Sainsbury Institute for the Study of Japanese Arts and Cultures Annual Report 2005-06

The Sainsbury Institute for the Study of Japanese Arts and Cultures was founded in 1999 through the generosity of Sir Robert and Lady Sainsbury. An independent charity, the Sainsbury Institute is affiliated with the University of East Anglia and working in association with the School of Oriental and African Studies, University of London, and the British Museum. Its purpose is to promote the study of material and visual cultures of the Japanese archipelago and, in doing so, to act as a catalyst for international research in the field. The Institute’s objectives are: to engage international scholars in collaboration and active research networks; to disseminate this research through publications and other means; to continue the development of the Lisa Sainsbury Library as a premier library resource for Japanese arts, cultures and archaeology.

Contents Message from the Japanese Ambassador 2 Foreword from the Chair of the Management Board 3 Director’s statement 4 Lisa Sainsbury Library and research resources 6 Research networks 10 Lectures and symposia 20 Fellowships 28 Outreach and cultural collaboration 32 Appendices Supporters 36 Management Board and staff 37 Calendar of events 38 Third Thursday lectures 40 Current and past fellows 41 Publications 42 Management and finance 46 Message from the Japanese Ambassador

The length and richness of cultural and academic exchange between Japan and the UK is symbolised by the number of British-based organisations active in this field. Amid such thriving activity, the Sainsbury Institute for the Study of Japanese Arts and Cultures, under the superb leadership of Dr Nicole Coolidge Rousmaniere, who has served as its Director since its establishment just seven years ago, has achieved an eminent status among Japan-related research institutions not only in the UK but throughout Europe.

In whatever field they may be active, the mission of research organisations in the 21st century is becoming steadily more diverse and multifaceted. On top of their traditional function of bringing together outstanding researchers, intensifying their research activities and disseminating the fruits of their endeavours to the world at large, they now have to achieve the task of developing networks of contacts and building partnerships with other bodies. From this standpoint, I am very struck by the emphasis that the Sainsbury Institute places on forging links with organisations involved in Japanese arts, culture and archaeology both within and outside the UK. However, what I value most is the way both the Institute’s Trustees

Ambassador and Madame Nogami visited and its staff have built up a first-class research facility while placing the the Institute on 17 June 2005 and marked the utmost importance on maintaining cordial links with the outside world on occasion by planting a rosa bonica in the front the individual level. For instance, the success of the Third Thursday lectures garden, in the company of Sainsbury Institute is clear evidence of the way the Institute has won the support of the local Trustee Dame Elizabeth Esteve-Coll. community. One can also point to the many Japanese people in the UK who are invited to attend events at the Institute and thus travel to Norwich from London and elsewhere. One of the secrets of the Institute’s success and growth seems to be that, even in an age of instant communications, it has never forgotten the importance of direct contact and dialogue. I would like to pay tribute to Sir Robert and Lady Sainsbury, without whose deep affection and support for Japanese culture and the arts the Institute would not have come into being. Moreover, I would like to express my deep gratitude to the Gatsby Charitable Foundation for the backing which has enabled the Institute to expand the scope of its activities as well as to thank the many other people involved in Japan-UK relations who have shown keen interest in the Institute and have supported it in their various ways. I trust that, just like the rosa bonica that Dame Elizabeth Esteve-Coll and I planted in its garden and inspired by the grandeur and endurance of Norwich Cathedral by its side, the Sainsbury Institute will go from strength to strength.

His Excellency Mr Yoshiji Nogami Ambassador Extraordinary and Plenipotentiary Embassy of Japan in the UK

 | sainsbury institute for the study of japanese arts and cultures Foreword from the Chair of the Management Board

In just seven years the Sainsbury Institute for the Study of Japanese Arts and Cultures has established an enviable reputation. Led by its founding Director, Dr Nicole Coolidge Rousmaniere, the Institute has created an exciting set of networks and partnerships which provide the foundation for the extensive activities outlined in this report. This is the first annual report the Institute has produced. It reviews the first year of the implementation of its five-year academic and financial plan, underpinned by the generous support of the Gatsby Charitable Foundation. In addition to the core funding from the magnificent benefaction from Sir Robert and Lady Sainsbury, Gatsby’s support has facilitated an original, innovative and diverse programme of research and public engagement. The results are impressive. The Institute has secured a high reputation Above: Professor Bill Macmillan was within the academic community. It has also gained the respect and appointed Vice-Chancellor of UEA in September 2006, following Professor David goodwill of the local community in Norwich and East Anglia and stimulated Eastwood’s appointment as Chief Executive much interest in Japanese arts and cultures, through activities such as the of the Higher Education Funding Council Third Thursday lectures. The results of the new research undertaken are for England. The Vice-Chancellor of the being widely disseminated both in traditional forms and as publications University is ex officio Chair of the Institute’s Management Board and a Sainsbury Institute on the web, creating a high profile for the Institute’s activities around the Trustee. world. The Institute is dependent on a wide range of external sponsors Below: The Sainsbury Centre for Visual Arts for its research programme, and is actively engaged in seeking support at UEA houses the Robert and Lisa Sainsbury from organisations and individuals to enhance its activities. On behalf Collection. It was re-opened in May 2006 following a major refurbishment and building of the Director and her staff, the Trustees and the Management Board of project, designed by Foster and Partners. the Institute, I would like to take this opportunity to thank all the donors and well-wishers for their support in the realisation of the vision of the benefactors.

Professor Bill Macmillan Vice-Chancellor, University of East Anglia Chair of the Management Board Sainsbury Institute for the Study of Japanese Arts and Cultures

annual report 2005-06 |  Director’s Statement

Above: The headquarters of the Sainsbury Institute is located in the Cathedral Close at the centre of the medieval city of Norwich. ‘No. 64’ was originally part of the 12th- century cloisters, with subsequent Georgian and Victorian additions.

Right: Dish by Japanese Living National Treasure Tokuda Yasokichi III. It is on display in the Japanese Galleries at the British Museum.

 | sainsbury institute for the study of japanese arts and cultures In the seven years since the foundation of the Sainsbury Institute we have been guided by the vision of our benefactors, Sir Robert and Lady Sainsbury. Since 1999 the Sainsbury Institute has achieved recognition as a unique creative force in the development of the study of Japanese arts and cultures in all their diversity. The visionary endowment from Sir Robert and Lady Lisa Sainsbury will continue to provide the financial foundation for our work but we could not have achieved what we have to date, nor can we expect to implement our plans for 2005-10, without the extraordinary generosity of the Gatsby Charitable Foundation. We have also benefited in our many programmes through the support of such institutions as the Toshiba International Foundation, the Japan Foundation, the Daiwa Anglo-Japanese Foundation, the Great Britain Sasakawa Foundation and the British Academy, through private donations, and through collaborative projects with other academic institutions such as Ritsumeikan and Kyushu universities, the Centre Européen d’Etudes Japonaises d’Alsace, and through the support of the Japanese Embassy. In this first annual report we are able to review the achievements of the past year, built on the foundations of the last seven years. August 2005 to July 2006 was the first year of a five-year academic and financial plan, based on a rigorous review of the academic achievements of the Institute in its first years. This underpins the operation of the Institute and allows us to seek external support for further research projects and outreach effectively. We have initiated exciting new research networks, stimulating Japanese arts and archaeology studies in Europe. Recognition of the significance of this can be found in the success of the Postgraduate Workshop in Japanese Art History, the first to be held in Europe of this prestigious series dedicated to nurturing future Japanese art historians. These networks generate innovative research projects leading to Top: The Sainsbury Institute organised a the lectures, workshops and symposia through which we are helping to one-day workshop in conjunction with the British Museum and TrAIN Research Centre, disseminate, inform and influence the study of Japanese arts and cultures. University of the Arts London titled mingei, Our Norwich headquarters in the beautiful surroundings of the which aimed to reinvigorate debate about Cathedral Close, centred on the Lisa Sainsbury Library, continues to be the Bernard Leach and the concept of craft in the focus of our activities. The Library, thanks to generous bequests and an 21st century. The workshop was preceded by efficient development plan, has in a remarkably short time become a major an evening lecture at the Embassy of Japan in London by Professor Fujita Haruhiko, Osaka research resource for Japanese arts and cultures in Europe. University, and the opening of an exhibition In November 2005 Dame Elizabeth Esteve-Coll was honoured when at the Embassy of materials associated with Ambassador Yoshiji Nogami, on behalf of the Emperor of Japan, presented Bernard Leach, including pottery and books her with the Order of the Rising Sun, Gold Rays with Neck Ribbon, in from the Cortazzi Collection at the Sainsbury recognition of her outstanding work to help promote Japanese culture and Institute. The evening event was in support of the Leach Pottery Restoration Project. art studies in the UK and Europe. Previously Lady Sainsbury had received the prestigious decoration in recognition of her contribution to Japanese Above: Founding Director of the Sainsbury art in the UK. We have been fortunate, especially during this last year, to Institute, Dr Nicole Coolidge Rousmaniere, have the unstinting support of the Japanese Ambassador and his staff. at the opening of an exhibition of materials The success of our events relies in large part on our institutional associated with Bernard Leach at the Japanese Embassy in September 2006. partners, and we are very grateful to them, our funders and supporters, for their help in fulfilling the vision of Sir Robert and Lisa Sainsbury. The Institute and I are greatly indebted to the hard work, dedication and energy of all the people who work with it and for it. n

annual report 2005-06 |  The Lisa Sainsbury Library and Research Resources

The development of the Lisa Sainsbury Library at our Norwich headquarters is central to the mission of the Institute. The collections rank among the best in Europe for Japanese applied arts and ceramics, Japanese archaeology and art history, Japanese material culture and trade, and Japanese cultural heritage and architecture, supported by contextual materials on East Asia. While complementing other existing collections in the UK, such as that of the School of Oriental and African Studies, University of London (SOAS), and Cambridge University Library, the library itself draws scholars and researchers to Norwich and provides specialist information for advanced studies in art history and archaeology. In addition, by means of an annual grant, the Institute encourages the development of SOAS library collections in areas such as Japanese prints, painting and calligraphy. Since 2004, the library has looked after the Japanese language art collections of the University of East Anglia. Alongside the Institute website with its increasing online resources, the Lisa Sainsbury Library constitutes a major research facility for the study of Japanese arts and cultures.

Over 25,000 volumes representing some 8,000 catalogue entries, including books, journals, zenshü, exhibition catalogues, photographs, slides, prints and maps, have been acquired since 1999. The foundations were laid with major bequests from Professor Matsushima Ken and Professor Matsushita Masaaki. By 2003, when the Lisa Sainsbury Library was formally opened by the then Ambassador of Japan, Mr Masaki Orita, these bequests were catalogued by the Librarian and made accessible around the world through the Institute’s website. The year 2005-06 saw some major new developments in the Lisa Sainsbury Library. The first was the creation of a new Library Store at 11 St Michael at Pleas, a short distance from 64 The Close. This new store, facilitated through a generous grant from the Gatsby Charitable Foundation, will house the growing collections on Japanese archaeology and cultural heritage. During the first part of 2006, the seminar room at 64 The Close was adapted to house the collection of the Norfolk and Norwich Archaeological Society. The collection, one of the oldest and most comprehensive regional archaeology libraries in the UK, has been placed on long-term loan, making it easily accessible to Japanese archaeological scholars. From 2006, major Japanese archaeological reports are being sent to the Library from the National Diet Library. In January 2006, several thousand volumes on Buddhist art were

 | sainsbury institute for the study of japanese arts and cultures The Lisa Sainsbury Library is the heart of the Institute’s Norwich headquarters, comprising a major collection of books and maps on Japanese arts and cultures, and providing the venue for most of the Third Thursday lectures. Sir Hugh and Lady Cortazzi have placed their collection of books, prints, maps and artefacts on long-term loan with the Library. Recent acquisitions include the CD-ROM of Kokka, the foremost journal of Japanese art.

annual report 2005-06 |  The Lisa Sainsbury Library and Research Resources

donated to the Library as part of the bequest from the late Professor Professor Kawai Masatomo, Senior Academic Yanagisawa Taka, the renowned art historian from the National Research Adviser to the Institute, and staff at the National Research Institute for Cultural Properties, Tokyo, Institute for Cultural Properties, Tokyo. These books nicely complement the preparing a major donation of books for the existing collections and recent donations from the Trevor Leggett Trust. Lisa Sainsbury Library from the late Professor The Library has continued to benefit from generous donations from Sir Yanagisawa Taka. Hugh and Lady Cortazzi, who have supplemented earlier items with a number of important volumes including the Atlas Japannensis by Montanus published in 1670. In addition, the Cortazzis have placed their valuable collection of Japanese ceramics, in particular pieces by Living National Treasure Shimaoka Tatsuzö, on long-term loan with the Institute, and they are now on display at the Sainsbury Centre for Visual Arts. Other major accessions this year include the CD-ROM version of Kokka, the leading Japanese art history journal, purchased with the help of a grant from the Metropolitan Center for Far Eastern Art Studies. n

