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ロイヤル・オンタリオ・ミュージアム(Royal Ontario Museum (以下ROM))が所蔵する浮世絵版画作品(4233点)と古典籍(74点)がアート・リサーチセンター(以下ARC)のデータベースから公開されました。

【浮世絵】
Royal Ontario Museum Ukiyo-e Database
浮世絵ポータルデータベースからも、所蔵機関に「Royal Ontario Museum (ROM)」と入力すると閲覧できます。

【古典籍】
Royal Ontario Museum: Japanese Old Book Database
古典籍ポータルデータベースからも、所蔵機関に「Royal Ontario Museum (ROM)」と入力すると閲覧できます。

 ロイヤル・オンタリオ・ミュージアム(ROM)は、カナダのオンタリオ州トロントにある美術、文化、自然史の博物館です。カナダで最大の日本美術コレクションを有しており、その中で最も充実しているのが浮世絵版画です。
 ROMの浮世絵版画コレクションのデジタル化は新型コロナウイルスによるパンデミックが近づく2020年3月、移動制限が迫る中、浮世絵版画については全作品を、古典籍については、一部のデジタル化を進めました。その後、ARCでは、データベースに搭載し、メタデータを加えてデータ整理を続けてきましたが、この度、全作品を画像閲覧可能にして一般公開する運びとなりました。 ARCからは、作品ごとに、ROMのコレクションデータベースへのリンクボタンが設置されています。(リンクについては、調整が必要な作品が残ります。)
 コレクションには浮世絵版画始期である元禄期の墨摺絵から、大正・昭和期の新版画まで、幅広い時代の浮世絵版画が収集されており、構成ジャンルも多岐に亘ります。
 中核となっているのは、ROMの創設者の一人で、初代理事⾧を務められたバイロン・エドモンド・ウォーカー卿のコレクションで、2000点を超える作品は、1926年に遺贈されています。
 主要なジャンルの構成は、名所絵1426点、美人画685点、武者絵464点、役者絵375点、物語絵361点(武者絵との重複も含む)となりますが、とくに戦争絵219点が含まれる他、地震絵・鯰絵83点、異人図33点、さらには摺物が201点もあることは注目に値します。絵師では広重〈1〉が750点、月耕716点、北斎300点、豊国〈1〉125点、国貞〈1〉100点、歌麿117点という構成になっています。
 この内、武者絵は、マクマスター大学(オンタリオ州ハミルトン)の英語学教授だった故ジェームス・キング氏のコレクションが2009年に寄贈され、充実しました。また、尾形月耕の作品がまとまって収蔵されているのは、2016年にトロントのヨーク大学法学部図書館司書だったバルフォア・ハレヴィー氏が⾧年かけて蒐集した600点以上の作品が寄贈されたからで、月耕の研究には必須のコレクションです。
 この公開により、さらなる研究の発展が期待されます。是非ご活用ください。

<参考>
・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

[イベント情報]
2023年5月24日(水)

2023年5月24日(水)18:00より、Web配信にて第118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:高橋千晶氏(同志社大学文学部 嘱託講師)

タイトル:「懸賞と写真:雑誌と読者の共同体」


日時:2023年5月24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。

東海道五拾三次之内

バークレー美術館・太平洋フィルムアーカイブ(BAMPFA)が所蔵する浮世絵版画作品 1541点がアート・リサーチセンター(以下ARC)から公開されました。

Ukiyo-e Database for Berkeley Art Museum and Pacific Film Archive
※なお、浮世絵ポータルデータベースからも、所蔵機関に「BAMPFA」と入力すると閲覧できます。

BAMPFAは、バークレーのダウンタウンの中心部に建つ近代的で斬新なデザインの建物で、カリフォルニア大学バークレー校の大学美術館です。
ARCは、2019年9月に浮世絵版画のデジタル化を許可され、所蔵するすべてのデジタル化を完了しました。
その後、2020年2月にメタデータを加え、プロジェクトの報告を美術館に向けて行い、新型コロナウィルスのパンデミックの間も、データの整備を進めてきました。
今回、美術館担当者との調整の上、ARCからも画像閲覧のできるデータベースとして一般公開に至りました。
ARCからは、作品ごとに、BAMPFAのコレクションデータベースへのリンクボタンが設置されています。
1541点の内、名所絵が594枚と最も多く、次いで美人画が501枚、役者絵が224枚、武者絵83枚という構成で、絵師は、広重が359枚、国貞〈1〉が164枚、北斎が118枚、国芳が72枚となっています。特に注目できるのは、摺物が134枚、柱絵が120枚もあることで、この公開によって、一層の研究が進むことが期待されます。

