Pio-engineers in Modern Japan

̶Rintarō, Fuji, and Giichi, Three Generations of Tanakas

The University Museum, the University of Tokyo (UMUT)
2019

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Koishikawa Annex Special Exhibition

Pio-engineers in Modern Japan
̶Rintarō, Fuji, and Giichi, Three Generations of Tanakas[Dates] February 4 to June 11, 2017
[Venue] Koishikawa Annex, The University Museum, the University of Tokyo 1F[Organizer] The University Museum, the University of Tokyo (UMUT)

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IndexGreetings……… 007

On “Pio-engineers in Modern Japan: Rintarō, Fuji, and Giichi,
Three Generations of Tanakas”
Terada Ayumi……… 011

Catalog raisonné……… 017—Tanaka Rintarō……… 019—Tanaka Fuji……… 039—Tanaka Giichi……… 073

Views of the exhibition……… 097

References (in Japanese)………103

Acknowledgements………109● Appendix

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Past exhibitions of the Tanaka Collection………112

Events related to the Tanaka Collection………115Introduction of Koishikawa Annex………116005

Greetings

The University Museum, the University of Tokyo (UMUT) is publishing the exhibition catalog of “Pioengineers in Modern Japan: Rintarō, Fuji, and Giichi, Three Generations of Tanakas” (February
4–June 11, 2017, Koishikawa Annex), on the occasion of the publication of the symposium report“Pio-engineers in Modern Japan,” which was held on November 17, 2018 at JP Tower Museum
INTERMEDIATHEQUE (IMT).
The Tanaka family is a descendant of Tanaka Hisashige (1799–1881), a famous inventor
and engineer during the late Edo and Meiji periods. Having graduated from the Imperial College ofEngineering, Tokyo Imperial University, and Waseda University, respectively, the three Tanakas—
Rintarō (1856–1924), Fuji (1877–1922), and Giichi (1902–1985)—contributed to essential works inmodern Japanese engineering, constructing the Imperial Palace and the Tōgū Palace, authoring
the first Japanese-language textbook on mechanical engineering, and furnishing the interior of theImperial Diet Building.
UMUT houses and researches approximately a thousand items—including documents,
photographs, commodities and books—related to the Tanakas, who contributed to develop
engineering in modern Japan. Materials on Rintarō, Fuji, and Giichi form the bulk of the collection.
The special exhibition was the first opportunity to present the Tanaka Collection and introduced themain works of these three generations of Tanakas.
The Japanese word for engineering, kōgaku 工学, denotes an academic discipline thatJapan imported from Western countries when it modernized during the Meiji Era. It can also refer tothe Western engineering techniques that sustained Japan’s transition into a modern state. However,
the word also describes a concept that predates Japan’s westernization. In its kunyomi reading,the first of the two characters, kō 工 , corresponds to the Japanese word takumi, which describes
dexterous or masterful craftsmanship. Thus, kō also denotes the craftsmanship that underpins
works from the smallest crafted ones to the largest edifices. On the process of how engineeringdeveloped in Japan—both as an academic discipline and as artisanal techniques—it would be foundthat modern technologies imported from the West intermingled with Japan’s indigenous technology.
One of the practitioners was Tanaka Hisashige. Through the works of Rintarō, Fuji, and Giichi,
people can view what makes the development of Japanese engineering so interesting within thecontext of not only an engineering history but also a cultural phenomenon unique to a particulartime.
The exhibition aimed to provide a sense of the chronology of engineering during
Japan’s modernization, from its dawn and throughout its development, by showcasing the works ofthe three generations of Tanakas, which cover a full spectrum of engineering fields, including civilengineering, material engineering, mechanical engineering, architecture, and design. This exhibition
concept could uncover the “cultural structures” of Japan’s modernization that are present in thedevelopment of Japanese engineering as both an academic discipline and as a set of techniques.
The broad sense of “architecture” explored in this special exhibition is derived thematically from
Koishikawa Annex’s permanent exhibition, Architectonica. The word “Architectonica” encapsulates
all material and immaterial architectural phenomena.

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The title of the symposium features the word “pio-engineers.” “Pio-engineers” was the

On “Pio-engineers in Modern Japan: Rintarō, Fuji,
and Giichi, Three Generations of Tanakas”

title and keyword in the exhibition at Koishikawa Annex for the first time. The exhibition showcased
UMUT collections related to the Tanakas’ pioneering spirit as well as the spirit of cooperation they

Terada Ayumi

demonstrated in working with those around them to contribute to the development of engineering inJapan. This ethos was described as “pio-engineers”—a portmanteau of pioneer and engineers.
Researchers from the US, UK, and Japan delivered lectures and held discussions
on modern Japanese engineering at the symposium according to their study fields and particularinterests. The speakers introduced examples of “pio-engineers” and their work, and thus illuminatedvarious aspects of the process of Japan’s modernization. The symposium could provide much foodTanaka Collection

exhibits was Bombonière, which was produced
as a special gift for a ceremony of the Imperial

for thought concerning Japan’s past, as well as its present and future, to the participants who wereinterested in this theme. The result of the symposium is published as a report. We hope that this

The Tanaka Collection which is kept at the

Court (see page 112 in Past exhibitions of Tanaka

exhibition catalog will also be a useful tool to support the symposium report in terms of providing

University Museum, the University of Tokyo

Collection).

further information to people who want to go deeper into the theme.

(U MU T ) c ons i s t s of d o c um ent s, p i c tures,

Invitations to Fuji as Professor ofgoods, books, and other items derived fromthe Faculty of Engineering at Tokyo Imperial

The University Museum, the University of Tokyo (UMUT)t h e Ta na k a fa m i l y, a n d i n c l u d e s n ot o n l y

University have been kept with three of the

March, 2019

objects related to engineering but also various

Bombonières, and we can see at which

historical and ar tistic materials spanning a

ceremony the Bombonières were granted. Items

variety of fields. The total number of materials

such as Imperial Court banquet entrance tickets,exceeds thousands. The special exhibition Pio-

ceremonial travel tickets, and dress code notes

engineers in Modern Japan: Rintarō, Fuji, andhave also been kept with the invitations, so it

Giichi, Three Generations of Tanakas covered

is very interesting to form academic value inthree generations of the Tanaka family througha complex way, not only the intrinsic value ofthe collection focusing on materials related to

Bombonière but also of the items related to it.

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engineering, and introduced their work: Rintarō

An additional donation was also

(1856–1924) (image 1) who was involved in thereceived for the collection in 2014, and thisconstruction of the Imperial Palace and thecontained many photographs of people related to

Tōgū Palace; Fuji (1877–1922) (image 2) who

the Tanaka family. For example, in relation to Fuji,

wrote the first Japanese textbook on mechanicalthere are photographs of the exchanges among

engineering; and Giichi (1902–1985) (image 3)

Tokyo Imperial University professors at that time,

who participated in the interior decoration of thethus of added value as academic documents ofImperial Diet Building.

the University of Tokyo. However, it is felt thatI r e s e a r c h e d o n t h e Ta n a k amany “private” family pictures recorded for eachCollection for the first time in August 2013,

milestone cannot be handled in view of suchfor holding a small exhibition entitled The“public” interest, but are interesting items that for

Stylishness of Imperial Crafts: From the Tanaka

one reflect a social history of photography.

Collection. We exhibited Japanese craft works

So, in August 2015, during the Playfrom among the objects donated in 2005 andIMT 3 theatrical performance event with the2007 in the permanent exhibition gallery of thetheme of love conducted at the Intermediatheque

JP Tower Museum Intermediatheque. Among the(IMT), a one-day, limited installation using family009

pictures centering on Fuji was held under the title“family photographs of love” (see page 113 in Past
exhibitions of Tanaka Collection).

Thus, the Tanaka Collec ti on is
unique, because of the vast amount of material
and the diversity of fields that it covers, andimage 1:
Portrait of Tanaka Rintarō(from a group photograph) /Photographed by Okabe in
Saga / April 25, 1921

has many possibilities. Given this, the researchon this collection is still in progress. And inorder to develop future research, we believethat it is meaningful to convey to more people
the existence and the appeal of the present
collection, and in particular, it was decided that
it would be opened to the public for the firsttime as the special exhibition Pio-engineers inModern Japan: Rintarō, Fuji, and Giichi, Three
Generations of Tanakas.

image 2:
Portrait of Tanaka Fuji /Photographed by Negishi
Masaichi / June 29, 1909

Genealogy of the Tanaka Family

image 5:
Portrait of Tanaka Hisashige the Second / Photographed by
Maruki Riyō / After 1889

The core of the Tanaka Collection is related toengineering as mentioned in the theme of theimage 4:
Portrait of Tanaka Hisashige the First / Photographer unknown /Written on the back – "November 1881"

special exhibition. The reason is that the three
generations—Rintarō, Fuji, and Giichi—are thoseimage 3:
Portrait of Tanaka Giichi(from a group photograph)/ Photographer unknown /January 1943

who have engaged in important work symbolizing
the development of the engineering field inmodern Japan, as listed at the beginning of thispaper. Their mark is felt more when we find thatthese three generations of the Tanaka family areconnected by genealogy with Tanaka Hisashige

permanent exhibitions at the National Museum(Giemon) the First (1799–1881) (image 4), whoof Nature and Science, the Edo-Tokyo Museum,

was a famous inventor of the Karakuri ningyō

and the Toshiba Science Museum.

(puppet automata) and called “Karakuri Giemon.”Tanaka Hisashige the Second (néeHisashige the First was from Kurume

Kaneko Daikichi) (1846–1905) (image 5), disciple(currently Fukuoka prefecture) and is known asof Tanaka Hisashige the First, was adopted

an inventor and an engineer who was active fromby the Tanaka family. He moved to Tokyo with

the Edo to the Meiji periods. In the production of

Hisashige the First after the abolition of thethe Karakuri ningyō and the Myriad year clock,han (domain) system and the replacement by ahe developed Japanese conventional technology

system of prefectures. He became involved inand later learned Western and modern

the production of telegraph machinery in Tokyo

technologies, and attempted to manufacture

and opened the Tanaka Seizō-sho in Shibaura

the steam locomotive and steamship at theaf ter the death of Hisashige the First. The

Nagasaki Naval Training Center and the Saga

factory was later transferred to Mitsui, renamed

Domain Chemistry Laboratory. For this reason,

Shibaura Seisaku-sho, and was later involved

Hisashige the First is surely remembered as one

with Toshiba Corporation. Thus, Hisashige theof the fathers of modern technology development

Second became known among the genealogy ofin Japan. Many people have seen his work in the

the Tanaka family in the field of industrial history

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image 7:
Portrait of Tanaka Seisuke and his son Shigeo /Photographed by Tamamatsu / Meiji Era
image 6:
Portrait of Tanaka Giemon the Second / Photographed by
Okano Photo Studio / Reprint in January 1917

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was known as a technician who spread thein Japan.
On the other hand, it can be said

foundation of modern glass manufacturing inthat the genealogy of Rintarō, Fuji, and Giichi

Japan. His older brother Fujiyama Tsuneichi

has not been so well known compared to the(1871–1936) ( image 9 ) was also a Doctor ofimportance of the works they were involved in.

Engineering who pioneered the carbide industry.

One of the reasons may be the early death of

Giichi was the eldest son of Fuji

Tanaka Giemon the Second (1816–1864) (image

and Yoshiko. From the name character of Gi 儀6), who was the adoptive father of Rintarō.

which is the same as Giemon, one could imagine

Giemon the Second, whose original
name was Hamasaki Gankichi, was activethat this birth of a boy was long-awaited by the
Tanaka family.

with Hisashige the First. He was a nephew ofIn this way, the genealogy of Rintarō,Hisashige the First and married his daughter,

Fuji, and Giichi, and the Tanaka family, have

Mitsu. In the Saga domain, he is said to havecontributed to the development of engineering

been heavily relied upon by Daimyō Nabeshima

in modern Japan together with the surrounding

Naomasa (1817–1871) and surpassed his father

engineers, rather than a simple single line after

in work. However, he suddenly died at the age

Hisashige the First, thus forming an interestingof 48 due to an unfortunate event in 1864 withgroup.

his son Iwajirō. It is said that Daimyō Nabeshima
greatly mourned the death of Giemon the

The works of Rintarō, Fuji, Giichi

Second.
In the following year, 1865, Rintarō,

In A p r il 1875, Rint ar ō matr i c ulate d a s an

the second son of Nakamura Kisuke (1825 –1876),

engineering specialist into Kōgakuryō (the School

who was a colleague of Hisashige the First inof Engineering) of Japan’s Ministry of Public

the Saga Domain Chemistry Laboratory, wasWorks, and in April 1881, he graduated from theadopted at the age of 9 years old into the family

Mechanics Department of the Imperial College

of Giemon the Second. Since Rintarō wasof Engineering among the third generation ofstill very young, Tanaka Seisuke (Umekawa

graduates. Needless to say, the Imperial College

Shigeyasu) (1836–1910) (image 7), who was anof Engineering was Japan’s first institution ofengineer at the Ministry of Engineering and later

higher education, where a small number of elites

became famous as specialist on telegraph, acted

were trained.

image 9:Portrait of Fujiyama Tsuneichi (right, at the back) and his wife Kiyoko(left, in front), Tanaka Fuji (left, at the back) and Yoshiko (right, infront) / Photographed by Ogawa Kazumasa / February 10, 1904

Immediately after graduation,

as his guardian. Rintarō later married Hisashige
the First’s daughter Minechiyo.

image 8:
Wedding portrait of Tanaka Fuji (center) and Yoshiko(left) with Minechiyo (right) / Photographed by Egi
Matsushirō / November 11, 1901

Rintarō was appointed as engineer to the

M e a n w h i l e, a f t e r t h e d e a t h o f

Ministry of Public Works, and then he attended

Giemon the Second, Kaneko Daikichi was

the Construction Bureau of the Imperial Palace

adopted by Hisashige the First in 1865. Daikichi

in 1882. He participated in the construction of

became a disciple of his adoptive father and later

the Imperial Palace (completed in 1888 andtook the name Hisashige the Second. If Giemon

known by the name Meiji Palace, which had

the Second had lived a little longer, would it bebeen destroyed by war damage later), where he

too much to think that Rintarō’s fate might have

was responsible for the heating equipment (seebeen different?

page 26-27 in Catalog raisonné). As part of his

Fuji entere d the Tanaka famil yconstruction work at the Imperial Palace, he also

as Rintarō’s adopted son in 1894, and in 1901

served as construction director of Nijūbashi (themarried his daughter Yoshiko (image 8). Fuji wasiron bridge of the main gate, completed in 1888)born as the second son of the Saga Prefectural(see page 24 -25 in Catalog raisonné).