The website currently enjoys a high projects now have a web-based New developments for 2006 level of usage, with an average of component and the site acts as a portal include the launch of Japanese approximately 170,000 hits per month, for the Lisa Sainsbury Library catalogue language pages and the expansion of several thousand of which represent and also links to the SOAS Library. the website’s capabilities to include a extended visits involving viewing ‘Maps of Japan’, from the bibliographic database on Japanese a number of pages on the site and collection of Sir Hugh and Lady archaeology. The website is increasingly downloading of information. It has Cortazzi, includes several very rare being used as a repository for online proved to be an effective and efficient maps, the earliest dating from 1528. research resources. The abstracts for the means of disseminating news about The Sainsbury Institute, working with workshop ‘Displaying Korea and Japan’ the Institute’s activities, including the Art Research Centre at Ritsumeikan and the papers from the Postgraduate conferences and lectures, and for University, has digitized the maps and Workshop in Japanese Art History providing links to the sites of affiliated made the online database available to contribute to the dissemination of institutions. A number of Institute scholars everywhere. research through the web. n

 | sainsbury institute for the study of japanese arts and cultures Institutional and Individual Library Donors

Institutional Donors Individual Donors Aomori-ken Bunkazai Hogo-kai Reinaldo Avila Archaeological Institute, Kashihara Professor Gina Barnes Arita-chö Kyöiku Iinkai Anna Beerens Art Research Center, Ritsumeikan University Professor Geoffrey Bownas Asahi Shinbunsha Timothy Clark Atomi Gakuen Sir Hugh and Lady Cortazzi Bibliothèque Interuniversitaire des Langues Orientales Dame Elizabeth Esteve-Coll Bodleian Japanese Library, University of Oxford Tim Eyre British Library Dr Rupert Faulkner British Museum Sir Raymond Firth Cambridge University Library Gen Fujii Chiba City Museum of Art Captain Robert Guy Chikatsu Asuka Museum Professor Harunari Hideji Culture Communication Fund B.V. Dr Henk Herwig and Arendie H. Herwig-Kempers Department of Art History, Kobe University Hosomi Ariko East Asia Department, National Library of Berlin Jason Hubbard Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution David Hyatt-King Fukuoka-shi Kyöiku Iinkai Idemitsu Chieko Hotei Publishing Professor Imanishi Yüichirö Idemitsu Museum of Arts Israel Goldman Inax Tile Museum Ellen Josefowitz Institute for Japanese Culture and Classics, Kokugakuin University Kamei Wakana International House of Japan Dr Simon Kaner International Research Center for Japanese Studies Professor Kano Hiroyuki Japan Foundation Centre Professor Kawai Masatomo Japan Foundation London Office Professor Kobayashi Tadashi Japan Information and Cultural Centre, Embassy of Japan Professor Köno Motoaki Japan Society Professor Josef Kreiner Japan Society, New York City Maezaki Shinya Japan Folk Crafts Museum, Osaka Professor Matsui Akira Kyoto National Museum Professor Matsushima Ken Kyoto University of Art and Design Professor Matsushita Masaaki Kyushu Ceramic Museum Dr Shane McCausland Maison de la Culture du Japon à Paris Paul Moss Martin Sosin-Stratton-Petit Foundation Dr Mutö Junko Miho Museum His Excellency Mr Yoshiji Nogami, Ambassador of Japan Mika Gallery Dr Ken Tadashi Oshima Moscow State Oriental Museum Professor John M. Rosenfield Musée des Arts Asiatiques Guimet Dr Nicole Coolidge Rousmaniere Musée d’Art et d’Histoire de La Rochelle Professor Timon Screech Museum of Modern Ceramic Art, Gifu Frederic Alan Sharf Nara National Museum Shimaoka Tatsuzö National Diet Library Rupert Spira National Institute of Informatics Nicholas P. Stanley-Price National Museum of Ethnology, Osaka Suzuki Sadahiro National Museum of Korea Patrick Syz National Research Institute for Cultural Properties, Nara Uchida Hiromi National Research Institute for Cultural Properties, Tokyo Reverend Job Uchida Östasiatiska Museet Umezawa Megumi Peabody Essex Museum Dr Alicia Volk Printing Museum, Tokyo Dr Gennifer Weisenfeld Royal Botanic Garden, Kew Yamaguchi Yukio Ruth & Sherman Lee Institute for Japanese Art Yamane Yumi Shinkenchikusha Yanagi Köichi Shögakukan Shouun Oriental Art School of Oriental and African Studies Library South West Film and Television Archive State Museum of the Moscow Kremlin Taro Okamoto Museum of Art, Kawasaki Tawaramoto-chö Kyöiku Iinkai Trevor Leggett Trust University of East Anglia Library Vietnam-Japan Joint Archaeological Research Team, University of Tokyo Yokohama Museum of Art Yufuku

annual report 2005-06 |  Research Networks

Research networks are at the heart of the Institute’s mission and research strategy. In addition to affiliations with the University of East Anglia, the School of Oriental and African Studies, University of London, and the British Museum, there are institutional agreements for collaborative research with Ritsumeikan University, Kyushu University, the Niigata Prefectural Museum of History, the Fitzwilliam Museum, the International Centre for Albanian Archaeology and the Centre Européen d’Etudes Japonaises d’Alsace, and links with many other organisations. The Institute’s various projects draw on this international network, bringing scholars from around the world together to explore major research themes. These projects include initiatives such as Collecting Japan in Europe (led by Director Dr Nicole Coolidge Rousmaniere), the Japanese Archaeology and Cultural Heritage Projects (directed by Assistant Director Dr Simon Kaner), and Japanese Literature in Art Colloquy (directed by Head of London Office, Dr John T. Carpenter).

10 | sainsbury institute for the study of japanese arts and cultures Previous page: Participants in the one-day University of East Anglia (UEA) workshop on mingei held at the British The Institute is closely connected to UEA. The Vice-Chancellor acts as Chair Museum in September 2006. From left to of the Institute’s Management Board and the Institute is in addition able right: Timothy Clark, Dr Nicole Coolidge Rousmaniere, Professor Fujita Haruhiko, to draw on the University’s academic and administrative expertise. Both Dr Kikuchi Yüko, Hamada Takuji, Takenaka the Director and the Assistant Director of the Institute have taught for Hitoshi, Dr Angus Lockyer, Dr Suzuki Sadahiro, the School of World Art Studies and Museology, and 2006 saw two PhDs Professor Watanabe Toshio, Mimura Kyöko, Dr completed in Japanese art history, both supervised by the Director of the Beth McKillop and Dr Rupert Faulker. Institute. n Top: Professor Paul Webley, who succeeded Professor Colin Bundy as Director and School of Oriental and African Studies, University of London (SOAS) Principal of SOAS and who serves on As the largest centre for Japanese studies in the UK, SOAS is an invaluable the Management Board of the Institute, partner for the Sainsbury Institute. The relationship is formalised by a introducing the Fourth Chino Kaori Memorial Lecture in October 2006. collaborative agreement and the participation of the Director and Principal of SOAS on the Institute’s Management Board. The Institute maintains its Above (right): Part of the campus at UEA. London offices in the Brunei Gallery, which provide study space for the Robert and Lisa Sainsbury Fellows and the Handa Fellow. The Director and Above (left): The Brunei Gallery at SOAS. the Assistant Director teach for the Department of Art and Archaeology at SOAS and Dr John T. Carpenter, Lecturer in Japanese Art History at SOAS, acts as the Head of the London Office of the Sainsbury Institute. n

annual report 2005-06 | 11 Research Networks: Institutional Partners

Above: Timothy Clark, Head of the Japanese Section in the Department of Asia at the British Museum, and former Robert and Lisa Sainsbury Fellow at the Sainsbury Institute.

Above (right): The Great Court The British Museum at the British Museum, designed Since its establishment, the Sainsbury Institute has fostered close by Lord Norman Foster, who was connections with the British Museum, in particular the Japanese Section of also the architect of the Sainsbury the Department of Asia, an outstanding repository of Japanese artefacts Centre for Visual Arts at UEA. and art. The Museum’s Japanese holdings are unparalleled in extent, quality and scope by any other museum in Europe. In 2003 the Director of the Institute curated a major exhibition in the Museum’s Japanese Galleries, Kazari: Decoration and Display in Japan 17th-19th Centuries. As a result of a collaborative agreement, the Institute’s Projects Manager, Uchida Hiromi, has been seconded to the Japanese Section, working with the Head of the Japanese Section, Timothy Clark. The dual projects on which Ms Uchida has been working - supporting the work on the refurbishment of the Japanese Galleries and developing outreach programmes - were initially funded for one year by the Gatsby Charitable Foundation and subsequently by a consortium of members of the Japanese Chamber of Commerce and Industry in the UK, under the auspices of the Embassy of Japan in London. The Director of the Institute was also seconded part time to the museum for five months, working with Timothy Clark on the new permanent exhibition Japan: From Prehistory to the Present, which opened in the newly refurbished Japanese Galleries in October 2006. The British Museum and the Institute will continue to collaborate on future exhibits and projects. The Director is guest curator for the upcoming exhibition, Crafting Beauty: Celebrating 50 Years of Japanese Arts and Crafts, which will be held in July-September 2007 in the Joseph E. Hotung Gallery. Other benefits from this relationship include the use of the Museum as a venue for Institute/Museum events, including the Toshiba Lectures in Japanese Arts, and the ‘Displaying Korea and Japan’ and ‘mingei’ workshops. n

12 | sainsbury institute for the study of japanese arts and cultures Research Networks: Collecting Japan in Europe

The Collecting Japan in Europe project aims to carry out systematic surveys of Japanese art collections in museums and other institutions across Europe. In 2006 the Director participated in a discussion at the Embassy of Japan and at a seminar organised in March by the Japan Foundation London Office and the Victoria and Albert Museum on ‘Hidden Treasures: the role and significance of Japanese art collections in UK museums’. In autumn 2004 the Director was closely involved in an exhibition and publication project on Jiki: Japanese Porcelain between East and West 1610-1760 at the Museo Internazionale delle Ceramiche in Faenza, Italy. She has continued an association with the Greek National Museum of Asian Art, including specialist surveys. The new Director of the Museum is collaborating with the Institute on a study of netsuke in the museum, and planning future collaborative workshops. In April the Assistant Director led visits by Sainsbury Fellows and students of Japanese art and archaeology to Leiden to view the Siebold collection. This was followed in May with a research visit to Scotland to view the Munro Collection in the National Museum of Scotland in Edinburgh and to study the impact of Japanese design on Scottish architects such as Charles Rennie Mackintosh and his iconic Glasgow School of Art.

Centre Européen d’Etudes Japonaises d’Alsace (CEEJA) To further the European network, the Institute has been developing close links with CEEJA. The Centre, founded in 2001, has fostered exchange visits by staff from both organisations. The Director of the Sainsbury Institute has given a number of lectures at CEEJA and the Assistant Director participated Below: Dr Ilona Bausch, Dr Simon Kaner and in the Sixth Meeting of the French Association of Japanese Studies in Professor Willem van Gulik at a workshop on Japanese archaeology organised in December 2004. In 2005-06 this relationship was further strengthened by conjunction with Leiden University, May 2006. a visit to Norwich from CEEJA President Mr André Klein and a visit by the Sainsbury Institute Assistant Director and Handa Japanese Archaeology Below (right): Princess Akiko of Mikasa and Fellow Ishikawa Takeshi to plan a collaborative archaeology project in Maezaki Shinya who curated the exhibition 2007. The Institute, with two affiliated research students, Princess Akiko Alsace et Japon: Une Longue Histoire on behalf of the Sainsbury Institute and CEEJA in of Mikasa and Maezaki Shinya, curated the exhibition Alsace et Japon: Une Colmar, November 2006. Longue Histoire in November 2006.n

annual report 2005-06 | 13 Research Networks: Projects in Japanese Archaeology and Cultural Heritage

