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21 Is a photograph an image or an object?Generaliy, the age of mechanical reproduction is said to start since the birth of photography in the 19th century. However, photographs at the dawn of its history impress us with their substantial quality stronger than the later ones. This fact indicates that the earliest photographs are deeply linked to private possession rather than technical possibilities of mass-reproduction. For the private possession makes the possessors familiar to their own images as well as their family's and friends' ones. Among them, the card size portraits called " Carte de Visite" symbolize how the individuals existed in the modern industrial age through the size.- Daguerreotype A Daguerreotype is made on a silver-plated sheet of copper made light-sensitive by prior exposure to vapors that produced silver iodide. The plate was next exposed in a modified camera obscura, and then treated with mercury vapors. This epoch-making practical form of reproduction in photography is named after its inventor, Louis Jacques Mande Daguerre (b.1787-d.1851). Because the accuracy to represent the objects is much better than former techniques, then the age of mechanical reproduction started. 21-D1 Anonymous, Portrait of Four Women. Daguerreotype (1/2 plate), 11.3 x 14.2, USA, 1850s, No.2036 21-D2 Anonymous, Double Portrait of a Boy turned Young Man, Daguerreotype (1/6 plate) in a full-leather case, 9.5 x 8.2, USA, ca.1852/1858, No.3116 21-D3 Anonymous, Portrait of a man, Daguerreotype (1/6 plate) in a full-Ieather case, 9.3 x 8.0, USA, ca.1850. No.3117 21-D4 Anonymous, Portrait of a young woman holding a gun-case, Daguerreotype (1/6 plate) in a half leatherette case, 9.1 x 7.9, USA, ca.1850, No.1067 21-D5 Anonymous, Portrait of a hand-disabled young woman holding a gun-case, Daguerreotype (1/6 plate) in a half leatherette case, 9.1 x 8.0, USA, ca.1850, No.1325 21-D6 Simons, Portrait of a thoughtful man with a cranium, Daguerreotype (1/4 plate) in a full-leather case, 12.0 x 9.2, USA, ca.1850, No.3148 - Tintype Tintype was invented by a French named Adolphe-Alexandre Martin (b.1824-d.1896) in 1852. It began as thin sheets of iron or tin, covered with a layer of black paint. This serves as the base for the same iodized collodion coating and silver nitrate bath. It is then sensitized by being dipped into a bath of silver nitrate, and exposed in the camera while still wet. A chemical developer is used to bring out the image on the black base with white or gray color gradation. It hed not been spread in Europe where Talbot type became popular, however, because it was cheap and endurable, it became much popular in the United States during the Civil War. As it is pressed on a sheet of metal, it is also called Ferrotype 21-T1 Anonymous, Portrait of a man, Tintype (1/6 plate), Case size 11.3 x 8.0, Budapest?, ca.1860 21-T2 Anonymous, Portrait of an American boy, Tintype (1/6 plate), Case size 11.8 x 7.8, USA, ca.1860 21-T3 Anonymous, Portrait of an American, Tintype (1/6 plate), Case size 10.2 x 8.1, USA, ca.1860 - Ambrotype The ambrotype produced pictures on glass instead of metal plates, which is flowed with a sticky material known as iodized collodion. The glass plate is then backed with black material -paint, cloth or paper-to have the positive images. It was invented in England in 1851. In early day of Meiji period, it is called wet collodion photo or glass copied photo and became popular in every photo studio such as in Tokyo, Osaka, and Kobe. In Kyoto, the photo studio of HORI Yohei (b.1826-?) located on Teramachi-street was the pioneer. The Tourists to Kyoto purchased their own images in the photos as souvenirs. 