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Apparently at the same time as Japan ruled Taiwan, Shinto was simultaneously being introduced. Taiwanese however did not follow Shintoism. To them a shrine had a political reason rather than a religious one. Due to that fact the concept of a shrine being a locum for the Gods was not progressing well. The concept lacked strength anyway, because Taiwanese followed their own traditional religion anyway. The historical experience is different and there are also considerable differences as to the opinion of the architectural style during the Japanese regime. The perspective of the controversy of Tsutomu Shrine as presented in this essay suggests that colonial cultural assets are still under the development. The promotion of a cultural property protection only suggested from the legal aspect isn't sufficient. In the future a new approach incorporating the education and research is likely to be necessary.

application/pdf, 論文(Article)

We confirmed the portrait of Esperanto founder Ludovic Zamenhof in theconservation activities of the material ,conducted in Miyazaki city, MiyazakiPrefecture. In Miyazaki city, a portrait with almost the same composition is drawn byEI-Q (Hideo Sugita). Therefore it was expected that this portrait was related to EI-Q and MiyazakiEsperanto Club. As a result of photographing the sign drawn in the portrait withan infrared camera for cultural property, it was confirmed that there was a highpossibility of being the signature of Atsushi Kawagoe as stated in Esperanto.

研究ノート

In this essay, I present the report and the evaluation of Samjeondo Monument in Modern Times. The monument for the Qing Emperor was erected at the command of Emperor Taizong (Hong Taiji) of Qing Dynasty in December 1639 after Joseon's defeat to the war between Joseon and Qing. After the National Liberation Day of Korea (August 15, 1945), this monument has been evaluated from a nationalistic perspective rather than the value as a cultural property. In 1957, the monument was changed from a national treasure to a historical site. This change reflected the recognition of the symbol of national shame, but there was also the result of protecting the cultural properties related to the monument., 文部科学省グローバルCOEプログラム 関西大学文化交渉学教育研究拠点, 松浦章教授古稀記念号, [東アジアの歴史と動態]

In this study, I analyzed the condition of utilization of cultural property gardens under the management of Tokyo metropolitan government through various statistics including the number of visitors. The result shows four main facts as follows: total number of visitors to the nine cultural property gardens in 2015 fiscal year have increased 2.7 times as compared with the number in 1997 fiscal year, foreign visitors have increased sharply in recent few years along with the rapid increase of foreign tourists to Japan, illumination events in gardens during cherry-blossom and foliage season have been very effective to attract many visitors, Japanese tea ceremony in the garden plays an important role in attracting foreign visitors. Based on the results mentioned above, the paper will suggest proposals for management of gardens as follows: setting appropriate number of visitors for each garden, management plan in accordance with visitor's attribution, action plan to make visitors' satisfaction more, making a balance of number of visitors for whole seasons, appropriate entrance fee for each garden and so on.

Aim:There are vast historical materials that nobody used in regional museums. This paper is aimed to propose a method for changing this current situation. The research method: It is to combine the ordinary persons on ancient documents and a wide range of historical materials. In this research, the auther made a suggestion of a cooperation model between museums and schools. This model is intended to give the editing experience to university students, the learning papers of high school Japanese history, consist of small regional history. And during this workshop, the auther has devised a curriculum that creates the opportunity of university students to use regional museums. This method the auther termed "Puccin Print". Thanks to this method of "Puccin Print", the perticipants in this workshop began to show a deep interest in historical materials in the regional museums. As a conclusion, it was found that this method is effective in solving the problems of the two points as followings:1) The auther could give the university students more opportunity to utilize of a wide range of historical materials without limited to the public concern. 2) The ordinary persons on ancient documents utilize historical materials proactively with affinity.

After the end of the war, the spread the concept of cultural property in post-war Japan, had an important meaning to citizens involved in commerce. In the confusion of that period, cultural properties needed to be protected by a new system. However, this had a negative effect on the wealthy.Traditionally, the wealthy layer had a monopoly on high culture, but now there was also a layer of the new wealthy.It was against this backdrop that the Horyuji Kondo mural fire incident occurred. Subsequently, the Cultural Properties Protection Law was enacted.Among the post-war education , the influence of the new democratic education ranged in history education .Excavations at the “Tsukinowa-Kofun” ancient tomb was problem-solving approach in conjunction with the community and archaeologists.These activities are carried out in various places has resulted in the protection of cultural property protection movement later.In the 1960s, in which pollution problems escalated into environmental issues, preservation movementof the historical environment occurred here. There was a connection with the learning activity that an expert practiced in Citizen University "Mishima" faced each other to a citizen directly.