Projects in Japanese Archaeology and Cultural Heritage promote Japanese archaeology through collaborative fieldwork, research into collections, symposia and publications. Building on the success of the 2001 exhibition of Jömon archaeology held at the Fitzwilliam Museum in Cambridge and the 2004 international conference on the ‘Archaeology of Towns in Medieval Japan and Beyond’, the Institute is proactively developing projects on various aspects of Japanese archaeology, in particular on prehistoric figurines and the development of riverine landscapes. In this connection, Jomon Reflections by Professor Kobayashi Tatsuo (edited by Simon Kaner with Oki Nakamura) was published in 2005 by Oxbow Books and a forthcoming volume on the archaeology of medieval towns is planned for 2007. Top (left): The Institute and Niigata Prefectural Museum of History are working on a collaborative project, funded by the British International Centre for Albanian Archaeology (ICAA) Academy, to investigate the development The Sainsbury Institute welcomed the members of the ICAA, under the of the archaeological landscape of central directorship of Professor Richard Hodges, to 64 The Close in January 2006. Japan, along the Shinano and Chikuma Rivers The Institute is collaborating with the ICAA on a project on prehistoric in Niigata and Nagano Prefectures. figurines. An international workshop on this theme is to be held at the Top: The Institute has a close relationship Institute in December 2006 with a joint exhibition at the Sainsbury Centre with Professor Kobayashi Tatsuo, Professor of for Visual Arts planned for 2009. n Archaeology at Kokugakuin University and Director of the Niigata Prefectural Museum of History. Kyushu University In February 2005 the Institute signed an agreement for research Above: The English edition of Professor cooperation with the Kyushu University 21st Century Centres of Excellence Kobayashi’s book, Jomon Reflections, (COE) Programme, Interactions and Transitions in East Asian History. was published in 2005 by Oxbow Books, The programme leader, Professor Imanishi Yüichirö, visited Norwich in with financial assistance from the Japan Foundation. spring 2005 with Dr Mizoguchi Köji. The Assistant Director gave a series of lectures at Kyushu University in May and gave a paper on ‘Aspects of the

14 | sainsbury institute for the study of japanese arts and cultures Above: Sakai Hideya, chief archaeologist with Internationalisation of Japanese Archaeology’ in August 2006 at a special the Agency for Cultural Affairs, with Dr Simon symposium marking the signing of the Consortium Agreement between Kaner at Stonehenge. the Kyushu University COE and the other nine participating members. Dr

Above (right): Jömon earthenware figurine, Mizoguchi participated in the Sainsbury Institute-Daiwa Anglo-Japanese first millennium BCE, Robert and Lisa Foundation-Japan Society seminar on ‘Does Heritage Matter?’, gave lectures Sainsbury Collection, UEA. on Japanese archaeology at UEA, SOAS, and Cambridge University, and, with Dr Matsugi Takehiko from Okayama University, took part in a round- table discussion on Yayoi archaeology at the Institute of Archaeology, University College London. n

Niigata Prefectural Museum of History In October 2005 the Director and Assistant Director visited the Niigata Prefectural Museum of History in Nagaoka to conclude an agreement for research cooperation. The Director of the Museum, Kobayashi Tatsuo, is Professor of Archaeology at Kokugakuin University in Tokyo. Both the Niigata Prefectural Museum of History and Kokugakuin University were key partners, along with the Sainsbury Institute, in the 2001 exhibition at the Fitzwilliam Museum in Cambridge, Flaming Pots: Art and Landscape in Prehistoric Japan, curated by the Assistant Director. Joint activities include a programme of archaeological field research investigating the development of the historic landscapes of the Shinano River in central Honshü, and assistance with the development of the archaeology and cultural heritage holdings of the Lisa Sainsbury Library. n

Research Institute for Humanities and Nature, Kyoto The Sainsbury Institute is a core member of the major new interdisciplinary research project on landscape archaeology and history called NEOMAP at the Research Institute in Humanities and Nature in Kyoto, a new inter- university research institute. Subsequently to the Assistant Director’s participation in a pre-symposium in Kyoto in October 2005, the project leader Dr Uchiyama Junzö visited Norwich and took part in the workshop on landscape archaeology in June 2006. n

annual report 2005-06 | 15 Research Networks: Japanese Literature in Art Colloquy

The Japanese Literature in Art (JLAC) series was inaugurated in 2002 under the aegis of the London Office of the Sainsbury Institute as one of the Institute’s central research and publication programmes. As with the Institute’s other ongoing programmes, it is intended to serve as a catalyst or a facilitating organ for the exchange of ideas related to the study of Japanese cultural history. It specifically aims to nurture cooperation between scholars based in the UK and their counterparts abroad. Each of the projects normally involves one or more scholars with a close affiliation to the Institute, whether members of staff, Sainsbury and Handa Fellows (past and present), or Japanese specialists at SOAS and the British Museum. JLAC projects are designed to promote an interdisciplinary study of Japanese visual culture. The colloquy series supports research and publications that take new approaches to text–image relationships in Japanese art, focusing especially on the interaction of literary or performing arts with calligraphy, painting and prints. The colloquies, usually once Hokusai and His Age: Ukiyo-e Painting, or twice a year, are not restricted to any specific type of forum and are Printmaking and Book Illustration in Late flexible in their organisation - ranging from full-fledged symposia to smaller Edo Japan, edited by Dr John T. Carpenter. Amsterdam; Hotei Publishing, 2005. 357 pp., workshops. The research results of the colloquies are published in various over 350 illustrations, mostly in colour. forms: proceedings volumes, collaborative publications on specialised topics, exhibition-related publications, or on-line image databases stored on the Institute’s server. Many of the JLAC projects complement or support other individual research projects of participants.

Hokusai and His Age This lavishly illustrated volume, edited by Dr John T. Carpenter, collects 15 essays by a distinguished roster of specialists in Japanese art to present a wide range of current scholarship on the Edo artist Katsushika Hokusai (1760-1849) and his immediate artistic and literary circles. The book was published in cooperation with the Sainsbury Institute, The International Hokusai Research Institute (University of Venice), and the Art Research Center (Ritsumeikan University). Achieving worldwide renown for his dramatic landscape print series such as the Thirty-six Views of Mount Fuji, Hokusai also excelled in book illustration, erotica, and privately commissioned woodcuts called surimono. Less well known, Hokusai was a highly accomplished and prolific painter who produced not only pictures of courtesans of the pleasure quarters, the normal stock-in-trade of an ukiyo-e artist, but a prodigious output on historical and legendary themes. This volume provides new insights into all these diverse aspects of the polyvalent artist’s corpus. (A list of chapters by scholars affiliated with the Sainsbury Institute can be found on the publications page in the appendix.) Along with editing the volume and translating various sections, Dr Carpenter contributed an essay, ‘Painting and Calligraphy of the Pleasure Quarters: Image and Text Interaction in Hokusai’s Early Bijinga’. The volume was published in an edition of 1500 copies, and was launched in May 2005 at the Daiwa Anglo-Japanese Foundation with a talk by Dr Carpenter, chaired by Timothy Clark of the British Museum. n

16 | sainsbury institute for the study of japanese arts and cultures Above: The Fujii Eikan Bunko Collection - Imperial Calligraphy of Premodern Japan: Scribal Conventions for Poems and Letters from the Palace (193 pp; 145 illustrations, 10 in colour) Imperial Calligraphy of Premodern Japan by Dr John T. Carpenter, with contributions by In late spring of 2006, the Art Research Center (ARC) at Ritsumeikan Professor Kawashima Masao, Professor Genjö University, Kyoto, and the Sainsbury Institute co-published a volume on Masayoshi, Dr Matsumoto Ikuyo and Kaneko calligraphy by emperors and empresses regnant of premodern Japan as Takaaki. part of a research project on Japanese calligraphy and court culture. Dr. Above right: Waka kaishi by Emperor Go- John T. Carpenter, was the primary author and editor of the volume. Kashiwabara in the collection of Fujii Eikan This publication was the result of weekly research seminars conducted Bunko, Ritsumeikan University. at ARC during Dr Carpenter’s extended visits to Kyoto in 2003 and 2004. Along with his introductory essay, ‘Handwriting Empowered by History: The Aura of Calligraphy by Japanese Emperors’, which surveys the entire history of premodern shinkan (imperial calligraphy), the volume includes a fully illustrated catalogue of some 30 examples of shinkan of the 13th to 19th centuries from the collection of the Fujii Eikan Bunko, which was recently bequeathed to Ritsumeikan University. The volume also includes contributions by Professor Kawashima Masao, Dr Matsumoto Ikuyo, and Kaneko Takaaki (see publications section for details). Highlights of the collection include a section of the Hirosawa-gire by Emperor Fushimi of the Kamakura Period, poems on kaishi writing paper by Emperor Kögon and other members of the Northern Court inspired by themes from the Lotus Sutra (designated an Important Cultural Property), as well as several other examples of poems and letters by emperors and empresses regnant of the medieval and Edo periods. All texts, including compositions in chirashigaki (scattered writing) format have been fully deciphered, and many waka composed at palace gatherings have been translated into English. This project has been carried out with primary funding from the 21st Century COE (Center of Excellence) programme at the Art Research Center. A digital archive of the collection was also created by Takaaki Kaneko. n

annual report 2005-06 | 17 Research Networks: Japanese Literature in Art Colloquy

Art Research Centre, Ritsumeikan University The Sainsbury Institute signed an agreement for research cooperation with the Art Research Centre at Ritsumeikan University in Kyoto in the spring of 2005. The Art Research Centre is a Japanese Government Centre of Excellence (COE). The signing of the agreement marked the formalisation of a longer-term relationship between the Sainsbury Institute Head of London Office and members of the Art Research Centre, in particular Professor Akama Ryö and Professor Kawashima Masao. In 2004 the Art Research Centre prepared a high-resolution online digital database of the collection of early maps of Japan presented to the Lisa Sainsbury Library by Sir Hugh and Lady Cortazzi, accessible through the Sainsbury Institute website. In March 2006 the collaboration with Ritsumeikan University resulted in the publication of Imperial Calligraphy of Premodern Japan: Scribal Conventions for Poems and Letters from the Palace by Dr John T. Carpenter with contributions by Professor Kawashima Masao, Professor Genjö Masayoshi, Dr Matsumoto Ikuyo, and Kaneko Takaaki. n

Right: The signing of the cooperative research agreement in 2005 between the Sainsbury Institute and the Art Research Center (ARC), Ritsumeikan University at the Lisa Sainsbury Library (left to right): Dr Simon Kaner, Hatayama Mami, Professor Genjö Masayoshi, Cassy Payne, Peter Yeoh, Dr Kurahashi Masae, Professor Akama Ryö, Dr Matsumoto Ikuyo, Professor Hongö Masatsugu, Professor Kawashima Masao, Dr Nicole Coolidge Rousmaniere, Dr John T. Carpenter, Princess Akiko of Mikasa, Jane Oksbjerg, Dr Mutö Junko, Alan Jones, Uchida Hiromi, Sue Womack, Alice Livingstone, Hirano Akira.

Bottom right: Dr Nicole Coolidge Rousmaniere and Professor Kawashima, Head of the Art Research Centre, after the signing of the agreement for research cooperation.

18 | sainsbury institute for the study of japanese arts and cultures Utagawa Kunisada. Ichikawa Danjürö VII as Arajishi Otokonosuke. Probably 1828. Colour woodcut; shikishiban surimono; 21.2 x 18.7 cm. On long-term loan to the Museum Rietberg Zurich from the Museum of Design (Museum für Gestaltung Zürich).

Surimono Cataloguing Projects Over the past four years Dr Carpenter, Professor Iwata Hideyuki of Atomi University, Tokyo, and other specialists have carried out the study of surimono (deluxe woodblock prints of the 18th and 19th centuries, usually featuring poetic inscriptions) in various European, Japanese and American collections. One of the primary goals of the research project has been to compile a catalogue raisonné of actor surimono by Edo print designer Utagawa Kunisada. Professor Iwata Hideyuki received funding from the Japanese Ministry of Arts and Sciences to cover his research and travel expenses. Professor Iwata and Dr Carpenter submitted their preliminary research report in April 2006, which along with basic data and transcription of over 300 actor surimono surveyed, included three research essays by Dr Carpenter, which will serve as core of the future publication. A project that grew out a 2003 visit to view actor prints in the Graphics Collection of the Museum of Design in Zurich (Museum für Gestaltung Zürich) is a plan to hold an exhibition of highlights at the Musuem Rietberg and publish a catalogue of the Marino Lusy collection of surimono (approximately 300 in total). The collection was recently transferred on a long-term basis to the Museum Rietberg in Zurich. Initial funding for the project has already been raised by an application to the Institute of Cultural Studies in Art, Media and Design in Zurich. Dr Carpenter will serve as the editor of the catalogue, which will include essays by Japanese, European and American specialists on aspects of Edo printmaking and popular literature. n

annual report 2005-06 | 19 Lectures and Symposia

Above: Professor Josef Kreiner, University of Bonn, and Director of the German-Japanese Institute in Tokyo, delivers the March 2006 Third Thursday lecture on the Ainu in Japan, at the Great Hospital in Norwich.

Right: The Institute is committed to publishing its conferences and workshops. The proceedings of the conference on early photography in Japan (left) and the inaugural lectures celebrating the establishment of the Institute (right) were published by Hotei Publishing, (now an imprint of Brill).

