Experience museums up close! Ueno Museum Week is back again this year!

From Friday, May 9th to Sunday, May 25th, Ueno area will be hosting museums, popular spots, gourmet food, and more! It's a special week where you can get around the city while enjoying culture and art at a great price!

In the Ueno area, in commemoration of International Museum Day on May 18th, 13 facilities around Ueno Park, including museums, art galleries, and the zoo, will cooperate with Ueno Norenkai member stores to hold Ueno Museum Week. The popular digital stamp rally will continue this year, as it did last year, and the newly renovated new spot, Shitamachi Museum, will be added, making this a special week that is even more appealing. Combine this with the annual "Town Fun" coupon and enjoy this special time when the whole of Ueno becomes a theme park full of art.

As expected, the biggest attraction this time is the "free admission" that will be held on "International Museum Day" on May 18th. On that day, you can enjoy free admission to the permanent exhibitions of five museums: Tokyo National Museum, National Museum of Nature and Science, National Museum of Western Art, Former Tokyo Music School Concert Hall, and Shitamachi Museum (※Tokyo National Museum's Tokyo National Museum Collection Exhibition is included).

Another highlight is the digital stamp rally! There will be 15 stamp points in the Ueno area, from cultural facilities in Ueno Park to various spots in the Ueno shopping district!

Rally points include not only the cultural facilities within the park, but also spots within the city where you can experience art, such as CREATIVE HUB UENO “es” (Ueno Station), a gallery created by renovating the site of the former police box at Ueno Station, Lloyd Works Gallery, which brings together up-and-coming artists, Buzzchika (located in the basement of Shinobuzz Brewery Hitsuji Ice), which not only holds art exhibitions but also frequently hosts theater performances, and Room 101 (Hanazono Alley), where young art creators gather.

Please come and enjoy the atmosphere of Ueno, the city of art, during International Museum Day and the stamp rally.

The stamp rally rewards include a Morimachi coupon that can be used at gourmet and shopping stores in the Ueno area if you collect zero stamps, a digital art piece created in collaboration with creators if you collect three stamps, and the right to enter a lottery for prizes from participating cultural facilities if you collect seven stamps. If you visit 15 stamp locations, your chances of winning the prizes at the seven locations will double. Be sure to try to complete the rally!

■Event Overview■
International Museum Day Commemorative Events 2025 Ueno Museum Week
Event period: Friday, May 9th, 2023 to Sunday, May 25th, 2023
Venues (participating facilities and organizations): Tokyo National Museum / National Museum of Nature and Science / National Museum of Western Art / The University Art Museum, Tokyo University of the Arts / Tokyo Metropolitan Art Museum / Ueno Zoological Gardens / The Ueno Royal Museum / Taito Ward Former Tokyo Music School Concert Hall / Former Iwasaki Gardens / National Museum of Modern Architecture / National Diet Library International Children's Library / Toeizan Kan'ei-ji Temple / Taito Ward Shitamachi Museum / Ueno Noren Association participating stores (in no particular order)
*There will be days when the museum is closed during the exhibition period.
Organized by: Ueno Museum Week Executive Organization Federation
Co-hosted by Ueno Norenkai
Sponsored by: National Museum of Nature and Science Foundation
Cooperation: Tokyo Metropolitan Government Eastern Park and Green Space Office, Taito City, Taito City Arts and Culture Foundation
Official site: http://www.ueno-mw.com/

■[Ueno Morimachi Wandering] Ueno Museum Week 2025 ~ International Museum Day ~ ■
A digital stamp rally will be held from Friday, May 9th to Sunday, May 25th. Stamp points will appear at the participating facilities listed below.

[Checkpoint introduction]
1. Tokyo National Museum
2. National Museum of Nature and Science
3. National Museum of Western Art
4. National Diet Library International Library of Children's Literature
5. Tokyo Metropolitan Art Museum
6. The Ueno Royal Museum
7. Former Tokyo Music School Concert Hall
8. Tokyo University of the Arts University Art Museum
9. Toeizan Kan'eiji Temple, Main Hall
10. Former Iwasaki Residence Garden
11. Shitamachi Museum
12. Lloyd Works Gallery
13. CREATIVE HUB UENO “es” (JR Ueno Station)
14. Bazchika
15. Room 101 (Hanazono Alley)

[How to use]
Download the digital stamp rally app "furari" onto your smartphone. Go to the designated location of the participating facility and collect your stamp.

0 stamps: Morimachi coupons that can be used at restaurants and shopping establishments in the Ueno area
3 stamps…..Arts and Culture Association creator collaboration digital art work
7 stamps…..Prizes from participating museums
15 stamps…..Prizes from participating museums (2x chance of winning)

*Prizes will be shipped to the winners one to two months after the end of Museum Week.

★0 stamps
Morimachi coupons that can be used at restaurants and shopping establishments in the Ueno area
From eel, yakiniku, western food, and sweets to women's clothing, bags, and Sukajan jackets
Please take advantage of this special coupon that can be used widely.

List of stores and facilities where you can use digital coupons
https://ueno-morimachi.jp/coupon

★3 stamps
Creator collaboration digital art work
We will be distributing digital artworks created by five young artists from the Ueno area-based art support group, Geio Nurture Town Club.

★7 stamps
List of prizes from participating museums

Tokyo National Museum Award
・Tokyo National Museum Collection Exhibition invitation ticket + original ticket folder set (20 pairs, 40 tickets)
・URL: https://www.tnm.jp/

*National Museum of Nature and Science Award
・Common invitation ticket
Set of 2 tickets for 20 people. *Each person can enter the permanent exhibition at one of the facilities (Ueno Main Building, Tsukuba Botanical Garden, or Garden for Nature Study) once.
・URL: http://www.kahaku.go.jp

*National Museum of Western Art Award
– 40 free tickets for the special exhibition "Nationalmuseum of Sweden Drawing Collection: From the Renaissance to the Baroque" (20 pairs)
・URL: https://www.nmwa.go.jp/

〇Tokyo University of the Arts University Art Museum Award
・University Art Museum original postcard 20 people (20 people)
・URL: https://museum.geidai.ac.jp/

Tokyo Metropolitan Art Museum
・20 pairs of invitation tickets (40 people) to the exhibition "The Joy of Making: DIY for Living"
・URL: https://www.tobikan.jp/

Ueno Royal Museum Award
・20 postcards (for 20 winners)
・URL: http://www.ueno-mori.org/

* Former Tokyo Music School Concert Hall Award
・20 pairs of "2 invitation tickets + clear file" (20 people)
・URL: https://www.taitogeibun.net/sougakudou/

Toeizan Kan'eiji Temple Award
・Special not-for-sale stamp book (1 per person): 10 winners
・URL: http://kaneiji.jp/

* Former Iwasaki Residence Garden Award
・20 sets of Kyu-Iwasaki-tei Garden original mini clear file + original postcard (20 winners)
・URL: https://www.tokyo-park.or.jp/park/kyu-iwasaki-tei/

〇National Museum of Modern and Contemporary Architecture
20 sets of 4 postcards of the collection's drawings, etc. (20 winners)
・URL: https://nama.bunka.go.jp/

Shitamachi Museum
・2 invitation tickets + 3 postcards for 20 pairs (20 winners)
・URL: https://www.taitogeibun.net/shitamachi/

Ueno Norenkai
・Invitation tickets for the special exhibition "Tsutaya Juzaburo: A Turbulent Figure in the Content Business" (20 pairs, 20 winners)
・URL: https://uenonorenkai.com/zasshi_ueno.html

[Checkpoint introduction]

roidworksgallery | roidworksgallery

Exhibition title: Astral Projection
Artists: Shunsuke Saiki, Yuka Numata, Keita Motooka
Dates: Saturday, May 17, 2025 – Sunday, May 25, 2025 *Open daily
Business hours: 12:00-19:00 (18:00 on the last day)
Venue: roidworksgallery
〒113-0034 4-6-12 Yushima, Bunkyo-ku, Tokyo, Yushima High Town B Building 1F
TEL: 03-3812-4712

CREATIVE HUB UENO “es”

Address: 7-1-1 Ueno, Taito-ku, Tokyo (near the Asakusa exit of Ueno Station)
Opening hours: 11:00-19:00 (last entrance 18:45)
Closed on Mondays (or the following day if Monday is a public holiday)
*The venue will be closed from May 9th to 19th due to maintenance.

Exhibition title: Tomohiro Kubota Ogisu solo exhibition "5/?R"
Exhibition Profile
This exhibition reconstructs Kubota Ogisu's 2017 graduation project, Temporary Discard Catalog, as a practice of public and private collection and value standards, raising questions about how artists' products are left behind and the ambiguity of their assets and liabilities.

Tomohiro Kubota Oguiss

In 2020, he graduated from the Tokyo University of the Arts Graduate School of Fine Arts, majoring in printmaking. He is currently enrolled in the doctoral program at the same university. He focuses on the “debt” aspect of cultural assets, and often creates works that do not involve physical production, through the temporary movement of objects, contracts, and acts of assuming the debts of others. His work aims to critically consider how art interacts with institutions and the economy through the very processes of ownership, management, movement, and preservation. In his recent works, he takes personal experiences and real events as his starting point to explore the relationship between ownership and responsibility of objects in communities, and the debt that extends from individuals to organizations and even institutions.

Yamanote Line Museum Ueno Station Park Exit (Introduction of related facilities)
JR Ueno Station Park Ticket Gate Connecting Passage From the first train to the last train

An exhibition space decorates the walls inside the Ueno Station Park ticket gates, which connect to cultural facilities such as art galleries and museums.
Part of the wall is a space for live painting, so you may be able to see artists painting live when the works are being replaced.

Gaku Igarashi

She spent her early childhood in Australia, working as a nursery teacher while also creating art. After returning to Japan, she began her career as an artist in earnest.
The company collaborates with various companies and brands, focusing on its original characters, the dwarf "ELF" and the human-like "HAPPY PEOPLE."
Her paintings, which are warm, gentle and vivid in color, are popular among a wide range of people.

Bazuchika
[Bazchika Exhibition Information]
Exhibition title: FIND IT!!! (Exhibited during Ueno Museum Week 2025)

Date: Friday, May 23, 2025 – Sunday, May 25, 2025
Opening hours 14:00-20:00
Location: Buzzchika 2-10-7 Ueno, Taito-ku, Tokyo 110-0005
Shinobaz Brewery Hitsuji Ice Basement
Artist information: Iida Megumi, Madoka Goto, Hasama, Ten Momose, Itsuki Yanagisawa

Room 101

Address: 101 Hanazono Alley, 3-3-9 Ikenohata, Taito-ku, Tokyo
Exhibition title: "About Trees"
Exhibition Profile
Period: End of April to end of July 2025 *Closed on Tuesdays and Wednesdays

Artist Information Shuji Yamamoto
Born in Tokyo in 1979. Graduated from Tama Art University in 2005. With a background as a gardener, he travels around Japan and conducts fieldwork on the theme of "the relationship between nature and humans," creating a variety of works including two-dimensional works and installations.

Art-Cultivating Town Club Creator Collaboration Digital Art Artist Introduction

Good Damage Gummy

Born in 2000 in Chiba Prefecture
Biography
March 2024: Graduated from Musashino Art University, Department of Oil Painting
April 2024: Enrolled in the Master's program at the Musashino Art University Graduate School of Art and Design. Currently enrolled in the Master's program.
January 2024 2023 Musashino Art University Graduation Exhibition/Musashino Art University Takanodai Campus
November 2024 Group Exhibition:EPIC PAINTERS Vol:14@THE blank GALLERY,Tokyo

Madoka Goto

Taking inspiration from moments in daily life that catch his eye, he creates Japanese paintings by reconstructing the impressions he receives at that moment and place using colors, patterns and shapes.

Biography
Born in Hokkaido in 2000
2022 Graduated from Musashino Art University, Faculty of Art and Design, Department of Japanese Painting
2025 Graduated from Tokyo University of the Arts Graduate School of Fine Arts, Department of Design

2020 20th Sato Taisei Prize Public Art Exhibition Itabashi Ward Mayor Award
Selected for the 39th Ueno Mori Art Award Exhibition in 2021
2022 Musashino Art University Graduation Exhibition Excellence Award
2022: Admission to the Master's Program in Design at the Graduate School of Fine Arts, Tokyo University of the Arts
2022: 9th batch of recipients accepted into the Kamiyama Foundation Arts Support Program
2022 49th Soga Exhibition 2022 Selected
2022 FACE 2023 Selected
2024 11th Go Sakura Museum of Art Ouka Award Exhibition Encouragement Award
2024 Solo Exhibition "My Dear" Etsuko Shibata Gallery
2024 Toyohashi Triennale Hoshino Shingo Award Exhibition Selected

Hasama

An artist who fuses graffiti and calligraphy to reinterpret the beauty of traditional calligraphy and the freedom of street art in a contemporary context, carving out poetic rhythms and power in urban spaces and creating a new dialogue between vision and words.