[イベント情報]
2023年5月10日(水)

2023年5月10日(水)18:00より、Web配信にて第117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:石橋直樹氏(武蔵野大学データサイエンス学部データサイエンス学科 教授)

タイトル:「Artizon Cloud: 美術館を対象としたマルチデータベースシステムアーキテクチャとその応用」


日時:2023年5月10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。

専修大学図書館「向井信夫文庫」の浮世絵全点

専修大学図書館所蔵の向井信夫文庫の内、浮世絵1481点が、オンラインで閲覧できるようになりました。

>>専修大学図書館「向井信夫文庫」浮世絵データベース
「浮世絵ポータルデータベース」からは、所蔵者に「専修大学」と入れて、検索してください。

 故向井信夫氏は、江戸期和本の収集家・研究者として知られていました。その内容は、江戸後期の戯作(洒落本、滑稽本、咄本、人情本)から漢詩文、狂詩・狂文、考証随筆、吉原関係、歌舞伎関係、絵本など、多種にわたり、江戸期を彩る書物が揃っています。
 浮世絵は、それらの和本の蒐集の過程で、同時代の浮世絵や浮世絵画帖も集められたものです。江戸後期の役者絵、武者絵、美人画、戯画などがバランスよく収集されており、特に月岡芳年の作品は、690点にも及ぶ大コレクションとなっています。今回、アート・リサーチセンターが協力し、デジタル化と詳細なメタデータの付与を行いました。
 なお、向井信夫文庫の江戸期和本については、国文学研究資料館から順次公開されていますが、アート・リサーチセンターのデータベースから閲覧することも可能です。

>>専修大学図書館「向井信夫文庫」古典籍閲覧システム
「古典籍ポータルデータベース」からは、所蔵者に「専修大学」と入れて、検索してください。

ご利用にあたっては、専修大学図書館のHP「貴重図書資料の利用」をご確認ください。

[イベント情報]
2023年4月26日(水)

2023年4月26日(水)18:00より、Web配信にて第116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。

1. 講師:サイモン・ケイナー氏(セインズベリー日本藝術研究所 統括役所長)

タイトル:「ストーンヘンジと先史時代日本--日英考古学交流現状と未来」

2. 講師:松葉涼子氏(セインズベリー日本藝術研究所 講師)
     ジョセフ・ビルス氏(ケンブリッジ大学修士課程卒業生)
     ボリ・コウ氏(ロンドン大学SOAS修士課程)
     リアム・ヘッド氏(イーストアングリア大学修士課程)

タイトル:「英国におけるARCモデルの実践―大英博物館刀装具デジタル化を事例として―」


日時:2023年4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。

  紀要『アート・リサーチ』24-2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。

続きを読む>>

With the establishment of the International Joint Digital Archiving Center for Japanese Art and Culture (ARC-iJAC) in 2019, the Art Research Center strives to push the internationalization of research activities that transcend disciplines and geographic boundaries.

NEWS

March 29, 2023: The cherry blossoms have reached their peak on Kinugasa Campus, Ritsumeikan University.
We were delighted to welcome Dr. Huw Jones and Dr. Yasmin Faghihi of the Cambridge University Library to the ARC, as well as Dr. Pilar Cabañas of the Complutense University of Madrid.
Dr. Cabañas is the leader of the ARC-iJAC project Ukiyo-e, illustrated books, albums and painted books in Madrid Collections (FY 2023).
This video was produced for the Comprehensive Digitization and Discoverability Program (CDDP) of the North American Coordinating Council on Japanese Library Resources (NCC) and showcases how to custom-build your own online research database in the ARC Research Space (free of charge).
Interested in building your own research database?

>>Please contact us!
Supported by the ARC-iJAC, the research led by Dr. Ewa Machotka and Dr. John Pavlopoulos (Stockholm University) has pursued the large-scale digital geospatial exploration of places depicted in Japanese early modern ukiyo-e landscape prints through Natural Language Processing (FY 2021). Their follow-up project aims to apply NLP technology to inscriptions on ukiyo-e landscape prints to facilitate a large-scale exploration of textual information featured in those prints (FY 2023). >> Full interview.
[Database] Release of Gidayu-bushi Lyric Booklets (Shohon)
About 580 gidayu-bushi lyric booklets (shohon) from the Takeuchi Dokei Collection, held by the Kunitachi College of Music Library, are now online available in the ARC database system. >> Database.
>> Commentary on materials.