20 | sainsbury institute for the study of japanese arts and cultures Lectures, symposia, workshops and conferences are an integral part of the mission of the Institute. The 2005-06 programme included the Postgraduate Workshop in Japanese Art History, the third series of the Toshiba Lectures in Japanese Arts, a workshop on ‘Displaying Japan and Korea’, and seminars on Japanese archaeology and cultural heritage. The Institute is committed to publishing lectures and conferences, such as the proceedings of the 2003 conference on early photography in Japan, Reflecting Truth (edited by Dr Nicole Coolidge Rousmaniere and Sainsbury Fellow Hirayama Mikiko, Hotei Publishing 2004) and the proceedings of the 2004 conference on the archaeology of medieval towns (forthcoming, 2007). 2006 saw the publication by Columbia University Press, in association with the Sainsbury Institute, of Frog in the Well: Portraits of Japan by Watanabe Kazan, 1793- 1841 by Professor Donald Keene, based on the 2003 Toshiba Lectures in Japanese Arts.

Above: Professor John Mack, Dr Mizoguchi Köji, Professor Richard Hodges and Lord Rupert Redesdale at the seminar on ‘Does Heritage Matter?’ at Daiwa House.

Right: Frog in the Well: Portraits of Japan by Watanabe Kazan, 1793-1841, published by Columbia University Press in association with the Sainsbury Institute in 2006, is based on the first series of Toshiba Lectures in Japanese Arts given by Professor Donald Keene and sponsored by the Toshiba International Foundation.

annual report 2005-06 | 21 Lectures and Symposia

The Postgraduate Workshop in Japanese Art History brought 30 young scholars from Japan, Europe and North America to the Sainsbury Institute in May 2006. Sessions were held at All Hallows Conference Centre in rural East Anglia and at SOAS. Participants at previous workshops in this series have gone on to become established experts in the field of Japanese art studies in Japan, North America, the UK and elsewhere, including the current Head of the Japanese Section at the British Museum, professors at SOAS and the universities of British Columbia and Heidelberg, and senior curators at the Idemitsu Museum of Arts and the Seattle Art Museum.

22 | sainsbury institute for the study of japanese arts and cultures Postgraduate Workshop in Japanese Art History The Sainsbury Institute, with generous support from the Kajima Arts Foundation, the Toshiba International Foundation, the Japan Foundation, the Japan Foundation Endowment Committee, the Great Britain Sasakawa Foundation and the Daiwa Anglo-Japanese Foundation, hosted the Postgraduate Workshop in Japanese Art History on 19-26 June 2006, under the directorship of Dr Nicole Coolidge Rousmaniere and with the expert help of Uchida Hiromi. It was the eighth in a series of workshops that have been held alternately in Japan and North America since 1981 under the title of Japan Art History Workshops. This was the first time the workshop had been held in Europe, and approximately one third of the 30 participants came from European countries, reflecting the increasing awareness of, and interest in, Japanese art history. The participants, all working on doctorates in Japanese art history, presented their work in a series of seminars and visited collections of Japanese art at the newly re-opened Sainsbury Centre for Visual Arts, the British Museum and the Victoria and Albert Museum. The workshop was attended by senior Japanese art historians including Professor Tsuji Nobuo, Director of the Miho Art Museum and formerly Professor of Art History at Tokyo University, and Professor Shimao Arata of Tama Art University. The workshop benefited from the participation of senior British-based scholars including Professor Timon Screech, Dr John T. Carpenter and Dr Angus Lockyer of SOAS, Timothy Clark, Head of the Japanese Section at the British Museum, and Professor Watanabe Toshio of the TrAIN Research Centre at the University of the Arts London. In addition to students from SOAS, Oxford and the Royal College of Art, the European contingent comprised young scholars from Charles University in Prague, and the universities of Leiden and Heidelberg. North American participants represented a wide range of universities including Participants at the Postgraduate Workshop in Berkeley California, British Columbia, Columbia, Harvard, Kansas, Stanford, Japanese Art History also had the opportunity and Wisconsin-Madison. Japanese participants included students from to view important Japanese art collections Doshisha, Gakushuin, Ritsumeikan, Tama Art, and Tokyo Geidai universities, at the Sainsbury Centre for Visual Arts, the and the universities of Kyushu, Osaka and Tokyo. British Museum and the Victoria and Albert Museum. The presentations covered a broad range of art historical themes, from collecting to performing, icons, bodies and religion, and from landscapes to literature. Topics varied from the William Anderson Collection at the British Museum, to Meiji period photography, Kamakura period Buddhist imagery and Imperial ceramics, taking in important art works and locations such as the Shakado-Engi-Emaki at Seiryo Temple, and the legends of the Töshögü shrine. The workshop provided an important opportunity for the new generation of art historians of Japan to develop their research networks and shape the field for future study. The scope of the presentations certainly reaffirmed the increasing interest in Japanese history. n

annual report 2005-06 | 23 Lectures and Symposia

Toshiba Lectures in Japanese Arts The theme of the three Toshiba lecture series to date has been the illumination of a particular period in Japanese art through the eyes of an individual artist of the time. The 2005 lectures continued in this vein, following Professor Donald Keene’s account of Watanabe Kazan in 2003 and Professor John Rosenfield’s discussion of Chogen in 2004. The 2005 Toshiba Lectures were delivered by Louise Allison Cort, Curator for Ceramics, Freer Gallery of Art and Arthur M. Sackler Gallery Smithsonian Institution, on the theme of ‘Towards a Better Tea Bowl’. They were based on a diary kept by Morita Kyüemon, a potter employed by the Tosa domain in modern-day Kochi Prefecture, of a trip he made in 1678-79. Louise Cort’s lectures introduced capacity audiences to a rich array of tea ceramics, accompanied by lucid and engaging explanations as to how these objects captured the changing aesthetics and taste of the period. The products of the Odo kilns were set in the context of the development of domestic Japanese ceramic manufacture and the influences from Korea and China. Through historical documents and slides, the talks cast light on the intricacies of the gift exchange system, integral in sealing the bonds between daimyö and warrior, and the role played by influential figures such as Koguri Enshu and Kanemori Söwa in the formation of taste in the Edo period. Lectures were given at the British Museum and SOAS and in Norwich, and were introduced respectively by Mr Ogura Masahiro of Toshiba Europe Ltd, Professor Craig Clunas, Percival David Professor of Chinese Art and Head of the Department of Art and Archaeology at SOAS, and Professor David Eastwood, Vice-Chancellor of UEA and Chair of the Institute’s Management Board. The lectures were dedicated to the memory of Dr Oliver Impey, the former Keeper of Japanese Art at the Ashmolean Museum in Oxford. The Sainsbury Institute is grateful to the Toshiba International Foundation for their generous sponsorship of the lecture series, to the Japan Society for their assistance with promoting the lectures, and to the British Museum and SOAS for making lecture facilities available. Lady Sainsbury generously sponsored the reception following the first lecture at the British Museum. n

Above: Posters for the 2005 Toshiba Lectures in Japanese Arts and a workshop on ‘Displaying Korea and Japan’.

Right: Dr Alicia Volk, Robert and Lisa Sainsbury Fellow, delivers a Third Thursday lecture in the Lisa Sainsbury Library.

24 | sainsbury institute for the study of japanese arts and cultures Left to right: Dr Nicole Coolidge Rousmaniere, Displaying Japan and Korea Director of the Sainsbury Institute, Dr John To mark Japan-Korea Friendship Year, a one-day public workshop on the T. Carpenter, Head of London Office, Louise theme of ‘Displaying Japan and Korea’ was organised by the Sainsbury Allison Cort of the Smithsonian Institution, Professor Craig Clunas, Head of the Institute and the Department of Asia at the British Museum and held on 10 Department of Art and Archaeology at SOAS November 2005. Nine speakers discussed topics relating to the display of and Dr Simon Kaner, Assistant Director of the Korean and Japanese objects in museum contexts, including the definition Sainsbury Institute, at the Toshiba Lectures in of Korea and Japan in the present and the past, special considerations Japanese Arts. when displaying Asian objects outside their countries of origin, and national cultural policies. The programme was divided into three sections. Following an introduction by Robert Knox, Keeper of the Department of Asia at the British Museum, Dr James Lewis, Oxford University, spoke about relations and comparisons between Korea and Japan from antiquity to the 21st century; Professor Gina Barnes, Durham University, discussed how archaeology moves beyond the objects themselves to an understanding of the regional contexts of their production, circulation and use, and the Assistant Director presented the history of the Gowland collection of Korean and Japanese antiquities at the British Museum as a case study. In the second section, Dr Shirahara Yukiko, Curator of East Asian Art at Seattle Art Museum, described the collections and exhibitions of Japanese and Korean art at the Seattle Art Museum, and Dr Seunghye Sun, Curator at the new National Museum of Korea, gave an introduction to the new museum and issues concerning the Japanese gallery. In the final session Dr Beth McKillop, Anna Jackson, Dr Jane Portal and Timothy Clark talked about the collections for which they are responsible in the Victoria and Albert Museum and British Museum. The presentations were followed by lively discussion from three commentators, Louise A. Cort of the Smithsonian Institution, Professor Kawai Masatomo of Keio University, and Dr Youngsook Pak from SOAS. The day concluded with a screening of Osaka Story (1994), directed and produced by Nakata Töichi. n

annual report 2005-06 | 25 Lectures and Symposia

Does Heritage Matter? On 21 September, as part of the 2005 Seminar Series at the Daiwa Anglo- Japanese Foundation on the Arts, Culture and Society in the UK and Japan, the Sainsbury Institute organised a seminar on the topic of ‘Does Heritage Matter: Is the past serving the present in Japan and Europe?’. Emphasizing that national heritage is of crucial importance in an increasingly globalised world, the four speakers addressed the issue of the significance of heritage and the role it plays in culture and society in Japan and Europe. Lord Rupert Redesdale gave an informative introduction to the place of heritage in the UK today. He is Secretary of the All Party Parliamentary Archaeology Group, the aim of which is to further understanding of archaeology in Parliament. Mizoguchi Köji, Associate Professor in the Graduate School of Humanities at Kyushu University, discussed the theoretical framework for understanding the sociology of heritage in contemporary Japan. Professor Richard Hodges, Professor at the School of World Art Studies and Museology at the University of East Anglia and Scientific Director of the International Centre for Albanian Archaeology, demonstrated the enormous economic as well as cultural contribution the heritage sector can make, through a survey of the World Heritage Site at Butrint in Albania. Professor John Mack, concurrently Professor of World Art Studies and Museology at the School of World Art and Museology, University of East Anglia, and Head of the British Museum’s International African Programmes, responded to the preceding talks with some very pertinent examples from Wales. The ensuing discussion From top: Professor Richard Hodges, Scientific considered the justification for public funds being made available for Director of the ICAA, and Professor John Mack of the School of World Art Studies and heritage projects, the efficacy of heritage policies, and the appropriateness Museology, participants in the seminar ‘Does of representations of heritage in contemporary society. n Heritage Matter?’. Prehistoric figurines at the World Archaeology Congress A Sainsbury Institute workshop organised by the Assistant Director was held as a session at the World Archaeology Congress Intercongress at the Osaka City Historical Museum on 14 January 2006. Six papers were delivered on ‘Transcendental representations: tradition, iconoclasm and symbiosis in representations of humans and animal forms’. This session marked the start of a new collaborative research project involving the Sainsbury Institute and the International Centre for Albanian Archaeology (ICAA) on the archaeology of prehistoric figurines. Prior to and after the Osaka Congress, Dr Simon Kaner and Dr Lorenc Bejko visited museums and archaeologists in the Kanto and Kansai regions to assess the potential of the new SISJAC–ICAA figurines project. n

Culture, nature and landscape archaeology Two days of workshops relating to Japanese archaeology were held on 16-17 June 2006 in Norwich and Cambridge. The first day, on the theme of ‘New Directions in Landscape Archaeology in Japan’, brought together archaeologists from Europe and Japan under the auspices of two projects: the Sainsbury Institute’s own Shinano River Project exploring the development of historic landscapes along the Shinano and Chikuma River systems in central Japan, currently funded by the British Academy; and the NEOMAP Project of the Research Institute for Humanities and Nature,

26 | sainsbury institute for the study of japanese arts and cultures Kyoto (of which the Institute is a core member), which is developing new approaches to landscape archaeology in Japan during two major processes of change – the appearance of agriculture, and the shift to a modern industrialised economy. A second workshop was held on 17 June at the McDonald Institute for Archaeological Research, University of Cambridge, on the theme of culture and nature in Japanese and European archaeology, organised by Dr Simon Kaner and Patrick Skinner (Cambridge University). Presentations addressed differences and similarities in the cultural construction of the nature–culture divide in the European and Japanese traditions. A number of approaches were proposed to understand if, and how, humans in a variety of past cultural contexts understood the distinction between nature and culture, and what impact this understanding had on the practices and behaviours that shaped the archaeological record. n

Dr Kaner and Dr Uchiyama Junzö (centre), with members of the NEOMAP Project, visit the island of Chikubushima in Lake Biwa, October 2005.