Momose Heaven

2002 Born in Nagano Prefecture
2020 Musashino Art University, School of Art and Design, Department of Oil Painting, Oil Painting Major Admission
Selected for the 72nd Chubi Exhibition
2021 Group Exhibition "Yoshiki no Sato" in Hida City, Gifu Prefecture
Group exhibition at Gallery JUILLET, Suginami-ku, Tokyo
Tachikawa Tachihi LaLaport Glass Paint
2024 47th Tokyo Five Art Universities Joint Graduation Exhibition, The National Art Center, Tokyo
Graduated from Musashino Art University, Faculty of Art and Design, Department of Oil Painting
Musashino Art University Graduate School of Art and Design, Oil Painting Course

Itsuki Yanagisawa

Biography
Born in Kawagoe, Saitama Prefecture in December 2001
2024.3 Graduated from Musashino Art University, Faculty of Art and Design, Department of Oil Painting

Exhibition history
2022.10 "The 48th Tokyo Art Festival" Tokyo Metropolitan Art Museum
2024.2 "Daigeikukai Exhibition" by the Art and Culture Association, Matsuzakaya Ueno Store, 7th floor Art Gallery
2024.2 Hakkendou "Young Artists Exhibition "Good Buds, Swelling Buds" in TOKYO2024" Matsuzakaya Ueno Store
2024.9 Hakkendou "KANZEN" Isetan Shinjuku store

■Don't throw away that ticket stub! Coupon service■
During the event period, you can receive free services by presenting your ticket stub from each museum at the stores listed below. For details on the services, please see the Ueno Museum Week official website.

[Participating stores]
Yoshizushi Ueno Branch
Anmitsu Mihashi
Izuei (eel restaurant)
Hatoya (Women's clothing)
Tenju (Tempura)
Kaiseki Chinese cuisine Ueno Ikenohata Kogetsu
Western food Kurofunetei
Kameya Issuitei (grilled eel and seasonal dishes)
Yakiniku Taishoen
Sakurai carefully selected western cuisine
Shabu-shabu Potted tree

[How to use]
Present your ticket stub for a cultural facility in Ueno Park
QR codes on smartphones and printed copies at convenience stores and ticket booths are also accepted.
* One ticket per person
* Cannot be used in conjunction with coupon services

■International Museum Day Presents■
[Tokyo University of the Arts University Art Museum]
Free museum original goods
●Time: May 18th (Sun) 10:00~
●Venue: Entrance Hall of the University Museum, Tokyo University of the Arts
● Target: First 50 visitors to the exhibition

■What is International Museum Day? ■
"International Museum Day" is a museum commemoration day established by the International Council of Museums (ICOM) in 1977. Commemorative events are held at museums around the world on and around May 18th with the aim of familiarizing many people with museums and raising awareness of the role of museums. Ueno, which is rare even on an international level in terms of the large number of cultural facilities such as museums and art galleries gathered there, holds various commemorative events every year around "International Museum Day" as "Ueno Museum Week", held by cultural facilities and the Ueno Noren Association.

■Ueno Norenkai■
Ueno, the cloud of flowers, is the representative entertainment district of this part of Edo. It is the source of art and culture of this part of the Meiji period. The Ueno Noren Association is a federation of about 100 famous stores in Ueno. Since its founding in 1959 (Showa 34), it has been publishing the town magazine "Ueno" every month with the aim of rediscovering the cultural traditions of this area. This is the 785th issue (as of May 2025).


■ Flyer ■

◎Inquiries
Ueno Museum Week Executive Committee Secretariat
TEL 03-3833-8016 FAX 03-3839-2765 (Ueno Norenkai, weekdays 10:00-17:00)

From the Ueno Norenkai press release

Article provided by: Kokosil Ueno


See other exhibition information

A report on the newly reopened Shitamachi Museum. The museum, where you can experience the culture and traditions of Tokyo’s downtown area, has revamped its exhibits.

Taito City Museum


The Shitamachi Museum was opened in 1980 to convey the culture and traditions of the good old Tokyo downtown area to future generations, and has entertained many visitors, including foreign visitors to Japan. It was closed in the spring of 2023 for major renovations due to the aging of the facility, but has now reopened under the new name Shitamachi Museum .

*For information on the previous state of the Shitamachi Museum, click here⇒
https://www.culture.city.taito.lg.jp/ja/reports/29750

The exterior of Shitamachi Museum

With this large-scale renovation, the exhibition area, which was previously only on the first and second floors, has been expanded to the third floor. New nursing rooms and barrier-free toilets have also been installed, making the facility enjoyable for even more people.

The exhibition room on the first floor recreates the streets of downtown Tokyo in the 1950s. The model is a corner of a lantern shop that operated on Kanasugi Street in Sakamoto (now Negishi 3-chome) , Taito Ward, which escaped damage from the Great Kanto Earthquake and the Tokyo Air Raids and where many old streets and buildings remained until recently. You can actually enter the life-size tenement house and experience the lifestyle and atmosphere of those times.

1st floor Reproduction exhibition room
1st floor Reproduction exhibition room

The recreated exhibit before the renovation was modeled after the Taisho era, but according to museum researcher Kondo Takeshi, they decided to completely revamp the content to mark the first major renovation in over 40 years since the museum opened.

“The reason we decided to set the exhibition in the 1950s, 60 to 70 years ago, was because we wanted to encourage people who were there at the time to come and see the exhibit with their families and have conversations like, ‘Oh, so this tool was used like this,'” says Kondo.

In addition, Kanasugi-dori Street had many remaining research materials such as drawings, and Mr. Igarashi, the owner of the Igarashi Lantern Shop, which is the core of the exhibition, was still alive and able to provide various forms of cooperation, which was a deciding factor for the model.
(Although the building has been rebuilt, the Igarashi Lantern Shop is still in business.)

In the 1950s and 60s, the quality of life in the downtown area was improving due to the redevelopment of districts and streets after the Great Kanto Earthquake, and the period of high economic growth during the postwar reconstruction. On the large screen installed in the exhibition area, a retro-style animation video is being shown that depicts Kanasugi-dori Street during that period.

Large Screen

In the video, a main street is lined with “Omote-nagaya” (front row houses) housing shops, restaurants, beauty salons and more, and while trams and cars run along the road, there are also vegetable carts and ramen stalls. The video conveys that old-fashioned lifestyles continue to thrive amid the waves of a new era, and deliberately no background music is used, instead emphasizing environmental sounds such as the sound of trams running and birds chirping to create a sense of realism.

The video changes over time from morning to noon to evening to night,
They will alternate between the “Spring/Summer version” and the “Autumn/Winter version” depending on the season.
Igarashi Lantern Shop

Even as infrastructure such as electricity and gas was developed, lanterns remained an essential item in downtown areas, where many festivals were held. The Igarashi Lantern Shop, which has been in business since the end of the Edo period, has a display that recreates the workshop where lanterns were assembled and inscribed. On display are round festival lanterns, anvils and hammers for fixing the top and bottom of the lanterns, and paintbrushes for inscribing and coloring.

Workshop

These items, such as household items and furniture, were basically donated by the ward’s residents, so they show signs of wear and tear. You can touch them, and get a feel for their texture and weight, which is one of the museum’s attractions. (Please handle them with care when touching them.)

In the living space, you can also see a black telephone, which has quietly become popular in the current retro fashion boom.
An alley is both a passageway and a living space.
It was also a playground for children and a place for residents to socialize.

Behind the workshop is the living space and kitchen, and if you exit the kitchen through a back door into the alley, you will find a “back alley” across the street. In addition to the craftsmen and office workers who commuted from home to their workplace, the back alley was home to peddlers such as street kamishibai storytellers, and the exhibition recreates the residence of a kamishibai storyteller.

The back alley has an entrance and a back door next to each other.
A bicycle carrying a Kamishibai stage
There are cheap snacks in the drawers on stage.

Glass jars and wooden boxes for storing cheap sweets are placed on the step up to the entrance. Kamishibai performers made a living by selling cheap sweets to the children who came to watch the kamishibai shows, but on rainy days when the show couldn’t be performed, children would sometimes come to the house looking for cheap sweets.

Step
A four-and-a-half-tatami room
kitchen

If you look closely at the exhibits, you’ll notice that, like the everyday scenes depicted in the animation, old and new things coexist together, such as “while there’s a gas stove in the kitchen, there’s also a charcoal grill in use.” Kondo says he was particularly particular about recreating the transitional period. When elementary school students visit on social studies field trips, he says he sometimes has them learn in a game-like way, asking them, “What did we use to cook before the gas stove was invented? Let’s find something that has the same function!”

The second floor area is a permanent exhibition room where you can learn about the history and culture of the downtown area, centered around Taito Ward, from the Meiji period through to the 1950s.

2nd floor: Introduction exhibition

In the introductory exhibit just inside the building, two types of videos are shown on the screen: a video tracing the history of Taito Ward in the style of a sugoroku game, and a video introducing the everyday items that supported the lives of our ancestors. In addition, on the stage in front of the screen, actual items of the everyday items featured in the video are arranged by category: “clothing,” “food,” “housing,” “commerce (merchants),” and “occupations (craftsmen).”

“Initially, the idea for the introductory exhibit was to select and exhibit just one of the collection materials that symbolizes Shitamachi Museum. However, even as a curator, it is difficult to clearly define the concept of ‘shitamachi’, and it is impossible to express it with just one material. So, as one way of showing it, we placed a chabudai (a traditional dining table), which was the center of family gatherings, in the center, and displayed the items in an arrangement that spread out around it. We decided that the atmosphere that is created when the items are lined up is what we call ‘shitamachi.'” (Kondo)

Collection of everyday items

The exhibition features a wide range of items, from tools that children today may already know, such as dining tables and beckoning cats, to items that have completely disappeared in the Reiwa era, such as glass fly traps and money boxes used by merchants to deposit sales proceeds. It’s interesting to look at these unknown tools and imagine how they could be used.

Continuing on, the exhibits are divided into sections: “1. Culture and life in the downtown area since the Edo period,” “2. The Great Kanto Earthquake and reconstruction,” “3. Life during wartime,” “4. Starting over from the ruins,” “5. Towards rapid economic growth,” and “6. Life connected to our Taito ward.” They look back on how the townscape, lifestyles, and more have changed due to the major changes of each era.

In the space in the center of the exhibition room, exhibits related to annual events will be changed according to the season.
The theme at the time of the interview was “cherry blossoms.”
The renovation created an exhibition space that is integrated into the wall,
The way the materials are presented is also more striking than before.
Topics from each era are introduced with photos and illustrations, making it easy for even children to understand.

The “automatic telephone” (later a public telephone) that previously greeted visitors at the entrance to the facility also appeared in the area as a symbol of the transition of the downtown area. The first automatic telephones in Japan were installed in 1900, at Ueno and Shinbashi stations.

“Automatic telephone” (Meiji period)
“Ueno-Asakusa Section Construction Outline” (1927/Tokyo Underground Railway Co., Ltd.), etc.

It’s easy to miss, but there are various documents hidden in the drawers, so be sure to check them out. For example, Taito Ward was the first area in Japan to have a subway (the current Ginza Line) in 1927, and the “Ueno-Asakusa Section Construction Overview” is a booklet that summarizes the construction of the subway at that time. The current Ginza Line runs from Asakusa to Ueno, turns west at Shinbashi, and goes to Shibuya, but the document states that the original route was planned to go from Shinbashi to Onarimon and then to Shinagawa, which was very interesting.

“Air raid hood” (1930s), “gas mask” (1930s), etc.
Materials related to “Shinsekai” in Asakusa, a popular “entertainment department store”

The newly opened third floor area houses a special exhibition room and a downtown information corner.

The special exhibition room changes exhibits three times a year, roughly every four months, and the first special exhibition has the theme of “What kind of town is a downtown?” It explores what a downtown is, from the establishment of Tokyo’s downtown (Taito Ward was not included in the downtown area when it was first established), to the history of its expansion, and the occupations and temperaments of the people who lived there.

3rd floor Special Exhibition Room: “What is Shitamachi Like?” Exhibition (until June 29, 2025)

The adjacent Shitamachi Information Corner has a touch-screen terminal called “Shitamachi Material Search” that allows visitors to find out more about the materials stored in the museum.

If you are interested in or don’t understand anything in the reproduction exhibits on the first floor or the introductory exhibits on the second floor, you can rest assured that you will come here. You can also view data on materials that are not on display, which may be helpful for your studies or research.
(It depends on how busy it is, but if you have any questions about the materials, the curators will be happy to explain them to you.)

“Shitamachi Document Search” screen

You can also try out old toys and everyday items such as kendama, menko, Matsukaze tops, abacus, and scales, and the benches can be used as a rest area. From the large windows, you can get a full view of Shinobazu Pond, making it a great spot to enjoy the seasonal changes of cherry blossoms, lotus flowers, and autumn leaves.

Downtown Information Corner
View of Shinobazu Pond from the window

The Shitamachi Museum is a place where people of all ages, from children to the elderly, can make various discoveries and enjoy themselves. It has undergone a major transformation and has made a new start, but Kondo says that one thing it has inherited from the days of the Shitamachi Museum is the fact that visitors can hear real stories of their experiences from nowhere .

“The exhibits act as a catalyst for visitors to get excited as they recall their memories of the time, saying, ‘Oh, that happened!’ Or grandparents pass on knowledge gained from their own experiences to their grandchildren, and other visitors who hear this nod in agreement… We see scenes like this every day. You naturally hear valuable information that is not found in documents and can only be obtained from people who have actually experienced it. I think that is the greatest attraction of the main building,” says Kondo.

It’s a perfect location for a quick visit after a stroll around Shinobazu Pond, so why not stop by? Just like before the renovation, events such as street picture-story shows and traditional craft demonstrations will also be held, so please check the official website for details such as the schedule.