21-A1 Anonymous, Portrait of a Japanese boy, Ambrotype. Glass plate in a leather case, Case size:11.6 x 9.2 21-A2 Hori Yohei photographed, Portrait of HISAKAWA Naojiro at the age of sixteen, Glass-plate in a poulownia wood case, Case size:10.6 x 7.7, Kyoto, 1879 21-A3 Hori Yohei photographed, Portrait of HISAKAWA Toshikane at the age of forty three, Glass-plate in a poulownia wood case, Case size:10.6 x 7.7, Kyoto, 1879 21-A4 Hori Yohei photographed, Portrait of Tomosaburo at the age of twenty three, Glass-plate in a poulownia wood case, Case size:12.4 x 9.5, Kyoto, 1879 21-A5 Hori Yohei photographed, Portrait of a man, Ambrotype, Glass-plate in a poulownia wood case, Case size:11.0 x 8.1, Kyoto, 1879 22 "Copy" photo and "Original" photoCompared to pictures which exist as sole existence, photographs have their essence in potentiality of copy by means of optical mechanism of object lens. In photography photos signed by the photographer are recognized as "original prints" following the tradition in fine arts field. What is ever the essential difference in these days between photographs as reproduction of negatives and the prints copied through the process of highly developed digital printing?22-1 ANZAI Shigeo (b.1939-) photographed, Portrait of Andy Warhol (b.1928-d.1987), Original gelatin silver print, 29.5 x 20.3 (framed size 44.0 x 36.6), Tokyo, Private collection It is signed by the photographer and dated on October 31, 1974; "Andy Warhol, October 31, 1974, Tokyo. Anzai, 4/15 (edition number)". 22-2 ANZAI Shigeo photographed, Portrait of Andy Warhol, reproductive print, 28.5 x 19.7 (framed size 44.0 x 36.6), 2000 23 Beeoming Original after Reproduction!Generally, it is thought that original is authentic and copy is unauthentic. However, there is an example disproving this widely accepted idea. For instance, paper money is a good one. Since it is printed matter, a paper money has its original master plate. Though this plate is surely original, it is not money. Thousands or millions of massively copied items with accuracy are true money. An artwork Model 1,000yen Bill by Artist A (= AKASEGAWA Genpei) broke through the daily life mechanism constructed on such currency economy system by surprise. This Model 1,000Yen Bill was thought against the law and the artist was persecuted on charge of Counterfeit currency and security control law to Tokyo District Court in 1965. He was sentenced guilty in this case at the Supreme Court in 1970. Today a Model 1,000Yen Bill is traded at high price in the art market where its historical value is highly evaluated.23-1 AKASEGAWA Genpei (b.1937-), Zero Yen Bill printed by Great Nippon Zero Yen Publisher, printed on the both sides of paper, 14.4 x 30.8, 1969, Private collection 23-2 AKASEGAWA Genpei, Postal cover and Note to send the above object 23-1, Printed and hand-written on paper, 19.6 x 11.9, 1969, Private collection 23-3 AKASEGAWA Genpei 4 Models 1,000 Yen bill, printed on the both sides of paper, 7.5 x 16.1, 1963, SCAI THE BATHHOUSE collection 23-4 1,000 Yen Bill 7.5 x 16.1, Private collection 24 control of Copyrights by State GovernmentStamps are also under control of the national governments like banknotes. The reason why using stamps has no objection is that their reproduction is under the sound public control. Thus, forging stamps is usually regarded as criminal. However, under a specific historic circumstance an exceptional incident could happen. During World War II, the U.S. Government forged the fake stamps of Nazi Germany and tried to circulate them in order to throw the country into economic confusion. Besides, the Democratic People's Republic of Korea manufactured official imitation of early stamps, so-called "reprint", targeting foreign collectors to obtain foreign currency in 1957.24-1 Usage of Postal Forgery stamps, typed on paper, 9.1 x 16.1, made in Thailand, ca.1975, Naito collection This is the example of usage of a forgery on purpose to mail. This is one of a few examples of actual usage of forgery stamps because they are illegal. The real usage of postal forgery is so rare that it can be an ultimate collective item. 24-2 2 German stamps (Original), printed on paper, issued by the Third Reich, during WWII, Naito Collection. 