Nakamura Oki and Dr Kaner at Kitazawa Jömon site in Nagano Prefecture.

annual report 2005-06 | 27 Fellowships

The Sainsbury Institute offers fellowships designed to encourage younger scholars in the fields of Japanese art and archaeology to complete a substantive piece of research. To date the Fellowship programme has seen books published by Dr

Morgan Pitelka and Dr Mutö Junko, with several more forthcoming over the next year.

Above: Dr Sherry Fowler, Robert and Lisa Sainsbury Fellow, gives a Third Thursday Lecture.

Right: Dr Morgan Pitelka used his tenure as Robert and Lisa Sainsbury Fellow to complete the research on his recent book on Handmade Culture.

Far right: Early Ukiyo-e and Kabuki by former Handa Fellow Mutö Junko won the prestigious Kokka Prize.

28 | sainsbury institute for the study of japanese arts and cultures Left (from left to right): Hirano Akira, Librarian; Dr Gennifer Weisenfeld and Dr Alicia Volk, Robert and Lisa Sainsbury Fellows; Dr Morishita Masaaki, Handa Fellow; Dr Nicole Coolidge Rousmaniere, Director; Uchida The Institute supports three categories of research Fellow. The Robert Hiromi, Projects Manager; Alice Livingstone, and Lisa Sainsbury Fellowships, established in 2000 through generous Office Coordinator; Cassy Payne, Institute funding from Lord Sainsbury of Turville, enable two scholars either based Administrator; Dr Simon Kaner, Assistant in, or with strong links to, North America, to develop their research on Director.

Japanese art history in the UK for a year. The Handa Fellowship and the Above (clockwise from top left): Dr Gennifer Handa Japanese Archaeology Fellowship are for scholars whose major Weisenfeld, Robert and Lisa Sainsbury Fellow; academic output is in Japanese, and are funded by Mr Handa Haruhisa, a Dr Alicia Volk, Robert and Lisa Sainsbury Japanese philanthropist and businessman. Fellow; Dr Morishita Masaaki, Handa Fellow ; The Fellowships offered by the Sainsbury Institute are designed to Idemitsu Sachiko, Handa Fellow and Trainee Curator at the British Museum. encourage younger scholars in the fields of Japanese art and archaeology to complete a substantive piece of research, usually resulting in a publication. Since 2000, 19 Fellows have benefited from the Fellowship programme, their subject specialisms ranging from prehistoric pottery of the Middle Jömon period to Japanese architecture of the interwar period, from ‘empty museums’ to the tea ceremony. The Fellows make an important contribution to the research culture of the Institute and its partner institutions. The Sainsbury and Handa Fellows tend to be based in the London offices of the Institute at SOAS. They play an active role in the academic life of SOAS, regularly contributing to the Japan Research Centre weekly seminar series and giving talks in the Department of Art and Archaeology seminar series. In Norwich, the scholars give World Art Seminars in the School of World Art Studies and Museology at the UEA, as well as giving at least one of the Third Thursday lectures at the Sainsbury Institute. Fellows also contribute to seminars and conferences elsewhere in the UK, Europe and further afield. In 2006 Dr Gennifer Weisenfeld (Robert and Lisa Sainsbury Fellow 2005-06) participated in the symposium ‘Esthetics and Social Control in 1930s Japan: a World by Itself’ at the University of

annual report 2005-06 | 29 Fellowships

Paris, and the conference organised by the Victoria and Albert Museum in conjunction with the exhibition Modernism: Designing a New World 1914-1939. Dr Alicia Volk, (Robert and Lisa Sainsbury Fellow 2005-06), in addition to being appointed Assistant Professor of Japanese Art History at the University of Maryland, secured a Getty Foundation Non-Residential Research Fellowship, enabling her to stay in the UK for an additional year affiliated to the Sainsbury Institute. Idemitsu Sachiko has been based at the British Museum on a training and work experience scheme under the

Members of the audience of the 60th auspices of the Handa Fellowship programme and has been completing Third Thursday lecture, which marked the her PhD. Dr Morishita Masaaki (Handa Fellow 2005-06) has completed his reopening of the Japanese Galleries at the manuscript for The Empty Museum: Western Cultures and the Artistic Field in British Museum, mixing with the speakers Modern Japan, to be published by Ashgate in 2007. and staff of the Institute at the regular post- Former Fellows have gone on to positions in North American and lecture reception. Third Thursday lectures are sponsored by the Great Britain Sasakawa elsewhere, notably the Asian Art Museum in Seattle, the University of Foundation and the Robert and Lisa Maryland and the Chester Beatty Library in Dublin, Ireland. They often Sainsbury Charitable Trust. return to the UK to take part in Sainsbury Institute activities. n

30 | sainsbury institute for the study of japanese arts and cultures 1905-1931 (University of California Press, of Modern Japan, to be published by Robert and Lisa Sainsbury 2002) addresses the relationship between Ashgate in 2007) and developed a new Fellows 2005-06 high art and mass culture in the aesthetic research project on the positioning of politics of the avant-garde in 1920s Japan. contemporary Japanese artists in British She guest-edited the journal Positions museums and galleries after the 1990s. Dr Alicia Volk special issue ‘Visual Cultures of Japanese He is a member of the editorial board PhD, Yale University, 2005 Imperialism’ (Winter 2001) and recently of Museums and Society, and recent Alicia Volk is Assistant Professor of published the article ‘From Baby’s First publications include ‘The iemoto system Japanese Art History at the University of Bath: Kao Soap and Modern Japanese and the avant-gardes in the Japanese Maryland, College Park. She specializes in Commercial Design’, in The Art Bulletin 86, artistic field: Bourdieu’s field theory in the fine art of modern and contemporary 3 (September 2004). comparative perspective’ (Sociological Japan from the mid-19th century to the Review 54, no. 2: 283-302, 2006). present day. Dr Volk used her Sainsbury Fellowship to prepare her dissertation Handa Fellows 2005-06 ‘The Japanese Expressionist: Yorozu Handa Japanese Archaeology Tetsugorö and the Language of Modern Fellow 2006-07 Art’ for publication. She received a Getty Idemitsu Sachiko Fellowship to work on her book In Pursuit PhD Candidate, Keio University of Universalism – Japanese Modernism Idemitsu Sachiko’s doctoral dissertation Ishikawa Takeshi 1910-1935. examines mid-18th century Chinese- PhD, Kyushu University, Fukuoka Recent publications include Made Japanese relations through a study of (in progress) in Japan: The Postwar Creative Print Japanese scholar landscape paintings, Ishikawa Takeshi was Research Assistant Movement (University of Washington, particularly those by Ike no Taiga and in the Graduate School of Social and 2005); Japan and Paris: Impressionism, Obaku Zen priests. Cultural Studies at Kyushu University in Post-Impressionism and the Modern Era Recent and forthcoming Fukuoka. He is a specialist in late and (co-authored with Christine Guth and publications include ‘Ike no Taiga hitsu final Jömon archaeology, with particular Yamanashi Emiko, Honolulu Academy “Yoko Yushö-zu Byöbu”: Keikan Hyögen interests in the reconstruction of the of Arts, 2004); ‘Yorozu Tetsugorö and no Imi oyobi Keitai no Gensen” [Ike no symbolic system based on the analyses Taishö-period Creative Prints: When the Taiga’s Yoko Yusho-zu Screens: Meanings of pottery assemblage in western Japan, Japanese Print Became Avant-garde’ of the Scene and Sources of Visual and interests in comparative studies (Impressions 26, 2004); and ‘Katsura Yuki Elements], in Bijutsushi 153 (2002); ‘Ike no of the Jömon society and the hunter- and the Japanese Avant-garde (Woman’s Taiga hitsu Manpuku-ji Töhöjyö Fusuma- gatherer society of northwestern coastal Art Journal 24, 2, 2003). e “Saiko-zu” wo meguru Mondai: Keikan region of Canada. Recent publications ni arawasareta Imi ni tsuite [The issue of include ‘Kanada hokusei kaigan shuryö West Lake Screens in Manpuku-ji Temple saishü shakai kenkyü no genjö’ [‘The Dr Gennifer Weisenfeld by Ike no Taiga; Reconsideration of the contemporary state of hunter-gatherers PhD, Princeton University, 1997 meanings of the Scene and Sources studies in the northwestern coastal Gennifer Weisenfeld is Associate Professor of West Lake Screens], in Essays in region of Canada’] in Higashi ajia to nihon: of Art History at Duke University. Her Celebration of Professor Masatomo Kawai’s köryü to henyö [Bulletin of Japan Society for main field of research is 19th- and Sixtieth Birthday (forthcoming). the Promotion of Science 21st Century COE 20th-century Japanese visual culture, Program (Humanities), East Asia and Japan: particularly the impact of Japan’s modern Interaction and Transformations] (2005). socio-political transformations on artistic Dr Morishita Masaaki production and practice. During her PhD, Open University, 2003 Sainsbury Fellowship she worked on two Dr Morishita Masaaki was a Postdoctoral book projects: one on modern Japanese Fellow in sociology at the Open commercial design; and the other on University before taking up the Handa cultural responses to the Great Kanto Fellowship. As Handa Fellow, Dr Morishita Earthquake of 1923. worked on a monograph publication Dr Weisenfeld’s book Mavo: based on his thesis (The Empty Museum: Japanese Artists and the Avant-Garde, Western Cultures and the Artistic Field

annual report 2005-06 | 31 Outreach and Cultural Collaboration

Public outreach is an important aspect of the work of the Sainsbury Institute, fostering new audiences for Japanese arts and cultures. The Institute works closely with organisations such as the Japan Information and Cultural Centre within the Embassy of Japan, and the Japan Foundation, to promote Japanese cultural activities in London and Norwich. In November 2005 the Institute welcomed a delegation from the Japanese Chamber of Commerce and Industry in the UK, whose members have sponsored a Sainsbury Institute–British Museum programme of activities, with the encouragement of Ambassador Yoshiji Nogami.

Third Thursday Lecture Series Perhaps the most successful of the outreach activities is the Third Thursday Lecture series, held every month either in the Institute itself or at other venues around the centre of Norwich. The first lecture was held in November 2001, immediately after the Institute moved into 64 The Close. The lectures rapidly proved to be so popular that a second room is required to seat everyone, with the lecture being transmitted via digital technology. The lectures have been sponsored by the Great Britain Sasakawa Foundation since 2002, and its grants have been matched since 2003 by the Robert and Lisa Sainsbury Charitable Trust. This generous funding has allowed the Institute to continue to bring speakers of the highest calibre to Norwich, where a loyal local audience enthusiastically listens to a wide range of lectures. Highlights in the 2005-06 year have included Professor Josef Kreiner talking about European collections and impressions of the Ainu of northern Japan. The ‘Third Thursdays’ have become an integral part of the Norwich cultural scene.

British Museum Outreach and Club Taishikan In London, Uchida Hiromi, in her role at the Japanese Section in the Handa Fellow Idemitsu Sachiko gives a Third Department of Asia at the British Museum, is developing educational Thursday lecture on literati painter Ike no materials and works with a number of groups and organisations in Taiga’s Views of Mount Fuji. conjunction with the Learning and Information Department of the Museum. This programme is sponsored by members of the Japanese Chamber of Commerce and Industry in the UK. In summer 2005 a series of activities was arranged to mark the visit to the Museum of Living National Treasure Nakamura Ganjirö, now called Sakata Töjurö IV. Ms Uchida also arranges Club Taishikan which, in conjunction with the Embassy of Japan in London, introduces young people to the arts and cultures of Japan. n

32 | sainsbury institute for the study of japanese arts and cultures Members of the Japanese Chamber of Commerce and Industry in the UK who contributed to the Sainsbury Institute-British Museum programme

All Nippon Airways Co. Ltd The Bank of Tokyo-Mitsubishi UFJ Ltd Canon Europe Ltd Daiwa Securities SMBC Europe Ltd Furukawa Electric Europe Ltd Hanwa Co. Ltd London Branch Hitachi Europe Ltd Hitachi Zosen Europe Ltd Honda Motor Europe Ltd IHI Europe Ltd ITOCHU Europe Plc JVC (UK) Ltd Kajima Europe Kanematsu Europe Plc Kawasaki Heavy Industries (UK) Ltd Marubeni Europe Plc MEC UK Ltd Meiji Yasuda Europe Ltd Mitsubishi Corporation Mitsubishi Electric Europe B.V. Mitsubishi Heavy Industries Europe Ltd The Mitsubishi UFJ Trust & Banking Corporation Mitsui Babcock Energy Ltd Mitsui & Co Europe Plc Mitsui Zosen Europe Ltd Mizuho Corporate Bank Ltd Nikkei Europe Ltd Nippon Express (UK) Ltd Nomura International Plc The Norinchukin Bank London Branch NTT Europe Ltd NYK Line (Europe) Ltd Otsuka Pharmaceutical Europe Ltd Sojitz Europe Plc Sumitomo Corporation Europe Ltd The Sumitomo Trust & Banking Co. Ltd Tokio Marine Europe Insurance Ltd Tokyo Electric Power Co Inc Toppan Printing Co (UK) Ltd Toyota (GB) Plc Universal Shipbuilding Europe Ltd Yamaha-Kemble Music (UK) Ltd

Top: Dr Nicole Coolidge Rousmaniere welcomes members of the Japanese Chamber of Commerce and Industry in the UK to Norwich in October 2005.