研究成果の概要 (和文) : 日本における行政と市民との協働による文化財政策を考えていくと、一方の当事者である文化財支援団体が極めて脆弱な財政基盤の上に成り立っている組織で、当該文化財への関わり方に継続性や行政との協働という点で多くの課題を抱えている状況を明らかにした。英国との比較においては国情や制度の違いもあるが、文化財支援団体のあり方や文化遺産保護の手法について理解ができ、文化財政策を展開する上での示唆を得ることができた。本研究を通して、市民協働の文化財政策を実現していく上での課題を提示することができた。, 研究成果の概要 (英文) : I studied about the cultural property policy by administrating and collaboration with citizens in Japan. As a result, I understood that cultural property supporting organizations made by citizens are organized on an extremely vulnerable financial base. And it revealed the situation that has many problems in continuation of the organization and collaboration with the administration. By comparison between Britain and Japan with differences in national circumstances and system, it was possible to obtain suggestions on cultural property supporting organizations and methods of protecting cultural heritage. Through this research, I was able to present challenges in realizing the cultural heritage policy of collaboration between the administration and the citizens.

本論は，「文化資源」として利用される祭りや民俗芸能についての視座をフォークロリズムとして再分節化することを目的としている。まず，文化資源としての祭りや民俗芸能をめぐる「保存」と「活用（開発）」をめぐって，文化財保護制度や研究者の言説などの公的な介入に対して，祭りや民俗芸能（本論ではマツリと総称する）がどのような交渉を行ない，解釈や創造を行ってきたのかを明らかにしていく。そこで４つの具体的なマツリの事例を踏まえつつ，現在のマツリ研究が多様化し，相互に共有しにくいほどの視点のずれがあることを指摘する。研究分野とその対象に対する視点を並列化し，対象を統合的に捉え直す視座のための方途として，これまで論じてきたフォークロリズムの諸属性をマツリの事例において検証していくことで，今日的な研究の課題を提示したいと考える。, This article aims to re-categorize the viewpoints regarding festivals and folk performing arts used as “cultural assets” from the perspective of folklorism.This study examines the “preservation” and “utilization (development)” of festivals and folk performing arts (hereinafter collectively referred to as “Festivals”) as cultural assets to reveal how they have interacted with public interventions such as cultural property protection systems and researchers' opinions and how they have been interpreted and developed. Thus, by analyzing four Festivals as case studies, this article indicates the growing diversity of the recent studies on Festivals and unbridgeable gaps in their viewpoints. We indicate the contemporary problems of the studies and suggest points of view to grasp the subjects of the studies more comprehensively by pairing each study field with the viewpoint of its subject and using the case studies of Festivals to examine various characteristics of folklorism that have been discussed.

青島には文化資源が多いが、観光資源としての開発がまだ十分ではないのが現状である。紀元前２２０年ごろ秦の始皇帝が徐福を東の「嬴州」という仙人が住んでいる島に、「不老不死の薬」を取りに行かせたという記録がある。さらに徐福の日本への出発場所が青島の近くの瑯琊台であった。本論文はこれまでこの歴史文化資源の活用及び観光開発に関する資料などを調べ、さらに青島市の瑯琊台文化開発をめぐって、青島氏の歴史文化資源の活用による観光文化都市建設への可能性及び現存問題点を考察した。

