5and Kimura, and Tajima Tatsuya were joined by Sasaki Jōhei and Sasaki Masako in researching the holdings of Maruyama-Shijō paintings. Professor Kōno, Satō Yasuhiro, and Narusawa Katsushi concluded the survey of the works of various Edo-period schools. During the final years of the Kajima project Nagasaki Iwao studied the Nō robes and kosode （2002）, and Haino Akio catalogued the lacquerware （2002）. The untimely death of Chino Kaori precluded her surveying the narrative handscrolls. Sano Midori kindly stepped in to begin the examination of these paintings （2003）.From the project’s inception, greater accessibility to the MFA collection was its central aim. After the surveys were completed, the Museum of Fine Arts, Boston and Kodansha co-published illustrated bilingual catalogues raisonnés with the findings of the first two phases. Every attempt was made in these publications to provide bilingual cataloging information with readings of artists’ names, dates of activity, and the assignment of titles that could serve as standards for the field of Japanese art. The information and digitized images were also made available on the MFA’s website www.mfa.org. Since that time the MFA has received countless requests by scholars to publish objects in the Japanese collection—something that the original funding from the Kajima Foundation has facilitated. Notable publications resulting from the surveys have included the four-volume series Bosuton bijutsukan: Nikuhitsu ukiyo-e and an issue of Kokka. Acquisitions made by the MFA since the individual surveys were completed have not been included but are detailed on the MFA’s website.With this deeper understanding of its collection the Museum has also been able to share its works of art through exhibitions in the United States and abroad. These include Okakura Tenshin and the Museum of Fine Arts, Boston at the Nagoya/Boston Museum of Fine Arts （1999）, The Dawn of the Floating World, at the Royal Academy in London （2001）, The Allure of Edo, which opened at the Kobe City Museum （2006）, Masterpieces of Japanese Art from the Museum of Fine Arts, Boston, which opened at the Tokyo National Museum （2012）, Double Impact: The Art of Meiji Japan, co-organized with Tokyo University of the Arts （2015） and Takashi Murakami: Lineage of Eccentrics, A Collaboration with Nobuo Tsuji and the Museum of Fine Arts, Boston （2017）.This current publication, initiated by the Kajima Foundation of the Arts, represents a revised edition of the original volumes of the survey results and now includes information on the paintings that were surveyed during the last phase of the project. Under the sustained administrative leadership of Takahashi Tsukasa and Minagawa Michiko of the Kajima Foundation and the expert editorial guidance of Suzuki Takushi of Chūō kōron bijutsu shuppan, these new volumes have come to fruition. Takagishi Akira and Umezawa Megumi have conducted new surveys of the narrative handscrolls, including late Edo period and Meiji-era copies invaluable for art historical studies. Furthermore, with Professor Takagishi’s expert counsel, the MFA’s curatorial staff and the survey leaders have reviewed and updated all the entries. The passage of more than twenty years since the studies were first conducted has led to reassessments in light of conservation studies at the MFA and recent scholarship on the identities and periods of activity of many of the artists. Special acknowledgement should be given to the many scholarly contributions by Takezaki Hiroki, former Ishibashi Foundation Assistant Curator of Japanese Art, and the editorial assistance of Fukunaga Ai, Curatorial Research Associate at the MFA. The publication of these two volumes underscores the commitment by the Museum of Fine Arts, Boston to the intellectual accessibility of its collections. It is our fervent hope that the Kajima project and publications will continue to represent a foundation for future research and that as scholars discover more information about our collection, they will share their findings with the MFA by contacting the curators through our website. Through sustained communication among scholars in the international community, the Museum of Fine Arts can advance the original ambitions of its founders—that the MFA’s collections serve wide audiences as a bridge between East and West.For making this ground-breaking project possible, the Museum of Fine Arts is profoundly grateful to the Kajima Foundation for the Arts and to the vision of Professor Tsuji and the late Dr. Kajima Shōichi.
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