Sainsbury Institute for the Study of Japanese Arts and Cultures

Sainsbury Institute
for the Study of
Japanese Arts and Cultures
Annual Repor t 2006-2008
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Sainsbury Institute for the Study of Japanese Arts and Cultures
Annual Repor t 2006-2008
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co n t e n t s
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Mission statement and objectives
Foreword by the Chair of the Management Board
Director’s statement
Message from the Director and Principal of SOAS
Research networks
Research projects
Art and cultural resources
Japanese archaeology and cultural heritage
Japanese Literature in Art Colloquy series
Lectures and symposia
Fellowships
Lisa Sainsbury Library
Publications
Third Thursday lectures
Calendar of events
Supporters
Management Board and staff
Management and finance
Japanese summary
Dogū clay figure from the Final Jōmon period (c. 1000-400 BC),
earthenware, h. 19.0 cm., Robert and Lisa Sainsbury Collection,
University of East Anglia.
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m i ss i o n s tat e m e n t a n d o b j e c t i v e s
The Sainsbury Institute was founded in 1999 through
the generosity of Sir Robert and Lady Sainsbury
to promote knowledge and understanding of
Japanese arts and cultures. As it approaches its
tenth anniversary the Institute has formulated
a renewed mission statement, which not only
reflects the benefactors’ intentions and is
grounded in their original vision, but aims to
expand its intellectual horizons.
The mission of the Sainsbury Institute is to
be an active source of and conduit for innovative
research: positioning, revealing and interpreting
the arts and cultures of the Japanese archipelago
from the present to the past in regional, European
and global contexts.
Our research objectives are to work with our
academic partners and funders:
• to increase progressively external recognition
and awareness for the quality, scale and
authority of our research in the material and
visual cultures of the Japanese archipelago;
• to act as a catalyst for related international
research of institutional partners of standing;
• to contribute to the development of synergy
benefits within the University of East Anglia
and amongst the Sainsbury benefactions
there.
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The Institute continues its close collaborations
with institutional partners including the School
of Oriental and African Studies (SOAS), University
of London, schools of study at the University of
East Anglia and the British Museum. It maintains
its programme of fellowships, public lectures
and international workshops as well as its
commitment to the web and web publications.
The Lisa Sainsbury Library in Norwich remains
central to the Institute’s vision and its collections
are a research resource of major importance that
we are pleased to share with advanced scholars
throughout Europe.
fo r e wo r d by t h e c h a i r o f t h e m a n ag e m e n t b oa r d
This report covers the two academic years 200607 and 2007-08. During much of this time the
Sainsbury Institute’s Director, Nicole Coolidge
Rousmaniere, has been on secondment to Tokyo
University as Visiting Professor, combining
her duties there with her continuing strategic
leadership of the Institute. The Management
Board was pleased to support her in accepting
such a prestigious appointment. The Board pays
tribute to work of all the other staff who have
taken on additional operational responsibilities
to ensure the delivery of the many successful
activities outlined in this report.
In March 2007 I was able to visit Japan
on behalf of the Institute in order to further
relationships with our Japanese supporters, both
as individuals and funding partners. The Director,
the Assistant Director, Simon Kaner, and two
members of the Management Board – Michael
Barrett and Chris Foy – were able to join me for
part of the visit, which concluded with a reception
at International House in Tokyo attended by many
distinguished guests from the academic and
diplomatic communities. On a further visit to Japan
in October 2007 Dame Elizabeth Esteve-Coll and
Mr Foy followed up on some of the connections
made in March, consolidated old friendships and
established new associations. Both these visits
confirmed the high esteem in which the Institute
and its work are held in Japan.
Many of the Institute’s activities, including
the visits described above, might not have been
possible – and would certainly have been less
successful – without the active support of the
staff of the Embassy of Japan and particularly
the Ambassador, His Excellency Yoshiji Nogami.
Ambassador and Madame Nogami were regular
visitors to Norwich, combining their admiration
of the work of the Institute with a love of rose
gardens in Norfolk. As one of his last public
engagements prior to the end of his tour of
duty Ambassador Nogami gave one of our Third
Thursday lectures on the theme of Anglo-Japanese
relations, setting the scene for the year-long
festival celebrating the 150th anniversary of the
signing of the Treaty of Amity and Commerce
between the UK and Japan in 1858.
In 2008 the Institute renewed its institutional
agreement with the School of Oriental and
African Studies, University of London (SOAS). The
agreement covers library support, use of SOAS
office space and facilities by Sainsbury Institute
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research fellows and staff, the role of the Head of
the Institute’s London Office, and collaborative
research projects. This complements the muchvalued role played by the Director and Principal
of SOAS as a member of our Management Board
and I would like personally to thank Professor
Paul Webley and John T. Carpenter (Head of the
Institute’s London Office) for their contribution to
our shared objectives.
The Sainsbury benefactions – the Sainsbury
Centre for Visual Arts, the Sainsbury Research Unit
for the Arts of Africa, Oceania and the Americas,
and the Sainsbury Institute for the Study of
Japanese Arts and Cultures – together with the
School of World Art and Museology, represent
one of the University of East Anglia’s centres
of excellence. During the last year I have been
working with them all to identify ways of building
on the synergies that already exist and exploring
new opportunities. The Institute’s refreshed
mission and research objectives reflect this new
emphasis which will continue to develop alongside
the Institute’s other strong partnerships, including
those with SOAS, and the British Museum.
In 2008 the Institute established a link
with other schools of study at UEA through the
appointment of Ulrich Heinze to a joint Sainsbury
Institute-UEA lectureship in contemporary
Japanese visual media. The lectureship has been
established with funding from the Great Britain
Sasakawa Foundation. The Institute has a very
small academic staff complement and the new
post not only brings additional research and
teaching strength but may also provide a model
for future growth. The Institute is grateful to
the Great Britain Sasakawa Foundation and the
Nippon Foundation for the vision that led to the
establishment of the new lectureship.
We also acknowledge and thank all our
other external sponsors for their support of the
Institute’s workshops, conferences, lectures and
other projects. Above all we acknowledge our
debt to Sir Robert and Lady Sainsbury for their
initial benefaction and to the Gatsby Charitable
Foundation for their funding of the Institute’s
Norwich premises and its other core costs.
Professor Bill Macmillan
Vice-Chancellor, University of East Anglia
Chair of the Management Board, Sainsbury Institute
for the Study of Japanese Arts and Cultures
November 2008
The headquarters of the Sainsbury Institute are located in the Cathedral Close in the centre of
the medieval city of Norwich.
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d i r e c to r ’ s s tat e m e n t
The Sainsbury Institute is currently in its ninth
year of existence. We have grown under the
patronage of Sir Robert and Lady Sainsbury to
flourish with the support of the Gatsby Charitable
Foundation and now Lord David Sainsbury. It is
deeply encouraging to me, as Director, to see
that within this relatively short period of time
we have managed to build a dynamic institute
which has actively added to the understanding
and appreciation of Japanese arts and cultures
in Europe. There is a broadening recognition of
our Norwich-based Institute, its affiliations and
its concrete outputs, not only at international
academic institutions, but also within official
Japan-related organizations in both the public
and private sectors, such as the Japanese
Embassy, the Japan Foundation, the Daiwa AngloJapanese Foundation, the Great Britain Sasakawa
Foundation in the UK, the Japanese Agency for
Cultural Affairs, the Japanese Ministry of Foreign
Affairs, the Toshiba International Foundation and
the Kajima Arts Foundation in Japan. Now, when
I meet colleagues for the first time from Japan,
Europe or the USA, they have often heard about
our Institute and its various projects.
Recognition is important, but the ability
to shift paradigms, to influence policy and to
enhance the vision of young scholars in the field
is where the heart of the Sainsbury Institute’s
mission lies. To be able to bring a thoughtful,
integrated level of internationalism to the
field and into the minds and hearts of young
scholars through a deeper engagement with
issues of relevance in Japan and Europe is to
contribute to a richer future. Indeed, the McMaster
Review Supporting Excellence in the Arts: From
Measurement to Judgement (January 2008) states
that: ‘Internationalism is essential for artists and
organizations to understand their work in a global
context and to achieve and maintain world class
status’. The University of East Anglia’s own mission
statement, which places a premium on excellence,
interdisciplinarity and creativity, also stresses
action through enterprise and engagement on an
international level. It is our hope that the Institute
can affect change through opening new doors of
inquiry and a deeper reflection of essential issues
that affect culture, arts and our collective heritage
through concrete research outputs, innovative
programmes and targeted events.
The sterling support that the Institute has
received from the University of East Anglia, the
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School of Oriental and African Studies, the British
Museum and the Gatsby Charitable Foundation,
as well as from individual Management Board
members, cannot be overestimated. During the
course of the last year the Institute has consulted
widely in order to renew its mission statement
and develop its research strategy. The resulting
document is intended to offer a clear statement
of the Institute’s future direction, helpful both
for external consumption and to impose internal
disciplines.
We have had a productive two years. I would
like to draw your attention to four achievements
which I feel will define the Institute and its
ambitions for the near future.
One of the most exciting developments
has been the employment of Ulrich Heinze as
Sasakawa Lecturer in Contemporary Japanese
Visual Media, a position held jointly with
UEA’s School of Film and Television Studies
and supported by the Great Britain Sasakawa
Foundation and the Nippon Foundation. Ulrich
embodies the cross-cultural approach that the
Institute wishes to make its hallmark. He has
worked on the cultural acceptance of genetic
research and diagnostic technology in Japan
Left: The headquarters of the Sainsbury
Institute was originally part of Norwich
cathedral’s 12th-century cloisters, with
subsequent Georgian and Victorian additions.
Above: Robert and Lisa Sainsbury Fellows Ive
Covaci and Maki Fukuoka with Ulrich Heinze in
the cloisters of Norwich Cathedral. Ulrich joined
the Sainsbury Institute in September 2008 as
Sasakawa Lecturer in Contemporary Japanese
Visual Media, a position held jointly with UEA’s
School of Film and Television Studies.
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d i r e c to r ’ s s tat e m e n t
and Germany, on radio versus TV use, and
on advertising. His work falls into the field of
sociology but has implications for science, history,
anthropology and cultural studies. It also relates
to art, and in particular the cultural, visual and
personal envisioning of the human body in all
its manifestations, which I personally believe to
be the basis of the Sainsbury collection at the
Sainsbury Centre for Visual Arts. That his position
straddles the UEA and the Sainsbury Institute is of
great importance to us and we would like to build
on this model in the future.
Second, the academic credentials of
the Institute were recognized with the award
of a major research grant from the Arts and
Humanities Research Council for the Institute’s
dogū project, which will deliver two exhibitions
and associated programmes over the coming two
years about prehistoric ceramic figures from Japan
and the Balkans. This success, the first time a major
British government research grant has been made
for Japanese archaeology, grew out of careful and
extensive network formation, and is premised on
a cross-cultural exploration of prehistoric material
which also relates to contemporary concerns. The
exhibitions, to be held at the British Museum and
the Sainsbury Centre for Visual Arts, will be the
culmination of several cutting-edge collaborative
projects that will attempt to convince the viewer
that an engagement with art and archaeology
opens up a fuller understanding of modern
lifeways. These types of exhibition have yet to be
attempted in either Japan or Europe and will help
to facilitate a paradigm shift in the way that early
art and archaeology is received and its resonance
with the contemporary acknowledged.
Third, our long-term project with the
Museum of Asian Art in Corfu has finally come to
fruition. We conducted a survey of the Museum’s
Japanese collections in July 2008, jointly
sponsored with the Idemitsu Art Foundation and
organized under the supervision of the Director
of the Museum, Despina Zernioti. As a result, what
Professor Kobayashi Tadashi states to be the find
of two decades was made - an original Sharaku
painting (nikuhitsu-ga). The discovery made the
front page of the Yomiuri newspaper and there
was widespread press coverage in Japan on radio,
TV and print. The Edo-Tokyo Museum, a Tokyo
Prefectural museum with two million visitors
last year, will hold an exhibition on Sharaku and
Other Hidden Japanese Masterworks from the
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Land of NAUSICAA in July and August 2009, to
celebrate the 110th anniversary of Greek-Japanese
relations. The exhibition has been made possible
through the efforts of the Yomiuri Shimbun,
working closely with Despina Zernioti, the Greek
Ministry of Culture and the Greek Embassy in
Japan. The exhibition will be sponsored by the
Edo-Tokyo Museum and the Yomiuri newspaper.
The entire Sainsbury Institute team participated
in this project and I feel that it has the potential
to challenge previously held ideas on the
geographical range of Japonisme in Europe, the
quality of Japanese collections in Europe, and
trans-European cooperation in Japanese artistic
studies. The survey examined all of the prints,
and many of the paintings and ceramics in the
collection of the Museum of Asian Art in Corfu,
and the Museum will now be able to publish
parts of its collection. The results have enriched
the Museum, Corfu and the Japanese artistic
community at large and, with the exhibition, will
enhance the Japanese general public’s knowledge
of Greece and its engagement with Japan.
Finally, the Robert and Lisa Sainsbury
Fellowships have gone from success to success.
The publications of the former fellows listed
in this report demonstrate the opportunities,
training and international exposure that they
received during their Fellowships. The Sainsbury
Fellowships embody the meaning and the
future of the Institute: the active and sustained
engagement of young gifted scholars in crossculturally targeted projects. We are indebted to
SOAS and to John T. Carpenter, the Head of our
London Office, for supporting and nurturing the
SOAS-based Fellows.
Nicole Coolidge Rousmaniere
Director
Professor Kobayashi Tadashi (Gakushuin University) and Nicole Coolidge Rousmaniere led a
survey examining the Japanese collections of the Museum of Asian Art in Corfu in July 2008.
The survey team included: Arakawa Masa’aki (Gakushuin University), Arakawa Mamiko (Nezu
Art Museum), Asano Shūgō (The Museum Yamatobunka), Idemitsu Sachiko (Idemitsu Museum
of Art), Professor Kawai Masatomo (Keio University), Kobayashi Yasuko, Naitō Masato (Keio
University), Professor Robert D. Mowry (Arthur M. Sackler Museum, Harvard), Professor Tsuji
Nobuo (Miho Museum), Despina Zernioti (Museum of Asian Art in Corfu).
Right: The front page of the Yomiuri newspaper on 4 August 2008 featured the discovery of a fan
painting by Sharaku in the collection of the Museum of Asian Art in Corfu.
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m e ssag e fr o m t h e d i r e c to r a n d pr i n c i pa l o f s oa s
In the two and half years since I took up the post
of Director of SOAS, one of my priorities has
been to learn more about areas of the world in
which the School specializes, and to find ways
to promote and facilitate its mission of teaching
the languages and cultures of Africa and Asia.
Japan, of course, is among the countries that
have received special attention from the School
in the post-war era, and we now employ over 25
specialists in Japanese studies, including language
instruction at all levels. The School prides itself
on its reputation in the area of Japanese art and
humanities, which is why the connection with the
Sainsbury Institute, with its emphasis on the visual
and material culture of the Japanese archipelago,
is so important to us as we develop research
networks and strategies for the future.
Furthermore, as Japan and the UK in 2008
celebrated 150 years of official diplomatic
relations, we are reminded of how important it
is for effective communication between the UK
and Japan on a political and economic level to be
complemented by an understanding of Japanese
language, literature, art and culture – all areas in
which SOAS has a strong commitment in both
research and teaching.
As part of my responsibilities as Director of
SOAS, I have had the opportunity to travel to the
areas of the world in which we specialize, to meet
with heads of foreign universities and find ways
to enhance our collaboration in research and
teaching. So far, I have made three visits to Japan.
The first, in April 2007, allowed me to visit Tokyo,
Kyoto, and Fukuoka in Kyushu. In October 2007,
I visited Tokyo, attended the annual meeting
of the SOAS Alumni Association and attended
the celebrations for the 125th anniversary of
Waseda University, where the Prime Minister, a
Waseda alumnus, gave an interesting address.
On my most recent trip, in November 2008, I
again had the pleasure of meeting the SOAS
Alumni Association, including its president
and an honorary fellow of SOAS, His Imperial
Highness Prince Takahito Mikasa, who turns 94
this year, and is still an energetic supporter of the
School. I was also honoured to attend the 150th
anniversary ceremony of the founding of Keio
University, presided over by His Imperial Majesty,
Emperor Akihito.
One of the more pleasurable duties I have as
Director of SOAS is to serve on the Management
Board of the Sainsbury Institute. Last year I helped
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to negotiate the renewal of the SOAS-SISJAC
agreement, which provides annual funding for
the SOAS library, office space and IT support, and
various collaborative research projects related to
Japanese art. Over the past nine years, the London
Office of the Sainsbury Institute, at present
headed by John T. Carpenter, has regularly hosted
international senior and junior scholars, who play
a full part in the research life of SOAS as part of
the Faculty of Arts and Humanities and the Japan
Research Centre.
Since 2001 when the Sainsbury Institute
commenced its annual fellowship programme, 24
visiting scholars from North America and Japan
have been based in the Handa Study Room on
the fourth floor of the Brunei Gallery Building,
supported with generous funding from the
Japanese businessman and philanthropist Handa
Haruhisa, also an Honorary Fellow of SOAS. As
this annual report shows, the steady stream of
research outputs of the Sainsbury and Handa
fellows to date have been most impressive, and
SOAS takes pride in its role in nurturing a new
generation of specialists in the history of Japanese
visual culture.
On behalf of my colleagues at SOAS I would
like to express our gratitude to the Sainsbury
Institute for its generous support of the SOAS
Library and Japanese art studies programmes
as we approach the tenth anniversary of our cooperation, and in particular to Lord Sainsbury of
Turville for his continued support of the Robert
and Lisa Sainsbury Fellowship programme.
Professor Paul Webley
Director and Principal, School of Oriental and African
Studies, University of London
Member of the Management Board, Sainsbury
Institute for the Study of Japanese Arts and Cultures
November 2008
The London
Office of the
Sainsbury
Institute is
located at
the School of
Oriental and
African Studies,
University of
London.
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r e s e a r ch n e t wo r k s
Research networks are at the heart of the
Institute’s mission and research strategy. In
addition to affiliations with the University of East
Anglia (UEA), the School of Oriental and African
Studies, University of London (SOAS), and the
British Museum, there are collaborative research
agreements with Ritsumeikan University, Kyushu
University, Research Institute for Humanity and
Nature, Niigata Prefectural Museum of History,
the Fitzwilliam Museum, International Centre for
Albanian Archaeology and the Centre Européen
d’Etudes Japonaises d’Alsace. The Institute’s
activities draw on this international network,
bringing together scholars from around the world
to explore research themes in Japanese arts and
cultures in regional, European and global contexts.
Research projects address key elements of
the Institute’s research strategy, which aims to
contribute to the formulation of new directions in
Japanese art and cultures. Projects relating to art
and cultural resources are led by the Director, Nicole
Coolidge Rousmaniere; archaeology and cultural
heritage projects are led by the Assistant Director,
Simon Kaner. John Carpenter, Head of London Office
and Reader in the History of Japanese Art at SOAS,
directs the Japanese Literature in Art Colloquy.
university of east anglia
The Sainsbury Institute is closely affiliated with
UEA. While the Institute is an independently
registered charity, with a permanent home in
the Cathedral Close in Norwich, the University’s
Vice-Chancellor acts as Chair of the Institute’s
Management Board and Institute staff are
employed through the University.
UEA has long fostered an innovative
approach to the history of art through the
activities of its School of World Art Studies and
Museology. It is the home of the Sainsbury
Research Unit, a centre for the study of the arts
of Africa, the Pacific region and the Americas.
Sir Robert and Lady Sainsbury built up a superb
collection of art over 60 years, including many fine
Japanese works from the Jōmon to contemporary
periods. They donated their entire collection
to UEA and Sir Norman Foster, now Lord Foster,
designed the Sainsbury Centre for Visual Arts
(SCVA) to house it. The exquisite Sainsbury
collections, while encompassing diverse items
from distinct and separate cultures, can be seen to
have a distinctly unified and integrated presence
due to the vision of the collectors, and this vision
continues to inspire and inform the Institute’s
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activities. The Institute’s research strategy places
renewed emphasis on the development of
synergies among the Sainsbury benefactions at
UEA. Our research initiatives provide for that and
also offer unparalleled opportunities to enlarge
the graduate base and international standing of
related programmes at UEA. The Institute also
provides colleagues at UEA with appropriate
library resources, space for lectures, specialists to
work with specific projects and lectures, specialist
teaching, postgraduate supervision in Japanese
arts and opportunities for student internships.
school of oriental and african studies
Since its formation in 1916, the School of Oriental
and African Studies has built an enviable
reputation around the globe for the calibre and
quality of its courses, teaching and research. It
is part of the University of London and centrally
located in Bloomsbury, next to the British
Museum. SOAS continues to enhance its position
as the world’s leading centre for the study of
a highly diverse range of subjects concerned
with Asia, Africa and the Middle East. Some 25
Japanese specialists at SOAS offer a wide range
of courses at undergraduate and postgraduate
levels, including several specifically related to
Japanese visual culture, film and media studies.
The School has Europe’s most comprehensive
library on Japanese subjects and is designated the
National Library for Asian and African studies.
As the largest centre for Japanese studies
in the UK, SOAS is an invaluable partner for the
Sainsbury Institute. The relationship is formalized
by the membership of the Director and Principal
of SOAS of the Institute’s Management Board.
The London Office of the Institute operates
under the auspices of the Faculty of Arts and
Humanities, and works in close cooperation with
staff in the Department of Art and Archaeology.
The Institute also collaborates with the School’s
Japan Research Centre, which serves as a
national and international centre for Japanese
studies, and which maintains links with Japanese
scholars, Japanese universities and the Japanese
community in London. The Institute maintains its
London offices in the Brunei Gallery, where the
Department of Art and Archaeology is based. John
T. Carpenter, Reader in the History of Japanese Art
at SOAS, has served as the Head of the London
Office for the past nine years. The Institute
entered into a new institutional agreement with
SOAS for 2008-2011. It covers library support, use
of SOAS office space and facilities by Sainsbury
Institute research fellows and staff, the role of the
Head of the Institute’s London Office at SOAS, and
collaborative research projects.
The London office provides study space for
Robert and Lisa Sainsbury Fellows in the Handa
Study Room on the fourth floor of the Brunei
Gallery building, and regularly hosts visiting
scholars on a temporary basis in B401 on the
same floor.
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Brunei Gallery, School of Oriental and African
Studies, University of London.
Left: Designed between 1974 and 1976 and
opened in 1978, the Sainsbury Centre for Visual
Arts was Norman Foster’s first major public
building. He was approached by Sir Robert and
Lady Lisa Sainsbury to design an appropriate
building to house both the collection of world
art that they gifted to the University of East
Anglia in 1973 and the School of Fine Art (now
the School of World Art Studies and Museology).
r e s e a r ch n e t wo r k s
british museum
The Great Court at the British Museum was designed by
Foster and Partners and opened in 2000. It is the largest
covered public square in Europe.
The British Museum was founded in 1753 to
promote universal understanding through
the arts, natural history and science in a public
museum. Housed in one of Britain’s architectural
landmarks, the collection spans two million years
of human history.