24-3 2 German stamps (Forgeries), printed on paper, manufactured by the United States of America, during WWII, Naito Collection 24-4 Early Stamp of the DPR of Korea (Original), printed on paper, issued by the DPR of Korea, 1950, Naito Collection 24-5 4 Early Stamps of the DPR of Korea (Official reproduction), printed on paper, manufactured by the DPR of Korea, ca.1957, Naito Collection 25 Fakes to deceive PhilatelistsThe prices of regular postal stamps are not so expensive that the forgery does not pay for the cost. Therefore, the rare stamps become the target of forgers. The displayed fakes of Japanese early stamps were originally souvenir for foreigners, but they turned into forgeries after days. Othenwise, non-existing examples of envelopes are fabricated by using genuine stamps, envelopes, and postmarks for the philatelists who collect postmarked mails. In the world of collectors where "rareness" decides whole the value of collectables, forgers and collectors contest of wits each other.25-1 16 Hand-etched Stamps in Meiji era (Forgeries), collotype print on paper, made in Japan, Naito Collection These are forged targeting oversea collectors. 25-2 Cover, hand-written on paper, 17.0 x L8.6, postmarked June 3rd, 1942, Occupied Hong Kong, Naito collection This is a genuine cover mailed in Hong Kong under Japanese occupation. It is so-called Collector's item. 25-3 Da Luz Postal Cover (Fake), hand-stamped on paper, 9.5 x 11.8, made in Hong Kong, 1950's, Naito Collection This is a fabrication of used postal cover of Occupied Hong Kong during World War II. Though all the components such as a stamp, postmark, and an envelope are genuine, the postal cover itself is nothing but unnatural forgery. For the date of postmark is after the stamp's publication. This is well known forgery among the collectors. 26 Distribution of reproduced items defines the extent of a political powerDistribution areas of money or postal stamps correspond to geographical extent of a country. The significance of bronze swords, bell-shaped bronze, and bronze mirrors, which has been excavated from archaeological cites throughout Japanese islands, has been discussed in various way. The management of copyrights and distribution of reproduced items are relevant. The owner of the replica, which is equivalent to the original, is regarded as a deputy of the reign. Distribution of bronze mirrors in distant region substantiates the influence of the central authority.26-1 Triangular-rimmed Mirror of Dragon with Double-wave Zone, bronze, Dia:22.0, Man-nen-yama Kofun, Mitsuya, Hirakata, Osaka, Department of Anthropology and Prehistory, UMUT 26-2 Triangular-rimmed Mirror of Six Deities and Four Beasts with Inscription Zone, bronze, Dia:22.0, Man-nen-yama Kofun, Mitsuya, Hirakata, Osaka, Department of Anthropology and Prehistory, UMUT 26-3 Triangular-rimmed Mirror of Three Deities and Three Beasts with Zodiac Zone, bronze, Dia:22.0, Man-nen-yama Kofun, Mitsuya , Hirakata, Osaka, Department of Anthropology and Prehistory, UMUT 26-4 Triangular-rimmed Mirror of Three Deities and Three Beasts with Zodiac Zone (Fragment), bronze, Dia:23.3, Man-nen-yama Kofun, Mitsuya, Hirakata, Osaka, Department of Anthropology and Prehistory, UMUT TOMIOKA Kenzo, Son of Tomioka Tessai, stated at first that a triangularrimmed bronze mirror decorated with deities and animals was a gift for HIMIKO from Chinese Emperor of 'Gi' in the 3rd