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

National Museum of Western Art
Exhibition view

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Dean Fujioka

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

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

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

Fujioka strikes the same cute pose as Saint Dominic

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

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

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

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

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

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

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

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

Article provided by: Kokosil Ueno


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

Ueno Royal Museum

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


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

Exhibition view
Exhibition view

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

Exhibition view
Exhibition view
Exhibition view

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

Mayor of Taito Ward, Yukio Hattori

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

Ueno Royal Museum Director Masayoshi Miyauchi

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

Masanobu Fukino, calligrapher and chairman of Takayusha

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

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

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

Award ceremony

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

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

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

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

Ueno Royal Museum Award “Receipt” and artist Soei Sekiguchi

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

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

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

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

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

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

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

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

Overview of the 2024 “Forest Exhibition”

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

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

 


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

Tokyo Metropolitan Art Museum

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

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

Venue entrance

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

Juan Miro (from the exhibition panel)

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

The exhibition is divided into five chapters.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Chapter 4 Exhibition view
Chapter 4 Exhibition view

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Overview of the "Milo Exhibition"

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

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

Please check the official website ticket page for details.

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

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

Article provided by: Kokosil Ueno


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

Tokyo National Museum

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

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

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

Entrance

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Article provided by: Kokosil Ueno


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

National Museum of Nature and Science
Exhibition view

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

"Penguin Gathering" Corner

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

Event summary

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

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

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

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

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

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

[Sponsor] National Museum of Nature and Science

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

・Exhibition introduction

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

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

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

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

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

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

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

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

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

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

・Exhibition Supervisor

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

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

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

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

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

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

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

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

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

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

[Agency for Cultural Affairs] Press Release

Article provided by: Kokosil Ueno


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[National Museum of Nature and Science] National Museum of Nature and Science will hold a fully virtual special exhibition “Alpine Plants”! ~From virtual mountain climbing to conservation~

National Museum of Nature and Science

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. Hakuba
Alpine 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.

[Agency for Cultural Affairs] Press Release

Article provided by: Kokosil Ueno


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“Feel” and “enjoy” the charm of the Shosoin treasures with a completely different approach “Shosoin “THE SHOW” — Feel. The miracle that is here now –” to be held in Osaka and Tokyo!

Ueno Royal Museum

❖ 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

Article provided by: Kokosil Ueno


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[Tokyo National Museum] Special exhibition “Haniwa” coverage report. Five brother-like “Haniwa warriors” are gathered together for the first time in history

Tokyo National Museum
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 Museum
In 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 Museum
National 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 History
From 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 Prefecture
Important 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 view
Deer-shaped Haniwa, excavated from Hetaira Tomb No. 1, Hamamatsu City, Shizuoka Prefecture, Kofun period, 5th century, Hamakita Museum, Shizuoka
Waterbird-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
inquiry 050-5541-8600 (Hello Dial)
Exhibition official website https://haniwa820.exhibit.jp/

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


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[National Museum of Western Art] Report on “Monet’s Water Lilies”. The largest ever collection of Water Lilies, experience the meditative world of color of his later years.

National Museum of Western Art
“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, Paris
Claude 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, 2024-2025
From 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, Paris
Claude 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
inquiry 050-5541-8600 (Hello Dial)
Exhibition official website https://www.ntv.co.jp/monet2024/

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


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