Overview of the Shitamachi Museum

Opening hours 9:30-16:30 (entry until 16:00)
Closed Days Every Monday (or the following weekday if it falls on a public holiday), New Year’s holidays, special sorting periods, etc.
Admission fee Adults: 300 yen (200 yen), elementary, junior high and high school students: 100 yen (50 yen)
*Prices in parentheses are for groups of 20 or more.
location 2-1 Ueno Park, Taito-ku, Tokyo 110-0007
access 3 minutes walk from Ueno Station on the Keisei Main Line
5 minutes walk from Ueno Station on the JR, Tokyo Metro Ginza and Hibiya lines
phone 03-5846-8426
Official website https://www.taitogeibun.net/shitamachi/

*The contents of this article are current as of the time of coverage. Please check the official website for the latest information.


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“Resol Gallery Ueno” Artworks by Up-and-coming Artists Special Exhibition in April 2025 Seven works by artist Ishida Uyou will be exhibited at this exhibition

Tourist hotel "Hotel Resol Ueno" Art gallery in the living lobby "Resol Gallery Ueno"
Period: April 1st (Tue) to April 30th (Wed) Admission is free

Hotel Resol Ueno (7-2-9 Ueno, Taito-ku, Tokyo), a tourist hotel under the Resol Hotels brand operated by Resol Co., Ltd., will be holding a special exhibition of seven works by artist Ishida Karayou in the art gallery in the living lobby, Resol Gallery Ueno, from Tuesday, April 1st to Wednesday, April 30th, 2025.

As part of Hotel Resol Ueno's efforts to create a hotel rooted in the Ueno area, where art and the downtown area are in harmony, the hotel began an initiative in February last year to use the art gallery in the living lobby, Resol Gallery Ueno, as a place to create opportunities for encounters between up-and-coming artists who will be spreading the culture of the future and traveling guests. Since then, the gallery has been enjoyed by not only guests but also the general public as a place to come into contact with the sensibilities and works of up-and-coming artists.

The seventh artist, Ishida Uyu, became a Senshafuda artist about five years ago after being approached by woodblock print carver and Senrei III Yusuke Sekioka. Since then, he has been very active, winning the Tokyo Exhibition Encouragement Award in 2019 and having his work selected for the National Exhibition twice, as well as the Adachi Ward Exhibition Adachi Ward Mayor's Award and the Ward Assembly Chairman's Award.

The works on display this time, such as "Nameplate Edo Santenno Festival" (2021) and "Edo Food" (2024), are vivid and evoke the energy of Edo, and follow the traditional process of creating nishiki-e prints from the Edo period. The artist draws the picture, the Edo calligraphy master writes the characters, the carver carves the ink lines and color blocks for each color into a hard cherry board, and the printer prints each piece onto Japanese paper, making this a culmination of many years of experience and skill. Please come and see the traditional woodblock prints.

At Risol Hotels, we will continue to weave irreplaceable travel stories through hotel operations that thoroughly meet the needs of all travelers (tourists).

Event Outline
Date: April 1st (Tuesday) – April 30th (Wednesday), 2025
Venue: Art Gallery "Resol Gallery Ueno" in the living lobby of Hotel Resol Ueno
Artist: Ishida Uyou
Admission fee: Free *People other than hotel guests are welcome to drop by.
Opening hours: [Hotel guests] 24 hours a day. / [Non-hotel guests] 10:00-20:00

Exhibited works:
"Osage slip Edo Santenno Festival"
(2021 Woodblock print, 8 volumes)
Planning: Toto nosappu Mutsumi / Carving: Sekioka Woodblock Print Studio / Calligraphy: Tachibana Utachibana / Illustration: Ishida Uyu

The "Tenno" in the Edo Santenno Festival refers to Gozu Tenno, the deity worshipped at Yasaka Shrine in Kyoto, who is a god who protects against epidemics and is considered to be the same entity as Susanoo.
During the Edo period, Kanda Myojin Shrine was dedicated to the sole deity, Taira no Masakado, but the second shogun, Tokugawa Hidetada, divided the shrine into three, along with Gozu Tenno, a local deity whose deity was Susanoo. If you walk around the Kanda Myojin Shrine to the left, you will see the three shrines.
Ichinomiya was in charge of Minamidenmacho, Ninomiya was in charge of Odenmacho, and Sannomiya was in charge of Nihonbashi Kofunecho.
The festivals of these three shrines were the three major festivals of Edo and were enthusiastically enjoyed by the people of Edo.

One thing I'd like you to pay close attention to here is the flags at Odenmacho.
This is called "air printing" and instead of applying color, it is a printing method that creates a bumpy surface on the paper.

"Food of Edo"
(2024 Woodblock print, 8 pages)
Planning: Toto nosatsu Mutsumi / Carving: Sekioka Woodblock Print Studio / Calligraphy: Tachibana So / Illustration: Ishida Uyu

This series is all about Edo food.
In spring it's sushi, in summer it's rainbows and eels, in autumn it's the moon and tempura, and in winter it's snow and soba.
What exactly are oachars and senshafuda?
Name slips started out as name slips affixed to shrines and temples, with one's family name or name written on them, and gradually enthusiasts began exchanging their own slips. They play a role similar to the business card exchange of the Edo period.
Then, nameslip societies were formed and developed into a salon culture.

Spring: "Sushi" Summer: "Rainbow and eel" Autumn: "Tempura on the moon" Winter: "Snow and soba"

As ukiyo-e developed, multi-colored senshafuda began to be produced, and more elaborate tags were produced, with competition in color and design.
The Toto Nameplate Association was established in 1900 and continues to exist today as a social gathering place for nameslips and the preservation of Edo culture.

Profile: Uyuu Ishida

2019 Tokyo Exhibition Encouragement Award (Tokyo Metropolitan Art Museum)
Selected for JAM Open Exhibition
2021 Selected for the National Exhibition (The National Art Center, Tokyo)
2021 World Painting Grand Prix Exhibition Doshisha Award (Tokyo Metropolitan Art Museum)
Selected for the Power of Pictures and Words Exhibition (Matsuzakaya)
Adachi Ward Exhibition Adachi Ward Mayor Award, Ward Assembly Chairman Award
2022 Adachi Ward Exhibition Adachi Ward Mayor Award, Ward Assembly Chairman Award
Selected for the National Exhibition (National Art Center, Tokyo), etc.

About "Resol Gallery Ueno"
Resol Gallery Ueno, an art gallery located in the living lobby of Hotel Resol Ueno, exhibits a variety of artworks by up-and-coming artists that embody their passion and skills.
The artistic experience unique to Ueno, a city of academia, offers travelers a spice that is different from a simple hotel stay.
The gallery alternates between special and permanent exhibitions every other month, providing new discoveries and opportunities for growth every time you visit.

[About the special exhibition]
"Resol Gallery Ueno" provides a free gallery space for up-and-coming artists to exhibit their work.
We aim to create opportunities for customers to encounter a variety of artworks, such as "artworks that evoke the image of travel, travelers, or travel destinations," "artworks that evoke the culture, climate, and history of downtown areas," "artworks that evoke a sense of academicism," and "artworks that soothe the viewer's soul, provide new discoveries, and inspire them."

<Contact information for those interested in exhibiting>
Tel: 03-5325-9269 (Contact: Ito)
Email: ka.ito@resol.jp

[About the permanent exhibition]

(From left)
The Sun and the Moon (2020, Keita Shimizu, acrylic paint on wooden panel, set of 2)
Panda (2020 Masaru Ishikawa and Keita Shimizu, acrylic paint on resin figure)
EDO, rotated 90° (2020 Keita Shimizu, printed on canvas)
Ueno (2020 Keita Shimizu, acrylic paint on wooden panel)

Profile: Keita Shimizu
Designer, design consultant
Born in Tokyo in 1974.
After graduating from the Master's program at the Graduate School of Fine Arts, Tokyo University of the Arts, he began working as a designer based in Milan.
His inclusive designs, born from the global values he developed during his childhood in the United States and his life as a designer in Italy, have been highly praised both in Japan and overseas. Recently, he has not only been involved in product design, but also in hotel concept development and corporate design.

Overview of "Hotel Resol Ueno"
◇Address: 7-2-9 Ueno, Taito-ku, Tokyo
Access: 1 minute walk from JR Ueno Station, Asakusa Exit or Iriya Exit
◇Structure: Steel frame [10 floors above ground]
◇ Number of rooms: 115 rooms [107 Modernettes (semi-double) / 8 Twin rooms]
◇Official website: https://www.resol-hotel.jp/ueno/

[Resol Co., Ltd.] Press Release

Article provided by: Kokosil Ueno


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Ueno Park, Tokyo | The 46th Ueno Toshogu Shrine Spring Peony Festival will be held from Saturday, April 5th to Tuesday, May 6th, 2025

Ueno Toshogu Shrine

More than 500 plants of 110 varieties, including rare varieties such as "Zipangu" and "Shakudou no Kagayaki" and the unusual green "peony," will add color to the spring.

Ueno Toshogu Shrine (located in Ueno Park, Taito Ward, Tokyo), which was built as a shrine dedicated to Tokugawa Ieyasu, Tokugawa Yoshimune, and Tokugawa Yoshinobu, will be holding the Ueno Toshogu Shrine 46th Spring Peony Festival from Saturday, April 5th to Tuesday, May 6th, 2025.
During the event, we will be posting daily information about the flowers blooming on Instagram.
Official Instagram: https://www.instagram.com/utbotanen_official/
Please come and see the flowers change appearance every day in the warm weather.

More than 500 plants of 110 different species, including various varieties from around the world and green-flowering "Marimo"
During the event, over 500 "peony" varieties of 110 varieties developed in Japan, China, America, France, etc. will be in full bloom. In addition to red and pink peonies, you can also enjoy rare green-flowered "marimo" (marimo), a natural hybrid of Chinese and Japanese varieties.

[Inside the gardens (image from last year)]
[Marimo]

Rare varieties available for viewing
[Zipangu]

Yellow peony with thousands of blossoms. Enjoy its elegant fragrance.

[Brilliance of red copper]
This is a very rare variety of peony with yellow pink-orange petals.

[Spring Makeup]

■What is "Peony"?
Peony flowers are considered a symbol of wealth and are known as the "flower of wealth" and the "king of flowers."
Peony, whose native species is found in China, is said to have been introduced to Japan from China as a medicinal plant during the Nara period, and since the Edo period, cultivation has flourished and many varieties have been created. In Chinese literature, the flower has been frequently written about in poetry since the beginning of the Tang Dynasty (the early 8th century), and in Japanese literature, it is written about as a seasonal word in many haiku poems, and is a flower that has been familiar in paintings, patterns, and family crests.
In addition to Japan and China, varieties are also developed in the United States, France, and other countries.

[Shikoden]
[Yellow Crown]

Enjoy authentic Edo architecture including the five-story pagoda of the former Kan'ei-ji Temple and peonies
From within the grounds you can see the five-story pagoda of the former Kan'ei-ji Temple and the stone lanterns lining the approach to Toshogu Shrine, and together with the dry landscape Japanese garden you can view peonies in an Edo atmosphere that you can't find anywhere else.

■There are plenty of other photo spots!
We have colorful carp streamers that you can use to take seasonal photos together with peonies and other flowers, as well as flower arrangements and bonsai trees scattered throughout the garden.

Carp streamers and bonsai

■Flowers that bloom with peonies
In addition to peonies, rhododendrons and about 20 varieties of peonies bloom in turn within the garden, so there is something to see every day.

[Rhododendron (early to late April)]
[Peonies (late April to mid-May)]
[Peonies (late April to mid-May)]
Japanese umbrella and peony

■Outline of the 46th Ueno Toshogu Shrine Spring Peony Festival
Period: Saturday, April 5, 2025 to Monday, May 6, 2025 *Open every day during the period
Opening hours: 9:00-17:00 (entry deadline)
Admission fee: Adults (junior high school students and above) 1,000 yen, groups (15 or more) 800 yen, session admission ticket 2,500 yen, free for elementary school students and younger
Address: 9-88 Ueno Park, Taito-ku, Tokyo 110-0007
TEL: 03-3822-3575 (Peony Garden)
Access: 5 minutes walk from the Park Exit of JR Ueno Station
5 minutes walk from the Ikenohata exit of Keisei Ueno Station on the Keisei Electric Railway
10 minutes walk from Exit 2 of Nezu Station on the Tokyo Metro

■ Ueno Toshogu Shrine Peony Garden
Ueno Toshogu Peony Garden was opened in April 1980 to commemorate friendship between Japan and China on the grounds of Ueno Toshogu Shrine, which enshrines Tokugawa Ieyasu as its deity. Currently, 500 peonies of 110 varieties are cultivated in the spring, and 160 peonies of 40 varieties are cultivated in the winter. In addition, to allow more people to enjoy the seasonal flowers, 200 dahlias (also known as Tenjiku peonies) of 100 varieties are exhibited in the fall.
Located in the heart of Tokyo, Ueno is surrounded by lush greenery, so please take your time to enjoy the peonies while immersing yourself in the Edo atmosphere.

