活動|環インド洋地域研究 国立民族学博物館拠点

イベント

グローバル地中海地域研究AA研拠点・民博拠点、環インド洋地域研究民博拠点、東京大学東洋文化研究所班研究「イスラーム美術の諸相」班共催 国際ワークショップ
NIHU Global Area Studies Program: The Global Mediterranean and Indian Ocean World Studies Joint International Workshop
日時 2025年2月8日(金)・9日(土)
場所 国立民族学博物館 第4セミナー室(本館2階)
申し込み 本イベントは、事前登録制で、どなたでもご参加いただけます。2025年2月5日(水)22:00(日本時間)までに、以下のフォームよりお申込みをお願いいたします。
https://forms.gle/G1xrZZ7Y9fzh2DRP8
詳細 2025年2月8日(土)および9日(日)の2日間、国立民族学博物館において、近現代ペルシア建築史・美術史をポストコロニアル理論、人種論、フェミニズム理論、批判理論の観点から研究されているカリフォルニア大学UC DavisのTalinn Grigor教授をお招きし、下記の要領で国際ワークショップ “Global Perspectives on Persian Art: Reception, Representation, and Identity” を開催いたします。
本ワークショップは、人間文化研究機構ネットワーク型基幹研究プロジェクト「グローバル地中海地域研究」の東京外国語大学アジア・アフリカ言語文化研究所(AA研)拠点・国立民族学博物館(みんぱく)拠点、「環インド洋地域研究」国立民族学博物館拠点、東京大学東洋文化研究所班研究「イスラーム美術の諸相」班共催のイベントです。国内外で最先端の研究に取り組む比較文化論、美術史、博物館学の研究者が一堂に会する貴重な機会となりますので、奮ってご参加ください。
使用言語 英語
プログラム
2月8日(土)
Chair: Yui Kanda (ILCAA, Tokyo University of Foreign Studies)
14:00–14:05 Welcoming Address
  • Minoru Mio (NIHU Global Area Studies Program representative, National Museum of Ethnology)
14:05–14:10 Introduction
  • Zahra Moharramipour (International Research Center for Japanese Studies)
14:10–15:00
  • Zahra Moharramipour (International Research Center for Japanese Studies)
    Tracing Sasanian Art Historiography: The Intersection of Japanese and Persian Art Histories in the Early 20th Century
15:00–15:10 Coffee Break
15:10–16:00
  • Yumiko Kamada (Keio University)
    Reception of Persian Art Objects in Japan
16:00–16:10 Coffee Break
16:10–17:00
  • Aki Toyoyama (Kindai University)
    Reimagining the Persianate and Exotic in Indo-Saracenic Palaces of Hyderabad and Mysore Commentator: Kenji Kuroda (National Museum of Ethnology)
2月9日(日)
10:10-11:00
  • Yuki Terada (Tokyo College, The University of Tokyo)
    Museums in Iran and Identity Formation – Continuities, Changes, and Challenges
11:00-11:10 Coffee Break
11:10-12:00
  • Talinn Grigor (UC Davis): Circulating Irano-Armenian Architects and the International Style in and out of Modern Iran
12:00-12:10 Coffee Break
12:10-13:00 Comments and Discussion
  • Commentator: Zahra Moharramipour (International Research Center for Japanese Studies)
13:00-14:30 Lunch Break
14:30-15:30 Museum Tour
15:30-17:00 Discussion
要旨/
登壇者略歴

Zahra Moharramipour (International Research Center for Japanese Studies)
Tracing Sasanian Art Historiography: The Intersection of Japanese and Persian Art Histories in the Early 20th Century

【Abstract】
In his 1925 lecture in Tehran, titled “Persian Art and Culture,” American art historian Arthur Upham Pope highlighted the “inspiration and artistic guidance” that Japan and China received from Persia. Pope presented this as an example of the “contributions made by Persia to the cultural and spiritual life of the world.” This paper examines the historiography of Sasanian art in Japan and Europe to elucidate how the notion of a connection between Japan and Persia was established in the early 20th century. In the late 19th century, a textile with pearl roundel and hunting motif was discovered in Horyuji Temple in Nara, prompting questions about the origin of the textile and, more broadly, the origins of Japanese art. In his doctoral dissertation, On the Architecture of Horyuji Temple, Japanese architectural historian Ito Chuta attributed the textile’s pattern to a “Sasanian” origin. Ito’s dissertation was later introduced to Europe, where it became a reference point in discussions of both Japanese and Persian art history. This paper explores the circulation of ideas surrounding the so-called “Sasanian” textiles to understand how Japanese and European art historians shaped discourses on Japan-Persia relations and how these ideas were subsequently received in Iran.

