Tokyo National Museum’s annual “Cherry Blossom Viewing at the Museum” event will be held from March 10th (Tue) to April 5th (Sun) 2026!

Tokyo National Museum

Spring has arrived at the museum. The Tokyo National Museum (Director: Makoto Fujiwara) will once again be holding its annual spring event, "Cherry Blossom Viewing at the Museum."
In the main building, you can see masterpieces of Japanese art with a cherry blossom motif in each exhibition room. In addition, about 10 varieties of cherry blossoms bloom one after another in the garden. In addition to viewing the artworks, you can also enjoy a stroll through the garden and various events.

Main visual

■ Cherry blossom viewing in the main building
In the exhibition rooms of the main building, which mainly exhibits Japanese art, you can see a variety of works, including a painting of a famous cherry blossom spot, "Arashiyama Spring Scene," as well as ceramics and lacquerware with a cherry blossom motif, such as "Colored Cherry Blossom Tree Design Open Bowl" and "Sakura Saigyo Maki-e Inkstone Box."
The captions of the relevant works will have a cherry blossom mark, so please look for it and enjoy the cherry blossoms in the exhibition room.
*The following exhibits on the second floor of the Main Building will be closed until Tuesday, April 7th: "Folding Screens and Sliding Door Paintings," "Furnishings for Everyday Life," "The Development of Calligraphy and Painting," "Noh and Kabuki," and "Ukiyo-e and Costumes."

[Major exhibits] *All works are from the Tokyo National Museum

1. Spring Scene of Arashiyama (Arashiyama Shunkei), by Shiokawa Bunrin, 1873 (Meiji 6), donated by Shiokawa Bunrin
March 10th (Tue) – April 19th (Sun) Exhibition in the "Modern Art" section on the first floor of the Main Building
Bunrin was born in Kyoto and was active from the end of the Edo period to the early Meiji period, making him one of the painters who laid the foundations for the modern Kyoto art world. Known also as a master of landscape painting, this work depicts a scene from Arashiyama, a famous cherry blossom viewing spot. The depiction of the misty, hazy atmosphere that envelops the entire painting makes the delicate cherry blossoms in Arashiyama even more beautiful. Bunrin himself donated this work to the museum.

1. Arashiyama Spring View

2. Openwork Bowl with Cherry Blossom Design (Iroe Oujuzu Suka Shibachi), by Ninnami Dohachi, Edo Period, 19th Century
March 10th (Tue) – May 31st (Sun) Exhibition in the Ceramics section on the 1st floor of the Main Building
Cherry blossoms in full bloom are depicted on both the inside and outside of the vessel using pointillism with mainly white, red, and blue paint. The multiple openwork patterns near the rim are also skillfully applied, and when you peer into the vessel, you can almost feel the wind rustling the flowers, making this an exciting piece.

2. Openwork bowl with a design of cherry blossoms

3. Sword Guard with Cherry Blossoms and Mountain Magpies, by Tsukada Hidekyo, 1870
March 3rd (Tue) – May 24th (Sun) On display at "Swords" on the 1st floor of the Main Building
As if celebrating the tranquil spring, a mountain magpie dances within the tsuba, and cherry blossoms bloom. The relaxed atmosphere is created by the way the spreading tail and the shape of the cherry blossom branches harmonize with the white space. This tsuba was made shortly after the end of the samurai era, but the engraving techniques and refined sensibility cultivated in sword fittings have had a major influence on modern metalwork.

3. Cherry blossom and magpie design tsuba

4. Sakura Saigyo Makie Suzuribako (Sakura Saigyo Makie Suzuribako), Edo period, 18th century
March 17th (Tue) – May 24th (Sun) Exhibition at "Lacquerware" on the 1st floor of the Main Building
The image of a wandering old monk gazing at cherry blossoms is a standard representation of the early modern "Hanami Saigyo" (cherry blossom viewing) scene. The inside of the lid shows a completely different view, overlooking Mount Hiei from the eastern shore of Lake Biwa. In 1189, Saigyo composed his final waka poem with Jien while gazing at Lake Biwa from Mount Hiei, and passed away the following year during the cherry blossom season. The design and composition of this piece is thought to have been intended to evoke in the user the life of Saigyo.

