Abe, Stanley K. “Inside the Wonder House: Buddhist Art and the West.” In Curators of the Buddha: The Study of
Buddhism Under Colonialism, ed. Donald S. Lopez, Jr. Chicago: The University of Chicago Press, 1995.
______. “From Stone to Sculpture: The Alchemy of the Modern.” In Treasures Rediscovered: Chinese Stone Sculpture from the Sackler Collections at Columbia University, ed. Leopold Swergold et al. New York: Miriam and Ira D. Wallach Art Gallery, Columbia University, 2008.
Adas, Michael. Machines as the Measure of Men: Science, Technology, and Ideologies of Western Dominance. Ithaca: Cornell University Press, 1989.
Ajia Kindai Kaiga no Yoake ten Jikkō Iinkai, ed. Ajia Kindai Kaiga no Yoake ten. Tokyo: Mainichi Shimbun, 1985. Anderson, Benedict. Imagined Communities: Reflections on the
Origin and Spread of Nationalism. London: Verso, 1991. Asai Kazuharu. “Butsuzō to Kindai.” Nihon no Bijutsu, no.
456 (May 2004): 87-98.
Asiatic Society, The, ed. Time Past and Time Present: Two Hundred and Twenty-Five Years of the Asiatic Society. Kolkata: The Asiatic Society, 2008.
Banerjee, Sumanta. Parlour and the Streets: Elite and Popular Culture in Nineteenth Century Calcutta. Calcutta:
Seagull Books, 1989.
Barrow, Ian J. Making History, Drawing Territory: British Mapping in India, c. 1756-1905. New Delhi: Oxford University Press, 2003.
Baxandall, Michael. Patterns of Intention: On the Historical Explanation of Pictures. New Haven: Yale University Press, 1985.
Bharucha, Rustom. Another Asia: Rabindranath Tagore and Okakura Tenshin. New Delhi: Oxford University Press, 2006.
Bose, Nandalal. Rhythms of India: The Art of Nandalal Bose. Ed. Sonya Rhie Quintanilla. San Diego: San Diego
Museum of Art, 2008.
Bose, Sugata, and Ayesha Jalal. Modern South Asia: History, Culture, Political Economy. 2nd ed. New York:
Routledge, 2004.
Chakrabarti, Dilip K. “Rajagriha: An Early Historic Site in East India.” World Archaeology 7, no. 3 (1976): 261- 268.
Chakrabarty, Dipesh. Provincializing Europe: Postcolonial Thought and Historical Difference. Princeton:
Princeton University Press, 2000.
Chatterjee, Partha. The Nation and Its Fragments: Colonial and Postcolonial Histories. Princeton: Princeton University Press, 1993. Ching, Leo. “Yellow Skin, White Masks: Race, Class, and
Identification in Japanese Colonial Discourse.” In Trajectories: Inter-Asia Cultural Studies, ed. Kuan- Hsing Chen. London and New York: Routledge, 1998. Cohn, Bernard S. Colonialism and Its Forms of Knowledge: The
British in India. Princeton: Princeton University Press, 1996.
Coomaraswamy, K. Ananda. “The Origin of the Buddha Image.” The Art Bulletin IX, 4 (1927): 287-329.
Crook, J. Mordaunt. “Architecture and History.” Architectural History 27 (1984): 556.
Cunningham, Alexander. The Ancient Geography of India. 2 vols. London: Trübner & Co., 1871. Reprint, Boston: Adamant Media Corporation, 2004.
Dar, S. R. “Classical Approaches to the Study of Gandhara Art.” In Perceptions of South Asia’s Visual Past, ed.
Catherine B. Asher and Thomas R. Metcalf. New Delhi: Oxford & IBH Publishing, 1994.
Dasgupta, Kalyan Kumar. Indian Historiography and
Rajendralala Mitra. Calcutta: Satchidananda Prakashani, 1976.
Desai, Madhuri. “Resurrecting Banaras: Urban Space,
Architecture and Religious Boundaries.” Ph.D. diss. University of California, Berkley, 2007.
