年間活動報告【 2017年度 】

・本報告は、『千總文化研究所 年報』創刊号（2020年1月）に掲載した内容の内、以下の概要を抜粋したものである。
当研究所が主催した研究会および講演会等展覧会への出陳協力
当研究所の所員が実施した、講演および発表などの教育・研究活動
・講演会および研究会の登壇者の所属、役職は、開催当時のものを表記する。
・掲載画像の無断転載を禁止する。

036ઍ័จԽ‫ݚ‬‫ڀ‬ॴ쎅‫׆‬ಈở‫ݚ‬‫ڀ‬‫׆‬ಈʗ‫ݚ‬‫ڀ‬ձỠỘઍ័จԽ‫ॴڀݚ‬쎅‫׆‬ಈɹʦ‫׆ڀݚ‬ಈʗ‫ڀݚ‬ձʧୈճۙ୅‫౎ژ‬ֆը썿છ৫쎅ग़ձ썛೔࣌ɿ೥݄೔ʢۚʣ‫࣌ޙޕ‬ʙ‫࣌ޙޕ‬ԙɿઍ័ຊࣾ쏝쏵

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研究発表1ʮ໦ౡᓎ୩චʪ໠࿯ਤʫ쎩쎘썧썺썽ʯ‫౎ژ‬෎‫౎ژ‬จԽത෺‫ֶܳؗ‬һ২ా࠼๕ࢠ

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研究発表2

ʮ∁ౡ԰࢙ྉ‫ॴؗ‬ଂʰࢗवࢀߟըूʱ썿છ৫Լֆɺ੡඼‫ه‬࿥ࣸਅ쎅ൺֱɾߟ࡯ʯ‫ࢠঁ౎ژ‬େֶՈ੓ֶ෦‫ڭ‬तኍా޹ʕ

 Activities of the Institute for Chiso Arts and Culture [Reserch / Seminar]