【Biography】
Zahra Moharramipour is Assistant Professor at International Research Center for Japanese Studies. Her research focuses on the formation of the idea of “Persia” in early 20th-century Japan, employing an interdisciplinary approach that integrates art history, architectural history, archaeology, history, and literature. She was previously a JSPS fellow at the National Museum of Ethnology and received her PhD in Comparative Literature and Culture from the University of Tokyo in 2023. Her doctoral dissertation, Expanding the Concept of the “Orient” in Early Twentieth Century Japan: Perceptions of Persia among Ito Chuta and the Japanese Architects, Art Historians and Historians, was awarded the Kim So-un Prize from the University of Tokyo Society of Comparative Literature and the Ichiko Memorial Award from the University of Tokyo College of Arts and Sciences. A monograph based on her dissertation, written in Japanese, is forthcoming in 2025.

Yumiko Kamada (Keio University)
Reception of Persian Art Objects in Japan

【Abstract】
There has been a wide-spread understanding that Persian art had little, if any, influences over Japanese culture. In fact, there has been numerous encounters between Persian arts and Japanese audience. In this paper, I will explore two prominent cases of these encounters.
The first part of this paper explores the contexts and modes in which Persian art objects, including textiles and carpets, were received in early modern Japan. Due to the preeminence of Persian textiles, robes, and carpets, Persian rulers often used them as diplomatic gifts since ancient times. Similarly, in the 16th century, the Portuguese brought Persian textiles and carpets to Japan as gifts. Recognizing the value that the Japanese placed on these rare items, the Dutch also used them as diplomatic gifts during the Edo period. From the 18th century onwards, powerful merchants in Kyoto utilized Persian carpets as float covers during the annual Kyoto Gion Festival to demonstrate their wealth and cultural sophistication. Another notable context in which Persian textiles were integrated into Japanese culture was the tea ceremony. Tea masters crafted covers for tea caddies from imported Persian woven textiles, which further elevated their value and reputation. Even tiny fragments of Persian woven textiles were preserved in albums and highly regarded among tea circle members.
The second part of this paper focuses on Japanese painters who traveled to Europe to study Western-style painting in the late 19th and early 20th centuries, a period when interest in Islamic art was flourishing among European artists and collectors. Following the publication of Owen Jones’ works on the Alhambra and The Grammar of Ornament, many European artists drew inspiration from Islamic art objects. William Morris, for instance, collected Persian carpets and famously incorporated their designs into his own art. Prominent artists and museums alike accumulated Islamic art, with the “Arab Hall” in Frederick Leighton’s residence serving as a notable example of such collections.
In this environment, Japanese painters encountered Islamic art for the first time. Some visited leading institutions such as the Victoria and Albert Museum, where they studied textiles, ceramics, and paintings from the Islamic world. These artists returned to Japan with Persian textiles and other Islamic artifacts, which they used to inspire and educate young Japanese artists. Interestingly, Japanese artists who traveled to India in the early 20th century also encountered Persian paintings alongside Mughal art. This paper aims to illuminate these lesser-known connections between Japanese artists and Islamic, particularly Persian, art.