Dirks, Nicholas B. “Guiltless Spoliations: Picturesque Beauty, Colonial Knowledge, and Colin Mackenzie’s Survey of
India.” In Perceptions of South Asia’s Visual Past, ed. Catherine B. Asher and Thomas R. Metcalf. New Delhi: Oxford & IBH Publishing, 1994.
Dirks, Nicholas B., ed. Colonialism and Culture. Ann Arbor: University of Michigan Press, 1992.
Dodson, Michael S. “Translating Science, Translating Empire: The Power of Language in Colonial North India.”
Comparative Study of Society and History 47, no.4 (October 2005): 809-835.
Dutt, Michael Madhusudan. “King Porus---A Legend of Old.” In The Golden Treasury of Indo-Anglian Poetry, 1828-1965, trans. Vinayak Gokak. New Delhi: Sahitya Akademi, 1970. Eck, Diana L. Banaras: City of Light. London: Routledge &
Kegan Paul Ltd, 1983. Reprint, New Delhi: Penguin Books India, 1993.
Fenollosa, Ernest. Bijutsu Sinsetsu. Tokyo: Ryūchi-kai, 1882. ______. Epochs of Chinese & Japanese Art, an Outline History
of East Asiatic Design. London: W. Heinemann, 1912. Reprint, New York: Dover Publications, 1963.
Fergusson, James. The Illustrated Handbook of Architecture: Being a Concise and Popular Account of the Different Styles of Architecture Prevailing in All Ages and All Countries. London: John Murray, 1855.
______. A History of Architecture in All Countries from the Earliest Times to the Present Day. 4 vols. London: John Murray, 1862-67.
______. Tree and Serpent Worship or Illustrations of Mythology and Art in India in the First and Fourth Centuries after Christ From the Sculptures of the Buddhist Topes at Sanchi and Amravati. 2nd edition. London: India Museum, 1873. Reprint, New Delhi: Asian Educational Services, 2004.
______. History of Indian and Eastern Architecture. London: John Murray, 1876.
______. Archaeology in India with Special Reference to the Works of Babu Rajendralala Mitra. London: Trübner and Co., 1884. Reprint, New Delhi: Asian Educational
Services, 1999.
______. History of Indian and Eastern Architecture. Ed. James Burgess. London: John Murray, 1910. Reprint, New Delhi: Munshiram Manoharlal Publishers, 1998. Fergusson, James, and James Burgess. The Cave Temples of
India. 1880. Reprint, New Delhi: Munshiram Manoharlal Publishers, 2000.
Fergusson, James, and Taylor Meadows. Architecture at
Beejapoor, an Ancient Mahometan Capital in the Bombay Presidency. London: J. Murray, 1866.
Foucher, Alfred A. “The Greek Origin of the Image of Buddha.” In The Beginnings of Buddhist Art and Other Essays in Indian and Central-Asian Archaeology. Paris: Paul Geuthner, 1917.
Fujimoto Yōko. “Taikan Mayoigo.” Kokka, no. 1234 (August, 1998): 50-51.
Fukuzawa Yukichi. Bunmei-ron no Gairyaku. 1875. Reprint, Tokyo: Iwanami Shoten, 1991.
[Fukuzawa Yukichi?]. “Datsu-a ron.” Appendix in Maruyama Masao Wabun Shū. Tokyo: Misuzu Shobō, 2009. First published in Jiji Shinpō, March 16, 1885.
Guha-Thakurta, Tapati. The Making of a New ‘Indian’ Art: Artists, Aesthetics and Nationalism in Bengal, c. 1850- 1920. Cambridge: Cambridge University Press, 1992.
______. Monuments, Objects, Histories: Institutions of Art in Colonial and Postcolonial India. New York: Columbia University Press, 2004.
Guth, Christine M. E. “Kokuhō: From Dynastic to Artistic Treasure.” Cahiers d’Extrême-Asie 9 (1996-1997): 313- 322.
______. “Charles Longfellow and Okakura Kakuzo: Cultural Cross-Dressing in the Colonial Context.” Positions 8, no. 3 (Winter 2000): 605-636.