調査報告ʮಸྑ쏥쏐쏵ॴଂ쎅ఱ᳕ឿ༑ષ쎂썻썛썽ʯઍ័จԽ‫ॴॴڀݚ‬௕Ճ౻݁ཧࢠʦ֓ཁʧۙ୅쎅‫౎ژ‬쎆ɺେ썤쎁ࣾձมಈɺ੢ԤԽ쎅೾쎩ड써ౡ԰ॴଂʣʕ‫ݯ‬ઘɾԼֆɾ࡞඼ࣸਅ쎅ൺֱɾߟ࡯ʕʱ썽֤࢈‫ۀ‬ք썣มֵ쎩ഭ쎠쎣썶࣌୅썾썮썶ɻછ৫‫ۀ‬ք썾ʢ೥ɺ‫ࢠঁ౎ژ‬େֶ‫ڀݚ‬૓‫ץ‬ʣ쎩ൃߦ썬쎣쎕썮썶ɻ쎆ɺ୅൧ా৽ࣣɺ୅઒ౡਙฌӴɺ୅੢ଜ័ࠨӴ썴쎅Ұ෦썿썮썽ɺֆը썿છ৫ɺըՈ썿ٕज़ऀ쎅ؔ܎쎂໳썣த৺썿쎁쎡ɺ೔ຊըՈ쎩ొ༻썮썶ਤฑ썾ɺ৫ɺછɺ썻썛썽࡞඼쎅ਤ૾썢쎠쎅ߟ࡯쎩썫ൃද썛썶썷썤쎕썮썶ɻࢗव쎅ٕज़쎩‫࢖ۦ‬썮썶ࣨ಺૷০඼쎩ࠃ಺֎쎅തཡձ쎂ઍ័จԽ‫ॴڀݚ‬썢쎠쎅ใࠂ쎆ɺ೥쎂ਗ਼੉쎖썬쎩ग़඼ɺߴ썛ධՁ쎩ಘ쎕썮썶ɻ썴쎣쎠쎅࡞඼쎆ࡢࠓɺࠃ‫ڭ‬तʢಉࢤࣾେֶ 썣ಸྑ쏥쏐쏵쎂썽ൃ‫ݟ‬썬쎣썶ఱ᳕಺֎쎅లཡձ썾औ쎡্썩쎠쎣ɺ࠶쎊ؔ৺썣ߴ쎕썺썽썛ឿ༑ષ쎅࡞඼쎩ௐࠪ썮썶಺༰썾썰ɻຽؒ‫ۀا‬쎂썡썛썽ɺ쎕썰ɻ썬쎕썭쎕쎁෼໺ɾจԽ쎅ॾཁૉ썣ަࠩ썰쎢쎁썢썾े਺఺쎅࡞඼썣‫ݱ‬໾쎅ࣨ಺૷০썿썮썽࢖༻썬쎣썽썛쎢ৢ੒썬쎣썽썛썺썶ۙ୅‫౎ژ‬쎩ɺʮֆը썿છ৫඼ʯ썿썛썝‫ۃ‬쎘썽‫ك‬쎁ɺ‫ڻ‬썦쎐썤ࣄྫ썾썰ɻࢹ఺썢쎠ඥղ썦ࢼ쎖썿썮썽։࠵썮쎕썮썶ɻ২ా࠼๕ࢠࢯ쎅쏐썗쏨썾썙쎢ʪ໠࿯ਤʫ쎆ɺઍ័썣ख썣써