4. Sakura Saigyo Maki-e Inkstone Box

5. Gourd-shaped sake container, made by Funada Ikkoto, Edo period, 1843 (Tempo 14)
March 10th (Tue) – May 31st (Sun) Exhibition at "Metalwork" on the 1st floor of the Main Building
This gourd-shaped sake container is made by joining dark shibuichi (a silver and copper alloy) and red suaka (plain copper) diagonally, and features scattered golden cherry blossoms at the bottom and a silver moon shrouded in clouds at the top. It is the work of Funada Ikkin, who studied under the renowned swordsmith Goto Ichijo.
Cherry blossom viewing has always been accompanied by sake and bento boxes, and this stylish sake container would look great at a cherry blossom viewing party.

5. Gourd-shaped sake container

■ Cherry Blossom Events *No prior registration required, participation is free (however, admission fee is required on the day)

◆ Guided tours and slide talks by volunteers
During the "Cherry Blossom Viewing at the Museum" event, volunteer guided tours and slide talks will introduce the trees and cherry blossoms on the premises, as well as artwork related to cherry blossom viewing.
Please check our website for dates, times, and details of volunteer guided tours and slide talks.
*The contents may change depending on the weather, etc.

◆ "Tokyo National Museum Coloring Book"
In conjunction with "Cherry Blossom Viewing at the Museum," you can enjoy coloring the "Colored Cherry Blossom Plate" from our museum collection.
Please also take a look at the colors and expressions used in the works in the exhibition room.

Coloring book

Dates: March 10th (Tue) – April 19th (Sun)
Hours: 9:30am – 5:00pm, open until 8:00pm during night hours
Venue: Main Building Special Room 4

◆Cherry Blossom Viewing Yoga in the Horyuji Treasure Museum
We will be holding a "Cherry Blossom Viewing Yoga" event that anyone can feel free to join.

Cherry Blossom Viewing Yoga 2023

Date and time: Thursday, March 26th
(1) 13:00-13:30
(2) 14:00-14:30
(3) 15:00-15:30 (reception opens 15 minutes before each session)
Location: Entrance to the Horyuji Treasure Gallery
*Only the first 20 people will be accepted, and participation is free (however, admission fee for the day is required)
*Please check our website for details.

Tohaku Haiku Society "A Haiku at Cherry Blossom Viewing"
During the "Cherry Blossom Viewing at the Museum" event, we are accepting haiku submissions with a cherry blossom theme. Why not try writing a haiku about a cherry blossom garden or a work of art with a cherry blossom motif?
For details on how to apply, please visit our website.

■About strolling around the garden
In the garden, about 10 varieties of cherry blossoms bloom one after another, including Somei Yoshino, Oshima cherry, and weeping Edohigan cherry. You can also sit on the stone bench in front of the pond and relax and enjoy the view. This is the best season for a stroll, so please enjoy the cherry blossoms in the garden along with the cherry blossom artworks in the exhibition room.

8. Garden scenery

Opening hours: 9:30am – 5:00pm
*Due to weather or maintenance work, the trail may be closed or the walking area may be restricted.
*You cannot enter the tea house in the garden.

■Other special features and projects to be held in March 2026
*For further details, please visit our website.

Special feature: "Calligraphy and Painting in the Late Ming and Early Qing Dynasties: Dreams in Chaotic Times"
January 1, 2026 (Thursday/Holiday) – March 22, 2026 (Sunday) Toyokan Room 8

Special Feature: 60th Anniversary of the Normalization of Diplomatic Relations between Japan and South Korea
"A Treasure Box of Korean Art: Welcoming the Collection of the National Museum of Korea"
February 10th (Tuesday) – April 5th (Sunday), 2026 Main Building Special Room 1, Special Room 2

Special Feature: "The Rich Lifestyle of Formosa (Beautiful Island)" – Materials on the Indigenous Peoples of Taiwan –
March 10th (Tue) – May 31st (Sun), 2026 Heiseikan Special Exhibition Room