【Biography】
Yumiko Kamada is an Associate Professor at Keio University. She received her B.A. from Keio University in 2002, M.A. from the University of Tokyo in 2004, and Ph.D. from the Institute of Fines Arts, New York University in 2011. She specializes in Islamic art history. After the publication of her book, Jutan ga Musubu Sekai: Kyoto Gion Matsuri Indo Jutan e no Michi (Carpets that Connect the World: Indian Carpets and Their Journey toward the Kyoto Gion Festival, University of Nagoya Press, 2016), she received several awards including the Japan Academy Award. Her recent research focuses on Japanese artists’ encounters with and reactions to Islamic art during their stays in Europe in the early 20th century. Among the articles she wrote are "The Material Translation of Persian and Indian Carpets and Textiles in Early Modern Japan" in In-Between Textiles, 1400-1800: Weaving Subjectivities and Encounters, Amsterdam University Press, 2023, pp. 305-326; “The Attribution and Circulation of Flowering Tree and Medallion Design Deccani Embroideries,” in Sultans of the South: Arts of the India’s Deccan Courts, 1323-1687, Yale University Press, 2011, pp. 132-147; “A Taste for Intricacy: An Illustrated Manuscript of Mantiq al-Tayr in the Metropolitan Museum of Art” Orient 45 (2010), pp. 129-175.

Aki Toyoyama (Kindai University)
Reimagining the Persianate and Exotic in Indo-Saracenic Palaces of Hyderabad and Mysore

【Abstract】
This paper discusses as to how Indo-Saracenic architecture which developed in late-nineteenth-century India reflected the Victorian imagination of the exotic, comprising of Persian, Islamic, Oriental, and other non-Western labels, and to what extent it impacted Indian society to redefine its identities through the transformation of traditional urban spaces into hybrid visualscapes. Focusing on Hyderabad and Mysore, two of the most prominent princely states in the Indian Empire both located in the southern Deccan where Shi’a Islam and Persian culture occupied a distinctive position since the fourteenth century, the paper analyses stylistic features of their palace complexes constructed under British supervision by tracing different sources of architectural shapes and decorative motifs and examines visual implications of those architectural idioms in political, social, and cultural contexts.
It is not surprising that the adoption of the Indo-Saracenic style in Muslim-ruled Hyderabad and Hindu-ruled Mysore signified different meanings and values. Claiming the origin of Persian lineage, the Nizams of Hyderabad actively incorporated the architectural details of the Shi’ite Qutb Shahis of Golconda into their buildings. The present Khilwat Mubarak (durbar hall) completed in 1916 at the Chowmahalla palace shows an eclectic character consisting of Hindu, Mughal, and Qutb Shahi elements, among which intricate plasterworks on wall surfaces are unique features to Hyderabad’s Indo-Saracenic architecture representing the Nizams’ perceptions of an inheritance of the Persianate Deccan. On the other hand, the Mysore palace completed in 1912 demonstrates more modernised and hybrid features culminating an extravaganza of Indo-Saracenic palaces. Stained-glass ceilings, cast-iron pillars, and encaustic floor tiles all from Britain and the adoption of a peacock motif as a symbol of kingship indicates the rulers’ polysemic identities of “India” rather than Mysore, Deccan, or Hindu, reinvented through the negotiation between the Victorian notions of the exotic and the Maharajas’ strategies of self-representations of colonial modernity.

【Biography】
Aki Toyoyama is Associate Professor at the Faculty of International Studies in Kindai University (Osaka, Japan). Her research focuses on the history of colonial art and architecture of South Asia, with a particular attention to the global trade of decorative tiles called majolica made in interwar Japan and diffused not only in Japan’s colonies but also in the Straits Settlements, India, and other British and European colonies in the Indian Oceanic world. Her publications include Divine Affection: Enchanting Images of Hindu Deities (Co-author, National Museum of Ethnology, 2003, in Japanese), “A Political History of Handicrafts and Exhibitions in Colonial India” in The Journal of the Society for Arts and Anthropology, Vol. 39 (2023, in Japanese), The Vibrance of Indian Fabrics (Co-author, Showado, 2021, in Japanese), and “Visual Politics of Japanese Majolica Tiles in Colonial South Asia” in The Journal of Indian and Asian Studies, Vol. 1, No. 2 (2020).