century. Now we find 140different types of the mirrors and approximately 400 mirrors. Each mirror is something difterent from another, but they were classified into several groups with some characteristics such as sizes, styles, patterns, and themes. Triangular rimmed bronze mirrors were also distributed to the leaders,who controlled transportation by sea or rivers and possessed army, by the Yamato Government. (by INOUE Yuichi) 27 Holding the same style is the proot of legitimatenessAt intervals of thirty years both photo frames of sacred portraits of the Emperor and Empress in Meiji period and Taisho period are exactly same and keep the equality even in the materials and in detail. This is intended to show that the emperor is the sacred legitimate. Being the faithful copy of the previous one is the important factor showing this legitimacy. Meiji 23 (1890) is the year of Imperial Prescript on Education. Probably, this is assumed to be manufactured with the best materials and artistry skills. Due to packed away somewhere secretly at the end of World War II, it is the first time to bo seen in public after 56 years.27-1 Hochu-made, Frame of the Sacred Portrait of the Emperor of Meiji, Lacquered Japanese cypress wood with gold and siiver lacquer (makie) and pure silk ribbon, 60.5 x 50.8. 1890, Department of Curatorial Studies, UMUT There is an inscription on the reverse side; Newly fabricated on March 31st, the 23rd year of Meiji, Registered Number 1 of the Imperial University 27-2 Hochu-made, Frame of the Sacred Portrait of the Empress of Meiji, Lacquered Japanese cypress wood with gold and silver lacquer (makie) and pure silk ribbon, 60.5 x 50.8. 1890, Department of Curatorial Studies, UMUT There is an inscription on the reverse side; Newly fabricated on March 31st, the 23rd year of Meiji. Registered Number 2 of the Imperial University 27-3 Kiya Laquer-ware shop made, Frame of the Sacred Portrait of the Emperor of Taisho, Lacquered Japanese cypress wood with gold and silver lacquer and pure silk ribbon, 60.5 x 50.8. 1916, Department of Curatorial Studies, UMUT There is an inscription on the reverse side; Newly fabricated on October 31st, 5th year of Taisho, Registered Number 1 of the Imperial University 27-4 UCHIDA Kuichi (b.1844-d.1875) photographed, Portrait of the Meiji Emperor, Silver-albumen paper, 15.0 x 9.9, 1872 27-5 UCHIDA Kuichi (b.1844-d.1875) photographed, Portrait of the Empress, Silver-albumen paper. 15.0 x 9.9, 1872 28 what is the originality in Art?The artists in the twentieth century expanded art from the object itself to performances and concepts. Back then, the first and real production had great significance. It was Duchamp's serial works which promoted such a broadening of the art concept. Specifically, "The Large Glass" is a monumental work of art from the 20th century. Authorized for making a replica by Duchamp himself before his death, the masterpiece was produced on the base of Green Box, which is a specification of design, after his death. The Large Glass has double meaning, that is, one is the original and the other is the replica at the same time. It shook up the concept of what is original from the foundation. In modern art,works which have plural originals are called multiple and the validity of the old dualism of original versus copy is being questioned.28-1 DUCHAMP Marcel (b.1887-d.1968), La mariee mise a nu parses celibataires meme, (= The Bride Stripped Bare by her Bachelors, Even) "The Large Glass Tokyo version", mixed media, H:227.5, W:175.0, 1980 (the original 1915-23), the College Art Museum, College of Arts and Sciences, UT The original was produced during 1915-23. 