["Cherry Blossom Viewing at the Museum" Visitor Information]
Date: March 10th (Tuesday) – April 5th (Sunday), 2026
Opening hours: 9:30am – 5pm
* Open until 8:00 PM on Fridays and Saturdays. * Last admission 30 minutes before closing.
Closed: Mondays
*However, the museum will be open on Monday, March 30th.
*Rooms 7-10 in the Main Building and the Heiseikan Archaeological Exhibition Room will be closed until Tuesday, April 7th.
*Room 8 of the Toyokan will be closed from March 24th (Tue) to April 7th (Tue).
Admission fee: 1,000 yen for adults, 500 yen for university students
*Free admission for high school students and younger, those under 18, and those 70 and older.
Please show proof of age when entering the museum.
*Free admission for disabled people and one caregiver.
Please present your disability certificate when entering the building.
*Additional fees apply for paid events.
Access: 10 minutes walk from JR Ueno Station Park Exit or Uguisudani Station South Exit
15 minutes on foot from Tokyo Metro Ueno Station or Nezu Station, or Keisei Electric Railway Keisei Ueno Station
Inquiries: 050-5541-8600 (Hello Dial)
Website: https://www.tnm.jp/

*The dates, opening days, opening hours, exhibited works, exhibition period, and event content may be subject to change due to future circumstances. Please check the museum's website for further details.

[Tokyo National Museum] Press release


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Ueno Park, Tokyo | Announcement of the 47th Ueno Toshogu Shrine Spring Peony Festival to be held from Saturday, April 4th to Wednesday, May 6th, 2026

Ueno Toshogu Shrine

More than 500 plants of 110 species, including rare varieties such as "Zipangu" and "Shakudou no Kagayaki" and unusual green peonies, decorate the garden in spring.

Ueno Toshogu Shrine (located in Ueno Onshi Park, Taito Ward, Tokyo) will be holding the 47th Ueno Toshogu Shrine Spring Peony Festival from Saturday, April 4th to Wednesday, May 6th, 2026.
The shrine is located in Ueno Park and enshrines Tokugawa Ieyasu, Tokugawa Yoshimune, and Tokugawa Yoshinobu.

This event is attended by many people every year, with over 30,000 people visiting the park last year.

At the Spring Peony Festival, you can enjoy over 500 peony plants of 110 varieties, developed in Japan, China, America, France, etc., along with the changing flowers that vary depending on the variety. In addition to the classic flower colors of red and pink, you can also enjoy rare yellow varieties.

The garden is enveloped in fresh greenery and the warmth of spring, and the flowers change with each passing day.
The flowering status will be posted daily on our official Instagram.
Official Instagram: https://www.instagram.com/utbotanen_official/

■Outline of the 47th Ueno Toshogu Shrine Spring Peony Festival
Event period: Saturday, April 4th, 2026 to Wednesday, May 6th, 2026 *Open every day during the period
Opening hours: 9:00-17:00 (last admission)
Admission fee: Adults (junior high school students and above) 1,000 yen, groups (15 or more) 800 yen, admission ticket for the event period 2,500 yen, free for elementary school students and below
Address: 9-88 Ueno Park, Taito-ku, Tokyo 110-0007
TEL: 03-3822-3575 (Peony Garden)
Access: 5 minutes walk from the Park Exit of JR Ueno Station
5 minutes walk from Ikenohata exit of Keisei Ueno Station on the Keisei Electric Railway
10 minutes walk from Exit 2 of Nezu Station on the Tokyo Metro

[Zipangu]
It is a yellow, thousand-flowered variety, and its fragrance is one of its characteristics.

[Brilliance of Red Copper]
This is a rare variety with yellow and pinkish orange petals.

■ Message from the Director of Ueno Toshogu Peony Garden
We have been caring for the peonies throughout the year in preparation for the spring Peony Festival.
The buds are healthy again this year, and I hope everyone will be able to see beautiful flowers.
Please enjoy the spring peonies along with the fresh greenery and seasonal flowers.
Shingo Ono, Director of Ueno Toshogu Peony Garden