Above: Uchida Hiromi, Projects Manager at the Institute, is on secondment to the Japanese Section, Department of Asia at the British Museum, where she is developing education and outreach projects as part of the agreement for cooperation between the British Museum and the Institute.

annual report 2005-06 | 33 header

34 | sainsbury institute for the study of japanese arts and cultures header

Appendices

annual report 2005-06 | 35 Supporters

Agency for Cultural Affairs, Tokyo International Centre for Albanian Archaeology Niigata Prefectural Museum of History All Nippon Airways Co. Ltd ITOCHU Europe Plc Nikkei Europe Ltd Art Research Center, Ritsumeikan University Japan Chamber of Commerce and Industry Nippon Express (UK) Ltd Asahi Shinbunsha in the UK Nomura International Plc Atomi Gakuen University Japan Foundation Norinchukin Bank London Branch Bank of Tokyo-Mitsubishi UFJ Ltd Japan Foundation Endowment Committee Norfolk and Norwich Archaeological Association Professor Gina Barnes Ellen Josefowitz NTT Europe Ltd British Academy JVC (UK) Ltd NYK Line (Europe) Ltd Brian Ayers Kajima Arts Foundation Otsuka Pharmaceutical Europe Ltd British Museum Kajima Europe Printing Museum, Tokyo Canon Europe Ltd Kanematsu Europe Plc Research Institute for Humanities and Nature Centre Européen d’Etudes Japonaises d’Alsace Kawasaki Heavy Industries (UK) Ltd Robert and Lisa Sainsbury Charitable Trust Sir Hugh and Lady Cortazzi Professor Kobayashi Tatsuo School of Oriental and African Studies, Daiwa Anglo-Japanese Foundation Kyoto National Museum University of London Daiwa Securities SMBC Europe Ltd Kyushu University Professor Timon Screech Dean and Chapter, Norwich Cathedral Professor Maekawa Kaname Sojitz Europe Plc Embassy of Japan Marubeni Europe Plc Sotheby’s Dame Elizabeth Esteve-Coll MEC UK Limited Sumitomo Corporation Europe Ltd Dr Rupert Faulkner Meiji Yasuda Europe Ltd Sumitomo Trust & Banking Co. Ltd Fitzwilliam Museum Metropolitan Center for Far Eastern Art Studies Tawaramoto-cho Kyoiku Iinkai Freer Gallery of Art and Arthur M. Sackler Gallery, Mitsubishi Corporation Tokio Marine Europe Insurance Ltd Smithsonian Institution Mitsubishi Electric Europe BV Tokyo Electric Power Co Inc Furukawa Electric Europe Ltd Mitsubishi Heavy Industries Europe Ltd Toppan Printing Co (UK) Ltd Gatsby Charitable Foundation Mitsubishi UFJ Trust & Banking Corporation Toshiba International Foundation Albert Gordon Mitsui Babcock Energy Ltd Toyota (GB) Plc Great Britain Sasakawa Foundation Mitsui & Co Europe Plc Transnational Art, Identity and Nation (TrAIN) Guimet Museum Mitsui Zosen Europe Ltd Research Centre, University of the Arts Handa Haruhisa Mizuho Corporate Bank Ltd London Hanwa Co. Ltd London Branch Nara National Museum Universal Shipbuilding Europe Ltd Hitachi Europe Ltd National Diet Library University of East Anglia Honda Motor Europe Ltd National Research Institute for Cultural Victoria and Albert Museum Hitachi Zosen Europe Ltd Properties, Nara Yamaha-Kemble Music (UK) Ltd Idemitsu Museum of Arts National Research Institute for Cultural Professor Yanagisawa Taka IHI Europe Ltd Properties, Tokyo

36 | sainsbury institute for the study of japanese arts and cultures Management Board and Staff

Management Board Members Staff Previous page: Dr Shirahara Yukiko, Timothy Clark, Professor David Eastwood Dr Nicole Coolidge Rousmaniere Professor Kawai Masatomo, members of the (ex officio) Chairman Director Japanese Chamber of Commerce and Industry in Professor Colin Bundy Dr Simon Kaner the UK, and others being guided round Norwich Dame Elizabeth Esteve-Coll DBE Assistant Director Cathedral. Mr Graham Greene CBE Dr John T. Carpenter Professor Kobayashi Tadashi Head of London Office * Above (left): Dame Elizabeth Esteve-Coll, Institute Dr Nicole Coolidge Rousmaniere Hirano Akira Trustee, receiving the Order of the Rising Sun, (ex officio) Librarian Gold Rays with Neck Ribbon, from the Japanese Uchida Hiromi Ambassador Mr Yoshiji Nogami, November 2005. Participating Observers Projects Manager * Mr Michael Barrett OBE * Morohashi Kazuko Above: The Director with staff from the Idemitsu Professor Kawai Masatomo Research and Publications Assistant Museum of Arts: Wada Tsunehiko (Deputy Sir Tim Lankester KCB (from September 2006) Director), Arakawa Masaaki (Curator) and Naitö Mr Michael Pattison CBE Alice Livingstone Masato (Chief Curator). Office Co-ordinator * Joined during 2005-06 (until May 2006) Cassy Payne Institute Administrator * Keiko Newton Office Co-ordinator (from July 2006) Sue Womack Finance Assistant *

* Part-time appointment

annual report 2005-06 | 37 Calendar of Events

Does Heritage Matter? Is the past serving Towards a Better Tea Bowl Prehistoric Figurines: A workshop the present in Japan and Europe? (Toshiba Lecture Series in Japanese Arts) 12 January 2006 21 September 2005 11, 15 and 17 November 2005 Participants Participants Lecturer Dr Simon Kaner (SISJAC), Dr Lorenc Bejko (ICAA), Dr Simon Kaner (SISJAC), Professor Richard Louise Allison Cort, Curator for Ceramics, Freer Dr Ilona Bausch (Leiden University) and Jane Hodges (UEA), Professor John Mack (UEA and Gallery of Art and Arthur M. Sackler Gallery Oksbjerg (SOAS) British Museum), Dr Mizoguchi Köji (Kyushu Smithsonian Institution Description University) and Lord Redesdale (1) 11 November A session of papers held at the Osaka Description Polishing a Potter’s Skills: Kyüemon’s study tour City Historical Museum during the World A seminar in a monthly series on the arts, culture BP Lecture Theatre, The British Museum Archaeology Congress Intercongress, Osaka and society in the UK and Japan. Organized (2) 15 November by the Daiwa Anglo-Japanese Foundation in Competing Visions of Daimyö-sponsored Study visit to view Japanese collections association with The Japan Society and the Ceramics in Leiden and a half-day workshop Sainsbury Institute. Held at Daiwa Foundation Brunei Gallery Lecture Theatre, SOAS on Japanese archaeology Japan House. (3) 17 November May 2006 Screens, Pots and Dried Fish: Inventing official Participants Displaying Korea and Japan: A workshop gifts Dr Simon Kaner (SISJAC), Dr Ilona Bausch (Leiden 10 November 2005 Norwich University), Osaka Akiko (SOAS), Eriko Tomisawa- Participants Key (SOAS), Noriko Horsley (SOAS), Idemitsu Professor Gina Barnes (University of Durham), Open Day for the Japanese Sachiko (Handa Fellow), Princess Akiko of Mikasa Louise A. Cort (Smithsonian Institution), Timothy Chamber of Commerce in the UK (Oxford University), Maezaki Shinya (SOAS), Tim Clark (British Museum), Anna Jackson (Victoria 12 November 2005 d’Hart (University of Leiden) and Albert Museum), Dr Simon Kaner (SISJAC), Participants Description Professor Kawai Masatomo (Keio University), Ambassador Yoshiji Nogami, Professor David A two-day visit to Leiden to view Japanese Robert Knox (British Museum), Dr James Lewis Eastwood (Vice-Chancellor of UEA), Sir Hugh collections in the Siebold House and at the (University of Oxford), Dr Beth McKillop (Victoria and Lady Cortazzi and members of the Japanese National Museum of Ethnology, including the and Albert Museum), Dr Youngsook Pak (SOAS), Chamber of Commerce in the UK presentation of papers on Japanese archaeology Dr Jane Portal (British Museum), Dr Shirahara Description in conjunction with the Departments of Yukiko (Seattle Art Museum) and Dr Seunghye An introduction to the Sainsbury Institute, with Archaeology and East Asian Studies at Leiden Sun (National Museum of Korea) addresses from the Ambassador and the Vice- University. Description Chancellor, and visits to Norwich Cathedral A workshop organized by the Department of and the Great Hospital. Held at the Sainsbury Asia, British Museum and the Sainsbury Institute. Institute, Norwich. Held at the Stevenson Lecture Theatre, The British Museum.

38 | sainsbury institute for the study of japanese arts and cultures Study visit to view Japanese collections Nature and Culture in Japanese and Previous page: Participants at the workshop on in Scotland European Archaeology: a workshop landscape archaeology in Japan at 64 The Close in 25-30 May 2006 17 June 2006 May 2006. From left: Dr Barbara Seyock (University Participants Participants of Munich), Dr Ilona Bausch (Leiden University), Dr Glenn Adamson (Victoria and Albert Dr Tristan Arbousse-Bastide (University of Professor Gina Barnes (University of Durham), Museum), Princess Akiko of Mikasa (Oxford Rennes), Dr Ilona Bausch (University of Leiden), Professor Fumiko Ikawa-Smith (McGill University), University), Dr Simon Kaner (SISJAC), Maezaki Kathryn Harriman (University of Aberdeen), Dr Jane Oksbjerg (SOAS), Tim d’Hart (Leiden Shinya (SOAS), Dr Morishita Masaaki (Handa Simon Kaner (SISJAC), Jane Oksbjerg (SOAS), University), Dr Tristan Arbousse-Bastide (University Fellow), Uchida Hiromi (SISJAC), Dr Alicia Volk Aleks Plukowski (University of Cambridge), Dr of Rennes), Nakamura Oki (Kokugakuin University), (Sainsbury Fellow) and Dr Gennifer Weisenfeld Barbara Seyock (University of Munich), Patrick Dr Uchiyama Junzö (Research Institute for (Sainsbury Fellow) Skinner (University of Cambridge), Dr Uchiyama Humanities and Nature), Ishikawa Takeshi (Handa Description Junzö (Research Institute for Humanities and Japanese Archaeology Fellow, Sainsbury Institute). A study visit to Edinburgh and Glasgow to view Nature, Kyoto) Japanese collections at the National Museums Description Above: Professor Tsuji Nobuo and Professor of Scotland (in particular the Munro collection of A workshop organized in conjunction with the Shimao Arata with participants in the Postgraduate Japanese Archaeology) and Japanese-inspired McDonald Institute for Archaeological Research, Workshop in Japanese Art History visiting the design, including the Glasgow School of Art University of Cambridge. Held at the McDonald Norwich Headquarters of the Sainsbury Institute. designed by Charles Rennie Mackintosh. Institute.