Shizoku (a social class of former Samurai)

Under an architect, the Chief of the

Fujiyama Tanehiro (birth unknown–1886), who

Design Bureau of the Ministiry of the Imperial

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image 10:Group photograph of the Tanaka family, Rintarō at 53 years old (second from the left, at the back), Fuji at 32 years old (second fromthe right, at the back), Giichi at 5 years and 10 months old (center, in front), Minechiyo at 46 years old and her granddaughter Taeko
at 3 years and 10 months old (second from the right, in front), and Yoshiko at 29 years old and her son Hirotsugu at 1 year and 4
months old (first from the right, in front) / Photographed by Satō Fukumachi / May 10, 1908
*All of the photographs are part of the Tanaka Collection.

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three pio-engineers, items which are related to“cultural structures” of modernization in Japan forhad been among the first generation of graduates

Af ter c ompleting studies at thetheir main works noted above were arranged

the academic field, and the technological history

from the Architecture Department of the Imperial

Department of Science of the First Waseda

in one gallery, centering on drawings, designs,

of “engineering.” This bird’s-eye view comes from

College of Engineering, Rintarō participated in

University Senior High School, Giichi entered thesketches, photographs, related mementos, andusing the word “architecture” as a concept tothe construction of the Tōgū Palace (Palace for

Department of Architecture, Faculty of Scienceothers. After studying the highest standard ofbundle the principles of things and phenomena

the Crown Prince and the current State Guest

and Engineering at Waseda University, where hemodern engineering at that time, Rintarō, Fuji

as a special exhibition of the Koishikawa Annex

House called Akasaka Rikyū, completed in

graduated in 1928. His father Fuji died in 1922

and Giichi were involved in important nationalthat shows its permanent exhibition under the1909), again in charge of the heating equipment

when Giichi was 20 years old. It is not difficult toprojects as professional engineers. We can see

theme of Architectonica.

(see page 32-33 in Catalog raisonné). The portrait

imagine that Fuji’s early death influenced Giichi’s

an axis emerging from the dawn of engineering

In this special exhibition, we decided

photograph on page 20 in Catalog raisonné waspath to choose his job. Giichi studied painting

in modern Japan to when the development

to call the spirit of collaboration as a collective,

taken in the year 1901 when Rintarō was 46

from his junior high school age under a Western-stage emerges through the works of Rintarō,

including the spirit of entering as a pioneer andyears old and was appointed as a construction

style painter, Somiya Ichinen (1893–1994), who

Fuji, and Giichi at one time. Along with that, by

the people surrounding it, which emerges fromengineer at the Togū Palace.

was active in the Nikakai (Society for Progressive

cross-referencing each work, you will see thethe works of Rintarō, Fuji, and Giichi as “pio-Japanese Artists), and wanted to be a painter,diversity of areas handled by engineering—

engineers.”

but he did not choose it as his occupation.

from civil engineering to construction, materials,

Household Katayama Tōkuma (1854–1917), who

Fuji graduated from the Departmentof Mechanical Engineering of the Faculty ofeducation one after the other in succession.

Their works would have been
watching the future ahead for decades orEngineering at Tokyo Imperial University in 1901

Soon after graduating, Giichi

after completing his studies at the Department of

became an official of the Bureau of Building

Engineering at the First Higher School, Japan.

and Repairs of the Ministry of Finance. In the

He was extremely excellent that he became

following year, 1929, he joined Chiba Railroad

recognized as the only special scholarship

1st Regiment as executive candidate, but in 1930

The Japanese word for engineering, kōgaku 工

at; the spirit of “pio-engineers” will never haves tu d ent in t h e De par t m ent of M e c ha n i c a l

he was hired again by the Bureau of Building

学, denotes an academic discipline that Japana nationalistic meaning, but it will help us think

Engineering at his third grade at the university.

and Repairs, under the Design Chief Yoshitake

i m p o r te d f r o m Wes ter n c o unt r i es w h e n i t

about the present and future of Japan. A cultural

After graduation, Fuji taught as a

Tōri (1886–1945), to join the work on interior

modernized during the Meiji Era. It can also refer

tool that critically and constructively considers

lecturer and later as an associate professor atdecoration of the Imperial Diet Building (current

to the Western engineering technologies thatJapanese society and builds it anew. This is thethe department, and in 1906, Part 1 and Part 2

National Diet Building, completed in 1936).

sustained Japan’s transition into a modern state.

architecture of “pio-engineers.”of his textbook Mechanical Design and Drawing,

The portrait photograph on page 74 in Catalog

However, the word also describes a concept thatthe first such textbook in Japanese, which was

raisonné is from the railroad regiment days when

predates Japan’s westernization. In its kunyomi

co-authored with colleague Uchimaru Saiichirō

Giichi was around 26 years old. There is a design

reading, the first of the two characters, kō 工 ,(1877–1969), was published (se e page 42 in

sketch during his railroad regiment days (seecorresponds to the Japanese word takumi, which2017, pp. 2 – 5, in Japanese, and par tly revised,

Catalog raisonné). The portrait photograph on

page 75 in Catalog raisonné). This sketch could

describes dexterous or masterful craftsmanship.

translated into English and reprinted in this catalog.)

page 40 in Catalog raisonné was taken in 1907

be a proof that Giichi had already met Yoshitake

Thus, kō also denotes the craftsmanship thatwhen Fuji was 29 years old, one year after theat the Bureau of Building and Repairs before heunderpins works from the smallest crafted works

publication of his first book.

joined the railroad regiment, and had been asked

to the largest edifices. Considering this, when

to join the work of the Diet Building

looking at the process in which engineering is

For three years from 1908, Fuji

machinery, architecture, art, and design.

centuries in the process of the establishment
Architecture of “Pio-engineers”

supposed to be the future they were looking

was abroad studying mechanical engineering inAmong the interior decorations ofrooted in Japan, it is said that the Tanaka Family,

the UK, Germany, and France at the behest of

the Diet Building, it is known that Giichi actuallywhose genealogy has continued from “Karakuri

the Ministry of Education. In 1911, just after his

took charge of the design of the pattern of theGiemon,” a father of modern engineering in

return, he was appointed head of the Second

upper marble relief at the Binden (a place for theJapan and has contributed to the development of

Course of Mechanical Engineering and theEmperor to rest upon his visit) entrance (see pageengineering via Rintarō, Fuji, and Giichi, is very

Course of Applied Mechanics. His Applied

76-77 in Catalog raisonné) and the patterns of theinteresting.

Mechanics, Parts 1 and 2 were published in 1913

floor marble mosaic in the front hall of the Binden

Fur thermore, as mentioned

and 1915, respectively (see page 43 in Catalog(see page 78-79 in Catalog raisonné), and two ofpreviously, from the works of three people,

raisonné), and Part 1 and Part 2 of Machine

the four mural paintings in the upper part of thewe can see the time axis of the evolution of

Production Method in 1918, and posthumously,

atrium in the central hall (see page 82 in Catalog

engineering and the expanse of the area thatin 1922 (see page 44 in Catalog raisonné). Theseraisonné).

it covers. What this exhibition focuses on is
In this special exhibition on theJapanese tex tbooks c ontributed to exper t

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of a nation in modern Japan. For us, that is(This article first appeared in Ouroboros, No.58, The
University Museum, the University of Tokyo, February

whether we can obtain clues to understand the015Catalog raisonné

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Tanaka Rintarō(1856–1924)

Born in Saga on January 28, 1856, he was the second son of Nakamura Kisuke (1825–1876) who was acolleague of Tanaka Hisashige the First and a member of the Saga Domain Chemistry Laboratory. In theNotes on the edition

year after the sudden death of Tanaka Giemon the Second, Rintarō was adopted by the Tanaka family- Key information is described in the following order: Title, Author / Date / Medium / Characters written on the object /Dimensions in mm.
- All the materials are collections of the University Museum, the University of Tokyo (UMUT).
- The notation of the date is based on the Japanese calendar, but it is written only in the Christian era which it wasconverted into.
- All Japanese names are given family name first, in Japanese style.

in November 1865, and he married Minechiyo, the daughter of Giemon the Second, in April 1875. He
matriculated as an engineering specialist into the Kogakuryō (School of Engineering) of Japan’s Ministryof Public Works, and in April 1881, he graduated from the Mechanics Department of the Imperial College
of Engineering among the third generation of graduates. In May of that year, he became an engineerof the Ministry of Public Works. In June 1882, in addition to being an engineer of the Ministry, he was
attached to the Construction Bureau of the Imperial Palace and participated in the construction of theImperial Palace (the Meiji Palace, which was completed in 1888 but no longer exists because of war
damage) and was particularly in charge of the Palace’s heating facility. He also served as construction
director of the Nijūbashi (the iron bridge of the main gate, completed in the same year, but replaced in1964). He was awarded a doctoral degree in Engineering from the Imperial University in September 1887.
After serving in the Construction Bureau of the Imperial Palace, he worked at the Tanaka Seizō-sho, theShibaura Seisaku-sho and the Japan Railway Company. In January 1901, Rintarō worked in the Ministryof the Imperial Household as an engineer at the Construction Bureau for the Togū Palace (Palace of the
Crown Prince). Under the Chief of the Design Bureau of the Ministry of the Imperial Household Katayama
Tōkuma (1853–1917), he participated in the construction of the Togū Palace (current State Guest
House Akasaka Rikyū, completed in 1909), again in charge of work on the heating facility. After that, hecontinued serving at the Design Bureau of the Ministry of the Imperial Household, and in December 1916,
he became an employee with the Sōnin rank (one of the higher ranks under the Meiji Constitution). He
retired from the Ministry of the Imperial Household in December 1920. On April 28, 1924, he passed away
at the age of 69. He was accorded with the Senior Sixth Rank, the Fifth Order of Merit.

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Letter pertaining to the Sarue Timber Store steam saw inner chamber flame tubes repair andinstallation request
From Tanaka Rintarō to the Manager of the Design Bureau of the Ministry of the Imperial Household / February 13,
1885 / Written on the Construction Bureau of the Imperial Palace notepaper, with personal seal under the signature /H274, W385

Letter from Rintarō of the 12th grade official, addressed to the Manager of the Design Bureau of the
Ministry of the Imperial Household, asking for the repair of 14 of the 40 flame pipes in the steam chamber(boiler) for the operation of the saw machine of the Sarue Timber Store. Because this letter was retained
Portrait of Tanaka Rintarō

by Rintarō, it seems to be a copy or draft of the letter submitted. On February 16, 1885, Rintarō wrote in

Photographed by Ogawa Kazumasa / November 3, 1901 / Gelatin silver print, mounted on cardboard / Written in ink on
the back – “taken on November 3 in Meiji 34” / Photograph: H137, W95; Cardboard: H167, W107

his diary that he met with the section manager Moriyama, as Rintaro appeared at the headquarters witha letter requesting repair and installation of the steam chamber flame tubes on the Sarue Timber Storesteam saw. This episode tells us that the work of Rintarō who served as a mechanical engineer then isThis was taken in the year when Rintarō was 46 years old and was appointed as an engineer at theevident. The Imperial Palace (the Meiji Place) was a pure timber building, and it was necessary to supply

Construction Bureau for the Togū Palace (Palace of the Crown Prince). Photographer Ogawa Kazumasa

timber according to plan within a short construction period. The Sarue Timber Store, which had been

(1860–1929) also produced a large format photo book at the time of the completion of the Togū Palace (p.

called as Ozaimoku-gura (the Wood Store), was owned by the Tokugawa Shogunate in the past and30) and was one of the most famous photographers during the last days of the Edo through the Meiji Era.

served as an important distribution center during the era.

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Diaries
Tanaka Rintarō / From September 1, 1881 to September 12, 1895 / 17 volumes / Written in ink on paper, bound / H236,
W155

Rintarō wrote about everyday life in diaries. The 1st through the 17th volumes are held in the UMUT. It
is unknown whether any subsequent volumes exist. It is a valuable documentary source that helps us
understand Rintarō’s work and his various relationships, including with his family.

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Nijūbashi iron bridge construction memorandum
Tanaka Rintarō / November 1887 / Written in ink and pencil on paper / H195, W142

Nijūbashi is a generic name that refers to a double bridge comprising a stone bridge and an iron bridgeat the main gate of the Tokyo Imperial Palace. Rintarō acted as construction director of the iron bridgebuilding work (completed in 1888) designed by the German Wilhelm Heise (1846–1895). Summarizedon the first page (plate 2), this memorandum shows that the length of the bridge is 80 shaku (about 24
meters), the center is a horse-drawn carriageway, and on both sides are sidewalks. After the next page,
we read that work on the construction scaffolding started on December 10, 1887, and an almost daily
record is kept until February 21 of the following year. As visible on plate 3, it is stated that on December
14, the “Sasuga Trading engineer Mr. Heise visited the construction site,” revealing that Wilhelm Heisemonitored the construction work. On plate 4, it could be seen that on December 17 and 18, the staff of thesubcontractor Stornebrink (Dutchman Ludovicus Stornebrink [1847–1917], known for running an ice makerin Yokohama) stopped work without permission, so it can be imagined how challenging it was for Rintarō
to work as a director with foreigners at the construction site. The current iron bridge had been replaced in

４1964 by the Temporary Construction Bureau of the Imperial Palace during the construction of the Tokyo
Imperial Palace.