Based on an academic exchange agreement between Ako City and the ARC, a database of Chushingura ukiyo-e held by the city has been built and published online since 2008.
With the recent addition of about 600 items, a total of 2,564 ukiyo-e prints and one book (4 volumes of Gishi Taikan) related to Chushingura are now available online.
>> Database.
>> Online exhibition.

Jointly conducted with Nara Prefecture, the research project to visualize the UNESCO World Heritage Site of the Tamaki Shrine--is led by ARC faculty member Prof. Satoshi Tanaka (College of Information Science and Engineering, RU).
It involves 3D measurement of the Tamaki Shrine using drones, terrestrial laser scanners, and 360-degree cameras to take multifaceted measurements.
>> Read more.

Co-organized by the ARC-iJAC, a workshop with the Ukiyo-e Woodblock Engraving and Printmaking Techniques Preservation Society (浮世絵木版画彫摺技術保存協会) was held on Feb. 17, 2023.
The workshop served to facilitate the exchange of knowledge and opinions concerning ukiyo-e woodblock engraving and printmaking techniques. There has been a decade of cooperation between the society and the ARC.
>> Read more.

On March 15, Prof. Koichi Hosoi (College of Image Arts and Sciences, RU), Deputy Director of the ARC, gave a seminar talk at Synergy Link Kyoto, an event centered around AR/VR, the metaverse, and web3.
The topic of his seminar talk was The Next Generation Internet World and the Industry (「次世代インターネット世界と産業」).
Furthermore, research achievements on creating a Japanese cultural study environment using virtual space-related technologies, such as the metaverse, were showcased at the event.
On February 4, Prof. Ryo Akama (College of Letters, RU), Director of the ARC, delivered a special lecture on The ARC Research Space: Aiming at Perfecting a Comprehensive Digital Research Space.
The DH conference, hosted by the Institute of East Asian Art History (IKO) and the Heidelberg Center for Transcultural Studies (HCTS), Ruprecht Karl University of Heidelberg, discussed the problems, challenges, and breakthroughs with digital technologies in East Asian Studies research.
Upcoming Events

April 26 (Wed), 2023, 18:00-19:30 JST
116. International ARC Seminar
1. Speaker: Simon KANER (Executive Director, Sainsbury Institute for the Study of Japanese Arts and Cultures, University of East Anglia)

Topic: Stonehenge and prehistoric Japan--Archaeological exchanges between Japan and the UK: Current and future trends

2. Speakers: Ryoko MATSUBA (Lecturer, Sainsbury Institute for the Study of Japanese Arts and Cultures, University of East Anglia), Joseph BILLS (MPhil, Japanese Studies, University of Cambridge), Bori KO (MA Student, History of Art and Archaeology of East Asia, SOAS University of London), Liam HEAD (MA Student, Interdisciplinary Japanese Studies, University of East Anglia)

Topic: Implementing the ARC Model in the UK: Digitising Sword Ornaments at the British Museum
May 10 (Wed), 2023, 18:00-19:30 JST
117. International ARC Seminar
Speaker: Naoki ISHIBASHI (Professor, Graduate School of Data Science, Musashino University)
Topic: To be announced


May 24 (Wed), 2023, 18:00-19:30 JST
118. International ARC Seminar
Speaker: Chiaki TAKAHASHI (Part-time Lecturer, Faculty of Letters, Doshisha University)
Topic: To be announced
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Background:
Supported by the ARC-iJAC, the research led by Dr. Ewa Machotka and Dr. John Pavlopoulos (Stockholm University) has pursued the large-scale digital geospatial exploration of places depicted in Japanese early modern ukiyo-e landscape prints through Natural Language Processing (FY 2021). Their follow-up project aims to apply NLP technology to inscriptions on ukiyo-e landscape prints to facilitate a large-scale exploration of textual information featured in those prints (FY 2023).

