―521―〈日本〉『東照宮縁起絵巻』―新しい「王権」徳川将軍のための創建神話の創出会ペーパームーン（?）：谷文晁真景図とその仕組み室町花鳥画における鷺と烏のイコノグラフィー離俗と通俗の間―無声詩が語る 与謝蕪村と葛飾北斎の絵画化における江戸時代の社日本絵画史における古典受容の特質山越阿弥陀図の成立と展開―図様の伝承と機能の変容をめぐる歌舞伎と役者絵の関係についてIcongraphy of Egret and Crow in Muromachi Bird-and-flower PaintingJin Matsushima, Gakushuin UniversityOnly a Paper Moon（?）: The Mechanism behind Tani Buncho’s “True View” PaintingsWu Xiaojin, Princeton UniversityEwa Machotka-Biedrzycka, Gakushuin UniversityBetween rizoku and tsuzoku-silent poetry speaking. The Edo Society as reflected in YosaBuson’s and Katsushika Hokusai’s poetry pictoralizationHiroko Ishizuki, Keio UniversityThe nature of reception of the classics in Japanese painting historyNatsuki Kitazawa, Keio UniversityA study of the ‘Yamagoshi Amida’ painting−the appearance of Amida（Amitabha）behindthe mountain in JapanRyoko Matsuba, Ritsumeikan UniversityReading the movement-The relationship between actor prints and kabuki performance.The method of the illustrated legends of the Toshogu Shrine, or the creation of the foundationmyth of the Tokugawa Shoguns as the new regal power of Japan
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