@article{oai:tobunken.repo.nii.ac.jp:00006192,
 author = {田中, 淳 and Tanaka, Atsushi},
 issue = {395},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Aug},
 note = {Odaka Sen’nosuke (1901-1933) was an Asian art historian at the Institute of Art Research, Tokyo (predecessor to the National Research Institute for Cultural Properties, Tokyo) during its inaugural phase. He made survey trips to various parts of Asia during the 1930s, but his fame as a researcher was cut off by his early death at the age of 33. Indeed, Odaka played an important part in the Asian art research imagined for the Institute during its inaugural phase by Yashiro Yukio (1890-1975), the leader of the Institute. In fact, Yashiro expected Odaka to take over the Asian art area of the research.
     A study of Odaka reveals that there was an extremely close relationship between Odaka and the painter Kishida Ryûsei (1891-1929) and a third figure, Tanaka Kisaku (1885-1945), an older researcher at the Institute. Indeed, it seems that it was not a case of Ryûsei solely influencing Odaka, but rather a case of mutual influence between the two men.
     This article considers the process by which the young man named Odaka aimed to be an art historian based on his interests in art, and through the viewpoint of Odaka, the painter Kishida Ryûsei turned his intense passion on the antique arts of Japan and Asia. Further, mention should be made of the art historian Tanaka Kisaku, who was at times extremely close to Odaka and Ryûsei, at other times maintained some distance from the two men. Early on, Tanaka noticed Ryûsei’s artistic production, and through his art essays (including translations) and his art historical research, he was familiar with a wide range of art, from European modern art through the antique arts of Japan and Asia. These factors helped him develop Ryûsei’s interests in art. From the time that Tanaka was involved in helping with the establishment of the Institute, he also interacted with Odaka through their research on ukiyo-e. In this connection Tanaka exerted considerable influence on Odaka.
     Thus, this essay considers the relationship between Odaka, Ryûsei and Tanaka, and examines how the two art historians and one painter mutually resonated through their research on ukiyo-e, and how each shone in their respective spheres during the same period. This essay is divided into the following three chapters:

     1. The Self-Actualization Period of Odaka Sen’nosuke
     2. Odaka Sen’nosuke as seen in Ryûsei’s Diaries, and Ryûsei’s Taste for the “Classics.”
     3. Another Interest in Classics: In the Case of Tanaka Kisaku: “From then, he engaged in the study of ukiyo-e and western art.”},
 pages = {57--84},
 title = {研究ノート　尾高鮮之助と岸田劉生},
 year = {2008}
}