Project leader: Dr. Ewa Machotka (Dept. of Asian and Middle Eastern Studies, Stockholm University)
Project manager: Dr. John Pavlopoulos (Dept. of Computer and Systems Sciences, Stockholm University)
Project members: Konstantina Liagkou, Panagiotis Papapetrou, Marita Chatzipanagiotou

Thank you very much for your time today. Could you please tell us the motivation for your ARC-iJAC research project Natural Language Processing for a Geospatial Exploration of Japanese Ukiyo-e Prints?

Unknown-2.pngMachotka: The last several decades saw the rise of interest in the concept of Global Art History, understood as a heterogenous transnational and critical study of the world's cultural production. One of the challenges of this new research direction is the question of how to acknowledge the conceptual and material heterogeneity of artistic production across the world in a way that does not support a universalist understanding of cultures. This concern prompted our research. We saw that Japanese early modern landscape prints, as globally recognizable non-Western pre-modern artifacts, offer a critical testbed for considering these issues.

We know that these prints are often defined today as fūkei-ga, or landscapes. However, we should not forget that the notion of fūkei is a modern cultural translation entangled with the ideology of modernization and colonial power. Originally these images were largely defined as meisho-e or 'images of famous places', and they are rooted in poetic rhetorical figures that tie seasonal images with either actual or imagined places. So, to understand meisho-e prints and their social function at the time of their production, we have to understand what places were depicted (i.e. considered culturally significant) and how these geographical locations were represented and mediated by the prints. We wanted to identify a general pattern in this mediation, which can be done easier at a large scale instead of at the level of individual prints.

Considering the richness of the corpus that includes thousands of objects, we thought that recent advances in Natural Language Processing (NLP) could effectively help us to take the first step in this study, namely the geolocation of places depicted in prints, and identification of their distribution across time and space. Our exploratory mixed-method analysis has so far delivered promising results. We developed a novel application of NLP for the Digital Humanities that demonstrates the transformative potential of AI for the study of Japanese early modern prints and Art History at large.

How have the ARC-iJAC resources supported you in realizing this project?

ishiyamadera_1.pngLiagkou: To put it plainly, our research would not be possible without the Ukiyo-e Portal Database being developed by and hosted at the Art Research Center at Ritsumeikan University. First, the Portal Database offered us access to print collections kept in different museums around the world. If this feature sounds trivial, please note that not all museums freely share their collections online with the public.

Second, the ARC Ukiyo-e Portal Database offers access to an extremely rich corpus. When we started our research, the Portal Database hosted 678,429 prints kept at 28 institutions in Japan and abroad, and it is continuously growing. Hence, it offers access to a very large corpus of ukiyo-e prints facilitating 'distant viewing' or a macro analysis of the prints, thus also enabling a diversity of analytic tasks.

Third, the Portal Database features not only high-quality visual data itself (delivered in a standardized protocol) but also rich and high-quality metadata facilitating different kinds of explorations and analyses. In the context of our project, we especially appreciated image-content-related transcription of inscriptions on prints which often mention names of the places depicted in the prints. We identified these mentions with NLP, geotagged them, and then visualized them on a map.

As part of your research project, you developed an online application called Ukiyo-e Distant Viewer. Could you briefly explain its merits/ purpose?

Pavlopoulos: The Ukiyo-e Distant Viewer aims to facilitate the geolocation and visualization of recognized place-name entities found in ukiyo-e prints, enabling users to identify culturally significant places and explore their spatial distribution. This analysis covers thousands of images across Japan and provides a large-scale perspective on early modern landscape imagination.

It is important to note that our focus is not on individual prints or print series, but rather on identifying trends and changes across time.Ultimately, this tool will enable us to trace the chronological development of this imagination and gain insights into its cultural and historical significance.

Unknown-3.pngHow do you feel about the execution of the project? Have you come across any particular challenges?

Liagkou: Our exploratory mixed-method analysis has so far been successful. First, by employing the NLP approaches such as transfer-learning and Named Entity Recognition (NER) and applying our fine-tuned recognition model on a large dataset of prints, we provided a use-case of how a macroanalysis of a visual dataset can be undertaken in art historical research of Japanese visual culture.

Machotka: We also identified a number of methodological challenges. As we know, the field of Spatial Art History--combining Geographical Information Systems (GIS), NLP, and Corpus Linguistics--has advanced in the past few years. However, although these tools perform well on modern datasets, it is not the same for historical materials.