The Sainsbury Institute has a formal
collaborative agreement with the Japanese
Section, Department of Asia, at the British
Museum to co-operate to further research,
publications and public presentations relating
to Japanese arts and cultures in the UK. The
Institute’s Director has been closely involved with
many British Museum projects, including curating
two major exhibitions (Kazari: Decoration and
Display in Japan 17th-19th Centuries in 2003 and
Crafting Beauty: Celebrating 50 Years of the Japan
Traditional Arts Crafts Exhibition in 2007) and
editing the associated catalogues. The Director
was seconded to the Museum for six months in
2006 to work on the new permanent exhibition
in the Mitsubishi Corporation Japanese Galleries,
a project in which the Assistant Director was also
involved. The Institute is currently collaborating
with the Museum on an exhibition of important
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prehistoric ceramic figures (dogū) from the
Japanese archipelago in 2009. The exhibition
will be curated by Timothy Clark, Head of the
Japanese Section at the British Museum, with
Simon Kaner as guest curator. There will be an
accompanying catalogue, edited by Simon Kaner,
and an international symposium. The Institute’s
Librarian, Hirano Akira, acts as Honorary Librarian
to the Japanese Section of the Museum.
british museum outreach and club taishikan
Uchida Hiromi, Mitsubishi Corporation Projects Manager,
leading a study day at the British Museum.
Uchida Hiromi has been seconded to the Japanese
Section of the British Museum since April 2004.
As the Mitsubishi Corporation Projects Manager
she manages the Japanese Section’s public
programmes and provides support to Tim Clark in
the development, management and co-ordination
of special exhibitions and other projects.
Hiromi arrived at the Museum at a
difficult time, when the Japanese Galleries
were temporarily closed, and she has played a
leading role in their regeneration. The major
public exhibitions and displays launched during
this period have been: Cutting Edge: Japanese
Swords in the British Museum; Kabuki Heroes on
the Osaka Stage, 1780-1830; Samurai to Manga;
Japan from Prehistory to the Present (the major
refurbishment and re-launch of permanent
displays in the Mitsubishi Corporation Japanese
Galleries in October 2006); Crafting Beauty in
Modern Japan; Ikebana – Living Flowers of Japan;
and Reflecting on Modern Japan: Photobooks
from the Postwar Period. In addition, Hiromi
has been at the centre of organizing landmark
workshops and symposia, such as Displaying
Korea and Japan; Craft in 20th-Century Japan and
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the UK, and Craft Heritage in Modern Japan. She
has helped to organize and host visits by a ninthgeneration maker of automata, Mr Tamaya; all of
the illustrious speakers for the annual Sainsbury
Institute Toshiba Lectures in Japanese Arts held
at the British Museum; leading Kabuki actor
Nakamura Ganjirō III, and four visits by Living
National Treasure craft artists. Each month she
supervises the demonstrations of ‘The Way of
Tea’ by the Urasenke Foundation in the Japanese
Galleries. She regularly leads workshops for UK
schoolchildren using the Museum’s collections,
as part of the Embassy of Japan’s ‘Club Taishikan’
programme.
Hiromi’s work at the British Museum was
initially supported by the Gatsby Charitable
Foundation and the Sainsbury Institute. Between
August 2005 and September 2008 her work was
sponsored by members of the Japanese Chamber
of Commerce and Industry in the UK – and the
British Museum join us in thanking them for their
generosity. We are delighted to report that this
generosity has now born further fruit, and the
British Museum will continue in future to support
Hiromi’s role in the Japanese Section as Mitsubishi
Corporation Projects Manager.
r e s e a r ch pr oj e c t s : a r t a n d c u lt u r a l r e s o u r ce s
Japanese art and culture provide an ideal
discursive space where new ideas and core
issues can be developed. The dynamism and
productivity that characterize Japanese art and its
study, and the increased interfacing with global
trends in art provide fertile ground for innovative
new approaches to the understanding of art in
a global context. The Institute is undertaking
targeted explorations in Japanese art history that
uncover what is happening in terms of broad
human cultural evolution and aspirations. The
Sainsbury Institute is uniquely positioned to
contribute to these emerging debates through its
networks and projects.
Since December 2006 as Visiting Professor
in Cultural Resource Studies at Tokyo University
the Director has been exploring these new
approaches through teaching and research. As
part of her duties at Tokyo University, she has
been teaching courses in Japanese on ‘Ceramics
and Japanese Culture: an international approach’
and ‘Displaying Japanese Culture: an international
perspective’. She also taught three graduate-level
classes, one in the Art History Department on
rethinking the history of Japanese art by critically
examining a recent textbook by Tsuji Nobuo. The
two other courses are for the Cultural Resource
Studies Department on the ‘History of Collecting
Japanese Art in Europe and Japan’ and on ‘Rereading Japanese Historiography through Ceramic
Studies’. While in Japan the Director has given
papers in a series of lectures and conferences
at universities and museums, including Osaka
University, Ochanomizu University, The Osaka
National Museum of Ethnology, Tokyo National
Museum of Modern Art, Tokyo University, and
Musashino Art University. She has led research
trips for graduate students of Tokyo University
to Kyushu, Kyoto and Kanazawa as well as to
Norwich, Cambridge and London. She has also
been involved in a joint series of presentations
in Osaka, Tokyo and Paris from November to
December 2007 regarding the meaning of cultural
resource studies and what is its significance today.
The Director has continued to direct the
Sainsbury Institute’s art and cultural resource
projects during her secondment. The best
example of an encounter with Japanese art
facilitated by the Institute in this period was the
project around the exhibition Crafting Beauty in
Modern Japan. The success of the combination of
displaying works by contemporary artists working
18
in traditional media with academic research is a
clear testament to the power of art as a creative
expression and conduit for understanding
Japanese culture.
Demonstrations by Living National Treasures
A series of demonstrations by Japanese master
craft artists to show their highly prized techniques
was held as part of the Crafting Beauty in Modern
Japan exhibition programme. The Sainsbury
Institute, working with the Sainsbury Centre for
Visual Arts, invited two lacquer artists to give
demonstrations in Norwich, where the audiences
were able to see close up the methods by which
these beautiful craft objects are made. One of
the featured guests was Ōnishi Isao, an urushi
artist and designated ‘Living National Treasure’.
Mr Ōnishi provided a rare opportunity over the
course of two days for the attendees to witness his
acclaimed ‘hoop built core’ (magewa) and ‘urushi
coating’ (kyū shitsu) techniques. Murose Kazumi,
another highly respected urushi artist known for
his ‘sprinkled picture decoration’ (maki-e) gave
a demonstration at the Sainsbury Centre on 15
October 2007. He was subsequently designated
a ‘Living National Treasure’ in 2008. The Institute
also had the privilege of welcoming President
Yasujima Hisashi and his group from the Japan Art
Crafts Association and MOMAT to the Institute’s
Norwich headquarters on 20 July.
Above: Nicole Coolidge Rousmaniere led Cultural Resources Studies graduate seminar trips, including one to an
archaeological site on University of Tokyo campus with Professor Kinoshita Naoyuki (second from left) .
Left: Ōnishi Isao, an urushi artist and designated ‘Living National Treasure’ giving a demonstration at the British Museum
as part of the Crafting Beauty in Modern Japan exhibition programme.
19
r e s e a r ch pr oj e c t s : a r t a n d c u lt u r a l r e s o u r ce s
craft heritage in modern japan symposium
An international symposium, ‘Craft Heritage
in Modern Japan: Perspectives on the Living
National Treasures’ was held at the British Museum
to complement the exhibition. The symposium,
which was jointly organized by Timothy Clark of
the British Museum and the Institute’s Director,
provided the opportunity to examine ‘traditional
crafts’ (dentō kōgei) in an international context.
Japan has a rich heritage of craft skills, many of
which developed during the Edo period (16001868) when regional samurai lords sponsored
local industries. Modern craft artists have further
developed these traditional skills.
In this context, tradition is seen as something
dynamic that can embrace both continuity with
the past and change in the present and for the
future. The symposium invited speakers including
practising craft artists and historians of craft to
address a wide range of topics that included the
practice, transmission and sustaining of crafts, and
also crafts in a world perspective. The symposium
was preceded by a public lecture from the ceramic
artist Tokuda Yasokichi III. Symposium speakers
included Christine Guth (Royal College of Art and
Victoria and Albert Museum), Murose Kazumi
(lacquer artist), Tanya Harrod (Royal College of
Art), Kaneko Kenji (MOMAT), Edmund de Waal
(ceramic artist and author), Moriguchi Kunihiko
(textile artist), Jane Harris (Textile Futures Research
Group), Glenn Adamson (Victoria and Albert
Museum), Inaga Shigemi (International Research
Center for Japanese Studies), Simon Fraser (Central
Saint Martin’s College of Art and Design), Professor
Kawai Masatomo (formerly of Keio University) and
Nicole Coolidge Rousmaniere (Sainsbury Institute).
The symposium was dedicated to the memory of
Eri Sayoko (1945-2007).
The Institute has continued to develop
its links with the Centre Européen d’Etudes
Japonaises d’Alsace (CEEJA). In November 2006
the Director participated in the first of a series of
Sessions D’Echanges Intellectuels. The Institute,
with two affiliated research students, Princess
Akiko of Mikasa and Maezaki Shinya, curated the
exhibition Alsace et Japon: Une Longue Histoire
which featured Meiji art in Alsace collections for
the anniversary of CEEJA in October 2006.
20
Tiered picnic box with design of poppies, late 1600s.
Wood, lacquer, shell-inlay. h: 38.0 cm., w: 27.3 cm., d: 27.3
cm. Bequeathed by Oscar Raphael, British Museum.
Left: The exhibition Crafting Beauty in
Modern Japan was held between 19
July and 21 October 2007 at the British
Museum. It was co-curated by Director
Nicole Coolidge Rousmaniere and
Timothy Clark and organized with the
Crafts Gallery, Tokyo National Museum
of Modern Art.
Above: Ornamental box in a flowering
design, c. 1957. Kuroda Tatsuaki (190482). Red lacquer on wood. Over 43,000
visitors viewed the objects from
Crafting Beauty in Modern Japan in the
Hotung Gallery inside the Great Court,
one of the prime temporary exhibition
spaces of the British Museum.
21
r e s e a r ch pr oj e c t s : Ja pa n e s e a r ch a e o lo g y a n d c u lt u r a l h e r i tag e
An engagement with the past and with
archaeology opens up a fuller understanding of
modern life. Archaeology and cultural heritage
studies are flourishing around the world and
there is increasing awareness of the global
significance of Japanese archaeology. The
Sainsbury Institute’s major dogū project should
result in greater understanding of the role of
the past in contemporary Japan and elsewhere,
enhanced international research networks, and
new ways of engaging with the past. Through
this and other projects, the Institute is creating
a distinctive approach to our study of and
engagement with the past, using the richness
of Japanese archaeology to inspire innovative
research collaborations that will make an impact
far beyond the Japanese archipelago.
DogŪ
Dogū are ceramic figures in the shapes of humans
and animals made during the Jōmon period of
Japanese prehistory (16,000-2,500 years ago).
They are mysterious and evocative objects, and
offer insights into the origins of spirituality and
belief in the Japanese archipelago, as well as some
clues as to prehistoric fashion. Dogū continue
to be encountered in modern Japan: inspiring
manga artists, featuring in computer games,
appearing as mascots in banking adverts and
being invoked for road safety. Since 2006, the
Sainsbury Institute has been working to bring
dogū and their European counterparts to the UK.
In contemporary southeastern Europe, prehistoric
figures take on an important role in the cultivation
of local and national identities. This project will
come to fruition in 2009 with an exhibition at the
British Museum featuring Japanese dogū that have
been designated Important Cultural Properties
and National Treasures. The second exhibition, at
the Sainsbury Centre for Visual Arts, will present
dogū in a comparative context, alongside a
selection of prehistoric ceramic figures from the
Balkans. The project explores dogū as striking
artworks as well as important archaeological
22
evidence, and has created an extensive research
network generating increased global interest in
Japanese archaeology and cultural heritage. The
significance of this project was recognized by the
award of a major research grant by the Arts and
Humanities Research Council.
In the lead-up to the exhibitions, a research
workshop was held in December 2006 at
which Japanese specialists and their European
colleagues presented the latest research on
dogū. This has been followed by research visits
to Japan and the Balkans. The project is directed
Simon Kaner and the co-investigator is Professor
Douglass Bailey (San Francisco State University).
The British Museum exhibition is being organized
in conjunction with the Japanese government
Agency for Cultural Affairs.
Top left: Assistant Director Simon Kaner and Timothy Clark (British Museum) and Doi Takashi (Agency for
Cultural Affairs) at Togari-ishi Site Museum, securing loans of important dogū .
Left: Professor Kobayashi Tatsuo (Kokugakuin University) and Professor Douglass Bailey (San Francisco State
University) during the workshop on dogū held at the Sainsbury Institute in December 2006. The workshop
initiated a major collaborative project that will bring these prehistoric Japanese figures and their European
counterparts together for an exhibition at the Sainsbury Centre for Visual Arts in summer 2010. It will be
preceded by a British Museum exhibition in autumn 2009 featuring Japanese dogū that have been designated
National Treasures and Important Cultural Properties.
Above: Dogū clay figures, Middle Jōmon, excavated from Nakkapara site (above left), Nagano Prefecture, h.
37.0 cm., Chino City Education Commission (Important Cultural Property), and from Tanabatake site (above
right), Nagano Prefecture, h. 27.0 cm., Chino City Education Commission (National Treasure).
23
r e s e a r ch pr oj e c t s : Ja pa n e s e a r ch a e o lo g y a n d c u lt u r a l h e r i tag e
Excavations along the Shinano River
Some of the dogū will come from the catchment
of the Shinano River, where Simon Kaner has been
directing the Shinano River Project, investigating
the development of early settlement and the
environmental history along the longest river
drainage in the archipelago. The project is focused
on a research excavation of the Middle Jōmon
site at Sanka in Nagaoka city, Niigata Prefecture,
being undertaken by Miyao Tōru of the Niigata
Prefectural Museum of History. Funded by the
British Academy, the Shinano River Project is
casting new light on the cultures which produced
the remarkable Jōmon Flame-style pottery. Many
of the other figures will come from northern
Japan, in particular Aomori Prefecture, home
to the ‘goggle-eyed’ dogū from the end of the
Jōmon period, for which the Sainsbury Centre
collections are famous. The Institute is associated
with a major project funded by the Luce
Foundation, entitled ‘Understanding Lifeways:
Cultural diversity in prehistoric Japan’, involving
excavations in Aomori Prefecture directed by
Professor Junko Habu (University of California,
Berkeley) at Sannai Maruyama, the largest
Jōmon settlement yet discovered. Samples from
Professor Habu’s excavations are being analysed
by members of the Shinano River Project team. As
part of this collaboration, Simon Kaner took part
in a public symposium on ‘The Ancient Jōmon and
the Pacific Rim’ at Berkeley in March 2008.
Medieval archaeology
In May 2008, Simon Kaner accompanied Brian
Ayers, a specialist on medieval urban archaeology
and then County Archaeologist for Norfolk, on a
study tour of Japanese medieval archaeological
sites. The visit followed on from the successful
conference on ‘The Archaeology of Medieval
Towns in Japan and Beyond’ organized by the
Sainsbury Institute in Norwich in 2004, and will
result in the publication of a new book, Envisioning
Medieval Towns in Japan and Europe. Following
a meeting with Ono Masatoshi, Deputy Director
of the National Museum of Japanese History,
visits were made to a number of major medieval
locations, including: Kamakura, to see ongoing
excavations at the capital of much of the medieval
period; the Hiroshima Prefectural Museum of
History in Fukuyama, to view the remains of the
trading town on the Inland Sea at Kusado Sengen;
24
Kyoto; Ichijōdani, medieval seat of the powerful
Asakura Clan in Fukui Prefecture; multi-period
excavations at Tokyo University; Tosa Minato on
the Tsugaru Peninsula in Aomori, location of the
port established during the Heian period to serve
the capital of the northern Fujiwara; Hakodate
and Sendai. Brian Ayers’ trip was supported by the
London Office of the Japan Foundation.
The Institute continues to be affiliated with
the NEOMAP Project at the Research Institute for
Humanity and Nature (RIHN) in Kyoto. Simon Kaner
is a Core Member of the project. The DirectorGeneral of RIHN, Tachimoto Narifumi, visited the
Institute in February 2008 with NEOMAP Project
Leader Uchiyama Junzō, and Kati Lindstrom,
who is working with the Assistant Director on
landscape archaeology. Carlos Zeballos, NEOMAP
Project Member, spent one month at the Institute
in the autumn of 2008 to investigate landscape
archaeology applications in UK.
Professor Richard Pearson, formerly of the
University of British Columbia, has been Senior
Research Adviser at the Sainsbury Institute since
2007. Working with the Simon Kaner on the
dogū project and the medieval towns project,
Professor Pearson gave the 2007 Toshiba Lectures
in Japanese Arts. Other archaeological visitors to
the Institute included Professor Harunari Hideji,
of the National Museum of Japanese History,
Fumiko Ikawa-Smith, Professor Emeritus at McGill
University in Montreal and currently President
of the Society for East Asian Archaeology, Doi
Takashi and Negita Yasuo of the Japanese
government Agency for Cultural Affairs.
Above: Dogū clay figure, Late Jōmon, excavated from Chobonaino site (above
left), Hokkaido, h. 41.5 cm., Hakodate City Education Commission (National
Treasure), and from Kazahari Site I (above right), Aomori Prefecture, h. 19.8 cm.,
Hachinohe City (National Treasure).
Far left: Dogū clay figure, early Neolithic period, excavated from Podgorie I,
Kishnik site, Albania, h. 5.1 cm., Institute of Archaeology Museum.
Left: Professor Tachimoto Narifumi (Director-General of the Research Institute
for Humanity and Nature), Professor Uchiyama Junzō (Project Leader of
the NEOMAP project at RIHN) and Kati Lindstrom (RIHN) visited Norwich in
February 2008 to sign a Memorandum of Understanding with the Sainsbury
Institute. The NEOMAP project researches Neolithization and modernization in
terms of landscape history in East Asia.
25
r e s e a r ch pr oj e c t s : Ja pa n e s e L i t e r at u r e i n A r t Co l lo q u y s e r i e s
The Japanese Literature in Art Colloquy (JLAC)
series was inaugurated in 2002 under the aegis of
the London Office of the Sainsbury Institute as one
of the Institute’s central research and publication
programmes. It is intended to serve as a catalyst
or a facilitating organ for the exchange of ideas
related to the study of Japanese cultural history. It
specifically aims to nurture cooperation between
scholars based in the UK and their counterparts
abroad. Each of the projects normally involves
one or more scholars with a close affiliation to the
Institute, whether members of staff, Sainsbury and
Handa Fellows (past and present), or Japanese
specialists at SOAS and the British Museum.
JLAC projects are designed to promote an
interdisciplinary study of Japanese visual culture.
The colloquy series supports research and
publications that take new approaches to textimage relationships in Japanese art, focusing
especially on the interaction of literary or
performing arts with calligraphy, painting and
prints. The colloquies, usually once or twice a year,
are not restricted to any specific type of forum and
are flexible in their organization – ranging from
full-fledged symposia to smaller workshops. The
research results of the colloquies are published in
various forms: proceedings volumes, collaborative
publications on specialized topics, exhibitionrelated publications, or on-line image databases
stored on the Institute’s server. Many of the JLAC
projects complement or support other individual
research projects of participants.
Previous publications in the JLAC series
include, Hokusai and His Age: Ukiyo-e Painting,
Printmaking and Book Illustration in Late Edo Japan,
edited by John T. Carpenter (Amsterdam: Hotei
Publishing, 2005), which collects 15 essays by a
distinguished roster of specialists in Japanese art
to present a wide range of current scholarship on
the Edo artist Hokusai Katsushika (1760-1849) and
his immediate artistic and literary circles.
The next volume in the JLAC series was
Imperial Calligraphy of Premodern Japan: Scribal
Conventions for Poems and Letters from the Palace
by John T. Carpenter, with contributions by
Professor Kawashima Masao, Professor Genjō
Masayoshi, Matsumoto Ikuyo and Kaneko
Takaaki. In 2006, the Art Research Center (ARC) at
Ritsumeikan University, Kyoto, and the Sainsbury
Institute co-published this volume, which explores
calligraphy by emperors and empresses regnant
of premodern Japan as part of a research project
26
on Japanese calligraphy and court culture. John
T. Carpenter was the primary author and editor
of the volume. This publication was the result
of weekly research seminars conducted at ARC
during Dr Carpenter’s extended visits to Kyoto in
2003 and 2004. Along with his introductory essay,
‘Handwriting Empowered by History: The Aura of
Calligraphy by Japanese Emperors’, which surveys
the entire history of premodern shinkan (imperial
calligraphy), the volume includes a fully illustrated
catalogue of some 30 examples of shinkan of the
13th to 19th centuries from the collection of the
Fujii Eikan Bunko, which was recently bequeathed
to Ritsumeikan University. All texts, including
compositions in chirashigaki (scattered writing)
format have been fully deciphered, and many
waka composed at palace gatherings have been
translated into English. This project has been
carried out with primary funding from the 21st
Century COE (Center of Excellence) programme
at the Art Research Center. A digital archive of the
collection was also created by Kaneko Takaaki.
The most recent publication in the JLAC
series is Reading Surimono: The Interplay of Text
and Image in Japanese Prints (Leiden: Brill/Hotei
Publishing, 2008). This full-colour catalogue
Right: Publications in the JLAC
series include Imperial Calligraphy of
Premodern Japan and Hokusai and
His Age.
Below: John T. Carpenter giving
a lecture to celebrate the 1000th
anniversary of The Tale of Genji at the
Georgio Cini Foundation, Venice.
Above: Reading Surimono: The Interplay of Text and Image in Japanese Prints,
and a copy of the German-language exhibition guide catalogue at the
surimono exhibition at the Rietberg Museum Zurich.
27
r e s e a r ch pr oj e c t s : Ja pa n e s e L i t e r at u r e i n A r t Co l lo q u y s e r i e s
illustrates and describes some 300 surimono
(privately published deluxe Japanese prints)
belonging to the Museum of Design Zurich, which
were recently placed on long-term loan to the
Museum Rietberg Zurich. Originally bequeathed
to the Museum of Design by the Swiss collector
Marino Lusy (1880-1954), the collection includes
many rare and previously unpublished prints.
Edited by John T. Carpenter, with contributions
from 11 Edo art and literary specialists, this
groundbreaking scholarly publication investigates
surimono as a hybrid genre combining literature
and art. Introductory essays treat issues such as
text–image interaction and iconography, poetry
and intertextuality, as well as the operation of
Kabuki fan clubs and poetry circles in the late
18th and early 19th centuries. Other essays
document Lusy’s accomplishments as a talented
artist who was inspired by East Asian art, and
as an astute collector who acquired prints from
Parisian auction houses and dealers in the early
20th century. Each print in the Lusy Collection is
described in detail, including translations of all
accompanying poems.
Global COE programme at the
Art Research Center, Ritsumeikan University
The Art Research Center at Ritsumeikan University,
Kyoto in late spring 2007 received news that
it had received one of the highly competitive
research grants by Japan’s Ministry of Education,
Culture, Sports, Science and Technology (MEXT)
to establish a Global COE (Center of Excellence)
programme. The Art Research Center, which has
cooperative research agreements with both the
Sainsbury Institute and the Department of Art
and Archaeology, SOAS, plans to create a new a
‘Digital Humanities Center for Japanese Art and
Culture’. In connection with this project, Dr John
T. Carpenter will serve as an international adviser,
and has been concurrently appointed as Adjunct
Professor at Ritsumeikan University, initially for a
five-year term.