■Ueno Toshogu Shrine Peony Garden
Ueno Toshogu Peony Garden was opened in April 1980 to commemorate friendship between Japan and China, on the grounds of Ueno Toshogu Shrine, which enshrines Tokugawa Ieyasu as its deity. The strolling Japanese garden is planted with peonies, and currently 500 plants of 110 varieties are cultivated in the spring, and 160 plants of 40 varieties are cultivated in the winter. In addition, in the fall, 200 plants of approximately 100 varieties of dahlias (also known as Tenjiku peonies) are exhibited, allowing you to enjoy seasonal flowers.
Enjoy the Edo atmosphere at your leisure in the lush green Ueno area, located in the heart of Tokyo.
Official website: https://uenobotanen.com/
Official Instagram: https://www.instagram.com/utbotanen_official/

[Toshogu Shrine] Press release


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What is energy? Experience the invisible force through art in the special exhibition “Energy”

March 28th (Sat) – May 10th (Sun) 2026 at Ueno Geidai Art Plaza (free admission)

Geidai Art Plaza ( https://artplaza.geidai.ac.jp/ ) is a gallery operated on the campus of Tokyo University of the Arts' Faculty of Fine Arts (Ueno, Taito Ward) as a collaborative project between Shogakukan and Tokyo University of the Arts. From Saturday, March 28, 2026, they will be holding a special exhibition titled "Energy: What is Energy?" The exhibition will be themed around "energy," and will feature new works by 11 artists affiliated with or alumni of Tokyo University of the Arts. Admission is free, and photography is permitted.

Held on Saturday, March 28, 2026
Special exhibition "Energy: What is Energy?"

The special exhibition "Energy" is themed around energy in a broad sense, including invisible "force," "presence," and "heat." The exhibition features new works by 11 artists affiliated with or alumni of Tokyo University of the Arts, creating a space where the presence of energy can be visualized and experienced through sight, space, and the body. "Energy" is something we come into contact with every day but rarely pay attention to, but through art it allows viewers to reinterpret it sensorily and intuitively, offering an opportunity to ask themselves, "What does energy mean to me?"

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Special exhibition announcement page
https://artplaza.geidai.ac.jp/column/30044/

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Exhibition Overview
Special exhibition name: Special exhibition "Energy: What is Energy?"
Venue: Geidai Art Plaza (Tokyo University of the Arts, Faculty of Fine Arts, 12-8 Ueno Park, Taito-ku, Tokyo)
Dates: Saturday, March 28th, 2026 – Sunday, May 10th, 2026 *No rotation of exhibits
Admission fee: Free
Business hours: 10:00-18:00
Closed: Mondays *Open on public holidays, closed the following Tuesday
Sponsor: Otsuka Pharmaceutical Co., Ltd.

*Business hours may change. Please check the official website and social media for the latest information.

Exhibiting artists (planned)
Imai Kanma / Ota Takeki / Kakinuma Miyu / Katayama Jo / Sakuta Michiko / Saji Mariko / Segawa Yumiko / Murao Yuka / Fujita Nono / Yamada Yuki / Yoshida Kaho


What is Geidai Art Plaza?

Geidai Art Plaza is a gallery that exhibits and sells works by faculty, staff, students, and alumni of Tokyo University of the Arts (hereafter referred to as Geidai), which has produced many top artists. It is one of the precious places on the Geidai Ueno Campus that is open to the public and open to the public throughout the year. It began operation in 2018 as a collaborative project between Shogakukan and Geidai.

Currently, exhibitions with different themes are held every one or two months. Each special exhibition features 10 to 50 artists, bringing together works that are expressed using the diverse techniques and approaches unique to Geidai, including oil painting, Japanese painting, sculpture, crafts, and design.


Exhibition view of the special exhibition "Geidai Art Plaza Art Award Winners Exhibition 2026" to be held in January 2026
https://artplaza.geidai.ac.jp/column/29190/

The store has a permanent exhibition corner called "LIFE WITH ART" that focuses on art that is close to daily life, such as tableware and accessories. The store also sells several "Drawing T-shirts (commonly known as Doro T)," which are one-of-a-kind items that have been drawn directly by Geidai artists. Admission to Geidai Art Plaza is free.

Taking photos and sharing them on social media is also welcome. We aim to be a place where anyone, not just art fans, can easily experience art.


Exhibition view of the permanent corner "LIFE WITH ART"


Drawing T-shirt exhibition view

The official online shop, "Tableware and T-shirt Store," is scheduled to open in September 2024. In addition to one-of-a-kind tableware, cutlery, teapots, tea bowls, and other items created by Geidai artists, it also sells a variety of original goods.


