Academic literature on the topic 'Art, Japanese. [from old catalog]'
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Journal articles on the topic "Art, Japanese. [from old catalog]"
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Žvanut, Simona. "Memory, Realised in Space. A reflection on the Use of the Terms “Memory”, “History” and “Communal Memory” within the Art Project Art House Project on the Japanese Island of Naoshima." Ars & Humanitas 13, no. 1 (August 20, 2019): 264–81. http://dx.doi.org/10.4312/ah.13.1.264-281.
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Art House Project (AHP) is an art project on the Japanese island of Naoshima in the Seto Inland Sea, run and financed by the Benesse Corporation as a part of the Benesse Art Site Naoshima project. The corporation’s aim is to support the economic and spiritual revitalisation of the archipelago through projects which combine art, architecture, nature and the history of the area. The centre of AHP is a number of old Japanese houses in the village Honmura on Naoshima, transformed into works of art by artists in cooperation with architects. Memory-related terms (such as “memory”, “history”, “communal” and “cultural memory”, tradition and heritage) appear regularly in catalogue texts and other publications on AHP, which leads to the assumption that AHP is connected to memory on several levels. Since the use of these terms is now very often in various contexts and can mark different phenomena, I will try to define the characteristics of the use of terms “memory”, “history” and “communal memory” as well as their role in the AHP. Within this I will show that these terms have a wide conceptual frame, which does not necessarily come from their theoretical definition – and that the semantically open term of memory has an important role in the wider context and goals of the Benesse Art Site Naoshima project.
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Žvanut, Simona. "Memory, Realised in Space. A reflection on the Use of the Terms “Memory”, “History” and “Communal Memory” within the Art Project Art House Project on the Japanese Island of Naoshima." Ars & Humanitas 13, no. 1 (August 20, 2019): 264–81. http://dx.doi.org/10.4312/ars.13.1.264-281.
Full textAbstract:
Art House Project (AHP) is an art project on the Japanese island of Naoshima in the Seto Inland Sea, run and financed by the Benesse Corporation as a part of the Benesse Art Site Naoshima project. The corporation’s aim is to support the economic and spiritual revitalisation of the archipelago through projects which combine art, architecture, nature and the history of the area. The centre of AHP is a number of old Japanese houses in the village Honmura on Naoshima, transformed into works of art by artists in cooperation with architects. Memory-related terms (such as “memory”, “history”, “communal” and “cultural memory”, tradition and heritage) appear regularly in catalogue texts and other publications on AHP, which leads to the assumption that AHP is connected to memory on several levels. Since the use of these terms is now very often in various contexts and can mark different phenomena, I will try to define the characteristics of the use of terms “memory”, “history” and “communal memory” as well as their role in the AHP. Within this I will show that these terms have a wide conceptual frame, which does not necessarily come from their theoretical definition – and that the semantically open term of memory has an important role in the wider context and goals of the Benesse Art Site Naoshima project.
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Stauskis, Gintaras. "JAPANESE GARDENS OUTSIDE OF JAPAN: FROM THE EXPORT OF ART TO THE ART OF EXPORT." JOURNAL OF ARCHITECTURE AND URBANISM 35, no. 3 (September 30, 2011): 212–21. http://dx.doi.org/10.3846/tpa.2011.22.
