3 4 5 6 7 8 52 52 10 11 07

1953 1 6 3 4 5 6 7 8 6 1 2 6 2 51 52 52 6 2 8 9 12 3 52 2 6 1951 52 06

3 4 5 6 7 8 52 52 10 11 07

6 691 2 3 5 5 3 3 4 4 6 2 3 52 5 50 4 1951 11 52 9 4 B41 1 32 15 320 6 52 660 08

1952 6 15 1952 9 15 1951 12 15 1951 11 15 1952 3 5 1952 4 15 09

4 1900 19 21 24 26 30 40 46 51 59 74 4 1905 25 20 31 39 45 48 49 51 33 NIPPON 38 20 40 1909 79 10

28 33 35 39 43 NIPPON 45 6 43 40 7 43 DP 46 8 1911 31 37 39 40 43 45 47 49 9 1945 41 44 45 9 45 11

1945 43 8 8 44 1 45 4 11 9 B5 16 10 1900 41 45 11 46 7 8 9 47 44 2 3 11 1905 3342 34 39 43 3 35 43 43 52 1902 32 34 12

43 12 48 1 4 1 13 14 6 1951 1951 52 1967 15 16 19 46 46 50 13

17 14

18 4 6 10 10 V V 29 V 31 15

19 20 21 1894 1960 22 11 Tourist Library 29, Japanese Sculpture 1939 22 16

11 22 1919 23 20 5 48.5cm 23 4 12 20 30 12 VI VI 25 17

24 1942 25 26 27 28 29 38 30 43 18

52 31 4 32 52 60 33 5 1963 1975 34 19

24 35 50 20

36 1 1967 2 V V 31 IV 26 III 26 I I 9 I 6 1940 52 3 1952 1953 1953 p.2 4 52 5 2000 6 1951 120 7 1939 1940 2000 1940 8 1975 9 1967 p.143 10 No.45 1977 p.16 21

11 3 229 1968 5 p.64 12 p.269f. 13 14 p.155 15 p.156 16 5 1964 p.221 17 p.10 18 No.45 1977 p.16f. 19 V p.10f. 20 p.4 21 1952 9 p.53 22 29 Japanese Sculpture 1939 11 NIPPON 23 p.9 24 p.17 25 5 1952 6 p.1 26 11 1985 p.126 27 11 p.104 28 21 29 11 p.105 30 1940 7 13 III 1995 pp.480 489 31 1952 7 6 1990 p.100 32 6 p.101 33 p.159 34 1 1 1932 p.14 35 9 1987 2000 36 3 580 22

Phases of Art Appreciation As Regards Japanese Sculptures, Published by Bijutsu Shuppansha Masuda Rei The subject of this paper is the publication Japanese Sculptures (total of 6 Volumes), which was published by Bijutsu Shuppansha from 1951 to 1952. This collection of photographs of sculptures is examined using art appreciation as the keyword. Japanese Sculptures covers antique Japanese sculptures from prehistoric times to the Kamakura era, divided into periods. Each volume is a photographic collection of sculptures shot by one photographer, respectively. The four photographers involved all began their careers before World War II, and for the latter half of their careers, in the post war years, had made photographing cultural assets, such as Buddhist images and old shrines and temples, their lifework. Of them, during the prewar and war periods Domon Ken and Fujimoto Shihachi had worked in the field of reportage photography that adopted modern graphic design. Therefore, they were photographers who had practical experience with the modern photographic expression suitable for that field. Another photographer, Sakamoto Manshichi, had been deeply involved in the Mingei (folkcraft) movement, led by Yanagi Muneyoshi during the prewar years, and Yanagi depended on him greatly as a photographer equal to the modern aesthetic perspective of the movement. The photographs in Japanese Sculptures reflected these careers of the photographers and were innovative in that the subjects, antique sculptures, had been photographed based on experience appreciating the objects through the eye of a modern photographer. At the same time, Japanese Sculptures was a landmark publication, as it introduced antique sculptures to the ordinary art lover, unlike the theretofore regard for them only as being the research subjects of experts. In their remarks, Oshita Masao, the president of Bijutsu Shuppansha, the publisher, and his brain trust, which included Imaizumi Atsuo, deputy director of the National Museum of Modern Art, Tokyo, and critic Takiguchi Shuzo, both of whom were involved in Japanese Sculptures as editors, indicated that by introducing antique sculptures to the ordinary art lover it was their intention to create an opportunity for a new art appreciation experience through a modern aesthetic perspective. The Domon s and Fujimoto s photographs in Japanese Sculptures are in themselves the objects of art appreciation as works by individual photographers, while also having the multilayered character of functioning as models from which to learn the perspective of modern art appreciation, for the supposed readers of this photographic collection of sculptures -- ordinary art lovers. This is the conclusion of this discourse. 84