One of Aizu Yaichi's 會津八一 sobriquets was Konsai 渾齋, which was based on a tablet for which Wu Changshuo 呉昌碩 wrote the calligraphy. In other words, Aizu had a deep interest in Wu Changshuo. In this article, I accordingly examine the relationship between Aizu and Wu Changshuo.
  When one examines works by Aizu of which the date of composition is known, one finds works from the Taisho era that were produced on the basis of the layout of paintings with poetic inscriptions by Wu Changshuo. Further, some of his postwar poetic inscriptions for paintings consisting of waka 和歌 poems have been executed with innovative ideas by incorporating, for example, the layout of works by Wu Changshuo. When considered in this light, it could be said that from his forties in the Taisho era until his later years after the war Aizu regarded Wu Changshuo's works as an important object of consideration when producing his own works.
  In June 1949 Aizu had a talk at the head office of the publishing house Chuo Koronsha 中央公論社 with Qian Shoutie 錢痩鐵, a pupil of Wu Changshuo who was visiting Japan at the time. During their talk, Aizu put forward the view that true originality cannot be born from only imitating calligraphers of yore. In the past, calligraphers had spent the greater part of their training in copying the works of past masters. But Aizu flatly rejected this mode of practice to be seen in some calligraphers which was overly focused on imitating people of yore.
  When one reads this dialogue from 1949 it is evident that Aizu had recognized that originality is not born solely from imitation through the works of Wu Changshuo, who had devoted his life to the copying of the stone-drum inscriptions (shiguwen ). In other words, according to Aizu, it was important to assimilate the classics, but at the same time a stance unshackled by them was necessary when composing one's own works. Wu Changshuo was for Aizu an object of consideration not only when producing his own works, but also for establishing his own ideas about the production of works of calligraphy.

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鳥書体は、春秋戦国時代の中国における金文書体のひとつである。主に楚・呉・越などの南方諸国で発達したが、非常に装飾的な書体であるため、書体研究においては重要視されてこなかった。
西周時代までは、中国における文字は神との交流手段の一つとして神聖視されていたが、占卜と政治が分離していくに従って、文字の神聖性は薄れていった。しかし、中国南方諸国においては、巫祝による政治が続いており、文字の神聖性も残っていた。そのため、当時使われていた鳥書体には、信仰、神話からの影響が多く見られる。
この研究は、楚を始めとした南方諸国の文化及び信仰を明らかにすることで、古代王が鳥書体に表そうとした神聖性のデザインを明らかにすることを目的としている。

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　詩書画印四絶をもって「中国最後の文人」と称せられる呉昌碩（1844－1927）は，多くの日本人士と交流している．本資料は，これらを年表形式にまとめたものである．この年表により，当時の日中文化交流の重要な側面に照明をあて得ると思われる．

　なお，この年表は，「日本文化界呉昌碩関連年表（稿）」として，拙稿「呉昌碩と日本文化界」（『書論』37号・2011，3，31・書論編集室所収）に附したものに，その後の知見により，補足訂正を加えたものである．

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In this article I focus on the provenance of Deng Shiru's 〓石如 calligraphy in regular script (kaishu 楷書), a question that has hitherto been viewed as problematic by many scholars, and I examine the issues with reference both to his works as a whole and to individual characters.
  With regard to his works as a whole, I examine with reference to the background to their execution the provenance of Deng Shiru's fourteen works in regular script that have been identified to date. It became clear that elements from primarily inscriptions of the Liang 梁 of the Six Dynasties were incorporated in earlier works and elements from the Northern Dynasties in later works, and that his circumstances, travels, and friendships played a very important part in the background to these works.
  Next, with regard to individual characters, I deal with 1,791 characters in the above fourteen works and undertake an examination of Deng Shiru's preferences regarding characters and his attitudes towards them on the basis of characters from classic works in regular script other than those from inscriptions of the Northern and Southern Dynasties and inscriptions of the Tang 唐 period pointed out by previous scholars (and which I refer to as "alternative characters").
  These alternative characters, which account for approximately twenty percent of the total number of characters, can be broadly divided into characters in the seal and clerical scripts, alternative characters, and customized characters. I focus on the seal and clerical scripts, and I was able to ascertain that characters in the seal script were incorporated to a conspicuous degree in the Chuci jiuge 楚辞九歌, written at the age of 40 when he was living with the family of Mei Liu 梅鏐 (with whom he lived from the age of 38 to 44), and that characters in the clerical script were incorporated in subsequent works (with characters in the seal script no longer being used). This tallies with the account in Bao Shichen's 包世臣 biography of Deng Shiru ("Wanbai Shanren zhuan" 完白山人伝) and provides some interesting material for corroborating the background to Deng Shiru's study of calligraphy, which has been discussed solely on the basis of his biography since he did not write an account of his own life.
  Further, through an examination of alternative characters it has been possible to show that Deng Shiru transcended the barriers between different kinds of scripts and consciously used alternative characters, and that he did not lack in learning and may have deliberately introduced such alternative characters into his works on the basis of precise knowledge.
  Tasks for the future will be an elucidation of Deng Shiru's aesthetic sense as he turned his attention to the calligraphy of the Six Dynasties and Northern Wei 魏, an examination of all styles of calligraphy (seal, clerical, regular, semi-cursive, and cursive scripts) in his Ïuvre, and an investigation into his attitude towards written characters.

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複数の漢字の字形に共通する部分形を使って漢字知識を効率的に増強する方法を探る英語話者の学習者のために，甲骨文や金文や篆文の画像で文字の歴史的発展を追うことで，文字成立時にあった字形と意味と音の密接なつながりを自ら確認，理解し，同類漢字を比較学習する教材の作成を試みた。本稿は古代文字の複写と漢字の部分形の分解作業を経て，難易度の指針として漢字使用頻度数を加味して学習書を作成したことについての報告である。

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