Address: 9-88 Ueno Park, Taito-ku, Tokyo 110-0007
TEL: 03-3822-3575 (Peony Garden)
Access: 5 minutes walk from the Park Exit of JR Ueno Station
5 minutes walk from the Ikenohata exit of Keisei Ueno Station on the Keisei Electric Railway
10 minutes walk from Exit 2 of Nezu Station on the Tokyo Metro
Official website: https://uenobotanen.com/
Official Instagram: https://www.instagram.com/utbotanen_official/

[Toshogu Shrine] From the press release

Article provided by: Kokosil Ueno


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[Report] “From where do we view Western paintings?” Exhibition opens at the National Museum of Western Art. Proposals for ways to enjoy artworks from various angles

National Museum of Western Art
Exhibition view

The exhibition “From Renaissance to Impressionism: San Diego Museum of Art vs. National Museum of Western Art” (commonly known as the “Where to See?” exhibition) has opened at the National Museum of Western Art in Ueno, Tokyo. The exhibition will run from March 11 to June 8, 2025.
I attended the press preview that was held earlier, so I’d like to share some photos of the venue.

Venue entrance
Exhibition view, in the foreground is Peter Paul Rubens and his workshop, Holy Family with St. Francis, St. Anne, and the Infant John the Baptist, c. 1625, San Diego Museum of Art
Exhibition view, from left: Joaquín Sorolla’s “Maria of La Granja” 1907, San Diego Museum of Art; “Valencia Beach” 1908, San Diego Museum of Art; “Drinking Pot” 1904, National Museum of Western Art

The two museums’ collections interact to explore their appeal from various angles

The exhibition combines a total of 88 pieces from the collections of the San Diego Museum of Art and the National Museum of Western Art in the United States, tracing the history of Western art spanning 600 years from the Renaissance to the end of the 19th century, and offering tips on how to enjoy viewing the works .

The San Diego Museum of Art, one of the earliest art museums to build a comprehensive collection of Western classical paintings in the American West, has focused its collection on Spanish art due to the cultural and historical ties to San Diego, an area founded by Spanish settlement.

Therefore, the exhibition includes many masterpieces of Spanish art, such as “Still Life with Quince, Cabbage, Melon, and Cucumber” by Juan Sánchez Cotán, the father of Bodegón (Spanish still life painting) , as well as works by El Greco, Zurbarán, Sorolla, etc. All 49 pieces brought to Japan from the San Diego Museum of Art will be shown in Japan for the first time .

On the other hand, the National Museum of Western Art has the only systematic collection of Western paintings in East Asia. Regarding the background of the exhibition, curator Yusuke Kawase (Chief Researcher at the National Museum of Western Art) said the following:

“In an art exhibition consisting only of works borrowed from one museum, it is often difficult to understand the context, such as the artist’s personality or the artist’s position in the artist’s artistic career, even if you can appreciate each piece. The same can be said for the permanent exhibition at the National Museum of Western Art. Therefore, this time, we decided to combine the collections of both museums, arrange works by the same artist or subject in groups, and dig deeper . By doing so, we tried to convey the interesting world of Western art, which is often avoided due to the difficulty of the subject and the age of the era, and where to start looking. This exhibition was created with the intention of conveying the interesting world of Western art in an easy-to-understand manner.

Chapter 1 Exhibition, from left: Luca Signorelli, Coronation of the Virgin, 1508, San Diego Museum of Art; Giotto, God the Father and the Angel, c. 1328-35, San Diego Museum of Art
Chapter 1 Exhibition, from left: Andrea del Sarto’s Madonna and Child, circa 1516, National Museum of Western Art; Carlo Crivelli’s Madonna and Child, circa 1468, San Diego Museum of Art

As Kawase mentioned, the exhibition is divided into 36 small themes. For example, in the first chapter, which explores the development of Renaissance painting in Italy and the Netherlands (present-day Belgium and the Netherlands) from Giotto to Bosch (workshop), works by Giorgione (1477/78-1510) and Jacopo Tintoretto (1518-1594) are displayed side by side as “Venetian Renaissance Portraits.”

Chapter 1 Exhibition, from the left: Jacopo Tintoretto “Portrait of a Young Man Disguised as David” circa 1555-60, National Museum of Western Art / Giorgione “Portrait of a Man” 1506, San Diego Museum of Art

Giorgione died in his early 30s, leaving very few documents and much about him still shrouded in mystery, but he is considered the founder of the High Renaissance style in Venetian painting. His Portrait of a Man (1506), housed at the San Diego Museum of Art, is a small piece but one of the masterpieces of Renaissance portraiture. With its precise depiction of physical features and soft shading, he achieved revolutionary realism.

On the other hand, Tintoretto is considered one of the three great masters of 16th century Venetian painting after Giorgione’s death, alongside Titian and Veronese. By displaying his “Portrait of an Old Man” (c.1550) from the San Diego Museum of Art and “Portrait of a Man Disguised as David” (c.1555-1560) from the National Museum of Western Art alongside Giorgione’s works, the exhibition shows, with accompanying explanatory text, how Tintoretto developed the technique used by Giorgione to express volume through color gradations.

A masterpiece by Spain’s most important still-life painter, who influenced Goya and Picasso, is coming to Japan

Chapter 2, which introduces the characteristics of 17th century Baroque art by region, features the highlight of the exhibition , Still Life with Quince, Cabbage, Melon and Cucumber (c.1602) by Juan Sánchez Cotán (1560-1627).

Chapter 2, Juan Sánchez Cotán, Still Life with Quince, Cabbage, Melon, and Cucumber, circa 1602, San Diego Museum of Art

From the end of the 16th century to the beginning of the 17th century, still-life paintings began to be painted independently all over Europe, and in Spain, the “bodegón” style of still-life painting, which focuses on motifs related to food and the dining table, developed in particular. The painter Sánchez Cotán, who was active in Toledo around 1600, devised a unique compositional technique in which a small number of common vegetables and fruits are arranged on a stone frame, as seen in this work, and lit with spotlight-like light to accentuate the contrast between light and dark. This established the typical form of Spanish still-life painting that would continue to be used for a long time.

Commenting on the appeal of this work, curator Michael Brown (Curator of European Art at the San Diego Museum of Art), said , “At first glance it appears to be a simple composition, but the single blank space of darkness in the center exudes infinite elements and a mysterious, unreachable atmosphere.”

Kawase described this work as “the most balanced of the six surviving still lifes by Sánchez Cotán, and a masterpiece that clearly conveys the solemnity and serenity that are unique to Sánchez Cotán,” and said, “The fact that this work is coming to Japan is a major event in itself .”

Chapter 2 Exhibition, Juan van der Amen “Still Life with Fruit Basket and Game Birds” circa 1621, National Museum of Western Art

For comparison, there is the gorgeous and decorative Still Life with Basket of Fruit and Game Birds (c.1621) by Juan van der Ament (1596-1631), who represented the next generation after Sánchez Cotán, and the Lamb of God (c.1635-40), which evokes quiet meditation and prayer, by Francisco de Zurbarán (1598-1664), also known as the “monk painter” for his many portraits of saints. In both compositions and devices, it is clear that they have inherited the tradition from Sánchez Cotán.

Chapter 2 Exhibition, from left: Francisco de Zurbaran “Saint Francis Praying in the Cave” circa 1658, San Diego Museum of Art / “Saint Dominic” 1626-27, National Museum of Western Art / “Saint Jerome” circa 1640-45, San Diego Museum of Art

As for Zurbarán, the exhibition also presents four of his works, including his specialty, the large, single-figure Saint Dominic (1626-27), and the masterpiece of his mature period , the Virgin and Child with Saint John (1658), which is full of compassion. It succinctly shows the development of his artistic career, from a profound, sculptural realism to sweet, idealized expressions, as if wrapped in a veil of light. There is always an elegance and serenity present, and one can sense the artist’s consistent aesthetic sense.

Chapter 2 exhibit, in the foreground is El Greco’s “The Penitent St. Peter” circa 1590-95, San Diego Museum of Art
Chapter 2 Exhibition, from left: Antonio de Bellis, “David with the Head of Goliath,” circa 1642-43, San Diego Museum of Art; Guercino, “David with the Head of Goliath,” circa 1650, National Museum of Western Art

Real Venice and Imaginary Rome: Cityscape Paintings Developing in Different Directions in Italy

Chapter 3 focuses on the development of Italian and French paintings, which led 18th century art, and examines the characteristics of each genre of landscape, portrait, and genre painting. Here, a comparative display of cityscape paintings in Venice and Rome is eye-catching.

In the 18th century, the Grand Tour was popular in England and countries north of the Alps, where the children of the upper classes traveled to various European cities, including Italy, the source of European civilization, to acquire cultural knowledge. One of the souvenirs they sought when returning home was cityscape paintings, known as vedota, which flourished in Venice and Rome, the two major centers of the Grand Tour.

Chapter 3 Exhibition, from left: Bernardo Bellotto, “The Molo Walls as Seen from the Bay of San Marco, Venice,” circa 1740, San Diego Museum of Art; Francesco Guardi, “The Grand Canal and the Rialto Bridge as Seen from the South,” circa 1775, San Diego Museum of Art

As for cityscape paintings of Venice, the exhibition introduces works by Bernardo Bellotto (1721-1780) and Francesco Guardi (1712-1781), who are considered to be the three great masters of Venetian painting alongside Canaletto. Both of them depict the iconic scenery of the magnificent water city in a manner that appears largely realistic. In contrast, the exhibition on Rome, although also in Italy, moves away from recreating specific locations and presents a nostalgic world that blends reality and fantasy.

Chapter 3 Exhibition, from the left: Hubert Robert, “Imaginary Roman Landscape with the Colossus of Monte Cavallo and the Cathedral”, “Imaginary Roman Landscape with the Equestrian Statue of Marcus Aurelius, the Trajan’s Column, and the Temple”, 1786, National Museum of Western Art

For example, in a pair of landscape paintings by Hubert Robert (1733-1808), who became famous as “Robert of the Ruins,” Robert brings together famous ancient works that are actually in different locations, such as the Equestrian Statue of Marcus Aurelius in the Piazza del Campidoglio and Trajan’s Column, and also includes a huge temple that is probably a product of the imagination. Since the people in the painting are dressed in 18th-century clothing, the works are thought to strongly reflect the perspective of people at the time, who wanted to enjoy ancient buildings as ruins.

These are known as “capriccio” (fantastic paintings) among cityscape paintings. The streets of Rome, with its many crumbling and weathered ruins and historical buildings, seem to have been an important source of inspiration for painters, stimulating the imagination of travelers with their free-spirited ideas. Venice goes for realism, Rome for fantasy. It is clear how much influence regional characteristics have had on the rise of painting genres.

Understanding the transition from Loroco to Neoclassicism through two female painters: Capet and Benoist

In Chapter 3, there is a comparative exhibition of portraits by two female painters, Marie-Gabrielle Capet (1761-1818) and Marie-Guillemine Benoît (1768-1826), which clearly shows the change in aesthetic values in 18th century France, from the glamorous and aristocratic Rococo to Neoclassicism, which emphasizes order and reason.

Chapter 3 Exhibition, from left: Marie-Gabrielle Capet “Self-Portrait” circa 1783, National Museum of Western Art / Marie-Guillemine Benoist “Portrait of a Woman” circa 1799, San Diego Museum of Art

Female artists began to emerge in France from the second half of the 18th century, and both Capet and Benoît were representative painters whose names were displayed at the Salon (official exhibition) of 1791, the first time women were allowed to exhibit after the French Revolution.

In Capet’s Self-Portrait (c.1783), the gorgeous blue dress and ribbons and curls in the hair are a clear example of the Rococo style, and the young artist’s expression as he gazes out at us is so bright and radiant that it is hard not to stare. You can sense his confidence, as if he is proud of his own skills. In contrast, Benoit’s Portrait of a Woman (c.1799) clearly shows a neoclassical tendency to seek models in the art of classical antiquity, with its ancient-style white chemise dress and sculptural, stable depiction of the body.

Not only is the quality of the works themselves high, but like the cityscape paintings mentioned above, it is easy to see where to look in order to enjoy the exhibit, making this a must-see exhibition, especially for beginners.

How does the way the fence is painted change the impression of the painting?

Chapter 4, which focuses on the diverse ways in which people were depicted in the 19th century, featured a comparative exhibition of “Hedge Surfaces” by Impressionist painters, which was somewhat surprising.

Chapter 4 Exhibition, from the left: Camille Pissarro “Standing Conversation” circa 1881, National Museum of Western Art, Matsukata Collection / Theodore Robinson “Intruder” 1891, San Diego Museum of Art

The exhibition focuses on the motif of fences, which are common in rural areas, depicted in the works of Camille Pissarro (1830-1903), the oldest Impressionist who left Paris to study the lives of farmers around Pontoise, and Theodore Robinson (1852-1896), an American painter who learned his artistic techniques in Sylveny, where Monet lived. The exhibition explains how fences are linked to the psychology of the characters and how they are effectively depicted as a device for spatial composition.

As the exhibition suggests ways to enjoy the artworks from such a somewhat niche perspective, even intermediate and advanced fans who wish to delve deeper into Western art can expect to make some fresh discoveries.

Chapter 4 Exhibition, from the left: William-Adolphe Bouguereau “Shepherdess” 1885, San Diego Museum of Art / “By the Stream” 1875, National Museum of Western Art (on loan from the Iuchi Collection)

Enjoy casually, without any limitations on your thinking — Dean Fujioka’s way of appreciating films

Dean Fujioka, the exhibition’s audio guide navigator, also appeared at the press preview.

Dean Fujioka

Looking back on the recording of the audio guide, Fujioka said, “If it becomes too pushy, like the ‘Koko Miru Exhibition,’ the intention changes. During meetings, I was told about the key points that would serve as criteria for judgment, such as the background of different eras, the social atmosphere, religious views, how to choose the motifs to paint, the touch, and the painting method, and I interpreted them in my own way, hoping to convey them as a form of guidance and navigation.”