Halbfass, Wilhelm. India and Europe: An Essay in
Understanding. New York: State University of New York, 1988.
Hallade, Madeleine. Gandharan Art of North India and the Graeco-Buddhist Tradition in India, Persia, and Central Asia. New York: H. N. Abrams, 1968.
Havell, Earnest Binfield. Benares: The Sacred City, Sketches of Hindu Life and Religion. London: W. Thacker, 1905. Hida Romi. “Kondō Hekiga.” In Hōryū-ji Bijutsu: Ronsō no
Shiten, ed. Ōhashi Katsuaki. Tokyo: Gurafusha, 1998. Hirose Midori. “Okakura Tenshin ni yoru ‘Taisei Bijutsu-shi’
Kōgi (Meiji 29 nen) ni tsuite no Kōsatsu.” Parts 1 and 2. Izura Ronsō (Ibaraki) 15 (2008): 59-74; 16 (2009): 75-97.
Hishida Shunsō. Hishida Shunsō. Ed. Hishida Haruo. 2 vols. Tokyo: Dainihon Kaiga, 1976-78.
______. Kindai Nihon Kaiga no Kyoshō: Hishida Shunsō ten. Ed. Kyoto-shi Bijutsukan, et al. Kyoto: Kyoto Shimbun,
______. Hishida Shunsō: Fujuku no tensai. Ed. Asahi Shimbun. Tokyo: Asahi Shimbun, 1987.
______. Hishida Shunsō: Kūkan Hyōgen no Tsuikyū. Ed. Iida- shi Bijutsu Hakubutsukan. Iida [Nagano]: Iidashi Bijutsu Hakubutsukan, 1989.
______. Hishida Shunsō. Ed. Aichi-ken Bijutsukan, et al. Nagoya: Hishida Shunsō-ten Jikkō Iinkai, 2003.
Horioka Yasuko. Okakura Tenshin: Ajia Bunka Senyou no Senkusha. Tokyo: Yoshikawa Kōbunkan, 1974.
Hosono Masanobu. “Zenki Bijutsuin.” In Nihon Bijutsuin
Hyakunen-shi. Vol. 2-Jō. Tokyo: Nihon Bijutsuin, 1990. Howell, David L. Geographies of Identity in Nineteenth-Century
Japan. Berkley: University of California Press, 2005. Hyōgo Kenritu Kindai Bijutsukan, ed. Nihon Bijutsu no 19-seiki.
Kōbe: Hyōgo Kenritu Kindai Bijutsukan, 1990.
Ida Shinya. Rekishi to Tekusuto: Saikaku kara Yukichi made. Tokyo: Kōbōsha, 2001.
Igarashi Kōichi. “Kanō Einō, Honchō Gashi no Kenkyū.” Ph.D. diss., University of Tokyo, 2007.
Inaga Shigemi. “Rinen to shiteno Ajia: Okakura Tenshin to Tōyō Bijutsu-shi no Kōsō, soshite sono Tenmatsu.” Parts 1 and 2. Kokubungaku (Tokyo) 45, no. 8 (July 2000): 11-19; no. 10 (August 2000): 114-124.
______. “Okakura Tenshin to Indo: Ekkyō suru Kindai Kokumin Ishiki to Han Ajia Ideorogī no Kisū.” In Modanizumu no Ekkyō, ed. Modanizumu Kenkyū-kai. Kyoto: Jimbun Shoin, 2002.
______. “Sister Nivedita and Her Kali The Mother, The Web of Indian Life, and Art Criticism: The Insights Into
Okakura Kakuzō's Indian Writings and the Function of Art in the Shaping of Nationality.” Japan Review (Kyoto) 16 (2004): 129-159.
Ingholt, Harald, and Islay Lyons. Gandhāran art in Pakistan. New York: Pantheon Books.
Inoue Enryō. Tetsugaku Yōryō. Tokyo: Tetsugaku Shoin, 1887. Inoue Shōichi. Hōryū-ji eno Seishin-shi. Tokyo: Kōbundō,
1994.
