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| The Bijutsushi Article Prize |
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| The Bijutsushi Prize, the award for outstanding articles published in the
scholarly journal Bijutsushi, has been established to recognize exceptional
contributions to the advancement of art history. |
1) Name: Bijutsushi Article Prize [‘hereafter referred to as the Article Prize’]
2) Eligibility: Any article having been published in the previous fiscal year’s Bijutsushi journal issues
3) Number of prizes awarded: A maximum of three prizes to be awarded. In some instances, no prizes may be awarded in a particular year.
4) Selection method:
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a) |
The Standing Committees of the Eastern and Western Divisions (excluding
the Society Chairman) each elect five members with appropriate specialties
to the Article Prize Selection Committee. |
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b) |
The Article Prize Selection Committee evaluates entries for the Bijutsushi
Article Prize, and their decisions are then confirmed by the Standing Committees
of the Eastern and Western Divisions, with the responsibility jointly held
by the Joint Meeting of the Eastern and Western Division Standing Committees. |
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c) |
When an Article Prize Selection Committee member has any prior form of
relationship with the author of an entry text, then the member must make
that known to the Committee. Any Selection Committee member who has previously
served in a direct advisory role to an author as an advising professor
during the writing process must refrain from voting. |
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d) |
The prize winners are determined during the May Joint Meeting of the Eastern
and Western Division Standing Committees, and prizes are presented during
the annual JAHS General Assembly. |
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e) |
Any other important issues with regard to the Prize are determined by the
members of the Article Prize Selection Committee, which then reports those
decisions to the Standing Committees of both the Eastern and Western Divisions.
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| 5) Revised May 2007. |
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List of Award Winners
Commentaries made upon Selection for Awards |
| 21th,2022 |
SHEN, Honglin: |
191 Vol.71,No.1
Judge's commentary |
|
A New Identification of the Shidafu Figure as Tudi- like Zhangdadi in the Ten Kings of Hell Painted by the Workshop of Lu Xinzhong |
| NAKAMURA, Minori: |
192 Vol.71,No.2
Judge's commentary |
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Cover Image Modifications of Le Japon artistique: The Reception of Ukiyo-e in France around 1890 |
| KAWAMOTO, Mayu: |
192 Vol.71,No.2
Judge's commentary |
| |
The Martyrdom of St. James by Navarrete el Mudo – Painted Tears and the Sacristy in the Royal Monastery
of San Lorenzo de El Escorial |
|
| 20th,2021 |
MORI, Yui: |
189 Vol.70,No.1
Judge's commentary |
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Il ciclo degli affreschi nella cappella di San Brizio, Duomo di Orvieto
(1447-1504) : il contesto politico del coinvolgimento della famiglia Piccolomini
e della famiglia Monaldeschi nel governo municipale e nel progetto del
ciclo di affreschi. |
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| 19th,2020 |
OTA, Tomoko: |
187 Vol.69,No.1
Judge's commentary |
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Iconologia delle decorazioni interne della Villa di Poggio Imperiale a
Firenze |
| ISOTANI, Yusuke: |
188 Vol.69,No.2
Judge's commentary |
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The Topology of Photography in 1930s France: Focusing on the Graphic Arts Magazine Arts et Métiers Graphiques |
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| 18th,2019 |
KÔYAMA-HAYASHI, Rie: |
185 Vol.68,No.1
Judge's commentary |
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The Role of the 1886 Kazoku Hereditary Property Law in the Protection of
Cultural Property |
| SHIOTA, Shakuyû: |
185 Vol.68,No.1
Judge's commentary |
|
A Study on Maeda Seison's Mikoshiburi: The Modern Renaissance of Handscrolls
(Emaki) |
| TOMANA, Yu: |
186 Vol.68,No.2
Judge's commentary |
| |
Consideration on the Painter Myôjitsu and the Circumstance of Execution