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New Imperial Palace Heating System abstract
Tanaka Rintarō / May 1888 / Written in ink on the Construction Bureau of the Imperial Palace notepaper / H275, W201

This seems to be a draft of a lecture by Rintarō on the heating system of the Imperial Palace (the Meiji
Palace). On the cover page (plate 1), the words “Newly Built” are overwritten with “Temporary Imperial
Palace Heating System abstract.” On the first page (plate 2), however, the word “temporary” is corrected
to “new,” so that the script reads “New Imperial Palace Heating System abstract.” The temporary Imperial
Palace was Akasaka Rikyū (formerly Kii Tokugawa family’s mansion in Edo, current Tokyo). In January
４

1889, the Emperor and Empress moved to the temporary Imperial Palace, where they resided for about
15 and a half years until a new Imperial Palace was completed. At the beginning of the manuscript,
we can find that Rintarō wished to talk about the heating system maintained in the temporary Imperial
Palace because such was not new, but relating to an installation of a new system at the new Imperial
Palace. It may thus be surmised that Rintarō could have given a lecture on the state-of-the-art heating
facility of the New Imperial Palace in front of an assembly of stakeholders involved in the machinery andequipment of the temporary Palace. Beginning on the right of plate 3 are descriptions of the three typesof heating devices A, B, C in the Palace, with B as an ordinary steam heater, while A and C take fresh
air from the outside, filter it, heat it in a basement heater, and use it to replace the cold air in the room.
The system was manufactured in Berlin, Germany in 1886, and it is understood that it was supplied by
Sasuga Trading. On plate 4, we see the installation of device A in six halls, Ekken-sho, Tōzaitamari-noma, Kyōen-sho, Kōseki-no-ma, and Nai-Ekken-sho; device B in the other 24 places including corridors;
and device C in one location.

026

５

027

Machine drawing sketch

Triangular scale

Tanaka Rintarō / After 1893 / Written in pencil on the Tokyo Shibaura Tanaka Seizō-sho notepaper / H245, W339

Before 1891? / Wood, upholstered case made of paper and cloth / Engraved square mark on the side – “Tokyo ka 35
9477,” written characters of “Tanaka Rin” / Formerly owned by Tanaka Rintarō / Total length 320, side of the triangle 22This appears to be Rintarō’s sketch of a steam chamber, where calculations can also be seen. “Tokyo
Shibaura Tanaka Seizō-sho Notepaper” is printed at the center. Rintarō was commissioned by Tanaka

Ruler for drafting. The name of Rintarō is visible on the side. The scale is in shaku units. There are six

Seizō-sho as Technical Supervisor in March 1889. Tanaka Seizō-sho changed its name to Shibaura

different scales engraved on the three sides: 1/10, 1/20, 1/30, 1/40, 1/50, 1/60. The metric system was

Seisaku-sho in 1893, so the drawing might have been done around this time.

introduced in Japan by the enforcement of the Metrology Law of 1891 after joining the Metric Treaty.

028

029

Untitled (Togū Palace photo album)
Photographed by Ogawa Kazumasa / 1909 / Two boxes of 154 plates, collotype print, black leather cases, wooden
outer box / Plate: long side 552, short side 463; Inner box: H482, W575, D63; Outer box: H518, W618, D89

The Togū Palace (Palace of the Crown Prince, the current State Guest House Akasaka Rikyū, nationaltreasure) is a Neo-Baroque style European palace building which was built as the residence of the Crown
Prince Yoshihito (Emperor Taishō). It is a steel-framed brick structure, with an exterior wall of stone. The
design is by Katayama Tōkuma (1853–1917). First-class contemporary architects, artists and technicians
were assembled for its construction, which took about 10 years to complete. These photographs, taken at

Extra plate
Grand Staircase (Togū Palace photo album, Case 1 No. 14)

the completion of the project, cover the entire building including the exterior, and the interior decorationof each room, bathroom, corridor, and underground facility (pp. 31–34). Tanaka Rintarō was given these

Photograph: H411, W335

photographs at the time because of his efforts in state-of-the-art heating facility work as a cover letter
shows (p. 35). There is a photo album of gelatin silver print which is almost the same size as this photo

A central staircase extending from the front entrance to the upper floor. White Italian Bianco Carrara

album in the Imperial Household Archives; and it is presumed that there were two editions, one in highmarble is laid on the floor, and a red carpet is spread over it. At the completion, the walls of the stairs

quality white leather case, and another in normal black leather case, and that the former edition wason the left and right were mirrored with green French Campan marble, but it was deemed impossible topresented to the Imperial family. This collotype version was produced by photographer Ogawa Kazumasa

restore due to the weathering, so that red marble Rouge De France was used in renovating the guest(1860–1929) himself and distributed to stakeholders. In 1910, the year after the production of this photohouse. It is said that when looking up the central staircase from below, the view is markedly similar to thatalbum, Ogawa served as the first photographer appointed to the Imperial Household Artists.

of the Royal Theater in Vienna.

030

031

Asahi-no-ma Northwest Corner(Togū Palace photo album, Case 1 No. 27)
Photograph: H335, W411

This hall is thought to be based on a view of a European palace in which the room is ahead of the main
entrance and advancing through a large hall. It is called First Guest Room or First Tamari-no-ma. It has anarea of 191 square meters. It is also called Asahi-no-ma because of the figure of the goddess driving a chariot
across the ceiling with the sunrise behind. The appearance of the white horse pulling the chariot can be seenat the top of the picture. Furniture and interior are in the classical style of late 18th century France. Furnitureand chandeliers were imported from France. Kinkazan weave of Kyoto Nishijin is laid on the wall. A fireplace
can be seen at the rear. In the main halls such as Asahi-no-ma, the latest multi-zone indirect heating andventilation method with an automatic temperature controller was applied, whereas in each corridor and thebasement rooms, a direct steam heating method via radiators was used.

Basement Heating Chamber and Basement Corridor Ceiling(Togū Palace photo album, Case 2 No. 52)
Upper photograph: H226, W287; Lower photograph: H226, W287

At the request of Katayama Tōkuma (1854–1917) who was responsible for the design of the Togū Palace,the heating and ventilation facility was designed in New York, USA, and most of the equipment was also
imported from the US and the UK. In 1899, Katayama accompanied engineer Ishii Keikichi (1866–1932)
to purchase steel and heating machines in the US, and engineer Yamamoto Naosaburō (1869–death
unknown) had also traveled to the US in 1901 to prepare for the procurement of heating equipment anddo research on various constructions. At the Togū Palace, the main heating system required mechanized
hot air heating, necessitating an extremely large number of steel plate ducts, but at that time in Japan,
full-fledged duct construction was not available so far. In 1901, the hardware for heating equipment which
seemed to be duct sample goods arrived from New York. However, because nothing was known about
the production method and tools for this latest heating facility, the chief engineer of heating facility Tanaka
Rintarō asked Katayama to make investigations on said technology when Katayama visited the US for thesecond time in 1902. At the Imperial College of Engineering where Katayama and Rintarō studied, Josiah
Condor (1852–1920) who was in charge of the Department of Architecture since the college opened in1878 was giving lectures on heating. In January 1901, Rintarō became an engineer at the Construction
Bureau for the Togū Palace and was in charge of the heating facility. He was eventually commissioned tosupervise heating and other equipment in January 1907.

032

033

Boiler Room and Generator Room (Togū Palace photo album, Case 2 No. 54)
Upper photograph: H228, W287; Lower photograph: H228, W287

There was a special power station attached to Togū Palace inside a separate building at a distance ofabout 90 meters west of the main building. It had two boilers and five DC generators. Along with thelighting of each room in the main building and the outdoor lamps in the front garden, steam and power
required for heating and ventilation were supplied from here.

Togū Palace photo album cover letter
From Katayama Tōkuma to Tanaka Rintarō / December 28, 1910 / Written in ink on the Imperial Household Ministry
notepaper / H276, W203

It is noted that the Togū Palace photo album was presented by Katayama Tōkuma (1854–1917) to Tanaka
Rintarō, in recognition of Rintarō’s work in the construction of the Togū Palace. This letter provides
evidence of the history of the photo album in the Tanaka Collection (p. 30). Katayama graduated fromthe Department of Architecture at the Imperial College of Engineering in 1879 among the first generationof graduates and was involved a great deal in the construction of imperial courts and imperial family
palaces. From 1904 through 1915, Katayama served as the Chief of the Design Bureau of the Ministry of
the Imperial Household.

034

035

Vase depicting snails on bamboo
Creator unknown / Meiji to Taishō Eras / Sterling silver / Engraved on the side is “presented to Tanaka Rintarō fromall of the staff of the Mechanic Department at the Design Bureau of the Ministry of Imperial Household,” with “Sterlingsilver” stamped at the bottom / H101, bottom diameter 30, drum diameter 55

A souvenir given to Rintarō from his colleagues in the Mechanic Department at the Design Bureau of
the Ministry of Imperial Household. It seems to have been custom-made for a special occasion suchas a celebration. Rintarō served in said Mechanic Department from around the time of construction of
the Imperial Palace (the Meiji Palace, completed in 1888) to around the time of construction of the Togū
Palace (currently the State Guest House Akasaka Rikyū, completed in 1909), finally retiring in 1916.

036

037

Tanaka Fuji
(1877–1922)

Born in Tokyo on August 20, 1877, the second son of the Saga Prefectural Shizoku (a social class offormer Samurai) Fujiyama Tanehiro (birth unknown–1886), Fuji was known as an engineer who spreadthe foundation of modern glass manufacturing in Japan. His older brother, Tsuneichi (1871–1936), wasalso a Doctor of Engineering who pioneered the carbide industry. In October 1894, he was adopted by
Rintarō into the Tanaka family. After passing the Department of Engineering at the First Higher School,
he graduated from the Department of Mechanical Engineering, the Faculty of Engineering at the Tokyo
Imperial University in April 1901. In July of the same year, he became a lecturer in the Department of
Mechanical Engineering. He married Rintarō’s daughter, Yoshiko, in November also of the same year.
In April 1902, he became an associate professor, and in January 1904, he began to take charge ofpart of the classes in the First Course of Mechanical Engineering. In collaboration with his colleague,
Uchimaru Saiichirō (1877–1969), he published Mechanical Design and Drawing Part 1 and Part 2, the firstJapanese textbook on this subject, in April 1906. For three years from July 1908, he was abroad studying
mechanical engineering in the UK, Germany, and France at the behest of the Ministry of Education. In
May 1911, he was appointed head of the Second Course of Mechanical Engineering and in November ofthe same year, he became a professor and was also in charge of the Course of Applied Mechanics. He
was awarded a doctoral degree in Engineering in January 1913. He published Applied Mechanics Part 1
and Part 2 in 1913 and 1915 respectively, and Machine Production Method Part 1 in 1919. On November
18, 1922, he passed away at the age of 45. He obtained the Senior Fourth Rank, Third Order of Merit. In
January 1923, Machine Production Method Part 2 was published.

038

039

Portrait of Tanaka Fuji, Uchimaru Saiichirō and Kamo Masao
Photographed by Nakaguro Minoru / January 20, 1905 / Gelatin silver print, mounted on cardboard / Written in ink
on the back – “January 20 Meiji 38: To celebrate the victory of the Army and the Navy in the Russo – Japanese War,a memorial celebration was held at Tokyo Imperial University. Photographed for commemoration are Tanaka Fuji,
Uchimaru Saiichirō, and Kamo Masao.” / Photograph: H138, W95; Cardboard: H166, W110

Memorial photograph of three associate professors of the Department of Mechanical Engineering, Facultyof Engineering at Tokyo Imperial University. It was taken on the occasion of the memorial celebration,
held at Tokyo Imperial University, of the victory of the Japanese Army and Navy in the Russo-Japanese
War. In the picture, everyone is wearing daytime formal clothes, the frock coat. Fuji is on the right. In
the middle is Uchimaru Saiichirō (1877–1969), a junior-year fellow of Fuji’s who graduated from the
Department of Mechanical Engineering, Faculty of Engineering at Tokyo Imperial University in 1902, as
well as co-author of Fuji’s first book, Mechanical Design and Drawing. On the left is Kamo Masao (1876–
1960) who graduated from the same department in 1898, three years senior to Fuji. All three men studied
mechanical engineering in Europe; Kamo for seven years from 1906, Fuji for three years from 1908, andPortrait of Tanaka Fuji

Uchimaru for three years from 1911. They became professors in the department after returning to Japan.

Photographed by Mochizuki Tōgai / July 11, 1907 / Gelatin silver print, mounted on cardboard / Written in ink on theback — “taken on July 11 in Meiji 34, Tanaka Fuji” and No. “19919” / Photograph: H140, W99; Cardboard: H181, W128

Fuji wrote the notes on the back of the photograph, and the names of Kamo and Uchimaru are presumed
to be their own signatures. The young mechanical engineers, at the time of the photograph, were in thelatter half of their twenties, and must have envisioned brilliant futures and talked with spirited aspirations

Taken the year after Japan’s first Japanese language textbooks on mechanical design, Mechanicalas Japan entered the victory spirit. In Fuji’s diary on the day of the photograph, he mentioned the state

Design and Drawing Part 1 and Part 2, were published, when Fuji was 29 years old. Photographerof the celebration, and also wrote that the photograph of the three was taken for commemoration.

Mochizuki Tōgai established a photo studio at Hongō 4-chōme near Tokyo Imperial University and often

Photographer Nakaguro Minoru studied under Maruki Riyō (1854–1923) and established a photo studio

photographed Fuji’s family there.

at Hongō Yumichō 2-chōme near Tokyo Imperial University.

040

041

Tanaka Fuji, Applied Mechanics Part 1
First edition published on June 5, 1913 / Maruzen Co., Ltd. / H255, W190

Tanaka Fuji, Uchimaru Saiichirō, Mechanical Design and Drawing Part 1 and Part 2First edition published on April 20, 1906 / Maruzen Co., Ltd. / H222, W160

The first textbook on mechanical design and drafting to be written in Japanese. The two volumes, Part 1
and Part 2, were published at the same time. The introduction mentions solution methods presented withvarious examples so that freshman scholars can understand the matters of everyday needs for thoseengaged in the mechanical industry. Much of the material in the book is drawn from D. A. Low and A. W.
Bevis’ book, A Manual of Machine Drawing and Design (1893). The parts written by Fuji include Chapter 1
on “Drafting,” Chapter 2 on “Geometric method,” Chapter 3 on “Strength and dynamics of materials,” andChapter 6 on “Steam vessel design method.” This book was repeatedly edited as an essential textbook
for mechanical engineering, and it became an augmented revised version from the 10th edition in 1916.
Fuji added new chapters on “Material properties and test results” and “Design method of reciprocating

Tanaka Fuji, Applied Mechanics Part 2

motion cylinders.” Part 1, 13th edition published May 8, 1918, 19th edition published July 8, 1922, 20thedition published May 28, 1924 and 25th edition published March 13, 1929; Part 2, 10th edition publishedFirst edition published on December 15, 1915 / Maruzen Co., Ltd. / No cover / H255, W190

August 10, 1916, and 25th edition published October 25, 1942 are kept in UMUT. Fuji was in charge of theSecond Course of Mechanical Engineering, which dealt with the cutting process study and processing

The first edition of the second book on mechanical engineering written in Japanese by Fuji. Fuji was inmachinery, from November 1911 to December 1921 at the Faculty of Engineering at Tokyo Imperial

charge of the course Applied Mechanics, which focused on material mechanics, from November 1911 to

University. In addition to co-authoring this book, Uchimaru Saiichirō (1877–1969) also wrote many

August 1922 at the Faculty of Engineering of Tokyo Imperial University. Part 2 has a jacket similar to thatengineering texts including Steam Vessels (1908), Hydraulic Turbine (1917), and Internal Combustionof Part 1; although it is missing in this book, the embossed decoration of the chrysanthemum pattern that

Engine (1931).

