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.
The National Museum of Nature and Science, an independent administrative institution, will be holding a fully virtual special exhibition, "Alpine Plants," which can be experienced in an online virtual reality (VR) space from Monday, November 18th.
This exhibition will introduce the beautiful alpine plants that color the summer mountains through a virtual experience that can be toured regardless of the season. The setting is Mt. Hakuba in the Northern Alps. A "virtual Mt. Hakuba" that can be climbed at any time has been recreated in a VR space. This is the first content that allows you to experience alpine plants that change with altitude and topography in a VR space while enjoying the mountain scenery and topography from a climber's perspective. Even those who have no experience of climbing can easily enjoy Virtual Mt. Hakuba. In addition, content introducing the imminent threat to alpine ecosystems and the museum's efforts to overcome this threat, such as the cultivation and conservation of alpine plants outside their natural habitat, will be released at a later date.
This exhibition shares the same theme as the special exhibition "Alpine Plants – The Diversity of High-Rise Flowers and the Connection of Life" held at the Ueno Main Building, and is an initiative that allows people to experience alpine plants not only in the exhibition room but also online.
・Background to the virtual exhibition
The National Museum of Nature and Science has been utilizing digital technology, which has been developing in recent years, to offer "Experience at Home! Kahaku VR," which allows visitors to view exhibits anytime, anywhere, since 2020. Furthermore, since 2023, a "Virtual Exhibition Room," which is different from the real-world exhibits, has been set up online, and full virtual content such as "Exploring Square Compass VR" and "Creating Electronic Musical Instruments" has been released.
This time, we will share the same theme as the special exhibition "Alpine Plants – The Diversity of Flowers of High Mountains and the Connection of Life" held at the Ueno Main Building this year, and will utilize the accumulated VR technology to make it possible to enjoy learning about alpine plants, which are often difficult to see, anytime and anywhere. The main points of the real Northern Alps' Mt. Shirouma will be reproduced in 3D models taken from aerial photography by drone, and you can enjoy the diverse appearance of alpine plants while experiencing the landscape and terrain from a climber's perspective, which is different from the exhibition room. We will introduce not only the charm of alpine plants, which change depending on the altitude and terrain, but also the critical situation they are in. Because the alpine ecosystem is facing a crisis, there are also efforts by the museum to overcome it. In particular, you will learn about ex situ conservation activities, which cultivate and conserve alpine plants outside their natural habitat. We hope that this small and beautiful plant will be an opportunity to learn about various environmental issues, such as biodiversity.
Event summary
[Sponsor] National Museum of Nature and Science, Independent Administrative Agency
[Permanent period] From November 18, 2020 (Monday) onwards
[Release Schedule]
Monday, November 18, 2024: "Chapter 1: Virtual Mt. Hakuba" released the scene of the upper part of the large snowfield (Autumn Path)
Friday, November 29, 2024 (planned): Four scenes from "Chapter 1: Virtual Mt. Hakuba" will be released: the flower fields, the summit lodge to Hakuba Mountain Lodge, the summit of Mt. Hakuba, and the area around Mt. Asahi.
December 2024 (planned): "Chapter 2: Crisis and Conservation of Alpine Ecosystems" will be released
[Fee] Free
Supervisor: Yoshinori Murai (Chief Researcher, Biodiversity Analysis and Conservation Group, Plant Research Department, National Museum of Nature and Science)
[Supported by] Omachi City Museum of Mountaineering, Hakuba Goryu Alpine Botanical Garden, Hokkaido University Botanical Garden
[Exhibition location] National Museum of Nature and Science Virtual Exhibition Room https://www.kahaku.go.jp/3dmuseum/alpineplants/
[Devices that can be used to watch] PC (web browser), smartphone, tablet, VR goggles, etc.
・Exhibition composition
[Chapter 1 Virtual Mt. Hakuba]
Mt. Hakuba in the Northern Alps, a treasure trove of alpine plants, has been recreated in a VR space using a 3D model created from drone footage and 360-degree footage. The video starts with footage of Sarukura and Hakubajiri, then takes you up five points on the "Virtual Mt. Hakuba" – the upper part of the Oyukikei (Autumn Path), the flower fields, the summit lodge – Hakuba Sanso, the summit of Mt. Hakuba, and the Asahidake area – and you can experience the diversity of alpine plants that changes with altitude and terrain.
Virtual scene of the upper part of the large snowfield (autumn path) of Mt. HakubaAlpine plant commentary
[Chapter 2: Crisis and conservation of alpine ecosystems]
Beautiful alpine plants are in a critical situation, and conservation efforts are underway. This exhibition introduces alpine plants that are conserved outside of their natural habitat, as well as animals closely related to alpine plants, and shows how protecting alpine plants not only protects plants, but also leads to the conservation of the diversity of the entire environment. This exhibition also focuses on "living specimens" (living collections) related to conservation, and how museums contribute to the conservation of these ecosystems.
Image of the space in Chapter 2 (image in development)Images of endangered species introduced in Chapter 2 (images under development)
・Virtual guided tour
A virtual guided tour will be held at Chapter 1 Virtual Mt. Hakuba by the exhibition's curator, Yoshinori Murai. We are preparing a tour that will allow visitors to enjoy the exhibition even more. Details will be announced as soon as they are finalized.
❖ Osaka Venue / Osaka Museum of History Scheduled to open in June 2025 ❖Tokyo venue/Ueno Royal Museum Scheduled to open in September 2025
A completely new "Shosoin experience" begins
An exhibition will be held in conjunction with the Osaka-Kansai Expo, and will be supervised by the Imperial Household Agency's Shoso-in Office, to allow visitors to "feel" and "enjoy" the miracle of the Shoso-in Repository, where rare items from around the world have been preserved in good condition for some 1,300 years and where they remain. The exhibition will take a completely new approach to the experience of the miracle of the Shoso-in Repository and its treasures.
This exhibition offers new ways to experience and enjoy the world of Shosoin, through a collaboration between the latest digitally controlled video, music, and lighting, and a variety of "reproductions" (works in which modern master craftsmen meticulously recreate the original appearance of the treasures) that have been researched and produced by the Imperial Household Agency's Shosoin Office.
We will also be showcasing new works by contemporary artists from a variety of fields, based on the theme of the beauty and history of Shosoin.
Within the venue, you can take photos and post them on social media, not just at the photo spots. This is an exhibition event that is decorated with the splendor of a show, where you can immerse yourself in the world of Shosoin through the words, music, and spatial direction of cutting-edge creators.
[Highlights of this exhibition] ❖ Experience the "feelings" that have been woven together
The treasures of Shosoin have been protected and passed down by people on earth for about 1,300 years, making them a rare treasure even on a global scale. The people who have protected these treasures are imbued with a desire to "preserve" them, and it is because this desire has been woven through the ages that the miracle that is Shosoin exists today. This exhibition will touch on the various "feelings" that have been woven from the thoughts of Empress Komyo.
❖ Experience the world of treasures in depth with 3D digital data
In order to leave accurate information about the treasures for future generations, the Shosoin Office is using the latest technology to scan the treasures from 360 degrees and obtain high-definition 3D digital data. By adding effects to the 3D digital data, the exhibits will present the details and texture of the treasures more realistically, allowing visitors to experience the world of the Shosoin treasures more deeply than ever before.
❖ A new appreciation experience with reproduction and the latest digital technology
Even with the utmost care and care, cultural properties deteriorate over time. Therefore, the Imperial Household Agency's Shosoin Office creates replicas with the aim of faithfully reproducing the materials, structure, and techniques of the treasures to bring them back to their original form. These replicas clearly show that the treasures were made with great care and skill. This exhibition offers a new appreciation experience by displaying the replicas in combination with the latest digitally controlled video, music, and lighting.
❖Collaboration with contemporary artists
The beauty of the Shosoin treasures, which has not faded even in modern times, will be given new appeal through collaboration with artists. Contemporary artists active in a wide range of genres will create and exhibit works inspired by the Shosoin treasures. Details will be released in due course.
[Greetings]
We are pleased to announce that Shosoin "THE SHOW" will be held. Located in the former grounds of Todaiji Temple in Nara, Shosoin is truly a "treasure trove of miracles," having protected and handed down some 9,000 treasures above ground for nearly 1,300 years. An exhibition of Shosoin is held every autumn, but this time we will be taking a different approach to viewing the actual items, using the latest digital technology to offer a new way of enjoying the treasures. We hope that this will be an opportunity for visitors to appreciate the value of the treasures more deeply, and to come into contact with the irreplaceable value of the Imperial family and the feelings of the people who supported their transmission. (Iida Takehiko, Director of the Shosoin Office of the Imperial Household Agency)
[Event Summary]
Exhibition title: Shosoin "THE SHOW" – Feel the miracle here and now –
Dates and Venue: Osaka Venue/Osaka Museum of History Scheduled to open in June 2025
Tokyo venue: Ueno Royal Museum, scheduled to open in September 2025
Organized by: Shosoin "THE SHOW" Executive Committee
Supervised by: Shosoin Office of the Imperial Household Agency
Official website: https://shosoin-the-show.jp
*More details will be announced on the official website around April 2025.
From the press release by the Shosoin "THE SHOW" Public Relations Office
Exhibition view, National Treasure “Haniwa Warrior in Armor” excavated from Iizuka-cho, Ota City, Gunma Prefecture, Kofun period, 6th century, Tokyo National Museum
The national treasure “Haniwa Warrior with Armored Arms,” which is said to be the greatest masterpiece among the many different types of haniwa made during the Kofun period, has celebrated its 50th anniversary since being designated a national treasure, and a special exhibition commemorating this occasion, “Haniwa,” has opened at the Tokyo National Museum (hereinafter referred to as “Tokyo National Museum”). The exhibition will run until December 8, 2024.
Exhibition view
Haniwa, which were actively produced from the 3rd to 6th centuries during the Kofun period, are unglazed sculptures that were lined up in burial mounds, the tombs of kings and other powerful people. Early on, they were simple cylindrical shapes, but as time went on, they developed into more and more unique pieces, including human figures, adorable animal figures such as horses and birds, and pictographs of elaborate weapons and houses. They are valuable materials that convey the lives and customs of ancient people to the present day.
This exhibition will bring together about 120 carefully selected treasures from around Japan, including haniwa and grave goods excavated from ancient tombs. This will be the first large-scale haniwa exhibition held at the Tokyo National Museum in about half a century.
Welcoming visitors at the entrance to the first venue is the adorable Haniwa Dancing People, with their playful expressions, which has now become a recognized icon of Haniwa. Haniwa, which emerged and developed uniquely in the Japanese archipelago, are characterized by simplified and rounded expressions in the clothing, faces, and gestures, but this representative work is filled with that unique “looseness .” It is said to depict people dancing in a ritual, and is also the model for the Tokyo National Museum’s mascot character, “Tohaku-kun.”
Haniwa Dancing People, excavated from Nohara Tomb in Kumagaya, Saitama Prefecture, Kofun period, 6th century, Tokyo National Museum
When it was excavated from the Nohara Tomb in Kumagaya, Saitama Prefecture in 1930, it was immediately repaired and restored, but in recent years it has deteriorated so much that it is no longer possible to lend it out. Therefore, the Tokyo National Museum and the Cultural Properties Utilization Center are raising donations through crowdfunding and other means, and will begin dismantling and repairing it in October 2022. Repairs are scheduled to be completed in March 2024, and this exhibition will be the first opportunity for the statue to be shown since its repairs.