Itakura Masaaki. “Yokoyama Taikan no Nakano Chūgoku.” In Botsugo 50-nen, Yokoyama Taikan, ed. Kokuritsu Shin Bijutsukan, et al. Tokyo: Asahi Shimbun, 2008.
Kanazawa Hiroshi. “Suiboku-ga: Josetsu, Shūbun, Sōtan.” Nihon no Bijutsu, no. 334 (March, 1994): 19- 34.
Kanō Einō. Honchō Gashi. 1693. Reprint, with a modern translation and annotation by Kasai Masaaki et al., Kyoto: Dōhōsha Shuppan.
Karatani Kōjin. “Bigaku no Kouyou: ‘Orientarizumu’ Igo.” In Teihon Karatani Kōjin Shū. Vol. 4. Tokyo: Iwanami Shoten, 2004.
Kashiwahara Yūsen. Nihon Bukkyō-shi: Kindai. Tokyo: Yoshikawa Kōhbunkan, 1990.
Kasugai Shinya. “Indo to Nippon: Hori Shitoku no Shisō to Shōgai.” Parts 1 and 2. Bukkyō Daigaku Kenkyū Kiyō
(Kyoto), no. 55 (1971): 63-132; no. 56 (1972): 59-118. Kelly, Jason M. The Society of Dilettanti. New Haven: Yale
University Press, 2009.
King, Richard. Orientalism and Religion: Postcolonial Theory, India and ‘The Mystic East.’ London and New York:
Routledge, 1999.
Kinoshita Nagahiro. Shi no Meiro: Okakura Tenshin no Houhou. Tokyo: Gakugei Shorin, 1989.
Kinoshita Naoyuki. Bijutsu to iu Misemono: Abura-e Jaya no Jidai. Tokyo: Heibonsha, 1993.
Kitazawa Noriaki. Me no Shinden. Tokyo: Bijutsu Shuppansha, 1989.
Kobayashi Megumi, et al., ed. Shūko Jisshu. Fukushima: Fukushima Kenritsu Hakubutsukan, 2000.
Korhonen, Pekka. “Common Culture: Asia rhetoric in the Beginning of the 20th Century.” Inter-Asia Cultural Studies 9, no. 3 (2008): 395-417.
Koyama Shōtarō. “Sho ha bijutsu narasu.” In Koyama Shōtarō
to “Sho ha bijutsu narasu” no Jidai, ed. Niigata
Kenritsu Kindai Bijutsukan. Nagaoka [Niigata]: Niigata Kenritsu Kindai Bijutsukan, 2002. First published in Toyo Gakugei Zasshi, no. 8 (May 1882): 172-175; no. 9 (June 1882): 205-206; no. 10 (July 1882): 227-231.
Koyasu Nobukuni. Hirata Atsutane no Sekai. Tokyo: Perikansha, 2009.
Kuki Ryūichi, et al, ed. Kōhon Nihon Teikoku Bijutsu Ryakushi. Tokyo: Ryūbunkan, 1912.
Kumamoto Kenjirō. “Japan and Nandalal Bose in the Context of Modern Indian Art.” Trans. Louise Allison Cort. In Rhythms of India: The Art of Nandalal Bose by Sonya Rhie Quintanilla. San Diego: San Diego Museum of Art, 2008. First published as “Nihon to Nondoraru Bōsu: Indo Kindai Bijutsu no Shūhen,” in Sansai, no. 275 (August, 1971): 26-31.
Kumar, Deepak. “The ‘Culture’ of Science and Colonial Culture, India 1820-1920.” The British Journal for the History of Science 29, no. 2 (June 1996): 195-209.
Kuniga Yumiko, and Hashimoto Shinji, ed. Takada Keiho to Koizumi Ayaru: Ōmi Shōnin ga Bijutsu-shi ni hatashita aru Yakuwari. Ōtsu: Shiga Kenritsu Kindai Bijutsukan, 2005.
Kuroki Morifumi. “The Asianism of the Kōa-kai and the Ajia Kyōkai.” In Pan-Asianism in Modern Japanese History: Colonialism, Regionalism and Borders, ed. Sven Saaler and J. Victor Koschmann. London: Routledge, 2007.