Fuji designed on the cover can be seen.

042

043

Extra plate
Tanaka Fuji, Machine Production Method Part 1
First edition published on August 25, 1919 / Maruzen Co., Ltd. / H224, W156

１

２

Original hand-drawn illustrations of Applied Mechanics Part 1
Tanaka Fuji / Before June 1913 / Pencil on paper, ink / All 16 sheets / Maximum: long side 226, short side 145; Minimum:
long side 146, short side 62

The original hand-drawn illustrations of Part 1 of the second book written by Fuji, published by Maruzen
Co., Ltd. on June 5, 1913 (p. 43). The subheading of “Material and Structure Strength Study” was added.
It is thought that this original illustration was sketched with a pencil and then drawn a clean copy overwith ink by Fuji. In the preface, Fuji stated that his intention in writing this book was to lay the foundation
for the industry by explaining the science of basic engineering in Japanese. He was aware that Japanese

Extra platetextbooks on engineering were still few at the time, whereas modern industrial development was required

Tanaka Fuji, Machine Production Method Part 2

to strengthen “the foundation of the country towards prosperity.” The technical terms used were basedFirst edition published on January 28, 1923 / Maruzen Co., Ltd. / H224, W156

on the mechanical engineering terminology that was edited by the Society of Mechanical Engineers.
This society was established in 1897 and Fuji joined in the selection of the mechanical engineering

Fuji’s third work on mechanical engineering written in Japanese. His wife Yoshiko’s handwritten poem isterminology as a member of the society. Fuji assessed that it was very good to use these Japanesefound in Part 1, 4th edition published on September 13, 1922, which is kept in UMUT. Fuji passed away

technical terms instead of the difficult-to-understand Sino-Japanese syntax. The maguru moment 曲ぐるon November 18 in the same year of the publication of Part 1. It seems that Yoshiko wrote it in memory ofモーメント (bending moment) in illustration 58 and 60 of plate 6 (p. 47) can be seen as a good example of

Fuji. Part 2 was published after his death.

the terms that Fuji described as “it is easy to read aloud by mouth, easy to hear and understand by ear.”

044

045

３

４

６

５

Original hand-drawn illustrations of Applied Mechanics Part 1

046

047

２

１

Original hand-drawn illustrations of Machine Production Method Part 1 and Part 2
Tanaka Fuji / Before August 1919 / Pencil on paper, ink / All 46 sheets / Maximum: long side 398, short side 279;
Minimum: long side 195, short side 147

Fuji’s original hand-drawn illustrations of the third book, Part 1, subtitled as “Foundry and Forging,”
was published on August 25, 1919 (p. 44), and the third book, Part 2, subtitled as “Machine Tools,” waspublished on January 28, 1923. Both parts were published by Maruzen Co., Ltd. Compared to Applied
Mechanics which was a theoretical book, this practical book shows fine hand-drawings like artworks
illustrating tools and work procedures to follow. Instructions to the publisher are written in red and blue
pencil. Fuji’s intention in writing the book as an author is indicated in the preface; as in the previous work,
he wrote with the hope of developing the machine industry as there were still a few books on machine
production methods in Japanese. Fuji took charge of the Course of Experimental Engineering (dealing
with experimental mechanical engineering and mechanical design), which was added to the Departmentof Mechanical Engineering at Tokyo Imperial University, from December 1921 to November the following
year (the month of his death) as recorded in Centennial History of the University of Tokyo (1987). With
Fuji as single author, a decorative character designed by him is used at the beginning in the preface,
and in the first part of this book, Part 1, the character kō 工 is arranged with chrysanthemum flowers inthe background (plate 5 [p. 50]). The chrysanthemum was a motif that Fuji used to design his own name.
３

The preface to Part 2, which was published after Fuji’s death, was written by his son Giichi; decorative
characters are not seen, but at the end of the last page of the text, the design stamp of Tanaka Fuji 田中
不二 is seen with a chrysanthemum.

048

049

６

４

５

７

Original hand-drawn illustrations of Machine Production Method Part 1 and Part 2

050

051

Publication contract for Mechanical Design and Drawing
Uchimaru Saiichirō, Tanaka Fuji, Oyaizu Kaname / May 15, 1905 / Written in ink, signature and seal on Maruzen Co.,
Ltd. notepaper / H290, W200

The contract for the publication of Mechanical Design and Drawing, co-authored by Fuji and Uchimaru
Saiichirō (1877–1969). It was exchanged between the two authors and Maruzen Co., Ltd., the publisher.
“Mechanical Design and Drawing Study” is seen in two places of the cover and the contract text, with“Study” struck out, and the seal of Uchimaru affixed, indicating a change of title (plate 1–2). The contract
has 12 articles, which stipulate copyright, expense burden, regular price, royalties, and so on. Article 10on the right page of plate 4 states that Uchimaru is designated as Chief of Statement for the convenienceof being able to compile manuscripts and to give and receive money, and Fuji is named as first author at
the time of publication, but within this agreement all names of Uchimaru are placed first. Uchimaru, who
was one year junior to Fuji, probably assumed the communication with the publishing company.

２

１

４

052

３

053

Publication contract for Applied Mechanics
Tanaka Fuji, Oyaizu Kaname / January 20, 1913 / Written in ink,
signature and seal on Maruzen Co., Ltd. notepaper / H280, W205

Fuji’s publication contract for Applied Mechanics, nine articles
in total. As with the previous Mechanical Design and Drawing
contract, it is all written in ink. Maruzen’s Senior Managing
Director Oyaizu’s name changes from handwritten signature
to name stamp.

Publication contract for Machine Production Method
Tanaka Fuji, Yamazaki Nobuyo / April 20, 1919 / Printed on paper, written in ink, signature and seal / H270, W195

Fuji’s publication contract for Machine Production Method, 10 articles in total. The sections of book title,
author name, number of copies to the author and publisher gratis distribution, and date of contract areblank; all other formats are printed.

054

055

Thank you note for donation of Applied Mechanics Part 1
Yamao Yōzō addressed to Tanaka Fuji / October 1, 1913 / Written in ink on Engineering Society notepaper / Stamp of
Engineering Society Chairman / H263, W191

Fuji donated his book to the Engineering Society, receiving a thank you note sent from the Chairman
Yamao Yōzō (1837–1917). Yamao, a native of the Chōshū domain, went to the UK incognito along with
Itō Hirobumi (1841–1909) and three other people in 1863 and studied engineering. After returning at theThank you note for donation of Applied Mechanics Part 2
Inokuchi Ariya addressed to Tanaka Fuji / March 1, 1916 / Ink on paper, decorative printing / Stamp of “Society of
Mechanical Engineers Chairman” / H235, W325

start of the Meiji Era in 1868, he advocated the importance of industries and the necessity of industrial
education to the New Meiji Government, and engaged in the establishment of the Ministry of Public

Inokuchi Ariya (1856–1923) graduated from the Department of Mechanical Engineering of the ImperialWorks in 1870. The following year he founded Japan’s first engineering educational institute, Kōgaku-

College of Engineering in 1882. He became an associate professor of the Department of Mechanicalryō (later Imperial College of Engineering); thus he can be called the father of Japanese engineering. The

Engineering at Imperial University, which was just inaugurated in 1886, and after studying in London

Engineering Society was founded in 1879. The Principal of the Imperial College of Engineering, Scottish

for three years, he became a professor in 1896. He was in charge of lectures in the Course of Applied

engineer Henry Dyer (1848–1918), emphasized that graduates should continue learning throughout their

Mechanics and the Third Course of Mechanical Engineering which dealt with fluid dynamics and fluid

lives and recommended the establishment of an engineers’ association in Japan. Thus, 23 of the firstmachinery. In particular, his lecture in the Course of Applied Mechanics was so popular for students. Fuji

graduates of the College created this society, the first engineering academic group in Japan. Fuji wasstudied at the Department under Inokuchi. Inokuchi established the Society of Mechanical Engineers,

permitted to join the Engineering Society at the age of 18 in 1896, and the person making the referral

separate from the Engineering Society, in 1897, together with the first secretary-general (now president)

is confirmed as Inokuchi Ariya (1856–1923). The field of engineering in Japan had gradually further

Mano Bunji (1861–1946), and served as the secretary-general eight times in total. Inokuchi also

specialized after the establishment of this society. In 1922 thus, the Engineering Society was replaced

concurrently chaired the mechanical engineering terminology selection committee within the Society.

with an institutional membership system because independent associations which specialized in

Fuji was also a member of the committee, and his diary reveals that he was often spending time on thetechnologies such as mining, construction, electricity and machinery had been established.

activities of the society.

056

057

Machine and marine engineering, second-year classes timetable (second semester)From November 1918 to March 1919 / Blueprint on paper, written in red and blue pencil, pasted on page 26 of thenotebook / Timetable: H184, W284; Notebook: H210, W166

This is pasted on the notebook of Fuji. “Rough Note No. II. May Taishō 6” is written on the cover page, as
well as the name of Fuji with stamp style handwriting. In the timetable, the vertical and oblique lines are
distinguished by red and blue pencil and marked with compulsory and elective subjects. The Department
Photograph of Tanaka Fuji in the Engineering Laboratory
Photographer unknown / c. 1901–1922 / Bromoil print, mounted on cardboard / Photograph: H121, W164; Cardboard:of Mechanical Engineering at Tokyo Imperial University has long been related to marine engineering. In
1897, the Course of Marine Engineering was opened and trained students, and in 1908 the Departmentof Marine Engineering was established as an independent course (although eventually abolished in

H154, W210

1925). Written in red pencil, ki キ stands for the Department of Mechanical Engineering; in blue pencil,
The person sitting in front on the left is Fuji. Sitting on his right could be Inokuchi Ariya (1856–1923).

haku 舶 (ship) represents the Department of Marine Engineering. This timetable corresponds to Tokyo

The two have what appears to be an experimental machine. There is a large machine at the back, andImperial University’s last term of independent faculties system, immediately before the Faculty reformed

machines with a meter placed on the table on the right. The same machines are seen in the photographits regulations to the Faculty of Engineering in 1919. At the time, the length of study at the University

taken by Ogawa Kazumasa (1860–1929) in his Tokyo Imperial University album of 1904 entitled

was three years. Fuji’s classes were “Power Mechanics” for Thursday period 2, and “Experimental“Workplace in the Engineering Laboratory,” which was taken in said laboratory during Fuji’s term in office.

Engineering” for Friday period 3. The other professors and associate professors of the Department

In 1888, when the new school building of the Faculty of Engineering was completed in Hongō, and theof Mechanical Engineering who had classes were Professor Shiba Chūzaburō (1872–1934), Niwa

brick two-story engineering laboratory was completed, facilities related to heat engines and machinery

Shigemitsu (1881–1966), Kamo Masao (1876–1960), Shima Yasujirō (1870–1946), Yokoyama Katsutō

manufacturing methods were installed. The laboratory, as well as the school building, were lost in the(1881–1966), and Uchimaru Saiichirō (1877–1969), all of whom graduated from the Department ofGreat Kantō Earthquake, and no longer exists.

Mechanical Engineering at Tokyo Imperial University.

058

059

１

Sketchbooks
Tanaka Fuji / February 1897 to around March 1922 / Pencil and watercolor on paper, photograph, braid / Each volume２

number written in vermilion ink on spine / Maximum: H115, W188; Minimum: H112, W155

Eleven volumes from the first to the thirteenth of Fuji’s sketchbooks are kept in UMUT. The second andthird volumes are missing. Fuji had a deep interest in art and design and was often sketching in everyday
life and at travel destinations.

Sketchbook, The fourth volume
３

Tanaka Fuji / April 1901 to around December 1904 / Pencil and watercolor on paper, photograph, braid / Written invermilion ink on spine – “Fourth”; written in ink on inner cover – “Fourth notebook of Tanaka Fuji, April of Meiji 34” /H112, W184

In this sketchbook, there are pages with six bromoil photographs taken by Charles Dickinson West(1847–1908) together with the scenery of Ikaho drawn by Fuji, to which the date of August 1903 wasadded. Five of the photographs are panoramic landscapes. Fuji graduated from the Department of
Mechanical Engineering at Tokyo Imperial University in April of the same year and became a lecturer ofthe department in July. Immediately after finding employment as a lecturer, Fuji visited Ikaho for several
weeks in August with his former professor and now his colleague West. On the left page of plate 2 is aphotograph taken by West from the veranda on the upper floor of the Kindayū Hotel at Ikaho, at 5 o’clock４

on August 26 of the same year. On the right page of plate 2 is a tiger lily that Fuji painted on August 18.
It is valuable information that can be read not only as Fuji’s sketch record but also reflecting exchanges
between Fuji and West and West’s interest in photography.