This project expands on one of the Art
Research Center’s earlier COE projects to create
digital archives and assemble databases of
Japanese cultural artefacts, particularly focusing
on woodblock prints, painting and calligraphy.
It taps into new developments in the discipline
of ‘Digital Humanities’ in the USA and Europe,
to transmit knowledge of Japanese culture to
28
scholars worldwide. Since Ritsumeikan is located
in the historical city of Kyoto, one of its priorities
naturallly continues to be a study of ancient
and medieval Japanese culture, a speciality of
Professor Kawashima Masao, one of the directors
of the new COE programme. Yet, in keeping
with the spirit of international cooperation
established in the previous COE programme,
under the supervision of Professor Akama Ryō,
the Art Research Center also continues its work to
establish digital archives and databases of ukiyo-e
prints in Western collections. In the summer of
2007, Kaneko Takaaki and Matsuba Ryōko, PhD
students at Ritsumeikan, were based at SOAS
while doing research and photography at the
British Museum and other European collections.
Left: View of the surimono exhibition gallery at the Museum Rietberg Zurich
(exhibition architect: Martin Sollberger).
Top: Reading Surimono: The Interplay of Text and Image in Japanese Prints, edited
by John T. Carpenter.
Above left: Professor Akama Ryō, Ritsumeikan University, Kyoto.
Above right: Art Research Center, Ritsumeikan University, Kyoto.
29
LECTURES AND SYMPOSIA
Lectures, symposia, workshops and conferences
are an integral part of the Sainsbury Institute’s
mission to carry out and facilitate innovative
research. Usually drawing on the strengths
of the Institute’s research networks, these
occasions provide opportunities to develop
academic knowledge and understanding and to
disseminate the results of research projects to a
variety of audiences.
Highlights of the 2006-08 programme
included the Toshiba Lectures in Japanese Art,
and workshops on Buddhist art, the Mingei
movement and international concepts of design.
The Institute is committed to supporting the
publication of the proceedings of these events
and recent examples include The Frog in the Well
by Professor Donald Keene (based on his 2003
Toshiba Lectures) and Female Revolt in Male
Cultural Imagination in Contemporary Japan by
Sharon Kinsella (based on her 2006 Chino Kaori
Lecture).
Mingei programme
Professor Fujita Haruhiko’s lecture, entitled
‘Japanese Crafts for the 21st Century: From the
Past Looking to the Future’ was the first of a series
of events about the Mingei movement organized
by the Embassy of Japan in conjunction with
the British Museum, the TrAIN Research Centre,
University of the Arts London and the Sainsbury
Institute in September 2006. The aim was to
reinvigorate debate about Bernard Leach and the
concept of craft in the 21st century. The events
were generously supported by ANA and the
Daiwa Anglo-Japanese Foundation.
Professor Fujita, Professor of Aesthetics
at Osaka University, surveyed the history
of the relationship between the Arts and
Crafts movement and Japan, the formation
and development of the Mingei movement
in the context of rapid industrialization and
modernization, and new liaisons in this field
between Japan, the UK and elsewhere. He
discussed the role of key figures in the Mingei
movement, Bernard Leach and Yanagi Muneyoshi,
along with Hamada Shōji and ‘Farmers’ Artist’
Yamamoto Kanae.
There followed the opening of an exhibition
30
entitled Bernard Leach, St Ives and Japan in the
foyer of the Japanese Embassy and a one-day
workshop, held at the Stevenson Lecture Theatre
at the British Museum, on ‘Mingei: Craft in 20thcentury Japan and the UK’. Suzuki Sadahiro, from
Ochanomizu University, Tokyo, and co-organizer
of the workshop, gave the first paper ‘An Attempt
at a “Counter-Industrial Revolution”: Bernard
Leach’s Interpretation of the Mingei Movement’,
which set out many of the themes to be taken
up in the course of the day. Other participants
included: Toshio Watanabe (TrAIN Research
Centre, University of the Arts London); Rupert
Faulkner (Victoria and Albert Museum); Glenn
Adamson (Victoria and Albert Museum); Angus
Lockyer (Department of History, SOAS); Kikuchi
Yuko (TrAIN, University of the Arts London);
Takenaka Hitoshi (Kobe City University of Foreign
Studies); Beth McKillop (Victoria and Albert
Museum) ; Hamada Takuji (Japan Society for the
Promotion of Japanese Studies Research Fellow at
Kobe University and grandson of Hamada Shōji);
and Mimura Kyōko (Director of International
Relations at the Japan Folk Crafts Museum in
Tokyo).
The Chino Kaori Memorial ‘New Visions’
Lecture Series
The Sainsbury Institute hosted the Fourth
Chino Kaori Memorial ‘New Visions’ Lecture
on 20 October 2006 at the Brunei Gallery
Lecture Theatre at SOAS. Our invited speaker
was Dr Sharon Kinsella, who spoke on the
‘Feminine Revolt in Male Cultural Imagination in
Contemporary Japan’, introducing images drawn
from manga, anime and recent Japanese films.
Dr Kinsella is currently based in the University
of Manchester. She has been affiliated with the
University of Oxford, from where she received her
PhD, and has taught at MIT and Yale University.
She is the author of Adult Manga: Culture and
Power in Contemporary Japanese Society, published
in 1999, which has been widely hailed as a
pioneering work in the field of contemporary
Japanese cultural studies.
The sponsors of the annual lecture series
include the Center for the Study of Women,
Buddhism, and Culture (Kyoto), the Institute for
Medieval Japanese Studies (Tokyo), the Research
Institute for Gender and Culture (Tokyo), and
SOAS, University of London. The ‘New Visions’
Lecture Series takes place on a yearly basis,
alternately in Japan, Europe, and the USA. The
lectures commemorate the groundbreaking
contribution the late Professor Chino Kaori
of Gakushuin University made to the field of
Japanese art studies from a feminist perspective.
Each lecture is published bilingually in Japanese
and English. Previous speakers include Wakakuwa
Midori (Professor Emerita of Chiba University) and
Professor Linda Nochlin (Institute of Fine Arts,
New York University).
John T. Carpenter gave a tribute to Professor
Chino and the lecture series created in her
memory; Professor Paul Webley, Director of SOAS,
introduced the speaker. Professsor Joy Hendry of
Oxford Brookes University was commentator and
led a lively discussion after the talk. The lecture
was extremely well attended, with over 200
colleagues and students present.
A revised and expanded version of Dr
Kinsella’s Chino Kaori Lecture, which has been
published in a bilingual edition as the fourth
volume in the Chino Lecture Series, is based on
topics investigated in her forthcoming book, Girls
and Male Imagination: Fantasies of Rejuvenation in
Contemporary Japan.
31
Above: The Sainsbury
Institute lent objects
to the Bernard Leach,
St Ives and Japan
exhibition held
in the Embassy of
Japan in London in
September 2006.
Left: Sharon Kinsella
presented the Fourth
Chino Kaori Memorial
‘New Visions’ lecture
in October 2006, held
at SOAS.
LECTURES AND SYMPOSIA
Seeing and Not Seeing Workshop
This international workshop, with events
scheduled over four days on 17-20 May 2007,
examined how pre-modern Japanese culture
conceptualized, described, and represented
entities which ordinarily could not, or should
not, be seen, described, and represented. It also
considered how acts of viewing such entities
were themselves negotiated and represented.
Organized by Monika Dix (Sainsbury Fellow
2006-07), and Robert Khan (Research Associate,
SOAS), the focus of activities was a one-day public
conference of 11 presentations by invited speakers
from Europe, North America and Japan. A half-day
workshop session on Heian and Kamakura era
textual materials was held at SOAS. Further halfday study sessions provided opportunities to view
materials held at the British Museum, the British
Library and the Sainsbury Centre for Visual Arts.
Many participants also made a visit to
the Institute headquarters in Norwich and the
SCVA. Professor Joshua S. Mostow (University of
British Columbia) gave the keynote address and
participants included: Professor Ishikawa Tōru
(Keio University); Ivo Smits (Leiden University);
Professor Doris G. Bargen (University of
Massachusetts Amherst); Robert O. Khan (SOAS);
R. Keller Kimbrough (University of Colorado
at Boulder); Monika Dix (Sainsbury Institute);
Professor Komine Kazuaki (Rikkyo University);
Professor Susan Napier (Tufts University);
Professor Andrew Gerstle (SOAS); Professor
Timon Screech (SOAS); Professor Patrick Caddeau
(Princeton University); John T. Carpenter (SOAS);
Lucia Dolce (SOAS), and Professor Peter Kornicki
(University of Cambridge).
Preparations are currently under way for
the publication of the workshop papers with
Brill. The workshop was co-sponsored by the
Sainsbury Institute and the Department of Art
and Archaeology at SOAS, with the support of the
Great Britain Sasakawa Foundation.
World Art: Ways Forward Conference
The Sainsbury Institute joined the other Sainsbury
benefactions, the School of World Art Studies
and Museology at UEA and the Association of Art
Historians in a two-day conference, organized
by Professor John Onians, on art as a worldwide
phenomenon. The Institute facilitated the
presentation of a Japanese paper by Akiyama
32
Akira (Tokyo University). The conference, held at
UEA on 7-8 September 2007, brought together
some of the leading voices in this emerging
debate on art in a global context. The conference
also marked Professor Onians’ retirement from
UEA. He was instrumental in the development of
the art history department and the creation of
the School of World Art Studies and Museology
and is now Professor Emeritus of World Art at the
University.
Speakers included: Professor Craig Clunas
(University of Oxford), David Carrier (Case
Western Reserve University), Wilfried van Damme
(Leiden University), Professor Whitney Davis
(University of California, Berkeley), Professor
Thomas DaCosta Kaufmann (Princeton University),
Susanne Kuechler (University College London),
Neil MacGregor (The British Museum), Professor
John Mack (UEA), Professor John Onians (UEA),
Professor Terry Smith (University of Pittsburgh),
Professor David Summers (University of Virginia),
Professor Nick Thomas (Cambridge University)
and Kitty Zijlmans (Leiden University).
Words for Design Workshop
The ‘Words for Design’ international workshop
brought together 17 scholars to Norwich
to discuss the genealogy of ‘design’ and its
equivalents around the world and to compare
their historic and contemporary meanings
and usages. The discussions brought to light
significant geographical and/or chronological
differences as well as interesting parallels between
the concepts of ‘design’ in different cultures using
comparable but different words. The two-day
workshop was held at the Sainsbury Institute at
64 The Close and at the Education Studio in the
Sainsbury Centre for Visual Arts on 8-9 July 2008.
The stimulating discussions and the wide
range of papers presented by specialists from Japan,
Mexico, the US, the UK and Europe helped propel
the research forward in defining the understanding
of ‘design’. The workshop was organized by
Professor Fujita Haruhiko (Osaka University) and
supported by Nicole Coolidge Rousmaniere
(Sainsbury Institute). The Japan Society for the
Promotion of Science Grants-in-Aid for Scientific
Research sponsored the event in conjunction with
the Sainsbury Institute and the Centre for the Study
of Communication Design, Osaka University.
Participants of the ‘Words for Design’ workshop in front of the Sainsbury Centre for Visual Arts, University of East Anglia.
Speakers and discussants included: Professor
Fujita (Osaka University); Ken Tadashi Oshima
(University of Washington); Nicole Coolidge
Rousmaniere (Sainsbury Institute); Oriol Pibernat
(EINA Higher Design and Art School, Barcelona);
Professor Oscar Salinas-Flores (Universidad
Nacional Autonoma de Mexico); Helena Barbosa
(Aveiro University, Portugal); Inoue Yuriko (Osaka
University and Paris X-Nanterre); Anna Calvera
(University of Barcelona); Ikegami Hidehiro (Keisen
33
University); Viviana Narotzky (Royal College
of Art); Javier Gimeno Martinez (Katholieke
Universiteit Leuven); Miki Junko (Kyoto Institute
of Technology); Glenn Adamson (Victoria and
Albert Museum); Professor Jonathan Woodham
(University of Brighton), and Professor Toshio
Watanabe (University of the Arts London).
LECTURES AND SYMPOSIA
Toshiba Lectures 2007
The Sainsbury Institute was proud to present
the fourth annual series of Toshiba Lectures in
Japanese Art, on Okinawa/Ryūkyū: Kingdom of
the Coral Isles, bringing this remarkable culture to
UK audiences for the first time. The lectures were
given by Professor Richard Pearson, Professor
Emeritus at the University of British Columbia,
who also acted as Senior Research Adviser at the
Sainsbury Institute as he prepared and delivered
his lectures. Professor Pearson has spent a
distinguished career researching the history, art
and archaeology of the Ryūkyūs, and is currently
working on the medieval Ryūkyūan kingdom, the
capital of which was recently designated a World
Heritage Site. His lectures and the associated
symposium provided an unprecedented
introduction in the UK to the lavish material
culture, art, history and archaeology of Okinawa,
tracing the development and fall of the distinctive
medieval Ryūkyūan kingdom, a major centre of
regional trade from 1200 to 1600. The lectures
were sponsored by the Toshiba International
Foundation and the symposium was sponsored by
the Daiwa Anglo-Japanese Foundation.
The lecture series was introduced by Timothy
Clark, Head of the Japanese Section, Department
of Asia, at the British Museum, and prefaced by a
speech by Ogura Masahiro of Toshiba Europe. He
impressed the large audience with his knowledge
of Okinawan culture, in particular music, with
an outstanding impromptu performance of the
Okinawan scales.
The first lecture, ‘Life in the Ryūkyū Kingdom’
was given on 9 November at the British Museum.
Professor Pearson introduced the geography and
culture of the Ryūkyūs. The Ryūkyū island chain,
comprising the modern Japanese prefecture of
Okinawa, occupies a unique position in East Asia,
linking Japan and China. Legend has it that the
First Emperor of China, Qin Shihuang Di, sent a
group of children across the China Sea to find
the ‘Islands of Immortality’. Some say that these
islands are the Ryūkyū Islands and suggest a
connection between the legendary status of
these ‘Islands of Immortality’ and the fact that
Okinawans have the world’s longest life span.
The second lecture, ‘Traders of the East
China Sea: the Rise of Kingdoms in Okinawa’
was held at SOAS on 14 November, and was
introduced by John T. Carpenter and Paul Webley.
In this equally well-attended lecture, hosted in
34
association with the Japan Research Centre at
SOAS, Professor Pearson introduced a series of
important archaeological discoveries including
the oldest human fossils found in Japan, dating
to around 30,000 years ago. He introduced
the extraordinary shell culture of the Ryūkyūs,
showing how shell had been an important traded
commodity since prehistoric times. He also
discussed the production of some of the world’s
most spectacular ceramics, cobalt-decorated Yuan
Dynasty blue and white.
The third lecture, ‘Okinawa, Islands of
Castles’, took place on 15 November in Norwich.
The lecture was introduced by Simon Kaner
and Professor Bill Macmillan, Vice-Chancellor
of the University of East Anglia and Chair of the
Management Board of the Sainsbury Institute. A
capacity audience of over 160 people attended
the lecture, which was held in conjunction
with the Sainsbury Institute’s Third Thursday
lecture series. Professor Pearson presented a
comprehensive introduction to the 200 medieval
castles of Okinawa, with a particular emphasis on
the first royal capital of the kingdom.
The lectures were complemented by a
one-day symposium at SOAS on 17 November
on the subject of ‘Kingdom of the Coral Seas: A
symposium on the archaeology and cultures of
the Ryūkyū islands’. The symposium comprised
an introduction by Professor Pearson, followed
by presentations by the invited speakers. It closed
with a rousing performance of Okinawan music
and dance by the SOAS-based group Sanshinkai,
led by SOAS ethnomusicologist David Hughes.
Summaries of some of the presentations
at the symposium appeared in Current World
Archaeology (no. 29, June/July 2008), and
the full proceedings are published by British
Archaeological Reports, Oxford.
Top left: Professor Richard Pearson gave the 2007 Toshiba
Lectures in Japanese Art, through which he presented the
material culture, art and archaeology of Okinawa.
Top right: Ogura Masahiro (Vice President of Toshiba Europe)
delivered the opening speech and gave an impromptu
performance of the Okinawan scales.
Left: A symposium on the archaeology and culture of the Ryūkyū
islands was held at SOAS. The proceedings have been published
by British Archaeological Reports as Okinawa; the Rise of an
Island Kingdom – Archaeological and Cultural Perspectives.
35
fe l low s h i p s
Visiting research fellows play an integral part in
the research culture of the Sainsbury Institute
and its partner institutions. While working on
their own publication and research projects,
they contribute to seminars and conferences in
the UK and elsewhere in Europe. The Sainsbury
Institute’s two principal fellowship programmes
are designed to encourage scholars in the fields
of Japanese art and archaeology to complete a
substantive piece of research. Former fellows have
subsequently achieved considerable success in
their careers, as demonstrated by their publication
records and the posts they go on to hold. They
often return to the UK, to take part in Sainsbury
Institute activities. Since 2001 over 26 Fellows
have benefited from the Fellowship programmes,
their subject specialisms ranging from prehistoric
artifacts to contemporary art in every genre and
medium of Japanese material and visual cultures.
The Robert and Lisa Sainsbury Fellowships,
established in 2000 through generous funding
from Lord Sainsbury of Turville, are designed
to strengthen academic ties with Japanese
studies programmes in the US and Canada.
The Fellowships provide recipients with an
opportunity to work in a scholarly environment
conducive to completing a publication project.
The Institute offers two Fellowships on an annual
basis to scholars who have either received a
PhD from a North American university, or who
are currently employed by a North American
academic institution or museum. The Fellowships
are awarded for a maximum period of a year, and
fellows are provided with office space at either
the Norwich headquarters or the London office
based in Brunei Gallery Building of SOAS. To date
SOAS has hosted 16 Robert and Lisa Sainsbury
Fellows, who have contributed to the Japan
Research Centre weekly seminar series and given
talks in the Department of Art and Archaeology
seminar series. In Norwich, the fellows give World
Art Seminars in the School of World Art Studies
and Museology at UEA, as well as Third Thursday
lectures at the Sainsbury Institute.
The Handa Fellowships in Japanese
Archaeology are for scholars from Japan working
with institutions affiliated with the Institute. The
Fellowships are funded through the International
Jōmon Culture Conference, supported by Mr
Handa Haruhisa, a Japanese philanthropist and
businessman. The Fellows are usually based at
the Institute’s headquarters in Norwich, and have
36
unrestricted access to the collection of books,
site reports and journals related to Japanese
archaeology, unrivalled in Europe, housed at the
Lisa Sainsbury Library. As well as undertaking
their own original research while in the UK, Handa
Archaeology Fellows past and present have
worked with Institute staff on museum exhibition,
conference and publishing projects sponsored
by the Institute, and acted as ambassadors for
Japanese archaeology in Europe.
Associated scholars
The Institute also benefits from association with a
number of scholars who work with the academic
staff of the Institute, sometimes on specific
projects and sometimes offering their own
expertise.
Robert and Lisa Sainsbury Fellows 2006-08
Sherry Fowler (2006-07)
Monika Dix (2006-07)
PhD, University of California, Los Angeles, 1995
Sherry Fowler is Associate Professor of Japanese
Art History at the University of Kansas. She
received her PhD from UCLA with a specialization
in Japanese Buddhist sculpture. Her book
Murōji: Rearranging Art and History at a Japanese
Buddhist Temple (University of Hawai’i Press, 2005)
addresses the shifting identities of Buddhist
images and the flexible nature of Buddhist temple
history. She has published articles in journals
such as Archives of Asian Art, Oriental Art, and
Orientations and contributed to the exhibition
catalogue Kannon, Divine Compassion: Early
Buddhist Art from Japan, published by the Rietberg
Museum in Zurich in 2007. She is currently working
on a project that examines the development of
the Six Kannon cult imagery in Japan. While in
London, she also worked researching Japanese
printed religious imagery, especially temple and
shrine precinct prints from the 19th and early 20th
centuries.
PhD, University of British Columbia 2006
Monika Dix is Visiting Assistant Professor of
Japanese in the Department of East Asian
Languages and Literatures at the University of
Hawai’i. Her recent publications include ‘Hon’yaku
no kanōsei: Chūjōhime no honji ni okeru tekisuto
to imēji no kankei’ (Possibilities of Translation:
The Text-Image Relationship in Chūjōhime no
honji), in Ii Haruki, ed., Nihon bungaku: hon’yaku no
kanōsei (Tokyo: Kasama Shobō, 2004); ‘Fantastic
Journeys in Pre-modern Japanese Fiction: Textual,
Physical, and Spiritual Travels to Hibariyama in
Chūjōhime and Chūjōhime no honji,’ in Review of
Japanese Culture and Society 19, and ‘Ascending
Hibariyama: Textual, Physical, and Spiritual
Journeys in Chūjōhime and Chūjōhime no honji,”
in the Proceedings of the 15th Annual Meeting of the
Association for Japanese Literary Studies.
From top left: Robert and Lisa Sainsbury fellows Monika
Dix, Sherry Fowler, Naoko Gunji and Karen Fraser.
37
fe l low s h i p s
Robert and Lisa Sainsbury Fellows 2006-08
Naoko gunji (2007-08)
Handa Fellow in Japanese Archaeology 2006-07
Karen Fraser (2007-08)
PhD, University of Pittsburgh, 2007
Naoko Gunji is Assistant Professor in Art History
at Augustana College. Her doctoral dissertation
examined the art, architecture, and rituals related
to mortuary ceremonies for Emperor Antoku and
the Taira Clan at the Buddhist temple Amidaji in
Shimonoseki City, Yamaguchi Prefecture. During
her fellowship tenure, she worked on a book
project based upon her dissertation and two
articles, ‘Evoking and Appeasing Spirits: Portraits of
Emperor Antoku and the Taira and the Illustrated
Story of Emperor Antoku in Ritual Context’ and
‘The Separation of Shintō and Buddhist Divinities at
Akama Shrine: Changing Rituals on the Anniversary
of Emperor Antoku’s Death’.
PhD candidate, Kyushu University, Fukuoka
Ishikawa Takeshi is Research Assistant in the
Graduate School of Social and Cultural Studies
at Kyushu University, Fukuoka. He is a specialist
in late and final Jōmon archaeology, with
particular interest in the reconstruction of the
symbolic system based on the analyses of pottery
assemblage in western Japan, and in comparative
studies of the Jōmon society and the huntergather society of the northwestern coastal
region of Canada. Recent publications include
‘Reassessing the concept of the “Neolithic” in the
Jōmon of Western Japan’. Documenta Praehistorica
34, pp. 1-7, 2007 (with Simon Kaner).
PhD, Stanford University, 2006
Karen Fraser is Lecturer in the Department of
Art and Art History at Santa Clara University. She
specializes in modern Japanese visual culture, and
her current research focuses on early Japanese
photography. She is particularly interested
in domestic photography production and
consumption; the relationship of photography to
contemporary discourses shaping class, gender,
regional, and national identity; and the uses of
photography in international exchange. While
at the Sainsbury Institute she worked on a book
manuscript on one of Japan’s first photography
studios entitled The Tomishige Studio: A Regional
Study of Commercial Photography in Meiji Japan.
Other research interests include Japanese prints
and museum and exhibition history in both the
West and in Japan.
38
Ishikawa Takeshi
From top: Ishikawa Takeshi, Handa Archaeology Fellow
2006-07, Evgeny Steiner, Senior Research Associate, and
Alfred Haft, Research Associate.