Kurozumi Makoto. “The Nature of Early Tokugawa Confucianism.” Trans. Herman Ooms. Journal of Japanese Studies 20
no.2 (Summer 1994): 337-375.
______. Kinsei Nihon Shakai to Jukyou. Tokyo: Perikansha, 2003.
Lewis, Martin W., and Kären E. Wigen. The Myth of Continents: A Critique of Metageography. Berkeley: University of California Press, 1997.
Lippit, Yukio Mizuta. “The Birth of Japanese Painting
History: Kano Artists, Authors, and Authenticators of the Seventeenth Century.” Ph.D. diss., Princeton University, 2003.
Lübke, Wilhelm. History of Art. Trans. Fanny Elizabeth Bunnett. 2 vols. London: Smith, Elder and Co, 1868. Ludvik, Catherine. Sarasvatī, Riverine Goddess of Knowledge:
From the Manuscript-carrying Vīṇā-player to the Weapon- wielding Defender of the Dharma. Leiden: Brill, 2007. Majumdar, R.C. “Rajendralal Mitra as a National Leader.” In
Rajendralala Mitra (150th Anniversary Lectures). Calcutta: The Asiatic Society, 1978.
Manning, Charlotte Speir. Ancient and Mediaeval India. 2 vols. 1869. Reprint, Boston: Adamant Media
Corporation, 2006.
Masuzawa, Tomoko. The Invention of World Religions, or, How European Universalism Was Preserved in the Language of Pluralism. Chicago: The University of Chicago Press, 2005.
Matsuda Seiichirō. “Tokyo Kokuritsu Hakubutsukan Hokan Jūichimen Kannon-zou, Tōnomine Denrai, ni tsuite.” Parts 1 and 2. Kokka (Tokyo), no. 1118 (1988): 7-23; no. 1119 (1988): 32-48.
Matsumoto Kenichi. “Okakura Tenshin and the Ideal of Pan- Asianism.” In Okakura Tenshin and Pan-Asianism:
Shadows of the Past, ed. Brij Tankha. Kent: Global Oriental, 2009.
Meiji Ishin Shiryō Gakkai, ed. Meiji Ishin to Shiryō-gaku. Tokyo: Yoshikawa Kōbunkan, 2010.
Mitra, Rájendralála. The Antiquities of Orissa. 2 vols. 1875 and 1880. Reprint, Orissa [India]: Amadeus Press, 2007.
______. A Scheme for the Rendering of European Scientific Terms into the Vernaculars of India. Calcutta: Thacker Spink & Co., 1877.
______. Budda Gayá: the Hermitage of Śákya Mini. 1878. Reprint, New Delhi: Aditya Prakashan, 2005.
______. Indo-Aryans: Contributions Towards the Elucidation of Their Ancient and Mediaeval History. 1881. Reprint, New Delhi: Cosmo Publications, 1999.
Mitra, Sisir Kumar. “Raja Rajendralal Mitra.” In Historians and Historiography in Modern India, ed. S. P. Sen. Calcutta: Institute of Historical Studies, 1973.
Mitter, Partha. Much Maligned Monsters: History of European Reactions to Indian Art. Oxford: Clarendon Press, 1977. ______. Art and Nationalism in Colonial India 1850-1922:
Occidental Orientations. Cambridge: Cambridge University Press, 1994.
______. “Mechanical Reproduction and the World of the
Colonial Artist.” Contributions to Indian Sociology 36, no. 1 (2002): 1-32.
______. The Triumph of Modernism: India’s Artists and the avant-garde 1922-1947. London: Reaktion Books, 2007. Miyagawa Torao. Okakura Tenshin. Tokyo: Tokyo Daigaku
Shuppankai, 1956.
Mukherjee, B.N. “Rajendralal Mitra and His Contemporaries.” In Rajendralala Mitra (150th Anniversary Lectures). Calcutta: The Asiatic Society, 1978.
Murai, Noriko. “Authoring the East: Okakura Kakuzō and the Representations of East Asian Art in the Early
Twentieth Century.” Ph.D. diss., Harvard University, 2003.