썶ʪఱ᳕ឿ༑ષʮཛྷ쏘ਤʯֻ෯ʫʢ೥ɺࡾ쎅‫ؙ‬ঘଂ‫ؗ‬ଂʣ쎅‫ݪ‬ը썿썬쎣쎢࡞඼썾썰ɻ௕쎠썦࡞ऀ쎙ॴࡏ쎙൑໌썮썽썛쎁썢썺썶࡞඼쎩ɺ೥쎂౦‫ژ‬쎅ඒज़঎쎂썽২ాࢯ썣ൃ‫ݟ‬썬쎣쎕썮썶ɻۙ୅೔ຊը쎂썡써쎢໦ౡᓎ୩쎅Ґஔ෇써썿ʪ໠࿯ਤʫ썿ʪఱ᳕ឿ༑ષʮཛྷ쏘ਤʯֻ෯ʫ쎅ൺֱ‫ڀݚ‬쎩썫ൃද썛썶썷썤쎕썮썶ɻኍా޹ࢯ쎆ɺ஛಺੘๟쎅‫ऀڀݚ‬썾썙쎡ɺ쎕썶௕೥쎂౉쎡∁ౡ԰࢙ྉ‫ॴؗ‬ଂ쎅છ৫ࢿྉ쎅‫ڀݚ‬쎩ଓ써썽썪쎠쎣쎕썮썶ɻઍ័썿썿쎙쎂ඒज़છ৫쎅੡࡞썾஌쎠쎣쎢∁ౡ԰쎅๲େ쎁ࢀߟըूɺԼֆɺ੡඼ࣸਅ쎩ௐࠪ썬쎣ɺ썴쎅ूେ੒썿썮썽ʰ໌࣏େਖ਼‫ظ‬쎅છ৫ࢿྉ쎅‫ڀݚ‬ʢ∁ۙ୅쎩த৺썿썮썶ֆըɾછ৫쎅‫ऀڀݚ‬༨໊썣ू쎕쎡ɺൃද‫ޙ‬쎅쏟쏴썗쏑쎭쏃쎵쏍쏁쏱쏽썾쎆ɺ‫ൃ׆‬쎁ٞ࿦썣ަ쎦썬쎣쎕썮썶ɻ

086ઍ័จԽ‫ॴڀݚ‬쎅‫׆‬ಈɹʦ࠵ࣄʗಛผؑ৆ձɾߨԋձʧ千總コレクションと共に、日本文化の未来を考える 第 1 回ʮઍ័썿ԁࢁԠ‫ڍ‬ʵ࿝ฮ쎅쏛쏒쏷쏗썗쏂ʵʯ೔࣌ɿ೥݄೔ʢ໦ʣɹ‫࣌ޙޕ‬ʙ‫࣌ޙޕ‬෼ԙɿઍ័ຊࣾ쏝쏵֊쏥썗쏵ઍ័จԽ‫ݚ‬‫ڀ‬ॴ쎅‫׆‬ಈở࠵ࣄʗಛผؑ৆ձɾߨԋձỠỘʦ֓ཁʧઍ័จԽ‫ॴڀݚ‬쎅ઃཱ‫ج‬ௐߨԋ썿썮썽։࠵ɻ૑‫ۀ‬ʦߨࢣʧङ໺ത޾ʢ썢쎅쎉쎤쎝썤ʣ