Yuki Terada (Tokyo College, The University of Tokyo)
Museums in Iran and Identity Formation – Continuities, Changes, and Challenges

【Abstract】
Museums act as gatekeepers of cultural narratives and serve as reflections of societal power dynamics. This presentation highlights the role of museums in Iran to define “Iranian art” and illustrates the ongoing interplay between culture and power by examining how “national culture” and “foreign cultures” have been collected and represented in major museums inside the country since the late 19th century. At the beginning of the presentation, some features of the first royal museum in Iran, which was created inside the Golestan Palace in 1876, will be briefly introduced. Then, the history of cultural policy from the 20th century onward will be summarized. Iran’s cultural policy has evolved under two distinct ideologies: the Pahlavi dynasty (1925–1979), which promoted modernization and Westernization, and the Islamic Republic, established after the 1979 Islamic Revolution. However, a closer look at examples shows that both periods embraced not only “national culture” but also “foreign cultures” and encouraged cross-cultural exchange and multicultural representation. The presentation primarily focuses on the museums which have been showcasing both “Iranian art” and art from around the world (i.e. Tehran Museum of Contemporary Art, Jahan-Nama Museum of Niavaran Palace Historical Cultural Complex, World Art Museum). By comparing and contrasting these museums striving for “coexistence”, the talk further discusses what it means to define “national culture” within a global context and the continuities, changes, and challenges of identity formation in museum curation.

【Biography】
Yuki Terada is a Project Assistant Professor at Tokyo College, the University of Tokyo. Her research primarily focuses on how museums have been used to divide or integrate human groups and cultivate senses of belonging. She also examines how museums, which can change in accordance with the government in power, have functioned as a way to define, collect, and exhibit one’s own culture and the culture of others in Middle Eastern Islamic countries. Her doctoral dissertation, “Museum for Whom? The Evolution of the Museum and ‘Iranian Art’ in Iran” (2022) provided an overview of cultural policies and the history of museum establishment and discussed the role of museums in Iran as a stage for cultural diplomacy. Currently, she is conducting a research project titled “Museum of Science and Technology and the Paradox of Peace,” which examines how art, religion, science, and technology are displayed in contemporary Iranian museums and beyond.

Talinn Grigor (UC Davis)
Circulating Irano-Armenian Architects and the International Style in and out of Modern Iran

【Abstract】
In June 1928, twenty-eight architects, not all “Europeans” as claimed by canonical art history, were the guests of Swiss philanthropist Hélène de Mandrot in the Chateau de la Sarraz, where they drafted Congrès Internationaux d'Architecture Moderne’s (CIAM) manifesto. Gabriel Guevrekian, who had first introduced de Mandrot to Le Corbusier and led the organization of this seminal congress, was a vital player in the formation of the International Style whose Houses 67-68 figured at the center of Vienna’s Werkbund Exhibition in 1932. The following year, when the Nazis cracked down on the Modern Movement, Guevrekian—a Constantinople-born, Tehran-raised, Vienna-educated, and Paris-trained Armenian architect—accepted Reza Shah’s invitation to serve as Tehran’s chief architect. He and others, including Vartan Hovannisian and Nektar Papazian Andreeff, brought the International Style to the autocratic king’s tabula rasa. This talk asks why, given the staunchly nationalist policies of the 1920s-30s, did many of the modernist architects come from Iran’s religious minorities.
The diasporic global networks of Irano-Armenians since Shah Abbas’ deportations in the early 17th century, coupled with their commitment to the “international” doctrine of the Modern Movement and the International Style, rendered them influential agents in shaping Iranian as well as global modernism in architecture. This minoritarian agency of Irano-Armenian globality manifests itself as early as 1920, when Diana Abgar—a Rangoon-born, Calcutta-raised Armenian child of a Shirazi mother and a New Julfan father, was appointed as the First Republic of Armenia’s Honorary Consul to Japan, serving as one of the earliest female diplomats in the modern era. Challenging canonical art histories of the Modern Movement and nationalist histories of Area Studies, the study explores minoritized agencies in shaping and circulating the International Style.