There have been several changes since the restoration, but the biggest change is probably the intensity of the reddish color. During cleaning, it was discovered that the work had a stronger yellowish color than it actually was, due to dirt that had accumulated while it was buried and dirt in the air that had accumulated over the years of display. Old excavated items are often left with no effort to remove dirt, in order to show their history, but in this restoration, they decided to remove as much dirt as possible in order to allow the viewer to imagine how it was when it was first made. The original color that emerged is said to be a reddish burnt color that is rich in iron and contains volcanic minerals, a color that is often seen in northern Kanto.
Regarding the Haniwa Dancing People, according to Tokyo National Museum researcher Yamamoto Ryo, a recent theory that has gained popularity is that “rather than dancing, the figures are actually pulling a horse.”
Researcher Yamamoto explains the work in front of “Haniwa Dancing People.” A string and a sickle can be seen attached to the waist of the haniwa in the foreground.
Haniwa figures with one hand raised were often originally excavated together with horses. Also, it is possible that the twisted cord hanging from the waist of the shorter haniwa represents reins, and the sickle on its back represents an object used to cut grass for the horse. If it was a horse-puller, it would be a little disappointing, considering that we have been familiar with the “dancing people” for so many years…
“On the other hand, it is common for the meaning of the original haniwa to change as it develops. In this exhibition, we call them group figures of haniwa, but there are some that combine different types of haniwa to express various stories, such as a hunting scene using a hunter haniwa with a deer or boar haniwa. Therefore, depending on the combination of haniwa, there is still the possibility that they could have expressed a dancing scene, as has been said until now,” said Yamamoto. Further research is expected.
The next exhibition corner, titled “The Appearance of the King,” is a luxurious space where all the exhibits are national treasures.
National Treasure “Gold Inlaid Sword” Excavated from Todaijiyama Tomb, Tenri City, Nara Prefecture Kofun period, 4th century [Blade: China, Late Han Dynasty, 2nd century] Tokyo National MuseumIn ancient tombs, luxurious grave goods are sometimes found along with the haniwa. For example, in the early Kofun period (3rd to 4th centuries), kings played a priestly role like Himiko, and many bronze mirrors and bracelet-type treasures made from precious stones have been excavated.
The exhibition will introduce the National Treasure “Gold Inlaid Sword,” a sword with an unparalleled decorative pommel that was excavated from the Todaijiyama Tomb, built in the late 4th century. This sword, known as the oldest inscribed sword excavated in Japan, is said by some researchers to have been inherited by Himiko from the Chinese dynasty.
From top to bottom: National Treasure “Horned Helmet”, National Treasure “Neck Armor”, National Treasure “Horizontal Plate Rivet-fastened Short Armor” Excavated from Eda Funayama Tomb, Nagomi-cho, Kumamoto Prefecture Kofun period, 5th to 6th century, Tokyo National Museum Collection
In the middle of the Kofun period (5th century), when the kings took on a more warrior-like nature in the wake of a period of upheaval on the Korean Peninsula, weapons and equipment became prominent. In the late Kofun period (6th century), when the centralized nature of the Yamato kingship strengthened and the custom of horse riding became more widespread, gilt bronze accessories began to appear, adorning the kings and their horses in splendid ways and showing their authority.
National Treasure “Golden Earrings” Excavated from Eda Funayama Tomb, Nagomi-cho, Kumamoto Prefecture Kofun period, 5th to 6th century, Tokyo National MuseumNational Treasure “Large Gilt Bronze Belt with Bell” Excavated from Watanuki Kannonyama Tomb, Takasaki City, Gunma Prefecture Kofun period, 6th century, owned by the Agency for Cultural Affairs (kept at Gunma Prefectural Museum of History)
In this way, the grave goods changed in tandem with the changes in the king’s role, so by examining them, we can get a glimpse of how the culture and customs of the time when the haniwa were made were changing.
The custom of erecting haniwa in kofun burial mounds has spread throughout the Japanese archipelago, from the Kinki region, the center of kofun culture, to Iwate Prefecture in the north and Kagoshima Prefecture in the south, centering on the Yamato royal authority. As these haniwa developed, their individuality emerged in their expressions, depending on the differences in customs in each region, the proficiency of the craftsmen, and the strength of the relationship with the great king, from elaborate ones that are comparable to those in the tombs of the great kings to unique ones that are full of regional color. The “Haniwa Forms” exhibition corner focuses on the development of these diverse forms.
“Imitation Boat-shaped Haniwa” Original: Excavated from Takarazuka No. 1 Tomb, Matsusaka City, Mie Prefecture Kofun period, 5th century/Heisei period, 21st century, owned by the Agency for Cultural Affairs (kept at Kyushu National Museum)Horse-shaped Haniwa, excavated from Tomb No. 63 of Ishiyakushi East Tomb Group, Suzuka City, Mie Prefecture, Kofun period, 5th century, Mie Prefecture Collection (Kept at the Mie Prefecture Buried Cultural Properties Center)
For example, the horse-shaped clay figure excavated from the Ishiyakushi East Burial Mounds in Suzuka City, Mie Prefecture, is unique in its straight mane or headgear, making it a rare specimen that is unseen anywhere else in Japan. The beard-bearded boy clay figure, said to have been excavated in Ibaraki Prefecture, resembles a fairy from a picture book with its curly hair and pointed hat. These clay figures with long beards are known as examples of highly regional styles from the 6th century.
Haniwa: Bearded Boy, believed to have been excavated in Ibaraki Prefecture, Kofun period, 6th century, Tokyo National Museum
What was secretly catching the visitors’ attention were the “Cylindrical Haniwa with Faces,” cylindrical haniwa that for some reason had facial features added to them.
In the foreground is a cylindrical clay figure with a face, excavated from Nakafukugo Tomb in Maebashi City, Gunma Prefecture, Kofun period, 6th century, owned by the Maebashi City Board of Education in Gunma (kept at the Omuro Haniwa Museum)
The roots of cylindrical haniwa lie in earthenware called special vessel stands, which were used as ritual vessels in the Kibi region (present-day Okayama Prefecture) during the Yayoi period as stands to hold vases, and there is no reason for them to have faces. Cylindrical haniwa remained mainstream from the birth of haniwa until their disappearance, but there are only a few examples of cylindrical haniwa with faces excavated, mainly in northern Kanto, such as Shimogo Tenjinzuka Tomb in Tamamura Town, Gunma Prefecture, and Gyokidaira Sancho Tomb in Ashikaga City, Tochigi Prefecture. Perhaps it was the playfulness of a haniwa craftsman who thought, “A plain cylindrical shape is boring”?
As you enter the second venue, you will come to the highlight of the exhibition: the display corner for “National Treasure: Warriors Wielding Armor and Their Companions.”
Exhibition view
The Haniwa Warrior in Armor , owned by the Tokyo National Museum, was excavated in Ota City, Gunma Prefecture, and is the first Haniwa to be designated a National Treasure. There are four other similar warrior Haniwa figures thought to have been produced in the same workshop as this one, which have been restored in perfect condition, but this exhibition will be the first time that all five of these “brothers” have been exhibited together in one place . One of these figures is currently in the possession of the Seattle Art Museum in the United States, making this a rare opportunity to compare the two.
National Treasure “Haniwa Warrior in Armor” Excavated from Iizuka-cho, Ota City, Gunma Prefecture Kofun period, 6th century Tokyo National Museum
The Tokyo National Museum’s collection is three-dimensional and elaborately crafted down to the smallest detail, and shows the figure covered in armor from head to toe, holding a bow in the left hand, a sword in the right hand, and a quiver (arrow holder) on his back. By the way, the armor on the upper body is made of small iron plates sewn together.
“There are no other examples of haniwa figures clad in such heavy armor,” said Masanori Kono, a researcher at the Tokyo National Museum.
“These ‘Warriors in Armor’ were made in the second half of the 6th century. Until the first half of the 6th century, the Kinki region, which was the cultural center of the time, led the way in haniwa making, and other regions followed suit. With the introduction of Buddhism, values changed, and the creation of keyhole-shaped tumuli and haniwa making gradually declined in the Kinki region. However, even in the second half of the 6th century, this influence had not yet reached Gunma, and haniwa were still being made enthusiastically. Gunma was extraordinarily enthusiastic about making haniwa, mastering extremely skilled techniques and leaving behind many haniwa that are representative of Japan.”
Important Cultural Property “Haniwa Warrior in Armor” Excavated from Narutsuka-cho, Ota City, Gunma Prefecture Kofun period, 6th century, Gunma, Aikawa Archaeological Museum (Public Interest Foundation)
The five “Warriors in Armor” have very similar appearances, including their facial expressions, but on closer inspection there are some differences, such as the arrow holder they are carrying on their backs not a quiver but a koraku, which appeared later than the quiver, and hakama rather than protective gear worn on the lower half of their bodies.It is also worth noting that there has been a gradual omission of small details from the oldest specimen in the Tokyo National Museum’s collection, the Aikawa Archaeological Museum in Gunma, to the newest specimen in the Tenri Reference Museum attached to Tenri University in Nara.
Important Cultural Property “Haniwa Warrior in Armor and Kaku” Excavated from Seradacho, Ota City, Gunma Prefecture Kofun period, 6th century Tenri Reference Museum, Tenri University, Nara
Regarding this exhibition, Researcher Kono said, “I don’t want this to be just an exhibition of masterpieces. I have a strong desire to convey the latest research results to everyone in an easy-to-understand way, so I thought about the composition of the exhibition in light of the research results,” and cited the display of the color restoration of the museum’s collection of “Warriors with Armored Arms” as a prime example. Scientific analysis and detailed naked eye observation revealed that the entire piece was painted in three colors: white, red, and gray. This completely overturned the conventional image.
Haniwa Warrior in Armor (Colored Restoration) Original: Excavated from Iizuka-cho, Ota City, Gunma Prefecture Kofun period, 6th century / Produced by: Cultural Properties Utilization Center, 2023, Tokyo National Museum Collection
Towards the end of the exhibition, in the “Haniwa that tell stories” section, the focus is on the aforementioned “Haniwa Group Statues,” which combine multiple haniwa figures, including people and animals, to express various stories. The section introduces the role each haniwa played in the story, such as the “kneeling boy,” which represents a formal bow scene to praise the morality of the deceased king and pledge loyalty to the new king, and the sumo wrestler who stomps his feet to ward off evil spirits from the land on which the burial mound is built.