 Activities of the Institute for Chiso Arts and Cultue [Special Exhibitions and Lectures]༨೥쎅ઍ័썣ɺઌਓ쎟쎡େ੾쎂ड써‫ܧ‬썛썾썤썶ઍ័೥ɺ෱Ԭ‫ݝ‬ੜ쎕쎣ɻ‫۝‬भେֶେֶӃത࢜՝ఔத쎽쏶쎹쏁쏱쏽쎅த썾쎙ۙੈҎ߱쎅ֆը࡞඼쎆ɺઍ័썿ୀ
ʢ೔ຊۙੈඒज़࢙ઐ߈ʣ
ɻ‫ཱࠃ౎ژ‬ത෺‫ؗ‬ඒज़ࣨ௕ɾ‫౎ژ‬쎅ொ썿쎅ਂ썛ؔ܎쎩෺‫ޠ‬쎡쎕썰ɻ೔ຊۙੈඒज़࢙‫౎ژ‬จԽࢿྉ‫ڀݚ‬쏅쏽쏉썗௕ɺಉࢤࣾେֶจԽ৘ใֶ

쎅ୈҰਓऀ썾썙쎢ङ໺ത޾ࢯ쎩ܴ썟ɺॏཁจԽࡒ썾썙෦‫ڭ‬त쎩ྺ೚ɻઐ໳쎆౧ࢁֆը썿ුੈֆ쎩‫ؚ‬쎗ߐ‫ށ‬쎢ԁࢁԠ‫ڍ‬쎅ʪอ௡઒ਤẒ෩ʫ쎩୊ࡐ쎂ɺ‫ژ‬쎅ொ썿ֆֆըɻङ໺೿ɾ௕୩઒೿ɾྞ೿쎁쎀ੈ‫౎ژل‬ը೿쎅ࢣɺઍ័썿ԁࢁԠ‫ڍ‬쎂썻썛썽‫ޠ‬썺썽썛썶썷썤쎕썮썶ɻʪอ࡞඼썿఻‫ه‬쎩‫ڀݚ‬ɻओ쎁ஶॻ쎆ʰ쎙썺썿஌쎡썶썛િզ௡઒ਤẒ෩ʫࠨӈ쎅੭쎩޲썢썛߹쎦썲쎂లࣔ썮ɺདྷ৔ᤲന ੜ֔썿࡞඼ʱʢ౦‫ژ‬ඒज़ʣɺʰ৽ൃ‫ ݟ‬བதབ֎ਤऀ쎆྆ଆ쎩Ẓ෩쎂‫ڬ‬쎕쎣쎢‫ܗ‬썾࡞඼쎩ؑ৆썮쎁썣쎠ௌẒ෩ʱʢ੨‫ࣷݬ‬ʣɺʰङ໺Ӭಙ쎅੨य़࣌୅ བ֎໊ॴ༡ߨ썬쎣쎕썮썶ɻָਤẒ෩ʱʢখֶ‫ؗ‬ʣɺʰ൓ࠎ쎅ըՈɹՏು‫ࡈڿ‬ʱʢ৽ைࣾʣɺʰߐ‫ށ‬ֆը쎅ෆ౎߹쎁ਅ࣮ʱʢஜຎબॻʣ쎁쎀ɻത෺‫ ࣌ؗ‬୅쎅೥ʮ຅‫ޙ‬೥‫ه‬೦ԁࢁԠ‫ڍ‬ʯల쎩୲౰ɻ098ઍ័จԽ‫ॴڀݚ‬쎅‫׆‬ಈɹʦ࠵ࣄʗಛผؑ৆ձɾߨԋձʧઍ័쎽쏶쎹쏁쏱쏽썿‫ڞ‬쎂ɺ೔ຊจԽ쎅ະདྷ쎩ߟ썟쎢ୈ  ճʮઍ័썿य़೔େࣾʕઍ੾୆썣쎗썰쎍ԑʕʯ೔࣌ɿ೥݄೔ʢۚʣɹ‫࣌ޙޕ‬ʙ‫࣌ޙޕ‬෼ԙɿઍ័ຊࣾ쏝쏵֊쏥썗쏵ઍ័จԽ‫ݚ‬‫ڀ‬ॴ쎅‫׆‬ಈở࠵ࣄʗಛผؑ৆ձɾߨԋձỠỘʦ֓ཁʧઍ័썿ಸྑ썿쎅஌쎠쎣썭쎢‫ܨ‬썣쎡쎂য఺썣౰썽쎠쎣쎕ʦߨࢣʧԬຊজ෉ʢ썡썢쎙썿썙썤썡ʣ