of Jôan Version of Gosannen Kassen Emaki |
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| 17th,2018 |
INOOKA, Moena: |
183 Vol.67,No.1
Judge's commentary |
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Expressional Awareness in the Hitachi Meishozu Byōbu |
| FUKUDA, Kyôko: |
184 Vol.67,No.2
Judge's commentary |
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Le Paysage avec une femme se lavant les pieds de Nicolas Poussin (Ottawa) et Michel Passart : un paysage du Vélabre de
la Rome antique |
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| 16th,2017 |
UCHIYAMA, Jun’ichi: |
181 Vol.66,No.1
Judge's commentary |
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Falconry Folding Screens by Kusumi Morikage, with a Focus on the Relationship
to the Kaga Family |
| KUWABARA, Natsuko: |
182 Vol.66,No.2
Judge's commentary |
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The Iconographic Study of the Last Days of the Virgin along the Northern
Wall of the Church of Santa Maria ad Cryptas in Fossa (L’Aquila) |
| PARK, Seong Hee: |
182 Vol.66,No.2
Judge's commentary |
| |
Historical Significance of Elegant Gathering at Kenkadō Hall by Kimura Kenkadō: Representation of Japanese Literati in Japan and Korea
in the Late-eighteenth Century |
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| 15th,2016 |
ECHIZEN, Toshiya: |
179 Vol.65,No.1
Judge's commentary |
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Reconsidering Isamu Noguchi’s Hiroshima Memorial to the Dead |
| SHIRAKI, Nahoko: |
179 Vol.65,No.1
Judge's commentary |
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The Five Hundred Arhats by Henmi Kazunobu and the Revival Movement of Buddhist Precepts in the
Late Edo Period |
| FURUKAWA, Moe: |
180 Vol.65,No.2
Judge's commentary |
| |
Giorgio Vasari and the Cappella dei Pittori: The Statues’ Gaze and Commemoration of the Deceased |
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| 14th,2015 |
YOkOO, Takuma: |
178 Vol.64,No.2
Judge's commentary |
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Yubōen Zukan (Daitoku-ji) by Ike no Taiga: The Acceptance and Development of Chinese
Garden Culture |
| SAKAMOTO, Atsushi: |
177 Vol.64,No.1
Judge's commentary |
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Jacopo Vignali and S. Maria Novella |
| ÔSAWA, Shin: |
178 Vol.64,No.2
Judge's commentary |
| |
A Consideration of the Hooded Ksitigarbha (Hibô Jizô Bodhisattva) of the
Goryeo Dynasty: The Date of the Tsushima Statue in the Kyushu National
Museum |
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| 13th,2014 |
SODA, Megumi: |
175 Vol.63,No.1
Judge's commentary |
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Reconsidering A Journey Around Hell and Paradise by Kawanabe Kyōsai: The Symbol of the End of the Edo Period and the Beginning
of the Meiji Era and the Figure of Commemoration |
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| 12th,2013 |
OSUGI, Chihiro: |
173 Vol.62,No.1
Judge's commentary |
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Auferstehung Christi am Isenheimer Alter: die Funktion der Darstellung der “Oransgeste” [An Observation on the
Resurrection Scene in the Isenheim Altarpiece: Regarding the Function of the Orans Type Christ Imagery] |
| FUKUSHIMA Masako: |
173 Vol.62,No.1
Judge's commentary |
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A Study of the Jinbaori with Trefoil Hollyhock Crests on White and Purple Plain Silk in the Tokyo National Museum |
| YAOI, Ayumi: |
174 Vol.62,No.2
Judge's commentary |
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Deciphering Fernand Khnopff’s Inscription – Rêve and Réalité Represented
in Des Caresses |
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| 11th,2012 |
NAKAJIMA, Megumi: |
171 Vol.61,No.1
Judge's commentary |
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Une étude sur Odilon Redon, Dans le Rêve (1879) : l’interprétation de l’ambigüité des portraitsr |
| TAKAGI, Kanako: |
171 Vol.61,No.1
Judge's commentary |
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Early Yūzen Dyeing: The Baby Clothes said to have been worn by Date Tsunamura |
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| 10th,2011 |
SUAMI, Miyuki : |
169 Vol.60,No.1
Judge's commentary |
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Un’interpretazione della pala di Sebastiano Luciani sull’altar maggiore:
dal punto di vista del programma iconografico all’epoca in cui fu ricostruita
la chiesa |
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| 9th,2010 |
UEHARA, Mai : |
168 Vol.59,No.2
Judge's commentary |
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Ricostruzione del Trittico di Castel di Carlo Crivellir |
| HIYAMA, Satomi: |
168 Vol.59,No.2
Judge's commentary |
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The Wall Paintings of Kizil Cave 118: The Story of King Māndhātr as a New
Identification |
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| 8th,2009 |
Hara Hirofumi : |
166 Vol.58,No.2
Judge's commentary |
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“The Vajrasekhara-sutra and the Function of the Sculptural Programs of Toji’s Lecture Hall” |
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| 7th,2008 |
OHNO, Yoko : |
163 Vol.57,No.1
Judge's commentary |
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La Cappella della Salita al Calvario al Sacro Monte di Varallo la visualizzazione dell’Imitatio Christi |
| TSUCHIYA, Maki : |
163 Vol.57,No.1
Judge's commentary |
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A Consideration of Shakadō engi emaki - With a Focus on the Life Story of Buddha in the First and Second Scrolls |
| MITA, Kakuyuki ： |
164 Vol.57,No.2
Judge's commentary |
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A Consideration of the Original Form and Theme of the Tenjukoku-shûchô |
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| 6th,2007 |
KAKINUMA, Marie : |
161 Vol.56,No.1
Judge's commentary |
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Paul Klees beidseitig bearbeitete Bilder |
| KATÔ, Hiroko: |
162 Vol.56,No.2
Judge's commentary |
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Sketches of Various Birds after Kano Tan’yû by Noda Tômin, and its Relation to Ogata Kôrin’s Sketches of Birds and Animals |
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| 5th,2006 |
INOUE，Taiki： |
160 Vol.55,No.2
Judge's commentary |
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On the Statues of the Period of the Foundation of the Rokuharamitsuji (Saikouji) |
| TAGUCHI, Fumiya： |
160 Vol.55,No.2
Judge's commentary |
|
The Iconography of Anthropomorphized Animals and thePossibility of Narrative
Expression：A Study of the Otogi-zoshi Tale Yahyou Nezumi |
| MOCHIZUKI, Noriko : |
160 Vol.55,No.2
Judge's commentary |
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Le Triomphe de Bacchus et Le Triomphe de Pan de Nicolas Poussin: leur signification dans le contexte de la decoration
du cabinet du Roi au chateau de Richelieu |
|
| 4th,2007 |
MATSUBARA, Tomoo: |
157 Vol.54,No.1
Judge's commentary |
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“Imperio e libertà”: elogio imperiale e culto mariano nella decorazione
pittorica del Sodoma per la Cappella degli Spagnoli |
| IKEGAMI,Hiroko : |
158 Vol.54,No.2
Judge's commentary |
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Robert Rauschenberg's Gold Standard : An Essay on Globalization in Modern
Art |
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| 3rd,2006 |
HAMASUMI,Mayu: |
156 Vol.53,No.2
Judge's commentary |
|
One Aspect of the Reception of Chinese Landscape Painting in Japan: Focusing
on Ike Taiga's White Clouds and Scarlet Trees |
| HIRAOKA, Yoko : |
155 Vol.53,No.1
Judge's commentary |
|
The Triptych with the Miracles of Christ in the National Gallery of Victoria in Melbourne: A New Interpretation
of the Images and the Dating of the Picture |
|
| 2nd,2005 |
ADACHI,Kaoru ： |
153 Vol.52,No.1 |
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Circe innamorata,o il soggetto dei due disegni di Parmigianino |
| MURAKADO,Noriko ： |
153 Vol.52,No.1 |
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Photographs of Antiquities in the Meiji Period ：Focusing of the Fine Arts
Expedition to the Kinai,1888-1889 |
| YAMAJO,Nokilo ： |
154 Vol.52,No.2 |
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L'État et l'artiste ：une étude sur les cartons d'Odilon Redon
pour la Manufacture nationale des Gobelin |
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| 1st,2004 |
MIZUNO,Ryoko ： |
152 Vol.51,No.2 |
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A Consideration of the Background of Production of Ippen Hijiri-e |
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