Away and Home Away and Home

Away and Home
Koide Izumi*
Introduction
My name is Izumi Koide. Until this past
curators could immediately understand
one another. He likened the experience to
June I worked at the Shibusawa Eiichi
gaining a sudden understanding of a
Memorial Foundation while also attending
foreign language which was unrecognizable
university. I have left my job, but I am still
until a certain moment. This experience led
a student in a Ph.D. program of the
Prof. Kinoshita to dedicate himself to this
University of Tokyo, and my focus is called
major that is not confined by the usual
“Cultural Resources Studies.”
understanding of “fine arts,” as is
encompassed by the words “cultural
I would like to give you a brief
resources.”
introduction of the Cultural Resources
Studies. This major was established in
I will stop here with the introduction.
2000 at the Graduate School of the
Today, I would like to mainly discuss three
University of Tokyo. Prof. Masanori Aoyagi,
topics. First, I will describe the context of
the present Commissioner of the Agency
workplaces or the environment
for Cultural Affairs of Japan, was involved
surrounding trainees. Next, I will look over
in this program at the time of its creation.
the trainees’ expectations for Japan.
Its central figure until today is Prof.
Thirdly, I will discuss the effects of the
Naoyuki Kinoshita. He was formerly a
changes in the research trends. [Slide 2]
curator at the Hyogo Prefectural Museum
of Modern Art. According to Prof. Kinoshita,
Context of Study of Japanese Art
he used to maintain the notion that
Outside of Japan
curators of museums of fine arts and of
I would like to begin with the types of
other fields could not understand each
workplaces of trainees. From the National
other. However, in the course of his
Gallery in Prague, we have Ms. Jana
discussions with Prof. Masaki Kondo of the
Ryndova. From the Chester Beatty Library,
National Museum of Ethnology, Prof.
we have Ms. Mary Redfern. I understand
Kinoshita came to realize that if curators of
that it is called “Library” but it is an art
fine art museums looked beyond the
museum or a museum. The same is true for
confines of “artwork,” then the two types of
the famous Morgan Library in New York,
* Koide Izumi (Former Director, Resource Center for the History of Entrepreneurship, Shibusawa Eiichi
Memorial Foundation, and PhD Candidate, Graduate School of the University of Tokyo [Cultural Resources
Studies])
in the sense that it is a museum despite
other hand, there are Japanese studies,
being called a “library.” From the Museum
and there are art studies often in other
fur Asiatische Kunst / Kunstbibliothek
departments or schools. They are
Staatliche Museen zu Berlin, we have Ms.
coexistent with some overlap. The overlap
Cordula Treimer; from the Center for Art
between the two forms the study of
Studies in Korea, we have Ms. Moon
Japanese art. This is because in many
Junglee; and from the National Museum of
cases the study and education of Japanese
Modern and Contemporary Art in Korea,
art are conducted not at art colleges but at
we have Ms. Lee Se-Young. Another group
universities. I have simplified this in a
in attendance includes Ms. Jiyeon Wood
diagram on Slide 4. As you can see, the two
from the library of SOAS, University of
categories have different structures.
London; Ms. Vibeke Gustavsen from the
University of Oslo Library; Mr. Kevin
These differences in structure mean that
McDowell from the library of the
the two categories provide materials and
University of Oregon in the United States;
information for slightly different purposes
and Ms. Carolyn Wargula from the
and to slightly different audiences. Let us
University of Pittsburgh in the United
first examine art-related institutions
States. [Slide 3]
including museums. They provide
materials and information primarily for
You have probably guessed why I
research and exhibition purposes. Even
separated them into these left and right
when Japanese art is given special focus,
columns. I wanted to show that we have
Japanese art is considered in the context of
participants from two broad types of
oriental art. As for the target audience,
organizations: individuals from museums
they include the general public. There are
of fine arts or others, or art-related
many people who go to museums, to see
institutions; and individuals from
exhibitions as part of their hobbies or for
universities. There are subtle differences
their pleasure. In other words, this
between these two categories in terms of
category deals with not only researchers
the relationship between “Japan” as a
but also the general public. Universities, as
theme, and if I can say so, “art” as a field.
you can imagine, provide materials and
In the context of museums and art-related
information for research and education
institutions, art constitutes the underlying
purposes. Universities differ significantly
premise, and Japan is only one part of in
from art-related institutions in that
the framework of art. At universities on the
universities also cover fields other than art.
