC-iJAC research project Re-thinking Japonisme: Digitization of the V&A's collection of Japanese ukiyo-e prints and illustrated books and researching its formation in the late 19th century?

Yamada: The current research project, launched in 2022, is expected to take at least a few years to complete considering the volume of the target areas. The prime objective is to systematically digitize the ukiyo-e woodblock prints and illustrated books in the V&A collection to provide a more comprehensive overview.

To date, three publications in English and two in Japanese on the ukiyo-e collection have been released between the 1980s and late 2000s. The 170 selected works traveled to Tokyo in 2007 for a special exhibition, Masterpieces of Ukiyo-e from the Victoria and Albert Museum, held at the Ōta Memorial Museum of Art in Tokyo, contributing to the collection's recognition in Japan. However, the selection of prints for these previous publications and the exhibition tended to focus on the most iconic prints of the ukiyo-e genre. The number of prints we can display in our permanent gallery of Japanese art is limited to no more than 15 at a time. I am excited to make thousands of prints that have never been displayed or published before accessible online through this project.

The presence of the illustrated book collection, on the other hand, remains largely unknown despite its incredibly rich contents. There is only one publication on the collection compiled by Leonard G. Dawes in 1972. It introduced just a small selection of the most important titles, and there is currently no other publicly available resource to explore over 700 titles in the collection in full.

Our immediate focus is on the large group of Japanese prints and books acquired in 1886. The Museum purchased over 12,000 prints and 300 books as a single lot from a London-based art dealer, S. M. Franck, at the height of the European craze for all things Japanese. Analyzing print and book genres offered in this bulk acquisition would ultimately contribute to creating a new understanding of the Japanese art market in London in the late 19th century.

What do you hope to achieve with this joint research project?

Yamada: I hope this collaborative project will further reinforce our existing partnership with the ARC and SISJAC. The V&A could not initiate this exciting new phase of the digitization project without their expertise and support.

We are currently working together to make the ARC databases of the V&A's print and book collections publicly accessible. By interlinking the V&A's collection database in English with these specialist databases in Japanese, we will not only improve the accessibility of our collections for Japanese-speaking specialists and general audience, but also create opportunities for international specialists and audiences to discover the ARC's dedication and excellence in the field of Digital Humanities.

As part of the project, Dr. Matsuba from SISJAC regularly organizes hands-on digitizing workshops in the V&A, inviting young researchers and students. Spending one to two weeks, these workshops are designed to photograph the book collection for the above-mentioned databases. Every single book is being photographed from cover to cover, ensuring that new photographs meet today's publication standards. So far, seven university students and one researcher have taken part and learned best practices for digitizing museum collections. Offering learning opportunities for the next generation of researchers is another important goal for me.

Could you give us an insight into your current role as curator at the V&A and what do you find particularly fascinating about the Japanese Collection of the Museum?

Yamada: I am one of the three curators responsible for the Japanese art collections at the V&A. We hold over 48,000 objects in the Japanese art collections. Our permanent gallery, the Toshiba Gallery of Japanese Art, celebrates the extraordinary craftsmanship and artistic creativity of Japan from the sixth century to the present day through displays of swords and armor, lacquer, ceramics, cloisonné enamels, textiles and dress, inrō and netsuke, paintings, prints, and illustrated books, as well as contemporary craft, product design, fashion, and electronics.

While making our existing collections as widely accessible as possible through exhibitions, displays, research papers, lectures, and digitization is at the heart of our daily routine, the V&A is also committed to supporting and promoting new creative practices, acting as a resource and platform for contemporary artists, designers, and performers. As a Japanese national who has lived in Europe for many years, it is my passion to support contemporary Japanese practitioners and create opportunities to introduce their artistic creativity on the world stage.

Our audience is diverse, not just in terms of nationalities, but also of age range. Young V&A (formerly the V&A Museum of Childhood) opened its doors to the public at the beginning of July 2023. This historic museum in East London has been entirely redesigned and is now reborn as a new museum where children, young people, and families can imagine, play and design. Its inaugural special exhibition will be all about Japan, Japan: Myths to Manga, and will open in October 2023. The exhibition has been collaboratively curated by Katy Canales, Young V&A Curator, with us in the Japan section of the V&A's Asia Department.

The ARC places great emphasis on fostering young researchers--the next generation of digital archiving experts. So, last but not least, based on your experience of studying and working in the UK, what would be your advice to students wishing to go abroad or join an international research project but worry about language barriers and other challenges?

Yamada: Studying and working abroad was the best thing I did in my early 20s. I highly recommend any early career researcher in Japan to go abroad or join an international research project if any opportunity arises. Although it has become easy to connect with international researchers virtually, meeting and working with them in person is an entirely different, far more powerful experience. Living in another country far from home is always challenging, but often life-changing and rewarding. It is exciting to exchange ideas with researchers from culturally diverse backgrounds who might have a completely different perspective on your research topic.

In terms of language barriers, I strongly believe the proverb, 'What one likes, one will do best.' If you are passionate about your research field, the most important thing is the contents of your research, and English is just a tool to communicate it. I went to a public school in Japan and could not speak English until I enrolled at the International Christian University in Tokyo, renowned for its fully bilingual education. So, my English was by no means perfect when I lived in London for the first time as a student, but I had learned that my Japanese heritage and language skill are unique assets that contribute to research projects in an international context.