28-2 DUCHAMP Marcel, La mariee mise a nu par ses celibataires meme, (= The Bride Stripped Bare by her Bachelors, Even), Green Box, in a paired box, with handwritten memorandum, drawings, photographs, total 94 items, collotype facsimile, 324 Iimited edition by Prose Selavy. Signed on colophon by the artist, in-gr.4to, Paris, 1934, the College Art Museum, College of Arts and Sciences, UT The Green box is a specification to produce the Large Glass, and contented with memoranda and sketches during 1911 and 1920 at random. Based on this green box the displayed Tokyo version was produced by the University of Tokyo with the collaboration of the poet. TAKIGUCHI Shuzo (b.1903-d.1979), the art critic. TONO Yoshikai (b.1930-), and the other people. 28-3 DUCHAMP Marcel, Coueurs Volants (Floating Hearts), Cover of Art Magazine:Cahiers d'Art, (the 11th year, No.1-2). 31.7 x 24.8, Paris, Published by Cahiers d'Art, 1936 The art magazine edited by Christian Zervos featured the Large Glass in 1936. The cover consists the contrast of two complementary colors, that is, red and blue. Staring at this cover,the blue color part is sunk and the small heart at center floats in blue back. The pursuit of such a illusional visual eftect was Duchamp's life-time theme. 28-4 DUCHAMP Marcel. Roto-relief, Cover of Art Magazine Minotaure (No.6), 31.7 x 24.8, Paris, 1935 The leading Surrealism magazine, Minotaure No.6 carries the article on the Large Glass by Andre Breton. The background of the Roto-relief shows the dusty surface of the Large Glass. This is the photo taken by Man Ray in 1920. The image titled Dust Breeding contributed to form the myth of the Large Glass. 29 Design is copied!Diversion from western world was the forte of Modern Japan. Especially, in the field of art or fashion journals, which should be sensitive on the currents of the age, the tendency to imitate the western style has been strong even now in the aspect of visual. Covers of art magazines, which have led Japanese art world, have seemed to copy French ones sometimes. If the former is defined as plagiarism of design, the latter seems borrowing of design. Time lug between the original and "copy" shows the difterence of the epoch and the speed of communication at the time.29-1 Monthly magazine:Montparnasse:Mensuel, the 9th year No.21, March 1923, 33.0 x 25.0, Paris 29-2 Monthly magazine:Montparnasse:Mensuel, the 10th year No.37, December 1924, 33.0 x 25.0, Paris Montparnasse is the gorgeous literal magazine created by Paul Husson, George Charles, and Marcel Say in 1914. It was issued 58 volumes including WWI time. This modernism magazine is famous for the introduction of Guillaume Apollinaire (b.1880-d.1918)'s poem, Calligramme. Diaghilev (b.1872-d.1929)'s Russian ballet, and Lebedev's woodblock prints. 29-3 Monthly Magazine:Marronnier Mensuel, I-5, October 1925, 36.0 x 26.8, Tokyo, Published by Marronnier-sha, 29-4 Monthly Magazine:Marronnier:Mensuel, II-1, January 1926, 36.0 x 26.8, Tokyo, Published by Marronnier-sha As the economy situation grew well just after World War I, many Japanese artists went abroad to Paris. On their returning, they published magazines in Japan modeling French art magazines. Those Japanese magazines like Marronnier, Select, and Nichi-futsu Geljutsu have the same style in visuals and editorials as French art magazines at that time. 29-5 Magazine:Cahiers d'Art, peinture, Sculpture, Architecture, Musique, II-1, 1927, 31.7 x 24.8, Paris, published by Cahier d'Art 29-6 Magazine:Cahiers d'Art; peinture, Sculpture, Architecture, Musique, II-2, 1927, 31.7 x 24.8, Paris, published by Cahier d'Art 29-7 Magazine:Cahiers d'Art:peinture, Sculpture, Architecture, Musique, II-6, 1927, 31.7 x 24.8, Paris, published by Cahier d'Art 29-8 Magazine:Cahiers d'Art:peinture, Sculpture, Architecture, Musique, II-10, 1927 , 31.7 x 24.8, Paris, published by Cahier d'Art Cahier d'Art, French art magazine created by Christian Zervos in 1926, had been issued 35 volumes 96copies until 1960. It lead flourish of Modern Art in the 20th century and the cover, which changed every issue, influenced many other art magazines. 