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Since the 19th century, a Japanese garden as a cultural phenomenon with a millennium-old history of religion and philosophy-based landscaping art has been exported to different regions of the globe and built in countries far from the land of its origin. The article focuses on two aspects of Japanese gardens: the basic and more specific principles of planning and design of a traditional Japanese garden, and the related discourse of a tradition of exporting its planning and design cultural tradition outside of Japan. Based on analysed international examples of Japanese-style gardens, the specific traits of planning the landscape of these gardens were identified. The narrative of multiple psycho-emotional effects that these gardens have on their users and visitors is disclosed in correlation with the specific aspects of their planning and design. The culture of exporting a Japanese garden tradition overseas is discussed and the important principles for introducing a Japanese garden to a remote cultural context are spotlighted. The concluding remarks on the user-oriented culture of exporting a Japanese garden as a complete planning and design system of landscape architecture, reflect author’s aspiration to open a wider cross-professional discussion and research on the topic. Santrauka Japonijos sodai – tai tūkstantmetes tradicijas turintis filosofija ir religija grįstas kraštovaizdžio architektūros kultūrinis reiškinys, kurio pavyzdžiai nuo XIX a. yra eksportuojami ir įrengiami skirtinguose pasaulio regionuose. Kraštovaizdžio architektūros požiūriu straipsnyje nagrinėjami du Japonijos sodų aspektai: esminiai šių sodų suplanavimo ir įrengimo principai bei specifiniai bruožai, taip pat Japonijos sodų meninės tradicijos eksporto ir sklaidos užsienyje klausimai. Visame pasaulyje garsių Japonijos sodų pavyzdžių apžvalga ir pasirinktų Baltijos jūros regiono pavyzdžių tyrimas atskleidžia esminius šių sodų suplanavimo principus, kurie sietini su lankytojams formuojamu psichologiniu emociniu poveikiu. Aptariant Japonijos sodų eksporto į kitus etninius ir geografinius regionus klausimus iškeliama jų integravimo į skirtingą kultūrinį kontekstą problema. Straipsnis apibendrinamas baigiamosiomis nuostatomis, kurios apibrėžia tolesnio Japonijos sodų meno diskurso lauką nuo vartotojo poreikių iki vientisos kraštovaizdžio sistemos eksporto galimybių, išreiškia autoriaus siekį atverti šia tema platesnį tyrimų ir diskusijų lauką.
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Yano, Keiji, Satoshi Imamura, and Ryo Kamata. "Japanese Map Warper for Spatial Humanities: The Japanese old maps portal site." Abstracts of the ICA 1 (July 15, 2019): 1–2. http://dx.doi.org/10.5194/ica-abs-1-418-2019.
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<p><strong>Abstract.</strong> Since the middle of the 2000s, digital humanities (DH) involving the collaboration and uniting of research fields from both the humanities and sciences has begun developing rapidly. It involves investigation, analysis, synthesis and presentation of knowledge through the use of Information and Communication Technology (ICT). It is expected to create a new knowledge base within the humanities; history, linguistics, literature, art, files, and so on. By definition, a new field of digital humanities is technical driven given its elaborate use of computing, and is also distinctly interdisciplinary through the ICT (Kawashima et al., 2009). At the same time, “spatial turns” are referred to throughout the academic disciplines, often with reference to GIS and the neogeography revolution that puts mapping (Guldi, 2018).</p><p>As human geography would be a part of the humanities, so all research within human geography can be a part of digital humanities. Geo-spatial information that is dealt with in geography possesses geo-referenced data. GIS has also become popular in digital humanities. The application of GIS within history is facilitating the formation of a new area of research, historical GIS (Gregory and Healy, 2007). Historical geographers have been making use of GIS as a research tool, applying it to historical space within a geographical context. However now we see historians beginning to use GIS within their own research. So far, the relation between human geography and history has been compared to the difference between the dimensions of space and time. While geographers make extensive use of maps focusing on spatial patterns of their temporal changes (spatial process), historians make use of ancient documents as a resource focusing on the temporal relationship between phenomena (Knowles, 2008).</p><p>To ensure a leaping development in the new project-based research style through interdisciplinary and international collaboration within Historical GIS in Japan, and by extension traditional humanities in Japan, it is of great urgency to build portal sites that can provide comprehensive and lateral search of Japanese old maps which are fundamental materials, while making GIS analysis possible.</p><p>The aim of this paper is to introduce Japanese Map Warper (bilingual version), based on an online georeferenced tool developed by Mr Tim Waters in 2009, and to construct a portal site of Japanese old maps which can be embedded into GIS.</p>
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Girelli, Giacomo, Micol Bolzonella, and Andrea Cimatti. "Massive and old quiescent galaxies at high redshift." Astronomy & Astrophysics 632 (December 2019): A80. http://dx.doi.org/10.1051/0004-6361/201834547.