 Activities of the Institute for Chiso Arts and Cultue [Special Exhibitions and Lectures]썮썶ɻ೥쎂‫౎ژ‬썾૑‫ۀ‬썰쎢Ҏલɺઍ័쎅ԕ૆쎆‫ٶ‬೥ಸྑ‫ݝ‬ੜ쎕쎣ɻ೥ᅳላӃେֶจֶ෦ਆಓେ޻썿썮썽ಸྑɾय़೔େࣾ쎂࢓썟ɺʮए‫ٶ‬썡쎪ࡇʯ쎂‫ڙ‬Պଔ‫ޙۀ‬ɺय़೔େࣾ쎏ไ৬ɻ೥쎂‫࢘ٶݖ‬썿쎁쎡ɺ썬쎣쎢ʪઍ੾୆ʫ쎩ไೲ썮썽썛쎕썮썶ɻ썴쎅‫ࣄނ‬쎂Ҽ쎖ɺ೥쎕썾ಉ৬ɻࡏ೚த쎂쎆ɺ߃ྫ‫ޚ‬ਆָɺࣜ೥ભઍ੾୆쎩঎ඪ썿썮ɺ԰߸쎩ઍ੾԰썿শ썮ɺ٦쎩Ո໲썿썮‫ॾٶ‬ਆࣄɺ썡쎪쎕썻쎡౳쎅‫ڵ࠶ّچ‬ɺਆ᰹쎛ഇઈਆָ썶ઍ੾԰Ұ໳쎆ɺԕ૆쎅ੜ‫ۀ‬쎩‫ތ‬쎡쎂ઍ੾໲쎩ஆ伩쎂쎅෮‫ڵ‬쎂ਚྗɻಸྑঁࢠେֶจֶ෦ඇৗ‫ࢣߨۈ‬쎛ఇછ쎘썻써ɺ‫ܝ‬썩썽썤쎕썮썶ɻ௩ࢁେֶඇৗ‫ࢣߨۈ‬ɺఇ௩ࢁେֶಛผ٬һ‫ڭ‬तɺӉ೥쎕썾‫࢘ٶݖ‬썿썮썽य़೔େࣾ쎂ไ৬썬쎣ɺʮए‫ٶ‬լࢤ԰จ‫ݿݿ‬௕쎁쎀쎩ྺ೚ɻ‫ࡏݱ‬ɺಸྑ‫ཱݝ‬େֶ٬һ썡쎪ࡇʯ쎅‫ّݹ‬쎅࠶‫ڵ‬쎂썫ਚྗ썬쎣썶Ԭຊজ෉ࢯ쎩ܴ‫ڭ‬तɻओ쎁ஶॻ쎆ʰਆ༷썣࣋썶썲썽썦쎣썶ห౰ശʱʢ‫ݬ‬썟ɺ썬쎕썭쎕쎁ܳೳ쎩ਚ썦썮썶՚쎛썢쎁ࡇྱ썿ਆࣄ쎏‫ܞ‬ౙࣷʣɺʰ೔ຊਓ썷써썣஌썺썽썛쎢ਆ༷쎂쎒쎘쎠쎣쎢ੜ썤쎦쎢썪썿쎅ଚ썬ɺಸྑ썿‫౎ژ‬쎅ؔ܎ɺ೔ຊจԽ쎅ਫ਼ਆํʱʢ‫ݬ‬ౙࣷʣɺʰେ࿨‫ݹ‬෺ࢄࡦʱʢ쎑쎡썢쎪ࣾʣ쎁쎀ɻੑ쎂썻썛썽썫ߨԋ썛썶썷썤쎕썮썶ɻ࣮෺쎅ʪઍ੾୆ʫ썿ઍ੾໲쎅ஆ伩썿‫ڞ‬쎂ؔ࿈썰쎢ֆը࢙ྉ쎅ؑ৆ձ쎩࣮ࢪ썮쎕썮썶ɻઘ԰ത‫ؗݹ‬ɾઘ԰ത‫ؗݹ‬෼‫ؗ‬ɹʮ໦ౡᓎ୩ۙ୅ಈ෺ը쎅๯‫ݥ‬ʯ೥݄೔ʢ౔ʣʙ݄೔ʢ೔ʣɾ೥݄೔ʢ౔ʣʙ݄೔ʢ೔ʣ໦ౡᓎ୩ʪ໠࿯ਤʫʕ‫ཱۙࠃ౎ژ‬୅ඒज़‫ؗ‬ʮ໌࣏೥లɹ໌࣏쎅೔ຊը썿޻ܳʯ೥݄೔ʢՐʣʙ݄೔ʢ೔ʣ‫؛‬஛ಊʪॖ໗஍޸੃쎂Ֆจ༷༑ષછ྾ʫʪ֟쎂Ԑਤʫʪᑤᓌ쎂੃ਤʫࠓඌ‫ܠ‬೥ʪॖ໗஍٠Դ୮࿇쎂കจ༷༑ષછ྾ʫʪക݄ਤʫʪۡࣇਤʫʰ‫ܠ‬೥Ֆௗըේʱ‫؛‬஛ಊ쎒썢ʪ໛ࣸɹ௜ೆ᥇ʮՖௗಈ෺ਤʯʫ‫ٱ‬อాถભʪॖ໗஍େ௡ֆจ༷‫ܕ‬༑ષછ྾ʫ޾໺ഖྮʪॖ໗஍‫ޚ‬伩쎂٠จ༷‫ܕ‬༑ષછ྾ʫʕ쏥쏐쏵쎴썗쎹쏳౦‫ژ‬쎬쏃쎽쏍쏒쏥썗쏵ʮ쏋쏭쏴쏐쎭썗쎮쏣쏽쏒ɹୈճʰൿଂ쎅໊඼쎬썗쏒