He also suggested his own way of viewing films, saying, “I think that when you create your own story, it gives rise to your own perspective, and your own way of enjoying it on each day and in each moment. (When asked by the moderator if this means you first face the work and then speak to your own inner sensibilities) To put it coolly, yes. It’s like an endless loop of jokes and responses in your mind.”

“There are a variety of religious motifs and contexts, and some works have quite a lot of potential poke fun at. I try to enjoy those in a casual way, without any restrictions,” he continued. Looking at Zurbaran’s Saint Dominic, he described the artist’s appeal from his unique perspective, saying, “He’s looking up to the sky, with his hands in a cute heart-shaped pose,” which drew laughter from the audience.

Fujioka strikes the same cute pose as Saint Dominic

During the exhibition, a limited event called “Dokomiru de Yokai” will be held for four days (night opening days). If you dress up in your own way and declare that you’ve been invited to the Yokai, you’ll receive an original postcard, and the venue will have photo spots and “Yokai photo items” such as masks and folding fans available.
*Please check the official exhibition website for detailed schedules and notes.

Ms. Manoko Hibi, the narrator of the audio guide, promoted the event by dressing up as Capet’s “Self-Portrait.” *This is purely a production, and visitors are not allowed to wear clothing that is not appropriate for viewing the artworks at the museum.

In addition to this exhibition, five paintings, including Goya’s “Vicente María de Vera de Aragón, Duke of La Roca” (c.1795), on loan from the San Diego Museum of Art, are also on display in the permanent exhibition room. The permanent exhibition can be viewed for free if you have a valid ticket for the “Dokomiru Exhibition” on the day, so don’t miss this one either.

Summary of “From where should we look at Western paintings? – From the Renaissance to the Impressionists: San Diego Museum of Art vs. National Museum of Western Art”

Dates March 11, 2025 (Tuesday) – June 8, 2025 (Sunday)
venue National Museum of Western Art (Ueno Park, Tokyo)
Opening hours 9:30 – 17:30 (until 20:00 every Friday and Saturday)
*Last admission is 30 minutes before closing.
Closed Days Monday, Wednesday, May 7th
*However, the museum will be open on Monday, March 24th, Monday, May 5th (national holiday), and Tuesday, May 6th (holiday).
Admission fee (tax included) Adults: 2,300 yen, University students: 1,400 yen, High school students: 1,000 yen

* Free for junior high school students and younger, people with physical or mental disabilities, and one accompanying person (student ID or proof of age, disability certificate required)
*The exhibition ticket also includes admission to the permanent exhibition on the day of the visit.
For further details, please check the official ticket page .

Organizer National Museum of Western Art, San Diego Museum of Art, Nihon Keizai Shimbun, TBS, TBS Gloudia, TV Tokyo
inquiry 050-5541-8600 (Hello Dial)
Exhibition official website https://art.nikkei.com/dokomiru/

*The contents of this article are current as of the time of coverage. Please check the official exhibition website for the latest information.

Article provided by: Kokosil Ueno


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[Ueno Royal Museum] Award ceremony report for the 2024 “Exhibition in the Forest” Awards Ceremony Report. “Wonderful works that demonstrate rich expressiveness and individuality” praised by Taito Ward Mayor

Ueno Royal Museum

The 2024 “Exhibition in the Forest” was held at the Ueno Royal Museum from Friday, March 7th to Tuesday, March 11th, 2025.


Taito City is working on the “Arts Project for People with Disabilities” to support the participation of people with disabilities in cultural and artistic activities and to promote understanding of disabilities. As part of this, the “Exhibition in the Forest,” jointly planned by Taito City and the Ueno Royal Museum, is an exhibition that aims to let people with disabilities know the joy of being involved in art by providing them with an opportunity to exhibit their works.

Exhibition view
Exhibition view

Although there is a restriction that the work must be a two-dimensional piece that can be displayed on a wall, the theme and format of the work are basically free. Works are being solicited from people with disabilities who live, study, or work in Taito City, or who use facilities or organizations for people with disabilities in the city, and this year marks the fourth time the event has been held.

Exhibition view
Exhibition view
Exhibition view

In this exhibition, prizes are awarded to works that are deemed particularly excellent by art and calligraphy experts. The judging panel consisted of three judges: Musashino Art University President Kabayama Yukazu, calligrapher and Takayusha chairman Fukino Masanobu, and Ueno Royal Museum curator Sakamoto Akemi, with art workshop instructors Kamikubo Kyoko and Yoshinaga Haruhiko serving as associate judges. From the 274 works submitted, one Taito Ward Mayor’s Award, one Ueno Royal Museum Award, three Excellence Awards, and six Honorable Mentions were selected, and the awards ceremony was held on March 8th.

Mayor of Taito Ward, Yukio Hattori

The award ceremony began with a speech from Taito Ward Mayor Yukio Hattori. He encouraged the winners , saying, “Your works are all wonderful pieces that truly demonstrate your rich expressiveness and individuality. I hope that this award will encourage you to work even harder on your own creations.” He also called on the audience to “feel the individuality and talent of the artists that can be seen in their works, and the thoughts that were put into them, and I hope that this will be an opportunity for you to further deepen your understanding of disabilities.”

Ueno Royal Museum Director Masayoshi Miyauchi

Next, Ueno Royal Museum Director Miyauchi Masaki took the stage. After giving a congratulatory speech, he spoke about his thoughts on the exhibition, saying, “Our museum aims to allow many people to experience the joy of creation and the excitement of exhibitions, and aims to be a place for artistic exchange that respects the individuality and sensibilities of each individual. We intend to continue working with Taito Ward to develop this exhibition as a place to deepen mutual understanding through diverse expressions.”

Masanobu Fukino, calligrapher and chairman of Takayusha

Also, on behalf of the judges, calligrapher and Takayusha Chairman Fukino Masanobu gave a commentary.

“We the judges looked at each of the 274 works, discussed with the teachers which ones to select, and then ultimately decided on the winners through voting. I would like to add that there were works that I voted for even though they did not ultimately win awards, so it’s not that the content of the works was necessarily superior or inferior,” he said, reflecting on the selection process, and explained his reasons for choosing the winning works as follows:

“When we do calligraphy, we use ink. Ink is black, but depending on how you write, it can turn a little gray, or the finished product can look white. I try to mix these three colors together to write the characters, even in black, but in addition to that, I think about how I will write this work. For example, I write while thinking about whether I want to express something powerfully or gently. Each of the (award-winning) works here is truly full of emotion and has high technical ability, so I think they are wonderful,” he explained, comparing it to his own artistic activities. Finally, he gave them a cheer, saying, “I hope you will work hard again next year with the support of your families.”

Award ceremony

The awards were then presented to the winners as their families and guests congratulated them, and the ceremony concluded in a harmonious atmosphere.

Author Motoi Sato holds up the award certificate next to his work “Cat,” which won the Taito Ward Mayor’s Award.

Motoi Sato, who won the Taito Ward Mayor’s Award for his monochrome watercolor painting of “Cat,” said he was introduced to this exhibition by the facility where he attends. This is his second time exhibiting his work, and he smiles as he says, “It was interesting just to have my work exhibited, but I was surprised to receive an award as well.”

She says she likes cute animals, and in this work she has captured the moment when a cat looks at her with a look that says, “Are you going to give me food?” At first glance, the cat’s sharp eyes look scary, but she was particular about expressing its soft and fluffy appearance. When asked about her future plans, she said, “I would like to snap and draw scenes that make me think ‘wow’ in my daily life, or scenes that I find cute or beautiful, rather than special places.”

Ueno Royal Museum Award “Receipt” and artist Soei Sekiguchi

Sekiguchi Soei’s Receipts , which won the Ueno Royal Museum Award, is a masterpiece in which he colorfully paints receipts of all sizes. Sekiguchi originally liked collecting receipts, and decided to turn them into art when a staff member at the facility he frequented suggested he turn them into art. The receipts used are some of Sekiguchi’s most precious memories, such as food eaten on outings with his family and hot snacks from his favorite convenience store. He painted over and over again in his favorite colors, and the thickness of the colors seems to convey the strength of his feelings.

In preparation for this exhibition, art instructors visited 17 facilities for people with disabilities in the ward and held workshops, during which the works they created, including watercolors, crayon drawings, colored pencil drawings, and collages, were also on display.

The artist of the honorable mention work “I took a walk around Shinobazu Pond”, Akira Watanabe, and art teacher Haruhiko Yoshinaga. This work was created during a workshop.

Artist and art instructor Haruhiko Yoshinaga looked over the works once again at this exhibition and said with great emotion , “I am moved by the energy I get from appreciating them in person.” In the workshops, he focuses on creating an environment that allows participants to concentrate while incorporating elements of play. He also pays attention to the atmosphere of the place so that the participants’ free creative desire and their inherent talents are not blocked by tension.

“It’s very encouraging to see the participants in the workshops concentrating. Conversely, I always feel like I’m receiving energy from them. What makes me happiest is hearing comments like, “The time went by so quickly,” or “I feel exhausted today,” says Yoshinaga.

Even for those who don’t have a specific request for the work they want to create, they are often supported in expanding their imagination by presenting potential ideas without overwhelming them with information, and working together on the project. The aim is to “always find new inspiration,” so even if the workshops are held at the same facility, they never become monotonous. From this story, we got a glimpse of the efforts of the people behind the scenes who are supporting the appeal of this exhibition, which is filled with diverse artistic expression.

(Front of photo) Excellence Award “Shiawase Mi~kke” Tsubasa After-school Club
Honorable Mention: Whale Shark by Ayumi Kunioka, Honorable Mention: Spaceship by Katsuhiro Shimada

Some of the winning works will be on display at the art gallery on the first floor of Taito Ward Office until Friday, April 18th, so be sure to stop by and check them out.

Overview of the 2024 “Forest Exhibition”

Dates March 7, 2025 (Friday) – March 11, 2025 (Tuesday)
venue Ueno Royal Museum
Admission Fee free
List of Award-winning Works https://www.culture.city.taito.lg.jp/ja/shogaisha_arts/morinonakanotenrankai/r06

*The content of this article is current as of the interview date (March 8, 2025).

 


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[Report] “Miró Exhibition” opens at Tokyo Metropolitan Art Museum. Approximately 100 masterpieces by the 20th century master, including the “Constellations” series, are on display.

Tokyo Metropolitan Art Museum

A large-scale exhibition looking back on the 70-year creative career of Juan Miro, one of Spain's three great masters alongside Picasso and Dali, has opened at the Tokyo Metropolitan Art Museum in Ueno, Tokyo. The exhibition will run from March 1 to July 6, 2025.

*The images in this article were taken with permission at a press preview.

Venue entrance

Juan Miro (1893-1983), a painter from Catalonia, Spain, gained fame in the 1920s as a representative Surrealist painter. He is known for his colorful and unique poetic style, which depicts motifs found in nature such as the sun, stars, and moon as symbolic symbols, but he continued to challenge himself with new forms of expression and pursue pure and universal art until his death at the age of 90. He was considered one of the most influential artists of the 20th century.

Juan Miro (from the exhibition panel)

This exhibition will bring together about 100 masterpieces, including his representative Constellations series, paintings, ceramics, sculptures, and other works from his early to later years, to comprehensively introduce Miro's entire artistic career . This project is in response to the worldwide trend of reevaluation of Miro 40 years after his death, and it will be the largest retrospective in Japan since the exhibition in 1966, which Miro cooperated with while he was still alive.

The exhibition is divided into five chapters.

When the young Miro fell ill after failing to get a job as an accountant recommended by his father, he resolved to pursue his long-held dream of becoming a painter while recuperating at a villa in the mountain village of Mont Roig. In 1912, Miro returned to art school and studied cutting-edge artistic trends.
In Chapter 1, "Young Miro: Determination to Art," there are works that show that Miro adopted various styles of painting during this period, such as Cubism, Fauvism, and Cezanne, who was regarded as a father by the avant-garde artists of the time, as he explored his own expression.

Installation view: "Forêt de Vibre" 1910, Juan Miro Foundation, Barcelona (deposit)
Exhibition view: Self-Portrait, 1919, Musée National Picasso, Paris

Miró left behind many works that use the emotional landscapes of Montroig as a motif, including his early masterpiece House with Palm Trees (1918). Montroig, where he strengthened his artistic beliefs, was the source of all his creative endeavors throughout his life, a place where he deepened his thoughts on art, and a place where he reaffirmed his identity as a Catalan. This work is a representative example of Miró's so-called "miniaturist period," in which he abandoned the Fauvist style that had greatly influenced him until then, and began to focus on depicting fine details.

Installation view: House with Palm Trees, 1918, Reina Sofía National Museum, Madrid

In 1920, Miro finally made his long-awaited visit to Paris, the center of the art world, and was fascinated by the city's modernity and avant-garde art. The following year, he set up a studio in Paris and began commuting back and forth between his home and Montroig.

Inspired by his interactions with local surrealist artists and poets, he turned to a more poetic style of expression that was far removed from concreteness. Between 1925 and 1927, he produced over 100 "dream paintings," in which he added amorphous, dynamic lines to vast backgrounds that represent emptiness, using them as "symbols that represent the progression of dreams. " Among these is the " Painting = Poetry" series, in which he painted insubstantial words as if they were motifs, without distinguishing them from concrete objects, freeing them from their original role.