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Aims. Questions of how massive quiescent galaxies rapidly assembled and how abundant they are at high redshift are increasingly important in the study of galaxy formation. Looking at these systems can shed light on the processes of galaxy mass assembly and quenching of the star formation at early epochs. In order to address these questions, we aim to identify and characterize massive quiescent galaxies from z ∼ 2.5 out to the highest redshifts at which these systems can be found. The final purpose is to compare the results with the predictions of state-of-the-art semi-analytical models of galaxy formation and evolution. Methods. We defined observer-frame color–color diagrams to optimally select quiescent galaxies at z > 2.5 and applied them to the COSMOS2015 catalog. We refined the spectral energy distribution (SED) fitting analysis for the selected candidates to confirm their quiescent nature, then derived their number density, mass density, and stellar mass functions. Finally, we compared the results with previous observations and some current semi-analytic models. Results. We selected candidates for quiescent galaxies in the redshift range 2.5 ≲ z ≲ 4.5 from the COSMOS2015 catalog by means of two color–color diagrams. The additional SED fitting analysis allowed us to select 128 galaxies, consistent with being massive (log(M*/M⊙)≥10.6), old (ages ≳0.5 Gyr), and quiescent (log(sSFR [yr−1]) ≤ −10.5) objects at high redshift (2.5 < z < 4.5). Their number and mass densities are in fair agreement with previous observations and, if confirmed, show a discrepancy with current semi-analytical models of galaxy formation and evolution, that underpredict the number of massive quiescent systems up to a factor of ∼12 at 2.5 ≤ z < 3.0 and ∼10 at z ∼ 4.0. The evolution of the stellar mass functions (SMFs) of these systems is similar to previous estimates and indicates a disagreement with models, particularly with regard to the shape of the SMF. Conclusions. The present results add further evidence to the possibility that massive and quiescent galaxies can exist out to at least z ∼ 4. If future spectroscopic observations carried out with, for example, the James Webb Space Telecope (JWST), confirm the substantial presence of such a population, further work on modeling the stellar mass assembly, as well as supermassive black hole accretion and feedback processes at early cosmic epochs, is needed to understand how these systems formed, evolved, and quenched their star formation.
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Tanaka, Stefan. "Imaging History: Inscribing Belief in the Nation." Journal of Asian Studies 53, no. 1 (February 1994): 24–44. http://dx.doi.org/10.2307/2059525.
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A commission sponsored by the meiji government and headed by Okakura Tenshin (Kakuzō), Kanō Tessai, and Ernest F. Fenollosa traveled to Nara Prefecture in 1884 to catalog the important artifacts in temples and shrines. Fenollosa's later description of an event of this trip, which is often presented to show how he with the assistance of Okakura “saved” Japanese art, brings out the major argument of my article: the role of fine art in the formulation of belief in the nation. Fenollosa describes his “discovery” of the Guze Kannon (Goddess of Mercy), a seventh-century gilt-wood sculpture, at the Hōryūji temple:I had credentials from the central government which enabled me to requisition the opening of godowns and shrines. The central space of the octagonal Yumedono was occupied by a great closed shrine, which ascended like a pillar towards the apex. The priests of the Horiuji confessed that tradition ascribed the contents of the shrine to Corean work of the days of Suiko, but that it had not been opened for more than two hundred years.
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McKay, Jim, and Toby Miller. "From Old Boys to Men and Women of the Corporation: The Americanization and Commodification of Australian Sport." Sociology of Sport Journal 8, no. 1 (March 1991): 86–94. http://dx.doi.org/10.1123/ssj.8.1.86.
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Although there are obvious American influences on Australian popular culture, the term “Americanization” is of limited help in explaining the elaborate form and content of Australian sport. The recent transformation from amateur to corporate sport in Australia has been determined by a complex array of internal and international social forces, including Australia’s polyethnic population, its semiperipheral status in the capitalist world system, its federal polity, and its membership in the Commonwealth of Nations. Americanization is only one manifestation of the integration of amateur and professional sport into the media industries, advertising agencies, and multinational corporations of the world market. Investment in sport by American, British, New Zealand, Japanese, and Australian multinational companies is part of their strategy of promoting “good corporate citizenship,” which also is evident in art, cinema, dance, music, education, and the recent bicentennial festivities. It is suggested that the political economy of Australian sport can best be analyzed by concepts such as “post-Fordism,” the globalization of consumerism, and the cultural logic of late capitalism, all of which transcend the confines of the United States.
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Poludneva, E. I. "The attribution features of the items from the private collection of Japanese miniature sculpture on the example of the exhibition “Netsuke. The private collection” in Primorye State Art Gallery." Iskusstvo Evrazii [The Art of Eurasia], no. 3(18) (September 30, 2020): 83–90. http://dx.doi.org/10.46748/arteuras.2020.03.007.