It should be kept in mind that there are
language. They requested that Japanese
many students who study Japanese art
text be written in roman letters as well as
who are not necessarily proficient in the
translated into English. In addition, they
Japanese language. That is to say, there is
asked that a user-friendly database be
probably a sizable number of students
created. The trainees explained in detail
majoring in art who have no time to study
about what a user-friendly database is, so I
the Japanese language, but are exposing
will not repeat it here. Furthermore, the
themselves to Asian art in order to study
trainees noted in various ways that the
the global development of art and are
different systems were in place in Japan
taking up Japanese art in this context.
from their countries. While systems
Furthermore, although many Japanese
include all kinds of systems, for example,
people believe the word “art” stands for
there is the copyright institutions, or
bijutsu, art does not equal bijutsu and has
practices that support academic research.
a broader meaning, as pointed in the
The trainees expressed that there are
keynote address by Ms. McVey from
challenges stemming from these
Harvard University. While bijutsu, fine art,
differences in systems. I also wrote down
constitutes a part of art, the difference
“subjective views” on the slide. I would say
between the two should not be forgotten,
that “fixed preconceptions” constitute a
especially among universities that are not
less visible factor that is impeding access. I
necessarily premised only on fine art. So
suppose people in Japan in particular have
the trainees belong to these two types of
fixed preconceptions regarding information
environments and contexts. [Slide 5]
on Japan outside Japan. While I am
deviating a little from Japanese art, I
Expectations for Japan
Today, the trainees shared with us a range
would like to give you a few examples. For
instance, many people in Japan are under
of comments based on the completion of
the notion that books written in Japanese
their training. Let us review the comments
will never be read overseas. In fact, this is
they made about their expectations for
not the case. Additionally, there are many
Japan.
Japanese people who think that websites
in Japanese will never be viewed overseas.
The most desired point by far was to make
However, access analyses show that
access easier; this was a unanimous
surprisingly many websites are frequently
request. They detailed various factors that
accessed overseas. This may seem
are impeding access. One of them was
somewhat counterintuitive to the issue of
language—the need for roman letter text
archives currently have their own separate
and English translations. It is perhaps
databases and they are difficult to utilize
appropriate to consider that both
at once. It was noted that intra-museum
categories of people exist.
cooperation was also needed in this regard.
[Slide 7]
Another major request was to make more
information available. While I say “more,”
Cooperation and collaboration open up
the trainees have asked for not only more
abundant possibilities going beyond just
information in terms of quantity but also
“one plus one equal two.” What I just spoke
quality. The trainees typically stated that
about was collaboration in
while it is good that many digital images
Japan—moreover, collaboration among the
are available on the Internet, the metadata
different departments of a single museum.
of Japanese contents are not standardized
In addition to this, it was noted that
and are therefore hard to search for. It was
museum-to-museum collaboration was
also noted that it is very difficult to search
needed. I believe this will contribute to
for contents because databases are not
diversifying research approaches. That is
linked or integrated and there is no
to say, it will give us access to a variety of
comprehensive platform to access them.
information on a single work, including
[Slide 6]
records on how the work came to the
museum and the outcomes of the studies
I was most fascinated by the point about
and evaluations of this work. Of course you
the need for cooperation within museums
all know this and I do not need to elaborate.
in the recommendation made by Group 1.
What I wanted to say is that if these
Ms. Lee noted that a single system needs to
comprehensive approaches become readily
be created that would allow for searches
available, then this will surely allow for
across all materials that are kept under the
more in-depth research. [Slide 8]
roof of the same museum, even if the
materials have different formats such as
The recommendation on this slide was
works, books, and archives. For example, if
made by the last group, Group 3. In
we wanted to compile a set of explanations
connection with reviewing the meaning of
or studies regarding a single work for an
“open,” this group stated that it was better
exhibition, we would need all kinds of
to create a database with overseas
information on this work. The problem that
researchers. This is another very
was raised is that works, books, and
interesting idea that we probably would
not have thought about. [Slide 9]
possible to access materials located
elsewhere using networks. This has made
Let us recap collaboration. In the case of
it easy to compare collections and works
collaboration between Japan and overseas,
that are scattered in different places, as
I expect that this will be very useful first
well as to recreate a single work or
and foremost for creating multilingual
collection whose parts have become
systems. Furthermore, it will lead to
dispersed and to study it. The other
reexamining the fixed preconceptions we
transformation in research methods is the
have about research, and may lead to the
increasing attention that archives and
creation of new concepts. Conducting
primary sources have steadily gained in
studies and research from a variety of
recent years. There is a trend in research
angles may generate new research
to understand a work comprehensively by
outcomes. I believe collaborative work with
considering also the historical and social
overseas institutions and researchers, in
contexts in which the work was created,
particular, will facilitate this outcome.