Research Associates
Alfred Haft
Evgeny Steiner
PhD, SOAS, University of London, 2005
Alfred Haft earned his PhD at SOAS in 2005, for a
thesis titled ‘Patterns of Correspondence between
the Floating World and the Classical Tradition:
A Study of the Terms Mitate, Yatsushi, and Fūryū
in the Context of Ukiyo-e’. The thesis examines
how elements from the East Asian classical
tradition were incorporated into popular culture
during the Edo period (1615-1868), considering
in particular the different interpretive strategies
represented by the three terms in the title. In
2001 he assisted the National Museum Cardiff in
cataloguing their collection of Japanese prints.
His recent publications include ‘Harunobu and
the Stylishly Informal: Fūryū Yatsushi as Aesthetic
Convention’ in Impressions 28 (2006-2007), and
‘Immortalizing the Yoshiwara Courtesan: Mitate in
a Surimono Series by Gakutei’, in John T. Carpenter,
ed., Reading Surimono: The Interplay of Text and
Image in Japanese Prints (2008). He is preparing his
doctoral thesis for publication.
PhD, Institute of Oriental Studies, USSR Academy of
Sciences, 1985
Evgeny Steiner has been affiliated with the
Sainsbury Institute as a Senior Research Associate
since autumn 2007. He began his professional
career in the Pushkin Museum for Fine Arts,
Moscow, and received his PhD from the Institute
of Oriental Studies of the USSR Academy of
Sciences for a dissertation on medieval Japanese
shigajiku and renga. In 2002 he received a Higher
Doctorate from the Institute for Cultural Research
in Moscow, and in 2006 became a Principal
Research Fellow there. While based at the London
Office of the Sainsbury Institute at SOAS during
the 2007-08 academic year, he worked on a
catalogue of the Japanese prints in the collection
of the Pushkin Museum of Art (published in
two volumes in 2008). His latest publication is a
translation with commentary of Victory Over the
Sun, a seminal Futurist text of 1913 (edited by P.
Railing, 2008). The English version of his book
Zen-Life: Ikkyū and Beyond is forthcoming. His
latest research project concerns uncatalogued
repositories of Japanese art in Europe.
39
l i sa sa i n s b u ry l i b r a ry
The Lisa Sainsbury Library, located at the
Norwich headquarters of the Institute, holds
books, journals, exhibition catalogues, slides,
prints, maps and other materials relating to all
aspects of Japanese arts and cultures. Its basiclevel collections include general introductory
works and key reference materials in English
and Japanese. Its study collections support
advanced research by staff and students in
Japanese applied arts and ceramics, archaeology,
material culture and trade, cultural heritage and
architecture, as well as East Asian cultural history,
archaeology and art history. The Library also holds
specific research materials required by staff and
researchers affiliated to the Institute.
The collections rank among the best in
Europe and they complement other existing
collections in the UK. By means of an annual grant,
the Sainsbury Institute supports the development
of the library of the School of Oriental and
African Studies, University of London (SOAS). The
Japanese language art collections of University of
East Anglia are held by the Lisa Sainsbury Library.
The Institute’s Librarian is Honorary Librarian of
the Japanese Section, Department of Asia at the
British Museum. Alongside the Institute website
with its online resources, the Library constitutes
a major research facility for the study of Japanese
arts and cultures. The Library catalogue is fully
accessible online through the Institute’s website,
as is the database of high-resolution images of
the Cortazzi Collection of early Japanese maps,
created in conjunction with the Art Research
Center at Ritsumeikan University.
In the Annual Report for 2005-06 we noted
both the impressive growth of the Lisa Sainsbury
Library since its formal opening in 2003 and
some later events, including the creation of a new
Library Store and the receipt of many important
donations of books and other materials. The
core of the current collections derives from gifts
and bequests. We are deeply indebted to all our
individual and institutional donors. Sir Hugh
Cortazzi has continued to add to the materials
that he and Lady Cortazzi have donated or placed
on long-term loan. Sir Hugh has helped the
Library purchase some valuable books and maps,
as well as facilitating the acquisition of a series of
important early volumes on Japan and the journal
The New Far East. With the cooperation of the
Japan Society (London), Sir Hugh has also secured
for the Library a complete set of the Proceedings
40
of the Japan Society. Dr Carmen Blacker (Fellow
Emeritus, Clare College Cambridge) has indicated
her intention to leave her books to the Lisa
Sainsbury Library. The archaeology collections
of the Library have benefited greatly from
the regular arrival of books from the National
Diet Library. In addition to these, Professor
Okita Masaaki (Tenri University) and Professor
Kobayashi Tatsuo (Kokugakuin University) plan
to donate their personal libraries to the Institute
on retirement from their academic posts. We
have also received many significant volumes from
Professor Kanayama Yoshiaki of Hosei University.
Among the other gifts of note over the last two
years are those from Professor Geoffrey Bownas
(audiotapes of his interviews with Mishima Yukio
and some fragments of Buddhist scriptures
thought to date from the 9th-10th centuries).
In 2008 a number of works from the Lisa
Sainsbury Library were lent for exhibition at the
Embassy of Japan marking the beginning of
JAPAN-UK 150. The exhibition, entitled Britain
and the ‘re-opening’ of Japan: The Treaty of Yedo
1858 and the Elgin Mission, was curated by Angus
Lockyer, Lecturer in the History of Japan at SOAS.
In the period covered by this report the
Institute Librarian, Hirano Akira, was selected to
attend a Japan Foundation sponsored Training
Programme for Information Specialists for
Japanese Studies (November-December 2006),
the Tenri Antiquarian Materials Workshops for
Overseas Japanese Studies Librarians (June
2007 and June 2008) and attended the annual
meetings of the European Association of Japanese
Resource Specialists (EAJRS) in Rome and Lisbon
(September 2007 and 2008). In recognition of
the significance of the Lisa Sainsbury Library, the
EAJRS will be holding its 20th meeting in 2009 in
Norwich. About 80 members of the Association
are expected to attend, and the Chair, Professor
Willy van de Walle (Catholic University of Leuven),
will give the September 2009 Third Thursday
lecture.
The Library attracts a growing number
of important visitors from Japan, Europe and
America. In March 2008 a delegation from the
National Research Institute for Cultural Properties,
Tokyo, was in the UK for a short visit to some
major museum and university art libraries. The
Lisa Sainsbury Library was the only library they
visited outside London. They were especially
interested in the Yanagisawa Collection, now
fully catalogued and installed in the Institute’s
Library Store, as this donation originated from the
National Research Institute for Cultural Properties,
Tokyo where Professor Yanagisawa Taka, the
renowned specialist in Buddhist art, was based.
41
Top: Hirano Akira, Librarian of the Lisa Sainsbury Library
and Professor Kawai Masatomo (Keio University and
Senior Academic Adviser of the Sainsbury Institute).
Above: The Lisa Sainsbury Library is often used as a
venue for symposia as well as individual study.
l i b r a ry d o n o r s
Individual donors
Baba Yukie
Professor Gina L. Barnes
Anna Beerens
Professor Geoffrey Bownas
Sir Hugh and Lady Cortazzi
Dame Elizabeth Esteve-Coll
Monika Dix
Irene Finch
Yu Yasuraoka Finch
Alexander Hofmann
Pascal Hurth
Professor Kanayama Yoshiaki
Kaneko Maki
Professor Kawai Masatomo
Professor Donald Keene
Fiona Kerlogue
Kikuchi Atsuko
Professor Kobayashi Tadashi
Professor Kobayashi Tatsuo
Angus Lockyer
Peter Matanle
Maezaki Shinya
Canon Hugh Melinsky
Princess Akiko of Mikasa
Morohashi Kazuko
Nishioka Keiko
Noguchi Sachie
Ogura Atsushi
Joe Price (Mr and Mrs)
Nicole Coolidge Rousmaniere
Sato Masaichi
Shimaoka Kei
Shimaoka Tatsuzo
Shirahara Yukiko
Evgeny Steiner
Sandra Sheckter
Professor Melanie Trede
Professor Tsuji Nobuo
Uchida Hiromi
Paul Wijsman
Paul Woudhuysen
Yamane Yumi
Yoshioka Yukio
42
Institutional donors
Agency for Cultural Affairs
(Bunka-cho)
Archaeological Institute of Kashihara,
Nara Prefecture
Archaeology Section, Osaka University
Asahi Shimbun
Asian Art Museum, Chong-Moon Lee
Center for Asian Art and Culture
Association of Art History, Kobe
University
Atomi Gakuen
Blackburn Museum and Art Gallery
Bodleian Japanese Library, University
of Oxford
Department of Art History, Kobe
University
Gitter-Yelen Art Study Centre
Graduate School of Core Ethics and
Frontier Sciences at Ritsumeikan
University
Hotei Publishing
Idemitsu Museum of Arts
International House of Japan
Iudicium Verlag GmbH
Japan Foundation London Office
Japan Information and Cultural Centre,
Embassy of Japan
Japan Society
Japanese Section, British Museum
Kashihara-shi Kyoiku Iinkai
Kyoto National Museum
Kyushu Ceramic Museum
Kyushu University The 21st Century
COE Program
Maison de la Culture de Japon à Paris
Musée National des Arts Asiatiques,
Guimet
Museo degli Usi e Costumi della Gente
Trentina
Museum für Ostasiatische Kunst
Museum of the Imperial Collections,
Sannomaru Shozokan
National Art Centre, Tokyo
National Diet Library
National Museum of Cracow
National Museum of Modern Art, Tokyo
National Research Institute for Cultural
Properties, Tokyo
Sen-Oku Hakuko Kan
South West Film and Television Archive
Tawaramoto-cho Kyoiku Iinkai
Tenri Central Library
Tokyo University of the Arts
University of Sheffield
Yomiuri Shimbun
43
pu b l i c at i o n s : s ta ff
Nicole Coolidge Rousmaniere
Simon Kaner
Director
Assistant Director
‘Rediscovering dogū in the 20th
century’ in Simon Kaner, ed., The Power
of Dogū: Ceramic Figures from Ancient
Japan. London: British Museum Press,
forthcoming 2009.
Ed., The Power of Dogū: Ceramic Figures
from Ancient Japan. London: British
Museum Press, forthcoming 2009.
Vessels of Influence: China and Porcelain
in Medieval and Early Modern Japan, 144
pages, Gerald Duckworth & Co. Ltd,
forthcoming 2009.
Crafting Beauty in Modern Japan,
Nicole Coolidge Rousmaniere, ed.,
British Museum Press, 2007.
400 Years of Japanese Porcelain, British
Museum Press, forthcoming 2009.
Ed., Crafting Beauty in Modern Japan, 240
pages, British Museum Press, 2007.
‘Augustus Wollaston Franks (1826-17)
and James Lord Bowes (1834-1899)’ in
Hugh Cortazzi, ed., Britain and Japan:
Biographical Portraits VI. London, The
Japan Society, 2007, pp. 262-270.
‘Vessels for Painting: New Styles of
Artistic Expression on Early Modern
Ceramics in the John C. Weber
Collection’, pp. 72-77, Orientations, vol.
37/7, Oct. 2006.
‘New Displays in the Japanese Galleries
at the British Museum and the Special
Exhibition Crafting Beauty in Modern
Japan’, Arts of Asia, vol. 37, no. 4, JulyAugust 2007, pp. 87-91.
‘Daiei Hakubutsukan no naka no Nihon:
Nihon Gyararii no shin jōsetsuten to
Hōton Gyararii no tokubetsuten wo
tōshite’ (Exhibiting Japan at the British
Museum: through the new permanent
Japanese Galleries and the special
exhibition to be held at the Hotung
Gallery), pp. 54-60, Tankō, Kyoto:
Tankōsha, April 2007.
44
‘Religion and Ritual in the Early Japanese
Archipelago’ in Tim Insoll, ed., The
Oxford Archaeology of Religion. Oxford:
Oxford University Press, forthcoming
2009.
‘Place and Identity in Jōmon Japan’ in
Aubrey Cannon, ed., Structured Worlds:
The Archaeology of Hunter-Gatherer
Thought and Action. London: Equinox
Publishing Ltd., forthcoming 2009.
‘Antiquarianism and Early Archaeology
in Japan’ in Robert Wallis and Megan
Aldrich, eds., Antiquaries and Archaists:
Cultural Memory in Visual and Material
Culture Across Cultures. London: Spire
Books, forthcoming 2009.
Review of Himiko and Japan’s Elusive
Kingdom of Yamatai: Archaeology, history
and mythology by J. Edward Kidder,
University of Hawai’i Press. Monumenta
Nipponica, forthcoming 2009.
‘Jōmon kōkogaku no kokusaikan’
(An International Perspective on
Jōmon Archaeology), in Kosugi
Yasushi, Taniguchi Yasuhiro, Nishida
Yasutami, Mizunoe Kazumoto and Yano
Ken’ichi, eds., Jōmon jidai no kōkogaku
(Archaeology of the Jōmon Period) vol. 12.
Tokyo: Doseisha, forthcoming 2009
‘Long-term Innovation: The Appearance
and Spread of Pottery in the Japanese
Archipelago’ in Peter Jordan and Marek
Zvelebil, eds., The Use of Pottery among
Old World Hunter Gatherers. London, UCL
Press, forthcoming 2009.
‘Cult in Context in Jōmon Japan’ in David
Barraclough and Caroline Malone, eds.,
Cult in Context: Reconsidering Ritual
Archaeology. Oxford, Oxbow Books,
2007, pp. 234-241.
(with Ishikawa Takeshi) ‘Revisiting
the Concept of the ‘Neolithic’ in the
Western Japanese Jōmon’, Documenta
Praehistorica XXXIII. 2007, pp. 1-7.
‘William Gowland (1842-1922), Pioneer of
Japanese Archaeology’ in Hugh Cortazzi,
ed., Britain and Japan: Biographical
Portraits VI. London, The Japan Society,
2007, pp. 271-80.
John T. Carpenter
‘Archaeology in Japan’, ‘Sannai
Maruyama’, ‘Nara’ and ‘Early pottery in
East Asia’ in Archaeologia. Global Book
Publishing, 2007, pp. 264-69.
Ed., Reading Surimono: The Interplay of
Text and Image in Japanese Prints (Zurich:
Rietberg Museum; Leiden: Brill/Hotei
Publishing, 2008), 432 pp. Includes
essays by John T. Carpenter, Alfred Haft,
Nadin Heé, Iwata Hideyuki, Kobayashi
Fumiko, Daan Kok, Makino Satoshi,
Daniel McKee, Joan B. Mirviss, Hans
Bjarne Thomsen and Tsuda Mayumi,
plus a catalogue of 300 prints, with
translations of inscriptions.
Review of Ceramic Technology, by Rose
Kerr and Nigel Wood, in the series
‘Science and Civilisation in China’.
Antiquity 310 (2006), pp. 1016-17.
Head of London Office of the Sainsbury
Institute, and Reader in the History of
Japanese Art, Department of Art and
Archaeology, SOAS
‘Inventing New Iconographies: Historicist
and Nativist Motives in Late Edo
Surimono’, ibid.
‘The Literary Network: Private
Commissions for Hokusai and his Circle’,
in Julia Meech and Jane Oliver, eds.,
Designed for Pleasure: The World of Edo
Japan in Prints and Paintings, 1680–1860
(New York: Asia Society / Seattle:
University of Washington Press, Feb.
2008), pp. 142–67.
45
‘Chinese Calligraphic Models in Heian
Japan: Copying Practices and Stylistic
Transmission’, in Rupert Cox, ed., The
Culture of Copying in Japan: Critical
and Historical Perspectives. Japan
Anthropology Workshop Series (London:
Routledge, 2007), pp. 156-95.
Imperial Calligraphy of Premodern Japan:
Scribal Conventions for Poems and Letters
from the Palace (Kyoto: Art Research
Center, Ritsumeikan University,
2006). 193 pp. With contributions by
Kawashima Masao, Genjō Masayoshi,
Matsumoto Ikuyo and Kaneko Takaaki.
(with Yasumura Yoshiko), Introduction
and entries on East Asian objects,
for Anna Contadini, ed., Objects of
Instruction: Treasures of the School of
Oriental and African Studies, catalogue of
an exhibition at the Brunei Gallery, SOAS,
October 2007.
‘Handwriting Empowered by History:
The Aura of Calligraphy by Japanese
Emperors’, ibid., pp. 14-54.
‘By Brush or Block Printing: Transmitting
Cultural Heritage in Premodern Japan’,
Orientations (Special SOAS issue), vol. 38,
no. 7 (Oct. 2007).
‘The Origins of the East Asian Rare Book
and Manuscript Collections at SOAS’,
ibid.
‘Wild Boars and Dirty Rats: Kyōka
Surimono Celebrating Ichikawa Danjūrō
VII as Arajishi Otokonosuke’, Impressions:
Journal of the Japanese Art Society of
America, February 2007.
Reading Surimono: The Interplay of
Text and Image in Japanese Prints,
John T. Carpenter, ed., Brill/Hotei
Publishing, 2008.
pu b l i c at i o n s : fe l low s a n d a ss o c i at e d s ch o l a r s
The following list does not attempt
to be comprehensive, but includes
publications that fellows or associates
themselves have indicated were in
some way indebted to their tenure at
the Sainsbury Institute, either through
fellowship support or subvention of
collaborative research projects. The
Sainsbury and Handa Fellows are
based in the Department of Art and
Archaeology, SOAS.
Review article of exhibition catalogue.
Washizuka Hiromitsu, Park Youngbok
and Kang Woo-bang, eds., Transmitting
the Forms of Divinity: Early Buddhist Art
from Korea and Japan (New York: Japan
Society, 2003), in Japanese Religions 30,
nos. 1,2 (July 2005), pp. 129-39.
Timothy Clark
Head of the Japanese Section,
Department of Asia, British Museum;
Sainsbury Fellow 2003-04
Cynthea Bogel
Associate Professor of Japanese Art and
Architecture, University of Washington,
Seattle; Sainsbury Fellow 2001
Ed., Kuniyoshi, 300 pages, Royal
Academy, 2009.
With a Single Glance: Buddhist Icon and
Early Mikkyō Vision. Seattle: University of
Washington Press, forthcoming, 2009.
‘Katsukawa Shunshō: Ukiyo-e Paintings
for the Samurai Elite’ in Julia Meech and
Jane Oliver, eds., Designed for Pleasure:
The World of Edo Japan in Prints and
Paintings, 1680-1860, New York: Asia
Society, 2008, pp. 100-13.
‘Leere Orte, auffällige Gesichter:
Hiroshige, Utamaro, Opie’ (Empty Places,
Conspicuous Faces: Hiroshige, Utamaor,
Opie), in Peter Noever, ed., Julian Opie,
1958–, Recent Works. Vienna: Mak, 2008,
14-35.
Julian Opie and Timothy Clark, ‘Talking
about Hiroshige’, in Utagawa Hiroshige:
The Moon Reflected. Birmingham: IKON
Gallery, 2007.
Britain and the ‘Re-opening’ of Japan:
The Treaty of Yedo of 1858 and the Elgin
Mission, Sir Hugh Cortazzi, Japan Society,
2008; Britain and Japan: Biographical
Portraits VI, Sir Hugh Cortazzi, The Japan
Society, 2007.
Sir Hugh Cortazzi
(with Rosina Buckland, and Oikawa
Shigeru) A Japanese Menagerie: Animal
Pictures by Kawanabe Kyōsai. London:
British Museum, 2006.
‘Situating Moving Objects: A SinoJapanese Catalogue of Imported Items,
800 CE to the Present’ in Morgan Pitelka
and Jan Mrazek, eds., What’s the Use of
Art?: Asian Visual and Material Culture in
Context. Honolulu: University of Hawai’i
Press, 2007.
‘Ready for a close-up: Actor “likenesses”
in Edo and Osaka’, in C.A. Gerstle, ed.,
Kabuki Heroes in the Osaka Stage, 17801830. London: British Museum Press,
2005, pp. 36-53 (also catalogue entries).
Kuniyoshi, Timothy Clark, ed.,
Royal Academy, 2009.
46
Senior Adviser, Sainsbury Institute
Britain and the ‘Re-opening of Japan:
The Treaty of Yedo of 1858 and the Elgin
Mission. London: Japan Society, 2008.
Ed., Britain and Japan: Biographical
Portraits VI. London, The Japan Society,
2007.
Julie Nelson Davis
Associate Professor of Art History,
University of Pennsylvania; Sainsbury
Fellow 2002-03
Utamaro and the Spectacle of Beauty.
London: Reaktion Books; Honolulu:
University of Hawai’i Press, 2008.
‘Tsutaya Jūzaburō, Master Publisher’,
in Julia Meech and Jane Oliver, eds.,
Designed for Pleasure: The World of Edo
Japan in Prints and Paintings, 1680-1860,
New York: Asia Society, 2008.
‘Kitagawa Utamaro and his
Contemporaries, 1780-1804’ in Amy
Newland, ed., The Hotei Encyclopedia of
Japanese Woodblock Prints. Amsterdam:
Hotei Publishing, 2005. pp. 135-66.
Monika Dix
Visiting Assistant Professor of Japanese
Literature, University of Hawai’i at
Manoa; Sainsbury Fellow 2006-07
‘Saint or Serpent? Engendering the
Female Body in Medieval Japanese
Buddhist Narratives’, in Bryan Turner and
Yangwen Zheng, eds., The Body in Asia:
Cosmos and Canvas. Oxford: Berghan
Books, 2008.
Utamaro and the Spectacle of
Beauty, Julie Nelson Davis,
London: Reaktion Books, 2008.
‘Ascending Hibariyama: Chūjōhime’s
Textual, Physical, and Spiritual Journey
to Salvation’, Review of Japanese Culture
and Society, no. 19, 2007, pp. 95-108.
47
Sherry Fowler
Mikiko Hirayama
Associate Professor of Japanese Art
History, University of Kansas; Sainsbury
Fellow 2006-07
Assistant Professor of Art History,
University of Cincinnati; Sainsbury
Fellow 2001-02
‘Distance Far and Near in the History of
Japanese Temple and Shrine Precinct
Prints’, Artibus Asiae 68/2, forthcoming.
‘Emperor’s New Clothes: Japanese
Visuality and Imperial Portrait
Photography’, History of Photography,
forthcoming 2009.
‘Travels of the Daihōonji Six Kannon
Sculptures’, Ars Orientalis 36,
forthcoming.
Review of Daitokuji: The Visual Cultures
of a Zen Monastery, by Gregory P. Levine.
Japanese Journal of Religious Studies
34/2, 2007, pp. 443-47.
‘Between Six and Thirty-three:
Manifestations of Kannon in Japan’
(‘Zwischen sechs und dreiunddreissig:
Erscheinungsformen von Kannon
Bosatsu’) and two catalogue entries
in Kannon, Divine Compassion: Early
Buddhist Art from Japan (Kannon
Göttliches Mitgefuhl Frühe buddhistische
Kunst aus Japan). Zürich: Rietberg
Museum, 2007, pp. 59-77.
‘Fauvists in the Land of Rising Sun:
Critical Evaluations of Japanist
(nihonshūgi) Painting during the 1930s’,
Monumenta Nipponica, forthcoming
2009.
‘Notes on Japanese Art Criticism: The
First Fifty Years’ in J. Thomas Rimer, ed.,
Survey of Modern Japanese Art. Honolulu:
University of Hawai’i Press, forthcoming
2009.
pu b l i c at i o n s : fe l low s a n d a ss o c i at e d s ch o l a r s
Idemitsu Sachiko
Curator, Idemitsu Museum of Arts; Handa
Fellow 2004-06
Cultural Studies on Japanese Genre
Paintings: Media Reflecting the Cityscapes,
edited by Matsumoto Ikuyo and
Idemitsu Sachiko, Kyoto: Tankōsha,
forthcoming.