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The features of attribution work with the items from the private collection for the exhibition of the old Japanese sculpture “Netsuke. The private collection” in Primorye State Art Gallery have been considered in the paper. The items from private collections usually are excluded from a scientific circulation but they often are of a great scientific interest for art historians and museum researchers. The author aims to include into a scientific circulation several items of miniature sculpture netsuke which would be of an art history interest and which have never been exhibited before. The process of the items attribution, plot and stylistic features specification has been described on a basis of the expert opinion, comparative analysis with the items from the sufficient museum collections. The author comes to a conclusion that the plots and iconography of some items are rather rare and their description would make a contribution to the Japanese miniature sculpture research. В статье рассматриваются особенности атрибуционной работы с предметами из частной коллекции для выставки старинной японской миниатюрной скульптуры «Нэцкэ. Частная коллекция» в Приморской государственной картинной галерее. Произведения из частных коллекций, как правило, исключены из научного оборота, однако часто представляют большой научный интерес для искусствоведов и музейных работников. Автор ставит своей целью ввести в научный оборот несколько произведений миниатюрной скульптуры нэцкэ, представляющих искусствоведческий интерес и ранее никогда не экспонировавшихся. Описывается процесс атрибуции произведений, определения сюжета, стилистики на основе экспертного мнения, сравнительного анализа с предметами из крупных музейных коллекций. Автор приходит к выводу, что сюжеты и иконография некоторых предметов весьма редки, и их описание внесет определенный вклад в изучение японской миниатюрной скульптуры.
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Cynarski, Wojciech J. "Panorámica sobre las artes marciales polacas." Revista de Artes Marciales Asiáticas 3, no. 3 (July 19, 2012): 8. http://dx.doi.org/10.18002/rama.v3i3.373.
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<p class="MsoNormal" style="text-align: justify; margin: 0cm 0cm 6pt;"><span style="mso-ansi-language: EN-US;" lang="EN-US"><span style="font-size: small;"><span style="font-family: Calibri;">The purpose of this study is to explain the revival of Polish martial arts from the perspectives of cultural sociology, the sciences of physical culture, and the humanistic theory of martial arts. The Polish Martial Arts (<em>Polskie Sztuki Walki</em>) are a subject still requiring serious scientific examination, even in Poland. There are few works concerning the history of Polish weapons, and most only describe techniques for wielding specific types of edged weapons. Nevertheless, there is a large group of enthusiasts trying to restore and cultivate the old Polish tradition, a tradition with heavy emphasis on the art of fencing. The author knows many of the people and facts presented here, from personal observation and from direct participation in these arts. As a disciple of the late Master Yoshio Sugino (10th-dan Kobudo Katori Shinto-ryu), he fought against the Polish saber champion, and he has taken part in joint exhibitions of Polish and Japanese fencing.</span></span></span></p>
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Zavyalova, Anna E. "A.S. Pushkin’s Works in the Graphics of M.V. Dobuzhinsky." Observatory of Culture 15, no. 5 (December 14, 2018): 584–91. http://dx.doi.org/10.25281/2072-3156-2018-15-5-584-591.
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The article introduces into scientific discourse, and examines a number of M.V. Dobuzhinsky’s works: it traces the process of working on them, identifies their sources (literary and visual), analyzes the stylistic features and the specifics of the graphic techniques. These tasks are performed within the context of interaction between literature and fine arts. This topic is relevant because M.V. Dobuzhinsky’s illustrations to the stories “Stationmaster” and “Squire’s Daughter”, the play “Covetous Knight”, and the poem “Magnificent City, Poor City...” by A.S. Pushkin are studied as works of fine art for the first time.The scientific novelty of the article lies in the fact that it introduces an experience of defining the stylistic affiliation of the said works, and reveals a number of their visual sources. The author uses the method of complex analysis, combining the source analysis of M. Dobuzhinsky’s memoirs and his letters, the works of the artist’s contemporaries devoted to the Russian art of the beginning of the 20th century, and the traditional formal analysis of his works in comparison with those of Rembrandt, A. Benois, A. Dürer, F. Tolstoy, Japanese engravings of the 18th — beginning of the 19th century. This allows a significant expansion of existing ideas about visual and literary sources of the artist’s works.The article reveals that Rembrandt’s etching “View of Amsterdam from the Northwest” influenced the artistic solution of the illustration “In the Carriage” for the story “Stationmaster”; Hiroshige’s sheets influenced the illustration “Vyrin at the Entrance of Minsky’s House” for the same story. A. Dürer’s woodcuts influenced the solution of the illustration “Scene 1” for the play “Covetous Knight”; F. Tolstoy’s silhouettes influenced the vignettes and the artistic solution of the illustrations and decorations for the story “Squire’s Daughter”. The article also finds that H.Ch. Andersen’s tales “The Old House” and “The Old Street Lamp” had predetermined M. Dobuzhinsky’s appeal to the story “Stationmaster”, and the graphic solution of St. Petersburg in the picture “View of the St. Petersburg House”. The author concludes that M. Dobuzhinsky’s illustrating of Pushkin’s works was in line with his intense creative experiments: searching for a new solution to the image of St. Petersburg in book graphics, rethinking and “quoting” the masters of the past.