Images credit line: Ⓒ Victoria and Albert Museum, London

(This interview was conducted by Yinzi Emily Li)

The Art Research Center (ARC) and Hoosiers Corporation will be holding the Byobu Matsuri, or Folding Screen Festival--a traditional custom of the Gion Matsuri--at the Nagae Family Residence in Kyoto from July 14-16, 2023.

The Nagae Family Residence is a designated tangible cultural property by the City of Kyoto. Themed around 'plants' this year, folding screens and a selection of items from the collection of the Nagae Family Residence will be showcased.

The Nagae family were merchants of the kimono fabric. Their family residence, built between the late Edo period and the Taishō period, served both as a working and living space for many generations.

The ARC has been digital-archiving the collection belonging to the Nagae Family Residence after Ritsumeikan University received it as a donation. Subsequently, the ARC has become involved in planning and managing the Byobu Matsuri held annually at the residence.

This activity is based on an industry-academia collaboration with Hoosiers Corporation, concluded with a Memorandum of Understanding (MoU) on 27 May 2015, to preserve and utilize the Nagae Family Residence for the development and promotion of education and research.

Date: July 14 (10:00 - 20:00 JST), July 15 & 16, 2022 (10:00 - 19:00 JST, last admission 18:30)

Venue: Nagae Family Residence, Kyoto（京都市下京区新町通仏光寺上ル船鉾町394）

Reservations: Not required

Admission fee: 1,000 yen (including a postcard)

Inquiries

Email：nagaeke@hoosiers.co.jp
Tel：075-353-7512（weekdays only）

Official website: http://www.nagaeke.jp/

The 121st International ARC Seminar will be held as a webinar on Wednesday, July 12, from 18:00 JST.

The program is as follows:

Speaker: Takeshi ABEKAWA (Specially Appointed Associate Professor, Graduate School of Education, The University of Tokyo)

Topic: Presentation of digital content in 3D space

Date: Wednesday, July 12, 18:00 - 19:30 JST

Participation: online via Zoom, free of charge (no reservation required)

*This Webinar is open to everyone, and non-ARC members are also invited to participate via YouTube.

The Takeuchi Dokei Collection, held by the Kunitachi College of Music Library, is the world's largest collection of materials related to Edo-period Japanese music. The Art Research Center (ARC), Ritsumeikan University, is pleased to announce the online release of a number of ukiyo-e prints, banzuke theater programs, nagauta lyric booklets (shohon), and gidayu-bushi lyric booklets (shohon) from that collection.

At this time, 2,025 Tokiwazu-bushi lyric booklets (shohon) have been released. You can search for these by entering 常磐津 in the "genre" (ジャンル) search box at the following link:

https://www.dh-jac.net/db1/books/search_kunishohon.php?lang=en

Because Tokiwazu-bushi developed chiefly within the field of Edo kabuki, most of the Tokiwazu-bushi lyric booklets in the Takeuchi Dokei Collection were published in Edo. However, the collection also includes 196 items published in Nagoya.

A commentary on Tokiwazu-bushi lyric booklets by Takeuchi Yuichi (Research Institute for Japanese Traditional Music, Kyoto City University of Arts) can be found under「竹内道敬文庫の世界」→ 「C 資料解説」at the following link: https://www.arc.ritsumei.ac.jp/lib/vm/kunitake/2023/06/C3.html

The 120th International ARC Seminar will be held as a webinar on Wednesday, June 21, from 18:00 JST.

The program is as follows:

Speaker: Akira MATSUDA (Associate Professor, Graduate School of Humanities and Sociology, University of Tokyo)

Topic: The interplay between facts and imagination in the (hi)story of Sumadera

Date: Wednesday, June 21, 18:00 - 19:30 JST

Participation: online via Zoom, free of charge (ARC members only; no reservation required)

There will be no YouTube livestream for this seminar.

The 119th International ARC Seminar will be held as a Webinar on Wednesday, June 7, from 18:00 JST.

The program is as follows:

Speaker: Kazuma YOSHIMURA (Vice President, Kyoto Seika University & Commissioner for Media Arts Strategy, Agency for Cultural Affairs)

Topic: Museum/archive/network of MANGA～About an example of Kyoto Seika University

Date: Wednesday, June 7, 18:00 - 19:30 JST

Participation: online via Zoom, free of charge (no reservation required)

*This Webinar is open to everyone, and non-ARC members are also invited to participate via YouTube.

The Art Research Center (ARC), Ritsumeikan University, in collaboration with the Royal Ontario Museum (ROM), is pleased to announce that 4,233 ukiyo-e prints and 74 Japanese old books from ROM's collection are now available in our database.

・Royal Ontario Museum Ukiyo-e Database

*Note: From the ARC Ukiyo-e Portal Database, you can search for this collection by entering 'Royal Ontario Museum (ROM)' in the 'collection'-field.