‘A Reconsideration of the Theme of the
“Pine Trees and Waves” and “Summer
Clouds over Mt. Fuji” Screens by Ike
no Taiga: Broadening the Definition of
Shinkeizu’, Kokka 1354, August 2008.
‘The Use of Silk Satin by Nukina Kaioku’,
Idemitsu Museum of Arts Bulletin, 142, 29
February 2008, Idemitsu Museum of Arts.
‘Re-examining the Idemitsu Collection
through Experiences of Curating the
Exhibition “The Literati Painting of the
19th Century Japan”’, Idemitsu Museum
of Arts Bulletin 141, 30 November 2007,
Idemitsu Museum of Arts.
‘A Thought on the Iconographic Analysis
of “Shōho Sōun zu (Twin Peaks Piercing
the Clouds)” by Uragami Gyokudō’,
Idemitsu Museum of Arts Journal of Art
Historical Research Vol. 13, 2007, Idemitsu
Museum of Arts.
Ishikawa Takeshi
Research Assistant in the Graduate
School of Social and Cultural Studies
at Kyushu University, Fukuoka; Handa
Japanese Archaeology Fellow 2006-07
‘An examination of Jōmon culture and
culture of northwestern coastal region
of North America from a comparative
perspective’ [in Japanese], in Y. Kosugi,
Y. Taniguchi, Y. Nishida, K. Yano and K.
Mizunoe, eds., Archaeology of Jōmon
Period 1: Outline of Jōmon Cultures
from Comparative Perspectives. Tokyo:
Doseisha, forthcoming.
‘A brief examination of cultural
transformation of the Late Jōmon
period in Northern Kyushu’, Bulletin of
International Jōmon Culture Conference,
Vol. 3, forthcoming.
48
(with Simon Kaner) ‘Reassessing the
concept of the “Neolithic” in the
Jōmon of Western Japan’, Documenta
Praehistorica 34, pp. 1-7.
‘An examination of the social
stratification of hunting and
gathering societies: re-examination
of ethnographic model of the
northwestern coastal region of Canada’
[in Japanese], in Archaeologies of Kyushu
and East Asia: For the 50th Anniversary
of the Archaeological Division, Kyushu
University, 2008, pp. 733-52.
Donald Keene
Professor of Japanese Literature
Emeritus, Columbia University; Presenter
of the Toshiba Lectures in Japanese Art,
2003
Frog in the Well: Portraits of Japan by
Watanabe Kazan, 1793-1841. New York:
Columbia University Press, 2006.
Frog in the Well: Portraits of
Japan by Watanabe Kazan, 17931841, Donald Keene, Columbia
University Press, 2006.
‘Chūjōhime’ (translation of a work of
late medieval Japanese fiction), in
Haruo Shirane, ed., Traditional Japanese
Literature, an Anthology: Beginnings to
1600. New York: Columbia University
Press, 2007.
Preachers, Poets, Women, and
the Way: Izumi Shikibu and the
Buddhist Literature of Medieval
Japan, R. Keller Kimbrough,
University of Michigan Center for
Japanese Studies, 2008.
R. Keller Kimbrough
Assistant Professor of Pre-modern
Japanese Literature, University of
Colorado at Boulder; Sainsbury Fellow
2002-03
Preachers, Poets, Women, and the Way:
Izumi Shikibu and the Buddhist Literature
of Medieval Japan. Ann Arbor: University
of Michigan Center for Japanese Studies,
2008. 374 pp.
‘Reading the Miraculous Powers of
Japanese Poetry: Spells, Truth Acts,
and a Medieval Buddhist Poetics of the
Supernatural’, in Japanese Journal of
Religious Studies 32, no. 1 (spring 2005)
pp. 1-33.
Shane McCausland
Curator of East Asian Studies, Chester
Beatty Library, Dublin; Sainsbury Fellow
2003-04
Maeda Tamaki
Morishita Masaaki
Sessional Lecturer, Department of
Art History, Visual Art, and Theory,
University of British Columbia; Sainsbury
Fellow 2004-05
Visiting Research Fellow, National
Research Institute for Cultural
Properties, Tokyo; Project Manager,
Ritsumeikan Asia Pacific University;
Research Associate, Sainsbury Institute,
2006-07; Handa Fellow 2005-06
‘Rediscovering China in Japan: Fu
Baoshi’s Ink Painting’, in Josh Yiu, ed.,
Writing Modern Chinese Art. Seattle:
Seattle Art Museum with University of
Washington Press, forthcoming, 2009.
‘(Re)-canonizing Literati Painting: The
Kyoto Circle: Luo Zhenyu, Harada Gorō,
and Naitō Konan’, in Joshua Fogel, ed.,
The Role of Japan in the Institutional
Development of Modern Chinese Art
(under review).
The Empty Museum: Western Cultures
and the Artistic Field in Modern Japan.
Aldershot: Ashgate, forthcoming, 2009.
‘Museums as contact zones and as a
part of the artistic field’, in Hans Belting,
Andrea Buddensieg, and Peter Weibel,
eds., Where is Art Contemporary?, The
Global Art World, vol. 2. Ostfildern: Hatje
Cantz Verlag, forthcoming, 2009.
(with Matthew P. McKelway and Lin Lichiang) Song of Everlasting Sorrow – Kanō
Sansetsu (1590-1651), China and the Art
of Narrative Painting in Early Edo Japan.
London: Scala, forthcoming, 2009.
‘Struggles between curators and artists:
the case of the Tochigi Prefectural
Museum of Fine Arts in Japan in the
early 1980s’, Museum and Society, 5 (2),
2007, pp. 86-102.
‘Nihonga Meets Gu Kaizhi: A Japanese
copy of a Chinese painting in the
British Museum’, The Art Bulletin, vol. 87,
December 2005.
Book review: Bruce Altshuler, ed.
Collecting the New: Museums and
Contemporary Art (Princeton: Princeton
University Press, 2005) in Museum and
Society 5 (1), 2006.
49
pu b l i c at i o n s : fe l low s a n d a ss o c i at e d s ch o l a r s
MutŌ Junko
Nakamura Oki
Ken Tadashi Oshima
Richard Pearson
Lecturer in Japanese Literature,
Gakushuin and Tamagawa Universities;
Handa Fellow 2001-02
Project Researcher at the Research
Institute for Humanity and Nature,
Japan; Handa Japanese Archaeology
Fellow 2003-04
Assistant Professor of Architecture,
University of Washington in Seattle;
Sainsbury Fellow 2004-05; Handa Fellow
2003-04
Professor Emeritus, University of British
Columbia; Senior Research Adviser,
Sainsbury Institute 2006-07; Presenter
of the Toshiba Lectures in Japanese Art,
2007
‘Social Stratification’ [in Japanese], in
Kosugi Yasushi, Taniguchi Yasuhiro,
Nishida Yasutami, Mizunoe Kazutomo
and Yano Kenichi, eds., Jōmon
Archaeology 10: Human and Society.
Tokyo: Doseisha, 2008. pp. 145-55.
‘Postulating the Potential of Prefab: The
Case of Japan’, in Home Delivery. New
York: The Museum of Modern Art, 2008,
pp. 32-37.
(contributor) Ukiyo-e Daijiten (Ukiyo-e
Encyclopedia), edited by Editorial
Committee, International Ukiyo-e
Society, Tōkyōdō Publishing Co., June
2008.
(joint author) Great Ukiyo-e Master
Exhibition catalogue – the Minneapolis
Collection. Shōtō Art Museum, October
2007.
(joint author) Nihon no Koten e no
sasoi 100-sen II (100 Selected Japanese
Classics II), Tōkyō Shoseki Co., March
2007.
‘Neolithic Monuments in Great Britain
and Ireland’ [in Japanese], in Kobayashi
Tatsuo, ed., Jōmon Landscape. Tokyo:
Amu Promotion, 2005. pp. 272-79.
‘Solstices and Equinoxes at Neolithic
Monuments in Europe’ [in Japanese],
in Mysteries of Mirage in Isobe Region.
Annaka City Museum, Gunma Prefecture,
2005. pp. 60-63.
‘Burial Practices in the Kamegaoka
Culture’ [in Japanese], in Kosugi Yasushi,
Taniguchi Yasuhiro, Nishida Yasutami,
Mizunoe Kazutomo and Yano Kenichi,
eds., Jōmon Archaeology 9: Death and
Burial. Tokyo: Doseisha, 2007. pp. 81-92.
50
‘Dynamics of a Boundary Surface’,
Hitoshi Abe: A-slash. Ann Arbor: Michigan
Architecture Papers, Fall 2008.
‘Interview with Rogelio Salmona’, A+U,
No. 450, March 2008, pp. 12-15.
‘Beyond Borders: Kazuyo Sejima + Ryue
Nishizawa / SANAA’, SANAA Exhibition
pamphlet. Seattle: Henry Art Gallery,
2007.
Okinawa: the Rise of an Island Kingdom.
Archaeological and Cultural Perspectives
(editor) Proceedings of a symposium,
‘Kingdom of the Coral Seas’ held
at SOAS, University of London, and
presented by the Sainsbury Institute
on 17 November 2007. Papers by Asato
Shijun, Takamiya Hiroto, Kinoshita
Naoko, Shinzato Akito, Asato Susumu,
Kamei Meitoku, Uezato Takashi and Arne
Rokkum. Oxford: Archaeopress (British
Archaeological Reports), 2009.
Morgan Pitelka
Luce Associate Professor of Asian
Studies, Occidental College, Los Angeles;
Sainsbury Fellow 2001
What’s the Use of Art? Asian Visual and
Material Culture in Context. (joint editor
with Jan Mrazek). Honolulu: University of
Hawai’i Press, 2007.
‘Wrapping and Unwrapping Art’ in
Morgan Pitelka and Jan Mrazek, eds.,
What’s the Use of Art? Asian Visual and
Material Culture in Context. Honolulu:
University of Hawai’i Press, 2007.
‘Back to the Fundamentals:
“Reproducing” Rikyū and Chōjirō in
Japanese Tea Culture’, in Rupert Cox, ed.,
The Culture of Copying in Japan: Critical
and Historical Perspectives. Routledge,
2007.
John Rosenfield
Emeritus Professor, Harvard University:
Presenter of the Toshiba Lectures in
Japanese Art, 2004
Chōgen The Holy One and the Restoration
of Japanese Buddhist Art (Japanese
Visual Culture series). Leiden: Brill,
forthcoming, 2009.
What’s the Use of Art?, Morgan
Pitelka (joint editor with Jan
Mrazek). University of Hawai’i
Press, 2007.
51
Timon Screech
Professor of History of Japanese Art,
SOAS, University of London; Senior
Associate of Sainsbury Institute 19992004
Edo no ōbushin: Tokugawa toshi keikaku
no shigaku [The great buildings of Edo:
poetics and planning in the Tokugawa
Metropolis] (trans. Morishita M.). Tokyo:
Kōdansha, 2007.
‘Owning Edo-Period Paintings’, in
Elizabeth Lillehoj, ed., Acquisition: Art
and Ownership in Edo-Period Japan.
Warren CT: Floating World Editions, 2007.
Edo no Igirisu netsu [The Edo Image of
England] (trans. Murayama K.). Tokyo:
Kōdansha, 2006.
‘Going to the Courtesans: Transit to
the Pleasure District of Edo Japan’, in
Martha Feldman & Bonnie Gordon,
eds., The Courtesan’s Arts: Cross-Cultural
Perspectives. New York & Oxford: Oxford
University Press, 2006.
Japan Extolled and Decried:
Carl Peter Thunberg and the
Shogun’s Realm 1775-1796,
Timon Screech (editor and
author of introduction).
Routledge, 2005.
Secret Memoirs of the Shoguns: Isaac
Titsingh and Japan, 1787-1812 (editor
and author of introduction). London:
Routledge, 2006.
Japan Extolled and Decried: Carl Peter
Thunberg and the Shogun’s Realm 17751796 (editor and author of introduction).
London: Routledge, 2005.
Edo ui mom ul yolda: nanhak kwa
haebuhak ul t’onghae pon 18 segi Ilbon.
Seoul: Greenbee Press, 2008. (Koreanlanguage version of Edo no karada o
hiraku [Opening the Edo body], Sakuhinsha, 1997.
pu b l i c at i o n s : fe l low s a n d a ss o c i at e d s ch o l a r s
Shirahara Yukiko
Chief Curator, Nezu Institute of Fine Arts,
Tokyo; Handa Fellow 2001
Japan Envisions the West: 16th-19th
Century Japanese Art from Kobe City
Museum (editor and contributor
of exhibition catalogue; curator of
exhibition). Seattle: University of
Washington Press, 2007.
(co-organizer with Kobe University) 9th
JAWS (The Japan Art History Workshop),
Seattle Art Museum, December 2007;
proceedings published in May 2008.
(curator) Inspired Simplicity:
Contemporary Art from Korea, Seattle
Asian Art Museum, July-December 2008.
(guest curator) Asian Masterpieces from
the Seattle Art Museum, Nezu Institute for
Fine Arts, 2008.
J. Keith Vincent
Assistant Professor of Japanese
and Comparative Literature, Boston
University; Sainsbury Fellow 2001-02
Perversion and Modern Japan:
Psychoanalysis, Literature, Culture (Coeditor with Nina Cornyetz). Routledge,
forthcoming, 2009.
Japan Envisions the West: 16th-19th
Century Japanese Art from Kobe
City Museum, Shirahara Yukiko, ed.,
University of Washington Press,
2007.
‘A Japanese Electra and her Queer
Progeny’, Mechademia: An Academic
Journal for Manga, Anime, and the Fan
Arts. December 2007. pp. 64-79.
52
Alicia Volk
Gennifer Weisenfeld
Assistant Professor of Japanese Art
History, University of Maryland, College
Park; Sainsbury Fellow 2005-06;
Research Associate, Sainsbury Institute
2006-07
Associate Professor of Art History, Duke
University; Sainsbury Fellow 2005-06
‘Projections: The Modern and
Contemporary Byōbu’, essay in catalogue
accompanying an exhibition of 16th-20th
century Japanese screens organized
by the Art Institute of Chicago and the
St Louis Art Museum. New Haven: Yale
University Press, forthcoming, 2009.
In Pursuit of Universalism: Yorozu
Tetsugorō and Japanese Modern Art.
Berkeley: University of California Press,
forthcoming, 2009.
‘Authority, Autonomy and the Early
Taishō “Avant-garde”’, in ‘Collectivism
and Its Repercussions in 20th-Century
Japan’, special issue of Positions: East Asia
Cultures Critique, forthcoming, 2009.
‘Modern Japanese Prints at Yale’, in
Susan Matheson and Sadako Ohki, eds.,
Bulletin 2007: Special Issue on Japanese
Art at Yale. New Haven: Yale University
Art Gallery, 2007.
‘Reinscribing Tradition in a Transnational
Art World’, in Vishakha Desai, ed., Asian
Art History in the Twenty-First Century
(Clark Studies in the Visual Arts).
Williamstown: The Sterling and Francine
Clark Art Institute, 2007, pp. 181-98.
‘Publicité et propagande dans le Japon
des années 1930: Le modernisme
comme méthode’, in Jean-Jacques
Tschudin and Claude Hamon, eds., La
Société Japonaise devant la Montée du
Militarisme: Culture populaire et contrôle
social dans les années 1930. Arles: Editions
Philippe Picquier, 2007, pp. 47-70.
‘Saigai to Shikaku: Kantō Daishinsai no
Shikaku Hyōshō o Megutte (Disaster and
Vision: On the Visual Representations of
the Great Kantō Earthquake)’, in Tan’o
Yasunori, ed., Kioku to Rekishi: Nihon
ni okeru Kako no Shikakuka o megutte
(Memory and History: Visualising the Past
in Japan). Tokyo, Waseda Daigaku Aizu
Yaiichi Kinen Hakubutsukan, 2007, pp.
42-53.
Yamamoto Noriyuki
Lecturer in the Department of
Archaeology, Kokugakuin University,
Tokyo; Handa Japanese Archaeology
Fellow, 2002-03
‘Mawaki iseki no iruka ryō (Dolphin
hunting at Mawaki site, Ishikawa)’, Jōmon
Jidai no Kōkogaku 5: Nariwai (Jōmon
Archaeology, vol. 5: Subsistence), 2007, pp.
141-54. Tokyo: Doseisha.
‘Goryōgadai-shiki (The survey of
Goryōgadai type)’, in Soran Jōmon Doki
(Outline of Jōmon Pottery). Tokyo: Amu
Promotion, 2008, pp. 376-83.
‘Keishiki to komyunikeishon shisutemu
(Interpreting communication systems
from typological analysis in Jōmon
pottery studies)’, in Jōmon Jidai no
Kōkogaku 7: Doki wo Yomitoru (Jōmon
Archaeology, vol. 7: Perspectives in Pottery).
Tokyo: Doseisha, 2008, pp. 177-91.
‘Chūki shotō saisenmon keiretsu no
seiritsu to tenkai: seinan-Kantō chiiki
to Tōhoku chihō chūbu ni okeru saisen
no jimon-ka ni miru heni (Originality
and sequence of Thin-lined style in
Goryōgadai type: regional variability
in the technology of thin-lined motifs)’.
Kōkogaku (Archaeology) 5, 2006, pp.
91-114.
Yano Akiko
Handa Fellow 2002-03
(with C.A. Gerstle, Kaguraoka Yōko and
Mizuta Kayano) Ryūkōsai zuroku (The
Complete Paintings and Prints of Ryūkōsai
Jokei). Hyogo: Mukogawa Women’s
University, 2008.
‘Jutsugo toshiteno kinpeki-shōheiga
(The Development of ‘Kinpeki-shōheiga
[Gold-blue Screen Paintings]’ as a
Technical Term)’, in Asu o Hiraku Nihonga,
Tokyo: Horikoshi Memorial Foundation,
October 2007.
53
‘Kanō-ha kinpei-shōheiga no yōshiki teki
tenkai ni kansuru shiron: shiki kachōzu
byōbu wo chūshin ni (An Essay on the
Stylistic Development of Kano-school
Gold-blue Screen Paintings: Focusing on
Birds and Flowers in the Four Seasons)’,
in Kokka no. 1340, June 2007.
‘Kanō Motonobu hitsu “shiki kachōzu
byōbu” Hakutsuru bijutsukan zō (Kano
Motonobu, Screen of Birds and Flowers
in the Four Seasons [Hakutsuru Fine Art
Museum])’, Kokka, no. 1340, June 2007.
Translator, Japanese translation of
Kabuki Heroes on the Osaka Stage. Osaka
Municipal Museum of History, Waseda
Theatre Museum, Tokyo, October 2005.
t h i r d t h u r s day l e c t u r e s
Every third Thursday of the month, the Sainsbury
Institute hosts a lecture on a topic related to
the art and culture of Japan. Speakers are all
specialists in their field and the talks are intended
to be accessible to those with no prior knowledge
of Japanese history. Audience numbers grew in
2006-08. Due to the refurbishment of 64 The Close
in 2007 we used a series of alternative venues,
each of which has higher capacity than the
Institute itself, and we now face the issue of seat
demand outstripping supply. The lectures have
been sponsored by the Great Britain Sasakawa
Foundation since 2002, and its grants have been
matched since 2003 by the Robert and Lisa
Sainsbury Charitable Trust. This generous funding
has allowed the Institute to continue to bring
speakers of the highest calibre to Norwich, where
a loyal local audience enthusiastically listens to a
wide range of lectures. A particular high point of
the recent lectures was one given by Ambassador
Yoshiji Nogami, who spoke on 150 years of AngloJapanese relations, setting the scene for the yearlong festival celebrating the 150th anniversary of
the signing of the Treaty of Amity and Commerce
between the UK and Japan in 1858.
August 06
November 06
The Empty Museum:
Contemporary Art Galleries
in Japan
Morishita Masaaki
Handa Fellow (2005-06),
Sainsbury Institute
Travels of the Six Kannon:
Sculptures of the Kyoto Daihōonji
Sherry Fowler
Robert and Lisa Sainsbury Fellow
(2006-07), Sainsbury Institute
December 06
Japan’s Poetry, Sounds and
Sights: The Japanese Aesthetic
Professor Geoffrey Bownas CBE
Professor Emeritus of Japanese
Studies, University of Sheffield
Complex Hunter-Gatherers of
Prehistoric Japan: The Case Study
of Sannai Maruyama
Professor Junko Habu
Assistant Professor of Anthropology,
University of California, Berkeley
October 06
January 07
The New Japanese Galleries
at the British Museum
Nicole Coolidge Rousmaniere
Director, Sainsbury Institute
Timothy Clark
Head of Japanese Section,
Department of Asia, British Museum
Edo Period Archaeology
Simon Kaner
Assistant Director,
Sainsbury Institute
Travellers in Edo Japan
Monika Dix
Robert and Lisa Sainsbury Fellow
(2006-07), Sainsbury Institute
September 06
54
February 07
May 07
August 07
September 07
Japan’s Southern Kingdom,
Okinawa
Professor Richard Pearson
Senior Research Adviser (2006-07),
Sainsbury Institute
Female Patronage and Medieval
Japanese Pure Land Imagery:
A Case Study of the Taima
Mandala
Monika Dix
Robert and Lisa Sainsbury Fellow
(2006-07), Sainsbury Institute
Japanese Poetry Prints:
Surimono from the Marino Lusy
Collection, Zurich
John T. Carpenter
Reader in the History of Japanese
Art, SOAS and Head of the London
Office, Sainsbury Institute
Anime Tourism: The Studio
Ghibli “Art Museum” and Global
Audience for Anime
Rayna Denison
Lecturer in Film and Television
Studies, University of East Anglia
March 07
The Sawamura Kunitarō Theatre
at Shijō Avenue in Kyoto: An
Important New Discovery at the
Victoria and Albert Museum
Catherine David
Assistant Curator,
Victoria and Albert Museum
June 07
From the Eight Views of the Xiao
and Xiang to the Ōmi Hakkei:
A New interpretation of the
iconography of the Mazarin Chest
Julia Hutt
Curator, Victoria and Albert Museum
April 07
Temples and Warriors:
Viewing Kyoto Screens in Late
Medieval Japan
Matthew McKelway
Japan Society for the Promotion of
Science Visiting Scholar
Gakushuin University
July 07
Son of Samurai, Daughter of
Butterfly: The Fashioning of
Japanese Identity in the Sartorial
Culture of the UK
Nicolas Cambridge
London College of Fashion,
University of the Arts, London
55
Third Thursday lectures are normally held at the Sainsbury Institute’s headquarters in
Norwich, but on occasion a larger venue is needed, such as the 14th-century Blackfriars Hall.
t h i r d t h u r s day l e c t u r e s
October 07
February 08
Creating Crafting Beauty
in Modern Japan
Nicole Coolidge Rousmaniere
Director, Sainsbury Institute
‘Portable’ Lords: Politics
and Pageantry on Tokugawa
Japan’s Highways
Professor Constantine Vaporis
Associate Professor of History,
University of Maryland, Baltimore
November 07
Okinawa, Islands of Castles
Professor Richard Pearson
Senior Research Adviser,
Sainsbury Institute
December 07
Japan-UK Relations:
Past, Present and Future
His Excellency Yoshiji Nogami
Ambassador of Japan
March 08
No Do: Contemporary Studio
Jewellery Practice in Japan
Simon Fraser
School of Fashion and Textile
Design, Central St Martins College
of Art and Design, University of the
Arts, London
April 08
(From left) Simon Kaner (Assistant Director), Dame Elizabeth Esteve-Coll (Sainsbury
Institute Management Board member and Trustee), His Excellency Ambassador Yoshiji
Nogami and Professor Bill Macmillan (Vice-Chancellor, University of East Anglia).