本研究では，博物館などで使用することを目的とした分光情報に基づいた文化財展示システムを開発する。このシステムは３次元コンピュータグラフィックス（3DCG）技術と分光画像計測によるデジタルアーカイブ手法に基づいている。この手法の特徴的な点は，カメラ特性や照明条件などの撮影環境に依存せずにデジタルアーカイブが可能なことであり，また，分光的な光反射モデルを用いて正確なCG再現が可能なことである。本稿では金属物体と不均質誘電体の光反射モデルを示し，そのモデルパラメータは物体表面上の光反射分布の計測データから定量的に求める。デジタルアーカイブと3DCGレンダリングに必要なモデルパラメータは，変角分光画像計測の計測結果から推定する。このことから本手法は，様々なシーン照明下で陰影や光沢のレンダリングが可能となる。本論文では，第１に，計測やレンダリングのために物体表面の反射特性を分光的な光反射モデルとして記述する。第２にシーン照明環境の全方位分光画像を計測する手法を提案する。ここでは東京国立博物館の応挙館と庭園，そして信州大学の講堂をシーン照明の空間分布推定のためにRGBカメラと魚眼レンズで計測する。第３に文化財のレンダリングのために分光CG再現システムを開発する。ここでは宮入小左衛門行平刀匠の日本刀を様々なシーン照明の下でCG再現する。第４に，このレンダリングシステム用のマイクロソフト社のKinectセンサを用いた非接触型ユーザインタフェイスシステムを開発する。このシステムではボーンと呼ばれる人間の仮想骨格を認識して，人の様々な姿勢を推定することが可能である。このシステムを使うことで，一般ユーザが身振りで正確に本レンダリングシステムを操作することができる。本稿では，この3DCGデジタルアーカイブシステムとユーザインタフェイスを統合したものを文化財展示システムと呼ぶ。最後に本研究で開発した文化財展示システムの有用性を検証するために，国立歴史民俗博物館のエントランスホールで本システムを展示した。, In this paper, we develop a tangible cultural properties exhibition system based on multi-spectral information for using in a museum. The system is based on a digital archive method of 3 dimensional computer graphics (3DCG) and multi-spectral imaging. The feature of the method is independent of photographing environment such as device characteristics and illumination environment. The system can render precise reproduction CG of an object using multi-spectral reflection model. The models are provided for metal and inhomogeneous dielectric material. The parameters of the models are derived from the RGB camera and a device measuring the distribution of light reflection intensity on the object surface. The model parameters for digital archiving and computer graphics rendering, multispectral reflection properties of the object are estimated from multi-spectral imaging of goniometric measurements. Then the method can render object including shade and gloss under any scene illuminations. First, we describe multi-spectral reflection model for measuring and rendering of reflection properties of the object. Second, the method is proposed for measuring of multi-spectral omni-directional image of scene illumination environment. Multi-spectral omi-directional images of Oukyo-kan and garden of Tokyo National Museum and auditorium of Shinshu university are measured using RGB color camera and fish-eye lens for estimating spatial distribution of illumination in the scenes. Third, we develop multi-spectral CG reproduction system for rendering tangible cultural properties. A Japanese-sword which made by Miyairi Kozaemon Yukihira sword smith is rendered under measuring scene illumination. Fourth, non-contact user interface system is developed for the rendering system with Microsoft Kinect sensor. The system can detect any pose of user from images as Bone which is virtual motion framework of the human body. Because the system can be given command by gesture of user, even a general user can exactly operate the rendering system. In this paper, the system which integrated the multi-spectral 3DCG digital archive system and user interface is called the tangible cultural properties exhibition system. Finally, to confirm availability of the tangible cultural properties exhibition system, the system was demonstrated in entrance hall of National Museum of Japanese History.

東日本大震災後の日本社会において，民俗文化がどのような意味を持ちうるのか，具体的には被 災地の瓦礫のなかから民俗文化にかかわる資料を救出することはどのような意味を持ち，さらにそ れらは博物館における展示においてはどのように表象されるのだろうか。こうした点について本稿 では筆者自身が関わった国立歴史民俗博物館の文化財レスキューの経験や実感を通して考察する。本稿ではそうした意識のもと，まず民俗事象を民俗文化財ではなく，表題に掲げた文化資源とい う概念でとらえる意義について近年の研究動向をふまえて確認する。次にその主要な対象であり， 前提でもあった宮城県気仙沼市小々汐地区のオオイ（大本家）尾形家の歴史民俗的な位置づけを行 う。さらに同家を舞台として伝承されてきた民俗として年中行事，特に盆と正月を取り上げ，具体 的に記述する。そして最後にそうしたイエ（家）の年中行事を歴博における展示としてどのように 構成したかについて述べてみたい。, The East Japan Great Earthquake and Cultural Resources：A Case Study of Kogoshio District in Kesen-numa City, Miyagi Prefecture What significance can folk culture have in the Japanese society after the East Japan Great Earthquake? More specifically, what does it mean if materials related to folk culture are retrieved from debris after the catastrophe? Furthermore, how are they described when exhibited at museums? This paper examines these questions through the author’s experience and understanding of the cultural asset rescue performed by the National Museum of Japanese History (hereinafter abbreviated as “Rekihaku”).Based on this awareness, the article first confirms what it means to regard the folk phenomena as cultural resources, not as folk cultural assets, by tracing the latest developments of relevant research. Then, the article clarifies the historical position of the Ogata residence, called as “Ōi” meaning the overall head family, in Kogoshio district, Kesen-numa City, Miyagi Prefecture, for it was the main target and reason of the rescue activity. Regular annual events handed down by people of the residence, such as the Bon and New Year festivals, are specifically described in the paper. In conclusion, it depicts how these family annual events were exhibited at the Rekihaku.