・Royal Ontario Museum Japanese Old Books Database

*Note: From the ARC Early Japanese Books Portal Database, you can search for this collection by entering 'Royal Ontario Museum (ROM)' in the 'owner'-field.

Located in Toronto, Canada, the Royal Ontario Museum (ROM) showcases art, culture, and nature from around the world. Canada's largest, most-visited museum, ROM has the most extensive collection of Japanese art in the country, a large part of which are ukiyo-e.

Digital archiving of ROM's collection of ukiyo-e prints began in March 2020, at the start of the COVID-19 pandemic, with the digitization of all the ukiyo-e prints and some of the early Japanese books.

Since then, the ARC has continued to add to the database to ensure all the works from the collection are available online for the public. Each item in the ARC database is linked to ROM's online collection. (Some links are yet to be adjusted.)

The collection includes ukiyo-e prints from a wide range of periods and genres, from monochrome early ukiyo-e prints of the Genroku period (1688 - 1704), to shin-hanga prints of the Taisho and Showa periods.

At its core is the collection of over 2,000 ukiyo-e prints of Sir Byron Edmund Walker--one of the founders and first chairman of ROM--that was bequested to the Museum in 1926.

Regarding main genres, the collection consists of 1,426 landscape prints (名所絵), 685 prints of beautiful women (美人画), 464 warrior prints (武者絵), 375 actor prints (役者絵), and 361 prints of scenes from stories (物語絵; including duplicates of actor prints). It is also particularly noteworthy that there are 219 war prints (戦争絵), 83 earthquake (地震絵) and catfish prints (鯰絵), 33 prints depicting foreigners, and 201 surimono.

Regarding ukiyo-e artists, the collection includes 750 prints by Hiroshige, 716 prints by Gekko, 300 prints by Hokusai, 125 prints by Toyokuni I, 100 prints by Kunisada, and 117 prints by Utamaro.

In 2009, a donation of 136 warrior prints from the late James King, a professor of English at McMaster University, Hamilton, Ontario, enriched the collection of this genre. Moreover, Balfour Halévy, the former law librarian of York University, Toronto, donated his collection of over 600 works of Ogata Gekko to ROM in 2016. This rare collection is an essential source for research on Gekko.

We hope that access to this database from ROM's extensive collection provides a foundation for further ukiyo-e research and learning.

References:

・James King and Yuriko Iwakiri: Japanese Warrior Prints, 1646-1904. Hotei, 2007.

・Sir Byron Edmund Walker | Royal Ontario Museum (rom.on.ca): https://www.rom.on.ca/en/about-us/rom/founders/sir-byron-edmund-walker

The 118th International ARC Seminar will be held as a Webinar on Wednesday, May 24, from 18:00 JST.

The program is as follows:

Speaker: Chiaki TAKAHASHI (Part-time Lecturer, Faculty of Letters, Doshisha University)

Topic: Prize Contests and Photographs: Communities of Magazines and Readers

Date: Wednesday, May 24, 18:00 - 19:30 JST

Participation: online via Zoom, free of charge (no reservation required)

*This Webinar is open to everyone, and non-ARC members are also invited to participate via YouTube.

We are pleased to announce that 1,541 ukiyo-e prints held by the UC Berkeley Art Museum and Pacific Film Archive (BAMPFA) are now available on the website of the Art Research Center (ARC), Ritsumeikan University.

Ukiyo-e Database for Berkeley Art Museum and Pacific Film Archive

Note: From the ARC Ukiyo-e Portal Database, you can access this database by entering 'BAMPFA' in the 'collection'-field.

BAMPFA is the art museum of the University of California, Berkeley, in the heart of downtown Berkeley.

In September 2019, the Art Research Center (ARC) obtained authorization from the museum to digitize its collection of ukiyo-e prints, which has now been completed. Upon adding the metadata, we reported to the museum on the project in February 2020 and have been working to improve the data during the COVID-19 pandemic.

Coordinating with the museum, the ARC has made the database publicly accessible from the ARC website. A button for each item provides a direct link to the BAMPFA collection database.

Among the 1,541 ukiyo-e prints in the collection, 595 landscape prints (名所絵) make up the largest share, followed by 501 prints of beautiful women (美人画), 224 actor prints (役者絵), and 83 warrior prints (武者絵). Regarding ukiyo-e artists, the collection comprises 359 ukiyo-e prints by Hiroshige, 164 ukiyo-e prints by Kunisada I, 118 ukiyo-e prints by Hokusai, and 72 ukiyo-e prints by Kuniyoshi.

Particularly noteworthy are the 134 surimono (摺物) and 120 pillar prints (柱絵), for which the opening of this database provides a foundation for further research.

The 117th International ARC Seminar will be held as a Webinar on Wednesday, May 10, from 18:00 JST.

The program is as follows:

Speaker: Naoki ISHIBASHI (Professor, Graduate School of Data Science, Musashino University)

Topic: Artizon Cloud: A Multidatabase System Architecture for a Museum and Its Applications

Date: Wednesday, May 10, 18:00 - 19:30 JST

Participation: online via Zoom, free of charge (no reservation required)

*This Webinar is open to everyone, and non-ARC members are also invited to participate via YouTube.