060

061

Portrait of Tanaka Fuji and Giichi
Photographed by Charles Dickinson West / November 21, 1903 / Gelatin silver print, mounted on cardboard / Written
on the front – “Nov. 21. 03 by C. D. West, Prof of I. U. T”; written in ink on the back – “November of Meiji 36 taken by
University professor West, Giichi at 1 year and 3 months” / Photograph: H146, W104; Cardboard: H170, W110

Charles Dickinson West (1847–1908) was an Irish professor who taught at the Imperial College ofEngineering and Tokyo Imperial University. As a successor to the Imperial College of Engineering
Principal Henry Dyer (1848–1918), he came to Japan in 1882 and taught mechanical engineering andshipbuilding studies. West was a professor of Fuji during the latter’s university days and a colleague
during his time as lecturer and associate professor. Unlike portrait photographs taken at a photo studio,
this photograph by West catches a close eye on a natural subject. Also, Fuji’s wife Yoshiko holding Giichi
was photographed (p. 63). “Photographed by Professor West at the home garden” is written in ink on the

Extra plate
Portrait of Tanaka Yoshiko and Giichi
Photographed by Charles Dickinson West / November 21, 1903 / Gelatin silver print, mounted on cardboard / Written
in ink on the back – “November of Meiji 36, at the home garden of the Faculty of Engineering, the Tokyo Imperial

back. Therefore, it can be confirmed that Fuji visited West’s home with Yoshiko and Giichi at 1 year and 3

University Professor West, photographed by West, Giichi at 1 year and 3 months” / Photograph: H144, W102;

months. It is an interesting material for showing the relationship between Fuji and West in private life.

Cardboard: H169, W110

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063

Commemorative picture postcard for the 9th James Watt Anniversary
Designed by Tanaka Fuji / December 1906 / Gravure printing on paper, in envelope / Plate making and printing by
the Department of Industrial Design at Tokyo Higher Technical School / Written in ink on the envelope – “James Watt
Anniversary Commemorative Picture Postcard. Designed by Engineering Doctor Tanaka Fuji. December Meiji 39.” /Portrait of James Watt (copy of stipple steel engraving)
Photographed by Nakaguro Minoru / January 1902 / Albumen print, mounted on cardboard / Written in ink on the back –“James Watt F. R. S. (1736–1819) Engraved by W. Holl, after the Portrait By W. Bechy, R. A. Photo by Nakaguro, Hongô,
Tôkyô. Jan. 1902” / Formerly owned by Tanaka Fuji / H161, W108

Postcard: H140, W90; Envelope: H149, W95

James Watt (1736–1819) was a British inventor, mechanical engineer, and scientist born in Scotland.
Through the improvement of the steam engine, he contributed not only to the UK but also to the progressof the industrial revolution of the world. The power unit “watt” was named after him. Fuji designed aportrait of Watt with a rose for the memorial party held annually on Watt’s birthday, January 19. It seems

It is believed that Fuji used this printed portrait of James Watt (1736–1819) as a design motif (p. 65).

that the party was organized by the Society of Mechanical Engineers. A memorial banquet was held, andThe original oil painting was painted by British portrait painter William Beechey (1753–1839) in 1802.

Fuji also designed the menu. The plate making and printing of this postcard was done by the Department

According to the description on the back, it was made by printmaker “W. Holl” into a steel engraving, andof Industrial Design at Tokyo Higher Technical School (whose predecessor is the Tokyo Vocational

Nakaguro Minoru, who had a photo studio in Hongō, took the photograph. From the technique of stipple

School, the origin of Tokyo Institute of Technology), which is said to have contributed greatly to theengraving, the printmaker is presumed to be William Holl (1771–1838). This portrait of Watt is a famousdevelopment of industrial design in Japan despite a short period of operation of only 17 years from 1897

image from which many printmakers are making copies.

to 1914.

064

065

Picture postcard of Society of Mechanical Engineers’ Tokyo Extraordinary Convention
Designed by Tanaka Fuji / April 1914 / Lithographic printing on paper / Manufactured by Tokyo Imagawa-bashi Seiundō /Picture postcard of the Society of Mechanical Engineers
Designed by Tanaka Fuji / Between April 1907 and March 1918 / Multicolor lithographic printing on paper, varnished /Manufactured by Tokyo Imagawa-bashi Seiundō / H140, W90

H141, W91

Inside the frame pattern with chrysanthemum, a bird that looks like a phoenix is seen sitting on a tree.
The most noticeable feature is the machine motif on the lower left, and white highlights are effectively
used only for that part of the overall monochrome design. Fuji’s initials “FT” are seen along the lower“FT,” Fuji’s initials, are seen on the lower left. At the center there is a machine motif that Fuji repeatedlyleft border of the frame pattern. Fuji often designed like this picture postcard when planning events atused at the Society of Mechanical Engineers, the letter “W” is presumed to be the initial of well-known

the Society of Mechanical Engineers. The first president of the society, which was founded in 1897, wasBritish inventor and mechanical engineer James Watt (1736–1819). The influence of Art Nouveau is felt in

Mano Bunji (1861–1947), professor at the Faculty of Engineering at Tokyo Imperial University. He wasa curved design treated with cherry blossoms like a stained glass. It is known to have been made for thea classmate of Tanaka Rintarō who graduated from the Mechanics Department at the Imperial College

Society of Mechanical Engineers, but the actual production year is unknown. However, since the lowerof Engineering in 1881. Mano went to Glasgow University in the UK in 1886, and when he achieved

third of the address face is used as the communication field, the approximate date of manufacturing can

excellent results, he was nominated as a member of the British Society of Mechanical Engineers. The

be inferred.

Society of Mechanical Engineers in Japan is patterned after this British association.

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067

Commemorative picture postcard for the celebration of Professor Inokuchi Ariya’s 25 years ofwork at the Tokyo Imperial University
Designed by Tanaka Fuji / May 17, 1913 / Offset and lithographic printing on paper / Impressed by Tokyo Printing Co.,
Ltd. / H141, W91

This postcard was created to celebrate 25 years of work of Inokuchi Ariya (1856–1923) at the Departmentof Mechanical Engineering of the Tokyo Imperial University. Inokuchi served as the head of thedepartment since 1901 and had a great influence on both its research and education. Fuji is said tohave inherited Inokuchi’s studies along with Uchimaru Saiichirō (1877–1969); in particular, Fuji had

Design sketches
Tanaka Fuji / Date unknown / Pencil on paper / H201, W286

collaborative research with Inokuchi and also co-authored a paper on a shearing test for wood. In the
picture postcard, a portrait of Inokuchi is embedded in the middle of the motif of a spiral pump, which is

The motif “Inokuchi” on the upper right would be for a postcard design plan for the commemoration ofrecognized as one of Inokuchi’s best research achievements. This research was published in 1905 andFuji’s professor Inokuchi’s 25 years of work at the Tokyo Imperial University (p. 68). On the lower left isis said to have received acclaim in the British journal The Engineer. Fuji’s name and initials cannot bea machine motif labeled as “Watt,” with parts similar to steam engine drawings by James Watt. Here as

seen in the picture postcard, but a similar design sketch remains (p. 69). There are two versions of thewell, the same motif can be confirmed in postcards of the Society of Mechanical Engineers designed bypostcard: one with a light brown background and the other with a light green background.

Fuji (p. 66).

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European glasses and ceramics collection
Early in the 20th century / Formerly owned by Tanaka Fuji / 1: H109, maximum width 75; 2: H70, maximum width 64;
3: H89, maximum width 80; 4: H69, maximum width 78; 5: H100, maximum width 96; 6: H47, maximum width 65; 7:
H23, maximum width 73; 8: H71, maximum width 41; 9: H13, maximum width 73; 10: H26, maximum width 40; 11: H43,

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2

3

4

5

6

7

8

9

10

11

maximum width 57; 12: H21, maximum width 35

For three years from July 1908, Fuji collected these glasses and ceramics while studying mechanicalengineering in the UK, Germany, and France. It seems that he bought small objects that fit in the palm of
his hand, and brought these home to Japan. Fuji stayed in London for the longest time, and aside fromthe three countries, he also visited Belgium, Italy, Switzerland, and Denmark. In addition to the traditional
European ceramics, there are also contemporary decorative styles of Art Nouveau glasses that had
been influencing the world at that time. Fuji’s interests in art and design can be seen from this collection.
At the same time, Fuji, who had the experience of participating as an assistant judge in the 5th National
Industrial Exposition in 1903 and was present at the Japan-British Exhibition in London in 1910, may have12

seen this collection from the point of view of industrial promotion.

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071

Tanaka Giichi(1902–1985)

First son of Tanaka Fuji and Yoshiko, born in Tokyo on August 2, 1902. He graduated from Seikei JuniorHigh School in March 1920 and the Department of Science of the First Waseda University Senior HighSchool in March 1925. In March 1928, he graduated from the Faculty of Science and Engineering at
Waseda University. Since junior high school, Giichi studied painting under a Western-style painter,
Somiya Ichinen (1893–1994) and respected him as a lifelong master. In April of the same year, Giichi
became an official of the Bureau of Building and Repairs of the Ministry of Finance. In February 1929,
he joined Chiba Railroad 1st Regiment as executive candidate but was discharged in November of thesame year. In January 1930, he was hired again by the Bureau of Building and Repairs, under Design
Chief Yoshitake Tōri (1886–1945), to join the work on the interior decoration of the Imperial Diet Building(currently the National Diet Building, completed in 1936). In August 1939, he resigned from the Bureau of
Building and Repairs, became a naval engineer, and was attached to the Bureau of Architecture of the
Ministry of Navy. He was assigned to the Shanghai Navy Facility Department and Yokosuka Navy Facility
Department. After the end of the war, he worked as Head of the Yaizu Regional Facility Office and at theheadquarters of the Yokosuka Facility Department. After he was dismissed in October 1945, he started
work at the US Navy Public Works Office in November of the same year. In June 1946, he resigned fromthe institution and worked for the construction company Mabuchi-gumi (later Mabuchi Co., Ltd.). He
served as Tokyo branch manager at the company later. In April 1960, he resigned from the Mabuchi Co.,
Ltd., worked at home for a while, and then worked at Kyōwa Eizo Co., Ltd. In March 1979, he retired fromthe company. On March 31, 1985, he passed away at the age of 82.

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073

Portrait of Tanaka Giichi
Photographed by Shibata Tsunekichi / c. 1929 / Manufactured by Mitsukoshi Photographic Division / Gelatin silver
print, mounted on two-fold cardboard / Written in pencil beside the photograph – “Master Sergeant Tanaka Giichi, theRailroad 1st Regiment, 2nd Squad” / Photograph: H85, W55; Cover: H168, W112

Taken when Giichi was about 26 years old and in command as Master Sergeant at the 2nd Squad of
Chiba Railroad 1st Regiment for about one year. He worked at the Bureau of Building and Repairs of the
Ministry of Finance before and after this command. There is a design sketch that indicates his desire
to work on the interior decoration of the Imperial Diet Building during his regiment days (p. 75). Shibata
Tsunekichi (1850–1929) was a photographer of the Mitsukoshi Photographic Division and is known as thecameraman of the oldest existing Japanese movie, Momijigari, produced in 1899.

074

Extra plate
Leaves of notebook
Tanaka Giichi / c. 1929 / Pencil on paper, two leaves / H209, W160

A part of Giichi’s notebook during his days in Chiba Railroad 1st Regiment. His sketch which seems to bea sculpture design of arabesque patterns is found on one of the leaves.

075Pattern of the upper marble relief at the Binden entrance of the Imperial Diet Building

Actual-size drawing pattern of the upper marble relief at the Binden entrance of the Imperial Diet
Building

Tanaka Giichi / c. 1928 or 1930 / Pencil on paper / H745, W525
Tanaka Giichi / c. 1928 or 1930 / Pencil on paper, three pairs of paper sheets / 1: long side 1065, short side 750; 2: long

The arabesque and vase are designed around a shield. Compared to the pattern of the floor marble

side 1063, short side 755; 3: long side 1060, short side 750

mosaic in the front hall of the Binden which seems to be a draft (pp. 78–79), the grid lines and sizes
are written in this pattern. It can be evident that the process of completing the drawing pattern is more

This marble relief, along with the left and right pillars on the wall at the entrance of the Binden, wasadvanced. Giichi was responsible for decorating the front hall of the Binden which is one of the mostmade from a single piece of Hototogisu marble. Its actual-size drawing illustrates the uniqueness andimportant parts located in the center of the Diet Building, under the supervision of the Design Chief,

luxuriousness of the relief. Records of the construction work lasting from January to December 1930 of

Yoshitake Tōri (1886–1945). In addition to the marble relief, Sakura and Tachibana gypsum bas-

the marble interior that constituted the main parts of the center of the building, such as the central hall,relief are sculptured on the left and right of the wall of the entrance at the Binden (p. 84). A ceilingthe front hall of the Binden and the imperial staircase (central staircase) are kept in the Constructionof cylindrical shape has a skylight with stained glass (p. 85). What used to be called the Binden (theReport of the Imperial Diet Building (1938). The stipulation of the marble flag work states that theemperor’s temporary place of sojourn) is now called the Go-kyūsho. The plan for the construction of the

sculpture and relief should be produced according to specific instructions; for example, molds should be

Diet Building goes back to the Meiji Era; it was a major national project that took about 19 years until

fabricated as specified by actual-size drawings and models. This actual-size drawing seems to have been

completion, from the start of construction in 1918.

made as an instruction to the contractor who actually worked on the construction.

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077

Patterns of the floor marble mosaic in the front hall of the Binden of the Imperial Diet Building
Tanaka Giichi / c. 1928 or 1930–31 / Pencil on paper / Large: long side 745, short side 535; Small: long side 270, shortside 192

The front hall of the Binden is situated at the end of the central staircase from the central hall of the Diet
Building. It is a rectangular space about 7.3 meters wide and about 21.8 meters long. The same marble
mosaic decoration is used in the central hall. About 600,000 flagstones were used. As these two patterns
show, the floor marble mosaic in the front hall of the Binden consists of a large rhombus and a small one.
These patterns seem to be a draft of the design proposal, as it does not show grid lines, size notation,and mosaic fitting plan. However, since the contour line almost coincides with the completed mosaic, it
can be inferred that it is the completed form of the original design. According to Construction Report of
the Imperial Diet Building (1938), the marble mosaic works were conducted from March to November
1931. The finishing of the marble decoration work in the front hall of the Binden was completed from April
to May 1936, together with repair and polish work on the central hall mosaic. It was said that a carpet of asingle weave was laid on this mosaic after completion. Materials including design drawings and material
samples of the Imperial Diet Building were mostly lost due to fire and war damage, so these patterns andsample stones (pp. 80–81) that remained with Giichi, who was in charge of decorating the front hall of the
Binden, are valuable source materials.

