In the 18th century, the Edo era, Kano and Tosa schools had big influence as traditional academy since last period, even they were stagnant. Against those schools, some painters organized new schools and produced new devices getting rid of the academic limits. Those new schools were called Maruyama and Bunjin schools, but there were also another kind of artists who didn't belong to any school, and tried to create individualistic new art being free from traditions. SOGA, Shohaku was one of them. He was known as heretical painter of the Edo era as same as ITO, Jakuchu and NAGASAWA, Rosetsu. They made their efforts for setting new aspects in the traditional tendency. When we survey each painters through their styles of paintings, not through classifying them to schools, we find that those heretical painters have their own genealogy. It is true that they were not classified to any school. for their too strong individuality, but they were one of the main streams of paintings of the Edo era apart from the traditional Kano school. We can also say that it is possible for them to exist only in the decadance period of the later Edo era.

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A circumstance where paintings of famous places (meisho-e) are created in the Shijo school is described based on an analysis of the subjects and the composition of each image in the "Album of Landscapes in Osaka". Second, the use of pictorial models (funpori) by other artists who belong to the Shasei (life drawing) schools surrounding Tosui is discussed. Third, the characteristics of paintings of famous places created by the Osaka Shijo school artists are examined in comparison with the Kyoto Shijo school artists. These descriptions clarify the working attitude of the Shijo school artists from the end of the Edo period to the Meiji period. In addition, how the album was adopted in the Osaka painting schools (Osaka Gadan) is also explained. Our descriptions provide a means by which the "Album of Landscape in Osaka" demonstrates the working attitude and principles of coping painting models in the Shijo schools during the pre-modern and modern eras. One may say that the album is the archetype of albums, reflecting the characteristics of people who used it in Osaka at that time. All of these things make clear a wide range of the working attitudes and activities of the Shasei schools from the end of the Edo period to the Meiji period.

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Asakusa, Tokyo developed during the Edo period (1603–1867) as one of the leading entertainment districts in Japan. The arrival of Commodore Perry’s Black Ships in 1853 led to the opening of Japan to foreign contact and brought a turning point to Asakusa. This paper considers how the Bunmei-kaika (cultural enlightenment) movement affected live entertainment in the district during the Meiji era (1868–1912).

The new government wanted to impress upon Westerners the idea that Japan was a civilized nation. While Western dignitaries wanted to see traditional performances unique to Japan, the authorities prohibited some they believed Westerners would consider barbaric and dubious. In the meantime, common Japanese people, who could not even think of traveling abroad, simply wanted to know about the West and went to Asakusa to enjoy Western culture, such as the circus.

This paper first examines Asakusa’s shows witnessed by Westerners, focusing on the opinion of the English journalist John Reddie Black (1826–1880), who considered them barbaric. After discussing the examples of Western culture that Japanese enjoyed, the paper also analyzes the relationship between Asakusa and Black’s son, Henry James Black (1858–1923), who became a Rakugo storyteller.

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The purpose of this study is to clarify the taste of painter's residence in the suburbs in Kyoto at the late Edo period.
There were about ninety painters, who lived in the suburbs by the directory published in Kyoto at the late Edo period.
This study researched on the transition of address, activities of execution, etc., about the painters who proved at that time, Ikeno Taiga, Hara Zaityu, Ganku, Tanaka Totugen, Nakabayashi Tikudo, and Hine Taizan.
The painter's residence in the suburbs was clarified. In short, it had the elements:
(1) Lead a full work
(2) Retirement's place
(3) Health resort

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UTAGAWA Yoshitaki(1841-99) was an Ukiyoe artist who worked mainly around Osaka from the late Edo to early Meiji period. The previous studies of Yoshitaki have been mainly about his print works. This paper, however, also looks into some of his rare paintings. Chapter 1 overviews changes observed in Yoshitaki's actor prints in more than 30 years of his career. Chapter 2 examines three paintings of beauties by Yoshitaki from 1880 to 1885, in which many similarities can be pointed out with his prints that were produced immediately before he shifted to paintings. Chapter 3 looks at two very important paintings of beauties painted in the late Edo era, one belonging to MFA Boston and the other to The British Museum respectively. Similarities with Yoshitaki's print style are also found in these works. Chapter 4, based on Chapter 2 and 3, discusses how, while using some print work elements, Yoshitaki's paintings style became sophisticated over time in comparison with his earlier paintings in which influences of his print works had been much more obvious.

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　近代初期の日本における消費文化をつくりだした百貨店は，試行錯誤を繰り返しながらその後のマーケティングの前史となるような，新たな市場開拓やブランディングを展開して顧客の潜在的な欲望を喚起した。初期百貨店では，広告をはじめとするデザイン・ディレクションや文化活動，呉服をはじめとする様々な商品における流行操作，子ども用品や家具・室内調度品などの商品開発に至るまで，積極的にかかわりながら市場を開拓していく状況が見られた。明治末から昭和初期にかけての日本の消費文化は，中間層を巧みに消費者として取り込むことで急速に発展していった。その先駆的な試みはその後に続く日本のマーケティング史の源流のひとつとして，学ぶべき点は多いと思われる。本稿では，筆者のこれまでのデザイン文化史的な百貨店研究を，マーケティング史という視点から捉えなおした。

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　近代日本において，色彩論は欧米より輸入され，受容される．その過程で，日本画家である田口米作により，『色彩新論』が著された．本書は明治43年に刊行されたが，欧米の近代的な色彩論を主に紹介する同時期の書籍とは性質が異なる．田口米作は著作の中で，色彩理論の解説に加え，日本の色彩文化論的内容を含む独自の視点を提示している．これは当時の色彩論関係の書籍ではあまり見られない特徴である．独特の色彩理論が構築された要因として，米作が浮世絵師出身でポンチ絵師であったこと，東京美術学校のようなアカデミズムとは距離があったこと，日本画家として色彩理論を独自に学んだこと，が挙げられる．一方で，米作は『色彩新論』刊行を待たず早世し，弟子筋へ技術や知識が継承されなかった．本研究は田口米作の『色彩新論』の成立における諸背景を整理し，その特異性を明らかにする．

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本稿の目的は、伊勢市出身の女性日本画家・伊藤小坡（1877-1968）の歴史画と自画像の制作意図と、画風の変遷の背景からみる女性日本画家の進出を明らかにすることである。本稿で着目する伊藤小坡の画風は、明治時代後期の歴史画、大正時代の自画像、昭和時代の歴史画の3種類に分類される。筆者は、こうした画風の変遷が、小坡が女性として、男性中心の日本画壇で活躍するための手段であったと考えた。そして、小坡を事例として、近代女性日本画家の画壇における活動の戦略を解明できると推測できる。

筆者はジェンダー研究の視点から近代日本の歴史画を考察したところ、明治時代の日本歴史画は男性優位の特徴があることが分かった。画業の最初期から歴史画を描いてきた小坡は、文部省美術展覧会（以下は文展と記す）の初入選をきっかけに、大正時代にかけて、女性の視点で描いた自画像制作に主軸を移した。

大正時代に小坡は歴史画の出品をしばしば試みたが、歴史的風俗を主題とした作品はほとんど選外という結果であった。このことから、筆者は、小坡が文展に向け、歴史画をやめ、良妻賢母の女性像を想起させる自画像を描くことがよりよい戦略だと考えたと捉えた。特に近代日本画壇における女性画家の立ち位置を俯瞰し、女性画家に求められた社会的な要求を理解することで、小坡の画風の変遷に対する見方を広げるものとした。小坡をひとつの事例として、近代日本画壇における女性画家の進出、参画について考証のきっかけとなるよう試みた。

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