The purpose of this study is to see the relationship between the design of Gyoka-fisherman's houses or fisheries and a historical landscape structure in Minami-kayabe district in mainly Meiji-Taisho and early Showa period (1850s〜1940s). As a result, most "Gyoka" had a marine terrace and seashore. The terrace sides were used as a farm or garden and shore sides were used as a drying space for kelps, a processing plant for sardines and a space for grounded boats etc. These fisherman's houses had a "Touri Niwa", an inner court in which people were able to go through from the shore side to the terrace side. And most houses had gable roofs, and the low storied facades faced the Pacific. The sheds to dock boats and to process sardines etc., also gave distinct impression to shore sides' historical landscapes.

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Jyodoji-Jyododo is one of the religious architectures that express the nobility of the Land of Happiness making use of daylight. The mechanism how the daylight reaches a statue of Amitabha-Tathagata in Jyodoji-Jyododo, it has peculiar luminous environment that no other historic architectures have, has not proved yet. Then, for the purpose of proving the mechanism of daylight that influence a statue of Amitabha-Tathagata, we conducted following 3 simulations; 1) Inter-reflection simulation with Jyodoji-Jyododo architectural model and simplified Amitabha-Tathagata model to obtain distribution of illuminance. 2) Specular reflection simulation for identifying the parts of the architecture which principally contribute to glitter of the statue. 3) Simulation of changing the angle of ceiling to make clear the relationship of the phenomenon and the architecture. From the results, we found that the daylight from the back of a statue of Amitabha-Tathagata repeats diffuse reflection, and a statue of Amitabha-Tathagata is shined by the daylight gathered at the ceiling. And the reason of a steeply slanting roof is infered that the daylight is took in a statue of Amitabha-Tathagata.

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造形作品を制作するまたは批評する立場にある美術系の学生は, 作品の鑑賞または観察から多くを学ぶ.作品に対峙するとき, 主観的な印象のみをたよりに鑑賞してしまいがちであるけれども, 客観的な方法によって作品を読み解くことが必要である.絵画空間を客観的に観察する方法の一つとして, 実際に作図をして図法的に分析することができる.この発表では, 女子美術大学における専門科目『図形分析法』の授業内容を紹介する.この授業では, 図学的な視点によって, 絵画作品の構図および描かれた画面上の空間について分析・考察する.この方法は, 絵画批評の一つの方法に過ぎないが, 学生は自らが作図することによって, 絵画作品の新たな見た方をもつことができる.

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Many old Asian paintings have been drawn with natural mineral pigments. The digital archive of those paintings, the identification of pigments used in the paintings and the retrieval of color fading are strongly desired. The multispectral image acquisition of those paintings has a great potential in the analysis of the used pigments. This paper describes the segmentation of multispectral images of those paintings. Here we propose to use the kernel subspace method for this purpose. First the dependency of spectral reflectance of natural mineral pigments on grain size is shown and then segmentation results for the images of color patches and a Buddha painting are demonstrated.

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The purpose of this paper is to clarify details of how a "Tosanjoden-zu" was drawn. Kozen Uramatsu is thought to be the author of the Tosanjoden-zu" which is the subject of this paper however there is evidence suggesting otherwise. This study suggests this drawing is very similar to a "Tosanjoden-no-zu" authored by Teikan Tou. Teikan and Kozen were known to have collaborated on other published works, so it is possible that Kozen transcribed Teikan's "Tosanjoden-no-zu" and included it in his "Inkyu-oyobi-shiterzu" as a "Tosanjoden-zu". Kozen collectly understood the main roof's ridge of the Higashino-tai in this Tosanjoden was in a north to south orientation.

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This report presents the results of a survey of the Ohta Residence, designed by Isoya Yoshida and completed in Mejiro, Tokyo in 1954. The Ota Residence was demolished in February 2022, but the survey was conducted just prior to the demolition to reveal details, including the interior construction of the walls and ceilings. In the course of the survey, several drawings were also discovered.

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Artistic anatomy had begun as the anatomy for painters and sculptors in 15th century of Italy. Leonardo da Vinci (1452–1519) dissected even 30 male and female bodies of all ages during his lifetime. In the Christianity where the nakedness was thought to be guilty to express the beauty such as ancient Greek sculpture, the manner to know the inner structure by dissection was extraordinary but the best way to understand the human body precisely by the dissection for the expression at that time. As like torso of the ancient Greek, the beauty of modeling is in the expression of the trunk. The spinal column that creates the posture, the muscles of the body wall that wrap the internal organs, the subcutaneous fat that surrounding them and the expressions of their reliefs, appearing and vanishing from the skin surface, had made the expressions of males and females of all over the age. Many young beauties had been modeled, whereas the expressions of old women were also seen in the 19th century. I observe the beauty of old aged person from the works of Rodin and others. It seems that there may be a hint to build a vision to accept the change due to one’s own age in the expressions of paintings and sculptures.

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This study aims to analyze the standardization of the member size in Joudo-do, Joudo-ji as an inevitable preparation for the formation of the Daibutsu style, the new construction method invented by Chogen. 1) Through the calculation of the percentage ratio of timber volume and structural timber volume, 9 kinds of parts which are more than 3% of the percentage ratio of timber volume are found in Joudo-do, Joudo-ji. 2) The percentage ratio of timber volume of 9 kinds of parts in Joudo-do corresponds to 64.68% of total timber volume, while the percentage ratio of structural timber volume corresponds to 60.63% of total structural timber volume. These volumes are approximately 20-30% lower than those of Nandai-mon, Kaisan-do and Shore, Todai-ji. 3) Therefore in Joudo-ji, Joudo-do there was not executed the standardization of the member size seen in Todai-ji.

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