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079

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10

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Sample stones of the floor marble mosaic in the front hall of the Binden of the Imperial Diet
Building
In the early Shōwa Era / 16 types of marble, serpentine and olivine tholeiite / Formerly owned by Tanaka Giichi /Maximum: L28, W23, H22; Minimum: L17, W18, H12

According to Construction Report of the Imperial Diet Building (1938), “there are thirteen species: Kinka,

13

12

Ibaraki-shiro, Hakutaka, Ko-zakura, Usugumo, Benigumo, Hōsoku, Tōmegane, Mino-aka, Jamon, Tosazakura and Shin-awayuki” (actually only 12 species are enumerated here) of the types of marble (strictly
speaking, including serpentine and olivine tholeiite) used in the floor marble mosaic in the front hallof the Binden, the design of which Giichi was in charge of. The basic policy for the construction of theImperial Diet Building (currently the National Diet Building) was to use only Japanese domestic materials.
Until then, most marbles were imported from foreign countries, and it was rare to use domestic marbles
in Japan. The Bureau of Building and Repairs enthusiastically gathered samples of domestic marbles
before starting the construction, which led to the discoveries of new high-quality marbles in Japan andthe development of a marble industry. When new materials came up, the specimens were studied, andthe color scheme was redesigned. In addition, although it is recorded that all the marbles on the floor
mosaic are also all domestic, the tens of thousands of one type of yellow-orange marble from Italy was

14

15

used as an accent of the color pattern, according to the Giichi’s recollection.
1. Jamon [serpentine] : 3
2. Kōun: 10
3. Awayuki: 2
4. Benigumo: 6
5. Kasumi: 4
6. Shiro-usugumo: 3
7. Tōmegane: 2
8. Ōka, Kinka [a stone inlaid with characters “Ōka”]: 4
9. Hakugin [a stone inlaid with the same characters]: 6
10. Kamo-sarasa, Botan-sarasa [a stone inlaid with characters “Kamo-sarasa” and “Botan-sarasa” each]: 2
11. Mino-aka: 3
12. Chikuyō [olivine tholeiite] : 7
13. Hakutaka : 14
14. Beni-hamon : 4
15. Beni-jima : 22
16. Hōsoku : 18

080

16

081

“Southeast Corner Mural Painting of the Central Hall (Spring)” and “Southeast Corner Mural
Painting of the Central Hall (Summer)”
Bureau of Building and Repairs, Ministry of Finance (ed.), Construction Report of the Imperial Diet Building
Published by the Bureau of Building and Repairs, Ministry of Finance / 1938 / Boxed / Formerly owned by Tanaka Giichi /Upper illustration: H87, W141; Lower illustration: H86, W141; Book: H257, W200

Oil mural paintings representing the four seasons are placed on all corners of the central hall. The themesof the paintings are said to be “Cherry blossoms in Yoshino,” “Lake Towada in fresh green,” “Red leaves
in Nikkō” and “Japan Alps” in the order of spring, summer, autumn, and winter. There is no record of thepainters of these mural paintings in Construction Report of the Imperial Diet Building, but Giichi left hisnote mentioning the names of four people including him who participated in the creation of the paintings.

Extra plate“Central Hall”
Bureau of Building and Repairs, Ministry of Finance (ed.), Construction Report of the Imperial Diet Building
Illustration: H186, W141

They were all Technicians of the Bureau of Building and Repair and in charge of the architectural designof the Imperial Diet Building at the Bureau of Building and Repairs. According to Giichi’s record, Yasuda

This is located right under the high central tower. The floor is on the second level with an atrium that has

Kiyoshi and Giichi drew the outline of “Spring” and Yasuda finished the work, while Giichi alone worked

a space of four floors above. The ceiling height is 32 meters and 62 centimeters. The ceiling corniceon both outline and finishing of “Summer.” Takahashi Kenjirō worked on the outline and the finishingis made by electroform. The upper wall made of plaster is finished with painting. Electric lamps areof “Autumn,” while Kumagaya Toshio drew the outline of “Winter” and its finishing was done by botharranged behind the stained glass to serve as artificial skylight. In the center of this illustration, “Autumn”

Takahashi and Kumagaya. In the original plan at the time, it was intended that the marble mosaic would

can be seen among the mural paintings in oil on canvas at the four corners where the four seasons are

be set with these themes. However, it is said that the plan was changed to adopt paintings in oil on

represented. “Summer,” of which Giichi worked on composition and finishing, is located on the left ofcanvas due to budgetary constraints.

“Autumn,” and it is slightly seen on the right edge of the painting in this illustration.

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083

Picture postcard of the Front hall of the Binden of the Imperial Diet Building
From Tanaka Giichi to Tanaka Masako and Reiko / November 7, 1936 / Gelatin silver print / Manufactured by G. T. Sun(Graphic Times Sun) / Pasted with a commemorative stamp of the Imperial Diet Building completion on the address
face, with a commemorative special stamp of November 7, 1936, and impressed with a commemorative stamp ofNovember 1936 on the communication field / H139, W85

Giichi sent this postcard to his family on the day of the Imperial Diet Building completion ceremony.
In the photograph, the front hall of the Binden where Giichi was in charge of the design is seen (pp.
Extra plate

76−79). It shows us the state of the upper marble relief at the Binden entrance and the marble mosaic“The Front View of the Entrance of the Binden and its Front Hall”
Bureau of Building and Repairs, Ministry of Finance (ed.), Construction Report of the Imperial Diet Buildingin the front hall of the Binden, patterns of which are left in the UMUT collection, at the time of just after
completion of the building. On the address face of the postcard, there is a commemorative stamp of theImperial Diet Building completion with a commemorative stamp of the Tokyo Central Post Office. With

Illustration: H141, W190

the commemorative stamp of the Imperial Diet Building completion at the bottom of the same side, theThe front hall of the Binden where Giichi was in charge of the design. The upper marble relief at thefollowing is written: “to commemorate the completion of the Imperial Diet Building, [Shōwa] 11, 11, 7,

Binden entrance and the floor marble mosaic in the front hall of the Binden, the patterns of which are kept

Tanaka Giichi.” Two kinds of designs were made for the commemorative stamp. The visitors were able toin UMUT (pp. 76–79), are seen in this illustration.

stamp freely at the temporary stamping stand of the Diet Building.

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085

Picture postcard of the Imperial Diet Building
From Tanaka Giichi to Tanaka Masako / November 11, 1936 / Gelatin silver print / Manufactured by G. T. Sun (Graphic
Times Sun) / Pasted with a commemorative stamp of the Imperial Diet Building completion on the address face,
impressed with a commemorative stamp of November 1936 on the communication field / H85, W139

Extra plate
Portrait of Tanaka Giichi, Masako and Reiko

This is a picture postcard of the exterior of the Imperial Diet Building that Giichi sent to his wife Masako

Photographed by Morikawa Photo Studio / Late 1930s / Gelatin silver print, mounted on cardboard / Photograph: H103,

four days after the completion of the building. On the address face of the postcard, a commemorative
stamp which is different from another postcard sent to his family on the day of the completion ceremony

W136; Cardboard: H178, W223

(p. 85) is impressed. “GTSUN” printed on the upper left (the lower left where the address is vertical)
Giichi’s daughter Reiko in her very young age is seen in the photograph. It was taken around theshows that this postcard was manufactured by a photo company, Graphic Times Sun, which was run bycompletion of the Imperial Diet Buiding.

photographer Yamahata Shōgyoku (1887–1963).

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087

Box of commemorative goods for the Imperial Diet Building completion
Wooden sake cup of commemorative goods for the Imperial Diet Building completion
Fujii Kōyū / November 1936 / Bronze / Manufactured by Matsuzakaya Co., Ltd. / Inscribed with “Kōyū” on the lid and“Commemorating the completion of the Imperial Diet Building, starting from June Taishō 7, finished in November Shōwa
11” on the bottom / Formerly owned by Tanaka Giichi / Bottom: H105, W180; Depth with lid: 52

November 1936 / Vermilion lacquer and gold lacquer, guide, paulownia box / Manufactured by Kiya Lacquer Warehouse
Shop / Written in gold lacquer on the bottom – “Commemoration of the Imperial Diet Building completion”; on the backof the cup – “November Shōwa 11” / Formerly owned by Tanaka Giichi / Cup: diameter 109, H35, diameter of the bottom

A souvenir showing the front view of the exterior of the Diet Building on the surface of the lid. It was

44; Box: H127, W127, D59

described in Construction Report of the Imperial Diet Building (1938) as one of the commemorative goods
and was presented to invitees to the completion ceremony. Fujii Kōyū (1882–1958) was a sculptor who

An official souvenir distributed to the people involved in the construction. It was described in Construction

graduated from the Department of Sculpture at the Tokyo Fine Arts School in 1907. He was active in theReport of the Imperial Diet Building (1938). There is a gold-lacquer decoration of a round flower with eight

Bunten exhibitions sponsored by the Ministry of Education and the Inten exhibitions organized by a grouppetals which has arabesque patterns around it. Kiya (Hayashi Kyūbee) is one of three famous Tokyoof artists, Nihon Bijutsuin. At the time he worked on this project, Fujii was a member of the Imperial Finelacquerware shops on Nihonbashi Street. According to the guide included in the box, the shop was

Arts Academy. Fujii received a request from the Bureau of Building and Repairs to produce the prototype,founded in 1573, and the introduction in English states that the shop is selling gold-lacquer artworks. It

and under his command and supervision it was produced by Matsuzakaya Co., Ltd. The special productwas evident that the shop had developed lacquerware sales channels both in Japan and abroad. The

offered to the people related to the Imperial household has the same design, but the inside of the box isshop exported lacquerware overseas (to the United States) from 1895. It was prosperous enough to

made of silver plate inlay finish. There is an opened pack of Seven Star Long Size cigarettes in the box

produce souvenirs for the completion of a major national project like the Diet Building, but the shop was

which was owned by Giichi. It seems that he used it as a cigarette case.

closed about 10 years after the war.

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Badge worn by an attendant of the completion ceremony of the Imperial Diet Building
November 1936 / Artificial flower, with ribbon / Setsu 説 character on the ribbon / Formerly owned by Tanaka Giichi /Total: L162; Flower: L100

Badges of the completion ceremony were made for attendees and for staff. They were differentiated bycolor-codes. In the photographs of Construction Report of the Imperial Diet Building (1938), althoughthese colors cannot be determined, it was understood that all in attendance, ceremony participants
and staff, were wearing a chrysanthemum badge like buttonhole. The staff badge which Giichi owned
consists of a pink chrysanthemum and a white ribbon with greenish yellow rims. It indicates that thebadge was for guides. The Japanese character, setsu 説 (explanation) written on the ribbon indicates that
staff member Giichi served as a guide to explain the facilities on the day of the ceremony. The description“Commissioned technician Tanaka” is found under the section on guide staff of Completion Ceremony
Record of the Imperial Diet Building (1937).

Commemorative train return ticket for the Imperial Diet Building completion
Published by Tokyo City Electrical Bureau / November 1936 / Printed on paper / Printed letters “Commemoration of theRelief showing the exterior of the Imperial Diet Building

Imperial Diet Building completion ceremony” on the top / Formerly owned by Tanaka Giichi / H51, W58
Creator unknown / Early Shōwa Era / Plaster / Formerly owned by Tanaka Giichi / Long diameter 285, short diameter

It was described in Completion Ceremony Record of the Imperial Diet Building (1938) as a147

commemorative train ticket for the Imperial Diet Building completion issued by Tokyo City. The figureof the front entrance and the central tower of the newly-formed Diet Building is printed on the center. It

A record as a commemorative souvenir or other productions is not found. The tower looks like a steel

had tear-off tickets for both the inward and outward journeys on the left and right. However, since it has

skeleton and a crane is seen on both sides of the tower. It is evident that the Diet Building depicted on

already been used, both tear-off parts which are the end of the tails of two birds designed on both sides

the relief is in an incomplete state. The creator is unknown, and it may have been available only to a few

of the Diet Building on the center are cut off.

stakeholders. The coloring may have been done by Giichi.

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Sketches
Tanaka Giichi / c. 1928 or 1931 / Pencil and watercolors on paper, wooden box / Signed in some sketches — “1928 G.
Tanaka,” “1931 G. Tanaka” / Large sheet: long side 187, short side 149; Medium sheet: long side 160, short side 120;
Small sheet: long side 52, short side 45; Box: H330, W220, D58

Giichi loved drawing from a young age. He studied painting under Somiya Ichinen (1893–1994) from his
junior high school days, with an ambition to be a painter. In fact, although he worked on architecture anddesign, he continued to draw many sketches and paint watercolors throughout his life for a hobby as well
as for a profession at survey locations. It is probably due to his genius that the outline of the patterns of
the Imperial Diet Building’s interior design looks vivid (pp. 76−79). These sketches consisted of about 150
items and were contained in a wooden box. Since Giichi’s signature containing the year is found in someitems, it seems that these sketches were drawn around the period when he was involved in the work on
the Imperial Diet Building. Giichi drew precisely not only landscapes and domestic animals like cattle
and pigs but also insects, birds, shells, and fishes. Scientific names are added on some of them. Giichi’s
interest in natural history can be appreciated through these sketches.

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Sketches

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Views of the exhibition

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099

Tanaka Collection
UMUT
The Tanaka Collection includes materials from Giichi (1902–1985), Fuji (1877–1922) and Rintarō(1856–1924), consisting of documents, photographs, commodities and books related to the Tanakas.
The collection covers various fields, not only of engineering but also of history and arts. The number ofthe collection is approximately a thousand items. It is particularly precious when discussing the historyof engineering and cultural history in modern Japan. The Tanaka family goes back to Tanaka Hisashige(Giemon) the First (1799–1881) who was an inventor active between the later years of the Edo Period
and into the Meiji Era. With neighboring engineering groups, it contributed to the development of modern
engineering in Japan.