From the left: Important Cultural Property “Haniwa Kneeling Male” Excavated from Tsukamawari No. 4 Tomb, Ota City, Gunma Prefecture, Kofun period, 6th century, owned by the Agency for Cultural Affairs (kept at Gunma Prefectural Museum of History) / Important Cultural Property “Haniwa Kneeling Male” Excavated from Aoki, Sakuragawa City, Ibaraki Prefecture, Kofun period, 6th century, kept at Osaka Museum of HistoryFrom the left: Haniwa sumo wrestler, excavated from Harayama 1st Tomb, Izumizaki Village, Fukushima Prefecture, Kofun period, 5th century, owned by the Izumizaki Village Board of Education, Fukushima; Haniwa sumo wrestler, excavated from Tozan 1st Tomb, Atsugi City, Kanagawa Prefecture, Kofun period, 6th century, owned by the Atsugi City Board of Education, Kanagawa Prefecture (kept at Atsugi Local Museum); Haniwa sumo wrestler, excavated from Imashirozuka Tomb, Takatsuki City, Osaka Prefecture, Kofun period, 6th century, owned by the Takatsuki City Imashirozuka Ancient History Museum, Osaka PrefectureImportant Cultural Property “House-shaped Haniwa” Excavated from the Misono Tomb, Yao City, Osaka Prefecture Kofun period, 4th century, owned by the Agency for Cultural Affairs (kept at the Osaka Prefectural Chikatsu Asuka Museum)
There is also a large collection of adorable animal haniwa here. The most commonly made animal haniwa is the horse, which was a symbol of power, but other figures such as roosters that herald the dawn, and deer, wild boars, and dogs that depict hunting scenes were also made in connection with royal ceremonies. On the other hand, some waterfowl and fish are thought to be faithful copies of animals in nature, and you can feel the natural creative consciousness of ancient peoples.
Exhibition viewDeer-shaped Haniwa, excavated from Hetaira Tomb No. 1, Hamamatsu City, Shizuoka Prefecture, Kofun period, 5th century, Hamakita Museum, ShizuokaWaterbird-shaped Haniwa, excavated in Gyoda, Saitama Prefecture, Kofun period, 6th century, kept at Tokyo National Museum
This large-scale haniwa exhibition was miraculously realized after about five years of preparation, in order to gather the top masterpieces from each collection. Why not take this opportunity to experience the profound depth of the world of haniwa once again?
*Photography is permitted in the exhibition rooms of this exhibition, with the exception of some works.
Summary of the special exhibition “Haniwa” commemorating the 50th anniversary of the designation of the “Keiko Warrior” as a national treasure
Dates
October 16th (Wednesday) – December 8th (Sunday), 2024
venue
Tokyo National Museum Heiseikan
Opening hours
9:30-17:00
*Open until 20:00 every Friday, Saturday, and November 3 (Sun) *Last admission is 30 minutes before closing.
Closed Days
Monday
*However, the museum will be open on Monday, November 4th. *Only this exhibition will be open on Tuesday, November 5th.
Admission fee (tax included)
Adults: 2,100 yen, University students: 1,300 yen, High school students: 900 yen
* Free for junior high school students and younger, and people with disabilities and one caregiver. Please present your student ID or disability certificate when entering the building.
*You can also view the general cultural exhibition with the ticket for this exhibition on the day of the event. (Only this exhibition will be open on Tuesday, November 5th.)
For further details, please check the official exhibition website.
Organizer
Tokyo National Museum, NHK, NHK Promotion, The Asahi Shimbun
“Monet: Water Lilies” exhibition view, National Museum of Western Art, 2024-2025
The exhibition “Monet: Water Lilies” has opened at the National Museum of Western Art in Ueno, Tokyo, focusing on the late works of Claude Monet, a representative Impressionist painter, and the changes in his expression. The exhibition will run until February 11, 2025.
Claude Monet (1840-1926) is also known for establishing the technique of “series painting,” in which he observes the same motif in different seasons and weather conditions, and captures the ever-changing impressions and movement of light on multiple canvases. In 1890, at the age of 50, Monet purchased land and a house in the small village of Giverny, France, and spent several years creating a “water garden” with a water lily pond. The surface of this water lily pond, where the surrounding trees, sky, and light are reflected together, became Monet’s greatest creative source in his later years.
This exhibition will introduce Monet’s artistic expression from his later years, which constitutes the culmination of his career, focusing on his Water Lilies series, from his earliest and precious Water Lilies to large-scale Water Lilies created during the process of creating the “large decorative paintings” that occupied his mind until the end.
The exhibition will bring 48 paintings, including 7 that will be shown in Japan for the first time, from the Musée Marmottan Monet in Paris, which boasts one of the world’s largest collections of Monet paintings. A total of 66 works will be on display, including masterpieces from the Matsukata Collection at the National Museum of Western Art and other collections in Japan.
Entrance
A large blown-up photograph at the entrance to the venue shows Monet’s hatted head reflected in a water lily pond. Sylvie Carlier, head of collections and chief curator of cultural properties at the Marmottan Monet Museum, who attended the press preview of the exhibition, said, “The photograph visually conveys the overall intention of the exhibition, which is to move together with Monet through the waterscape and the plants that live near it, through Monet’s perspective.”
Claude Monet, Boating, 1887, National Museum of Western Art (Matsukata Collection)
This exhibition is composed of four chapters and an epilogue. Chapter 1, “From the Seine to the Water Lilies,” introduces works depicting London and the Seine, which were Monet’s main creative sources in the late 1890s before he began working on Water Lilies. It shows how Monet became interested in the motif of water and the effects of light and reflections on the water’s surface.
From the left: Claude Monet, “Morning on the Seine” 1897, Hiroshima Museum of Art / “Sunrise on a Branch of the Seine near Giverny” 1897, Musee Marmottan Monet, ParisClaude Monet, Charing Cross Bridge over the River Thames, 1903, Yoshino Gypsum Collection (on loan to the Yamagata Museum of Art)
In addition, it is said that Monet first painted “Water Lilies” in 1897, and Chapter 1 also exhibits valuable examples that are believed to be the earliest “Water Lilies” .
From the left: Claude Monet, Water Lilies, c. 1897-1898, Kagoshima City Museum of Art; Water Lilies, Twilight Effect, 1897, Musee Marmottan Monet, Paris
In contrast to his later series, he focuses on the water lilies themselves rather than the water surface reflecting the trees and sky. The forms of the objects are depicted with meticulous brushwork while retaining realistic elements, allowing for comparison with his later increasingly abstract works.
Claude Monet, Water Lilies, 1903, Musee Marmottan Monet, Paris
Decorative arts flourished in France at the end of the 19th century like never before, and Monet also began to create full-scale decorative paintings during the Impressionist period of the 1870s. In the 1890s, while pursuing the effect of exhibiting a series of works, he came up with the idea of “Grande Décoration,” a series of decorative paintings that would fill the exhibition space with a single theme: water lilies. Despite suffering from cataracts, he began working on this energetically from 1914, and it eventually came to fruition in the form of eight huge decorative panels that covered the entire exhibition room of the Musée de l’Orangerie in Paris.
Although the final motif was water, water lilies, and willow trees, Monet’s original plan was to incorporate a wide variety of flowers planted around the pond, as he was a great horticulture enthusiast . Chapter 2, “Decoration of Water and Flowers,” features works that were an important part of the concept, such as the wisteria creeping on the arched bridge over the pond and the agapanthus blooming on the shore.
Both are Claude Monet’s Wisteria, c. 1919-1920, Musee Marmottan Monet, Paris
Claude Monet, Agapanthus, c. 1914-1917, Musee Marmottan Monet, Paris
Irises were one of Monet’s favorite flowers, and of the flower studies he created after 1914, he painted irises in the most number of works, second only to water lilies, totaling 20. At first glance, Yellow Irises seems to be a composition looking up at the irises from the perspective of an insect or fish, but in fact it combines two different perspectives: the irises captured from the side, and a viewer looking down at the surface of the pond on which the sky is reflected. Monet was intent on exploring pictorial spaces that would shake up the viewer’s perceptions.
Yellow Irises, c.1924-1925, Musee Marmottan Monet, Paris
Chapter 3, “The Path to Large Decorative Paintings,” displays nine large works that are particularly related to the finished form of the “Water Lilies” created during the production process of the large decorative paintings. This is the highlight of the exhibition, where you can be surrounded by “Water Lilies” in an elliptical exhibition space inspired by the exhibition room of the Musée de l’Orangerie, and become one with the world of meditative colors that stretches out endlessly. In addition, photography is also allowed in this area.
“Monet: Water Lilies” exhibition view, National Museum of Western Art, 2024-2025From the left: Claude Monet, Water Lilies, circa 1916-1919, Musee Marmottan Monet, Paris / Water Lilies, 1916, National Museum of Western Art (Matsukata Collection)
In two of the nine works, the reflection of clouds, which became an important motif in his work after 1914, is prominent. In the other, white clouds tinted faintly orange are at the center, creating a clear contrast with the blue sky. Water lilies and weeping willows painted with free-spirited brushstrokes stretch out above, below, left and right of the picture, giving a lively impression.
Claude Monet, Water Lilies, c.1916-1919, Musee Marmottan Monet, ParisClaude Monet, Water Lilies, c.1914-1917, Musee Marmottan Monet, Paris
One view is that Monet began to place importance on the reflection of clouds because he wanted to strengthen the sense that heaven and earth are one on the surface of the pond, by combining them with elements connected to the earth, such as poplars and willow trees.
The production of these huge decorative panels was based on studies that Monet had painted outdoors in his newly constructed, vast studio. Through the process of internalizing the memory of impressions of nature and reconstructing them on canvas, Monet’s art became detached from the reality reflected on the retina and transformed into more internal images.
Chapter 4, “Symphonic Colors,” introduces a series of small works that were created in parallel with the large decorative paintings that he continued until his death. The motifs include a Japanese-style drum bridge over a water lily pond and a path with a rose arch in the “Flower Garden” adjacent to the “Water Garden.”
From the left: Claude Monet, “Japanese Bridge”, circa 1918-1919, Musee Marmottan Monet, Paris / “Japanese Bridge”, circa 1918-1924, Musee Marmottan Monet, Paris
Perhaps due to his deteriorating eyesight caused by his progressive cataracts, his works gradually lost their sense of perspective and began to take on a flat expanse. His color vision also became distorted; at times yellow and green dominated his world, and at other times all other colors seemed bluish, with reds in particular appearing muddy. After undergoing three surgeries from 1923, his eyesight recovered to some extent, but the “Japanese Bridges” series, which he painted during that time, show a tangle of colors so tangled that the motifs are indistinguishable, the outlines melt, and the brushstrokes are densely intertwined.
Claude Monet, Japanese Bridge, c.1918-1924, Musee Marmottan Monet, Paris
Looking back at the delicate expressions seen in Chapter 1, you will be surprised at the clear difference. The way he persistently applies color, slamming his brush down, seems to imprint the reality of the motif, but it also feels like an expression of his fear of the disabilities that could be fatal to a painter, such as declining eyesight and a lack of color.
Claude Monet, The Rose Lane at Giverny, c.1920-1922, Musee Marmottan Monet, Paris
However, Monet actually kept these series of paintings from his final years, which at first glance could be seen as the product of a period of uncertainty, until the very end. Considering that he was a perfectionist who ruthlessly discarded anything he didn’t like, we can see them as the fruit of a rich experimental spirit based on the sense of color he had cultivated through his experiences.
On the left is Claude Monet’s The Artist’s House Seen from its Rose Garden, c. 1922-1924, Musee Marmottan Monet, Paris
The epilogue, “An Upside-Down World,” concludes the exhibition with two works depicting weeping willows, created as studies for large decorative paintings. In the last years of Monet’s life, when he faced many hardships, including the death of his beloved family and the First World War, these weeping willows are also interpreted as motifs symbolizing sadness and mourning, as they appear to be shedding tears.
