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Curriculum Vitae
03/1986 | Withdrew from Advanced Doctoral Candidacy, Graduate School of Arts and Letters, Tohoku University |
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04/1986-03/1989 | Assistant, Faculty of Arts and Letters, Tohoku University |
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04/1989-06/1994 | Researcher, Tokyo National Research Institute of Cultural Properties | |
07/1994-03/1998 | Senior Researcher, Tokyo National Research Institute of Cultural Properties | |
04/1998-03/2000 | Associate Professor, Department of Eastern and Japanese Art History, Faculty of Arts and Letters, Tohoku University | |
04/2000-10/2005 | Associate Professor, Department of Eastern and Japanese Art History, Graduate School of Arts and Letters, Tohoku University | |
10/2005- | Professor, Department of Eastern and Japanese Art History, Graduate School of Arts and Letters, Tohoku University |
Research Themes
(1) The Study about gCreating a Sculpture by On-tameh
The sculpture made by a motivation of "for someone" is called "creating a sculpture by On-tame". From this point of view, one can consider the reason for making Buddhist sculptures and inquire how they were expressed as a result.
(2) Religious Sculptures and Human Beings
Human beings make sculptures for some purpose, and the sculpture functions
in accordance with its purpose. In case of a religious sculpture, the function
must be on a religious context and the first one is to help human beings
to believe. Thinking how Buddhist sculptures and the sculptures modeled
founder of religious sect operate on human beings for their belief, one
can consider the meaning of expressino. This is a study about function
of sculptures.
(3) Responses and Representation
gResponsesh (Kanno) is the Buddhist way of thinking that Buddha would
response if people have a chance for good, applying a Chinise traditional
thought; gBest truthfulness penetrates everything.h (Chuyo). Then, grepresentaionh (Hyosho) is the meaning of substitutes for something. Buddha shows people an evidence of response through the representaion of Buddhist sculptures as a substitute for Buddha, and China and Japan had some spaces where it was easy to make responses. In brief, the space where a Buddhist sculpture was put was also the one where response was hoped. In such awareness of the problems, one can consider the space where Buddhist sculptures ware put. This is a study about environment of Buddhist sculptures..
Chief Publications
gePatterns of Formf in Buddhist Sculpture and Their Transmission: A Study of Early Heian Bodhisattva Sculptureh, (Parts 1,2), Bijutsu Kenkyu, Nos. 351, 352, 1992, January, February.
gThe Topology of the Standing Image of Yakushi-Nyorai of Jingoji: The Mountain and Yakushi in the Early Heian Periodh, Bijutsu Kenkyu, no.359, 1994, March.
World Art History, Eastern Art Volume 5, Five Dynasties, Northern Song, Liao, Western Xia, Joint Publication, Shogakukan, 1998, December.
gFiguring Buddhist Statuary?Investigations of Buddhist Statuary Surrounding Matsudaira Sadanobuh, The Establishment and Development of the Study of Art History in Japan (Research Report on Grant-in-Aid for Scientific Research (A) (1) Survey), 2001, March.
gSeiryoji Sakyamuni Image and the Northern Song Social Backgroundh, Kokka, No. 1269, 2001, July.