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References (in Japanese)

Tanaka Rintarō
大川三雄『明治・大正昭和戦前期における和風大邸宅の変容と展開に関する史的研究―近代和風建築史確立のための基礎的研究』博士論文（日本大学）、1999年9月。
大蔵省印刷局編『官報』第1449号、13頁、1888年5月2日。
大蔵省印刷局編『官報』第5326号、157（5）頁、1901年4月9日。
大蔵省印刷局編『官報』第5348号、98（2）頁、1901年5月4日。
大蔵省印刷局編『官報』第7053号、5（5）頁、1907年1月4日。
大蔵省印刷局編『官報』第7490号、382（14）頁、1908年6月16日。
小野木重勝『日本の建築

明治大正昭和2様式の礎』東京：三省堂、1979年。

旧工部大学校史料編纂会編『旧工部大学校資料・同付録』東京：青史社、1978年復刻（虎之門会昭和6年刊）。
小玉正任『国宝

迎賓館赤坂離宮―沿革と解説』東京：茜出版、2012年。

鈴木博之監修・内匠寮の人と作品刊行委員会編『皇室建築̶内匠寮の人と作品』東京：建築画報社、2005年。
多久島澄子『日本電信の祖

石丸安世―慶応元年密航留学した佐賀藩士』東京：彗文社、2013年。

田中林太郎「皇居二重橋抗抵力試驗ノ成績報告」『工學會誌』7（79）、666‒670頁、1888年7月。
中村達太郎「皇居御造榮の頃」『建築雑誌』46（601）、856‒870頁、1935年7月。
日本建築学会環境工学委員会設備分科会赤坂離宮建築設備小分科会「旧赤坂離宮建築設備調査報告（その１）」『建築雑誌』86（1044）、971‒975頁、1971年11月。
日本工学会『明治工業史 機械・地学篇』東京：日本工学会明治工業史発行所、1930年。
橋本明夫・宮崎光二・宮田洋平他「飾電燈の復旧―東京芸術大学所蔵皇居旧二重橋飾電燈の修復報告」『東京芸術大学美術学部紀要』35、5‒25頁、2000年7月。
平井敦・小幡祥一郎「皇居造営計画と二重橋架替工事―その概報」『土木学会誌』49（10）、83‒85頁、1964年10月。
藤森照信「かわいそうな宮殿 赤坂離宮」『建築探偵東奔西走』東京：朝日新聞社、1997年、8‒15頁。
藤森照信「皇居のドラゴン 二重橋」『建築探偵雨天決行』東京：朝日新聞社、1997年、78‒81頁。
宮内敬保「皇居二重橋」『道路』（296）、844‒847頁、1965年10月。
和氣慎「皇居新二重橋高欄と精密鋳造技術の想いで」『産業能率』（654）、22‒25頁、2013年1月。
「片山博士を弔ふ」『建築雑誌』31（372）、1‒22頁、1917年12月。
『朝日新聞』朝刊、大阪：朝日新聞社、1888年5月5日4面。
『朝日新聞』朝刊、東京：朝日新聞社、1904年2月2日1面。
『読売新聞』朝刊、東京：読売新聞社、1886年5月29日4面。

102

103

『読売新聞』朝刊、東京：読売新聞社、1906年2月8日6面。
『読売新聞』朝刊、東京：読売新聞社、1924年4月30日11面。
Tanaka Fuji

東京帝國大學學術大觀刊行会編『東京帝國大學學術大觀
1942年。

工学部・航空研究所』東京：帝國大學新聞社、

内藤「雜記 新論新説 工学博士田中不二著（349）、28頁、1916年1月。

第二編

中尾文栄『歯車技術ホール通信

井口在屋・田中不二『木材ノ剪断試験報告』（1906年3月）『震災豫防調査会報告』55、1906年9月。
井口在屋・田中不二『木材の剪断試験報告』『機械學會誌』9（17）、1907年9月。
大蔵省印刷局編『官報』第5701号、114（2）頁、1902年7月7日。
大蔵省印刷局編『官報』第7208号、254（6）頁、1907年7月10日。

應用力學

水力學及水力機械」『建築雑誌』30

11』豊精密工業株式会社（社内報）、2004年5月。

日本建築学会編『近代日本建築学発達史 復刻版』東京：文生書院、2001年。
日比勝治『藤山博士と三居澤』三居澤史跡保存發起人、1937年。
森貞彦「イギリスから日本への製図教育の導入に際して起こった一つの現象について」『日本工業教育協会
誌』35（3）、18‒19頁、1987年7月。

大蔵省印刷局編『官報』第7490号、383（15）頁、1908年6月16日。

『 東 京 帝國 大學」東 京：小川寫眞 製 版 所、19 0 4 年。［Tokyo Imperial University. Tok yo: O gawa
Photography and Plate Making Factory, 1904.］

大蔵省印刷局編『官報』第7519号、512（16）頁、1908年7月20日。

『朝日新聞』朝刊、東京：朝日新聞社、1902年7月8日2面。

大蔵省印刷局編『官報』第7627号、576（2）頁、1908年11月27日。

『朝日新聞』朝刊、東京：朝日新聞社、1917年8月5日4面。

大蔵省印刷局編『官報』第8330号、49（49）頁、1911年4月1日。

『朝日新聞』朝刊、東京：朝日新聞社、1922年11月20日3面。

大蔵省印刷局編『官報』第442号、401（17）頁、1914年1月21日。

『読売新聞』朝刊、東京：読売新聞社、1913年12月24日2面。

大蔵省印刷局編『官報』第792号、682（10）頁、1915年3月26日。

『読売新聞』朝刊、東京：読売新聞社、1914年7月26日3面。

加藤洋治「ウエスト先生」『日本造船学会誌』654（0）、675頁、1983年。

『読売新聞』朝刊、東京：読売新聞社、1915年6月3日3面。

柴田畦作・田中不二「第五回材料試驗萬國會議議事概要」『日本鑛業會誌』307、1910年9月。

国立公文書館アジア歴史資料センターウェブサイト：https://www.jacar.go.jp

Shiba, C. & Tanaka, F. “Corrosion Test of Iron and Steel.”（斯波忠三郎・田中不二「鐵及び鋼の腐蝕試験」
1904年4月）『機械學會誌』16（28）、1‒5頁、1912年11月。
田中不二「安全辨に就て」『機械學會誌』6（9）、1‒14頁、1903年6月。
田中不二・内丸最一郎『機械設計及製圖』前編、東京：丸善株式会社、1906年。

Tanaka Giichi

田中不二・内丸最一郎『機械設計及製圖』後編、東京：丸善株式会社、1906年。

江上綏「第五章 石、木、紙の造形と技術」伊東俊太郎他編『講座・比較文化』東京：研究社出版株式会
社、153‒179頁、1977年。

田中不二「高速道具鋼に就て」『機械學會誌』9（16）、1‒38頁、1906年11月。

大熊喜邦「議事堂建築の概要」『建築雑誌』51（623）、196‒209頁、1937年2月。

田中不二「第五回内國勧業博覧会出品
39頁、1907年9月。

大蔵省営繕管財局編纂『帝國議會議事堂建築の概要』東京：大蔵省営繕管財局、1936年。

調べ革試験成績表

明治三十六年四月」『機械學會誌』9（17）、

田中不二「木材の結局曲げ強さと田中公式」『建築雑誌』22（256）、156‒161頁、1908年4月。
田中不二「木材ノ結局曲ゲ強サト田中公式」（1907年11月）『震災豫防調査會報告』61、1908年7月。
Tanaka, F. “Tension Tests of Copper Plates.”（田中不二「銅板の引き張り試驗」1906年3月）『機械學會誌』
10（18）、38‒40頁、1908年2月。
Tanaka, F. “Tension Test of and Slow Stretch in India-rubber.”（田中不二「護謨の引き張り試驗及び遲き伸び」1905年12月）『機械學會誌』16（28）、7‒14頁、1912年11月。
田中不二『應用力學

材料及び構造強弱學』第一編、東京：丸善株式会社、1913年。

田中不二『應用力學

水力學及び水力機械』第二編、東京：丸善株式会社、1915年。

田中不二「軟鋼軸材料に關する繰り返し内力試驗成績」（1915年2月）『機械學會誌』18（38）、1‒10頁、1915年4月。
田中不二『機械製作法

鑄造鍛造』第一編、東京：丸善株式会社、1919年。

田中不二『機械製作法

工具

工作機械』第二編、東京：丸善株式会社、1923年。

出水力「日本の機械工学の開拓者・井口在屋（Ⅰ）―機械工学教育の形成過程を通して」、日本産業技術史
学会『技術と文明』1（1）、55‒76頁、1985年3月。
出水力「日本の機械工学の開拓者・井口在屋（Ⅱ）―機械工学研究の軌跡をたどって」、日本産業技術史学会『技術と文明』2（1）、23‒43頁、1985年9月。
東京大学百年史編集委員会編『東京大学百年史 部局史 三』東京：東京大学出版会、1987年。
［Editorial
Committee of Centennial History of the University of Tokyo (ed.). Centennial History of the University ofTokyo, History of Faculties (3). Tokyo: University of Tokyo Press, 1987.］104

大蔵省営繕管財局編纂『帝國議會議事堂竣功式典記録』東京：大蔵省営繕管財局、1937年。［Bureauof Building and Repairs, Ministry of Finance (ed.). Completion Ceremony Record of the Imperial Diet
Building. Tokyo: Bureau of Building and Repairs, Ministry of Finance, 1937.］
大蔵省営繕管財局編纂『帝國議會議事堂建設報告書』東京：大蔵省営繕管財局、1938年。［Bureau of
Building and Repairs, Ministry of Finance (ed.). Construction Report of the Imperial Diet Building. Tokyo:
Bureau of Building and Repairs, Ministry of Finance, 1938.］『海軍施設系技術官の記録』刊行委員会『海軍施設系技術官の記録』東京：『海軍施設系技術官の記録』刊行委員会、1972年。
白谷達也・松谷巌『国会議事堂』東京：朝日出版社、1990年。
長谷川香「室内装飾にみる図案家・吉武東里（2012年度研究発表梗概）」『家具道具室内史
史学会誌』（4）、2012年、111‒112頁。
藤森照信「複雑な、複雑な出生の秘密
183‒186頁。

家具道具室内国会議事堂」『建築探偵奇想天外』東京：朝日出版社、1997年、「国会議事堂四季の絵」『東奥日報』夕刊、青森：東奥日報社、1982年12月3日1面。
Genealogy of the Tanaka Family
今津健治『からくり儀右衛門―東芝創立者田中久重とその時代』東京：ダイヤモンド社、1992年。
國武金太郎『田中近江大掾源久重』東京：全國發明品博覧會協賛會、1918年。
鈴木一義監修・東芝未来科学館田中久重編集委員会『田中久重

105

万般の機械考案の依頼に応ず』神奈川：

東芝未来科学館、2014年。

東京大学編『学問のアルケオロジー』東京：東京大学、1997年。

田中近江翁顕彰会編『田中近江大掾』久留米：田中近江翁顕彰会、1931年。

東京大学百年史編集委員会編『東京大学百年史

通史一』東京：東京大学出版会、1984年。

堀江恒三郎編『田中久重翁』東京：堀江恒三郎、1897年。

東京大学百年史編集委員会編『東京大学百年史

通史二』東京：東京大学出版会、1985年。

前田清志『日本の機械工学を創った人々』東京：オーム社、1994年。

日本工学会『明治工業史

鉱業編』東京：日本工学会明治工業史発行所、1930年。

『芸術新潮

日本工学会『明治工業史

建築編』東京：日本工学会明治工業史発行所、1930年。

特集 あっぱれ！科学が花開かせた江戸の芸術』43（10）、東京：新潮社、1992年10月。

『芸術新潮 特集ニッポンモノづくり奮闘記―技術大国への道は江戸に始まった！』52（7）、東京：新潮社、2001年7月。

三好信浩『明治のエンジニア教育―日本とイギリスのちがい』東京：中央公論社、1983年。
三好信浩編「明治初期専門教育成立に関する公文関係史料」『大学研究ノート』61、広島大学、1‒101頁、1985年3月。

History of Engineering in Japan
History of Photography in Japan
上田弘之著・国際電信電話株式会社、KDDエンジニア・アンド・コンサルティング編『日本工業の黎明―遣隋使から工部大学校まで』東京：国際電信電話、1981年。
植村正治「明治初期工学教育機関の設立―工学寮について」『社会科学』89、同志社大学、21‒ 47頁、2010年11月。
大蔵省『工部省沿革報告』東京：大蔵省、1889年。

鳥原学『日本写真史上』東京：中央公論新社、2013年。

長野重一・飯沢耕太郎・木下直之編『日本の写真家
日本写真家協会編『日本写真史

別巻

日本写真史概説』東京：岩波書店、1999年。

1840‒1945』東京：平凡社、1971年。

大淀昇一「明治期日本社会における先導的技術者養成機関の意義と変容（一）」『島根大学教育学部紀要
教育科学』21、31‒54頁、1987年12月。
大淀昇一「明治期日本社会における先導的技術者養成機関の意義と変容（二）」『島根大学教育学部紀要
教育科学』22（2）、1‒28頁、1988年12月。
柿原泰「お雇い外国人とイギリス帝国のエンジニア―新たなお雇い外国人研究に向けて」『東京大学史紀要』（18）、33‒44頁、2003年3月。
柏原宏紀『工部省の研究―明治初年の技術官僚と殖産興業政策』東京：慶應義塾出版会、2009年。
加藤詔士「東京大学所蔵『ヘンリー・ダイアー関係図書』をめぐる考察」『東京大学史紀要』（20）、1‒24頁、2002年3月。
加藤詔士「工部大学校書房掛猪俣昌武とお雇い教師ヘンリー・ダイアー」『東京大学史紀要』（23）、25‒39
頁、2005年3月。
加藤詔士「工部大学校お雇い教師ヘンリー・ダイアー・コレクション展」『東京大学史紀要』（25）、19‒39
頁、2007年3月。
加藤詔士「東京帝国大学名誉教師ヘンリー・ダイアー」『東京大学史紀要』（28）、23‒40頁、2010年3月。
北嶋磯舟『日本の文化へ―我国最初の大砲汽車汽船佐賀藩の大苦心』佐賀：八谷大麟、1927年。
後藤単伝編『丁友會パンフレット第1号

工部大学校昔噺』東京：後藤単伝、1927年。

古屋野素材「工学寮（工部大学校）と英国の科学・技術教育の発展」『慶応義塾大学大学院社会学研究科紀要』（15）、61‒67頁、1975年2月。
鈴木淳編『工部省とその時代』東京：山川出版社、20002年。
高橋雄造「エアトンとその周辺―工部大学校お雇い外国人教師についての視点」『技術と文明』7（1）、
1‒32頁、1991年12月。
舘昭「日本における高等技術教育の形成―工部大学校の成立と展開」『教育学研究』43（1）、13‒23頁、1976年。
玉井哲雄編・石黒敬章企画『よみがえる明治の東京―東京十五区写真集』東京：角川書店、1992年。
角田真弓「工学系研究科建築学専攻所蔵 旧備品台帳（一）旧工部美術学校所蔵資料」『東京大学史紀要』（28）、65‒83頁、2010年3月。
角田真弓「工学系研究科建築学専攻所蔵 旧備品台帳（二）旧工部美術学校所蔵資料」『東京大学史紀要』（29）、67‒86頁、2011年3月。
角田真弓「工学系研究科建築学専攻所蔵 旧備品台帳（三）旧工部美術学校所蔵資料」『東京大学史紀要』（30）、35‒54頁、2012年3月。

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Acknowledgements

In preparation for this exhibition, Ms. Egami Mitsuko, who gifted the Tanaka Collection, gave valuable
information and donated additional materials, and Mr. Egami Yasushi likewise gave us a variety of
information.
Also, interest in this collection in the museum was shared by the student volunteers at
the Koishikawa Annex who helped in preparing for this exhibition, and the student volunteers at theIntermediatheque and UMUT museum interns who joined in the curatorial work on the collection, without
whom this exhibition would have never materialized.
The publication of this catalog received a grant support from the Toshiba International
Foundation in 2018, in relation to the symposium “Pio-engineers in Modern Japan.”
We sincerely appreciate all of them from the bottom of our heart.