쎽쏶쎹쏁쏱쏽లʱʯ೥݄೔ʢ݄ʣʙ݄೔ʢ໦ʣ‫؛‬஛ಊʪ໠‫ދ‬ਤẒ෩ʫɺʪ݄ԼೣࣇਤʫʕּԬࢢཱ஛‫ڤ‬ඒज़‫ؗ‬ɾ࿨Վࢁ‫ཱۙݝ‬୅ඒज़‫ؗ‬ɾ৽ׁ‫ཱݝ‬ສ୅ౡඒज़‫ؗ‬ɹʮ૑ཱप೥‫ه‬೦ɹࠃը૑࡞‫ڠ‬ձ쎅શ๴ʯ೥݄೔ʢۚʣʙ݄೔ʢ೔ʣɾ݄೔ʢ౔ʣʙ݄೔ʢ೔ʣɾ೥݄೔ʢ݄ʣʙ݄೔ʢ೔ʣḆ‫ࢵݪ‬ๆʪ࿇ਤʫʕ෱Ҫࢢཱ‫࢙ྺ౔ڷ‬ത෺‫ؗ‬ʮߖࣨ썿ӽલদฏՈ쎅໊ๅ r ໌࣏ඒज़쎅썤쎠쎘썤ʵʯ೥݄೔ʢ౔ʣʙ݄̐೔ʢ೔ʣ‫؛‬஛ಊʪେ௡౜࡚ਤẒ෩ʫʕҰ‫؛ࡾࢢٶ‬અࢠ‫ه‬೦ඒज़‫ؗ‬ʮֆ쎩ඳ썦ࢳɹࢗवඒज़లʵߐ‫࣌ށ‬୅쎅ண෺썢쎠‫ݱ‬୅છ৫쎕썾ʵʯ೥݄೔ʢ౔ʣʙ݄೔ʢ౔ʣʪ‫఼ޚ‬จ༷ଧֻʫʪག‫ۂ‬จ༷ৼକʫʪॳண਽‫ܗ‬ʫʪԧ֨ࢠ쎂஍ࢴจ༷‫ܕ‬༑ષછ྾ʫʪ‫ۋ‬ֆ෩ଏըจ༷‫ܕ‬༑ષછ྾ʫʪ೾쎂Ӣཾจ༷‫ܕ‬༑ષછ྾ʫʪ࠲ෑਚ썦썮จ༷‫ܕ‬༑ષછ྾ʫʕӉ࿨ౡࢢཱҏୡത෺‫ؗ‬ʮେ໊Ո썿ࠗྱಓ۩ r ࢿྉ썢쎠఻쎦쎢ՖՇ쎏쎅૝썛ʵʯ೥݄೔ʢ౔ʣʙ݄೔ʢ೔ʣʪԴ୮౻Ֆଋ੨ւ೾จ༷খକʫɺʪቼນߚ༿จ༷খକʫɺʰ౰ੈછ༷ઍ୅쎅쎉썛쎁썢썶ʱʕ‫ࡁܦ౎ژ‬쏅쏽쏉썗'‫ۀ࢈౎ژ‬ձ‫ؗ‬쏥썗쏵ʮ5IF,*.0/04UZMFE3F4UZMFEʙ쏟쎫쏍쏁쏱쏽썿썮썽쎅썤쎙쎅೥ʯ೥݄೔ʢ౔ʣʙ೔ʢۚʣʪएদจ༷ଧֻʫɺʪ೾쎂௽จ༷ৼକʫʕ੢‫ࢢٶ‬େ୩‫ه‬೦ඒज़‫ؗ‬ʮ࢛৚೿쎏쎅ಓɹ‫ޖ‬य़쎩த৺썿썮썽ʯ೥݄೔ʢ౔ʣʙ݄೔ʢ೔ʣࢁ‫ޱ‬ૉҀʪ쎛썰쎠썛ࡇਤẒ෩ʫ129లཡձ‫ྗڠ‬128ߨԋɾ쏶쎹쏋쏭썗ɾ‫ߘد‬ʮ썝썶ɾ쎙쎅썣썶쎡쎅쏑쏀쎮쏽쎅എ‫ܠ‬ʯ೥݄̏೔ʢՐʣ‫ޙޕ‬āʙ‫ޙޕ‬ā‫ܳ޻౎ژ‬ણҡେֶ쏑쏀쎮쏽쏡쏷쏂쎱쎹쏒#՝୊ఏ‫ڙ‬ԙɿ‫ܳ޻౎ژ‬ણҡେֶʕʮ‫ژ‬༑ષ쎅쎦썭ʵ఻౷썿૑଄쎏쎅௅ઓʵʯ೥݄̔೔ʢ೔ʣ‫ޙޕ‬āʙ‫ޙޕ‬āଟฉձɹ쎬썗쏒썿ߟ‫ֶݹ‬쏁쏴썗쏄ᶘແ쎅썢썶썸4IBQFPGUIF4IBQFMFTTԙɿ‫ݐ‬ਔࣉౝ಄྆଍Ӄɹɹɹʕ
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Activities of the Institute for Chiso Arts and Culture [Reserch / Seminar]
037