Books on the topic "Art, Japanese. [from old catalog]"
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Muller, Friedrich. Ancient art and Its remains: Or, a manual of the archaeology of art. Whitefish, Montana: Kessinger Publishing, 2005.
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Bement, Alon. The energetic line in figure drawing. Mineola, N.Y: Dover Publications, 2009.
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Müller, Karl Otfried. Ancient Art and Its Remains; or a Manual of the Archæology of Art. Adamant Media Corporation, 2001.
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Sears, Barnas. Classical Studies: Essays on Ancient Literature and Art, with the Biography and Correspondence of Eminent Philologists. HardPress, 2020.
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Crary, Brownell William. French Art Classic And Contemporary Painting And Sculpture: Classic And Contemporary Painting And Sculpture. IndyPublish.com, 2006.
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The crown of wild olive: Four lectures on industry and war. Toronto: Copp, Clark, 1994.
Find full textBook chapters on the topic "Art, Japanese. [from old catalog]"
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Metzger, Sabine. "“She Loves the Blood of the Young”." In Vampires and Zombies. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496804747.003.0003.
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This chapter situates “The Story of Chūgōrō” within the context of both Hearn’s escape from Western civilization and a growing fascination in America with Japanese art and culture. Hearn’s age witnessed not only a flourishing of Gothic and vampire literature but also, in the wake of the opening of Yokohama, the crescendo of Japonisme. In his re-writing of the old Japanese tale, Hearn circumvents Transylvanian terminology and references to the Gothic. Instead, he foregrounds the story’s Japanese-ness. What is “startling” and “strange” for Hearn’s turn-of-the-century readers is not necessarily that the protagonist of his story falls prey to a blood-loving seductress, but rather Japan itself, considered to be the exotic per se. With her similarity to the Western vampire, the bloodthirsty female proves to be a familiar figure in the midst of the unfamiliar—a figure mediating between East and West, partaking of what could be called a form of the “transcultural supernatural.”
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Hoffmann, Roald. "Science and Crafts." In Roald Hoffmann on the Philosophy, Art, and Science of Chemistry. Oxford University Press, 2012. http://dx.doi.org/10.1093/oso/9780199755905.003.0026.
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I came to Penland to write. The craft s were dear to me; first textiles, especially bobbin lace, which my wife made and collected, and taught me to look at. Then the Japanese ceramics to which Kenichi Fukui and Fred Baekeland introduced me. Followed by the protochemistry of dyeing with indigo from snail and plant sources, to me still the ideal bridge between science and culture. The tribute is to be seen around my house—my children’s inheritance consumed as much by crafts as “high” art. So it was easy to accept an invitation to come to Penland and write. Who knew what would come—I wanted to write poems, perhaps an essay. For the poems I’ve needed nature—not so much to write about as to shake me loose from the everyday worries of the (exciting) daily life I had in Ithaca. Nature was a path to concentration; I expected to find a different nature in the foothills of the Blue Ridge Mountains. I would watch the crafts process. Maybe someone would even let me try something. Or ask me to tell them of the chemistry of their craft. I, in turn, would craft my poems out of the green hills. But this is not what happened; here’s what happened: I walk into Billie Ruth Sudduth’s basketry class, and there’s the whole group dyeing their canes, steaming pots of synthetic dye. I ask someone what they are doing, and she says, “Well, I’m getting ready for the upsetting,” and then seeing the puzzled look on my face, patiently explains this old, wonderfully direct basketry term for bending the canes forming the base of a basket over themselves, so that they stand up. I walk uphill to the iron shop, clearly more of a macho place, watch an intense young man, lawyer become sculptor as it turns out, hammer out a hand on a swage block. Ben tells me that it’s possible to burn away the carbon in the steel, and the iron would “burn” too, oxidize, in too hot a flame.