Official online shop "Tableware and T-shirt store"
https://geidaiartplz.base.shop/

Geidai Art Plaza Basic Information

■ Access
Nearest station: JR Ueno Station (Park Exit), Uguisudani Station, approx. 10-minute walk
About a 10-minute walk from Nezu Station on the Tokyo Metro Chiyoda Line
Approximately 15 minutes' walk from Ueno Station on the Tokyo Metro Hibiya Line
About 15 minutes walk from Keisei Ueno Station on the Keisei Electric Railway
Take Toei Bus Route 26 (Kameido – Ueno Park) to Yanaka bus stop and walk for about 3 minutes

*There is no parking lot, so please refrain from coming by car.

■ Official SNS accounts
Instagram:
https://www.instagram.com/geidai_art_plaza
X:
https://x.com/artplaza_geidai
Podcasts (Spotify):
https://open.spotify.com/show/2FlkumYv9ScWy69UlBtqWy
Threads:
https://www.threads.net/@geidai_art_plaza

■ 2025-2026 Exhibition
January-March 2025 Special Exhibition "Geidai Art Plaza Art Award Winners Exhibition 2025"
https://artplaza.geidai.ac.jp/column/26551/
March-May 2025 Special Exhibition “Welcome to the art zoo!”
https://artplaza.geidai.ac.jp/column/27319/
May-July 2025 Special Exhibition "Chasing Windmills: Regards to Don Quixote"
https://artplaza.geidai.ac.jp/column/27855/
August-October 2025 Special Exhibition "Geidai Art Plaza Art Award Winners Invitation Exhibition"
https://artplaza.geidai.ac.jp/column/27804/
October-November 2025 Special Exhibition "Time After Time"
https://artplaza.geidai.ac.jp/column/28865/
December 2025 – January 2026 Special Exhibition "Made in Art"
https://artplaza.geidai.ac.jp/column/29525/

■ Inquiries
Frequently asked questions are here
https://artplaza.geidai.ac.jp/qa/

[Shogakukan Inc.] Press release


See other exhibition information

[Tokyo Metropolitan Art Museum] Report on “Swedish Painting: Nordic Light, the Radiance of Everyday Life.” Tracing the Golden Age When Swedish Painters Showcased Their National Identity

Tokyo Metropolitan Art Museum
Carl Larsson, Preparation for a Card Game, 1901 (chronology)

The Tokyo Metropolitan Art Museum is hosting the first-ever exhibition in Japan showcasing paintings from the Golden Age of Swedish art, which has been gaining global attention in recent years. The exhibition, "Swedish Paintings: Nordic Light, Everyday Brilliance," commemorating the 100th anniversary of the opening of the Tokyo Metropolitan Art Museum, will run from Tuesday, January 27, 2026, to Sunday, April 12, 2026.

*All works shown are owned by the National Museum of Sweden.

Exhibition view of "Tokyo Metropolitan Art Museum 100th Anniversary Exhibition: Swedish Paintings: Nordic Light, Everyday Brilliance," Tokyo Metropolitan Art Museum, 2026

Coastlines lined with rocky reefs. Majestic forests and lakes. Lands covered in harsh snow in winter. Traditional culture exemplified by midsummer festivals and a lifestyle of well-being. What we think of as "Swedishness" today was "rediscovered" by Swedish painters from the 1880s to around 1915, known as the Golden Age of Swedish art. With the full cooperation of the Nationalmuseum of Sweden, this exhibition systematically introduces the development of Swedish art during this Golden Age through approximately 80 paintings. It explores the uniquely Nordic sensibility of living a rich life in harmony with nature.

The exhibition is divided into six chapters. Chapter 1, "The Dawn of Modern Swedish Painting," begins with Nils Blommar, who is said to be the first painter to use Nordic mythology and folklore as themes, with the aim of establishing a uniquely Swedish art form.