From the left: Claude Monet, “Weeping Willow and Water Lilies”, circa 1916-1919, Musee Marmottan Monet, Paris / “Water Lilies”, circa 1916-1919, Musee Marmottan Monet, Paris
In conceiving his large decorative paintings, Monet aimed to create a space where the viewer could be enveloped in an infinite expanse of water with no beginning or end, and could meditate peacefully. In this Water Lilies , the boundary between the real and virtual images of the weeping willows that occupy the left half of the painting is extremely ambiguous, giving the viewer the impression of a tranquil and eternal world.
In his later years, Monet overturned the worldview based on the traditional perspective of Western painting with a new way of perceiving space. Don’t miss the exhibition “Monet: The Time of Water Lilies,” where you can experience the rich development of his artistic career, which went beyond Impressionism with his unabated creative impulse.
Overview of “Monet’s Water Lilies”
Dates
October 5, 2024 [Sat] – February 11, 2025 [Tuesday/Holiday]
venue
National Museum of Western Art (Ueno Park, Tokyo)
Opening hours
9:30 – 17:30 (until 21:00 on Fridays and Saturdays)
*Last admission is 30 minutes before closing.
Closed Days
Mondays, November 5 (Tuesday), December 28 (Saturday) – January 1, 2025 (Wednesday, national holiday), January 14 (Tuesday)
(However, the museum will be open on November 4 (Monday, holiday), January 13, 2025 (Monday, holiday), February 10 (Monday), and February 11 (Tuesday, 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.
*University students, high school students, and others eligible for free admission must present their student ID or proof of age, or a disability certificate upon entry.
*You can also view the permanent exhibition with the exhibition ticket for this exhibition on the day of your visit.
For further details, please see the official exhibition website.
Organizer
National Museum of Western Art, Marmottan Monet Museum, Nippon Television Network Corporation, The Yomiuri Shimbun, BS Nippon Television
Ueno Artist Project 2024 Nostalgia – Scenes from Memory
Through eight artists, we will explore the meaning and possibilities of the universal, primal landscape – the complex emotion of nostalgia. “The Genealogy of Nostalgia – From the Taisho Era to the Present, From the Tokyo Metropolitan Collection” will also be held at the same time.
Ueno Artist Project 2024 “Nostalgia – Scenes from Memory”
Ueno Artist Project 2024 Nostalgia ―Scenery in Memory
(Simultaneous event) A Genealogy of Nostalgia: From the Taisho Era to the Present, from the Tokyo Metropolitan Collection”
Date: November 16, 2024 (Saturday) – January 8, 2025 (Wednesday)
The Tokyo Metropolitan Art Museum will hold the Ueno Artist Project 2024 “Nostalgia – Scenes from Memory” from November to January next year.
In this eighth exhibition in the series, we would like to think about familiar landscapes and nostalgia. The word “nostalgia” is originally a compound word of the Greek words “nostos” (going home) and “argos” (pain), and refers to the emotional pain of wanting to return to one’s hometown but never being able to do so. Originally it had a similar meaning to homesickness, but in modern times it refers to the bittersweet and complex emotions felt when memories of the past that can never be returned to are superimposed on the scenery and scenes of the present.
This exhibition introduces eight unique artists who have painted landscapes, scenes with people, and fantasy paintings that strongly evoke this feeling of nostalgia. Abe Tatsuya and Minamizawa Manami lovingly paint everyday cityscapes. Shiba Yasuhiro and Miya Itsuki paint light-filled scenes with children. Irie Kazuko, Tamamushi Ryoji, Kondo Olga, and Kuno Kazuhiro each express their own unique “scenery from memory,” including fantasy. While each of them walks their own different paths, they seem to be searching for a universal, primordial landscape (a primordial landscape deep in the human heart) that seems to transcend time and space. Through their works, this exhibition will explore once again the meaning and possibilities of the complex emotion known as nostalgia.
*The “Ueno Artist Project” is an exhibition series that proactively introduces artists involved in public exhibitions in order to preserve the history of the Tokyo Metropolitan Art Museum, also known as the “home of public exhibitions,” and to promote its future development. Since 2017, it has been held with a different theme each year.
[Highlights of the Exhibition]
(1) Knowing the diversity of nostalgia <br /> This exhibition features “scenes from memory” by eight people of various generations, from those born in the Taisho era to those born in the Heisei era, and who spent their childhoods in different regions and environments. Enjoy the diverse world of nostalgia, expressed through unique expressions of everyday scenes, scenes with children, people from foreign countries, and fantasy cities.
(2) Relax and experience nostalgia in the relaxation space. In the center of Gallery A, which has a 12-meter-high atrium ceiling, there is a rest area the size of an eight-tatami room, surrounded by large paintings by the four artists. In particular, the large 16-meter panorama of 10 pieces from Tamamushi Ryoji’s series Epoch, which he continued to paint over the course of five years, will be on display for the first time in its entirety at this exhibition venue. Nostalgia encourages us to reflect on our lives, and can be an opportunity to reexamine not only a painter’s work but also our own inner selves. Please take your time to appreciate the works here and experience the nostalgia.
(3) Explore the expressions of contemporary artists at the “Nostalgia” exhibition and trace modern history at the “Lineage of Nostalgia” exhibition. The “Lineage of Nostalgia – From the Taisho Period to the Present, from the Tokyo Metropolitan Collection,” held simultaneously in Gallery B, traces the Japanese landscape from the Taisho Period to the present day, and explores once again what kind of “nostalgia” people of each era have found. The exhibition features works in a variety of media, including not only oil paintings, but also woodblock prints, drawings, photographs, books, posters, and photo books. By viewing both exhibitions together, you can experience the various facets of nostalgia.
[Exhibition composition and introduction of participating artists] (in order of exhibition)
Chapter 1 City and Landscape – The painters carefully depict the everyday cityscape that changes with the sunlight, including the subtle changes in light, air, water, and color. Cherishing this everyday life that may no longer exist in the future. It can also be seen as nostalgia for the irreplaceable present from the perspective of the future.
■ABE Tatsuya
Born in Tokyo in 1974. Graduated from the Department of Oil Painting at Musashino Art University in 1999. Began exhibiting at the Niki Exhibition in 2004 and has exhibited every year since. Since around the time of the Great East Japan Earthquake in 2011, he has continued to create landscape paintings that depict wide and deep landscapes such as nearby rivers, oceans, and suburbs as accurately as possible. He is currently a member of the Niki Society.
■ MINAMIZAWA Aimi
Born in Tokyo in 1999. Graduated from Joshibi University of Art and Design, majoring in Western painting, printmaking course in 2022. Winner of the Japan Print Association Award at the 89th Japan Print Association Print Exhibition in 2022. She creates color lithographs featuring the expression of light and ripples, depicting scenes of animals enjoying fishing in rivers, fishing ponds, and public baths.
Tatsuya Abe, Tama River (Akishima, Tokyo), 2021, oil on canvas, artist’s collectionManami Minamizawa, “Around the Time of Light Clouds”, 2022, Lithograph, Artist’s Collection
Chapter 2: Children – This section introduces works by two artists who portray their past selves superimposed on children of the present, depicting boys playing and girls relaxing quietly and peacefully.
■ SHIBA Yasuhiro
Born in Tokushima Prefecture in 1970. Graduated from the Japanese Painting Department of Aichi Prefectural University of the Arts in 1994. Has exhibited at Inten exhibitions since his student days. Has held numerous solo exhibitions at Mitsukoshi Nihonbashi and other stores. Part-time lecturer at Aichi Prefectural University of the Arts. Has consistently drawn delicate Japanese paintings of children playing absentmindedly outdoors in the sunlight, using mineral pigments carved into the paint. Currently a scholarship recipient of the Japan Art Academy.
■MIYA Itsuki
Born in Tokyo in 1956. Graduated from the Department of Japanese Painting at Tokyo University of the Arts in 1978. Has been exhibiting at Sogakai since the following year. In 1995, stayed in Ireland and the UK as an overseas dispatched staff member of the Agency for Cultural Affairs. Has been a professor at Tama Art University since 2007 (retires in 2023). Paints scenes of children and women lost in thought in light-filled rooms. Has been highly praised for his intelligent, compositional and decorative paintings that evoke stories and allegories. Currently a member of Sogakai and a professor emeritus at Tama Art University.
Shiba Yasuhiro, “This usual road”, 2017, color on paper, Tokyo Opera City Art Gallery CollectionMiya Itsuki, “Late Summer”, 2003, color on paper, private collection
Chapter 3: The Road – A variety of paintings expressing nostalgia, including fantasy, are on display. The strong yearning for a now lost past eventually finds its way to a fantastical landscape that transcends reality.
■IRIE Kazuko
Born in Daegu, Korea, during the Japanese colonial period in 1916. Her father’s family home is in Hagi, Yamaguchi Prefecture. In 1938, she graduated from the Western Painting Department of the Teacher Education Department of Joshibi College of Art and Design (now Joshibi University of Art and Design). She exhibited her work at the Independent Exhibition that same year, and continued to do so thereafter. In 1947, she joined the Association of Women Artists as a founding member. In 1969, she went on a sketching trip along the Silk Road. Since then, she has visited over 30 countries, and painting the landscapes and lives of the people there became her life’s work. She passed away in 2021 (aged 105).
■TAMAMUSHI Ryoji
Born in Saitama Prefecture in 1956. Graduated from the Department of Oil Painting at Musashino Art University in 1979. Exhibited at the Issuikai Exhibition in the same year and has continued to exhibit ever since. Exhibited at the Yasui Award Exhibition (Seibu Museum of Art) in 1983. Received the Excellence Award at the Showakai Award Exhibition in 1997. Became a part-time lecturer at Musashino Art University in 2015. Reconstructing nostalgic scenes from the Showa era, he has established unique oil paintings that overlap with a sense of discomfort with modern society. He is currently a member of the Issuikai Executive Committee.
■KONDO Olga
Born in Belarus in 1958. Graduated from the Belarus State University of Fine Arts in 1983. Came to Japan in 2007 and has been living in Japan since then. Continued to exhibit at the Shinseisaku Association and became a member in 2017. Won the Excellence Award at the 1st Sompo Japan Art Award Exhibition (FACE2013) in 2013. Creates paintings that bring to life familiar family, nature, flowers and fruit from his homeland in deep spaces enveloped in milky white gradations and soft light. Currently a member of the Shinseisaku Association.
■ KUNO Kazuhiro
Born in Aichi Prefecture in 1938. Graduated from the Western Painting Department of Musashino Art School in 1963. Studied in Europe and studied abroad from 1973-76 on a scholarship from the same art school. Became a member of the Rikki-kai in 1982. Studied in Italy as an overseas trainee sent by the Agency for Cultural Affairs from 1991-92. Became a professor at Musashino Art University in 2002. A researcher of European classical painting, he was highly acclaimed for his Earthscapes series, which feature deep space backed by profound matière. He will pass away in 2022 (aged 83).