【Biography】
Talinn Grigor is Professor of Art History in the Department of Art and Art History at the University of California, Davis. Her research focuses on 18th- to 20th-century architectural and art histories through postcolonial, race, feminist, and critical theories grounded in Iran, Armeno-Iran, Armenia, and Parsi India. Her books include the winner of the Saidi-Sirjani Book Award, The Persian Revival (2021), Contemporary Iranian Art (2014), Building Iran (2009), and Persian Kingship and Architecture (2015) co-edited with Sussan Babaie. Grigor has received fellowships from the National Gallery of Art, Getty Research Institute, Cornell’s Humanities Center, Princeton’s Persian Center, MIT’s Aga Khan Program, SSRC, and Persian Heritage and Gulbenkian foundations. Co-authored with Houri Berberian, The Armenian Woman, Minoritarian Agency, and the Making of Iranian Modernity, 1860–1979, is forthcoming from Stanford University Press in March 2025. Grigor’s current book project explores Armenian architects’ unknown and global agency in the history of avant-gardism in West Asia.

備考 Co-hosted by:
NIHU Global Mediterranean at ILCAA, Tokyo University of Foreign Studies, NIHU Global Mediterranean at the National Museum of Ethnology, NIHU Indian Ocean World Studies at the National Museum of Ethnology, “Various Aspects of Islamic Art” Working Group at the Institute for Advanced Studies on Asia, The University of Tokyo
第7回ACSAS国際会議 SOUTH ASIA IN ASIA: CHALLENGES AND POSSIBILITIES
日時 2024年11月22(金)・23日(土)
場所 シンガポール国立大学 Shaw Foundation Building
プログラム
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第6回ACSAS国際会議 Connectivity and Mobility in South Asia and Beyond
日時 2023年11月17日(金)・18日(土)
場所 京都大学 稲盛財団記念館3階大会議室
プログラム
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11月17日(金)
10:30-11:00 Registration
11:00-12:00 Opening Session
  • Opening Remarks: Minoru Mio (National Museum of Ethnology)
  • Keynote Speech: Takenori Horimoto (Gifu Women's University)
    “How do we map South Asia in the Indo-Pacific?”
12:00-13:30 Lunch
13:30-15:00 Politico-economic Connectivity / Chair: Misu Kim (Hankuk University of Foreign Studies)
  • Pham Cao Cuong (Vietnam Academy of Social Sciences)
    “Maritime Security Connectivity between India and Southeast Asia”
  • Surat Horachaikul (Chulalongkorn University)
    “A Look at How Thai Media Positively Depicted India in 2023 and What are the Geopolitical Implications of this Coverage?”
  • Dang Thai Binh (Vietnam Academy of Social Sciences)
    “India-ASEAN Economic Cooperation in the Act East Policy”
15:30-17:00 Socio-cultural Connectivity / Chair: Gyanesh Kudaisya (National University of Singapore)
  • Jozon Angeles Lorenzana (Ateneo de Manila University)
    “A Suitable Transport: The Indian Auto-rickshaw on Philippine Roads”
  • Jirayudh Sinthuphan (Chulalongkorn University)
    “Transcultural Indian Arts: Towards A New Form of People-to-People Diplomacy”
  • Dang Thu Thuy (Vietnam Academy of Social Sciences)
    “Enhancing Vietnam - Nepal Tourism Cooperation”
11月18日(土)
9:00-10:30 Mobility and Migration / Chair: Riho Isaka (University of Tokyo)
  • Mamta Sachan Kumar (National Museum of Ethnology)
    “Can a Diaspora Die? Kobe's “Hima-jin” Sindhi Housewives and the Paradoxical Value of Their Hypersocial Lives”
  • Sidharthan Maunaguru (National University of Singapore)
    “Connected and Disconnected Futures: Multiple Temporalities and Sri Lankan Tamil Migrations across Borders”
  • Gilbert Que (Ateneo de Manila University)
    “Indian Associations in the Philippines: Communicating Diasporic Presence, Fostering Belonging”
11:00-12:30 Historical Connectivity / Chair: Surat Horachaikul (Chulalongkorn University)
  • Makoto Kitada (Osaka University)
    “The Thief of Love. The Earliest Works of Bengali Literature: From Kathmandu to Chittagong”
  • Banuka Iddamalgoda (University of Tokyo)
    “Drug Diffusion and Social Agitation-the Case of Opium in British Ceylon”
  • Gyanesh Kudaisya (National University of Singapore)
    “At the Threshold of Freedom: Ideas and Agendas for India, 1944-1949”