Niels Blomer, "Meadow Fairies," 1850 (chronology)

Sweden was the first Nordic country to establish the Royal Academy of Drawings (later renamed the Royal Academy of Fine Arts) in 1735. Traditional art education was modeled on France, and Sweden's history and mythology were encouraged as important subjects, but by the mid-19th century, Sweden was strongly influenced by the new Romantic ideas that were gaining popularity in France and Germany. In landscape painting in particular, the works of painters from Düsseldorf, Germany, who dramatically depicted the ruggedness and sublimity of nature based on a meticulous view of nature, were seen as models, and many Nordic painters, including those from Sweden, traveled to that city in awe.

Marcus Larsson, The Raging Sea at Bohuslän, 1857 (chronology)
Edvad Bali, Summer Landscape, 1873 (chronology)

This trend was related to an exhibition of Nordic art held in Stockholm in 1850. Norwegian painters who had studied at the Düsseldorf School exhibited works at the exhibition depicting the lives of Norwegian peasants and the majestic landscapes of the fjords. To Swedish painters, these works appeared to be art that, while clothed in innovative foreign styles of expression, was deeply rooted in the real world of Scandinavia, and this sparked a desire to create a new, indigenous art form in their own country.

In the late 1870s, young Swedish painters, dissatisfied with the Academy's outdated teaching methods, headed to Paris in search of new forms of expression, values, and instruction. At the time in Paris, new forms of expression such as Impressionism, which overturned traditional artistic values, were flourishing, but many Swedish painters instead chose to gravitate towards realism and naturalism, which sought to capture humans and nature in their natural state.

Hugo Salmson, Gleaners, early 1880s

Hugo Salmson (1843-1894), introduced in Chapter 2, "Towards Paris: Encounters with Modern French Painting," was one of the earliest Swedish painters to study in France. He favored the Barbizon School, which focused on peasants at work, as well as the Realist paintings of Jules Bastien-Lepage and Jules Breton. Looking at "The Gleaners," we can see that their influence is evident not only in the subject matter but also in the improvised, rough brushwork used to depict nature.

Exhibition view. On the right is Anna Nordgren's Woman from a Train Window, 1877 (chronology)
Arnold Josephson, Boy with a Wheelbarrow, 1880

Another painter who came into contact with the plein air movement during his stay in Paris and acquired a style filled with bright, fresh colors and light was Arnold Josephson (1851-1906). In 1885, a group of young artists led by Josephson submitted a statement calling for reform to the outdated Royal Academy of Fine Arts. These artists, who chose to break away from the school, came to be known as the "Oponentena" (rebels), and would go on to lead the way in Swedish painting from the 1890s onwards.

Chapter 3, "The Artists' Village of Grez-sur-Loing," introduces the formation of artistic colonies (communities) across France by Scandinavian artists who began to place importance on outdoor art. In the 1880s, one of the bases for Swedish painters was the small village of Grez-sur-Loing, 70 kilometers southeast of Paris. They spent their summers here, capturing the daily lives of peasants and idyllic scenes along the Loing River.

Karl Nordsturm, Grez-sur-Loing, 1885-1886 (chronology)
Bruno Liljefors, "Jay", 1886 (chronology)
Oscar Bürck, The School of Skane, 1884

The Swedish national painter Carl Larsson (1853-1919) also moved to the same area when he was still unknown, where he encountered watercolors and discovered a new direction for his expression in light-hearted landscape paintings filled with dazzling light.

Towards the end of the 1880s, many Swedish painters who had been working in France returned home and aimed to create art that was distinctively Swedish, in order to demonstrate their national identity.

Chapter 4, "The Brilliance of Everyday Life – Living a 'Swedish' Lifestyle," features works by artists who have found motifs in the harsh yet bountiful nature, their own families, close friends, or the fleeting joys hidden in everyday life, and have depicted them with intimate and emotional expressions.

Carl Larsson, Preparation for a Card Game, 1901 (chronology)

It was Larsson, in particular, who shaped the image of "Swedish living." Larsson lived in Lilla Hitnes, a two-story house in the rural town of Sundborn in the central Dalarna region, with his wife Karin, also a painter, and their seven children. The house was repeatedly renovated to suit the family's needs, and, influenced by the Arts and Crafts movement that was popular in England at the time, he skillfully combined furniture from various eras and styles and decorated the interiors with textiles and embroidery designed by Karin herself. With passion, he created his ideal home, a comprehensive work of art for living.