______. “Matrons of the East: Okakura Kakuzo & His Female Friends in America.” In Journeys East: Isabella Stewart Gardner and Asia, ed. Alan Chong and Noriko Murai. Boston: Isabella Stewart Gardner Museum, 2009. Nagoya Bosuton Bijutsukan, ed. Okakura Tenshin to Bosuton
Bijutsukan. Nagoya: Nagoya Bosuton Bijutsukan, 1999. Nakamura Fusetsu. “Gakai Batou-roku.” In Nihon Bijutsuin
Hyakunen-shi, ed. Nihon Bijutsuin. Vol. 2-Ge. First published in Nippon, March 21 to 23, 1899.
______. Wakaki Hi no Nakamura Fusetsu to sono Jidai. Ed. Nagano Shinano Bijutsukan. Nagano: Nagano Shinano Bijutsukan, 1993.
______. Nakamura Fusetsu no Subete ten. Ed. Ina Bunka Kaikan. Nagano: Nakamura Fusetsu no Subete ten Jikkō Iinkai,
2006.
Nakahara Hikaru. Nakamura Fusetsu: sono Hito to Geiseki. Tokyo: Kōdansha, 1973.
Nara Kokuritsu Hakubutsukan, ed. Tanzan Jinja no Meihou. Nara: Nara Kokuritsu Hakubutsukan, 2004.
Nedachi Kensuke. “Kichijou-, Benzai-ten zō.” Nihon no Bijutsu 317 (October, 1992): 1-84.
Neumayer, Erwin, and Christine Schelberger. Popular Indian Art: Raja Ravi Varma and the Printed Gods of India. New Delhi: Oxford University Press, 2003.
______. Bharat Mata: India’s Freedom Movement in Popular Art. New Delhi: Oxford University Press, 2008. Nihon Bijutsuin, ed. Nihon Bijutsuin Hyakunen-shi. 15 vols.
Niigata Kenritsu Kindai Bijutsukan, ed. Koyama Shōtarō to “Sho ha bijutsu narasu” no Jidai. Nagaoka [Niigata]: Niigata Kenritsu Kindai Bijutsukan, 2002.
Nosco, Peter, ed. Confucianism and Tokugawa Culture.
Princeton: Princeton University Press, 1984. Reprint, Honolulu: University of Hawai`i Press, 1997.
Notehelfer, F. G. “On Idealism and Realism in the Thought of Okakura Tenshin.” The Journal of Japanese Studies 16, no. 2 (Summer 1990): 309-355.
Ogawa Hiromitsu. “Shoga to Bijutsu: ‘Ima, Nihon no
Bijutsushigaku o furikaeru’ Kokusai Kenkyū Happyō-kai ni yosete.” Bijutsushi Ronsō 14 (1998): 157-166. ______. “Shoga no Ajia, Chōkoku no Ajia, Kenchiku no Ajia:
Ajia Bijutsu to Aidentitī Josetsu.” In Ajia-gaku no Shōrai-zō, ed. Tokyo Daigaku Tōyō Bunka Kenkyu-sho. Tokyo: Tokyo Daigaku Shuppankai, 2003.
Ogura Jitsuko. “Ryūtō.” In Yokoyama Taikan: Kindai Kaiga no Kyoshou, ed. Kyōto Kokuritsu Kindai Bijutsukan.
Tokyo: Asahi Shimbun, 2004.
Okada Chiaki. Moto’ori Norinaga no Kenkyū. Tokyo: Yoshikawa Kōbunkan, 2006.
Okakura Kakuzō. The Ideals of the East with Special Reference to the Art of Japan. London: John Murray, 1903.
Reprint, Rutland [VT]: Charles E. Tuttle, 1970. ______. Awakening of Japan. New York: Century, 1904. ______. Okakura Tenshin Zenshū. Ed. Yasuda Yukihiko and
Hiragushi Denchu. 9 vols. Tokyo: Heibonsha, 1979-1981. ______. Okakura Kakuzo: Collected English Writings. Ed.