Ambassador Nogami gave the Third Thursday lecture in December 2007 on ‘Japan-UK
Relations: Past, Present and Future’.
56
January 08
Neil Gordon Munro and the
100th Anniversary of his
‘Prehistoric Japan’
Simon Kaner
Assistant Director, Sainsbury
Institute
Beyond Diplomacy:
Anglo-Japanese Affinities over a
Long Nineteenth Century
Angus Lockyer
Lecturer in the History of Japan,
SOAS and Visiting Associate
Professor, The National Museum of
Ethnology, Osaka
May 08
The Cargo of the New Year’s Gift:
Paintings and Prints for Asian
Kings and Rulers, 1614
Professor Timon Screech
Professor in the History of Art, SOAS,
University of London
June 08
‘Every Picture Tells a Story’:
A History of the Japanese
Photo Book
Karen Fraser
Robert and Lisa Sainsbury Fellow
(2007-08), Sainsbury Institute
July 08
Lost and Found (Almost):
Japanese Prints in Russian
Collections
Evgeny Steiner
Senior Research Associate (2007-08),
Sainsbury Institute
Elm Hill is close to the Sainsbury Institute headquarters in Norwich. It was largely rebuilt following a fire in 1507 and many buildings date
back to the Tudor period.
57
c a l e n da r o f e v e n t s
September 2006
Mingei
A series of events about the Mingei
movement was organized with the
support of ANA and the Daiwa AngloJapanese Foundation.
A workshop organized by the
Embassy of Japan in conjunction with
the British Museum, the TrAIN Research
Centre, University of the Arts London
and the Sainsbury Institute. Held at the
British Museum.
8 September 2006
Japanese Crafts for the 21st Century:
From the Past Looking to the Future
Lecturer: Professor Fujita Haruhiko
(Osaka University)
Lecture held at the Embassy of Japan,
London and organized by the Embassy in
conjunction with the Sainsbury Institute.
11 September–6 October 2006
Bernard Leach, St Ives and Japan
Exhibition on Bernard Leach and his
relationship with Japan; organized by
the Embassy of Japan and the Sainsbury
Institute; held in the Embassy of Japan,
London.
9 September 2006
Craft in 20th-Century Japan
and the UK
Participants: Suzuki Sadahiro (Ochanomizu
University), Professor Toshio Watanabe,
(TrAIN, University of the Arts London);
Rupert Faulkner (Victoria and Albert
Museum); Glenn Adamson (Victoria and
Albert Museum); Angus Lockyer (SOAS);
Kikuchi Yuko (TrAIN, University of the
Arts London); Takenaka Hitoshi (Kobe
City University of Foreign Studies); Beth
McKillop (Victoria and Albert Museum);
Hamada Takuji (Kobe University and
grandson of Hamada Shōji); and Mimura
Kyōko (Japan Folk Crafts Museum in Tokyo).
11–25 November 2006
Alsace et Japon: Une longue histoire
Exhibition curated by Princess Akiko of
Mikasa and Maezaki Shinya on behalf
of the Sainsbury Institute and CEEJA in
Colmar, Alsace.
20 October 2006
Feminine Revolt in Male Cultural
Imagination in Contemporary Japan
Lecturer: Sharon Kinsella
The fourth Chino Kaori Memorial ‘New
Visions’ Lecture, held at SOAS. The
lecture has been published in a bilingual
edition as the fourth volume in the
Chino Lecture Series.
58
17-20 May 2007
Seeing and Not Seeing:
Visualizing the Invisible in
Pre-modern Japanese Culture
Participants: Professor Joshua Mostow
(University of British Columbia),
Professor Andrew Gerstle (SOAS),
Professor Timon Screech (SOAS), Ivo
Smits (Leiden University), Robert O. Khan
(SOAS), Professor Susan Napier (Tufts
University), Professor Ishikawa Tōru (Keio
University), Professor Komine Kazuaki
(Rikkyo University), Professor Doris
Bargen (University of Massachusetts
Amherst), R. Keller Kimbrough
(University of Colorado at Boulder),
Monika Dix (Sainsbury Institute),
Professor Patrick Caddeau (Princeton
University), John T. Carpenter (SOAS),
Alan Cummings (SOAS), Lucia Dolce
(SOAS) and Professor Peter Kornicki
(University of Cambridge).
Conference and workshop
organized by Monika Dix (Robert and
Lisa Sainsbury Fellow 2006-07) and
Robert Khan (SOAS). Sessions held at
SOAS, the British Museum, the British
Library and the Sainsbury Institute.
19 July - 21 October 2007
Crafting Beauty in Modern Japan:
Celebrating Fifty Years
of the Exhibition of Japanese
Traditional Art Crafts
Curators: Timothy Clark (British Museum)
and Nicole Coolidge Rousmaniere
(Sainsbury Institute). The accompanying
catalogue was edited by Nicole Coolidge
Rousmaniere and published by the
British Museum Press.
A British Museum exhibition coorganized with The National Museum
of Modern Art, Tokyo, The National
Museum of Modern Art, Kyoto, The
Japan Art Crafts Association and the
Japan Foundation.
Activities relating to
‘Crafting Beauty in Modern Japan’
20 July 2007
Visit by the Japan Art Crafts
Association
A group of 30 members of the
Association, including the President
Yasujima Hisashi, visited the Sainsbury
Institute as part of a Mitsukoshi tour
facilitated by the Institute.
20 September 2007
Grayson Perry:
Craft in the Information Age
A ‘conversation’ with Nicole Coolidge
Rousmaniere held in the British Museum
World Art in Focus:
Contemporary Japanese Lacquer
A series of demonstrations by Japanese
master craft artists to show their
techniques was organized by the
Sainsbury Centre for Visual Arts, working
with the Sainsbury Institute.
Ōnishi Isao and Murose Kazumi
gave demonstrations at SCVA on 11
September and 17 October 2007. Kazuko
Morohashi, the Institute’s Research and
Publications Officer, acted as interpreter.
19-20 October 2007
Craft Heritage in Modern Japan:
Perspectives on the
‘Living National Treasures’
Participants: Glenn Adamson (Victoria
and Albert Museum), Simon Fraser
(Central Saint Martins College of Art
& Design), Christine Guth (Stanford
University), Jane Harris: (Central Saint
Martins College of Art & Design), Inaga
Shigemi (International Research Center
for Japanese Studies), Kaneko Kenji
(The Museum of Modern Art, Tokyo),
Moriguchi Kunihiko (textile artist),
Murose Kazumi (lacquer artist), Nicole
Coolidge Rousmaniere (Sainsbury
Institute), Edmund de Waal (ceramic
artist)
A symposium held at the British
Museum and supported by the
Sainsbury Institute.
59
7-8 September 2007
World Art: Ways Forward
Participants: Akiyama Akira (Tokyo
University), Yiqiang Cao (China National
Academy of Art, Hangzhou), Professor
Craig Clunas (University of Oxford),
David Carrier (Case Western Reserve
University), Wilfried van Damme (Leiden
University), Professor Whitney Davis
(University of California, Berkeley),
Professor Thomas DaCosta Kaufmann
(Princeton University), Susanne
Kuechler (University College London),
Neil MacGregor (The British Museum),
Professor John Mack (UEA), Professor
John Onians (UEA), Professor Terry Smith
(University of Pittsburgh), Professor
David Summers (University of Virginia),
Professor Nick Thomas (Cambridge
University), Kitty Zijlmans (Leiden
University).
Conference organized by Professor
Onians (UEA) and supported by UEA
Alumni, the Henry Moore Foundation,
the Sainsbury Centre for Visual Arts, the
Sainsbury Institute and the Sainsbury
Research Unit.
9, 14 and 15 November 2007
Toshiba Lectures in Japanese Art
Ryūkyū: Kingdom of the Coral Isles
Lecturer: Richard Pearson, Professor
Emeritus at the University of British
Columbia and Senior Research Adviser
at the Sainsbury Institute gave three
lectures sponsored by the Toshiba
International Foundation.
9 November
Life in the Ryūkyū Kingdom
British Museum
14 November
Traders in the East China Sea:
The Rise of Kingdoms in Okinawa
SOAS
15 November
Okinawa, Islands of Castles
Norwich
c a l e n da r o f e v e n t s
17 November 2007
Kingdom of the Coral Isles:
A Symposium on the
Archaeology and Culture of the
Ryūkyū islands (Okinawa)
Participants: Asato Shijun (Okinawa
Prefecture Archaeology Center), Asato
Susumu (Okinawa Prefectural University
of the Arts), Kamei Meitoku (Senshu
University), Kinoshita Naoko (University
of Kumamoto), Arne Rokkum (University
of Oslo), Shinzato Akito (Board of
Education, Isen Township, Tokunoshima),
Takamiya Hiroto, (Sapporo University),
Uezato Takashi (Institute for the Study of
Okinawan Culture, Hosei University).
A workshop linked to the Toshiba
Lectures in Japanese Art sponsored by
the Daiwa Anglo-Japanese Foundation
and held at SOAS.
8-9 July 2008
Words for Design
Participants: Professor Fujita Haruhiko
(Osaka University), Takayasu Keisuke
(Ehime University), Ibrahim Ozdemir
Sonner (Middle East Technical
University), Professor John Mack (UEA),
Oriol Pibernat (EINA Higher Design and
Art School, Barcelona), Oscar SalinasFlores (National University of Mexico),
Helena Barbosa (University of Porto),
Inoue Yuriko (Osaka University and
Paris X-Nanterre). Discussants included:
Nicole Coolidge Rousmaniere (Sainsbury
Institute), John Mitchell (UEA), Anna
Calvera (University of Barcelona),
Uchida Tsugunobu (Osaka University),
Ikegami Hidehiro, (Keisen University),
Viviana Narozky (Royal College of Art),
Javier Gimeno Martínez, (Katholieke
Universiteit Leuven), Miki Junko (Kyoto
Institute of Technology), Glenn Adamson
(Victoria and Albert Museum), Ken
Oshima (University of Washington),
Professor Toshio Watanabe (University
of the Arts, London) and Professor
Jonathan Woodham (University of
Brighton).
The fourth in a series of five
international workshops supported by
the Japan Society for the Promotion
60
of Science Grants-in-Aid for Scientific
Research. Sessions held at the Sainsbury
Institute and the Sainsbury Centre for
Visual Art.
22-30 July 2008
Workshop at the Greek National
Museum of Asian Art on its collection
of Ukiyo-e paintings, prints and
ceramics, and its Chinese ceramics
Participants: Professor Kobayashi Tadashi
(Gakushuin University), Professor Kawai
Masatomo (Keio University), Professor
Tsuji Nobuo (Miho Museum), Asano
Shūgō (Yamato Bunkakan Museum),
Naitō Masato (Keio University), Arakawa
Masaaki (Gakushuin University),
Idemitsu Sachiko (Idemitsu Museum),
Nicole Coolidge Rousmaniere (Sainsbury
Institute), Despina Zernioti (Museum of
Asian Art, Corfu) and Professor Robert
D. Mowry (Harvard University Art
Museums).
The workshop was supported
by the Idemitsu Arts Foundation, the
Michael Marks Charitable Trust and
the Sainsbury Institute, and held at the
Museum of Asian Art, Corfu.
Selected Lectures and Conferences
attended by Institute staff
Nicole Coolidge Rousmaniere
Director
11 November 2006
Study Day, Victoria and Albert Museum
Civilisation and Enlightenment:
The Arts of Meiji Japan
The Victorian Search for the Ceramic Art
of Japan: Re-examining the Legacies
of Augustus Wollaston Franks at the
British Museum and James Lord Bowes
of Liverpool
11 November 2006
Centre Européen d’Etudes Japonaises
d’Alsace Seminar, sponsored by The
Japan Foundation, Alsace
Issues in intellectual exchange
between Japan and Europe
29 January 2007
University of Tokyo Center for Philosophy,
University of Tokyo, Komaba campus
Japan Galleries: Displaying Japan
at the British Museum
4 March 2007
Osaka University, Graduate School
of Letters; International Forum:
‘Arts, Crafts, and Society’; The 5th
International Design History Forum,
Osaka International Convention Center,
Grand Cube Osaka
Bijutsu is not Art, Kōgei is not Craft
10 March 2007
University of Tokyo, Cultural Resource
Department Conference
Displaying Nippon at the British
Museum
25 March 2007
Japan Art History Society, The National
Museum of Western Art Lecture Hall
Augustus Wollaston Franks, Ernest
Satow, Ninagawa Noritane: Acquiring
Japanese Ceramics for the British
Museum, 1875-1880
16 May 2007
Edo Archaeology Research Group
110th Meeting, Edo Tokyo Museum
Recent Developments in English
Medieval and Post-Medieval
Archaeology
2 June 2007
Toshiba International Foundation
International Course 2007, Josai
International University, Togane Campus
Nihon Tōjiki no Miryoku to Kaigai e
no Eikyō
8 July 2007
Center for Comparative Japanese
Studies, Ochanomizu University
Women and Leadership Programme
Ninth International Japanese Studies
Symposium, Exploration and Dialogue
on Japanese Studies II (Nihon
gaku kenkyu no taiwa to shinka II),
Ochanomizu University, Center for
Comparative Japanese Studies
The History of the Japanese Ceramics
Collection at the British Museum
(Daiei hakubutsukan shozō Nihon no
tōki korekushon no rekishi)
20 September 2007
Crafting Beauty in Modern Japan
exhibition-related event, BP Lecture
Theatre, British Museum
Grayson Perry:
Craft in the Information Age
Conversation with Nicole Coolidge
Rousmaniere, Exhibition Guest Curator
61
19-20 October 2007
International Symposium
Craft Heritage in Modern Japan:
Perspective on ‘Living National Treasures’,
BP Lecture Theatre, British Museum
Presenting Modern Japanese Crafts
to International Audiences
6 November 2007
Percival David Foundation of Chinese Art
Colloquy on Art & Archaeology No. 24,
SOAS lecture theatre
Dining on China in Japan:
Shifting taste for Chinese Ceramics
in 15th-17th Century Japan
7 November 2007
Embassy of Japan in the UK Lecture,
London
In Celebration of 1000 Years of Genji
with Professor Richard Bowring and
Yoshioka Sachio
23 November 2007
International Forum
The Philosophy of Cultural Resources:
Knowledge, Culture and Society in the
21st Century, Museum of Ethnology,
Osaka
Japan as Represented in the British
Museum
30 November 2007
Cultural Resources Studies
Public Lecture Series, University of Tokyo
Shimin shakai saisei:
Bunka no yūkōsei wo saguru
(Regeneration of Civil Society:
Examining the Validity of Culture)
Lecture by Katō Taneo
Chaired by Nicole Coolidge Rousmaniere
20 December 2007
International Forum: The Philosophy of
Cultural Resources: Knowledge, Culture
and Society in the 21st Century, Maison
Culturelle du Japon à Paris
New Ways of Displaying Japan in the
British Museum
26 January 2008
Tōyō Tōji Gakkai Symposium, National
Museum of Modern Art, Tokyo
Bijutsu wa Āto dewa naku Kurafuto
wa Kōgei dewa nai (Bijutsu is Not Art,
Craft is Not Kōgei)
S e l e c t e d L e c t u r e s a n d Co n fe r e n c e s at t e n d e d by I n s t i t u t e s ta ff
23 February 2008
Kyushu Sangyo University, 21st COE
Program: International Symposium
Adoption of the Kakiemon-style
Porcelain in 17th- and 18th-century
England
Rethinking Kakiemon Style Wares
(youshiki) in the UK from the 18th
Century to the Present Focusing on
Issues of Design, Reputation and
Interpretation
31 March 2008
International Symposium: Dentō
Geijutsu – Hikaku Dezain-ron
(Traditional Art – Comparative Design
Studies), Taipei National University of
the Arts
Nihon Sōshoku Geijutsu-ron
(Japanese Decorative Art Theories)
23 June 2008
North American Coordinating Council
on Japanese Library Resources
International Symposium
Japanese Images: Using Them to
Support Japan Studies Internationally,
International House of Japan
The Challenges of Using Japanese
Images in North America: North
American Scholars’ Experiences
in Obtaining Permissions to Use
Japanese Images – Perspectives From
History, Art and Anthropology
Simon Kaner
Assistant Director
22 March 2006
The Representation of Japan in the
New Japanese Galleries at the
British Museum Workshop, The Japan
Foundation, London
The View from Archaeology
24 March 2006
British Association for Japanese Studies
Conference: Current considerations in
the early archaeology of the Japanese
state, University of East Anglia
Revisiting the Kofun:
From Gowland to ‘Virtual Tombs’
22 October 2006
World Cultural Forum, Ise, Itsukinomiya
Hall for Historical Experience, Ise
The Place of Mythologies of the Moon
in an Archaeology of Religion
24 May 2008
International Christian University
75th Open Lecture, Hachiro Yuasa
Memorial Museum, International
Christian University
Tōjiki no Yō to Bi (Form and Beauty
of Japanese Ceramics)
62
22 November 2006
Europe Japan Research Centre Seminar,
Oxford Brookes University
William Gowland and the Early
Investigation of the Mounded Tombs
of the Japanese Archipelago
16 December 2006
Cult in Context Conference, Cambridge
University
The Archaeology of Cult in Jōmon
Japan
18 January 2007
Sainsbury Institute Third Thursday
Lecture, Norwich
Edo Period Archaeology
May 2007
Edo Iseki Kenkyukai (Research Group for
Edo Archaeology), Edō Tokyo Museum
Igirisu no chūsei kindai kōkogaku
no genjō (Recent Developments
in Medieval and Post-Medieval
Archaeology in England)
5 August 2007
Special Lecture, Niigata Prefectural
Museum of History, Nagaoka
Igirisu kasen no keikan kōkogaku
(The Archaeology of River Valleys)
John T. Carpenter
Reader in the History of Japanese Art,
Department of Art and Archaeology,
SOAS, University of London and Head of
London Office of the Sainsbury Institute
March 2007
School of Design Public lecture,
Japanese Art Society of America/
Institute of Fine Arts, New York
Actor Prints by Toyokuni I, II, and III
September 2007
European Association of Archaeologists,
Zadar, Croatia
Figurines in East Asia
21 March 2006
Public lecture, Asia House, London
Imperial Calligraphy of China and Japan
23 March 2007
Conference presentation, Association of
Asian Studies Annual Meeting, Boston
Rewriting the History of Heian
Calligraphy: Emperor Fushimi as
Collector and Copyist
17 January 2008
Sainsbury Institute Third Thursday
Lecture, Norwich
Neil Gordon Munro and the 100th
Anniversary of his Prehistoric Japan
March 2008
Society for American Archaeology,
University of British Columbia
Emulation or Subversion: Revisiting
Possible Chinese Influences in the
Prehistoric Japanese Archipelago
March 2008
Symposium on Ancient Jōmon
and the Pacific Rim, University of
California, Berkeley
The Jōmon in International
Perspective: A View from Europe
20 May 2006
Public lecture, Freer Gallery of Art,
Smithsonian Institution, Washington,
D.C
Hokusai and the Art of Poetry:
Allusive Imagery to Accompany
Japanese Verse
20 July 2006
Sainsbury Institute Third Thursday
Lecture, Norwich
Calligraphy by Emperors and
Empresses of the Edo Period
14 March 2007
Public lecture, Brown University, Rhode
Island
Hiroshige and the Art of Poetry:
Japanese Verse on Woodblock Prints
63
27 March 2007
Public lecture, San Antonio Museum
of Art
Zeshin and the Art of Poetry: Haiku
on Lacquerware and Surimono
16 August 2007
Sainsbury Institute Third Thursday
Lecture, Norwich
Japanese Poetry Prints: Surimono from
the Marino Lusy Collection, Zurich
21 August 2007
Publication workshop on the Marino
Lusy Collection, Museum Rietberg,
Zurich
Inventing New Iconographies:
Traditional East Asian Literary and
Historical Themes in Surimono
14 February 2008
Public lecture, Royal Asiatic Society,
London
Surimono: Japanese Poetry Prints to
Celebrate the New Year
23 March 2008
Public lecture, Universidad Autonoma
de Madrid
Surimono in European Collections
10-11 September 2008
International Conference to celebrate
the 1000th anniversary of The Tale of
Genji, Georgio Cini Foundation, Venice
Calligraphy Styles Old
and New in the Genji Scroll
su pp o r t e r s
Agency for Cultural Affairs, Tokyo
All Nippon Airways Co. Ltd
Art Research Center,
Ritsumeikan University
Arts and Humanities Research Council
Asahi Shimbun
Atomi Gakuen University
Bank of Tokyo-Mitsubishi UFJ Ltd
Professor Gina Barnes
British Academy
Brian Ayers
British Museum
Canon Europe Ltd
Centre Européen d’Etudes
Japonaises d’Alsace
Sir Hugh and Lady Cortazzi
Daiwa Anglo-Japanese Foundation
Daiwa Securities SMBC Europe Ltd
Dean and Chapter, Norwich Cathedral
Embassy of Japan
Dame Elizabeth Esteve-Coll
Rupert Faulkner
Fitzwilliam Museum
Freer Gallery of Art and
Arthur M. Sackler Gallery,
Smithsonian Institution
Furukawa Electric Europe Ltd
Gatsby Charitable Foundation
Albert Gordon
Great Britain Sasakawa Foundation
Guimet Museum
Handa Haruhisa
Hanwa Co. Ltd London Branch
Hitachi Europe Ltd
Honda Motor Europe Ltd
Hitachi Zosen Europe Ltd
Idemitsu Arts Foundation
IHI Europe Ltd
International Centre
for Albanian Archaeology
ITOCHU Europe Plc
Japan Chamber of Commerce
and Industry in the UK
Japan Foundation
Japan Foundation
Endowment Committee
Ellen Josefowitz
JVC (UK) Ltd
Professor Kobayashi Tadashi
Professor Kobayashi Tatsuo
Kajima Arts Foundation
Kajima Europe
Kanematsu Europe Plc
Professor Kawai Masatomo
Kawasaki Heavy Industries (UK) Ltd
Kyoto National Museum
Kyushu University
Maekawa Kaname
Marubeni Europe Plc
MEC UK Limited
Meiji Yasuda Europe Ltd
Metropolitan Center
64
for Far Eastern Art Studies
Michael Marks Charitable Trust
Mitsubishi Corporation
Mitsubishi Electric Europe BV
Mitsubishi Heavy Industries Europe Ltd
Mitsubishi UFJ Trust
& Banking Corporation
Mitsui Babcock Energy Ltd
Mitsui & Co Europe Plc
Mitsui Zosen Europe Ltd
Mizuho Corporate Bank Ltd
Museum of Asian Art, Corfu
Museum Rietburg Zurich
Nara National Museum
National Diet Library
National Research Institute
for Cultural Properties, Nara
National Research Institute
for Cultural Properties, Tokyo
New Color Printing
NHK
Niigata Prefectural Museum of History
Nikkei Europe Ltd
Nippon Express (UK) Ltd
Nippon Foundation
Nomura International Plc
Norinchukin Bank London Branch
Norfolk and Norwich
Archaeological Society
NTT Europe Ltd
NYK Line (Europe) Ltd
Otsuka Pharmaceutical Europe Ltd
Printing Museum, Tokyo
Research Institute for Humanity and Nature
Robert and Lisa Sainsbury
Charitable Trust
School of Oriental and African Studies,
University of London
Professor Timon Screech
Sojitz Europe Plc
Sotheby’s
Sumitomo Corporation Europe Ltd
Sumitomo Trust & Banking Co. Ltd
Tawaramoto-cho Kyoiku Iinkai
Tokio Marine Europe Insurance Ltd
Tokyo Electric Power Co Inc
Toppan Printing Co (UK) Ltd
Toshiba International Foundation
Toyota (GB) Plc
Transnational Art, Identity and Nation
(TrAIN) Research Centre,
University of the Arts London
Universal Shipbuilding Europe Ltd
University of East Anglia
Victoria and Albert Museum
Yamaha-Kemble Music (UK) Ltd
Professor Yanagisawa Taka
Yomiuri Shimbun
M a n ag e m e n t B oa r d m e m b e r s
a n d pa r t i ci pat i n g o b s e r v e r s
s ta ff
Professor Bill Macmillan (ex officio) chairman
Michael Barrett OBE
Alan Bookbinder °
Dame Elizabeth Esteve-Coll DBE
Chris Foy °
Graham Greene CBE
Professor Kawai Masatomo
Professor Kobayashi Tadashi
Sir Tim Lankester KCB
Michael Pattison CBE *
Nicole Coolidge Rousmaniere (ex officio)
Professor Paul Webley
Nicole Coolidge Rousmaniere * Left during 2006-08
° Joined during 2006-08
director
Simon Kaner assistant director
Ulrich Heinze
sasakawa lecturer in japanese contemporary
visual media * °
John T. Carpenter
head of london office
*
Hirano Akira
librarian
Uchida Hiromi
projects manager seconded to the british museum
Kazuko Morohashi
research and publications officer
Cassy Spearing
institute administrator
Sue Womack
institute accountant
*
*
Nishioka Keiko
office co - ordinator
* Part-time post
° Joined in September 2008
65
m a n ag e m e n t a n d fi n a n ce
The Sainsbury Institute for the Study of Japanese Arts
and Cultures was founded in 1999 though the generosity
of Sir Robert Sainsbury and Lady Lisa Sainsbury. It is an
independent charity affiliated to the University of East
Anglia (UEA) in association with the School of Oriental
and African Studies (SOAS), University of London.