29-9 Magazine:The Shinko-Geijutsu (= The Avant-Garde Arts), No.1, October 1929, 21.0 x 18.0, Tokyo, Published by Geibun-Shoin 29-10 Magazine:The Shinko-Geijutsu (= The Avant-Garde Arts), No.2, November 1929, 21.0 x 18.0, Tokyo, Published by Geibun-Shoin 29-11 Magazine:The Shinko-Geijutsu (= The Avant-Garde Arts), No.3, December 1929, 21.0 x 18.0, Tokyo, Published by Geibun-Shoin 29-12 Magazine:The Shinko-Geijutsu (= The Avant-Garde Arts), No.4, January 1930, 21.0 x 18.0, Tokyo, Published by GeibUn-Shoin The Shinko-Geljutsu was created by ITAGAKI Takaho (b.1894-d.1966), who led the trends of Modernism thought in early Showa period. It was issued 6 volumes for two years since 1929. The cover was designed by YOSHIDA Kenkichi (b.1897-1982), who was the original member of Tsukiji sho-gekijo Theater in charge of stage art, photograph, and design. He borrowed the design of Cahier d,Art by Zelvos, using the royal quire format, which was rare in Japanese publishing. 29-13 Magazine:The Sinko-Geijutsu-Kenkyu (The Studies on the Avant-garde Arts), No.1 , February 1931, 23.0 x 200, Tokyo, Published by Toko-Shoin 29-14 Magazine:The Sinko-Geijutsu-Kenkyu (The Studies on the Avant-garde Arts), No.2, June 1931, 23.0 x 20.0, Tokyo, Published by Toko-Shoin The Shinko-Geijutsu-Kenkyu (= The Studies on the Avant-garde Arts) magazine succeeded the Shinko-Geijutsu next month after its discontinuance. Because the magazine took friendly attitude toward the Soviet Union, INAGAKI Takaho quitted editting and the magazine ceased to publish at the third issue. 29-15 Magazine:The Zokei-Geijutsu, No.5, January 1940, 30.0 x 22.5, Tokyo, Published by Zokei-Geijutsu-sha 29-16 Magazine:The Zokei-Geijutsu, No.6, February 1940, 30.0 x 22.5. Tokyo, Publishec by Zokei-Geijutsu-sha 29-17 Magazine:The Zokei-Geljutsu, No.8. April 1940, 30.0 x 22.5, Tokyo, Published by Zokei-Geijutsu-sha 29-18 Magazine:The Zokei-Geijutsu, No.12, August 1940, 30.0 x 22.5, Tokyo, Published by Zokei-Geijutsu-sha The Zokei-Geijutsu, an illustrated magazine of Fine and Applied Art, was created by FUJIMOTO Shozo (b.1896-d.1992) to pursue the ideal art magazine. He had played the main role editing in important art magazines such as Atelier, Chuo-Bijutsu, and Mizuye since the end of Taisho (mid-1920s). The magazine was issued 24 volumes until discontinued by the first magazine integration. In the poor supply of paper and under strict inspection by the goverment, it kept miraculous balance between the West and the East, the speciality and generality, the art, applied arts and architecture. Furthermore, the visual design of the magazine was fabulous in the adverse circumstances. This magazine was to be a monumental achievement of art magazine publishing before World War II. 29-19 Magazine:Bijutsu-Techo (= Cahiers d'Art), No.1, January 1948, 21.0 x 15.0, Tokyo, Published by Nippon-Bijutsu-Shuppan K.K. 29-20 Magazine:Bijutsu-Techo (= Cahiers d'Art), No.2, February 1948, 21.0 x 15.0, Tokyo, Published by Nippon-Bijutsu-Shuppan K.K. 29-21 Magazine:Bijutsu-Techo (= Cahiers d'Art), No.3, March 1948, 21.0 x 15.0, Tokyo, Published by Nippon-Bijutsu-Shuppan K.K. 29-22 Magazine:Bijutsu-Techo (= Cahiers d'Art), No.4, April 1948, 21.0 x 15.0, Tokyo, Published by Nippon-Bijutsu-Shuppan K.K. Shuncho-kai published Mizuye before World War II and went through the age of the art magazine integration. It revived as Nippon-Bijutsu-Shuppan Company Limited after WWII and created Bljutsu-Techo (Cahier d'Art) in 1948. The history of this magazine over half century has come together with development of the modern art. At first as the title indicated, it