We can encounter several problems, such as OCR errors, difficulties related to place reference identification, and place reference disambiguation (related to language changes over time), among others. The situation is even more complicated in the case of mapping meisho-e prints due to the ambiguity of the depicted visual motifs. We need to note that place identification in prints is not always facilitated by iconography or visual motives but by the image-content-related inscriptions printed in the images that often feature place names.

So, the geolocation of these sites requires the reading of inscriptions. And transcription of inscriptions is one of the main obstacles for art historians interested in a large-scale analysis of the prints. This is due to the complexity of the Japanese early-modern writing system, problems with adequate identification of place names, and material aspects of a print (e.g. color scheme and preservation state). We plan to address some of these issues in our next project, which focuses on exploring possibilities of using computational tools for the automated transcription of inscriptions on prints.

Your next project, AI-powered Text Recognition of Inscriptions in Japanese Ukiyo-e Prints, will continue to utilize Natural Language Processing (NLP) technology to study the landscape prints (meisho-e) in the ARC Ukiyo-e Portal Database. What is the significance of this project?

Pavlopoulos: In this project, we will focus on resolving the linguistic problems related to transcribing the inscriptions on prints enabling geolocating of places mentioned in these inscriptions. We will investigate the development of computational tools for the automated recognition of the text of inscriptions on prints rather than using already-transcribed inscriptions provided in the database.

As we established previously, NER can be used to successfully extract the place names from inscriptions on ukiyo-e prints. However, the tool requires transcribed digital metadata to generate information, while many museum collections lack reliable transcriptions of inscriptions on prints.

Optical character recognition and handwritten text recognition (HTR) can be used to recognize the text from an image. Due to the technological, formal, and linguistic characteristics of ukiyo-e print inscriptions, which do not use a standardized writing system or movable type, we hypothesize that handwritten text recognition could be effectively applied to inscriptions on Japanese prints.

We expect the recognized text to contain errors, and we will investigate the accuracy of extracting place-named-entities from the recognized (not transcribed) text. This multimodal methodological challenge requires testing on non-transcribed inscriptions on prints, and our study will facilitate this.

How did you first connect with the Art Research Center (ARC)? / How did you hear about the International Joint Digital Archiving Center for Japanese Art and Culture (ARC-iJAC)?

Machotka: As a scholar of Japanese art history educated in Japan, at Gakushūin University in Tokyo (thanks to the doctoral fellowship issued by MEXT), I have been well aware of the pioneering contribution of the Art Research Center (ARC) and the International Joint Digital Archiving Center for Japanese Art and Culture (ARC-iJAC) to the digitization of Japanese cultural artifacts, and computational analysis of Japanese art.

I also had the honor and pleasure to meet the leading ARC researchers, Prof. Akama Ryo, Prof. Suzuki Keiko, Prof. Yano Keiji, Dr. Matsuba Ryoko, and many other colleagues at different academic events in Europe and Japan. So, I have been aware of the important work done by the ARC, its faculty, and the research value of the ARC databases for a long time. And I have to admit that I probably would have never started my own research adventure with Digital Art History if not for the ARC and its ground-breaking work.

Is there anything else you would like to comment on or highlight?

Machotka: We would like to stress one important issue, which we think is the key to the success of Digital Humanities, and can push the frontiers of research in (Global) Art History. It is the need and value of collaboration across various disciplines, institutions, and national borders.

Communication between researchers, exchange of experiences, sharing knowledge and good practices is the key to knowledge production. Digitization processes are going fast, and many museums invest in building their digital databases and sharing their collections with the general public. But to benefit from this incredible work, we would also like to see a strengthening of analytical aspects of Digital Art History, using computational tools not only to offer wider accessibility to museum collections but also to facilitate analysis and a better understanding of art objects.

So, we would like to encourage other art historians and computer scientists to explore possibilities for collaboration. Interdisciplinary work across distant disciplines like ours is not an easy task, as we need to learn to understand and respect our divergent research approaches. But it has been a rewarding experience for our team and brought out new findings that can move our disciplines forward.

(This interview was conducted by Yinzi Emily Li.)

[イベント情報]
2023年4月12日(水)

2023年4月12日(水)18:00より、Web配信にて第115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:上野隆三氏(立命館大学学⻑特別補佐、文学部教授)

タイトル:「浮世絵から見る“三国志”の日本における受容」


日時:2023年4月12日(水)18:00~19:30
参加:Zoom配信(関係者のみ・予約不要)
※YouTube配信はございません。

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