伝承という概念は日本民俗学の中核にあって，学問の成立の根拠になってきた。本論文は，広島県の比婆荒神神楽を事例として伝承の在り方を考察し，「伝承を持続させるものとは何か」について検討する。この神楽は，荒神を主神として，数戸から数十戸の「名」を単位として行われ，13年や33年に１度，「大神楽」を奉納する。「大神楽」は古くは４日にわたって行われ，最後に神がかりがあった。外部者を排除して地元の人々の願いを叶えることを目的とする神楽で秘儀性が強かった。本論文は，筆者が1977年から現在に至るまで，断続的に関わってきた東城町と西城町（現在は庄原市）での大神楽の変遷を考察し，長いサイクルの神楽の伝承の持続がなぜ可能になったのかを，連続性と非連続性，変化の過程を追いつつ，伝承の実態に迫る。神楽が大きく変化する契機となったのは，1960年代に始まった文化財指定であった。今まで何気なく演じていた神楽が，外部の評価を受けることで，次第に「見られる」ことを意識し始めるようになり，民俗学者の調査や研究の成果が地域に還元されるようになった。荒神神楽は秘儀性の高いものであったが，ひとたび外部からの拝観を許すと，記念行事，記録作成，保存事業などの外部の介入を容易にさせ，行政や公益財団の主催による記録化や現地公開の動きが加速する。かくして口頭伝承や身体技法が，文字で記録されてテクスト化され，映像にとられて固定化される。資料は「資源」として流用されて新たな解釈を生み出し，映像では新たな作品に変貌し，誤解を生じる事態も起こってきた。特に神楽の場合は，文字記録と写真と映像が意味づけと加工を加えていく傾向が強く，文脈から離れて舞台化され，行政や教育などに利用される頻度も高い。しかし，そのことが伝承を持続させる原動力になる場合もある。伝承をめぐる複雑な動きを，民俗学者の介在と文化財指定，映像の流用に関連付けて検討し理論化を目指す。, The concept of denshō ( tradition) has been central in the study of Japanese folklore, serving as the basis for establishing the study. This paper analyses Hiba Kōjin Kagura Performance in Hiroshima Prefecture as a case study to consider what tradition is and examine what keeps it alive. This kagura is dedicated in worship of Kōjin as a chief deity and performed in units called “myō,” a group of several households. Once every 13 or 33 years, people conduct a large scale kagura, which in old times was performed for four days & nights and ended in a trance. That was a highly secret ritual held without any outsiders present and aimed at granting wishes to local people. This paper examines changes in a large scale kagura in Tōjō Town and Saijō Town (currently Shōbara City) in which the author has been intermittently involved since 1977. While reviewing the process of changes, continuity and discontinuity, the paper investigates the reality of tradition: how the long-cycle tradition of the kagura has been kept active. The kagura significantly changed in the 1960s, when it was designated as a cultural property. People had performed the kagura only casually until then, but they gradually became conscious of being “watched” as they were evaluated from outside, and the results of folklore research and studies started to contribute back to the community. Although Kōjin Kagura had been kept strictly secret, once visitors were allowed to see it, it became susceptible to external interventions, such as memorial events, recording, and preservation projects, and the trend among governments and non-profit foundations to make records and give public performances was accelerating. Thus, oral tradition and bodily techniques have become tangible by being documented in writing and recorded on film. The documents have been used as “resources” to produce new interpretations while films have transformed the performance into a new work, sometimes creating misunderstanding. Kagura in particular has a strong tendency that new meanings are added and transformations are made by documents, photos, and films. Moreover, it is frequently performed out of the context as it is used by governments and education systems. These tendencies, however, can also be a driving force to keep tradition alive. This paper is aimed at theorizing complicated movements concerned with tradition by considering them in relation to the intervention of folklorists, designation as a cultural property, and appropriation of films.

平成24年(2012)12月21日(金)及び22日(土)に、平城宮跡資料館講堂において開催した。

平成24年(2012)12月21日(金)及び22日(土)に、平城宮跡資料館講堂において開催した。

平成24年(2012)12月21日(金)及び22日(土)に、平城宮跡資料館講堂において開催した。

平成24年(2012)12月21日(金)及び22日(土)に、平城宮跡資料館講堂において開催した。

平成24年(2012)12月21日(金)及び22日(土)に、平城宮跡資料館講堂において開催した。

In a urban space of Gifu the existence of the living space in the multitiered structure that has a historical layer can be read.While solving the historical layer of urban space in Gifu. This study clarifies the construction process ,architects,and adesign of the former Gifu prefectural office building ,and considered the meaning of historical building preservation.