[Student Volunteers at Koishikawa Annex in 2016]
Kakinaka Kenji, Ota Moeko, Sakaguchi Mai, Sugimoto Nagisa, Takahashi Ayaka, Tonegawa Kaori,
Yonemura Miki, Yonemura Yuki and Yoshida Atsunori

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● Appendix

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111

Past exhibitions of the Tanaka Collection

Permanent Exhibition Made in UMUT: The University of Tokyo Collection“The Stylishness of Imperial Crafts: From the Tanaka Collection”[Date] August 5, 2013 –[Venue] Intermediatheque 2F [COLONNADE3]

Experimental Performance Play IMT (3): On the Possibilities of Theatrical Creation Within theIntermediatheque
Unit of Drawers “Family Photographs with Love”*Family photographs related to Tanaka Fuji were exhibited on the occasion of the theatrical performancein the gallery.
[Date] August 18, 2015
[Venue] Intermediatheque 2F [COLONNADE2]

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Events related to the Tanaka Collection

Intermediatheque Natural History Series <1>
Special Exhibition The Golden Age of Botanical Art: Flowers from the Collections of the Royal
Botanic Gardens, Kew*A postcard album and guide books of Royal Botanic Gardens, Kew which were collected by Tanaka Fuji
were exhibited as related objects of the exhibition.

Gallery Talk 10[Date and Time] 12:30–13:00, Saturday, February 25, 2017
[Venue] Koishikawa Annex[Guide] Kakinaka Kenji (Student volunteer)[Dates] September 16 – December 3, 2017
[Venue] Intermediatheque 2F [BIS]Gallery Talk 11 “Pio-engineers in Modern Japan: Rintarō, Fuji and Giichi, Three Generations of
Tanakas”[Date and Time] 12:30–13:00, Saturday, June 3, 2017
[Venue] Koishikawa Annex[Guide] Terada Ayumi (Affiliate Associate Professor, UMUT)
Talk Event Sense of Wonder “The Tanaka Family and Pio-engineers: The Work of Rintarō andFuji”[Date and Time] 12:20–13:20, Thursday, October 12, 2017
[Venue] Libraries for Engineering and Information Science & Technology (Engineering Bldg. 2 Library)[Lecturer] Terada Ayumi (Affiliate Associate Professor, UMUT)[Organizer] School of Engineering and Graduate School of Information Science and Technology,
University of Tokyo
Symposium Pio-engineers in Modern Japan[Date and Time] 14:00–17:00, Saturday, November 17, 2018
[Venue] Intermediatheque 2F [ACADEMIA][Admission] Free (no reservation required)[Organizer] The University Museum, the University of Tokyo (UMUT)[Grant Support] Toshiba International Foundation[Program]
Lectures (Part 1)
Terada Ayumi (University Museum, University of Tokyo / Museology and Cultural Policy Studies)
Introduction: The work of three generations of the Tanaka family, Rintarō, Fuji, and Giichi.
Miles Oglethorpe (Historic Environment Scotland / Industrial Heritage)
Scotland’s links with the emergence of Modern Japan: The case of Watanabe Kaichi.
Ariga Nobumichi (National Museum of Nature and Science / History of Physical and Mathematical
Sciences)
W. E. Ayrton and Natural Philosophy at the Imperial College of Engineering in Tokyo.
Yulia Frumer (Johns Hopkins University / History of Science and Technology)
Yamaguchi Kisaburō’s studies at Johns Hopkins.
Matsumoto Fumio (University Museum, University of Tokyo / Architecture)
Josiah Conder and the first Japanese architects.
Discussion and Q&A (Part 2)

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Introduction of Koishikawa
Annex

Overview

art, within the walls of our institution. The actual
exhibits are divided into six themes: architecturalT h e K o i s h i k a wa A n n ex o f t h e U n i ve r s i t ymodels, the historical buildings of the University

Museum, the University of Tokyo is a museumof Tokyo, the diversity of natural forms, spatial

facility that makes use of the architecture of

specimens, world architecture, and body space.

the main building of the former Tokyo Medical

We hope that for those who seek architecture

School, which is designated as an Importantof all the universe, this museum will evoke theCultural Property. Since its opening in 2001, thecreation of new ideas and forms.

museum has used the academic specimens thatbuilding is the oldest extant school building at
the University of Tokyo, and the structure itself

contemporary museums. The second group

Tokyo Imperial University. In addition to reducing

consists of a range of non-museum structures

the scale of the building, his redesign, whichspanning the ancient to modern eras. These

included a tower, window frames, handrails, andinclude contemporary structures famous bothother elements, gave the building its current

nationally and internationally that range in typeappearance. It was dismantled in Hongō in 1965,

from residential buildings to public facilities.

and in 1969, it was reassembled at its present

The models are built to various scales including

location in the botanical garden operated by

1:50, 1:100, and 1:300, according to the size of

the Graduate School of Science, University

the modeled building, with each display caseof Tok yo, in Koishikawa. The building was

including models of only a single scale for easedesignated as an Important Cultural Property

of comparison.

in 1970, and has been open to the public as the
Koishikawa Annex of the University Museum
since November 2001. Although the building wastransported and renovated several times, partsof the original design can still be seen in its mix
of Western, Chinese, and Japanese styles. This
noticeable in aspects of the building such as its

Exhibits

special exhibitions. In December 2013, it wasreborn as an architectural museum. The museum

famous by White Cube, and more individualistic

drawn up by Yamaguchi Kōkichi, an engineer at

blend of tradition and modernity is especially

had accumulated in the university to hold various
events including permanent exhibitions and

The plans for the transfer and reassembly wereclassical proportions, central tower and portico,
Wagoya structure, restored entablature, Giboshi

T h e m a in b uil din g of t h e fo rm e r To k yo
Medical School (Designated Important Cultural
Property)

balustrade, air-conditioned core, and the modern
detailing on the handrails on the staircase.

Historic buildings of the University of Tokyo

is a valuable example of pseudo Western-stylearchitecture from the early Meiji Era.
The Architectonica permanent exhibitioni s n ow ava i l a b l e to t h e p u b l i c w i t h i n t h i s
extraordinary architectural space. The intentionof the exhibition is to expand the concept ofarc hitec ture through the use of ac ademic
resources. From the world of miniaturized models
to that of life-sized spaces around the body, andfrom the world of modeled architectural materials
to that of collected ethnological materials, theKoishikawa Annex embraces the varied worldsthat exist within the concept of architecture. Our
aim is to organize the principles that structure
objects and integrate various phenomena under
the umbrella term of “architecture,” and to use
this higher-order perspective to tie together thenatural and artificial, as well as science and

The Koishikawa Annex is the oldest extant
school building at the University of Tokyo and

The display includes historic school buildings
Architectural models

is a valuable historical example of the pseudo

constructed on the Hongō Campus in the Meiji
and Taishō Eras. These include the Legal

Western-style architecture of the early Meiji Era.

T h e s te el d i s p lay c a s es , w h i c h o r i gi na ll y

Medicine Department Building of the Faculty

The main building of the former Tokyo Medical

belonged to the specimen room of the Facultyof M e di c ine at Tok yo Im p er ial Uni ver s it y,

School, which later became the Koishikawa

of Medicine and date back to the early Showa

the Autopsy Room of the Depar tment ofAnnex, was built on the Hongō Campus by theEra, house miniature models of world-famous

Legal Medicine of the Faculty of Medicine,

Bureau of Building and Repairs of the Ministry ofarchitectural structures. The architectural models

the Naval Architecture, Weaponry, and Civil

Public Works in 1876. In 1877, the Tokyo Kaisei

were originally created for the special exhibition

Engineering Department Building of the Faculty

School and the Tokyo Medical School merged

UMUT Openlab: A Museum City of Architecturalof Engineering at Tokyo Imperial University, theto create the University of Tokyo. Accordingly,

Models in 2008/2009, and the collection has

Zoology, Geology, and Mineralogy Department

the main building became a core facility forsince been expanded. The first group consists

Building of the Faculty of Science at Tokyo

the depar tment of medicine. As par t of theof models of modern museum buildings. The

Imperial University, the Main Building of thereorganization of the university hospital, the frontc ollec tion of 1:3 0 0 scale models includes

former Tokyo Medical School, and the Lecture

half of the building was transported to a locationbuildings constructed in the prototypical museum

Hall of the Faculty of Law at Tokyo Imperial

adjacent to the Akamon Gate, and the building

style, which is based on the classical aesthetic,

University. Of these, all of the buildings except

was occupied by the Historiographical Institute.

those designed using the versatile style madefor the Main Building of the former Tok yo

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interior spaces. These include the Basilica of

exhibition case contains various objects thatcollapsed during the Great Kantō Earthquake

Sant’Andrea (Leon Battista Alberti), known for its

come in contact with the body, including thoseof 1923, and no longer exist. These elaborate

elaborate facades and imposing interior spaces,from the periphery to the exterior of architectural

1:100 scale wooden models were produced by

the Pureland Hall of Jyōdoji Temple (Shunjōbō

structures.

the late Giovanni Sacchi, renowned as the best

Chōgen), a leading example of Daibutsuyō

woodworker in Italy, and his workshop. Theyarchitecture, the Fallingwater House (Frank Lloydare based on architectural drawings kept in the

Wright), which was built on a mountain stream,

Headquarters Facilities Department. Thesethe Villa Almerico-Capra (Andrea Palladio),works form part of the legacy of Mr. Sacchi, who

which sought to achieve perfect symmetry, thewas regarded as the foremost inheritor of Italy’s

Notre Dame du Raincy (Auguste Perret), whichlong tradition, dating back to the Renaissancesuccessfully created a Gothic space out of

Period, of wooden model building.

concrete, the Hedmark Museum (Sverre Fehn),

Medical School (currently the Koishikawa Annex)

nomadic view of architecture can teach us.

in which a new structure was superimposed
Diverse natural forms

on historical ruins, and the Hagia Sophia of
Istanbul, which represents the pinnacle of theThis exhibit draws from the diverse academic
fields of zoology, botany, mineralogy, andmathematics to display real and model objects
that make up a kind of “natural architecture.”great Byzantine domes. In addition, steel window
frames from the former Tokyo Central Post Office
were used to construct the legs of the display
case.

For this exhibit, the selection includes crystal

collections at the Koishikawa Annex. These wereGermany, molluscs including specimens of theselected from among 3,282 glass photographic

Pacific sundial (Architectonica trochlearis [Hinds,

plates housed in the former warehouse of Tokyo

1844]), and assor ted mathematical models

Imperial University, and depict the construction

including of polyhedra, spirals, knots, and tori.

of the University of Tokyo. The photographs wereThese specimens show the beauty of various
The b ody s pac e exhibit rooms c ontaining

forms and provide plent y of hints for good

et h n o g r a p h i c s p e c i m e n s f o c u s o n a c t ua larchitectural design.

The photographs arranged in various placesin the hall are a subset of one of the mainmodels manufactured by the Krantz Company inBody space (Ger)Photographs of the Unive rsit y of Tok yo
campustaken under the direction of architect Uchida
Yoshikazu (1885–1972) who, as professor in thecomponents used in movable ethnic architecture.

Faculty of Engineering, oversaw the rebuilding ofThese life-sized spaces that surround the bodythe university after the Great Kantō Earthquake,serve to help visitors become more aware ofand later became president of the University ofBody space (Canoe)

the relationship between our bodies and theTokyo.

architectural space we inhabit. Gers (collapsible
shelters) from Inner Mongolia are designed to

The b ody s pac e exhibit rooms c ontaining

meet the needs of a nomadic lifestyle, and canet h n o g r a p h i c s p e c i m e n s f o c u s o n a c t ua lbe easily dismantled and reassembled once you

components used in movable ethnic architecture.

learn the technique. The constant movement

These life-sized spaces that surround the bodyof the nomadic life would seem, at first glance,

serve to help visitors become more aware oft o c o n t r a d i c t t h e i d e a s o f we l l - g r o u n d e dthe relationship between our bodies and thearchitectural structures, yet if we accept that

Spatial specimens

architectural space we inhabit. A canoe used by
the Yami people of Taiwan, shown here together

the mobility of structures and the minimal use
of materials are important challenges in modern

This exhibit features architec tural models

with three sets of oars, can be thought of asarchitecture, there may be many things that thethat are especially large or have distinctive

an example of water-borne architecture. The

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Koishikawa Annex Special Exhibition Catalog
Pio-engineers in Modern Japan—Rintarō, Fuji, and Giichi, Three Generations of Tanakas
Curators: Terada Ayumi, Tsurumi Eisei, Matsumoto Fumio and Nagai Akihiko
Editor: Terada Ayumi
Editorial Assistants: Kurata Aiko and Yoshikawa Sota
English Supervisor: M.L. I. Ingel
Designer: Sekioka Hiroyuki
Photography: The University Museum, the University of Tokyo (UMUT)
Date of publication: March 31, 2019
Publication: The University Museum, the University of Tokyo (UMUT)© 2019 The University Museum, the University of Tokyo (UMUT)
The publication of this catalog received a grant support from the Toshiba International Foundation in 2018, in
relation to the symposium “Pio-engineers in Modern Japan.”120

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