First Seminar:

Encounter between Paintings and Textiles in Modern Kyoto%BUFBOE5JNF'SJEBZ %FDFNCFS  QNUPQN-PDBUJPO$IJTP)FBE0⒏DF#VJMEJOH

ʕPresentation 1:

A study of Moshu-zu (Eagle) by Okoku Konoshima

Sayoko Ueda, Curator at the Museum of Kyoto

ʕPresentation 2:

A comparative study of Embroidery Reference Collection Books (archived in Takashimaya
Historical Museum), underpaintings, and photographs of finished products
Takashi Hirota, Professor at the Faculty of Home Economics, Kyoto Women’s University
Research Report:

A study of velvet yuzen-dyed textiles owned by Nara Hotel
Yuriko Kato, Director of the Institute for Chiso Arts and Culture

The painting Moshu-zu (Eagle), the subject of Sayoko
Ueda’s presentation, is believed to be an original paintingof Arashi no Zu (Storm) (1903, the Museum of the ImperialCollections), a velvet yuzen-dyed tapestry produced atChiso. Although the artist of Eagle and its storage location
long remained unknown, Ueda found the painting at an art
dealer’s gallery in Tokyo in 2017. In her presentation, she
discussed the positioning of Okoku Konoshima within thecontext of modern Japanese paintings, and spoke about her
comparative study of Eagle and the tapestry Storm.
Takashi Hirota is a scholar of painter Seiho Takeuchi.
He has also studied for many years the textile-relatedmaterials archived in Takashimaya, a company like Chiso,
known for its artistic textile production. His research on

Takashimaya’s vast archives of reference collection books,
underpaintings, and photographs of finished products
was compiled in a publication titled Study of Materials
Related to Textiles in the Meiji and Taisho Periods (Archivedby the Takashimaya Historical Museum)—Comparison andConsideration of Sources, Designs and Photos of Works (2018,
Kyoto Joshi Daigaku Kenkyu Sokan 55). In this seminar,
Professor Hirota focused on a part of the publication todescribe his observations about the relationship between
paintings and textiles or between painters and artisans thatcan be reflected in the paintings on textiles.
The Institute for Chiso Arts and Culture reported on theexamination of the velvet yuzen-dyed textiles, which werefound by Misao Kiyose, Professor of the Faculty of Letters
at Doshisha University, in Nara Hotel in 2017, representing
an extremely rare, remarkable example of more than ten
such works still being used as the interior decoration of aprivate company.
After these presentations, more than 20 researchers on
modern paintings and textiles attended a free discussion
session, where they actively exchanged their opinions.

 Activities of the Institute for Chiso Arts and Culture [Reserch / Seminar]ʕSummary
In modern times, the industries in Kyoto faced the needto transform in response to drastic social changes andwesternization. In the textile industry, Shinshichi IidaIV, Jimbei Kawashima II, and Sohzaemon Nishimura XII
took the initiative in presenting textile interior decors withpatterns designed by Japanese painters at expositions in andoutside of Japan. These works, created using the magnificent
techniques of weaving, dyeing, and embroidery, havereceived a high reputation. Today, the works are featured atexhibitions in Japan and abroad, receiving renewed publicattention. This seminar focused on paintings and textiles
and looked at how Kyoto has developed in modern times
with different realms and cultures interacting with oneanother.

ઍ័จԽ‫ݚ‬‫ڀ‬ॴ쎅‫׆‬ಈở‫ݚ‬‫ڀ‬‫׆‬ಈʗ‫ݚ‬‫ڀ‬ձỠỘ

Activities of the Institute for Chiso Arts and Cultue [Special Exhibitions and Lectures]
087

Exploring the Future of Japanese Culture with Chiso Collection–1

Chiso and Okyo Maruyama—Patronage of the Long-established Shop
Date and Time: Thursday, September 21, 2017, 3:00 pm to 4:30 pm
Location: Chiso Head Office Building, Hall (5th floor) (80 Mikura-cho, Sanjo-dori Karasuma Nishiiru, Nakagyo-ku, Kyoto-shi)ઍ័จԽ‫ݚ‬‫ڀ‬ॴ쎅‫׆‬ಈở࠵ࣄʗಛผؑ৆ձɾߨԋձỠỘ

Lecturer:The event was held as a keynote lecture at the establishment

Hiroyuki Kanoof the Institute for Chiso Arts and Culture.

Hiroyuki Kano was born in Fukuoka in 1947. He was aThe collection, with its paintings from the early modern

doctoral student at Kyushu University specializing in early

period and later, indicates the deep relationship of Chiso

modern Japanese art history (withdrew from the course). Hewith the towns in Kyoto. We invited Hiroyuki Kano,

has successively served as a chair of the Department of Finea leading expert in Japanese art from the early modernArts and a director of the Kyoto Center for the Research ofperiod, to deliver a lecture on the towns and the painters in

Cultural Archives at the Kyoto National Museum, and aKyoto, and specifically, the relationship between Chiso andprofessor in the Faculty of Culture and Information Science