Chapter 2, "Mont Roig – Paris: From the Countryside to the City of the Avant-Garde," introduces these activities from the 1920s. The "Dream Paintings" became a hot topic in the Paris art world, and Miro became popular as a surrealist painter in both name and reality.

Exhibition view: From left: Painting (Head of a Man Smoking) and Painting (Head and Spider), both 1925, Reina Sofía National Museum, Madrid
Installation view: Painting = Poetry (The Happiness of Loving My Chestnut-Haired Girl) 1925, Juan Miro Foundation, Barcelona (deposit)

Miró, who was deeply influenced by 17th-century Dutch painting, painted Dutch Interior I (1928) based on Hendrik Solf's The Lute Player (1661). The exhibition also features panels displaying Solf's original work and the preparatory sketches for this work, and by comparing them, it becomes clear that Miró has eliminated three-dimensionality and perspective from Solf's naturalistic everyday scene, transforming it into a surreal world of flat colors and organic forms.

Installation view: Dutch Interior I, 1928, Museum of Modern Art, New York

Miró went into exile in Spain when the Spanish Civil War broke out in 1936, and continued to create in solitude throughout the ensuing Second World War, avoiding the ravages of war.
Chapter 3, "Escape and Poetics: Against the Backdrop of the War Era," highlights the masterpiece "Constellation" series , which he began producing in 1940 when he fled from Paris to a village in Normandy and completed while moving between Mallorca and Mont Roig.

Installation view: Morning Star, 1940, Juan Miro Foundation, Barcelona

The Constellations series are small gouache paintings on paper instead of canvas. It is said that Miro deliberately escaped from the horrific reality, comforted himself with the vast and beautiful starry sky and music by Mozart and Bach, and used them as inspiration to show hope beyond reality. Of the 23 works in total, three will be exhibited in this exhibition : Morning Star, Woman and Bird, and Night Figures Guided by the Phosphorescent Trail of a Snail (1940). This series is also notable for the fact that Miro established a symbolic system, but since each work is scattered around the world, this is a rare opportunity to view multiple works together.

Installation view: Night Figures Guided by the Phosphorescent Trail of a Snail, 1940, Philadelphia Museum of Art

On the other hand, from around 1928, Miro began to criticize the commercialization of art and the excessive attention given to artists, and he felt the urge to "assassinate painting." Gradually, he began to create what could be called anti-art and anti-painting styles, such as collages and objects that coexist with materials and elements unrelated to painting, such as "Untitled (Lovers of the Night)" (1934), which features toilet paper pasted onto aluminum foil, which is featured in this chapter. He continued to question the nature of traditional painting.

Exhibition view: From left, Painting (Snail, Woman, Flowers, Stars) and Untitled (Lovers at Night), both 1934, Reina Sofía National Museum, Madrid

Miró first visited the United States in 1947 to be commissioned to paint a mural, but his reputation there had already been growing six years earlier, with a retrospective of his work being held at the Museum of Modern Art in New York. During his stay there, Miró was inspired by young artists, including Jackson Pollock, and after returning home he turned his attention to a wide range of creative endeavors, including etchings, lithographs, ceramics in collaboration with artisans, and sculpture.
Chapter 4, "Dream Atelier: Introspection and New Creations," traces these postwar developments in the 1950s and 1960s.

Chapter 4 Exhibition view
Chapter 4 Exhibition view

By the way, many of Miro's works have straightforward titles, but in fact, he liked to give a playful and poetic feeling to the relationship between the title and the work. A Red Dragonfly Pursuing a Snake Spiralling to a Comet (1951) is a typical example. Guided by the descriptive title, the viewer's eyes are misled on the screen just like a spiraling snake, trying to find the comet, snake, or red dragonfly. The vivid color scheme, meandering lines, and eerie depictions that encourage this curiosity are all Miro's devices. The ingenuity of the composition is astonishing.

Installation view: A Red Dragonfly Chasing a Snake Spiralling to a Comet, 1951, Reina Sofía National Museum, Madrid

This chapter also shows how his works, which began in 1956 after he completed his long-awaited large studio in Mallorca, became increasingly large, influenced by the giant paintings of American Abstract Expressionism. The large painting Figures before the Sun (1968) is one of the culminations of Miro's figurative language, and was inspired by the work of the Japanese painter-monk Sengai Gibon, who expressed the universe with the shapes of circles, triangles, and squares.

Miró had an interest in Japan from the early days, and during his visit to Japan in 1966, he recognized an affinity with traditional Japanese art and the ideas of Japanese artists. This work, with its confident brushstrokes evocative of calligraphy, is an important example of Miró's oriental sensibility, and it will be the first time in about 40 years that it will be exhibited outside Barcelona.

Exhibition view: From left: Birds Flying in the Moonlight, 1967, Nahmad Collection; Figures in Front of the Sun, 1968, Juan Miro Foundation, Barcelona

Chapter 5, "Towards the Essence of Painting," features works created in the 1970s and 1980s in his later years. Although Miro had already established himself as a world-famous master, he continued to examine his own activities even in his later years and did not hesitate to make bold and unconventional attempts.

For example, Burnt Canvas 2 (1973) is one of a series of five paintings in which paint was vigorously poured onto a white canvas, then stomped on it, cut up with a knife, and finally soaked in gasoline and set on fire. Rather than being the result of an impulsive act, the intention behind the work was to explore the beauty hidden in the materiality of the scorched canvas and paper, but this work also conveys an unfading energy and a strong rebellious spirit against art as high culture and art that has been reduced to mere property.

Installation view: Burnt Canvas 2, 1973, Juan Miro Foundation, Barcelona (deposit)

In his later years, Miro began to use brush strokes that reflected the movement of the body more. In his triptych Fireworks I, II, III (1974), which is similar in image to ink painting, Miro violently splashed paint and then applied brushstrokes over the paint that dripped down due to the action of gravity. This was influenced by American Abstract Expressionist painters, and he used a technique in which the creative process was guided by a new composition that was born from chance. This work is being exhibited in Japan for the first time.

Exhibition view/Foreground is Fireworks I, II, III, 1974, Juan Miro Foundation, Barcelona

Chapters 4 and 5 also explore Miro's active social, political, and cultural commitments through his poster production.

In the 1960s and 1970s, during the final days of the Franco dictatorship in Spain, Miro produced numerous posters as a way of expressing the hopes and demands of people who lacked a forum to openly voice their opinions. He also said, "An artist is someone who speaks out to convey something when others are silent," and the exhibition emphasizes Miro's stance as an artist, that is, that he did not study art throughout his life simply to speak about his own interests.

Exhibition view/Foreground: "Barca FC Barcelona 75th Anniversary", 1974, Juan Miró Foundation, Barcelona

How did the painter Miro plunge into cutting-edge art throughout the 20th century and establish his own style while constantly placing himself in a state of creative tension? Come experience the process of his exploration and the appeal of his one-of-a-kind art at this exhibition.

Overview of the "Milo Exhibition"

venue Tokyo Metropolitan Art Museum Special Exhibition Room
Dates March 1st (Sat) – July 6th (Sun), 2025
Opening hours 9:30-17:30, until 20:00 on Fridays (entry until 30 minutes before closing)
Closed Days Monday, Wednesday, May 7th
*However, the facility will be open on Monday, April 28th and Monday, May 5th (national holiday).
Admission fee (tax included) Adults: 2,300 yen, university and vocational school students: 1,300 yen, ages 65 and over: 1,600 yen

*Free for university and vocational school students only from March 1st (Sat) to 16th (Sun).
* Free for those who have a Physical Disability Certificate, Love Certificate, Rehabilitation Certificate, Mental Disability Health and Welfare Certificate, or Atomic Bomb Survivor Health Certificate, and their accompanying person (up to one person).
*Free for those under 18 and high school students and younger.

Please check the official website ticket page for details.

Organizer Tokyo Metropolitan Art Museum (Tokyo Metropolitan Foundation for History and Culture), Juan Miro Foundation, The Asahi Shimbun Company, TV Asahi
inquiry 050-5541-8600 (Hello Dial)
Exhibition official website https://miro2025.exhibit.jp/

*The contents of this article are current as of the time of coverage. Please check the official exhibition website for the latest information.

Article provided by: Kokosil Ueno


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[Report] Special exhibition “Former Saga Imperial Palace, Daikakuji Temple” opens at Tokyo National Museum. Be fascinated by the splendor of over 100 partition paintings

Tokyo National Museum

Daikakuji Temple , located in Saga, Kyoto, has been loved by the imperial court and aristocrats as a scenic sightseeing spot ever since shortly after the capital was moved to Heian-kyo. It is the head temple of the Daikakuji school of the Shingon sect, whose founder was Kobo Daishi Kukai (774-835).
Its predecessor was Saga-in, a detached palace built by Emperor Saga (786-842) in the early Heian period, and in 876, at the request of his daughter, Princess Masako, it was converted into a temple and Daikaku-ji was founded. Since then, successive emperors and members of the imperial family have served as monzeki (head priests) at this prestigious temple, which has come to be affectionately known as Saga Gosho.

In anticipation of the 1150th anniversary of the founding of Daikakuji Temple in 2026, the Tokyo National Museum has opened a special exhibition commemorating the 1150th anniversary of the temple’s founding, “Former Saga Imperial Palace, Daikakuji Temple – A Profusion of Paintings Related to the Imperial Palace,” showcasing a number of outstanding temple treasures at once. The exhibition will run until Sunday, March 16, 2025.

*Works without a stated location are from Daikakuji Temple.
*Some artworks may be changed. Works without a display period listed will be on display throughout the entire exhibition period.
Early exhibition: January 21, 2025 (Tuesday) to February 16, 2025 (Sunday)
Late exhibition: February 18th (Tuesday) to March 16th (Sunday), 2025
*The contents of this article are current as of the time of coverage. Please check the official exhibition website for the latest information.

Entrance

The venue is divided into four chapters, and the first chapter, “Emperor Saga and Kukai – From the Saga-in Imperial Villa to Daikaku-ji Temple,” displays works showing the history of Daikaku-ji Temple in its early days. The most eye-catching exhibit is the “Five Great Myo-o Statues,” which show the belief in the Five Great Myo -o, the core of Daikaku-ji Temple’s faith.

The Five Great Myo-o are made up of five Myo-o, who are esoteric Buddhist deities: Acala, Gosanze Myo-o, Gundari Myo-o, Daiitoku Myo-o, and Kongoyasha Myo-o. They were established in China during the Tang Dynasty, and are thought to have been introduced to Japan by Kukai, who returned from Tang. Emperor Saga, who loved Tang culture, was also a good friend of Kukai, and at Kukai’s urging, he enshrined the statues of the Five Great Myo-o in the Jibutsudo hall in the villa.

Important Cultural Property “Statues of the Five Great Kings” by Myoen, Heian Period, Angen 3 (1177)
Important Cultural Property “Statue of the Five Great Kings, Gundari Myoo” Made by Myoen Heian Period, Angen 3 (1177)

Although the statues from that time have already been lost, the faith in them has been passed down, and Daikakuji Temple still has three sets of “Five Great Wisdom Kings” in its collection today. Two of these sets are on display. One is the principal image of Daikakuji Temple, created at the palace of Emperor Goshirakawa by Myoen, a leading Buddhist sculptor of the En school, who created many Buddhist statues for the imperial court and high-ranking aristocrats in the late Heian period. The statue has a stern appearance with an angry expression, but its rounded, refined physique exudes a refined elegance, making it a masterpiece that harmonizes strength and grace. It is also not to be missed as this is the only surviving example of Myoen’s work.

Statues of the Five Great Kings: Acala, Gunchari, and Daiitoku are Important Cultural Properties, made by In Shin, Muromachi period, Bunki 1 (1501); Gosanze and Kongoyasha are Edo period, 17th-18th century

The other statue is from the Godaido Hall of Seiryoji Temple in Kyoto, and is an impressive statue with a height of about 2m. Three of the statues are thought to have been made by the Muromachi period Buddhist sculptor Inshin, and two were restored in the Edo period.

Chapter 2, “Emperor Go-Uda, the Founder of the Restoration – The Beginnings of the Saga Imperial Palace,” focuses on the achievements of Emperor Go-Uda (1267-1324), who is known for developing the vast temple complex at Daikaku-ji Temple during the Kamakura period, including the main hall and monks’ quarters, as well as building the Sento Imperial Palace (the residence of the retired emperor) and ruling from a cloistered position, which led to the temple being called the “Saga Imperial Palace.” From the appearance of the vast temple complex at that time shown in the “Daikaku-ji Temple Grand Garan Map,” it is clear why Emperor Go-Uda is known as the “founder of the restoration of Daikaku-ji Temple.”

“Daikakuji Temple Complex” Edo period, 18th-19th century

Emperor Gouda, who was a devout believer in Esoteric Shingon Buddhism, became an ajari (master monk) at Daikakuji Temple where he became a monk and left behind many sacred teachings and calligraphy while training his disciples. At the exhibition, you can see a number of valuable imperial calligraphy (handwritten by the emperor himself), such as the National Treasure “Emperor Gouda’s Imperial Handwriting: The Life of Kobo Daishi,” which records his reverence for Kukai, and “Emperor Gouda’s Imperial Handwriting: Kanjo Inmyō,” which records various theories on the esoteric Buddhism ritual of ablution.