Kazuko Irie, Sunrise in Istanbul, 1975, oil on canvas, Collection of Kazuko Irie Silk Road MuseumTamamushi Ryoji, Epoch (detail), 2019-23, oil on canvas, artist’s collectionKondo Olga, “Lemon under the Moon”, 2022, oil on canvas, private collectionKazuhiro Kuno, “Landscape of the Earth: Time and Moment”, 2004-05, oil on canvas, Nagoya Gallery Collection
◆Event Overview
■Exhibition name: Ueno Artist Project 2024 “Nostalgia – Scenes in Memory”
Ueno Artist Project 2024: Nostalgia ―Scenery in Memory
■Period: November 16, 2024 (Saturday) – January 8, 2025 (Wednesday)
■ Venue: Tokyo Metropolitan Art Museum, Galleries A and C
■Closed days: November 18th (Monday), December 2nd (Monday), 16th (Monday), 21st (Saturday), 2024 – January 3rd (Friday), January 6th (Monday), 2025
■Opening hours: 9:30-17:30 (entry allowed until 30 minutes before closing)
■ Nighttime opening hours: Friday, November 22nd and Friday, November 29th: 9:30am-8:00pm (entry until 30 minutes before closing)
■ Admission fee: 500 yen for adults, 300 yen for those 65 and over, free for students and younger. * Free for those who have a disability certificate, love certificate, rehabilitation certificate, mental health and welfare certificate, or atomic bomb victim health certificate, and their attendant (up to one person) * Please show proof of identity. * Free for elementary, junior high, and high school students in Tokyo and those of similar status and their accompanying teachers who are viewing as part of a school education activity (application required in advance).
*Free admission upon showing a ticket for the special exhibition “Tanaka Isson Exhibition” (until December 1st) ■Organizers: Tokyo Metropolitan Foundation for History and Culture, Tokyo Metropolitan Art Museum ■Exhibition website https://www.tobikan.jp/exhibition/2024_uenoartistproject.html
■Contact information: Tokyo Metropolitan Art Museum 03-3823-6921
[Concurrent Event] A Genealogy of Nostalgia: From the Taisho Era to the Present, from the Tokyo Metropolitan Collection Tokyo Metropolitan Collection Exhibition: Genealogy of Nostalgia ― From the Taisho Era to the Present
From the collection of the Tokyo Metropolitan Government, we will be showcasing paintings of scenes from the past as well as photographs of modern city suburbs. By tracing the landscapes of Japan from the Taisho period to the present day, we hope to reconsider what it is about the “nostalgia” that people have found in them.
There is the “nostalgia” for the prewar Taisho and Showa eras that disappeared amid modernization, as captured by Kawase Hasui and Domon Ken, the “nostalgia” for American culture that flooded into Japan in large numbers after the war, and the “nostalgia” for the city and suburban streets that have been homogenizing and transforming repeatedly against the backdrop of rapid economic growth. Although each of these “nostalgia” comes from a completely different era and aspect, it may be a common emotion that can sprout in anyone’s heart. We hope that this exhibition, which considers the diversity and immutability of nostalgia, will serve as an opportunity to reflect on ourselves as we live in this turbulent modern and contemporary society.
A Genealogy of Nostalgia: From the Taisho Era to the Present, from the Tokyo Metropolitan Collection
Main exhibits
Kawase Hasui, Terashima Village at Night in the Snow, 1920, woodblock print, Edo-Tokyo Museum, TokyoNakahara Minoru, Nostalgia, 1924-25, oil on canvas, Museum of Contemporary Art, Tokyo
[Event Summary]
■Exhibition title: Genealogy of Nostalgia – From the Taisho Era to the Present, from the Tokyo Metropolitan Collection ■Dates: Saturday, November 16, 2024 – Wednesday, January 8, 2025
■ Venue: Tokyo Metropolitan Art Museum, Gallery B
■Closed: Monday 18th November, Monday 2nd December, Monday 16th December, Saturday 21st November, 2024 – Friday 3rd January, Monday 6th January, 2025 *Some exhibits will be changed out (first period: until Thursday 5th December).
■Opening hours: 9:30-17:30 (entry allowed until 30 minutes before closing)
■ Nighttime opening hours: Friday, November 22nd and Friday, November 29th: 9:30-20:00 (entry until 30 minutes before closing)
■Admission fee: Free ■Organizers: Tokyo Metropolitan Government, Tokyo Metropolitan Foundation for History and Culture, Tokyo Metropolitan Art Museum ■In cooperation with: Tokyo Metropolitan Foundation for History and Culture, Edo-Tokyo Museum, Tokyo Photographic Art Museum, Museum of Contemporary Art Tokyo
◆ Related businesses
■Talks and lectures Venue: Tokyo Metropolitan Art Museum Auditorium Capacity: 200 people per session *Participation is free, first come first served [Sign language interpretation available]
1. Artist Talk “Artists Talk about Nostalgia 1”
November 23rd (Saturday, holiday) 14:00-15:30
Tatsuya Abe and Ryoji Tamamushi
2. Artist Talk: “Artists Talk about Nostalgia 2”
December 1st (Sun) 14:00-15:30
Yasuhiro Shiba, Itsuki Miya
3. Artist Talk: “Artists Talk about Nostalgia 3”
Saturday, December 7th 14:00-15:30
Manami Minamizawa, Olga Kondo
4. Lecture by the curator in charge: “Nostalgia and Artists”
Saturday, December 14th 14:00-15:30
■Dance Well [Advance registration required]
“Dance Well” is a dance program that anyone can participate in, from children to adults, mainly for people living with Parkinson’s disease. Why not view the exhibition and express the sensations and images you have gained from it using your whole body?
Venue: Tokyo Metropolitan Art Museum Gallery, Studio Date and time:
1st Sunday, December 8, 2024 14:00-15:30
Instructor: Naoyuki Sakai (dancer, filmmaker, DanceWell instructor)
2nd session: January 4, 2025 (Sat) 14:00-15:30
Instructor: Sachiko Higashino (choreographer, director, dancer, representative of ANTIBODIES Collective, instructor at DanceWell)
Participation fee: Free (However, a same-day ticket for the “Nostalgia” exhibition is required)
Capacity: 20 people per session. Advance registration required. *Applications will be accepted from Friday, November 1st via the application form on our website. *Applications will be closed once capacity is reached on a first-come, first-served basis. *If you require a sign language interpreter, please apply one week prior to the event by writing “Sign language interpreter requested” in the comments section of the application form.
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Lecturer Introduction
Sakai Naoyuki <br />Dancer, filmmaker, dancewell instructor. Graduated from Tokyo University of the Arts Graduate School. In addition to appearing in numerous stage productions both in Japan and abroad, he also appears in and provides choreography for music videos and musicals. Based in Kasukabe City, he organizes events and distributes videos with the aim of building towns through art. In 2023, he spent a year in Italy researching dancewell and its urban development as part of the Agency for Cultural Affairs’ “Budding Artists Overseas Training Scheme” program.
Higashino Sachiko
He is the founder of the performance art collective “ANTIBODIES Collective”, which is made up of choreographers, directors, dancers, and artists from various genres. He has won numerous awards, including the Toyota Award and Yokohama Dance Collection. He is the artistic director of All Japan Dance Track. In 2016, he was a lecturer at Dance Well in Bassano del Grappa, Italy. In the summer of 2019, he completed the Dance Well Teachers Course.
Exhibition view, from left: Fumio Asakura, Cat (Gold Metallicon), 1914, Original title unknown (Stretching), circa 1919
Fumio Asakura is a leading sculptor in the world of modern Japanese sculpture, and is also known as a cat lover. A special exhibition commemorating the 60th anniversary of his death, “Wonderful Cat Life: Fumio Asakura, Cats, and Sometimes Dogs,” is being held at the Taito City Asakura Museum of Sculpture, featuring a collection of his cat-themed sculptures. The exhibition will run until Tuesday, December 24, 2024.
*All works introduced are from the Asakura Museum of Sculpture.
Asakura Museum of SculptureExhibition view. From the left, in the foreground are Asakura Fumio’s “Feeding Cat” 1942 and “Sleeping” 1945.
Sculptor Asakura Fumio (1883-1964) produced masterpieces of portrait sculpture such as Grave Guardian and Portrait of Okuma Shigenobu, from his thorough pursuit of “naturalistic realism” that captures the subject as it is, and in 1948 he became the first sculptor to receive the Order of Culture. In addition to his creative endeavors, he taught at the Tokyo School of Fine Arts (now the Faculty of Fine Arts, Tokyo University of the Arts), from which he graduated at the top of his class, and also devoted himself to nurturing the next generation of artists, presiding over the “Asakura Sculpture School” at the Asakura Museum of Sculpture, which was his studio and residence.
Asakura was also known as an avid cat lover, and at one time he kept as many as 19 cats in his mansion. He created cat sculptures almost throughout his life, sometimes using his pet cats as models. In 1964, to commemorate his 60th year as a sculptor and the Tokyo Olympics, he organized the “Cat in All Forms” exhibition, capturing the various poses of cats.
However, in April just before the Olympics, he passed away from illness at the age of 81, and the “Cat in All Forms” exhibition never came to fruition. The dream was carried on by those involved, and was realized as a special exhibition in 1994 and 2017 at the Asakura Museum of Sculpture, his final residence.
This special exhibition, “Wonderful Cat Life: Asakura Fumio and Cats, and Sometimes Dogs,” also focuses on cat-related works, just like the “Cats in All Forms” exhibition, but what differs from past exhibitions is the way it is displayed.
“Rather than just displaying our cat works, we took into consideration how Asakura spent his time here (at the Asakura Museum of Sculpture) with the cats and what their lives were like,” says Yasuko Tobari, chief researcher at the Asakura Museum of Sculpture.
From the left, Asakura Fumio’s “Grave Guardian” 1910, “Original Title Unknown (Sleeping)” Date of production unknown / A heartwarming composition in which Asakura’s masterpiece “Grave Guardian” looks down on a cat sleeping on a cushion with sunlight pouring in through a large window, smiling on his behalf.Asakura Fumio, Oihanako, 1919 / When you look ahead at the cat as it follows the feathers of its wings, you can see that the feathers are actually flying through the air, a subtle detail in the design.
Although it is not widely known, Asakura not only had cats but also dogs. Although there are no works that use his beloved dogs as models, he did create a small number of dog-themed works, and by including these works, he aimed to make the exhibition more lively and easy to imagine what life was like in the past.
Fumio Asakura “Star” 1920
The exhibition will feature 53 works, including bronze statues of cats, as well as sketches of cats and handwritten haiku about cats. Photography, which was an important creative tool for Asakura, will also be on display.
As visitors enter the studio, the main exhibition space, the first thing that greets them is Hanging Cat (1909), the earliest cat work recorded to have been exhibited.
Fumio Asakura, Hanged Cat, 1909
This work, which was exhibited at the 3rd Bunten Exhibition, had a novel composition for the time, and the highlight is the contrast between the strong arms that are pinching the cat’s neck and the cat’s relaxed, dangling body. The expression of the cat, which seems to want to say something, makes you smile. If you look closely, you can see that the cat’s hind legs are slightly tense, and you can feel the sharp observational eye and outstanding expressiveness that the young Asakura, who had just graduated from the Tokyo School of Fine Arts, already possessed.
