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Originally from [[Kagawa prefecture]], Kamakura graduated from the [[Tokyo Bijutsu Gakko|Tokyo School of Fine Arts]] in 1921, and taught at the Okinawa Prefectural Number One Girls' High School & Normal School for the next two years (from May 1921 until March 1923). During that time, he engaged in extensive research into Okinawan culture. He returned to Tokyo in April 1924 and re-enrolled in the Tokyo School of Fine Arts, in order to continue his research; learning two months later of plans to tear down [[Shuri castle]], he joined up with [[Ito Chuta|Itô Chûta]], professor of architecture at [[University of Tokyo|Tokyo Imperial University]], to campaign for the castle's preservation. Over the next three years (into 1927), he traveled to Okinawa several times, conducting surveys of Okinawan art, including taking copious notes and numerous photographs of historical architecture and art objects. He organized exhibitions of Okinawan art in Tokyo in 1925 and 1928 which included objects from the private collections of [[Ifa Fuyu|Ifa Fuyû]], [[Okada Saburosuke|Okada Saburôsuke]], and others, and which are said to have inspired artists such as [[Kikuchi Keigetsu]].<ref name=nitta>Nitta Setsuko, "Oppression of and Admiration for Okinawan Textiles: Commercial Items and Art Objects," Okinawan Art in its Regional Context symposium, University of East Anglia, Norwich, 10 Oct 2019.</ref>
Originally from [[Kagawa prefecture]], Kamakura graduated from the [[Tokyo Bijutsu Gakko|Tokyo School of Fine Arts]] in 1921, and taught at the Okinawa Prefectural Number One Girls' High School & Normal School for the next two years (from May 1921 until March 1923). During that time, he engaged in extensive research into Okinawan culture. He returned to Tokyo in April 1924 and re-enrolled in the Tokyo School of Fine Arts, in order to continue his research; learning two months later of plans to tear down [[Shuri castle]], he joined up with [[Ito Chuta|Itô Chûta]], professor of architecture at [[University of Tokyo|Tokyo Imperial University]], to campaign for the castle's preservation. Over the next three years (into 1927), he traveled to Okinawa several times, conducting surveys of Okinawan art, including taking copious notes and numerous photographs of historical architecture and art objects. He organized exhibitions of Okinawan art in Tokyo in 1925 and 1928 which included objects from the private collections of [[Ifa Fuyu|Ifa Fuyû]], [[Okada Saburosuke|Okada Saburôsuke]], and others, and which are said to have inspired artists such as [[Kikuchi Keigetsu]].<ref name=nitta>Nitta Setsuko, "Oppression of and Admiration for Okinawan Textiles: Commercial Items and Art Objects," Okinawan Art in its Regional Context symposium, University of East Anglia, Norwich, 10 Oct 2019.</ref>
Kamakura writes that he took roughly 1500 photos in 1924-25, and another 500 in 1925-27; of these he writes that more than 500 were lost in the Tokyo Air Raids during World War II, but that over 1000 survived. Most, or all, were on glass negatives.<ref>Kamakura Yoshitarô, "Hôdanka ni ushinawareta Ryûkyû no meiga" 「砲弾下に失われた琉球の名画」、''Kobijutsu'' 36 (1972), 42.</ref>
Though much of Kamakura's materials were lost when he lost his home to fires in 1945, some 81 volumes<ref>''Kamakura Yoshitarô shiryôshû (nôto hen)'', vol. 4, Naha: Okinawa University of the Arts (2016), xxviii.</ref> of his notes and photographs stored at the School of Fine Arts survived, and remain vital resources today.
Though much of Kamakura's materials were lost when he lost his home to fires in 1945, some 81 volumes<ref>''Kamakura Yoshitarô shiryôshû (nôto hen)'', vol. 4, Naha: Okinawa University of the Arts (2016), xxviii.</ref> of his notes and photographs stored at the School of Fine Arts survived, and remain vital resources today.