The funding of the Institute is governed by a Trust
Deed that provides for the appointment of Trustees
and a Management Board. The Trustees have the
responsibility for investing the original Trust Fund and
applying the income to support the costs of running the
Institute in accordance with the provision of the Trust
Deed. The Management Board acts as the governing
body of the Institute, agreeing the nature of its activities
and approving its budget and staffing.
In addition to the income from the Trust Fund, the
Institute receives financial support from Sainsbury family
trusts, notably the Gatsby Charitable Foundation. In the
first five years of the Institute’s existence this support
took two main forms. First, payments relating to the
provision of the Institute’s premises in Norwich including
rent, rates and major maintenance costs. Second,
grants awarded in response to specific proposals from
the Institute, of which the most significant related to
the development of the Lisa Sainsbury Library and the
creation of Sainsbury Research Fellowships.
Following an external academic review conducted
in 2003-04 the Institute prepared a detailed plan
for its second five years, which was approved by the
Management Board in 2005. It set out key objectives
for the Institute and its funding. For its part the Gatsby
Charitable Foundation agreed to consolidate its various
grants into a five-year funding package to stand
alongside the income from the original Trust Fund. The
Foundation also continues its financial support for the
Institute’s premises in Norwich. The years covered by
this report, 2006-07 and 2007-08, are the second and
third years of the five-year funding package.
The Institute raises funds from other sources to
support workshops, publications, lectures, fellowships
and other projects. It also receives non-financial
donations, notably library materials and other support in
kind.
During 2007-08 the Institute developed a renewed
mission statement and research objectives. As it delivers
its new objectives and moves through its second
decade, the Institute will complement its endowment
income and funds from the Gatsby Charitable
Foundation by progressively increasing the number and
value of public and private sector grants.
66
STATEMENT OF FINANCIAL ACTIVITIES FOR THE YEARS ENDED 31 JULY 2 0 07 AND 31 JULY 2 0 0 8
This summary of the Sainsbury Institute finances is an extract from the financial statements for the year ended 31 July 2007 (as approved by the Institute’s
Management Board at its meeting on 18 October 2007) and for the year ended 31 July 2008 (as approved by the Management Board at its meeting on 16 October 2008).
Income
2007-08
£
2006-07
£
2005-06
£
190,377
240,045
69,394
98,750
168,430
16,303
55,144
Sainsbury Institute endowment income
Annual grant from the Gatsby Charitable Foundation
Grants for rent, rates etc. from Gatsby Charitable Foundation
Grants from Research Fellowships
Other grants
Other income
Grant for new Library store from Gatsby Charitable Foundation
Grants for additional expenditure and building repairs from Gatsby Charitable Foundation
214,058
302,351
70,478
53,718
71,805
39,252
220,563
255,501
70,316
119,662
63,872
43,101
148,801
28,199
Total income
900,463
801,214
838,443
Research workshops, projects, publications, lectures etc.
Research Fellowships
Norwich premises inc. Lisa Sainsbury library rent, rates etc.
Staff costs
Library and other operating expenditure
Set up costs for new Library store
Other expenditure
212,746
47,068
70,431
344,920
109,277
121,983
75,975
70,316
296,750
116,632
122,667
85,510
69,394
262,987
102,705
55,704
155,496
2,199
Total expenditure
939,938
683,855
698,967
Operating surplus/(deficit)
-39,475
117,359
139,476
Funds brought forward
291,715
174,356
34,880
Funds carried forward
252,240
291,715
174,356
72,550
181,657
106,751
184,964
102,393
71,963
Expenditure
of which restricted (note 1)
of which unrestricted (note 2)
Note 1 The restricted sums carried forward comprise external grants received in one year but designated for spend in later years. These mostly relate to Research Fellowships and sponsored research projects and
publications. Note 2 The Institute has to manage its finances over the five-year period 2005-06 to 2009-10. Some of its core funding depends on the performance of the Sainsbury Institute Endowment and most of the
rest takes the form of cash-limited grants. In the first years of the funding and planning period the Institute made conservative estimates of income. Actual performance exceeded those estimates and this, together with
the retiming of some project expenditure, accounts for the surplus as at 31 July 2007. Some of the surplus has been drawn down to fund some re-timed projects in 2007-08 and the drawdown will continue in 2008-09 and
2009-10. Over the five-year period as a whole the Institute expects income and expenditure to balance after making provision for a small number of specific commitments after 31 July 2010.
68
69
運営と財政
セインズベリー日本藝術研究所は一九九九年、ロバート・セインズベリー卿と
リサ夫人の多額の寄付金により、イースト・アングリア大学の提携機関、またロ
ンドン大学東洋アフリカ研究学院の関係機関の独立系非営利団体として発足しま
した。
研究所の運営財源は、理事と理事会の指名権を持つ信託によって管理されてい
ます。理事は信託基金の原資を運用し、その利益を信託規約に基づいて研究所の
運営費に充てる義務を負っています。理事会は研究所の運営母体として、事業活
動の内容や運営予算、人事などに同意します。
信 託 基 金 か ら の 収 入 以 外 に、 研 究 所 は セ イ ン ズ ベ リ ー 家 の 基 金 の 一 つ で あ る
ギャツビー財団より財政援助を受けています。設立頭初の五年間、ギャツビー財
団の援助は主に次の二つの事業に充てられていました。一つはノリッジ本部の設
備管理費、もう一つは研究所の特定事業、中でも重要なものとしてリサ・セイン
ズベリー図書館の拡充とセインズベリー・フェローシップ制度の設立への補助金
です。
二〇〇三～四年の研究活動報告書の発行後、研究所は第二次五箇年計画を立案
し、二〇〇五年に理事会に承認されました。事業計画では、研究所ならびに運営
資 金 に つ い て の 主 な 目 標 を 設 定 し て い ま す。 こ れ を 受 け、 ギ ャ ツ ビ ー 財 団 は セ
インズベリー研究所へ支給していた個々の補助金を五年間の財政支援としてまと
め、信託基金原資の運用利益とともに研究所の運営資金としました。ギャツビー
財団はさらにノリッジ本部の設備管理費への資金援助を継続しています。この報
告書の対象年度二〇〇六～八年はギャツビー財団の五年間の財政援助の二～三年
目に当たります。
研究所が主催する学術会議、出版事業、公開講座、フェローシップなど事業の
運営資金は、外部の助成団体に依存しています。また図書館への資料の寄贈など、
資金提供以外の形での支援も受けています。
二〇〇七〜八年にかけて、研究所は使命と研究目標を改正しました。研究所は
これらの新しい目標を達成し、次の十年間へと移行しながら、今後は信託基金の
運用利益ならびにギャツビー財団からの財政援助を補完する外部からの補助金の
規模を大幅に増加させる努力をしていきます。
70
リサ・セインズベリー図書館
二〇〇六年には、ケンブリッジ大学のカーマン・ブラッカー博士の自宅に所蔵
されている蔵書の目録を作成しました。二〇〇七年には、ジェフリー・ボーナス
教授から三島由紀夫に関連したオーディオ・テープなどの寄贈を受けました。
司書の平野明は、二〇〇六年末に国立国会図書館で開催された日本研究情報専
門家研修の研修生に選ばれ、三週間にわたる研修を修めました。また、二〇〇七
年からは天理大学で開催される天理古典籍ワークショップの研修生にも選ばれ、
二〇〇九年まで三年にわたって、年一週間の研修を受けることになりました。
二〇〇八年には、セインズベリー研究所ノリッジ本部の改装工事に付随して、
コータッツィ卿ご夫妻から寄託されている古地図を収蔵するための専用の地図架
を書庫に設置しました。また、同年七月には、大英博物館から日本美術の保存・
修復に携わる職員二名がノリッジを訪れ、研究所に寄託されている古地図コレク
ションの保存状況を調査しました。
二〇〇六年九月より、リサ・セインズベリー図書館の司書平野明は、研究所と
大英博物館との提携の一環として、大英博物館アジア部日本セクションの図書資
料整理作業のため、月に一度、同博物館に出向いています。
二〇〇七年には、メトロポリタン東洋美術研究所より図書館資料購入のための
補助金を受けました。この場をお借りして、寛大なご支援にあたらめてお礼申し
上げます。
71
図書館への寄贈者は英文の報告書をご参照下さい
セインズベリー研究所はＳＯＡＳ図書館の蔵書拡充のため毎年一定額の援助を
行っています。
Bottom: (From left) Sir Hugh Cortazzi,
Saba Shōichi (former Chairman of Toshiba
Corporation), Lady Cortazzi and Dame
Elizabeth Esteve-Coll. Mr Saba visited the
Sainsbury Institute in June 2008. Sir Hugh and
Lady Cortazzi’s collection of maps of Japan
are on long-term loan with the Lisa Sainsbury
Library.
協力機関や支援者の方々については英文の報告書をご参照下さい。
Top: Rayna Dennison (UEA) giving a Third
Thursday lecture.
フェローシップ
客員研究員は、セインズベリー研究所また提携機関の研究活動に不可欠の存在
となっています。研究員は自身の研究の出版や研究課題に取り組む一方、イギリ
ス国内またヨーロッパにおいてセミナーや学術会議で発表を行っています。セイ
ンズベリー研究所が主催する二つの奨学研究員のプログラムは、日本美術また考
古学の分野の研究者が自身の研究課題に対して、一定の成果を挙げられるよう手
助けすることを目的としています。
二〇〇〇年よりディビッド・セインズベリー卿の惜しみない援助により発足し
たロバート＆リサ・セインズベリー・フェローシップは、研究所とアメリカ・カ
ナダの日本学プログラムの学術的交流の強化を目的としています。フェローシッ
プは、北米の大学の博士号取得者、または北米の大学もしくは美術館・博物館の
研究者を対象とし、毎年二名に授与されます。
72
ハンダ日本考古学フェローシップは、研究所の日本の提携機関に所属する考古
学者を対象とし、国際縄文学会を通し半田晴久氏によりご後援を頂いています。
Bottom: Karen Fraser and Naoko Gunji (Robert and Lisa Sainsbury Fellows 2007-08).
過去の奨学研究生および出版実績、また研究所及び提携機関の研究者の出版物
については英文の報告書をご参照下さい。
Top: Sherry Fowler (Robert and Lisa Sainsbury Fellow 2006-07) giving a Third Thursday lecture.
公開講義とシンポジウム
公開講義、シンポジウム、研究発表会・勉強会、学術会議は、セインズベリー
日本藝術研究所が、独創的な研究の推進を図る上で不可欠と考える最も重要な事
業の一つです。研究所の強みである研究ネットワークを活かして行われるこれら
の事業活動は、幅広い層の一般参加者に対して専門知識の理解や習得の機会を与
える一方、研究者に対しては研究プロジェクトの成果を発表する場を提供します。
二〇〇六～八年の主な関連事業として、東芝日本文化レクチャー、仏教美術、民
芸運動そして意匠の国際的概念についての研究発表会などが実施されました。
研究所はこれらの事業の成果を出版物として発表することに務めています。そ
の一例としてはドナルド・キーン教授の『 The Frog in the Well
』の出版や第四
回千野香織追悼講演会の発表原稿の出版などがあります。
ノリッジで開催している第三木曜レクチャー・シリーズは、毎月各分野の専門
家を招き日本美術・文化関連の講義を行うものですが、参加者の方々から大変好
評をいただいています。レクチャー・シリーズは二〇〇二年以降グレイトブリテ
ン・ササカワ財団の助成により運営されており、二〇〇三年より同額の補助金が
73
ロバート＆リサ・セインズベリー財団からも支給されています。
第三木曜レクチャー・シリーズのプログラムについては、英文の報告書をご参
照下さい。
Above: Professor Richard Pearson
presenting a Toshiba Lecture
in Japanese Arts at the British
Museum.
Right: Angus Lockyer (SOAS)
giving a Third Thursday lecture
in Norwich.
Above: Campus of Ritsumeikan University, Kyoto.
Right: John T. Carpenter giving the opening speech at
the surimono exhibition at Museum Rietberg Zurich.
74
「描かれた日本文学」コロキウム
「 描 か れ た 日 本 文 学 」 コ ロ キ ウ ム（ Japanese Literature in Art Colloquy
略称 ＪＬＡＣ）は、セインズベリー日本藝術研究所ロンドン研究室の主導の下に、
当研究所の研究および出版プログラムの中核の一つとして、二〇〇二年に発足し
ました。ＪＬＡＣの目的は、日本文化史研究における情報交換の仲介または推進
役として、英国内外の研究者同士の共同研究を促進することにあります。各プロ
ジェクトには、通常、セインズベリー日本藝術研究所研究員、セインズベリー・フェ
ローおよびハンダ・フェロー、ＳＯＡＳや大英博物館の日本学の専門家など、研
究所と係わりの深い研究者が参加し、日本の視覚文化の分野を越えた研究の促進
を図っています。
ＪＬＡＣは、日本美術における文字と絵の関係について新解釈を提案する研究
や出版を支援するもので、特に文学、舞台芸術と書、絵画および版画との関係に
焦点を当てています。通常、年に一、二回ほど、本格的なシンポジウムから小規
模なワークショップまで、自由な形式で勉強会が開かれています。この勉強会の
研究成果は、議事録、専門テーマにおける共同出版、展覧会関連の出版、研究所
のサーバーに保存されているオンライン画像データベースなど様々な形で発表さ
れています。
立命館大学アート・リサーチ・センター
立命館大学は、二〇〇七年春に文部科学省の補助金を獲得し、グローバルＣＯ
Ｅプログラムを設立しました。立命館大学アート・リサーチ・センター Ａ
( ＲＣ )
はセインズベリー日本藝術研究所、またＳＯＡＳ大学美術・考古学部と協力関係
にあり、共同で「日本文化デジタル・ヒューマニティーズ拠点」の設立を計画し
ています。このプロジェクトでは、ジョン・Ｔ・カーペンターが国際アドバイザー
を務めつつ、同時に当初五年間の契約で立命館大学客員助教授に就任しました。
このプロジェクトは、ＡＲＣが以前行ったＣＯＥプロジェクトの一つである日
本の文化財、版画、絵画、書を中心としたデジタル・アーカイブおよび総合デー
タベースの構築を発展させたものです。デジタル技術を利用して、世界の研究者
がより広範なデジタル・データを利用できるようにすることを目指しています。
75
リチャード・ピアソン教授
76
二〇〇七年より、リチャード・ピアソン教授（ブリティッシュ・コロンビア大
学名誉教授）がセインズベリー研究所の学術顧問に就任しています。ピアソン教
Top right: Assistant Director Simon Kaner undertaking research for the Dogū project at the Sannai Maruyama site….
Above: The Dogū Workshop held in Norwich in December 2006 brought together archaeologists from Japan, Albania, Macedonia, Kosovo and the UK.
授は副所長とともに土偶プロジェクトや中世都市プロジェクトで活動しており、
二〇〇七年東芝日本美術レクチャー・シリーズで講演を行いました。
Right: (From left) Professor Mark Williams
(University of Leeds and Chair of the British
Association of Japanese Studies), H.E.
Ambassador Yoshiji Nogami, Professor
Sano Midori (Gakushuin University) and
Assistant Director Simon Kaner. The British
Association of Japanese Studies held its
Annual Conference 2007 at the University of
East Anglia and delegates were also able to
visit the Sainsbury Institute.
日本の考古学と文化遺産
土偶
二〇〇六年より、セインズベリー研究所はイギリス国内に日本とヨーロッパの
土偶を集結させるプロジェクトを進めてきました。プロジェクトは二〇〇九年に
大 英 博 物 館 で 行 わ れ る 日 本 の 国 宝・ 重 要 文 化 財 級 の 土 偶 を 集 め た 展 覧 会 に 結 実
し ま す。 翌 二 〇 一 〇 年、 セ イ ン ズ ベ リ ー 視 覚 芸 術 セ ン タ ー で 行 わ れ る 展 覧 会 で
は、土偶をバルカン半島で出土した先史時代の土器人形とともに陳列する比較ア
プローチを採用しています。プロジェクトでは、土偶を重要な考古学的資料とし
てだけでなく優れた美術品としても検証していきます。すでに広範な研究ネット
ワークが形成されつつあり、日本の考古学そして文化遺産に対して世界レベルの
関心が集まっています。当研究プロジェクトの重要性は、芸術・人文科学研究会
議から多額の研究助成金が支給されている事実からも裏付けられます。原始美術
に対する理解を深めるための本格的な研究報告書の作成も予定されています。
信濃川流域の発掘調査
副所長のサイモン・ケイナーが監督・指揮している信濃川プロジェクトでは、
日本最長の信濃川沿いの先史時代の集落の形成や歴史的景観を調査しており、と
くに新潟県長岡市の山下（さんか）遺跡に注目して、現地で発掘調査を行ってい
ます。信濃川プロジェクトは、英国学士院からの助成を受けており、縄文時代の
最高峰ともいえる火炎土器を生み出した縄文文化の研究に新たな光を投げかけて
います。
中世考古学
二〇〇八年五月、副所長のサイモン・ケイナーは、当時ノーフォーク県庁所属
の考古学者で、中世の都市考古学の専門家ブライアン・エアーズ氏とともに日本
Envisioning
中世の遺跡の視察旅行を実施しました。視察旅行は二〇〇四年に研究所が主催し
た「中世都市考古学」の研究発表会を受けたもので、その内容は「
（日本とヨーロッパの中世都市をイメー
Medieval Towns in Japan and Europe
ジする）」と題した研究書に発表される予定です。
総合地球環境学研究所
ま す 。 副 所 長 の サ イ モ ン・ケ イ ナ ー は 景 観 考 古 学 プ ロ ジ ェ ク ト の 中 心 メ ン バ ー を
セ イ ン ズ ベ リ ー 日 本 藝 術 研 究 所 は、 京 都 を 拠 点 と す る 総 合 地 球 環 境 学 研 究 所
（ Ｒ Ｉ Ｈ Ｎ ） の Ｎ Ｅ Ｏ Ｍ Ａ Ｐ プ ロ ジ ェ ク ト・ メ ン バ ー と し て 引 き 続 き 参 加 し て い
務めています。
77
わざの美展
所長のルーマニエールは大英博物館で二〇〇七年七月から十月まで開催された
『 Crafting Beauty in Modern Japan : Celebrating Fifty Years of the Japan
（わざの美ー日本伝統工芸展五十周年記念展）
』
Traditional Art Crafts Exhibition
のゲスト・キュレーター、ならびに図録の編集を務めました。この企画展は、過
去五十年に亘って毎年開かれている日本伝統工芸展に出品された作品の中から、
選りすぐりの百十二名の工芸家の作品を展示したもので、彼らのほとんどが重要
な工芸技術を保持する「人間国宝」に認定されています。わざの美展は東京国立
近代美術館、京都近代美術館、日本伝統工芸会、そして国際交流基金との共催、
文化庁協賛、朝日新聞協力で開催されました。
人間国宝による実演
右記の「わざの美展」の関連行事として、伝統工芸の大家がその技を披露する
実演が行われました。セインズベリー研究所は、セインズベリー視覚美術センター
と協力し、二人の漆作家をノリッジに招致し、センターにおいて実演を行い、地
元の観客に工芸作品が出来上がるまでの工程を披露しました。
「現代日本の工芸遺産」シンポジウム
展覧会に関連して国際シンポジウム「 Crafting Heritage in Modern Japan :
（現代日本の工芸遺産ー人間
Perspectives on the Living National Treasures
国宝に対する考え方）」が大英博物館で行われました。大英博物館のティモシー・
クラーク氏とセインズベリー研究所所長ニコル・ルーマニエールにより共同で開
78
催されたこのシンポジウムでは、伝統工芸の考え方について国際的な視点からの
討議が行われました。
アルザス日本学欧州研究所
( ＥＥＪＡ )
セインズベリー研究所は、引き続きアルザス日本学欧州研究所 Ｃ
との連携の拡大を図っています。二〇〇六年十一月所長のルーマニエールは、Ｃ
ＥＥＪＡで行われた日本とヨーロッパの知的交流における課題に焦点を当てた講
義シリーズの前半部に参加しました。
Kimono ‘Melody’
(senritsu), 1968,
Matsubara
Yoshichi (b. 1937),
indigo stencil
dyeing on silk,
h. 160.0 cm.,
w. 132.0 cm.,
National Museum
of Modern Art,
Tokyo.
美術と文化資源学
研究所所長のニコル・ルーマニエールは、二〇〇六年十二月より東京大学大学
院文化資源学研究専攻の客員教授として同大学・大学院で研究・指導を行いなが
ら、新しい研究手法を開拓しています。東京大学では「陶磁器と日本文化ー国際
的アプローチ」、
「日本を展示するー国際的視点から」などの講義を担当しており、
79
いずれも日本語で授業を行なっています。また、大学院でも三つのクラスを受け
Bottom: University of Tokyo Cultural
Resources Studies graduate students in
the British Museum study room.
持っており、担当の学生を連れて九州、京都、金沢、そしてイギリスのノリッジ、
ケンブリッジ、ロンドンなどへの研究調査旅行を実施しました。
Nicole Coolidge Rousmaniere and Turner
Prize winner Grayson Perry discuss
‘Craft in the Information Age’ as part of
the British Museum’s Crafting Beauty in
Modern Japan exhibition programme.
