This publication is a one-volume version of the complete annotated version of Bunki-dan in typographical reprint published by the author in serial form in Tsurumi Daigaku Kiyo 20-25. It is based on two versions of the text: the facsimile reproduction (Kicho Tosho Eihon Kankokai, 1935) of the copy in the Kikutei Collection of Kyoto University Library; and the facsimile reproduction (Yoshikawa Kobunkan, 1971) of the copy in the Fushiminomiya Collection of the Archives and Mausolea Department of the Imperial Household Agency (Kunaicho Shoryobu). It includes a bibliographical description of the source, a bibliography, explanatory notes, genealogical charts, and supplementary notes, all of which were in the original version, to which an index of names has been added.
Bunki-dan has been mentioned twice in this section of Toyo Ongaku Kenkyu to date (see Issues 48 and 54). It is a collection of historical tales dealing with music, centring on the transmission of the biwa, thought to have been completed in c 1272 by the priest Bunkibo Ryuen. Its purpose seems to have been to identify the position of the Nishi school of biwa within the history of the music tradition, and to argue for the preeminence of Fujiwara no Takatoki (also Hosshinbo, eldest son of Fujiwara no Takamichi [1166-1237], earlier head of the Nishi school).
It is the first work of its kind dealing with music. Other collections of historical tales with sections dealing with music, such as Kojidan and Kokon Chomon-ju, include episodes in historical order, but they do not form a complete tale as a whole. It seems that Ryuen modeled his work on the historical tale Okagami; by narrating history within the context of traditions (not only that of the biwa, but also of other instruments and vocal genres), it brings together into a single strand the episodes to be found in fragmentary form in other sources. The 253 sections (in the Kikutei version) overlap with accounts in earlier sources dealing with music and other collections of tales, thus bringing new credibility to them. They are not inconsistent with accounts in later music compendia, such as Kyokunsho, nor with the genealogies of transmission of the biwa and so.
It can be said that research on Bunki-dan has been facilitated with the publication of the Fushiminomiya facsimile version with commentary in 1971, and of a typographical reprint of the Kikutei and Fushiminomiya versions with commentary by Hirabayashi Moritoku and Soma Mariko in 1988. Iwasa's annotated version is thus the first of what should be a number of works on Bunki-dan. Her annotations are clear and concise, and demonstrate a wide reading of other music source materials. As the first annotated version, it is worthy of high praise. What we should hope for now is a complete annotation, one that undertakes a thorough comparative survey of contents of the musical compendia. With this we should be able to anticipate the completion of a reference source that lists all appearances of related episodes in all extant written sources.

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視覚的テクスチャは画像の全体的な性質あるいはそれを構成する繰り返し単位に関して定義されるので, 織物のテクスチャに対してグレイレベル画像解析を適用した.グレイレベルの同時生起行列からテクスチャ特徴量として角二次モーメント, 相関, コントラスト, エントロピーを抽出した.また, グレイレベル画像の曲面の起伏からフラクタル次元を算出した.テクスチャ特徴量の画素間距離に対する依存性から織物のテクスチャの繰り返し単位を算出し, 糸密度や組織による影響を検討した.織物の表面外観や視覚的テクスチャを人の視知覚と関係する一様性, 縞状性, 局所的変化や複雑性などとの関連から議論し, テクスチャ特徴量やフラクタル次元が織物構造にもとつく視覚的テクスチャを明確に特徴づけるのに有効なパラメータであることを見い出した.織物の美しさに関する官能評価値とテクスチャ特徴量などのパラメータの間の関係が検討された.

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  Digitized gray level images for 19 kinds of stitch patterns of knitted fabrics are captured by a color scanner. A one-dimensional power spectrum, P (f), is derived from a two-dimensional power spectrum obtained from the frequency analysis of a gray level image. Since there is a good linear relation between log P (f) and log f for all of the stitch patterns used in this study, the slope of a line (α) is estimated for each of them. The angular second moment (ASM), contrast (CON), correlation (COR) and entropy (ENT) which are extracted from the gray level co-occurrence matrix, and the fractal dimension (D) are measured as image information parameters, by using image analysis. The fractal dimension is determined from the fractal analysis of the relief of the curved surface of the gray level image. Complexity (S1), ruggedness (S2), size (S3), roughness (S4) and beauty (S5) of stitch patterns are evaluated by sensory evaluation according to the rating scale method. The relationship between visual feature parameters such as α-values and the image information parameters, and mean sensory values is examined by the factor analysis. The results indicate S1, S2 and S4 to be related to CON, ENT and D; S3 to be related ASM ; α-value to COR. Beauty of stitch patterns is discussed in relation to the 1/f^α fluctuation and the principle of beauty proposed by Birkhoff.

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  An extended fractal dimension is introduced to quantify random figures as statistically described by the expectation in a self-similar stochastic process. The box-counting method by computer-aided image analysis is applied to measure extended fractal dimensions. The measured dimensions of a Koch curve and a linear line are consistent with their theoretical fractal dimensions. This indicates the measurement accuracy and may help in interpreting the results when applied to real garment silhouette images of unknown fractal dimension. Twenty-four kinds of garment silhouette images with different shape elements are used for fractal analysis and sensory evaluation concerning complexity or simplicity. The effects of shape elements on garment silhouette images are discussed based on their fractal dimensions.

