ARC-iJAC Activities

2023年9月の土曜講座はアート・リサーチセンターの企画にて実施します。

テーマ：京焼登り窯の新研究－３D計測と新資料を中心に－

日時：2023年9月16日(土)　10：00～11：30
会場：オンライン配信

タイトル：京焼登り窯の新研究2-3D計測で⾒る登り窯-

講師：ナワビ⽮⿇（埼⽟県⽂化資源課 (早稲⽥⼤学⽂化財総合調査研究所) 主任(客員研究員)

参加費：無料・事前申込制（定員400名）
　＞＞お申込

　＞＞立命館大学土曜講座

カリフォルニア大学バークレー校 日本研究センター(CJS)と、立命館大学アート・リサーチセンター(ARC) 共催のもと、「Theory and Methods in the Japanese Humanities: Research Using Visual Sources and Archives」を開催します。

日時: 9月15日（金） 16:00-18:00 PDT / 9月16日（土） 8:00-10:00 JST
会場: Rm 370, Dwinelle Hall, University of California, Berkeley ＋ZOOM (※closedな研究会として行われます）

カリフォルニア大学バークレー校 日本研究センター(CJS)と、立命館大学アート・リサーチセンター（ARC）の教員と大学院生が、研究における資料やアーカイブの活用について発表します。 それぞれの研究プロジェクトの内容を紹介しながら、資料やアーカイブを活用するための研究方法、アプローチ、テクニックについて議論し、交流します。

プログラム

-休憩（5分）-

協力：立命館大学アート・リサーチセンター 文部科学省国際共同利用・共同研究拠点「日本文化資源デジタル・アーカイブ国際共同研究拠点」

2023年9月の土曜講座はアート・リサーチセンターの企画にて実施します。

テーマ：京焼登り窯の新研究－３D計測と新資料を中心に－

1.（第3388回）
日時：2023年9月9日(土)　10：00～11：30
会場：オンライン配信

タイトル：京焼登り窯の新研究1-五条坂「窯持」の近代-

講師：余語琢磨（早稲⽥⼤学⼈間科学学術院　准教授）

参加費：無料・事前申込制（定員400名）
　＞＞お申込

2.（第3389回）
日時：2023年9月16日(土)　10：00～11：30
会場：オンライン配信

タイトル：京焼登り窯の新研究2-3D計測で⾒る登り窯-

講師：ナワビ⽮⿇（埼⽟県⽂化資源課 (早稲⽥⼤学⽂化財総合調査研究所) 主任(客員研究員)

参加費：無料・事前申込制（定員400名）
　＞＞お申込

　＞＞立命館大学土曜講座

  紀要『アート・リサーチ』24-3号の原稿募集を開始しました

　本紀要は、アート・リサーチセンターで展開する各研究プロジェクトの活動成果を広く公開する目的を持つとともに、芸術文化を専門とした学術雑誌として、例年多くの方にご投稿いただいております。
 アート・リサーチセンターは、1998年度設立以来、文化・芸術・情報科学に関する優れた研究拠点として、国の複数の補助金に採択され、2019年度には文部科学省「国際共同利用・共同研究拠点」として認定されるなど、研究を一層深化させています。また、文化芸術のデジタルアーカイブにおける先端的拠点としても、高く評価されています。

オンラインジャーナルとして年複数回発行し、年度末には、それらをまとめた冊子も発行します。
原稿募集は随時行っております。
投稿機会の自由度が大幅に高まりますので、是非とも積極的なご応募をお待ちしております。

上方文化サロン・プロジェクト 夏季ワークショップ開催いたします。

このイベントは、国際共同研究プロジェクト「上方文化サロン：人的ネットワークから解き明かす文化創造空間 1780-1880」の一環として行われます。 2年目を迎え、ハイブリッド開催する運びとなりました。

※closedな研究会ですが、参加ご希望の方は、国際共同利用・共同研究拠点 r-darc@st.ritsumei.ac.jp までご連絡ください。

2023年7月26日（水）18:00より、Web配信にて第122回国際ＡＲＣセミナーを開催いたします。
プログラムは下記となります。

講師：SEIFMAN Travis氏（衣笠総合研究機構　特別招聘研究教員（准教授））

タイトル：「近世琉球使節のビジュアル・マテリアル・パーフォーマンス文化における数点」

日時：2023年7月26日（水）18:00～19：30

参加：Zoom配信（関係者のみ・予約不要）

※ARCメンバー以外の方は Youtubeよりご参加いただけます。こちらからご覧下さい。

日本学術会議　公開シンポジウム
「科学的知見創出に資する可視化 (8)：可視化を基盤とする分野横断型デジタル視考」が開催されます。

立命館大学アート・リサーチセンターからは、赤間亮教授（文学部、センター長）と田中覚教授（情報理工学部）が【第2部】文化芸術科学とデジタル視考 に登壇されます。

日時：2023年7月21日（金）13:00～17:10
会場：日本学術会議講堂
対象：参加無料（事前参加申込制：定員200名）※事前申し込みが必要となります。

お申込みはこちら＞＞https://tra-vis08.peatix.com/view

趣旨:
現在、理系／文系を問わず、様々な研究分野で、多種多様なデジタルデータが生成・蓄積され続けている。こうした情況を受けて本シンポジウムシリーズでは、ビッグデータ時代に相応しい、可視化をコアとする分野横断型の研究手法を検討してきた。シリーズ第8回の今回は、これまでの7回の集大成として、科学技術、文化芸術科学、社会科学の３つの分野を中心に、ビッグデータ時代に相応しい「デジタル視考」と、それを可能にする基盤環境について考えます。

問い合わせ先：
慶應義塾大学理工学部 　　藤代 一成 (ifujishiro@keio.jp)
立命館大学情報理工学部 　田中 覚（stanaka@is.ritsumei.ac.jp）
お茶の水女子大学理学部 　伊藤 貴之 (itot@is.ocha.ac.jp)

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)

2023年7月14日(金)・15日（土）・16日(日)「屏風祭」開催
今年は「植物」をテーマに、屏風や所蔵品の一部を展示いたします。

立命館大学と株式会社フージャースホールディングスは、今年度も京都市指定有形文化財・長江家住宅で屏風祭を一般公開いたします。
本企画は、長江家住宅の保全と活用、教育・研究の振興・発展に関する事項等について、両者が相互に連携協力することを内容とした覚書（2015年5月27日締結）に基づくものです。

祇園祭では、宵山の期間に山鉾町周辺の旧家や老舗がミセの間を屏風や嗜好品などで飾りたてる習慣があり、屏風祭と呼ばれています。長江家住宅では、長江家旧蔵品を所有する立命館大学と連携し、祇園祭の前祭山鉾巡行の宵山期間（7月14日～16日）に屏風祭を行い、一般公開しています。
この機会に是非、足を運んでみてください。

※ご予約は不要です。

お問い合せ先

Email：nagaeke@hoosiers.co.jp
電話：075-353-7512（平日のみ。不在の場合もあります。ご了承ください。）

長江家住宅公式HP http://www.nagaeke.jp/