12:30-13:30 Lunch
13:30-15:00 Social Transformation / Chair: Tran Thi Lan Huong (Vietnam Academy of Social Sciences)
  • Jinwon Han (Hankuk University of Foreign Studies)
    “Public Sector Corruption in South Asia: Focusing on Institutional Factors with a Two-step fsQCA”
  • Czarina Saloma-Akpedonu (Ateneo de Manila University)
    “Digital Capital and Belonging in Universities: Understanding Inequalities in India and the Philippines”
  • Shin Jinyoung (Hankuk University of Foreign Studies)
    “Social Innovation of India in Great Transition”
15:00-15:30 Closing Session
  • Concluding Remarks: Minoru Mio (National Museum of Ethnology)
15:30 ACSAS Directors' Meeting
  • at Small Conference Room 1, Inamori Memorial Building
INDOWS国際シンポジウム “Discovering the Indian Ocean World: “Gyres”, Indian Ocean and beyond”
日時 2023年1月21(土)・22(日)・23日(月)
場所 国立民族学博物館 第4セミナー室(本館2階)+ Zoomオンライン
[大阪府吹田市千里万博公園10-1]
アクセス https://www.minpaku.ac.jp/information/access
言語 英語(同時通訳あり)
申し込み 対面参加(国立民族学博物館):申込フォームはこちら
Zoom参加:申込フォームはこちら
2023年1月11日(水)締切
  • 申し込みされたすべての方に1月20日までにZoomリンクをお送りいたします。
  • 対面参加は、先着40名までとさせていただきます。
お問い合せ 環インド洋地域地域研究プロジェクト 国立民族学博物館拠点
indowsconference@gmail.com
06-7661-8501
プログラム
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1月21日(日)シンポジウム1日目
10:00-11:00 Opening remarks
  • Koji Miyazaki (Executive Director, National Institute for the Humanities)
  • Kenji Yoshida (Director-General, National Museum of Ethnology)
  • Minoru Mio (Convener, NIHU Indian Ocean World Studies Program)
11:00-13:30 Session 1: Materials
  • “Mocha Coffee” in Three Ways: Plant, Brand and Blend
    Hideaki Suzuki (National Museum of Ethnology)
  • From the Edge of the Indian Ocean: Qat and the people who trade and consume it
    Reiko Otsubo (Tokyo University of Foreign Studies)
  • A World made from Scrap: Scrap Circulation in and beyond Ahmedabad, India
    Ayako Iwatani (Kyoto University)
  • A blank canvas for fashion: merikani cotton cloth in the 19th century
    Sarah Fee (Royal Ontario Museum)
14:30-17:00 Session 2: Cultural Phenomena
  • Creolising swirls, transoceanic gyres: Creolisation theory and transcultural phenomena in the Indian Ocean world
    Ananya Jahanara Kabir (King’s College London)
  • Indians in Swahili Literature: Comparing Vuta N’kuvute and Propaganda Literature
    Fuko Onoda (Osaka University)
  • Spatial Organization of Port Cities in the Indian Ocean World: From the Perspective of the Distribution of Communities
    Shu Yamane (Kwansei Gakuin University)
  • Two Currents in Ramayana: Ramayana Productions from Singapore and its Gyre to the Global Indian World
    Yoshiaki Takemura (National Institutes for the Humanities)
1月22日(日)シンポジウム2日目
10:00-12:30 Session3: People
  • Ecological factors behind the circulation of Indian traders in the Indian Ocean
    Claude Markovits (Centre national de la recherche scientifique)
  • Intersecting land and maritime trade networks in Southwest Asia: the Afghan arms trade in cooperation with various trade networks at the turn of the 19th and 20th centuries
    Ichiro Ozawa (Ritsumeikan University)
  • Indian Social Networks and the Role of Intermediaries in Indian Ocean Labour Migration in the Colonial Era.
    Crispin Bates (Sunway University)
  • Different Migration Patterns of the Hadrami sada from a Comparison of the al-‘Aydarus and the al-Habshi families
    Kazuhiro Arai (Keio University)
13:30-16:00 Session 4: Ideas and Faiths
  • The Haddadian paradigm in the Indian Ocean. Tracing movements retold
    Anne Bang (University of Bergen)
  • Introspection of Religious Identity across the Indian Ocean: Reading ?Al? b. Mu?ammad b. ?Al? al-Mundhir?’s Works
    Yohei Kondo (Fukuoka Women’s University)
  • A new aspect of Hinduism in the diaspora and its significance: Tamil ritual worship at a Hindu temple in Jakarta, Indonesia
    Hiroshi Yamashita (Tohoku University)
  • Shirdi Sai Baba’s Oceanic Transmigrations
    Smirti Srinivas (University of California, Davis)
16:30-17:30 Roundup discussion
1月23日(月)若手研究者による国際会議
13:00-17:00 Time table: TBA

