@article{oai:tobunken.repo.nii.ac.jp:00006272,
 author = {塩谷, 純 and Shioya, Jun},
 issue = {379},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Mar},
 note = {This essay introduces an album of Japanese paintings in the collection of the Kunstkammer (the Collection of Sculpture and Decorative Arts) of the Kunsthistorisches Museum, Vienna. The work consists of two albums containing approximately 100 images created by six artists active from the late Edo period through the early Meiji period: Kanô Eitoku, Sumiyoshi Hiroyoshi, Hattori Sessai, Matsumoto Fûko, Utagawa Hiroshige III and Toyohara Kunichika. Eitoku and Hiroyoshi were both official painters of the Edo shogunal government. Sessai was a naturalist painter. Hiroshige III and Kunichika were ukiyo-e masters who created works for popular markets. These artists all depicted the subjects they excelled at, so that the album included a diverse array of images from Japanese history, birds and flowers, genre scenes and scenes of famous places.
     From the dated inscriptions on works by Sessai and Fûko, it is thought that this album was created in Meiji 2 (1869). According to the plate attached to the albums, and the register of the Ambras Collection on which the Kunstkammer was largely founded, these albums were presented by the Japanese emperor to the Austrian Emperor Franz Joseph I. According to Japanese documents from Kôbun Roku [Original copies of official documents received by the Dajôkan, the government's central administrative office] and the Nihon gaikô bunsho [Japanese foreign affairs documents], when trade and shipping treaties between Japan and Austria were signed, two albums of paintings were among gifts presented by the Meiji emperor to the Austrian emperor and empress. The likelihood is very strong that these two albums were the albums presented. It was not rare for Japan to present paintings as part of the official gifts to other nations, but usually such presentation works were in folding screens with particularly elegant and decorative mounts. On the other hand, in 1867 the Tokugawa government displayed a painting album in the Paris World Exposition, and the two albums discussed in this article were presented to Austria. Albums with almost the same format and handling as the Vienna albums can be seen in the Palace Museum in Beijing. Rather than presenting decorative items in their diplomatic gifts, Japan in the late Edo and early Meiji periods rather sought to present works that provided a visual explication of Japan's scenes to their foreign audience.
     From this standpoint, we can also imagine the presence of Alexander von Siebold playing a role of in the production of these Vienna albums. His father was the pioneer of Japanese studies, Phillip Franz von Siebold, and he himself played a major role for the Japanese government in the signing of the AustrianJapanese commercial and maritime treaty.},
 pages = {20--48},
 title = {図版解説　ウィーン美術史美術館所蔵画帖},
 year = {2003}
}