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Reed, Christopher. "Conclusion." In Bachelor Japanists. Columbia University Press, 2016. http://dx.doi.org/10.7312/columbia/9780231175753.003.0005.
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By 1965, the very visible realities of imperialism, immigration, World War, and Cold War diminished Japanism’s viability as a mode of what, in the introduction, I call an “unlearning” of the West. Of course, this did not happen all at once or completely.1 As with the nineteenth-century shift from the kinds of stylistically conventional depictions of Japan exemplified by Mortimer Menpes’s paintings to Japanist subversions of Western representational conventions, new and old paradigms can coexist, especially where there is a taste for the old-fashioned. But change has come, and that cannot be regretted. Notwithstanding the brilliance of Wilde or Barthes, the appeal of the houses and museums that constituted spaces of Japanism in the West, the sublimations enabled by Western practices of art or spirituality that drew from Zen Buddhism, or the opportunities created for individual Japanese like Okakura by dynamics termed ...
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Hee, Wai-Siam. "New Friend." In Remapping the Sinophone, 30–57. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888528035.003.0002.
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The first chapter searches for evidence of the production of the first Singaporean and Malayan film New Friend in old periodicals from the 1920s held in the British Library. This corrects the common misconception that this film was never screened and confirms the historical significance and standing of New Friend as the first Singaporean and Malayan film. This chapter also describes the origins of, and public response to, the Nanyang Low Poey Kim Independent Motion Picture Company. It also gives an overview of Liu’s tragic life, from film company owner to his return to China to fight against the Japanese as a ‘Nanyang Volunteer Driver and Mechanic’. In addition, this chapter describes the New Friend production team and the debates the film sparked among audiences. It then further investigates the problems that the film confronted at the time of its production, including censorship imposed by the British colonial government during the 1920s, the oscillation found in New Friend’s screenplay between the Nanyang and Chinese styles of literature and art, and the way it handles entanglements between ‘new immigrants’ and Chinese Peranakan. This chapter also observes that New Friend features a Sinophone ‘linguistic creolisation’, inverting the hierarchical relationship between Chinese people and foreigners found in S.E. Asian reality. This reflects Liu’s optimistic hope that S.E. Asian Chinese society would unite under the banner of ‘Chineseness’ and resist colonial power. Liu Beijin and the case of New Friend represent pre–Cold War S.E. Asian Chinese cultural productions of Chinese historical identity, in which Chineseness and hybridity coexisted without a binary choice. This provides a historical dimension to reflections on Sinophone topics related to Chineseness and hybridity.
Conference papers on the topic "Art, Japanese. [from old catalog]"
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Oka, Yasuhiro, and Akihiko Goto. "Research of Adhesive Effect Enhanced by Pounding Brush on Second Lining Pounding Procedure for Japanese Scrolls." In ASME 2014 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/imece2014-37886.
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Hanging scrolls are a traditional Japanese ornamental art, which allow paintings and calligraphy to be unrolled and hung on a wall or in an alcove for display, and rolled up and stored in a box. Hanging scrolls should hang straight when unrolled, and roll smoothly for proper storage, without damaging the artwork beneath. For this purpose, scrolls are lined with several layers of Japanese paper, and adhered together with a weak, aged paste made from wheat starch, which gives the paper the flexibility required when the scrolls are rolled up for storage. While this old paste facilitates winding a scroll because it does not become hard even when dried, it does not have sufficient adhesive effect to grip Japanese paper. In order to increase the adhesive power of this aged paste, craftsmen employ a traditional technique of pounding the paper with a special “pounding brush.” This pounding technique is an important part of the fabrication process of hanging scrolls, but it is a difficult task for each generation to pass down the proper pounding technique. This study was intended to verify the effects of the pounding technique on aged paste and Japanese paper. We prepared samples with the pounding technique and investigated their adhesive properties of samples by peel text. In order to verify the importance of this traditional technique and the traditional materials, we compared and analyzed the differences in adhesion between craftsmen of different skill and differences introduced by paste concentration and backing paper quality.