Okyo Maruyama under the theme of Hozugawa-zu Byobu

at Doshisha University. His study focuses on Momoyama(folding screens with the painting of Hozu-gawa River) bypaintings and Edo paintings including ukiyo-e, and his

Okyo Maruyama. The left and right screens of Hozugawa-

research covers art pieces and stories of 18th-century

zu Byobu were exhibited facing each other with the visitors

schools of painting based in Kyoto, such as the Kanoin between, allowing the visitors to view the art piece while

school, the Hasegawa school, or the Rinpa school. His main

listening to the lecture.

literary works include Motto shiritai Soga Shohaku (TokyoBijutsu); Shinhakken Rakuchu Rakugai-zu Byobu (SeigenshaArt Publishing); Kano Eitoku no seishun jidai: Rakugai
Meisho Yuraku-zu Byobu (Shogakukan); Hankotsu no gaka
Kawanabe Kyosai (Shinchosha); and Edo kaiga no futsugo na
shinjitsu (Chikuma Sensho). During his time at the Kyoto
National Museum, Kano organized the exhibition “Okyo:
200th Anniversary of His Death” in 1995.

 Activities of the Institute for Chiso Arts and Cultue [Special Exhibitions and Lectures]

Summary

Activities of the Institute for Chiso Arts and Cultue [Special Exhibitions and Lectures]
099

Exploring the Future of Japanese Culture with Chiso Collection–2

Chiso and Kasuga Taisha Shrine—A Connection Brought by Chikiri-dai
Date and Time: Friday, December 15, 2017, 3:00 pm to 4:30 pmLocation: Chiso Head Office Building, Hall (5th floor)

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Lecturer:

The lecture focused on an unknown connection between

Akio Okamoto

Chiso and Nara, which was an ancient capital of Japan.

Akio Okamoto was born in Nara Prefecture in 1954. AfterBefore the foundation of the company in Kyoto in 1555,

graduating from the Department of Shinto Studies in theremote ancestors of Chiso served as shrine carpenters

Faculty of Letters, Kokugakuin University in 1977, hefor Kasuga Taisha Shrine in Nara and dedicated theirserved Kasuga Taisha Shrine. In 2001, he became a deputy

special flower stands called chikiri-dai used at rituals, forchief priest and served the shrine until 2015. During his

the Wakamiya On-Matsuri festival. From this history,service, Okamoto devoted himself to reviving ancient

the Chikiriya clan used chikiri-dai as their trademark

rituals such as the Korei Mikagura (Shinto dance), various

and started their business under the name Chikiriya,

rituals for Shikinen Sengu (ceremonial rebuilding of theusing Citrus tachibana as their family crest. Cherishing

shrine), and the On-Matsuri festival as well as shinsen (foodthe profession of their ancestors, the clan has used a shop

offering to gods) and abolished kagura dance rituals. He

entrance curtain, or noren, with the dyed chikiri-mon crest.

successively served as a part-time lecturer of the Faculty ofLetters at Nara Women’s University, a part-time lecturer

We invited Akio Okamoto, who served as a deputy chief

and a special guest professor at Tezukayama University,

priest at Kasuga Taisha Shrine until 2015 and dedicated toand a manager of Ukashiya-Bunko Library. He is currently

reviving the ancient rituals of the Wakamiya On-Matsuri

a visiting professor at Nara Prefectural University. Hisfestival, to deliver the lecture on the blessing of being

main literary works include Kamisama ga motasete kureta

engaged in gorgeous festivals and Shinto rituals involving

bentobako (A lunch box gods gave to me) (Gentosha),a variety of performing arts, the relationship between Nara

Nihonjin dake ga shitteiru kamisama ni homerareru ikikata

and Kyoto, and the spirit of Japanese culture. We also held

(A way of life that gods praise: Only the Japanese know)a special exhibition of related artwork with the real chikiri-(Gentosha), and Yamato kobutsu sansaku (Strolling throughdai flower stands and the shop entrance curtain with theYamato antiques) (Perikansha Publishing).

dyed chikiri-mon crest.

 Activities of the Institute for Chiso Arts and Cultue [Special Exhibitions and Lectures]

Summary