In Swedish society at the time, the idea was spreading that a simple yet comfortable living environment surrounded by "truly beautiful things" made by artisans would foster people's aesthetic sense and lead to the creation of a better society. Against this cultural background, Larsson published "Ett hem" (A Dwelling) in 1899, a collection of watercolors depicting the interior decoration of his own home, scenes of a lively and carefree lifestyle, and seasonal events. This became widely known as an image of the ideal home symbolizing "Swedishness."

Carl Larsson, Kitchen (from "A Dwelling"), 1894–1899

Although "A Home" contains 24 watercolors, in order to protect the artworks, only one original painting will be exhibited at each venue in Tokyo, Yamaguchi, and Nagoya. Instead, nine more watercolors will be introduced through specially produced video content, conveying the heartwarming atmosphere of "Lilla Hittnes" on a large screen.

Bruno Liljefors, Sledging, 1882 (chronology)
Hannah Pauli, at the Grand Piano, 1892 (chronology)
Exhibition view, from left: Elsa Backlund-Selsing, "Coffee Time," c. 1916; Eva Bonnier, "Housekeeper Britta-Maria Bank (nicknamed Mussa)," 1890

Anders Sohn (1860-1920), a friend of Larsson and one of Sweden's earliest internationally successful painters, also returned from Paris and settled in Mora, his hometown in Dalarna. Dalarna is a region particularly steeped in history and tradition, and Sohn frequently used the folk culture of Dalarna, such as its traditional music and dress, which was in the process of being lost in the shadow of modernization, as his subject matter. His captivating style is characterized by his quick brushstrokes, vividly capturing fleeting moments of light and air, and his work Kor-Margit Knitting remains one of Sweden's most beloved and frequently reproduced works to this day.

Anders Zorn, Kor-Margit, a Dalarna Girl Knitting, 1901 (date)
Anders Zorn, "Hometown Melody," 1920 (chronology)

Meanwhile, Chapter 5, "Beyond Reality: Painting the Invisible World," focuses on painters who were interested in the invisible world beyond reality, such as Norse mythology linked to their own spiritual worlds and nationalism, and the visualization of folklore.

August Malmstrum, Ingeborg's Lament (from Esaias Tegnell's The Tale of Frittioff), c. 1887

Famous for his illustrations for the Swedish fairy tale collection "Bland tomtar och troll," Jon Bauer (1882-1918) was a beloved illustrator known for his fantastical worldviews based on Nordic folk tales featuring trolls and forest fairies. His depictions of dimly lit forests, painted in subdued colors and seemingly possessing a will of their own, and the trolls, whose eeriness is tinged with melancholy and humor, evoke a sense of mystery and a strong sense of awe for nature.

John Bauer, "Labmoll with the Door Open," after 1913
Carl Frederick Hill, Moor Landscape with a Horse-Drawn Carriage, 1878

A particularly unique figure is August Strindberg (1849-1912), Sweden's leading playwright and writer of the 19th century. Self-taught, Strindberg devoted himself to painting for only a limited period of his life, which coincided with a period of mental instability, including a slump in his playwriting, family discord, and an interest in occultism and chemical experiments. Using a painting knife, he created landscapes that directly appealed to the viewer's psyche, even his own state of mind, with a unique style that made the most of the coincidences and images that emerged from the unconscious in the creative process.

August Strindberg "Wonderland" 1894 (chronology)

Chapter 6, "With Nature: The Creation of New Swedish Painting," is the highlight of the exhibition. Sweden was once considered a country with "nothing to paint," but from the 1890s onwards, painters began to "discover" Sweden's unique natural beauty, such as its lush forests and lakes, rocky coastlines, and snow-covered winter landscapes, and they began to seek out suitable ways of depicting it.

Olof Arborelius, View of the Lake at Engelsberg, Västmanland, 1893 (date)
Gottfried Carstenius, Sunset in the Archipelago, 1907

For example, Gustav Fjestad (1868-1948) was a painter who settled on the shores of Lake Lacken in Värmland, central-western Sweden, and continued to paint winter scenes throughout his life. His work, Winter Moonlight, is characterized by its voluminous, decorative depiction of the fluffy, rounded snow that covers the ground and conifers. The light effects created by his unique pointillism, which rhythmically layers small dots and lines to create a sense of unity as a surface, give the snowy world a mysterious and tranquil atmosphere that is characteristic of Fjestad.