the distribution of the work or the
[Slide 10]
economic situation that made this possible,
as well as other genres that influence this
Effects of the Changes in Research
work and vice versa—for example,
Trends
literature and social events. To do this,
The question that this raises is: why do
we individuals who work with Japanese
archival materials related to the work
become indispensable. [Slide 11]
art-related materials and information need
collaboration? In my opinion, the reason is
Next, I would like to refer to the issue that
none other than the changes in the
was raised about the need to reexamine the
research trends. We have witnessed a
meaning of “open.” In this slide [Slide 12],
transformation in research methods. As
Group 3 made an important point—that if
you already know very well, the means
the substance of the publicly available
that can be employed for research have
digital contents or databases is limited to
transformed with the advances in digital
objects designated by the Agency for
technology and its networks. It has become
Cultural Affairs such as national treasures,
possible to carry out analyses that make
then it would not be possible to deepen
use of special software in various ways, as
researchers’ knowledge of Japanese art. In
is the case with digital humanities. In a
Japanese, there is a term called
less extreme example, it has now become
“ryohinshugi,” which refers to prizing art
and fine art works that are of high quality.
royalty and aristocracy but also the public
High quality works in Japan may include
have accepted fine art or art. In this regard,
works that are recognized under the
while there have long been research fields
system of National Treasures. The group
like society and art or society and
shared its critical view that confining
literature, literature and art, and religious
publicly available works and information to
art, there is increasing research on the
National Treasures or Important Cultural
linkages between society and art as well as
Properties leads to creating a hierarchy of
people’s lives and art. [Slide 13]
artworks.
In another proposal, Ms. Treimer
At the beginning of my remarks, I said
expressed the view that even the study of
that I am majoring in cultural resource
Japanese art history in Japan can profit
studies at the University of Tokyo. The
from internationalization. [Slide 14]
aforementioned point about “ryohinshugi”
is also closely relevant to the concept of
I cannot agree with this more. It can be
“cultural resources.” It is also linked to the
expected that the breadth of research will
point made by Ms. McVey in her address in
increase and deepen by comparing and
connection with the book, Kakucho suru
contrasting, examining international
Sengo Bijutsu [Expansion of Postwar Art]
linkages, and examining the subject of
(Nihon Bijutsu Zenshu 19 [Compilation of
research in the context of world history.
Japanese Art 19]). In other words, the
Thus, the globalization of research
subject of research is changing. Just as it is
constitutes another change in the research
becoming more common to consider works
trends. Through the globalization of
from diverse genres in a single research
research, the subject of research as well as
project, crosscutting and composite genres
the research actors and research methods
are beginning to be studied. In addition,
are becoming increasingly global. [Slide 15]
the subject of research has expanded to
manga and other popular culture. It can be
What should we do in response to these
construed that these trends raise questions
trends? In today’s proposal, the following
once again about the concept of the “study
expectation was expressed as a solution:
of art” that is supported by “ryohinshugi.”
“Include foreign researchers in the projects,
Furthermore, the subject of research is
the view from outside will make results
expanding to such themes as how fine art
even better.” [Slide 16]
is related to society and how not only the
I too think that this is actually the case, it
Japan sheds light on the understanding of
is very clear if we consider Japanese art,
European art in Europe from a completely
especially contemporary art. Japanese
new angle. In this sense, there may be
artists are not only active in Japan; many
instances where it is more appropriate to
of them draw creative inspirations from
put the word “Japan” inside parentheses.
foreign artists and works. The opposite is
Additionally, Western art’s influence on
also frequently observed. In the case of
Japan is actually closely linked to the field
support for the study of Japanese art
we are examining, namely the study of
outside of Japan, I think the word “bijutsu”
Japanese art. In this sense as well, perhaps
can be put inside parentheses to mean that
the word “Japan” can be put inside
it does not refer to the fixed preconception
parentheses. [Slide 17]
of fine art. Let us examine the relationship
between support for the study of Japanese
art outside of Japan and support for the
Conclusion
To briefly summarize in conclusion, I
study of Japanese art in Japan. Attempts
believe the purpose of our work is to
to support the study of Japanese art
support more in-depth research,
outside of Japan translate into supporting
understanding, and gaining insight by
the study of Japanese art in Japan.
informing people and help them enjoy
Conversely, attempts to support the study
Japanese art and Japanese culture that is
of Japanese art in Japan translate into
at its foundation. What contribution can we
supporting the study of Japanese art in
make to this end? I believe the answer is to
Japan. I contend that this is what
carry out collaboration that cuts across
globalization is about. Ms. McVey stated
various barriers while exchanging views in
that the needs of foreign researchers of
and outside of Japan, and in turn, further
Japanese art history are universal and that
enhance the quality and quantity of the
they are beneficial for Japanese
information being disseminated and
researchers. I agree with her completely.
provide supports. I believe drawing on the
Supporting away games correspondingly
strengths of collaboration will pave the way
returns to home games. In this slide, I
forward. [Slide 18]
put parentheses only around the word “art,”
but maybe this is not accurate. Perhaps the
word “Japan” can also be put inside
parentheses. For example, it is entirely
possible that the study of Western art in
Thank you very much.