According to Tobari, there is an anecdote in which Takamura Kotaro, a sculptor and outspoken art critic who was a friend of Asakura, praised the fact that Asakura had exhibited a small piece like this one, which depicts an ordinary day, at the Bunten exhibition.
“Up until then, Bunten exhibitions had often featured works that pursued the beauty of the human body or concrete human bodies expressing abstract themes, which were often exhibited as larger-than-life-size works. In this context, Takamura praised Asakura for treating the cat as just a cat. I thinkTakamura’s words gave Asakura confidence that even small pieces that capture everyday scenes like this could be considered works of art. This may be why Asakura continued to create cat artworks throughout his life,” says Tobari .
From the left: Kotaro Takamura, Hand, 1918; Fumio Asakura, Arm, circa 1909
On the other hand, Takamura reportedly pointed out the stiffness of the expression of the arms in this work. Asakura took Takamura’s criticism seriously and created Arms (c. 1909), which was probably created in the same year, as a practice piece, since there is no record of it having been exhibited at any exhibitions.
In addition to Arm, the exhibition also features Hand (1918), created 10 years later by Kotaro Takamura. Asakura, who was collecting funds to study abroad, asked Takamura to create freely without revealing his identity, using words that echo his earlier criticism, such as “one hand, one leg.” Perhaps this alone struck a chord with Takamura, as he eventually realized that the request had come from Asakura. The exhibition gives a glimpse into the relationship between the two sculptors.
Fumio Asakura, “Well Caught” 1946
Moving our gaze to his later work, A Good Catch (1946), created about 40 years after Hanging Cat, we are astonished at the refinement of his technique. The stiffness of the muscles around the cat’s neck at the moment it bites the mouse, its ferocious expression, and the sense of balance of its front legs as it prepares for the mouse’s resisting movement. The realism of the work, which makes it easy to imagine the cat jumping down afterwards, is as if it were a mold of the cat at that exact moment.
Asakura, who loved everything about cats, including their whimsical movements and temperament, was also very interested in the skeleton that creates the unique, graceful movements of cats. Of course, he studied skeletal specimens, but Tobari said, “Asakura’s daughter said that Asakura always put cats on his lap and stroked them, not just to pet them, but to explore and confirm the structure of their skeletons and muscles.” This is an episode that is full of Asakura’s unique style, who pursued strict realism.
Skeleton Specimen (Cat) / Various skeletal specimens that Asakura used as reference are also on display. He was so knowledgeable about cats that he was even called the “Cat Doctor.”
Even in the same sleeping pose, cats can be depicted with their heads buried in their front paws or with different ears and tail shapes. There is also a wide variety of cat poses, such as stretching, feeding kittens, and kittens snuggling up to each other.
Fumio Asakura, Mother and Child Cat, 1935
At first glance, the work Postpartum Cat (1911) appears to be simply sitting, but it depicts the scene when Asakura returns home after an inspection tour of the South Seas and is greeted by his pet cat, who had just given birth two days earlier. The cat is looking tired and bowed.
Fumio Asakura, Postpartum Cat, 1911
Asakura was inspired to create this work by her beloved cat, who was clinging to her lap as if to express her fatigue from childbirth and the joy of the birth of her kitten. When asked why there are more detailed deformations in this work compared to her other cat works, Tobari said , “I think I was trying to capture the cat’s emotions, its tiredness and joy, rather than the cat’s appearance.”
Fumio Asakura, “My beloved cat is sick” 1958
On the other hand, in His later years’ work My Cat is Sick (1958), which depicts his beloved cat, emaciated, with sagging skin and lustrous fur, raising his bottom and enduring the pain, the work lacks the softness seen in his other works and conveys the determination and sadness of an artist who was facing head-on illness and death that would make one want to look away.
For Asakura, cat artworks are different from portrait sculptures that are created under certain constraints upon request; he creates them freely and with a relaxed attitude, following his own creative impulses. Perhaps the reason he chooses to create sculptures of cats, which are not easy to handle as subjects, is due to his honest desire as a cat lover to leave behind precious memories like photographs or diaries. This attitude is also the source of the appeal of Asakura’s cat artworks.
Asakura Fumio “Tama (Good Day)” 1930 / There is also an exhibition where you can feel like Asakura and touch his cat works.Asakura Fumio’s “Tama (Good Day)” 1930/You can also enjoy comparing “Tama (Good Day)” with the plaster prototype.
In addition, the venue also screens a 17-minute video introducing the production process of Asakura’s bronze works, known as gas mold casting. It’s easy to explain in a few words: first, create the work from clay, then mold it in plaster to create a prototype, and then turn it into bronze using that. However, the actual work is truly a work of art. It shows how the exhibited works are completed through a mind-bogglingly detailed process, so it’s a must-see for those who have difficulty imagining the casting process.
Regarding what prompted him to hold this exhibition, Tobari said , “More and more people are not familiar with Asakura, so I planned this exhibition to help people become more familiar with Asakura and his works.”
This exhibition, which allows you to fully experience Asakura’s excellent shaping ability, observational skills, and deep love for cats, is the perfect introduction to Asakura’s charm. If you are a cat lover, why not take a look at the lively and heartwarming poses of the cats?
The venue, the Asakura Museum of Sculpture, is a very attractive building, so we would like to introduce some of its highlights.
In 1907, at the age of 24, Asakura graduated from Tokyo School of Fine Arts and established his own studio and residence in Yanaka, which he had designed himself. With the help of top craftsmen, the site was expanded and remodeled repeatedly, and the current Asakura Museum of Sculpture building was completed in 1935. In 2001, the building was registered as a national tangible cultural property, and in 2008, the entire site was designated a national place of scenic beauty as the “Former Asakura Fumio Garden.” The studio building is made of reinforced concrete, and the residence is made of wood in the sukiya-style style, giving it a unique structure, but Asakura’s excellent aesthetic sense allowed the different materials to blend seamlessly together.
Atelier
The atelier where the artist usually exhibits his works has a ceiling height of 8.5 meters, and the first thing you will notice when you step inside is the open feeling. On the west side of the floor is the 3.78m-tall Statue of Komura Jutaro (1938), but it doesn’t feel oppressive at all.
In theory, an artist’s studio has windows facing the north, but the Asakura Museum of Sculpture’s studio has windows on three sides – north, east, and south – making it extremely bright. The aim is to allow natural light in from all angles to study how sculptures, which are often placed outdoors, look, and the amount of light was adjusted with curtains when the artist was creating the work. The large window at the top of the north side also has a gentle curve to allow light to spread throughout the space without creating strong shadows. The walls are made of warm silk floss, and the sculptor’s attention to detail is evident everywhere.
Study
The study adjacent to the studio also has an open ceiling, making it seem like a movie set. Many of the books stored in the bookshelves with glass doors on three sides that reach the ceiling were Western books that belonged to Toru Iwamura, an art critic and Asakura’s teacher during his time at the Tokyo School of Fine Arts. After Iwamura’s death, these valuable materials had been scattered among used bookstores, but Asakura mortgaged his house to raise funds to buy them back.
The semicircular bay window and sofa create a unique atmosphere in the reception room.Asahi Room
The large hall on the third floor, “Choyo no Ma,” where guests were entertained, is the most prestigious room in the Asakura Museum of Sculpture, and as its name suggests, the morning sun shines in through the windows on the east side. The luxurious Japanese-style furnishings and elegantly shining red walls are made of expensive red agate that has been crushed by hand and applied to the walls. The small amount of obsidian mixed in creates a unique color.
The ceiling is made of Jindai cedar, excavated from the ground in Izu Amagi, with a cedar bark lining. The tokonoma alcove is made of a single piece of pine, and the transom is made of a single piece of paulownia wood, both of which were valuable materials even at the time. There is a sense of playfulness in the deliberate lack of uniformity, and the space exudes Asakura’s aesthetics.
Goten Pond
The courtyard, Goten no Ike, is made up of water, huge rocks, and trees. It is a corridor-style structure surrounded by buildings on all four sides, and the beautiful scenery can be enjoyed from any room, making use of the sculptor’s perspective. Asakura used this place for self-reflection, and when he was lost in his way of life or found it difficult to discern the true essence of things, he would look at the clear water to purify his mind and body, and then devote himself to further creation.
Rooftop garden (※closed due to weather)
The roof of the atelier building has a garden with olive trees, which is said to be an early example of rooftop greening.
In the past, horticulture training was conducted here as a required subject at the Asakura School of Sculpture. As both gardening and sculpture involve nurturing life in the soil, the purpose of the training was to familiarize the students with the soil through gardening and to develop an eye for objects. Currently, a vegetable garden has been recreated in part, and it has become a place of relaxation where you can enjoy flowers of all seasons.
The male statue “Cannon Put” (1924), placed on the west side of the garden, looks out over the town of Yanaka under a wide sky. You can see the front of the work by looking up from the gate before entering the building, so be sure to look up at the rooftop when you visit.
Summary of the special exhibition “Wonderful Cat Life: Fumio Asakura, Cats, and Sometimes Dogs” commemorating 60 years since his death
Dates
Saturday, September 14, 2024 – Tuesday, December 24, 2024
venue
Asakura Museum of Sculpture (7-18-10 Yanaka, Taito-ku)
Opening hours
9:30-16:30 (entry until 16:00)
Closed Days
Mondays and Thursdays (open on public holidays)
Admission fee
Adults: 500 yen / Elementary, middle and high school students: 250 yen
Organizer
Taito City Arts and Culture Foundation, Taito City Asakura Museum of Sculpture
*The contents of this article are from the time of coverage. They may differ from the latest information, so please check the official website for details.
Actor Kotaro Koizumi appeared at the press preview
After being called a “child prodigy” during his childhood, Tanaka Isson devoted himself to painting the nature of Amami in his later years.
The “Tanaka Isson Exhibition: Light of Amami, Paintings of Soul” looks back on the life and works of Isson, a man who devoted his whole body and soul to the act of “painting.”
This article reports on the press preview held the day before the event.
Tanaka Isson, the trajectory of indomitable passion
Exhibition hall entrance
Born in Tochigi-cho (now Tochigi City) in 1908, Tanaka Isson showed exceptional artistic talent from an early age and was known as a child prodigy.
He was given the artistic name Beison by his father, a sculptor, and enrolled in the Japanese painting department of the Tokyo School of Fine Arts (now Tokyo University of the Arts), but dropped out after two months.
In 1947, he changed his artist name to Isson Yanagi, and although his work White Flowers was selected for the Seiryu Exhibition, he continued to produce works with only a few supporters. In his later years, he moved to Amami Oshima alone and devoted himself to painting the nature of Amami, but passed away at the age of 69.
After his death in 1979, a group of volunteers organized an exhibition of his posthumous works in Amami, which attracted an unprecedented 3,000 visitors. The media reported on the exhibition, which led to a frenzy and knowledge of his life and works being shared across the country.
“Tanaka Isson: Light and Soul” will feature his representative works that he painted in Amami, including “Kuwazuimo (Sweet Potato) and Soil” and “Pandanus Beach” , as well as unfinished masterpieces. With a focus on paintings, the exhibition will cover Isson’s entire artistic career with over 250 works, including sketches, crafts, and documents.