National Treasure “Emperor Gouda’s Handwriting: The Life of Kobo Daishi” by Emperor Gouda, Kamakura Period, 1315 (Showa 4), first half of exhibition

Although Daikakuji Temple had a large and well-equipped temple complex, it became the headquarters of the imperial line (the Daikakuji line, later the Southern Court) that continued from Emperor Gosaga, and as a result, it was embroiled in many wars after the Nanboku-cho period, and suffered a series of hardships, including the Onin War, when most of the temple buildings were burned down. Chapter 3, “Emperors and Court Culture,” introduces the achievements of the successive emperors and head priests who supported Daikakuji Temple at that time, and the court culture that was brought about by them.

The Tale of Genji (Daikakuji Temple Edition), Muromachi period, 16th century
“Ten Kinds of Incense Box with Young Pine Lacquer Painting” (detail) Edo period, 19th century

One of the highlights of this chapter is the simultaneous display of the two swords, “Usukiyoku (Hizamaru)” and “Onikirimaru (Higekiri),” which are said to be “sister swords” made by Minamoto no Mitsunaka in the mid-Heian period as swords to protect the country and passed down to successive heads of the Seiwa Genji clan.

From the left: Important Cultural Property “Tachi sword with the signature □Tada (famous for its light green color (Kneemaru))”, Kamakura period, 13th century / Important Cultural Property “Tachi sword with the signature Yasutsuna (famous for its Onikirimaru (Higekiri))”, Heian to Kamakura period, 12th to 14th century, Kitano Tenmangu Shrine, Kyoto
Important Cultural Property “Tachi sword with the signature □Tada (famous light green “Kneemaru”)” Kamakura period, 13th century

The “Usu Midori (Hizamaru)” has a wide, bold, curved blade with a low tempered, small, irregular blade pattern. It was used by the main line of the Genji clan, including Yorimitsu, Yoshitsune, and Yoritomo, and was passed down to the Otomo, Tahara, and Saionji families, and then to the Yasui Monzeki temple before being passed down to Daikakuji. The “Onikirimaru (Higekiri)” has a slightly narrower blade with a graceful, medium curve and irregular blade pattern. This sword came into the hands of Nitta Yoshisada when the Kamakura Shogunate fell, and was donated to Kitano Tenmangu Shrine via Shiba Takatsune, who killed Yoshisada, and his descendants, the Mogami family.

Based on the belief that “a sword with excellent design has a spiritual power beyond human understanding,” these “brother swords” are said to have many mystical tales attached to them. These legends are closely linked to the rise and fall of the Genji clan, suggesting that the two swords not only symbolize the legitimacy and authority of the main line of the Genji clan, but were also believed to lead their owners to victory. This will be the first time that the two swords will be exhibited together in Tokyo. A special display case and display stand have been set up to make it easy to see the beautiful blades.

“The Legend of the Light Midori Sword” Edo period, 17th-18th century
Chapter 4 Exhibition view

Chapter 4, “Sliding Door Paintings of the Empress’s Palace – Seishinden and Shinden,” is the highlight of the exhibition. The Shinden , located in the center of the Daikakuji temple complex, is a Shinden-style building bestowed by Emperor Gomizunoo, and was the relocated palace of Wako (Tofukumon’in), who entered the Imperial Court in 1620. The Seishinden, located to the northwest of it, is a Shoin-style building built during the Azuchi-Momoyama period, and was used as the throne room (residence) of successive head priests.

Many of the approximately 240 sliding door and shoji paintings that decorate the interior were created by Kano Sanraku (1559-1635), a painter representing the Azuchi-Momoyama to Edo periods who served the Toyotomi and Kujo families, and are collectively designated as Important Cultural Properties. The temple is currently undergoing a major restoration that has been ongoing for 14 years, and this exhibition focuses on works that have been restored, with 123 paintings (100 from the early period and 102 from the later period) being shown. It is said that this is the first time that paintings on this scale have been taken outside the temple, and the spectacular sight is captivating.

A reproduction of the formal “Okanmuri no Ma” room, where Emperor Go-Uda is said to have ruled as a cloistered emperor, is on display.
Important Cultural Property “Peony” (part of 18 panels) by Kano Sanraku, Edo period, 17th century
Important Cultural Property “Pine and Hawk” (part of 13 panels) by Kano Sanraku, Azuchi-Momoyama to Edo period, 16th to 17th century, first half of exhibition

The 13-panel “Pine and Hawk” painting, which decorates the “Hawk Room” of the main bedroom, is a representative work of Sanraku’s ink-wash painting of flowers and birds, depicting a giant pine tree and a brave hawk within a long screen. Some may recall the “Cypress Screen” by Sanraku’s teacher, Kano Eitoku (1543-90), housed in the Tokyo National Museum, with its dynamic movement created by the large, undulating thick trunk and meandering branches, and the balance that dominates the whole work.

Important Cultural Property “Red and White Plum Blossoms” (part of eight panels) by Kano Sanraku, Edo period, 17th century

One of Sanraku’s greatest masterpieces , Red and White Plum Blossoms (8 panels), which beautifully blends realism with decoration and decorates the Red Plum Blossom Room in the Shinden Palace, also shows the influence of Eitoku in the depiction of the large tree spread across the entire screen. However, all of these works are portrayed with a softer, gentler tone than Eitoku’s boldness, suggesting that Sanraku inherited his master’s characteristics while refining his own stylistic individuality.

Important Cultural Property “Wild Hare” by Watanabe Shiki, Edo period, 18th century
Important Cultural Property “Wild Hare” (part of 12 panels) by Watanabe Shiki, Edo period, 18th century

The 12-panel painting of rabbits on the lower shoji screens decorating the veranda of the main bedroom was created by Watanabe Shiki (1683-1755), a mid-Edo period painter who studied under the Kano school and Ogata Korin. It is said to have been commissioned by Konoe Iehiro to comfort his son, born in the year of the rabbit, who entered Daikakuji Temple at a young age from the Konoe family. The painting features 19 rabbits in a variety of poses, such as with ears on their hind legs or relaxing close together, set amongst sprawling wildflowers.

At the special shop in the venue, adorable key chains of the rabbits in “Hares” were on sale (currently sold out).

The special exhibition “Former Saga Imperial Palace, Daikakuji Temple – A Profusion of Paintings Related to the Imperial Palace,” which allows visitors to immerse themselves in the temple’s long history and elegant atmosphere, will be held until March 16, 2025.

Summary of the special exhibition commemorating the 1150th anniversary of the founding of the temple: “Former Saga Imperial Palace, Daikakuji Temple – A Profusion of Paintings Related to the Imperial Palace”

Dates January 21, 2025 (Tuesday) – March 16, 2025 (Sunday)

*Some of the works on display will be changed during the exhibition.
First half of the exhibition: January 21 (Tue) – February 16 (Sun)
Late exhibition: February 18th (Tuesday) – March 16th (Sunday)

venue Tokyo National Museum Heiseikan (Ueno Park)
Opening hours 9:30-17:00
*Last admission is 30 minutes before closing.
Closed Days Mondays (open on February 10th and 24th), February 25th (Tuesday)
Organizer Tokyo National Museum, Daikakuji Temple, Yomiuri Shimbun, Nippon Television Network Corporation, BS Nippon Television
inquiry 050-5541-8600 (Hello Dial)
Exhibition official website https://tsumugu.yomiuri.co.jp/daikakuji2025/

*The contents of this article are current as of the time of coverage. Please check the official exhibition website for the latest information.

Article provided by: Kokosil Ueno


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[National Museum of Nature and Science] Special exhibition “Birds” coverage report. Over 600 specimens are on display, and the latest research into genomic analysis reveals the charm of birds

National Museum of Nature and Science
Exhibition view

Birds are the most numerous terrestrial vertebrates, with approximately 11,000 species, and thrive in a variety of environments around the world, from the sky and land to the water and polar regions. In Japan, bird classification is based on the Catalogue of Japanese Birds published by the Ornithological Society of Japan, but in recent years, the classification was revised for the first time in 12 years in September this year, taking into account the evolutionary history and lineages that have been revealed by the rapid progress of genome analysis.

The special exhibition "Birds: New bird lineages revealed by genome analysis" (until February 24, 2025) currently being held at the National Museum of Nature and Science in Ueno, Tokyo, explains the diverse charms of birds around the world, including their amazing ecology, based on the latest genome lineage classification. With over 600 bird specimens on display, it is the largest scale in the history of the National Museum of Nature and Science, and can be enjoyed by a wide range of people, from beginners to bird enthusiasts and avid bird watchers.

At the entrance to the venue, you are greeted by two birds that symbolize the beauty and cuteness of birds. From the left, a stuffed specimen of an Indian peacock (order Phasianidae) from the National Museum of Nature and Science / a stuffed specimen of a long-tailed tit (subspecies: long-tailed tit, order: passerine) from the National Museum of Nature and Science
Exhibition view

Nishiumi Isao (Chief Researcher in the Zoological Research Department at the National Museum of Nature and Science), who served as the overall supervisor of this exhibition, spoke about the significance of holding this exhibition at a press preview held prior to its opening as follows:

"Birds play a variety of roles in the ecological pyramid. For example, nectar-eating birds are involved in pollination, while seed-eating birds are involved in seed dispersal. Woodpeckers, who can dig nest holes, provide habitats for a variety of creatures that cannot make their own nest holes, such as flying squirrels and owls, and thus enrich biodiversity. Many of these birds have been declining in number in recent years, and some are on the verge of extinction. We believe that holding the 'Birds' exhibition, getting to know birds better and becoming familiar with them, is extremely important in considering the global environment."

According to Nishiumi, birds are particularly susceptible to environmental influences among animals. It is conservatively estimated that 1,430 species have become extinct due to human activity, which means that 12% of all species have become extinct. As a prologue to this exhibition, a corner on the theme of "extinction" is set up, and you can feel the strong desire of the curators to "above all else, let people know about the current situation surrounding birds."

The section on extinct birds displays the Northern Spotted Woodpecker, a large woodpecker that was collected on Tsushima in 1920 and is the last bird to become extinct, with both males and females now extinct.
A comparative display of the diverse and evolved wings of birds. There are wings suited to quickly escaping predators, wings suited to long-distance travel, and so on. When you compare them, the differences between them are clear.
The exhibition also explains the evolutionary process leading to modern birds, based on materials such as fossil skeletons. / Deinonychus fossil skeleton (replica), National Museum of Nature and Science

One of the highlights of this exhibition is the life-size reconstructed model of Pelagornis sandersi, the largest flying bird in history with a wingspan of up to 7m, which lived approximately 26 million years ago.

Pelagornis sandersi, life-size living body reconstruction model, National Museum of Nature and Science
Same as above. Its skeleton resembles that of seabirds such as pelicans and albatrosses, but the most recent theory is that it belongs to the duck family.

Takanobu Taibichi (Chief Researcher in the Department of Earth Sciences, National Museum of Nature and Science), who supervised this model, commented, "As far as we know, this is the largest flying bird in history. We attempted this restoration because we wanted to explore the potential of birds, or how large a bird needs to be to fly given its body structure, and to explore the diversity of shapes known from fossils, as well as the limits of shape."

An exhibition of the Hornbill order. Many birds, such as the red hornbill and silver-tailed hornbill, have distinctive protrusions called rhino horns on their beaks.

The greatest attraction of this exhibition is undoubtedly the volume of specimens .

According to Nishiumi, he carefully selected the best-looking specimens from the approximately 3,000 in the National Museum of Nature and Science's collection. With the cooperation of the Abiko Bird Museum, the only bird museum in Japan, and Himeji Museum, the exhibition features over 600 bird specimens from all over the world and throughout history, which is truly impressive. "See all the birds you'll ever see in your lifetime!?" is the exhibition's catchphrase, but as a rough guide, if you can observe more than 400 species of birds, you're considered a very experienced birdwatcher.

There is also a kiwi, which has become increasingly popular in recent years for its cuteness. / A stuffed specimen of the spotted kiwi (Kiwiformes), from the National Museum of Nature and Science
The world's largest pigeon, the Victoria Crowned Pigeon, is found on the island of New Guinea and weighs about 2.5 kg. Its lacy crest makes it look like a peacock. / Victoria Crowned Pigeon (Colombia) Stuffed specimen, National Museum of Nature and Science
The exhibition features a wide range of high-quality bird carvings of Darwin's finches, which live on the Galapagos Islands and have evolved different beak shapes and body sizes depending on the food they eat.

Cute birds, unique birds, rare birds… With such a wide variety, no matter what kind of bird you're looking for, you're sure to enjoy it.

"Penguin Gathering" Corner

The venue is laid out according to taxonomic orders, and one area to pay particular attention to is the "Penguin Gathering" corner, which displays the order Sphenisciformes.

There are 15 specimens of 11 of the 18 extant species of penguins on display. Some specimens have unique poses, such as an emperor penguin watching over its chicks, while others have a sense of story in their arrangement, such as a group of African penguins and a group of Magellanic penguins staring in the same direction as if intrigued by something. The specimens come together as a single scene, creating an atmosphere almost like that of a zoo.

A stuffed specimen of a great auk (Charadriiformes), from the National Museum of Nature and Science

It's interesting to see the great auks, which look similar to penguins but are from a completely different family, casually mixed in like a game of spot the difference. Penguins are limited to the Southern Hemisphere, but it is said that flightless birds like the great auks have evolved convergently (※) in the Arctic as well.

(*)…When organisms from very different lineages are placed in the same environment, such as a fish shark and a mammal dolphin, or a bird's wing and a mammal's bat's wing, they acquire similar traits and functions.