New Directions in Landscape Archaeology Postgraduate Workshop in Japanese Art in Japan: a workshop History 16 June 2006 19-26 June 2006 Participants Participants Professor Gina Barnes (University of Durham), Dr 30 postgraduate students from Japan, Europe Tristan Arbousse-Bastide (University of Rennes), and North America; Professor Tsuji Nobuo Dr Ilona Bausch (University of Leiden), Professor (Director of the Miho Art Museum and formerly Fumiko Ikawa-Smith (McGill University), Dr Professor of Art History at Tokyo University), Simon Kaner (SISJAC), Ishikawa Takeshi (Handa Professor Shimao Arata (Tama Art University), Fellow), Nakamura Oki (Kokugakuin University) Professor Timon Screech (SOAS), Dr John T. and Dr Uchiyama Junzö (RIHN, Kyoto) Carpenter (SOAS), Dr Angus Lockyer (SOAS), Description Timothy Clark (British Museum), Professor A workshop organized in conjunction with Watanabe Toshio (University of Arts, London) Research Institute for Humanities and Nature in and Dr Nicole Coolidge Rousmaniere (SISJAC) Kyoto. Held at the Sainsbury Institute, Norwich. Description The first ‘Japanese Art History Workshop’ to be held in Europe. The workshops enable new generations of art historians of Japan to develop their research networks and shape the field for future study.

annual report 2005-06 | 39 Third Thursday Lectures

August 05 December 05 April 06 Kabuki Heroes on the Osaka Stage 1780-1830 Dynamism in Innovation: Journal of a Voyage: Professor Drew Gerstle Re-examining Japanese Porcelain The Erwin Dubsky Collection Professor of Japanese Studies in the 17th century of Albumen Photographs from SOAS Dr Nicole Coolidge Rousmaniere Japan, China and Siam in the 1870s Director Dr Filip Suchomel September 05 Sainsbury Institute Director Mt. Fuji in China? Ike no Taiga’s innovative views The National Gallery in Prague, of Japanese landscape January 06 Asian Art Collection Idemitsu Sachiko The Painted Tombs of the Early Japanese State Handa Fellow (2005-06) Dr Simon Kaner May 06 Sainsbury Institute Assistant Director Japonisme in Japan: Sainsbury Institute Painting the Nation’s Past and Future October 05 Dr Alicia Volk Exhibiting Japan, 1862-2005 February 06 Robert and Lisa Sainsbury Fellow (2005-06) Dr Angus Lockyer From Baby’s First Bath: Lecturer in the History of Japan Kao Soap and Japanese June 06 SOAS Modern Commercial Design Japanese Gardens: Exploring a Tradition Dr Gennifer Weisenfeld Maureen Busby November 05 Robert and Lisa Sainsbury Fellow (2005-06) Japanese Garden Society Towards a Better Tea Bowl: Associate Professor of Art History, Screens, Pots and Dried Fish: Duke University July 06 Inventing Official Gifts Calligraphy by Emperors and Empresses Louise Allison Cort March 06 of the Edo Period Curator for Ceramics The Ainu of Japan: Dr John T. Carpenter Freer Gallery of Art and Arthur M. Sackler Gallery, European Images of an Enigmatic People Donald Keene Lecturer Smithsonian Institution Professor Josef Kreiner in the History of Japanese Art Director, Institute of Japanese Studies SOAS and Sainsbury Institute University of Bonn

40 | sainsbury institute for the study of japanese arts and cultures Current and Past Fellows

Robert and Lisa Sainsbury Fellows Handa Fellows Previous page (left): Professor Josef Kreiner giving 2006-07 2005-06 the March 2006 Third Thursday lecture on the Ainu; Dr Monika Dix Idemitsu Sachiko (right): Dr John T Carpenter giving the June 2006 Dr Sherry Fowler Dr Morishita Masaaki Third Thursday lecture on calligraphy of emperors and empresses of the Edo period. 2005-06 2004-05 Dr Alicia Volk Idemitsu Sachiko Above (left): Robert and Lisa Sainsbury Fellow Dr Dr Gennifer Weisenfeld Gennifer Weisenfeld, Handa Fellow Dr Morishita 2003-04 Masaaki and Robert and Lisa Sainsbury Fellow Dr 2004-05 Dr Ken Tadashi Oshima Alicia Volk. Dr Maeda Tamaki Dr Ken Tadashi Oshima 2002-03 Above (centre from top) Robert and Lisa Sainsbury Yano Akiko Fellows Dr Sherry Fowler and Dr Monika Dix. 2003-04 Timothy Clark 2001-02 Above (right): Dr Matsuki Takehiko, Dr Maeda Dr Shane McCausland Dr Mutö Junko Tamaki, Dr Morishita Masaaki and Dr Ken Tadashi Oshima at the TrAIN/Sainsbury Institute ‘Navigating 2002-03 Handa Japanese Archaeology Fellows Meiji/Victorian Worlds’ symposium. Dr R. Keller Kimbrough 2005-06 Dr Julie Nelson Davis Ishikawa Takeshi

2001-02 2003-04 Dr Hirayama Mikiko Nakamura Oki Dr J. Keith Vincent 2002-03 2001 Yamamoto Noriyuki Cynthea Bogel Morgan Pitelka

annual report 2005-06 | 41 Publications

Recent and forthcoming staff publications Nicole Coolidge Rousmaniere, ‘Arts of Kazari: Alan Hockley, ‘Packaged Tours: Photo Albums Japan on Display’, pp. 20-31. and Their Implications for the Study of Early Dr Nicole Coolidge Rousmaniere Japanese Photography’, pp. 66-85. Director Tamamushi Satoko, ‘Concepts of “Decoration” in Early Modern Japan: Söshoku and Kazari’, Kinoshita Naoyuki, ‘Portraying the War Dead: ‘Augustus Wollaston Franks (1826-1897) and pp. 74-85. Photography as a Medium for Memorial James Lord Bowes (1834-1899): Collecting Japan Portraiture’, pp. 86-99. in Victorian England’ in Hugh Cortazzi, ed., Tsuji Nobuo, ‘Foreword: On Kazari’, pp. 14-19. Biographical Portraits VI. London: Global Oriental, ‘Vessels for Painting: New Styles of Artistic forthcoming, 2007. Yasumura Toshinobu, ‘Decorating Spaces in Expression on Early Modern Ceramics in the Later Edo Japan’, pp. 56-63. John C. Weber Collection’, Orientations 37, 2 Births and Rebirths in Japanese Art: Essays (October 2006), pp. 72-77. Celebrating the Inauguration of the Sainsbury Entries in Kunst aus Japan: Die Sammlung John C. Institute for the Study of Japanese Arts and Weber, New York, Melanie Trede, ed. (with assistance Vessels of Influence: Chinese Porcelain in Medieval Cultures (editor). Leiden: Hotei Publishing, 2001. from Anton Schweizer and Mio Wakita). Berlin: Japan. London: Duckworth, ‘Debates in Museum für Ostasiatische Kunst zu Berlin, 2006. Archaeology’ series, forthcoming, 2007. Crafting Beauty in Modern Japan (edited with Timothy Clark). London: British Museum Press, Reflecting Truth: Japanese Photography in ‘White gold: the porcelain for export forthcoming, 2007. the Nineteenth Century (edited with Mikiko manufactured in Japan and the diffusion of new Hirayama). Leiden: Hotei Publishing, 2004. beverages in Europe’ in Cristina Garbagna, ed., 400 Years of Japanese Porcelain. London: British JIKI: porcellana giapponese tra Oriente e Occidente Museum Press, forthcoming, 2008. The papers in this volume were presented at a 2002 1610-1760. Milan: Electra, 2004, pp. 46-53. conference sponsored by the Sainsbury Institute: Kazari: Decoration and Display in Japan 15th-19th Centuries (editor). London: The British Museum Sebastian Dobson, ‘“I been to keep up my Dr Simon Kaner Press, 2002. position”: Felice Beato in Japan, 1863-1877’, Assistant Director pp.30-39. This volume includes essays by several scholars ‘L’appropriation de l’identité préhistorique de affiliated with the Sainsbury Institute: Luke Gartlan, ‘Changing Views: The Early l’archipel japonais’. Japon Pluriel, 6 (2006), pp. Topographical Photographs of Stillfried & 331-340. John T. Carpenter, ‘“Twisted” Poses: The Kabuku Company’, pp. 40-65. Aesthetic in Early Edo Genre Painting’, pp. 42-49. Envisioning Medieval Towns in Japan and Beyond Himeno Junichi, ‘Encounters with Foreign (edited with Brian Ayers and Maekawa Kaname), Timothy Clark, ‘“Flowers of Yoshiwara”: Photographers: The Introduction and Spread forthcoming, 2007. Iconography of the Courtesan in the Late Edo of Photography in Kyüshü’, pp.18-29. Period’, pp. 64-73. Jomon Reflections: Forager Life and Culture in the Mikiko Hirayama, ‘“Elegance” and “Discipline”: Prehistoric Japanese Archipelago (by Kobayashi Kawai Masatomo, ‘Reception Room Display in The Significance of Sino-Japanese Aesthetic Tatsuo, edited by Simon Kaner with Oki Medieval Japan’, pp. 32-41. Concepts in the Critical Terminology of Nakamura). Oxford: Oxbow Books, 2004. Japanese Photography, 1903-1923’, pp. 100-108. Nagasaki Iwao, ‘Women’s Kosode and Social Status’, pp. 50-55.

42 | sainsbury institute for the study of japanese arts and cultures ‘Long-term innovation: The Appearance and Timothy Clark, ‘Frilly Undergarments: Some Along with the catalogue of 30 previously Spread of Pottery in the Japanese Archipelago’ Paintings by Hokusai’s Pupils’, pp. 76–91. unpublished shinkan (imperial calligraphy) from in Peter Jordan and Marek Zvelebil, eds., The Use the Fujii Eikan Bunko Collection authored by of Pottery Among Old World Hunter Gatherers. Kobayashi Fumiko, ‘Publishing Activities of Carpenter, with summaries in Japanese by Genjö London: UCL Press, forthcoming, 2007. Poetry Groups in Edo: Early Illustrated Kyōka Masayoshi, the volume includes the following Anthologies and Surimono Series’, pp. 158–79. essays: ‘William Gowland (1842-1922): Pioneer of Japanese Archaeology’ in Hugh Cortazzi, ed., Kobayashi Tadashi, translated and adapted by John T. Carpenter, ‘Handwriting Empowered Biographical Portraits VI. London: Global Oriental, Julie Nelson Davis, ‘The Floating World in Light by History: The Aura of Calligraphy by forthcoming, 2007. and Shadow: Ukiyo-e Paintings by Hokusai’s Japanese Emperors’, pp. 14-54. Daughter Ōi’, pp. 92-103. Kaneko Takaaki, ‘Digital Archives of the Fujii Dr John T. Carpenter Kubota Kazuhiro, translated by John T. Eikan Bunko’, pp. 172–77. Lecturer in Japanese Art, Department of Art and Carpenter, ‘The “Surimono Artist” Hokusai in Archaeology, SOAS, University of London; Head the Society of Edo Kyōka Poets’, pp. 180–215. Kawashima Masao, ‘Social Contexts for the of London Office of the Sainsbury Institute Practice of Collecting ‘Ancient Calligraphy’ Naitö Masato, translated by Timothy Clark, (Kohitsu) in Medieval Japan, pp. 158–65. Hokusai and His Age: Ukiyo-e Painting, ‘Manipulation of Form in Hokusai’s Paintings Printmaking and Book Illustration in Late Edo of Beauties’, pp. 62–75. Matsumoto Ikuyo, ‘Poetic Practices in the Japan (editor). Amsterdam: Hotei Publishing, Warring States Period: “Conventions for 2005. 357 pp. John M. Rosenfield, ‘The Anatomy of Humour Inscribing Kaishi and Tanzaku – Traditional in Hokusai’s Instruction Manuals’, pp. 298–327. Protocol for Leaders of Poetry Gatherings” Published in cooperation with the International from the Archives of the Yömei Bunko’, pp. Hokusai Research Centre, University of Venice; Timon Screech, ‘Hokusai and the Microscope’, 166–71. Sainsbury Institute and the Art Research Center, pp. 328–39. Ritsumeikan University. Made possible in part by ‘Kyöka and Print Designers’, in Amy Reigle grants from The Italian National Research Council Henry D. Smith II, ‘Hokusai and the Blue Newland, ed., The Hotei Encyclopedia of Japanese (CNR) and the Toshiba International Foundation. Revolution in Edo Prints’, pp. 234–69. Woodblock Prints. Amsterdam: Hotei Publishing, This volume includes several essays by scholars 2005. pp. 170-74. with affiliation to the Sainsbury Institute, e.g.: Tsuji Nobuo, translated by Timon Screech, ‘The Impact of Western Book Illustration ‘The Poetic Picture: Literary Dimensions of Asano Shügö, translated by Timothy Clark, on the Designs of Hokusai – The Key to His Ukiyo-e’, in Gian Carlo Calza, ed., Ukiyo-e, ‘Concerning the Seals on Hokusai’s Paintings’, Originality’, pp. 340–351. London: Phaidon, 2005. pp. 104–133. Imperial Calligraphy of Premodern Japan: Scribal ‘Wild Boars and Dirty Rats: Kyōka Surimono - Gian Carlo Calza, ‘Imitations, Copies and Fakes Conventions for Poems and Letters from the Celebrating Ichikawa Danjūrō VII after Paintings by Hokusai’, pp. 134–55. Palace (by John T. Carpenter, with contributions as Arajishi Otokonosuke’, Impressions, vol. 28 by Kawashima Masao, Genjö Masayoshi, et (forthcoming, 2007), pp. 40-59. John T. Carpenter, ‘Painting and Calligraphy al.). Kyoto: Art Research Center, Ritsumeikan of the Pleasure Quarters: Interaction of Image University, 2006. 193 pp. Writing as Ritual: Fujiwara no Yukinari and Heian and Text in Hokusai’s Early Bijinga’, pp. 32–61. Court Calligraphy, forthcoming, 2007.