borrowed the cover design from Cahier d'Art by Zervos and showed the appearance of sketches by modern masters such as Pablo Picasso (b.1881-d.1973) and Henri Matisse (b.1869-d.1954) whom the times demanded. However, its small size and poor paper quality represent the publishing circumstance at the time of poverty just after the defeat of World War II. 29-23 Magazine:Derriere Le Miroir (Behind the Mirror), No.14/15, November/December 1948, 38.0 x 18.2, Paris. Published by Pierre a Feu, Galerie Maeght 29-24 Magazine:Mizuye, No.541, November l950, 25.9 x 18.2, Tokyo, Bijutsu-Shuppan K.K. Japanese art magazines always have been influenced under western, especially French, art magazines. They have borrowed French design and followed the featured articles. Nowadays, information is communicated quickly and smoothly. On the contrary, in past days, the articles introducing oversea art trends were featured on the basis of foreign resources and magazines which artists and publishers brought or agents imported. 30 Utility of Edueational equipmentsReplicas have been used as educational materials in various academic fields. Among them, medical specimens replicas are the most realistic in representation of the originals. Some of the producers are equivalent to superior artists in technical standards. Those craftsmen realized artistic value besides its purpose. Here, the art andthe science coexist. 30-1 SUZUKI Tsunehachi, Anatomical Model of a human skull cranium from the collection of the Katsuragawa Family. Painted wood with stone and plaster, D:21.5, W:15.5, H:21.5, 1794, Medical Museum, Graduate School of Medicine & Faculty of Medicine, UT A Dutch 'Captain'. who stayed in Edo (Present-day Tokyo) to greet the Shogun, presented Mr. KATSURAGAWA Hoshu (b.1754-d.1809) with a fine wax model of a human head. In 1794. Mr.SUZUKI Tsunehachi, an unknown sculpture, created this wooden model from the wax model. The wood used is Japanese Cypress. The Tokyo National Institute of Cultural Treasures subsequently repaired and studied this wooden model. 30-2 KAGAMI Bunken (b.1765-d.1829). Model of a human skull, painted wood with stone and metal, ca.1810, Medical Museum, Graduate School of Medicine & Faculty of Medicine, UT KAGAMI Bunken (1765-1829), a bonesetter in Osaka, ordered a sculptor to create a wooden skeleton. He used this skeleton as a teaching device when he taught bone setting techniques to his students. He donated this skeleton to the Japanese Shogunate's medical museum in 1819. 30-3 NAGAYASU Shuichi (b.1909-) Skin model of variola (small pox), Wax moulage, L:47.0, W:22.0, D:13.5, around 1912-1926, Medical Museum, Graduate School of Medicine & Faculty of Medicine. UT 30-4 ITO Yu, Skin model of human keratosis horn, Wax moulage, L:25.5, W:38.5, D:13.0, around 1912-1926, Medical Museum, Graduate School of Medicine & Faculty of Medicine, UT This specimen is made from wax. First, a negative mold was made by pouring plaster or alginic acid into the diseased area. Then melted wax was poured in and cooled. Later, the surface of the wax was colored. This technique was first developed in Paris. In Japan, Professor of Dermatology DOHI Keizo of Tokyo Imperial University introduced this technique about 1897 and systematically began to produce specimens by about 1902. More than 2,000 specimens had been crea,ed by 1950. However, as the color photograph became increasingly available, this technique waned in importance. 30-5 Anonymous, Model of lymph system in the head and neck, Wax moulage, L:45.0, W:27.0, D:17.5, France, Iate 19th century, Medical Museum, Graduate School of Medicine & Faculty of Medicine, UT 30-6 ATSUZAWA Ginjiro, 6 Models of an artificial eye, Glass, Dia:6.5, 1931, Department of Medicine, UMUT |
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