A stuffed specimen of a Great Skua (Charadriiformes), from the National Museum of Nature and Science

If you look up into the sky above the "Penguin Gathering" area, you'll see a South Polar skua, a predator that preys on penguin eggs and chicks, spreading its wings and appearing to be targeting the penguins. It's easy to miss the hanging exhibits, so we recommend taking a 360-degree look around the venue.

This is a truly majestic area, with a large number of hawk-like specimens, including condors and Steller's sea eagles.

The exhibition is based on phylogenetic research using genome analysis, and one of its symbolic results is the establishment of the order Falconidae. In the traditional classification, which was based mainly on morphological differences, falcons were classified as part of the Falconidae family, and this had hardly been questioned until now. However, it has been discovered that they are actually closer to the parrots and passerines in terms of their lineage than to hawks.

Stuffed specimen of Peregrine Falcon (Falconiformes), National Museum of Nature and Science
Parrotfish exhibit

There are 44 orders, from Strigiformes to Passeriformes. However, while there are over 6,700 species of Passeriformes that are distributed almost worldwide, there is only one species of Hoatzin, the black-spotted hoatzin, that is endemic to the Amazon basin; there is a wide range in the number of species and their distribution ranges.

This rare bird, one species in a single order, is arboreal, has low flying ability, and is the only bird that has a unique ecology in that it mainly eats leaves. It has an image that is the polar opposite of carnivorous birds of prey that fly powerfully through the sky to hunt prey, but it is suggested that phylogenetically, birds of prey such as hawks and owls may have arisen through the Hoatzins.

A stuffed specimen of a hoatzin (family Hoatzinidae), from the National Museum of Nature and Science.

Generally, bird "orders" branch off at roughly the same time, with the groups that branched off between 66 million years ago, when the mass extinction of the dinosaurs occurred due to an asteroid impact, and around 50 million years ago. The Hoatzinidae order did not branch off for over 50 million years, and it is unclear whether they survived as a single species or whether they became extinct with only one species remaining, making them a rather mysterious species.

The Japanese pheasant, our national bird, was previously considered a subspecies of the Korean pheasant that inhabits the Eurasian continent, but genome analysis revealed that it is a species owned by Japan. It is now a "Japanese bird" in both name and reality. / A stuffed specimen of a Japanese pheasant (subspecies: Japanese pheasant, Phasianidae), housed at the National Museum of Nature and Science

The "Secrets of Birds" section, which features contributions from Watari Numagasa , a popular creator known for his illustrated animal illustrations, is also a must-see.

The corner has 23 themes, such as "Do cuckoos' egg-laying parasitism lead to the death of their hosts?" and "Bird dialects and words" , and introduces the latest research findings in the form of trivia. Numagasa Watari's illustrations help visitors understand the exhibit with their humorous, chuckle-inducing illustrations.

"The Secrets of Birds" corner and "The Pros and Cons of Drawstringing Your Territory" exhibit
"Secrets of Birds" corner, "Birds that fly over the Himalayas" exhibit

One of the curators, Shoji Hamao (Chief Researcher in the Zoological Research Department at the National Museum of Nature and Science), said, "In this exhibition, we wanted to emphasize the differences in how birds and people see the world," referring to the exhibit in the same corner, "What pigeons can teach us about the 'minds' of birds."

"The Secrets of Birds" corner, "What pigeons can teach us about the 'hearts' of birds" exhibit

The results of an experiment were presented in which pigeons, trained to distinguish between Japanese and Western paintings, were shown scrambled images in which the original painting was divided into 1,024 parts and rearranged randomly. While it is difficult for humans to determine whether the original painting is Japanese or Western, pigeons were able to easily distinguish between the two, even when seeing the painting for the first time.

"Humans are good at looking at the whole picture and picking out features, but pigeons are very honest about the small details, and they look at each and every detail and remember it. That's how they perceive things. In other words, they perceive the world differently. This story doesn't mean that pigeons are smart or not, but it shows that Homo sapiens and birds perceive things differently, and see the world in different ways," says Hamao.

Hamao also mentioned an exhibit on the surprising pairing relationships between male and female birds. As the term "lovebirds" suggests, some people may imagine that birds form monogamous pairs and raise children together in harmony. However, for example, when a male pheasant has a baby with a female in his pairing, he abandons nest-building, incubation, raising the eggs, and the bond with his partner, and instead courts other females one after another, which is why he is said to be polygamous (or promiscuous).

Pheasant (order Phasianidae) female (foreground) and male (back) taxidermy specimens, National Museum of Nature and Science

From a human perspective, this behavior would make one frown, thinking, "How can they move from one woman to another without raising their young?" But in reality, the chicks mature quickly, and one bird is enough to raise the young. Hamao says that this is the result of each individual bird evolving to leave as many young as possible in the harsh natural environment.

Apparently 50% of the chicks of the Australian bush warbler, which is distributed in Australia, are born through extra-pair mating. / This stuffed specimen of the Australian bush warbler (Passerina), housed at the National Museum of Nature and Science

"The image we have of birds, that humans think birds must think this way because we think this way, is surprisingly not accurate. Birds have acquired all sorts of characteristics to leave more offspring under the harsh selective pressure of evolution. So we shouldn't think of this in terms of humans. We create exhibits like this with the idea that we need to know what birds really look like, admire them, and think about conservation." (Hamao)

Genome analysis has revealed a different image of birds than we had previously. What ecological characteristics do they have, what kind of lifestyles do they lead, and what role do they play in the ecosystem? Now that we know this, what kind of charm will we find in them? This exhibition will be the perfect opportunity to update our image of birds in the genomic era.

Summary of the special exhibition "Birds: New bird lineages revealed by genome analysis"

Dates November 2, 2024 (Sat) – February 24, 2025 (Monday/Closed)
venue National Museum of Nature and Science (Ueno Park, Tokyo)
Opening hours 9:00-17:00 (entrance until 16:30)
Closed Days Mondays, November 5th (Tuesday), December 28th (Saturday) – January 1st (Wednesday), January 14th (Tuesday)
*However, the museum will be open on November 4th (Monday, holiday), December 23rd (Monday), January 13th (Monday, holiday), February 17th (Monday), and February 24th (Monday, holiday).
*The session and other details are subject to change.
Admission fee (tax included) Adults and university students: 2,100 yen; elementary, middle and high school students: 600 yen
*Free for preschool children.
* Free for those with a disability certificate and one caregiver.
*If you have a student ID or any other certificate, please present it upon entry.
Organizer National Museum of Nature and Science, Nihon Keizai Shimbun, BS TV Tokyo
inquiry 050-5541-8600 (Hello Dial)
Exhibition official website https://toriten.exhn.jp/

*The contents of this article are current as of the date of coverage. Please check the official exhibition website for the latest information.


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[National Museum of Nature and Science] Notice of special exhibition “Shellfish Exhibition: Why are people fascinated by shellfish?”

National Museum of Nature and Science
Poster for the special exhibition "Shellfish Exhibition: Why are people fascinated by shellfish?"

The National Museum of Nature and Science will hold a special exhibition, "Shellfish Exhibition: Why are people fascinated by shellfish?" from Tuesday, November 26, 2024 to Sunday, March 2, 2025, as detailed below.
[Detailed URL:https://www.kahaku.go.jp/event/2024/11shells/ ]

Shellfish have supported human life not only as food but also as materials for ornaments and other items. Even today, they continue to color people's lives and culture in various ways. The biological characteristics and diversity of shellfish have fascinated us since ancient times. This exhibition will introduce the essence of the profound shell world.

Event summary

Special Exhibition "Shellfish Exhibition: Why are people fascinated by shellfish?"

[Venue] National Museum of Nature and Science (Ueno Park, Tokyo) Japan Pavilion 1st floor special exhibition room and central hall

[Holding period] November 26, 2024 (Reiwa 6) (Tuesday) to March 2, 2025 (Reiwa 7) (Sunday)

[Opening hours] 9:00-17:00 *Entry is until 30 minutes before closing time

[Closed] Mondays (Tuesdays if Monday is a national holiday), December 28th (Saturday) to January 1st (Wednesday, national holiday)
*However, the museum will be open on Monday, December 23rd and Monday, February 17th.

[Admission fee] Adults and university students: 630 yen (510 yen for groups), high school students and younger and those aged 65 and older: free
*This exhibition can be viewed with the admission fee for the permanent exhibition only. *Groups of 20 or more people
*For details on how to enter the museum, please see our website.
https://www.kahaku.go.jp/

[Sponsor] National Museum of Nature and Science

[Supported by] Dr. Naotada Akaboshi Cultural Properties Museum, Urakawa Town Museum, Kagoshima Prefectural Buried Cultural Properties Center, Kishiwada Nature Museum, The University Museum, Toba City Sea Museum, Toyohashi Museum of Natural History, Hagi Museum, Meguro Parasitological Museum, Yokosuka City Museum of Nature and Humanities

・Exhibition introduction

Prologue: The World of Shellfish
Shellfish are a group of invertebrates called mollusks that generally refer to those with calcium carbonate shells, but in a broader sense they also include those without shells. How did the shellfish that flourish on Earth come into being and develop? Here we will first look at the evolutionary path of shellfish, and also introduce their amazing diversity in size.

Acanthurus nigricans (Courtesy of the National Museum of Nature and Science)
Pelecyogyra fezouataensis (Property: National Museum of Nature and Science)

Chapter 1 The origins of shellfish diversity
Molluscs, which are said to exist in over 100,000 species on Earth, are extremely diverse in many aspects, not only in the general structure of their bodies (body plan), but also in their habitats, ecology, shell morphology, and more. Some mollusks have evolved to lose their shells. Here, we will first provide an overview of molluscs, and then look at their diversity and the factors behind it from various angles.

Meotoyadrina (Photo: National Museum of Nature and Science)
Maboroshi clam (Image: National Museum of Nature and Science)
Harinagarimbo (Image: National Museum of Nature and Science)

Chapter 2: The long relationship between humans and shellfish – from prehistoric times to the present
The relationship between humans and shellfish has continued from prehistoric times to the present day. During times of food scarcity, shellfish provided a stable source of food that supported human life. At the same time, shells have also been used as materials for tools and ornaments. Furthermore, they have come to be involved in culture, such as religious ceremonies and games, and are therefore more than just natural products.

Shell ring (Gohora) (Property of the National Museum of Nature and Science)
Shell Matching (Hamaguri) (Property of the National Museum of Nature and Science)

Chapter 3: The deep relationship between humans and shellfish – People fascinated by shellfish
The ultimate modern relationship between humans and shellfish is shell collecting. Shellfish are easy to make specimens of and can be preserved for many years, so they have attracted many people as representative biological collections. There are various ways to collect shellfish, such as aiming to collect all the species in a certain area or concentrating on a specific taxonomic group.

Adanson okinaebis (Image: National Museum of Nature and Science)
Sea lion (Image: National Museum of Nature and Science)

Chapter 4: How to continue to have a long-term relationship with shellfish
Humans and shellfish have had a long and deep relationship. However, the situation is currently undergoing great changes. Shellfish, which have thrived on the planet, are also being affected by recent environmental changes and global-scale fluctuations. Changes are also being seen in their relationship with humans, including in the way they eat. Here, you can understand the current situation and think about the future.

Small Masuho shellfish (Philadelphus nigricans) (Photo: National Museum of Nature and Science)

・Exhibition Supervisor

Researcher, Marine Invertebrate Research Group, Animal Research Department
Kazunori Hasegawa

My specialty is the taxonomy of gastropods (snail shells). Shells have had a large presence in my heart ever since I was old enough to understand. The starting point of this exhibition was to rediscover their appeal. While their appeal as research subjects and food is easy to understand, it is still difficult to explain the happiness I feel when admiring a shell in the palm of my hand. The mystery of why the product of adaptive evolution of living things is so captivating only deepens.

Environmental Change History Research Group, Earth Science Research Department, Research Director
Takuma Haga

My field of expertise is evolutionary paleontology and molluscology using shells. I still don't know why I'm fascinated by them, even after 38 years of collecting shells. If I had to say, it might be the diversity of shapes that exceeds my imagination. When I see a shell, I instinctively pick it up, and in my dreams I collect "gorgeous dream shells." But I'm really drawn to the Chishima shell and the Ijike shell. I think the answer I'm looking for lies in their indescribable shapes.

Researcher, Anthropology Research Department, Anthropological History Research Group
Wataru Morita

His specialty is dental anthropology. One of the great attractions of shells for anthropologists is that they protect precious ancient human bones, such as those of the Jomon people, from Japan's acidic soil. They may not have expected their appearances and lives to be passed down to future generations like a time capsule, but I imagine that the Jomon people were so fascinated by shells that they wanted to be buried surrounded by shells after death.

Group Leader, Marine Invertebrate Research Group, Zoology Department
Hiroshi Saito

His specialty is the taxonomy of mollusks (mainly squamous organisms). When I was a child, I remember seeing shells of turban shells and abalones that had turned white from exposure to the elements on a flower shelf in an alleyway in my neighborhood. Although it's a weak basis based on my own experience, when I think about the fact that I remember such common shells, with their pale color, I think that the biggest factor in their fascination is their shape.

Earth Science Research Department, Environmental Change History Research Group, Group Leader
Yasunari Shigeta

His specialty is ammonite biology. In the midst of nature, when he hits the strata with a hammer, the beautiful spiral ammonites peek out. It's like opening a time capsule. Some ammonites shine with rainbow colors. It's exciting to wonder what the ammonites, extinct long ago, can tell me.

[Agency for Cultural Affairs] Press Release

Article provided by: Kokosil Ueno


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