• Matsumoto laboratory

December 28, 2011

The Continuation of the Activities of the Genre Painting Workshop and the Publication of the Second Volume of Collected Papers

The workshop, held on December 24th and 25th, was successful in attracting many participants. We would like to express our gratitude to all those who participated.

As you are probably aware, the Global COE will be ending next March. Since this workshop has been part of the COE project, we asked for the opinions of the participants concerning the future course of this workshop after next April. As a result, it has been decided that we will continue our activities into the next fiscal year in one way or another. Your continued and even greater support for our activities will be greatly appreciated.

Now, we would like to announce the publication of the second volume of collected papers by this Genre Painting Workshop.

This year marks the sixth year since this workshop was launched, and we are scheduled to publish the second volume of collected papers at the end of this fiscal year. We published the first volume of collected papers two years ago, in 2009, and now, we have another opportunity to present the results of our studies. We believe that all this is thanks only to the warm support offered by the participants of the workshop, research members of the Art Research Center at Ritsumeikan University where the workshop has been held, and Shibunkaku Shuppan. We would like to express our sincerest thanks to them all.

Precisely due to its interdisciplinary nature, this workshop has stood as a training site for acquiring a multilateral research perspective by seeking not methodological differences but constructive opinions to build an argument in a broad context, and by finding the significance of our research in doing so.

Currently, researchers specialized in art history, literature, geography, and anthropology are participating in the workshop. Furthermore, their geographical areas of specialization cover the West, China, and Japan, and their chronological specialization includes the ancient, medieval, early-modern, modern, and contemporary periods. In the workshop, researchers with seemingly disjointed areas of specialization exchange opinions focusing on the key topic themes of customs and paintings. I have realized that, in order to sustain and carry forward workshops like ours that are characterized by the coexistence of a wide variety of research fields, it is necessary for each of us to broaden our field of vision by understanding the methodologies employed by others as well as the meaning and standing of their research. As one of the editors, I have learned a lot from this workshop.

Fūzoku Kaiga no Bunkagaku II: Kyojitsu o Utsusu Kichi (Cultural Studies of Genre Painting: Wit in Reality and Imagination), edited by Ikuyo Matsumoto, Sachiko Idemitsu, and Princess Akiko of Mikasa.

This book is scheduled to be published by Shibunkaku Shuppan in March, 2012. This second volume is a collection of papers produced by three editors, gaining the participation of Her Imperial Highness Princess Akiko of Mikasa, a Post Doctoral Fellow.

The following is the table of contents of this book.


Prologue     Wit in Reality and Imagination—through the Lens of Cultural Studies 

Ikuyo Matsumoto (Yokohama City University)


Part 1: A View of Festivals and the Depiction of Political Power

Chapter 1    On the Hōkoku sairei-zu (Hōkoku Festival) by Kano Naizen 

Nobuhiko Harumi (Idemitsu Museum of Arts)

Chapter 2    Teikan zusetsu (Illustrated Mirror of Emperors) and “China” in the Imagination of the Tokugawa Shogunate 

Jin Matsushima (Kokkasha)

Chapter 3    The Emergence of the Gion Festival Theme in Art: A Study of the Gionsai-no-zu in the Jingū Bunko Collection 

Yūtarō Hattan (Egawa Museum of Art)

Chapter 4    The Gion Festival during the Warring States Period and Its Pictorial Documentation: A Study of Early Rakuchū-Rakugai-zu (Views in and around Kyoto)

Masayoshi Kawauchi (Nara University)


Part 2: The Gaze of the Other in Representations of Daily Life

Chapter 1    Fūzoku-ga and the Management of Floating

Timon Screech (SOAS, University of London)


Chapter 2   The Meaning of the Ginkgo-shaped Forelock on Representations of the Novice Monk: A Reconsideration

Masao Kawashima (Ritsumeikan University)

Chapter 3   The Horticulture of Edo as Seen in Ukiyo-e: Plant Vendors, Plant Markets, and Plant Containers

Kenji Hinohara (Ōta Memorial Museum of Art)

Chapter 4   Visualization of the Other in Ukiyo-e: On the Imagery of Tōjin

Keiko Suzuki (Ritsumeikan University)


Part 3: The Diffusion of Classical Knowledge and Its Impact on Representation in Fūzokuga

Chapter 1   The Ōe-yama engi-zu Screen (“The Miraculous Founding Tale of Mt. Ōe”) in the Collection of the Ikegami Honmon-ji

Mami Okamoto (Yamaguchi Prefectural Museum of Art)

Chapter 2    Edo Appropriations of Illustrated Books by Nishikawa Sukenobu: On the Works of Suzuki Harunobu and Kitao Shigemasa

Aki Ishigami (Ritsumeikan University)

Chapter 3    Early Uchiwa-e and Popular Belief in Priest Kūkai during the Hōreki era: A Look at Two Fans: Kūkai’s Miraculous Water and Fountain of Kūkai’s Miraculous Water

Atsuko Okuda (Sumida Foundation for Cultural Promotion)


Part Four: The Reception of Artwork and the Transformation of Design

Chapter 1    On the Eight Views of Xiao and Xiang by Ike Taiga: An Approach Based on the Appreciation of the Unity of Poetry and Painting

Sachiko Idemitsu (Idemitsu Museum of Arts)

Chapter 2    Reading the Scenes of Performances in Hanabusa Itchō’s Awaiting the Season’s Sunrise

Fumi Ikeda (Suntory Museum of Art)

Chapter 3    Kōrin School Design in Modern Kyoto: A Comparative Study of Asai Chū and Kamisaka Sekka

Satoko Sakaguchi (Kyoto National Museum/Kyoto University of Art and Design)

Chapter 4    Fūzoku-ga and the City of Kyoto: A Focus on Catalogues of Kyoto Commercial Museum

Princess Akiko of Mikasa (Ritsumeikan University)




Princess Akiko of Mikasa


Table of Contents in English

About the Authors



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