annual report 2005-06 | 43 Publications

Publications by fellows and associates Utamaro and the Spectacle of Beauty: Ukiyo-e and Dr R. Keller Kimbrough the Artist in Late Eighteenth-century Japan, London: Assistant Professor of Japanese, University of The following list does not attempt to be Reaktion Books, forthcoming, 2007. Colorado at Boulder; Sainsbury Fellow 2002–03 comprehensive, but includes recent and forthcoming publications that fellows or ‘Utamaro to Ehon Taikōki’ (‘Utamaro and the ‘Chüjöhime’ (translation of a work of late- associates themselves have indicated were Ehon Taikōki’) Ukiyo-e Geijutsu, no. 152 (2006), medieval Japanese fiction), in Traditional in some way indebted to their tenure at the pp. 88-93. Japanese Literature, an Anthology: Beginnings to Sainsbury Institute, either through fellowship 1600, ed. Haruo Shirane. New York: Columbia support or subvention of collaborative research University Press, in press. projects. The Sainsbury and Handa Research Idemitsu Sachiko Fellows are based in the Department of Art and Curatorial Assistant, Japanese Division, British ‘Little Atsumori and The Tale of the Heike: Fiction Archaeology, SOAS, London. Museum; Research Associate, Sainsbury as Commentary, and the Significance of a Name’, Institute; Handa Fellow 2004-06 Proceedings of the Association for Japanese Dr Cynthea Bogel Literary Studies 5, 2004, pp. 325-36. Associate Professor of Japanese Art, University ‘The Birth of True Views in Nanga School of Washington; Sainsbury Fellow 2001-02 Painting: Hyakusetsu Genyö’s Wondrous Scenery ‘Nomori no kagami and the Perils of Poetic of Kinosaki’, Kajima bijutsu kenkyü nenpo, no. 22 Heresy’, Proceedings of the Association for ‘The Objects of Transmission and the Subjects (2005). Japanese Literary Studies 4, 2003, pp. 99-114. of History: Kükai’s Shörai mokuroku’, Bulletin of the Research Institute of Esoteric Buddhist Culture ‘Ike no Taiga hitsu Seikö Shunkei Sentö kanchö- Preachers, Poets, Women & the Way: Izumi Shikibu (Mikkyö Bunka Kenkyüsho Kiyö) Special Issue 2, zu byöbu no shüdai kösatsu: Zuyö to bungaku- and the Buddhist Literature of Medieval Japan. October 2004, pp. 67-99. teki tenkyö o saguru’ (Spring Views of the West Ann Arbor: University of Michigan Center for Lake and Tidal Bore on the Qiantang River by Ike Japanese Studies, in press. The Icon Looks Back: The Advent of Esoteric no Taiga), Museum, no. 599 (2005). Buddhist Visual Culture in Japan. Seattle: University ‘Reading the Miraculous Powers of Japanese of Washington Press, forthcoming, 2007. Poetry: Spells, Truth Acts, and a Medieval Professor Donald Keene Buddhist Poetics of the Supernatural’, in Professor of Japanese Literature Emeritus, Japanese Journal of Religious Studies 32, no. 1 Dr Julie Nelson Davis Columbia University; Presenter of the Toshiba (spring 2005): pp. 1-33. Assistant Professor of Art History, University of Lectures in Japanese Art, 2003 Pennsylvania; Sainsbury Fellow 2002–03 Frog in the Well: Portraits of Japan by Watanabe Dr Shane McCausland ‘Kitagawa Utamaro and his Contemporaries, Kazan, 1793-1841. New York: Columbia University Curator of East Asian Collections, Chester Beatty 1780-1804’ in Amy Newland, ed., The Hotei Press, 2006. Library, Dublin; Sainsbury Fellow 2003-04 Encyclopedia of Japanese Woodblock Prints. Amsterdam: Hotei Publishing, 2005, pp. 135-166. ‘Nihonga Meets Gu Kaizhi: A Japanese copy of a Chinese painting in the British Museum’. The Art ‘A Second Glance’, Art Quarterly, the journal of Bulletin, vol. 87, (December 2005). the UK Art Fund, Autumn 2006, pp. 36-39.

44 | sainsbury institute for the study of japanese arts and cultures Dr Morishita Masaaki Dr Ken Tadashi Oshima Professor Timon Screech Research Associate, Sainsbury Institute, 2006-07; Assistant Professor, Department of Architecture, Professor of History of Japanese Art, SOAS; Senior Handa Fellow 2005-06 University of Washington; Sainsbury Fellow Associate of Sainsbury Institute 1999-2004 2004-05; Handa Fellow 2003-04 The Empty Museum: Western Cultures and the Japan Extolled and Decried: Carl Peter Thunberg Artistic Field in Modern Japan. Aldershot: ‘Characters of Concrete’, in Crafting a Modern and the Shogun’s Realm 1775-1796 (editor and Ashgate, forthcoming 2007. World: The Architecture and Design of Antonin and author of introduction). London: Routledge, 2005. Noemi Raymond. Princeton Architectural Press, ‘The Iemoto System and the Avant-gardes in the 2006. Secret Memoirs of the Shoguns: Isaac Titsingh Japanese Artistic Field: Bourdieu’s Field Theory and Japan, 1787-1812 (editor and author of in Comparative Perspective’, Sociological Review, ‘Christopher Dresser and the Evolution of his “Art introduction). London: Routledge Press, 2006. vol. 54, no. 2 (May 2006): pp. 283-302. Botanical” Depiction of Nature’, Decorative Arts Society Journal, 2005, pp. 53-65. Dr Gennifer Weisenfeld Dr Mutö Junko ‘The Max/Mini Köban’, Domus 889, February 2006. Associate Professor of Art History, Duke Part-time Lecturer, Gakushuin University; Handa University; Sainsbury Fellow 2005-06 Fellow 2001-02 Dr Morgan Pitelka ‘Japanese Typographic Design and the Art of Shoki ukiyo-e to kabuki: yakusha-e ni chümoku Luce Assistant Professor of Asian Studies, Letterforms’, in Jerome Silbergeld and Dora shite. Tokyo: Kasama Shoin, 2005. Occidental College; Sainsbury Fellow 2001 C.Y. Ching, eds., Bridges to Heaven: Essays on East Asian Art in Honor of Professor Wen C. Fong. This volume was awarded both the prestigious Handmade Culture: Raku Potters, Patrons, and Tea Princeton, P.Y. and Kinmay W. Tang Center Kokka Prize (the premier recognition for Practitioners in Japan. Honolulu: University of for East Asian Art, Department of Art and publications in Japanese art history) and one of Hawaii Press, 2005. Archaeology, Princeton University in association the two annual Tokugawa Prizes (for excellence with Princeton University Press, in press. in publications on Edo studies). Japanese Tea Culture: Art, History, and Practice (editor). London: RoutledgeCurzon, 2003. ‘Reinscribing Tradition in a Transnational Art ‘Ukiyo-e no naka no yüjo: shoki no ichimai-e World’, in Asian Art History in the Twenty-First ni chümoku shite’ (Courtesans in Ukiyo-e, with What’s the Use of Art? Functions, Movements, and Century (Clark Studies in the Visual Arts). Sterling Special Attention to Early Single-sheet Prints), Memories of Asian “Art Objects” (edited with Jan and Francine Clark Art Institute, MA, in press. Edo Bungaku, no. 33 (November 2005). Mrazek). Honolulu: University of Hawaii Press, in press.

annual report 2005-06 | 45 Management and Finance

Foundation and the first five years The Sainsbury Institute for the Study of Japanese Arts and Cultures was founded in 1999 though the generosity of (the late) Sir Robert Sainsbury and Lady Lisa Sainsbury. It is an independent charity affiliated to the University of East Anglia, and working with the School of Oriental and African Studies, University of London. The funding of the Institute is governed by a Trust Deed that provides for the appointment of Trustees and a Management Board. The Trustees have the responsibility for investing the original Trust Fund and applying the income to support the costs of running the Institute in accordance with the provisions of the Trust Deed. The Management Board acts as the governing body of the Institute, agreeing the nature of its activities and approving its budgets and staffing. In addition to the income from the Trust Fund, the Institute receives financial support from the Gatsby Charitable Foundation. In the first five years of the Institute’s existence this support took two main forms. First, payments relating to the provision of the Institute’s premises in Norwich including rent, rates and major maintenance costs. Second, grants awarded in response to specific proposals from the Institute, of which the most significant concerned the development of the Lisa Sainsbury Library. The Institute also raises funds from other sources to support its Fellowship programme, workshops, publications, lectures and other projects.

Academic Review In 2003-04 the Management Board initiated an external review of the work of the Institute and its future direction. The review was conducted by three internationally renowned scholars from the UK, USA and Japan. The reviewers concluded that, in its first five years, the Institute had ‘contributed in a hugely impressive fashion to the study and understanding of Japanese arts both nationally and, increasingly, internationally’.

Academic, research, physical and financial plan 2005-10 Following from the findings of the Academic Review the Institute prepared a detailed plan for its second five years, which was approved by the Management Board and Trustees in 2005. It set out the key objectives for the Institute and its funding. For its part the Gatsby Charitable Foundation agreed to consolidate its various grants into a five-year funding package to stand alongside the income from the original Trust Fund. In very broad terms the Institute’s funding over the five-year period is expected to come in roughly equal parts from the income from its original endowment, from the Gatsby Charitable Foundation (which will, in addition, continue to meet rent and other building- related costs) and from other sources. The Institute also expects to receive non-financial donations, notably library materials and other support in kind.

46 | sainsbury institute for the study of japanese arts and cultures Statement of Financial Activities for the Year Ended 31 July 2006 This summary of the Sainsbury Institute finances is an extract from the financial statement for the year ended 31 July 2006 as approved by the Institute’s Management Board at its meeting on 19 October 2006.

2005-06 £ Income Sainsbury Institute Endowment income 190,377 Annual grant from the Gatsby Charitable Foundation 240,045 Grants for rent, rates etc from Gatsby Charitable Foundation 69,394 Grants for Research Fellowships 98,750 Other grants 168,430 Other income 16,303 Grant for new Library store from Gatsby Charitable Foundation 55,144 Total income 838,443

Expenditure Research workshops, projects, publications, lectures etc 122,667 Research Fellowships 85,510 Norwich premises inc. Lisa Sainsbury Library, rent, rates etc, 69,394 Staff costs 262,987 Library and other operating expenditure 102,705 Set up costs for new Library store 55,704 Total expenditure 698,967

Operating surplus/(deficit) 139,476

Funds brought forward 34,880

Funds carried forward 174,356 of which restricted 1 102,393 of which unrestricted 2 71,963

Notes 1. This sum comprises external grants received in 2005-06 or earlier but designated for spend in 2006-07 or later years. Over 50% is accounted for by grants received to support the secondment of the Institute’s Project Manager to the British Museum in 2006-07 and 2007-08; a further 25% relates to grants for Fellowships to be taken up in 2006-07; and the rest is for sponsored research, workshops and lectures.

2. The Institute has to manage its finances over the five-year period 2005-06 to 2009-10. Some of its core funding depends on the investment performance of the Sainsbury Institute Endowment and most of the rest is cash-limited. For 2005-06, the first year of the five-year funding and planning period, the Institute prepared conservative estimates of income. Actual performance exceeded estimates and this, together with the re-timing of some project expenditure accounts for a higher than projected surplus. The surplus will be drawn down to fund re-timed projects in 2006-07 and for other initiatives that have been planned for implementation during the quinquennium. This pattern of strategic management of expenditure to take account of annual variations in income flows will be a feature of future annual statements of financial activities.

annual report 2005-06 | 47 64 The Close Norwich NR1 4DH United Kingdom T +44 (0)1603 624349 F +44 (0)1603 625011

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Design by Peter Yeoh Printed by Henry Ling Ltd

Images Cover Nihonkoku Döchüzu (Pictorial Route Map of Japan), woodblock print, probably mid-19th century; 35 x 175 cm. Sir Hugh and Lady Cortazzi Collection. Inside front Porcelain vase ‘Galaxy’, Tokuda Yasokichi III, 1999. The British Museum. Inside back The conservatory at the Sainsbury Institute’s office in Norwich. Photograph by David Kirkham.

© 2006 Sainsbury Institute for the Study of Japanese Arts and Cultures

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