The largest retrospective exhibition
Exhibition venue viewTracing the history of Isson’s artistic career, focusing on his paintingsIchimura was originally an up-and-coming Nanga painter. He continued to study the classics of landscape painting from the 1930s until the postwar period.“Autumn at Chiba-dera” (1948, Tanaka Isson Memorial Museum of Art) was painted by Isson after he moved to Chiba-dera. Isson loved the rural scenery of Chiba, which was close to him, and he continued to paint shikishi pictures.“Flower and Plant Ceiling Painting” that decorated the Buddhist altar of Mr. K’s house in Setagaya (around 1950, Tanaka Isson Memorial Museum of Art)“Sagakure and Pandanus in the Sea of Amami” (January 1961, Collection of Tanaka Isson Memorial Museum of Art)
This exhibition is divided into three chapters: Chapter 1 “Young Southern Painter Tanaka Beison: His Tokyo Period , ” Chapter 2 “The Birth of Isson in the Chiba Period,” and Chapter 3 “His Own Path to Amami.” By displaying Tanaka Isson’s works in chronological order, it is possible to closely trace the almost seamless transition of his artistic career.
Ichimura started painting as a boy from the age of 6 or 7, and a considerable number of his works remain in various locations around the country. Many of the works on display at this exhibition are new and recent, with many even being shown for the first time. There are over 250 pieces on display, making this the largest retrospective exhibition of his kind to date.
A wide range of works by Ichimura are on display, including wall paintings and wood carvings. Here is a painted obi and parasol by Ichimura.Chapter 3 exhibits works created after the village’s relocation to Amami, which can be considered the culmination of Ichimura’s work.
Tanaka Isson’s career as an artist was not always smooth. He was praised as a “child prodigy” from an early age, and was active as a budding Nanga painter, but he never held a solo exhibition in his lifetime and ended his life alone in the land of Amami, still unknown.
Chapter 3 displays a number of works that Ichimura painted with all his heart and soul after traveling to Amami with unshakable determination and scraping together the money to live. Through these works, visitors can experience the state of his artistic career that Ichimura reached in his “place of death.”
Exhibited Works
Here we will introduce some selected works from the exhibition.
“Camellia Folding Screen” 1931, Silk with gold background, 2 pieces, 1 pair, Chiba City Museum of Art collection
A masterpiece that completely changed the image of a village during the “hiatus”
In a letter later in life, Isson wrote that “when I was 23, the new style of painting that I believed to be my true path was not approved by my supporters, so I was abandoned,” and this period was traditionally considered a “blank period” in which he produced few works. However, in recent years, powerful works painted during this period have been discovered, and this view is beginning to change.
This work is a gorgeous gold folding screen that completely changed the image of Isson’s activities in the early Showa period.
At the time, Isson was 24 years old, and you can sense his passion and energy as he sought new horizons.
“White Flowers” September 1947, colored with gold sand on paper, two panels, Tanaka Isson Memorial Museum of Art
Tanaka Isson’s only selected work.
This work was first selected for the 19th Seiryu Exhibition, organized by Kawabata Ryushi, in 1947, and ultimately became the only work to be selected for a public exhibition.
The exhibition catalogue states “White Flowers: Yanagi Isson,” and it is clear that Yanagi changed his artist name from “Yonemura” to “Yanagi Isson,” making this an ambitious postwar work that marked a fresh start.
The sophisticated style of the painting, with a sense of freedom, is impressive.
“Clear Autumn” September 1948 (Showa 23) Color on gold paper Two-panel painting Collection of Tanaka Isson Memorial Museum of Art
A belief that he stuck to even when he turned his back on glory.
In 1948, the year after his first successful entry, Isson submitted two works to the 20th Seiryu Exhibition. Although Isson considered Clear Autumn to be his most confident work, he was disappointed that only his reference work Waves was selected, and so he declined the offer.
This work depicts the trees in bold black silhouettes on a gold folding screen. The trees towering against the backlight effect, and the texture of the branches and bark are depicted in minute detail, making this a work of great soul.
What was it that Ichimura wanted to protect, even turning his back on the glory of his life? Please watch this film and feel it for yourself.
Pandanus Beach, 1969, Private collection
What the light of Amami brought to one village
In a letter dated January 1974 (when he was 66 years old), Isson wrote that the works he put his heart and soul into were “Souvenirs for King Enma,” namely Pandanus Beach and Uneaten Sweet Potato and Sago Palm . These works are the highlights of this exhibition.
This work, which expresses the artist’s pride in having completed the project without any regrets, is based on the Pandanus arborescens, a plant that he has been planning since he first came to the island. The Pandanus arborescens is painted in shades of green and blue using a variety of pigments. In the middle ground, ripples are drawn with delicate lines, and the golden glow beyond the clouds gives the entire painting a sublime quality.
The exhibition also features a number of Isson’s paintings of Kannon and Arhat statues, and it is no exaggeration to say that this work expresses the religious feelings that he came to experience at the end of his life.
Please come and see this masterpiece by Isson Hisei at the venue.
Exhibition ambassador Koizumi Kotaro will also be in attendance!
At the press preview and opening ceremony, actor Koizumi Kotaro, who serves as the exhibition ambassador and audio guide navigator, appeared wearing a one-of-a-kind Oshima Tsumugi kimono with the motif of The Uneaten Sweet Potato and Soybean Currant.
“I felt a very mysterious connection and fate with Tanaka Isson, and put my heart into providing the audio guide,” said Kotaro Koizumi. His great-grandfather, Matajiro Koizumi (grandfather of Kotaro’s father, former Prime Minister Junichiro Koizumi), who served as Minister of Communications and other positions, served as the chairman of Tanaka Isson’s supporters’ group, and so he had been hearing about the painter Tanaka Isson since he was a child.
Nearly a century has passed since then, and now that he, who was born into the Koizumi family, is involved in the Tanaka Isson exhibition, he said, “I was truly surprised, and felt honored to have been given this job, so I put my heart into recording my voice,” as he reflected on the mysterious encounter that took place through the exhibition.
“I had seen Tanaka Isson’s paintings from his later years since I was a child, but this exhibition showed me his earlier works first. Personally, my parents’ house had cycad trees planted, so I was captivated by the paintings depicting the ocean, papayas, and cycads of the natural scenery of Amami.”
Looking back on his impressions of the exhibition,
“In addition to the paintings, there are also precious photographs, handwritten postcards, and rare receipts left behind by Tanaka Isson, so I think this is a wonderful exhibition that allows you to fully experience what kind of achievements Tanaka Isson made and what kind of person he was. I hope that many people will be able to experience the charm of Tanaka Isson and learn about what kind of life he lived in Chiba Prefecture in his early days, and what kind of hard work he put in.
He addressed the audience with a smile.
Tanaka Isson once said, “I want to hold a solo exhibition in Tokyo and finally settle my paintings.” This exhibition, “Tanaka Isson: Light and Soul,” could be said to be Isson’s final wish, unexpectedly fulfilled.
The event will run until Sunday, December 1st, 2024.
Please come to the exhibition to see the works of Ichimura, who left social success behind and devoted his whole heart and soul to “drawing.”
Event Outline
Dates
Thursday, September 19, 2024 – Sunday, December 1, 2024
venue
Tokyo Metropolitan Art Museum Special Exhibition Room
Opening hours
9:30-17:30, Friday 9:30-20:00
*Entry is until 30 minutes before closing. * Reservations are required for designated dates and times only on weekends, national holidays, and from November 26th (Tue) to December 1st (Sun) . * Entry is possible if there is availability on the day. *If you are visiting on a weekday until Friday, November 22nd, you do not need to make a reservation for a specific date and time.
Closed Days
Monday, Tuesday, September 24th, Tuesday, October 15th, Tuesday, November 5th
*However, the office will be open on Monday, September 23 (holiday), Monday, October 14 (holiday), and Monday, November 4 (holiday).
Admission fee
Adults: 2,000 yen University and vocational school students: 1,300 yen
65 years and older: 1,500 yen *Free for high school students and younger
* 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).
*People with a disability certificate and their attendant (up to one person) and high school students or younger do not need to make a reservation for a specific date and time. Please come directly to the entrance of the venue.
*High school students, university students, vocational school students, people aged 65 or older, and people with any type of disability certificate must present proof of their identity.
*The third Saturday and the following Sunday of every month are Family Days, during which parents (Tokyo residents, up to two people) accompanied by children under the age of 18 receive half the regular admission fee (please show proof of address). No reservation is required for a specific date and time, and tickets are only available at the Tokyo Metropolitan Art Museum ticket counter.
*For details, please check the official exhibition website ticket information page.
*The contents of this article are from the time of coverage. It may differ from the latest information, so please check the official exhibition website for details. In addition, the works featured in this article may have already finished their exhibition.
The National Museum of Western Art will be holding “Christmas at the Museum” from Tuesday, November 26, 2024 to Wednesday, December 25, 2024, for approximately one month, where visitors can enjoy a variety of events.
■ Purpose of the event <br />In the West, Christmas is a day to celebrate the birth of Jesus Christ, but in Japan it is loved by many people in various ways as one of the seasonal events. Why not add “spending Christmas at an art museum” to your enjoyment? Spend some time leisurely looking at paintings at the museum, or take part in a program with family and friends… This project, which began in 2007 with the desire to “make it easy for anyone to visit our museum,” is a seasonal winter event at our museum, which has a rich collection of Christian-themed artworks.
This event, which has usually been held mainly on weekends in December, will be held over a period of about one month this year. We have prepared events that can be enjoyed in various styles, from those with children and those visiting the museum for the first time to regular visitors, so please take advantage of this opportunity.
*Some programs require prior application. Please see our website for details.
Overview ①Everyone’s Christmas Carol Concert [Advance registration required]
This is an a cappella concert featuring songs related to Christmas. The lights in the auditorium will be kept bright, and you will be free to enter and exit the venue. Anyone, from small children to adults, can participate with peace of mind.
Last year’s event
Performed by: Ai Okada (soprano), Momoka Osawa (soprano), Masanori Taguchi (tenor), Naohito Sekiguchi (baritone)
Date and Time:
Saturday, December 14, 2024 15:00-15:40
Sunday, December 15, 2024 11:00-11:40
Capacity: 100 people per session Target: Anyone Participation fee: Free Venue: Auditorium (2nd basement floor)
How to participate: Advance registration required * Small children are welcome. Cushions are available for rent for children.
*The lights in the auditorium will not be dimmed completely.
*Applicants are free to enter and exit as they wish.
*There is a “free area” that you can use if you find it difficult to return to your seat or if you want to move seats temporarily.
*Wheelchair seats and wheelchair accessible seats are available.
*Assistance dogs are permitted.
*The building has nursing rooms, diaper changing stations, strollers and wheelchairs available for rental.
②Gallery Talk [Registration on the day]
Several works related to Christianity and Christmas from the permanent exhibition will be selected, and volunteer staff from the museum will provide commentary on the highlights of the works.
Last year’s event
Date and Time:
Saturday, December 14, 2024, 11:00-11:30 *Sign language interpretation included: Anyone can participate, whether they use sign language or not.