研究会

MINDOWS第11回研究会
日時 12月22日(水)15:00-17:00
場所 国立民族学博物館 第一演習室
プログラム 発表者:溝渕智咲(東京大学大学院 人文社会系研究科 博士課程)「18世紀後半におけるベンガル東部シレットの季節的気象変動と象狩り」
MINDOWS第10回研究会
日時 2024年7月7日(木)13:30-17:30
場所 国立民族学博物館 第一演習室
プログラム
  • 13:30-13:35 開会の挨拶、連絡事項(三尾稔)
  • 13:35-13:50 趣旨説明(新井和広)
  • 13:50-14:45 報告1:馬場多聞(立命館大学)「ラスール朝とラバ」
  • 14:45-15:00 質疑応答
  • 15:10-16:05 報告2:栗山保之(大東文化大学)「イエメン・ラスール朝アデン港税関におけるインド洋貿易品名にみえる製造・生産地名(仮)」
  • 16:05-16:20 質疑応答
  • 16:20-17:00 総合討論
  • 17:00 終了
MINDOWS第9回研究会
日時 2024年3月27日(水)15:00-17:00
場所 国立民族学博物館 第一演習室
プログラム 杉本星子(京都文教大学 教授)「播州地方におけるアフリカ向け布生産――『マスカットクロス』をめぐって」
播州地方において1970年代ごろまで、東アフリカから西アフリカに向けて輸出用木綿縞織物「マスカットクロス」がつくられ、現地で儀礼用衣装として使用されていた。本発表では、「マスカットクロス」が播州地方でどのように生産され、どのように輸出されていたかについて報告する。
コメンテーター:上羽陽子(国立民族学博物館 准教授)
グローバル地中海地域研究+環インド洋地域研究 合同ワークショップ「近代アジアにおける認識論的自己/他者の具象化―思索するモノと地域研究的方法論をめぐって
日時 2024年2月21日(木)15:00-18:00
場所 国立民族学博物館 第6セミナー室 + オンライン
趣旨  本ワークショップは近代の日本、インドそしてペルシアをめぐる認識論的・存在論的な自己/他者の境域の展開について、思索を具象化させるモノとその配置に着目し、従来の言説分析を超えた研究方向の可能性とグローバル現象をめぐる地域研究的なアプローチ方法について検討することを目的としている。
 『東洋の理想』における岡倉天心の「アジアは一つである」という書き出しはアジアと東洋との関係のうえで一つの歴史的な瞬間であった。ギリシア語に語源を辿ると「東(asu)」を指すアジアはヨーロッパ人の手によって地図の上に記され地理学的概念である。他方、元来中国では東洋は大陸の東の海を指す語であり、日本で独自の意味を持つようになった語である。18世紀の日本において元来中国で「西洋」は南洋の西側の大海を意味する海域を指す語が、一つのまとまりとしてのヨーロッパ諸国を指す語として発明されたことを契機としながら、西洋への心的・文化的対抗概念として東洋は概念的空間を伸縮拡大させてきた。それゆえ岡倉の言明は、アジアというヨーロッパによる他称であった地理空間が、日本の発明である東洋概念とが自己同一化されたという意味で歴史的な重要性をもった。もっともアジアそのものも地理的概念でありつつも、近現代アジアの諸地域において思想的な連鎖を伴いながら自己同一性の問題として伸縮拡大してきたことが知られている。つまりアジアも西洋/東洋も存在論的・認識論的な自己/他者をめぐって境域が再設定されてきたことが知られている。
 こうした概念的な境域の再設定をめぐっては、アジア主義をめぐる歴史・思想研究のように主として言説に焦点を当てた研究がけん引してきた。これに対して本ワークショップでは認識論的自己/他者を具象化するモノとその配置に焦点をあてることで、従来の言説分析を超えた研究方向の可能性とともに、グローバル現象をめぐる問題設定と地域研究的なアプローチ方法について検討したい。
