Art and Calligraphy Venues in Edo and Meiji Japan

江户和明治时期的艺术和书法场所可以被认为是现代博物馆展览的先驱：公众聚集在特定的地点和时间，观看和评论新旧书画。赞助或参与这些活动的文人会努力阐明（从而证明）他们的艺术谱系，并将自己明显地置于其中。这些场所向现代学生展示了古典艺术和现代艺术的关系，以及更高层次的大众文化是如何慢慢商品化的。在本研究中，我试图尽可能具体地描述18世纪末至19世纪期间日本各地的场所在何时、何地、如何、由谁展示的实际内容。通过两个原始资料来源可以追溯到这些事件的基本事实：一份活动邀请函（hikifuda）和一份详细的目录（tengan mokuroku）。通过本项目，我能够识别、调查和复制近200份目录供研究。我从中挑选了50个有代表性的例子，并将内容转录到一个数据库中，按标题，艺术家，所有者/参展商，尺寸/材料和版权排列。其结果是一个名单超过约10,000艺术作品实际上在18日和19日世纪日本展出。我计划继续增加这份名单，并最终将其与我在资助期间开始的江户和明治艺术场所综合年表一起出版。

Art and calligraphy venues in the Edo and Meiji periods can be thought of as forerunners to the modern museum exhibition : a public gathered at a specific place and time, to view and criticize old and new paintings and calligraphy. The literati who sponsored or were involved in these events would strive to articulate (and thereby justify) their artistic lineages, and place themselves conspicuously within. These venues show the modern student how classic and modern art were perceived, and how popular culture at the higher levels slowly came to be commodified.I have attempted in the present research to flesh out as concretely as possible the actual contents - what was shown when, where, how, and by whom - of venues taking place all across Japan from the late 18th through the 19th centuries. The bare facts can be traced through two original sources : single sheet invitations (hikifuda) to the events, and detailed catalogues (tengan mokuroku) thereof.Through the present project I was able to identify, survey and reproduce for study nearly 200 of the catalogues. I selected 50 representative examples from these and have transcribed the contents into a database arranged by title, artist, owner/exhibitor, size/material and colophon. The result is a list over approximately 10,000 works of art actually exhibited in 18th and 19th century Japan. I plan to continue adding on to this list, and eventual publish it together with the Comprehensive Chronology of Edo and Meiji Art Venues which I also began during the term of my grant.