大英博物館
セインズベリー研究所は、大英博物館アジア部日本セクションと、イギリス国
内での日本美術・文化に関する研究、出版、そして公開行事などの事業を共同で
行う、正式な協力関係を結んでいます。両機関はさらに土偶プロジェクトを共同
で進めており、その集大成となる土偶の展覧会が二〇〇九年に大英博物館で開催
80
される予定です。
Above: Uchida Hiromi, Mitsubishi Corporation Projects Manager, regularly leads workshops for UK
schoolchildren using the British Museum’s collections.
研究所の図書館司書である平野明は、日本セクションで新着図書資料の整理作
業を手伝っています。
Left: Timothy Clark, Head of the Japanese Section at the British Museum.
ＳＯＡＳ学長からのごあいさつ
二〇〇一年から毎年、セインズベリー研究所はフェローシップ制度を主催して
います。これまでに北米と日本から招いた二十四名の研究者が、ブルネイ・ギャ
ラリー四階のハンダ研究室を拠点として研究活動を行ってきました。ハンダ研究
室は、ＳＯＡＳの名誉フェローでもある半田晴久氏の寛大な寄付を受けて開設さ
れた施設です。この報告書からも分かるように、過去のセインズベリー・フェロー、
ハンダ・フェローのその後の着実な研究実績は目覚しいものがあり、ＳＯＡＳが
日本の視覚文化史の分野で活躍する若手研究者の育成の一端を担えることを誇り
に思っています。
提携十周年を迎えるに当たって、ＳＯＡＳの職員を代表して、ＳＯＡＳ図書館、
また日本美術研究プログラムへの惜しみない支援に対して、セインズベリー研究
所に心から感謝の意を表したいと思います。さらに、ディビッド・セインズベリー
卿のロバート＆リサ・セインズベリーフェローシップに対する継続的なご支援に
深く感謝申し上げます。
81
ポール・ウェブリー
Above: The Japanese roof garden, Brunei Gallery Building, SOAS.
ロンドン大学東洋アフリカ研究学院学長
セインズベリー日本藝術研究所理事
Top: Members of the Management Board, including Alan Bookbinder (Gatsby
Charitable Foundation), Sir Tim Lankester (Corpus Christi College, Oxford) and
Professor Paul Webley (SOAS).
ＳＯＡＳ学長からのごあいさつ
ＳＯＡＳ学長に就任してからのこの二年半の間、私は当大学が専門とする地域
の知識を深めることを第一の課題として取り組みながら、大学の使命であるアジ
アとアフリカの言語・文化教育の普及・促進の道を模索してきました。日本はＳ
ＯＡＳが戦後最も重要視してきた国の一つであり、現在あらゆるレベルに対応で
きる日本語教育を含め、日本学の専門家二十五名が在籍しています。当大学は日
本美術・人文科学分野での評判を大いに誇りにしており、日本の視覚美術および
マテリアル・カルチャーを研究するセインズベリー日本藝術研究所との提携は、
ＳＯＡＳにとって将来に向けた研究ネットワークや研究戦略を構築する上で大変
重要な役割を担っています。
また、日本と英国が外交関係を結んでから百五十周年を迎える今、政治・経済
レベルでの日英間の実りあるコミュニケーションの実現には、当大学が研究し、
教育する日本の言語・文学・美術そして文化への理解が手助けとなると実感して
います。
ＳＯＡＳ学長の任務の一つとして、私は大学が専門とする地域を訪問し、現地
の大学の学長らと懇談し、共同研究・教育の連携強化を図ってきました。これま
でに私は日本を三度訪問しました。一回目の二〇〇七年四月の訪問では東京、京
都、 福 岡、 九 州 を、 二 回 目 の 二 〇 〇 七 年 十 月 の 訪 問 の 際 は、 Ｓ Ｏ Ａ Ｓ の 同 窓 会
の 会 合 に 出 席 し た ほ か、 早 稲 田 大 学 創 立 百 二 十 五 周 年 記 念 式 典 に 参 列 し、 早 稲
田 大 学 卒 業 生 の 当 時 の 首 相 福 田 康 夫 氏 の 興 味 深 い 講 演 を 拝 聴 し ま し た。 最 近 の
二〇〇八年十一月の訪問では、再びＳＯＡＳ同窓会の会合に出席した際、その会
長であるとともにＳＯＡＳの名誉フェローでもあって、九十四歳になられた現在
でもＳＯＡＳを熱心にご支援くださっている三笠宮崇仁親王殿下にお会いするこ
82
とができました。また、光栄にも天皇陛下が主催者としてお務めになられた慶應
義塾大学創立百五十周年記念式典にも参列する機会を得ました。
私がＳＯＡＳ学長として行う任務の中でも楽しみと言えるものの一つが、セイ
ンズベリー研究所の理事の仕事です。昨年私は両機関の提携関係の更新に助力し
ました。新しい提携内容では、ＳＯＡＳ図書館への日本美術関連資料購入の補助
金交付、研究室及びＩＴサポートの提供、日本美術関係の様々な共同研究プロジェ
クトの推進などが確認されました。現在、ジョン・Ｔ・カーペンターが室長を務
めるセインズベリー日本藝術研究所ロンドン研究室は、過去九年間の間、海外の
ベテランまた若手研究者の研究拠点として機能してきました。そこに集った研究
者たちは、ＳＯＡＳの芸術・人文学科、また日本リサーチ・センターの構成員と
してＳＯＡＳの研究活動に大いに貢献しています。
Professor Paul
Webley, Director of
SOAS.
研究ネットワークとプロジェクト
研究ネットワークは、セインズベリー研究所の研究戦略の中核を成すものです。
研究所の提携機関であるイースト・アングリア大学、ロンドン大学東洋アフリカ
研究学院、および大英博物館のほか、立命館大学、九州大学、総合地球環境学研
究所、新潟県立歴史博物館、フィッツウィリアム博物館、国際アルバニア考古学
センター、アルザス日本学欧州研究所とも提携関係を結んでいます。
イースト・アングリア大学
セインズベリー日本藝術研究所は、非営利独立団体であると同時に、イースト・
アングリア大学（ＵＥＡ）と密接な提携関係にあります。ＵＥＡの学長には、当
研究所の理事長を務めて頂いております。ＵＥＡは長年にわたり、世界美術史・
博物館学部において先進的なアプローチを推進しています。ロバート・セインズ
ベリー卿とリサ夫人が六十年間に亘って蒐集してきた多くの日本美術を含む優れ
たコレクションは、ＵＥＡに寄贈されて、大学敷地内にあるノーマン・フォスター
卿が設計したセインズベリー視覚美術センターで一般公開されています。研究所
ではＵＥＡに対し、講義会場の提供、特定のプロジェクトや講義などへの必要な
人材の派遣などといった協力をしています。
ロンドン大学東洋アフリカ研究学院
一九一六年の創立以来、ロンドン大学東洋アフリカ研究学院は、世界有数の日
本研究機関としての地位を着々と築いてきました。現在二十名を超える日本学の
常勤研究者が在籍する同学院は、セインズベリー日本藝術研究所にとって、計り
83
知れない価値を持ったパートナーであると言えます。ＳＯＡＳ学長をセインズベ
リー日本藝術研究所の理事として迎えることにより、研究所とＳＯＡＳの間には
正式な提携が結ばれました。両者の機関提携は、二〇〇八から二〇一一年におい
ても更新され、ＳＯＡＳの日本美術史准教授のジョン・Ｔ・カーペンターが引き
続きロンドン研究室室長に就任しました。ブルネイ・ギャラリーに所在するロバー
ト＆リサ・セインズベリー・フェローおよびハンダ・フェロー専用の研究室も継
続され活用されています。
Brunei Gallery Building, SOAS,
University of London
覧会が実現に漕ぎ着けたのは、読売新聞社とデスピーナ・ゼルニオッティ氏、ギ
リシャ文化省、在日ギリシャ大使館の協力のおかげに他なりません。今回のギリ
シャの調査には多くの研究所職員が参加してくれました。この調査結果は、ヨー
ロッパにおけるジャポニズムの伝播、またヨーロッパにある日本美術コレクショ
ンの質、また日本美術研究に関するヨーロッパ内での協力関係に関して、従来の
考えられていたのとは違う、新たな事実を提案する可能性があると感じています。
この調査で、同館が所蔵する木版画の全て、多くの絵画、陶磁器などが精査され、
これに基づき蔵品目録の一部の出版が予定されています。この発見は、国立アジ
ア美術館、コルフ島、さらに日本美術界を広く活気づけていますが、展覧会の開
催によって、日本の一般の人々もまた、ギリシャやギリシャでの日本美術の受容
について知識を深めることになると信じています。
最後は、ロバート＆リサ・セインズベリー・フェローシップについてです。こ
の報告書で紹介されている旧フェローたちの出版実績は、彼らがフェロー時代に
獲得し、培ったものの成果であるといえます。セインズベリー・フェローシップ
は、優秀な若手研究者に、異文化を対象としたプロジェクトに従事する機会を与
えています。これは、研究所の存在意義とその将来的展望を象徴していると捉え
ています。この ＳＯＡＳ を拠点として活動するフェローたちを、実質的に手助
ペンターに対し、感謝の意を表します。
84
けしてくれている ＳＯＡＳ ならびに研究所ロンドン研究室長のジョン・Ｔ・カー
Right: Arakawa Masa’aki at the
Museum of Asian Art in Corfu.
ニコル・クーリジ・ルーマニエール
セインズベリー日本藝術研究所所長
Above: Professor Kobayashi Tadashi
(Gakushuin University), Asano Shūgō
(Yamato Bunkakan Museum) and Naitō
Masato (Keio University) examine a fan
painting by Sharaku at the Museum of
Asian Art in Corfu.
所長からのごあいさつ
研 究 所 に と っ て、 こ の 二 年 間 は 充 実 し た 実 り の 多 い 年 で し た。 以 下 に、
二〇〇七〜八年の間に達成された四つの成果を紹介したいと思います。それらは
研究所が描く将来的展望を見事に象徴するものです。
最大の朗報の一つは、現代日本視覚メディア担当のササカワ研究員ウルリッヒ・
ハインツェの採用です。この人事は、グレイトブリテン・ササカワ財団ならびに
日本財団の助成を受け、ＵＥＡの映像・テレビ学部との教職提携により実現しま
した。ハインツェの研究手法は、研究所がまさにこれから力を入れようとしてい
る比較文化的アプローチを取り入れています。ハインツェのこれまでの研究対象
には、日本とドイツにおける遺伝子研究と診断技術の文化的受容、ラジオとテレ
ビの視聴の比較、また宣伝広告などがあります。彼の研究は社会学の範疇に含ま
れますが、自然科学、歴史、文化人類学また文化研究などの要素も含んでいます。
さらには、美術、特にあらゆる表現形態における人体に対する文化的、視覚的、
個人的な見方にも触れており、この点は私が個人的にセインズベリー視覚美術セ
リー研究所との橋渡しとなるこの新しい役職を私達は重要視しており、将来につ
ンターのコレクションの根幹を担うと信じている要素です。 ＵＥＡとセインズベ
ながるモデルとなることを期待しています。
二番目のニュースは、研究所が主催する土偶のプロジェクトに対し英国の芸術・
人文科学研究会議から多額の研究助成金が支給され、研究所の学術的信用が公的
に 認 め ら れ た こ と で す。 土 偶 プ ロ ジ ェ ク ト は、 先 史 時 代 の 日 本 と バ ル カ ン 半 島
の土器の人形の展覧会を主軸として、向こう二年間にわたって行われる研究プロ
ジェクトです。日本の考古学に対する英国政府機関からの研究助成金支給の最初
の例となったこの成功の背景には、研究所の慎重かつ広範なネットワーク形成へ
の努力があり、また先史資料に対して比較文化的にアプローチを試みるという現
代的視点の存在があります。大英博物館とセインズベリー視覚美術センターで開
催される展覧会がこの先進的共同プロジェクトの集大成となりますが、来館者た
ちは、美術と考古学に触れることで現代の生活をもっと良く理解できる、という
ことを確信することになるでしょう。こうした展覧会は日本でもヨーロッパでも
前例がなく、原始美術と考古学への認識に変革をもたらすとともに、現代的と考
えられているものと美しい共鳴を響かせることになるでしょう。
三番目は、ギリシャ・コルフ島の国立アジア美術館との長年のプロジェクトが
ついに実を結んだことです。二〇〇八年七月、出光文化福祉財団との共同出資に
より、上記美術館の館長デスピーナ・ゼルニオッティの監督の下、同館の日本美
術コレクションの調査を行った結果、写楽の肉筆画が確認されました。調査団代
表の小林忠教授は、この発見を二十年に一度の発見と評しています。このニュー
スは読売新聞の一面を飾り、日本の各メディアで報道されました。これを受けて、
二千九年七月から八月にかけて、昨年は入場者二〇〇万人を記録した都立の江戸
東京博物館において、日本・ギリシャ修好通商航海条約百十周年を記念する特別
展「写楽　幻の肉筆画・ギリシャに眠る日本美術～マノス・コレクションより」が、
江戸東京博物館と読売新聞東京本社主催で開催される運びとなりました。この展
85
所長からのごあいさつ
セインズベリー日本藝術研究所は、設立から九年目を迎えました。今日まで無
事に発展することができたのは、ロバート・セインズベリー卿とリサ夫人のご後
援とともに、ギャツビー財団と現在はディビッド・セインズベリー卿のご支援の
おかげです。このわずかな期間の間に、私たちの研究所が日本美術・文化の理解
を強く促進する活動的な組織に成長したことは、所長として大変な誇りです。ノ
リッジに拠点を置く当研究所及び関係機関に関する評判は、ハーバード大学、東
京大学、ストラスブール大学といった国際的な学術研究機関のみならず、英国を
拠点とする日本大使館や国際交流基金、また大和日英基金やグレイトブリテン・
ササカワ財団、さらに文化庁、外務省、東芝国際交流財団、鹿島美術財団といっ
た日本の公的・私的な関係諸機関にまで伝わっています。最近では、日本、ヨーロッ
パ、アメリカから来た研究者たちが、初対面にも関わらず、すでに研究所につい
て知っていることも屢々です。
ただ、評判を築くことも大切ですが、既存の枠組みを変え、進むべき方向を示
唆し、日本美術・文化を専攻する若い研究者たちが抱いている展望を向上させる
ことこそが、研究所の社会的使命の最も大切な部分だと思います。日欧に見られ
る問題をより深く比較検討することは、総合的な、広い視野に立った国際性を日
本 美 術・ 文 化 と い う 研 究 分 野、 そ し て、 そ こ で 活 躍 す る 若 い 研 究 者 た ち の 意 識
にもたらすことであり、研究のより豊かな未来を望むことができます。元エディ
ンバラ国際フェスティバルの総監督ブライアン・マクマスター卿は「国際性は、
アーティスト、また文化関連組織にとって、自分たちの活動を国際的な視点で評
価し、世界レベルの内容を達成・維持するために不可欠な要素である」と、英国
文化・メディア・スポーツ省に提出したレポート「優れた芸術を支援するー測定
か ら 判 断 へ（ Supporting Excellence in the Arts : From Measurement to
）」（二〇〇八年一月出版）の中で謳っています。
Judgement
イースト・アングリア大学の大学綱領では、研究の高度さ、学際的アプローチ、
そ し て 創 造 性 に 重 点 が 置 か れ る と と も に、 国 際 レ ベ ル で の 進 取 の 精 神 や 共 同 研 究
の必要性が強調されています。セインズベリー日本藝術研究所もまた、研究成果・
事業活動・イベントなどを通して、広く影響を与え続ける存在でありたいと願っ
ています。そのためには、文化・芸術・文化遺産にかかわる重要な課題について
充分な認識をもち、新しい領域を開拓していくことが大切だと考えています。
、ＳＯＡＳ 、大英博物館、
研究所がこれまでイースト・アングリア大学（ＵＥＡ）
ギャツビー財団、そして理事会の各メンバーから受けた恩恵は計り知れません。こ
れら提携機関や人々の協力を得て、今や研究所は成熟の段階へと発展しようとし
ています。昨年一年間をかけて、研究所は基本方針の改訂と研究計画の拡大を目
指して、幅広く意見を仰いできました。新しい基本方針と研究計画では、外部へ
の発信と内部での教育の強化という、研究所の将来の方向性が明示されています。
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セインズベリー日本藝術研究所理事長からのごあいさつ
術研究所が打ち出す新しい基本方針と研究目標は、この提携のあり方を反映した
ものであり、今後この協力体制は、ＳＯＡＳや大英博物館などの研究所の従来の
強力なパートナーとともに、研究所の双翼として発展していくことでしょう。
二〇〇八年、セインズベリー研究所はさらに他学部とも教職提携を結び、現代日
本の視覚メディア関係の講義を担当するウルリッヒ・ハインツェ博士を新たに採
用しました。この提携はグレイトブリテン・ササカワ財団の助成により実現しま
した。研究所に所属する研究者の数はわずかですが、ハインツェの採用は研究所
の研究・教育部門を強化し、また将来展望へのモデルとなります。
この新たな提携を実現に導いたグレイトブリテン・ササカワ財団のご理解とご
支援に感謝申し上げます。
さらに、研究所主催の研究会、学術会議、講演会などに対して外部助成団体か
らいただいたご支援に、改めて感謝の意を表します。また、研究所設立の後援者
であるロバート・セインズベリー卿ご夫妻、そして施設面ならびに財政面でのギャ
ツビー財団のご援助に心よりお礼申し上げます。
87
ビル・マクミラン
Above: Director Nicole Coolidge Rousmaniere, Professor Bill Macmillan (Chair of
the Management Board and Vice-Chancellor of UEA), Professor Fujita Haruhiko
(Osaka University), Sue Macmillan and Kitamura Hitomi (National Museum of
Modern Art, Tokyo) at the reception.
イースト・アングリア大学学長
セインズベリー日本藝術研究所理事長　Top left and top right: Management Board members Michael Barrett and Chris Foy,
and Ambassador Fujii Hiroaki, at a reception coinciding with Professor Macmillan’s
visit to Japan in March 2007.
セインズベリー日本藝術研究所理事長からのごあいさつ
この報告書では二〇〇六年から二〇〇八年までの研究所の活動をご紹介いたし
ます。この二年間、所長のニコル・クーリジ・ルーマニエールは東京大学に客員
教授として出向・勤務する傍ら、引き続き意欲的に研究所所長としての任務を遂
行してきました。理事会は所長の東京大学への出向を全面的に支持してきました。
その一方、所長出向による業務負担の増加にもかかわらず、研究所職員がこの報
告書で紹介されている数々の事業を無事に完遂させたことに理事会として敬意を
表します。
私は二〇〇七年三月に、日本側の支援者や助成機関とのさらなる関係強化を図
るため、研究所を代表し日本を訪問しました。所長および副所長サイモン・ケイ
ナー、さらに理事のマイケル・バレット、クリス・フォイが一部同行しました。
訪問の締めくくりとして、六本木の国際文化会館において学術また外交関係の賓
客を招いて晩餐会を催しました。続く同年十月のエリザベス・エステベ＝コール
とクリス・フォイの訪日では、三月の訪問で築いた関係を再確認するとともに、
従来の友好関係の強化に加え新たな協力関係を築くことができました。この二回
の訪問では、日本での研究所の評判および活動に対する高い評価を確認すること
ができました。
この訪日を含め、研究所の数々の事業活動が成功を収めることができたのは、
ひとえに在英国日本大使館の職員の方々のご協力があったからに他なりません。
ことに前駐英国日本大使野上義二閣下に全面的なご支援をいただきました。研究
所の活動のよき理解者である野上前大使ならびに令夫人は在任中度々ノリッジを
訪問されました。野上前大使は、任期終了直前の公務の一貫として、研究所の定
例の第三木曜日レクチャー・シリーズにおいて、日英関係についての講演をされ
ました。その講演は、日英友好通商条約締結百五十周年を記念する一年間余にわ
たる一連の記念行事の開幕を飾るものとなりました。
( ＯＡＳ と
) の提
二〇〇八年、研究所はロンドン大学東洋アフリカ研究学院 Ｓ
携関係を更新しました。これにより旧来通りのＳＯＡＳ図書館への助成、セイン
ズベリー・フェローのＳＯＡＳ施設の利用、研究所ロンドン研究室長の任務が再
確認され、また共同研究プロジェクトの実施などが新しく盛り込まれました。こ
の契約更新によって、ＳＯＡＳ学長の研究所理事としての役割がよりいっそう重
要性を帯びることになりました。この場をお借りして学長ポール・ウェブリー教
授ならびにロンドン研究室長ジョン・Ｔ・カーペンター博士の研究所の活動への
貢献に対し謝意を表します。
セ イ ン ズ ベ リ ー 姉 妹 機 関 の セ イ ン ズ ベ リ ー 視 覚 美 術 セ ン タ ー (Sainsbury
略称ＳＣＶＡ と
Centre for Visual Arts,
) セインズベリーアフリカ・オセアニア・
アメリカ研究部 (Sainsbury Research Unit for the Arts of Africa, Oceania
、セインズベリー日本藝術研究所は、世界美術史博物館学
and the Americas)
科と共に、当大学が誇る研究機関のひとつです。昨年、私はこの四つの研究機関を、
新しい協力体制に発展させる可能性を模索してきました。セインズベリー日本藝
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研究所の使命と研究目的
セインズベリー日本藝術研究所は一九九九年、ロバート・セインズベリー卿と
リサ夫人のご支援により、日本美術及び日本文化に関する知識の普及と理解の促
進を趣旨として発足しました。設立十周年を迎えるにあたって、研究所はその基
本方針を改訂することにしました。後援者であるセインズベリー卿ご夫妻の研究
所設立趣旨を基本にしながら、研究領域の拡大を新たな目標として掲げます。
セインズベリー日本藝術研究所は、古今の日本の芸術・文化を、地域的な、ヨー
ロッパ的な、グローバルな文脈の中に位置づけることにより、新たな意味と解釈
を発見する独創的な研究を自ら積極的に行うとともに、そうした研究に­従事する
研究者たちや諸研究機関を仲介することを使命とします。
セインズベリー日本藝術研究所は、提携機関および助成団体と協同して、以下
の研究目的を遂行します。
・日本全土の物質・視覚文化について、研究所が行う研究の質、内容、そして信
頼性に対する外部の評価・認識を漸次向上させる
・提携機関が開催する国際研究プロジェクトに対して支援を行う
・イースト・アングリア大学、および同学内のセインズベリー姉妹機関との相互
協力をより発展させる
研究所は、イースト・アングリア大学、ロンドン大学東洋アフリカ研究学院、
また大英博物館などとの緊密な提携関係を継続します。また、既存のフェローシッ
プ制度、公開講座シリーズ、国際学会、ホームページによる情報発信などの事業
を継続して行います。さらに、リサ・セインズベリー図書館を従来通り研究所の
核と位置づけ、その蔵書がヨーロッパの研究者に重要な研究資源として活用され
るべく、蔵書構築を続けています。
この報告書では、二〇〇六年八月から二〇〇八年七月までの研究所の活動に焦
点を絞っています。
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セインズベリー日本 藝 術 研 究 所
年次報告書　二〇〇六
二〇〇八年
—
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セインズベリー日本 藝 術 研 究 所
年次報告書　二〇〇六 —
二〇〇八年
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