プログラム
  • 15:00-15:05 開会挨拶
    三尾稔(環インド洋地域研究国立民族学博物館拠点代表)
  • 15:05-15:10 趣旨説明
    黒田賢治(国立民族学博物館)
  • 15:10-16:00 報告1
    ザヘラ・モハッラミプール(日本学術振興会/国立民族学博物館)「「西洋」と「東洋」の狭間――20世紀初頭の日本におけるペルシア美術理解の二面性」
  • 16:00-16:10 休憩
  • 16:10-17:00 報告2
    豊山亜希(近畿大学国際学部)「植民地博覧会におけるインドの自己/他者表象とアジア観」
  • 17:10-17:20 休憩
  • 17:20-18:00 コメント・総合討論
    コメンテーター:稲賀繁美(京都精華大学)
共催 環インド洋地域研究国立民族学博物館拠点、グローバル地中海地域研究国立民族学博物館・東京外国語大学AA研拠点
MINDOWS第8回研究会
日時 2024年2月8日(木)13:30-17:30
場所 国立民族学博物館 第一演習室
プログラム 鈴木英明(国立民族学博物館グローバル現象研究部)「趣旨説明:感覚を手掛かりに環インド洋世界は見いだせるのか?―イントロダクション」
小林和夫(早稲田大学政治経済学術院)「西アフリカにおけるインド綿布ー大西洋奴隷貿易とその後」
大橋厚子(京都大学東南アジア地域研究研究所)「アチャール(漬物)調査と世紀が代わる頃の研究風景、そして今」
総合討論
MINDOWS第7回研究会
日時 2023年7月23日(日)13:30-17:30
場所 国立民族学博物館 第一演習室
プログラム Mamta Sachan Kumar(PD・国立民族学博物館外来研究員)「Health, Help and Housework: Field Observations of Sindhi Housewives in Kobe's Ageing Diaspora」
仲尾友貴恵(PD・国立民族学博物館)「東アフリカ都市の「インド人/アジア人」と障害者ケア」
MINDOWS第6回研究会
日時 2022年10月30日(日)10:00-17:00
場所 国立民族学博物館 第一演習室
プログラム 飯田卓(国立民族学博物館)「文化遺産としてのセガ・マロヤ」
松川恭子(甲南大学)「環インド洋におけるインド系のフローを傍流から捉える―ゴア⼈のつながりから⾒えるもの―」
山根周(関西学院大学)「インド洋海域港市の都市校正—コミュニティ分布に着目して」
MINDOWS第5回研究会
日時 2022年10月27日(木)16:00-18:00
場所 Zoomオンライン
プログラム 鈴木英明(国立民族学博物館)「インド洋西海域世界の捕まえ方」
MINDOWS第4回研究会
日時 2022年10月26日(水)16:00-18:00
場所 Zoomオンライン
プログラム 松井梓(国立民族学博物館)「環インド洋世界と小島社会を結ぶ(2)―モザンビーク島の空間と人びとの相互作用の変遷」
MINDOWS第3回研究会
日時 2022年10月4日(火)16:00-18:00
場所 Zoomオンライン
プログラム 上羽陽子(国立民族学博物館)「植物加工技術と生態資源利用からみた物質文化研究の可能性」
MINDOWS第2回研究会
日時 2022年8月3日(火)16:00-18:00
場所 Zoomオンライン
プログラム 豊山亜希(近畿大学)「環インド洋地域研究試論―美術史からのアプローチ」
MINDOWS第1回研究会
日時 2022年6月19日(日)13:30-17:30
場所 国立民族学博物館 第一演習室
プログラム 三尾稔(国立民族学博物館)「『環流』のバージョンアップおよびTranslationについて」
新井和広(慶応義塾大学)「インド洋におけるアラブ移民研究の可能性:ハドラマウト出身者の事例から」