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  Gray scale image analysis was applied for the measurement of visual features of plain knitted fabrics with 5 kinds of stitch densities. Mean of the gray level for the digital image, the angular second moment, correlation, contrast and entropy which were extracted from the gray level co-occurrence matrix, and the fractal dimension were measured as visual feature parameters. The fractal dimension was determined from the fractal analysis of the relief of the curved surface of the gray level image. Complexity, contrast, stripe or linearity, uniformity, roughness, fineness, flexibility, light sensation and beauty of plain knitted fabrics were evaluated by sensory evaluation according to the rating scale method. The visual feature parameters and the sensory evaluation values for plain knitted fabrics were found to depend on the stitch density. Beauty of plain knitted fabrics was discussed from the viewpoint of orderliness and complexity according to the principle of beauty proposed by Birkhoff.

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Sokuirei-Seiden-no-gi, Ceremony of the Enthronement of His Majesty the Emperor at the Seiden (State Hall) was held on October 22, 2019. However, this does not correctly inherit the Heian period rituals. There was a woman who attended this ritual during the Heian period. She wrote a diary and kept a record of that ritual. She wrote what she felt, but did not keep a detailed record of the ritual. There are questions about why she didn't write the whole ritual and what the actual ritual was. Aiming to understand her feelings through using old records to reproduce the ritual.

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CIELAB色空間を利用した色彩特徴解析が様々な色彩や模様をもつ24種類の布の色彩テクスチャの特徴づけに適用された．これらの布の測色が市販のカラースキャナで行われた．色彩テクスチャの画像内の各画素(i,j)に対してCIEカラーシステムのX,Y,Z,L^*,a^*,b^*,C^*_abおよびh_abが，それぞれの測定とこれらの値の適切な変換をすることにより求められた．すべての画素に対するL^*，C^*_abおよびh_abの平均値(AVE-L^*, AVE-C^*_abおよびAVE-h_ab)が色彩情報量としてそれぞれ求められた．各布のL^*値の分布から統計的に抽出された角二次モーメント(ASM)，コントラスト(CON)，相関(COR)，エントロピー(ENT)およびフラクタル次元(D)が視覚的特徴量として測定された．色彩テクスチャの鮮やか-くすんだ，派手一地味，目立つ-目立たない，硬い-柔らかい，強い-弱い，暖かい-寒い，重い-軽い，明るい-暗い，複雑-単純，変化のある-変化のない，均一-不均一の感情がSD法により官能評価された．官能評価値と画像情報量との関係が因子分析により検討された．これらの結果は，形態的な感情は視覚的特徴量(ASM,CON,COR,ENTおよびD)と，重い，硬い，暗いの感情はAVE-L^*_abと，鮮やか，派手な，目立つ，強いの感情はAVE-C^*_abと，暖寒感はAVE-h_abと関係することを示した．

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本研究の目的は、夜間を想定したカーテン生地の遮蔽性について検討することにより、カーテンの遮蔽性とテクスチャ特徴の関係を明らかにすることである。ドレープカーテン3種類、レースカーテン3種類の試料を用いて官能評価と画像解析を行った。その結果、カーテンの遮蔽性はMIU、COR、ASMに特徴づけられると推察された。ドレープカーテンはレースカーテンに比べてCONやCORの値が高く、前者は後者に比べてテクスチャの局所的変化や線状性が高いと特徴づけられた。これらのことから、ドレープカーテンとレースカーテンでは遮蔽性が異なり、特に外部照度が高くなると両者の間には顕著な違いが見出された。

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迷彩柄の対称性に関する評価法について, 画像をテクスチャ解析することにより検討した.基準として幾何学柄18種を, 評価には迷彩柄135種を用いた.迷彩柄は二.画像に変換して用いた.各画像の同時生起行列を求めて2つの特徴量であるコントラストとエントロピーを算出した.
コントラストとエントロピーの値から, 2種の対称性, すなわちポジ画像をネガ反転したときの一致度である反転対称性と, 元画像を90℃回転した画像の一致度である回転対称性を定義した.
このように定義した2つの対称性について, 総合的に幾何学柄, 迷彩柄を順位付けした.また柄の細かさの指標も算出し, 順位付けに反映させた.その結果, 市松模様すべてに高い評価が得られたが, ピクセル数の小さい, 柄の細かいストライプ柄の評価は低かった.収集した迷彩柄は, 対称性について広い範囲に分布することがわかった.迷彩柄は対称性の良い柄と悪い柄に分離された.

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Image analysis is applied to characterize fashion designs depicted by high school students. The sensory values of fashion designs are evaluated by ten high school teachers for the homemaking course. A digitized gray level image for a fashion design is captured by a color scanner. A one-dimensional power spectrum, P( f ), is derived from a two-dimensional power spectrum obtained from the frequency analysis of a gray level image. The co-occurrence entropy and fractal dimension are also determined as image information parameters. Since there is a good linear relation between log P( f ) and log f for all of the fashion designs used in this study, the slope of a line(α) is estimated for each of them. The α-value is the coefficient of the 1/f α fluctuation. The fashion designs are mainly divided into three groups by the α-value. Their sensory evaluation values are discussed in relation to the 1/ f α fluctuation and image information.

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平安期・鎌倉期の女房歌人が、文学上、自らの〈家〉をどのように意識したか、また周囲からその女房歌人と〈家〉がどのように意識されたかを考える。平安期においては、父の〈家〉が多いとは言え、例えば伊勢大輔以下は母系による重代の歌人であり、〈母〉の家への意識が表出され、継承される場合も少なくない。しかし鎌倉期になると、歌人としては、父の〈家〉への意識が圧倒的であり、やがて夫の〈家〉への意識が顕在化されていく。その早い例が阿仏尼である。

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