Nakamura Sunao. 3 vols. Tokyo: Heibonsha, 1984.
Okakura Kazuo. Chichi Okakura Tenshin. Tokyo: Chūō Kōronsha, 1971.
Okakura Koshirō. Sofu Okakura Tenshin. Tokyo: Chūō Kōron Bijutsu Shuppan, 1999.
Okakura Tenshin Geijutu Kyōuiku no Ayumi ten Jikkō Iinkai, ed. Ima Tenshin o kataru. Tokyo: Tokyo Geijutsu Daigaku Shuppankai, 2010.
Parimoo, Ratan. The Paintings of the Three Tagores,
Abanindranath, Gaganendranath, Rabindranath: Chronology and Comparative Study. Baroda: Maharaja Sayajirao
University of Baroda, 1973.
Potts, Alex. Flesh and the Ideal: Winckelmann and the Origins of Art History. New Haven: Yale University Press, 1994. Preziosi, Donald, ed. The Art of Art History: A Critical
Anthology. Oxford: Oxford University Press, 1998. Ramaswamy, Sumathi. The Goddess and the Nation: Mapping
Mother India. Durham [NC]: Duke University Press, 2010. Reynolds, Jonathan M. “Teaching Architectural History in
Japan: Building a Context for Contemporary Practice.” The Journal of the Society of Architectural Historians (Chicago) 61, 4 (Dec., 2002): 530-531.
Roy, Sourindranath. The Story of Indian Archaeology, 1784- 1947. New Delhi: Archaeological Survey of India, 1961. Ryūchi-kai. Ryūchi-kai Hōkoku. 4 vols. Ed. Aoki Shigeru.
Tokyo: Yumani Shobō, 1991.
Said, Edward. Orientalism. New York: Random House, 1978. Saitō Ryūzō. Nihon Bijutsuin-shi. Tokyo: Chūō Kōron Bijutsu
Shuppan, 2005.
Sakai, Naoki. “‘You Asians’: On the Historical Role of the West and Asia Binary.” The South Atlantic Quarterly 99, no. 4 (Fall 2000): 769-817.
_______. “The West---A Dialogic Prescription or
Proscription?” Social Identities 11, no. 3 (May 2005): 177-195.
Saraswati, S. K. “Raja Rajendralal Mitra.” In Rajendralala Mitra (150th Anniversary Lectures). Calcutta: The Asiatic Society, 1978.
Satō Dōshin. “Nihon Bijutsu” Tanjō: Kindai Nihon no “Kotoba” to Senryaku. Tokyo: Kōdansha, 1996.
______. Meiji Kokka to Kindai Bijutsu: Bi no Seiji-gaku. Tokyo: Yoshikawa Kōbunkan, 1999.
Satō Shino. “Yokoyama Taikan to Hishida Shunsō no Toin-go no Sakuhin ni tsuite: Hishida Shunsō no ‘Nyūbi-Kuyō’ o Chūshin ni.” Geijutugaku Kenkyū (University of Tsukuba) 3 (1999): 37-44.
______. “Mōrō-tai to Bengaru Runessansu: Yokoyama Taikan, Hishida Shunsō ga Abanindranath Tagore ni ataeta Eikyō ni tsuite (1).” Geisō (University of Tsukuba) 15 (1999): 77-106.
______. “Mōrō-tai to Bengaru Runessansu: Indo-jin Gaka Abanindranath Tagore ni yoru Suiboku no Juyou.” In Geijutsu-gaku no Shiza, ed. Shinbo Tōru Sensei Koki Kinen Ronbunshū Henshū Iinkai. Tokyo: Bensei Shuppan, 2002.
______. “Yokoyama Taikan no Rasa Lila to Bengaru-ha no Gaka ni tsuite.” Kanpō (Yokoyama Taikan Kinenkan) 18
(2002): 3-14.
______. “Mayoigo.” In Botsugo 50-nen, Yokoyama Taikan, ed. Kokuritsu Shin Bijutsukan, et al. Tokyo: Asahi Shimbn, 2008.
______. “Mōrō-tai to Yobareta Kokoromi ni tsuite: Byōsha