Saturday, December 14, 2024 13:00-13:30
Sunday, December 15, 2024 11:00-11:30
Sunday, December 15, 2024 13:00-13:30
Capacity: 15 people per session (first come, first served)
Participation fee: Free (However, a permanent exhibition ticket is required)
Venue: Permanent Exhibition Room Reception: 19th Century Hall (1st floor of the main building)
How to participate: Registration on the day (no prior registration required)
③ Volunteer tour * Sign language interpretation available [Registration on the day]
This is a drop-in program planned and run by volunteer staff at the museum, and no reservation is required. We plan to have events that anyone from children to adults can easily participate in, such as enjoying simple creative activities related to works in our collection. Themes and details will be posted on our website at a later date.
Sign language interpreters will be available, so those who use sign language can participate with confidence.
Last year’s event
Date and Time:
Saturday, December 14, 2024 10:00-15:00
Sunday, December 15, 2024 10:00-15:00
*The event will end as soon as materials run out each day.
Participation fee: Free (However, a permanent exhibition ticket is required)
Target audience: Anyone Venue: Workshop Room (New Building 2nd floor, near the Print and Drawing Room)
Reception location: Same as above How to participate: Registration on the day (no prior application required)
④Winter only! Audio guide “Curator’s Voice”
This is an audio commentary on works by our museum researchers, available only in the winter season. They will introduce about 10 works from the permanent exhibition, based on the exhibitions they are in charge of and their daily research activities. You can enjoy the in-depth commentary by the researchers for free.
Please scan the 2D barcode at the information desk to access the audio guide web app. Please bring your smartphone and earphones when using it in the exhibition room. A script is included, so text information is also provided.
⑤Kawasaki Free Sunday Quiz Rally <br />Kawasaki Free Sunday, our monthly free admission day for the permanent exhibition, will feature a quiz rally on Sunday, December 8, 2024 only. Those who answer all questions correctly will receive original merchandise.
*Please note that original goods are available in limited quantities.
■Be sure to check out the permanent museum exhibition shop and restaurant, both of which are unique to the Christmas season!
● SHOP
Our original packaged Kaminariokoshi is available with ribbons tied around it during the Christmas season (limited quantities). We have also created a replica of a ring from the Hashimoto Collection. The words engraved on the ring are romantic: “My heart is sincere” (outside of the hoop) and “All yours” (inside of the hoop). Why not give it as a gift together with the Hashimoto Collection “Rings” catalogue?
Pound chocolate \2,400 (tax included)Kaminariokoshi \864 (tax included)Replica ring (Posey ring) sizes 9, 13, and 15 \15,800 (tax included)Hashimoto Collection Ring Catalog \3,200 (tax included)
●CAFÉ SuirenWe offer a roast beef course as well as original Christmas cakes.
Roast beef course \3,300 (tax included)
■Exhibitions held at the museum during the Christmas period
・Special exhibition “Monet’s Water Lilies”
Period: Saturday, October 5, 2024 – Tuesday, February 11, 2025 (National Holiday) Venue: Special Exhibition Room, Small Special Exhibition “Augustus John and His Era – Modern British Art from the Matsukata Collection”
Period: Saturday, October 5, 2024 – Tuesday, February 11, 2025 (National Holiday) Venue: Print and Painting Exhibition Room (Permanent Exhibition Room)
About the National Museum of Western Art
Museum name | National Museum of Western Art Location | 7-7 Ueno Park, Taito-ku, Tokyo 110-0007
Opening hours: 9:30-17:30 (until 21:00 on Fridays and Saturdays during the Monet exhibition) *Entry is permitted until 30 minutes before closing. Closed on Mondays (open on public holidays and closed the following weekday), New Year’s holidays (December 28, 2024 – January 1, 2025) *For the latest information on opening hours and closing days, please check the “Announcements” page on the official website of the National Museum of Western Art.
Admission fee for permanent exhibition (tax included) | Adults 500 yen, University students 250 yen * Free for those with a disability certificate and one accompanying person * Special exhibitions are charged separately Contact | 050-5541-8600 (Hello Dial)
National Museum of Western Art Official Website | https://www.nmwa.go.jp/
A relaxing space connecting the forest, town and station
JR East Cross Station Development Company, Ltd. will participate in "Pandabashi Picnic 2024 Autumn," an event to promote the attractions of the region, held in collaboration between East Japan Railway Company (hereinafter referred to as JR East) and Taito Ward on "Panda Bridge," an east-west free passage connecting the Iriya ticket gate of JR Ueno Station to the town of Ueno and Ueno Park.
The theme of this event is "A relaxing space that connects the forest, town and station." We will be providing alcoholic drinks and food, as well as railway-themed workshops, creating a relaxing space that both adults and children can enjoy together.
Pandabashi Picnic 2024 Autumn Event Overview
■Date and time:
October 26th (Sat) and 27th (Sun)
26th (Sat): 12:00-19:00 / 27th (Sun): 12:00-18:00
*Only some events will be held in the event of rain.
*Event cancellations will be announced on the relevant websites and social media.
■ Location: Panda Bridge outside the Iriya ticket gates at JR Ueno Station
■Organizer: East Japan Railway Company (Tokyo Moving Line)
■Co-organized by: Taito Ward, JR East Cross Station Development Company, Ltd.
■ Cooperation: JR East Sports Co., Ltd. (Jexer Fitness & Spa Ueno), JR East Urban Development Co., Ltd., Iwakura High School
■ Participating shops (operated by JR East Cross Station Development Company)
・noie…sells natural wine and curry bread
・Higurashi Bookstore: A collection of bookstores from the neighborhood. Used books and books for sale.
・CERA STORE…Sales of second-hand clothes, antiques, and used books
・TONTOKOBOY…Sales of craft beer, etc.
・VectorBrewing: Craft beer sales, etc.
・Snack Linne…drinks and food sales, brooch-making workshop
・Guruguru Gelato…gelato for sale
・Asakusa Vehicle Manufacturing Co., Ltd.: Leather ticket workshop, railway goods sales
A collection of shops offering a relaxing atmosphere
Shops and experience corners will be set up on the Panda Bridge, which connects Ueno Park and the station, with the theme of "a relaxing space connecting the forest, town, and station."
[List of participating shops]
[noie] Natural wine and curry bread for sale[Higurashi Bookstore] Neighborhood bookstores gather together. Used books and books for sale[CERA STORE] Selling used clothing, antiques, and second-hand books[TONTOKOBOY] Craft beer sales, etc.[VectorBrewing] Craft beer sales, etc.[Snack Linnaeus] Drinks and food sales, brooch-making workshop[Guruguru Gelato] Gelato sales[Asakusa Vehicle Manufacturing] Leather ticket workshop, railway goods sales (10/27 only)
Various workshops are also held
Various workshops will be held under the theme of "A relaxing space that connects the forest, town, and station." You can enjoy art, experience railroad work, or get some exercise. Please enjoy your time in your own way.
Date and time: Saturday, October 26th, 12:00-16:30 (every 30 minutes)
Duration: Approximately 45 minutes
Lecturer: JR East employee
Number of participants: 1 person per session x 2 courses
Participation fee: [Regular course] 3,000 yen (tax included)
[Upgrade Course] 4,000 yen (tax included) *This is an experience using the real master controller used on the E217 series.
How to participate: Advance reservation at JRE MALL
[Reservation page]
・Normal course https://event.jreast.co.jp/activity/detail/a002/a002-097
・Upgrade course (using E217 series master controller) https://event.jreast.co.jp/activity/detail/a002/a002-98
■ Original Clock Making Art Workshop (10/27 only)
Date and time: Sunday, October 27th, 12:00, 14:00, 16:00
Duration: Approximately 1 hour and 15 minutes
Lecturer: NiJi$uKe (Nijiaki Doi)
Number of participants: 12 people per session
Participation fee: 4,500 yen (tax included)
How to participate: Advance reservation on the experiential event site (aini)
[Reservation page] https://helloaini.com/travels/49375?prcd=rdX6
■Fitness by instructors from JEXER FITNESS CLUB
Date and Time:
・ZUMBA
October 26th (Saturday) 13:00
・LESMILLS BODY ATTACK
October 26 (Sat) 14:30
・LESMILLS DANCE
October 27th (Sun) 13:00
・LESMILLS BODY COMBAT
October 27 (Sun) 14:30
[Participation Benefits]
①One free drink
② Use of the spa at "Jexer Fitness & Spa Ueno" on the day
*Jexer Fitness & Spa Ueno https://www.jexer.jp/fitness/ueno/
■Cork doll and spinning panda brooch
Date and Time:
October 26th (Sat) 12:00-19:00
October 27th (Sun) 12:00-18:00
Duration: 30 minutes
Lecturer: Chihiro Iijima
Number of participants: 6 people per session
Participation fee: Workshop 1,000 yen (tax included)
1 drink set: 1,500 yen (tax included)
How to participate:
[Reservation page] https://snakrinne1026-27.peatix.com/
*Slots available on the day are on a first-come, first-served basis.
■Make your own one-of-a-kind Kawa no Ticket® at the Panda Bridge at JR Ueno Station (only on 10/27)
Date and time: Sunday, October 27th, 12:00, 13:00, 14:00, 15:00, 16:00
Time required: 20 minutes (per piece)
Lecturer: Asakusa Vehicle Manufacturing Co., Ltd.
Number of participants: 8 tickets per session / 40 tickets per day (up to 3 tickets per person)
Participation fee: 1,650 yen (tax included), patterned ticket + 330 yen (tax included)
How to participate: Reservation slots (20 tickets) + same-day slots (20 tickets)
[Reservation page] https://passmarket.yahoo.co.jp/event/show/detail/02x0cahcz2141.html
*Slots available on the day are on a first-come, first-served basis.
We also introduce other events!
■Dance performance by Iwakura High School Dance Club "Burst" (10/26 only)
A dance performance by first and second year students from the local Iwakura High School dance club "Burst." Enjoy their powerful dance!
Date and time: Saturday, October 26th, 16:00-17:00
Planning cooperation: Iwakura High School
Participation fee: Free
Demonstration experiment of utilization of "Panda Bridge," an east-west connecting passage at JR Ueno Station
Based on the Ueno District Urban Development Vision, East Japan Railway Company and Taito Ward are working to create a new base that everyone will want to use, with the aim of improving the mobility of Ueno Forest and the city. Since December 2022, a demonstration experiment has been conducted on Panda Bridge with new ways of spending time and using the bridge, with the aim of making the bridge a comfortable space. Through repeated verification of safety, comfort, etc., we will continue to develop the unique character of Panda Bridge.
A look at the "Panda Bridge Picnic," the fourth Panda Bridge utilization demonstration experiment conducted in March 2024
About "TOKYO MOVING ROUND"
In line with its group management vision, "Move Up 2027," JR East is shifting from "provision of railway-based services" to "creation of people-based value and services" with the aim of realizing "enriched lives" for everyone in the local community.
In addition to services that improve the convenience of everyday life, including transportation, we will create a rich urban living space by bringing out the individuality of diverse towns and people and creating connections between stations, stations and towns, people and towns, and people and people.
As part of this, the Tokyo Moving Line is working on art initiatives, providing opportunities to casually enjoy art at everyday stations. Working with various curators, we are developing galleries that exhibit art in corners of station facilities and provide opportunities to casually interact with art, with the theme of "daily life connected to art."