小出　いずみ
コメント
コメント
• 研修生の職場
アウェイとホーム
• 日本への期待
• 研究潮流の変化がもたらすもの
小出いずみ
元渋沢栄一記念財団
東京大学大学院博士課程（文化資源学研究専攻）
1
2
研修生の職場
美術館・博物館、美術関係機関
研修生の職場
美術館・博物館、美術関係機関
大学
• プラハ国立美術館
• ロンドン大学SOAS校図書館
• チェスター・ビーティー・ライブラリ
• オスロ大学図書館
• ベルリン国立アジア美術館図書館
• オレゴン大学図書館
大学
美術
• 韓国美術研究所
日本
美術
• ピッツバーグ大学図書館
日本
• 韓国国立近現代美術館
3
4
日本への期待
資料・情報提供の目的・対象
• アクセスを容易に
美術館・博物館、美術関係機関
言語
大学
使いやすいデータベース
• 研究
• 研究
• 展示
• 教育
• 「日本」美術だけでなく
• 「美術」だけでなく
• 趣味・楽しみ
• 学部生(現地語・英語）
制度
思い込み？！固定観念
• 情報の豊富化
メタデータの標準化
• 研究者だけでなく一般人
アート ≠ 美術
連携、統合、プラットフォーム
5
6
小出　いずみ
日本の美術資料管理システムに関する提言
コラボレーションが開く可能性
２．Museumの中での協力が必要
博物館・美術館は資料より文化財と作品を重要視する
• 日本の中でのコラボレーション（館内、館間）
研究対象へのアプローチの多角化
その認識を変えることが必要（資料＝研究の根源）
一つのシステムで作品・図書・アーカイブの検索ができる
8
7
オープンの意味を再評価
オープン
コラボレーションが開く可能性
自由な利用と構築(Open とは民族的・地域的・国家
的な制限がない）
ユーザーとコンテンツのオープン化
• 日本の中でのコラボレーション
研究対象へのアプローチの多角化
ユーザーのオープン化
• データベースの作成者は美術館・研究所の人に限ら
れている事が多い
• 海外の研究者と共同でデータベースを構築した方が
いい
• 日本と海外のコラボレーション
マルチ言語化
固定観念の再検討、新たな概念
9
10
オープンの意味を再検討
オープン
研究潮流の変化
• 研究手法の変化
コンテンツのオープン化
デジタル技術、ネットワーク化
• 所蔵作品DBは、美術館の所蔵作品に限られている
所蔵作品は、美術館の所蔵作品に限られている
一次資料、アーカイブズ資料への注目
• 国宝・重要文化財などに限られている時もある
→日本美術の知識を、より深めることができない
日本美術の知識を、より深めることができない
11
12
小出　いずみ
提案１
研究潮流の変化
• 研究手法の変化
・日本国内における日本美術史の研究でさえも、国際的観点
に立つことで、さらにその研究を深めることができる。
Even Japanese art history on Japan can proffit from
internationalisation.
デジタル技術、ネットワーク化
一次資料、アーカイブズ資料
• 研究対象の変化
・外国語でのサーチが簡単にできるようにインターフェイスを
改善することで、利用者が増える。
Lower the threshhold to the use of your resources.
ジャンル横断的・複合的
ポピュラーカルチャーへの広がり
cf. 良品主義
・優れた資料をもっとより多くの人々に公開し、利用を促す。
Show what you have!
13
14
研究潮流の変化
メソッド４
• 研究手法の変化
デジタル技術、ネットワーク化
一次資料、アーカイブズ資料
• 研究対象の変化
ジャンル横断的・複合的
ポピュラーカルチャーへの広がり
cf. 良品主義
• 研究のグローバル化
研究対象も、研究主体も、研究手法も
・海外研究者がプロジェクトに参加すると結果はもっと良くな
るはずです。
Include foreign researchers in the projects, the view
from outside will make results even better.
15
16
日本美術・日本文化を
アウェイの日本（美術）研究支援
研究する・理解するために
知る・知らせるために
楽しむために
ホームの日本（美術）研究支援
私たちにできることは？
→ コラボレーション！
17
18

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