Gustav Fjestad, Winter Moonlight, 1895 (chronology)

In particular, landscape paintings of this period placed emphasis not only on exploring subject matter and techniques, but also on expressing emotion and atmosphere through the landscape. This was fulfilled by the soft, delicate light of dusk and dawn, which replaced the brilliant sunlight seen in works of the 1880s. On summer nights, the long periods of twilight and the blue light that enveloped the night gave a lyrical feel, illuminating Sweden's rich natural landscapes. This artistic trend, later known as "National Romanticism," gave rise to distinctively Swedish paintings not found in art from other countries.

Otto Hesselbom, Summer Night (Study), c. 1900

Nils Kruger (1858-1930), who had a strong interest in horses working in various working environments since his time in Paris, continued to paint scenes of grazing horses, cows, and other livestock resting on the island of Uland, near his hometown of Kalmar, even after returning to Sweden. Heavily influenced by Van Gogh in his later years, Kruger's painting "The Coming of Night" emotionally captures the air and light of twilight, with a blue light filling half of the canvas, rendered in short, Van Gogh-esque strokes. A closer look reveals that the blue light not only fills the sky, but also pours down on the bodies of the grazing horses and the earth, creating a grand, fantastical atmosphere in an otherwise ordinary landscape.

Exhibition view. On the right is Nils Kruger's "The Coming of Night," 1904 (chronology)

Additionally, the audio guide for this exhibition (fees apply) incorporates "slow looking" into the special track, a first for the museum. This viewing program is also implemented in the Nationalmuseum's educational programs, and allows visitors to appreciate the artworks more deeply through the process of carefully observing each piece and asking questions, so be sure to check it out when you visit.

Overview of "Tokyo Metropolitan Art Museum 100th Anniversary Exhibition: Swedish Paintings: Nordic Light, Everyday Brilliance"

venue Tokyo Metropolitan Art Museum
Dates January 27, 2026 (Tuesday) – April 12, 2026 (Sunday)
Opening hours 9:30-17:30
*Until 8:00 PM on Fridays *Entry is until 30 minutes before closing
Closed days Monday, February 24th (Tuesday)
*However, the room will be open on Monday, February 23rd (national holiday)
Admission fee Adults: 2,300 yen, University and vocational school students: 1,300 yen, 65 years and older: 1,600 yen
*Free for those under 18 and high school students.
*Free admission for university and vocational school students on weekdays only from Tuesday, January 27th to Friday, February 20th.
* Free admission 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).
*Those under 18 years old, high school students, university/vocational school students, those over 65 years old, and those with various types of certificates must present proof of their identity.
Organizer Tokyo Metropolitan Art Museum (Tokyo Metropolitan Foundation for History and Culture), NHK, NHK Promotion, Tokyo Shimbun
inquiry 050-5541-8600 (Hello Dial)
Exhibition official website https://swedishpainting2026.jp
official x @swedish2026
Official Instagram @swedish2026

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


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Ticket information has been released for the Tokyo Metropolitan Art Museum’s 100th anniversary exhibition “Swedish Paintings: Nordic Light, Everyday Brilliance”! Discount weekday-only tickets and tickets with original merchandise featuring the “Dala Horse, the symbol of happiness” are also available!

Tokyo Metropolitan Art Museum

The exhibition "Swedish Paintings: Nordic Light, Everyday Brilliance" will be held at the Tokyo Metropolitan Art Museum (Ueno Park, Tokyo) from Tuesday, January 27th to Sunday, April 12th, 2026.
Starting at 10:00 on Friday, November 28th, we will be selling discounted weekday tickets and tickets with original exhibition merchandise. These will be available until stocks run out, so don't miss out!

Weekday-only tickets

❖ [Weekdays only] Advance pair tickets
This is a set of two general advance tickets at a great price.
You can purchase this ticket for 200 yen cheaper than regular advance tickets (600 yen cheaper than purchasing a regular ticket).

Sales price: 4,000 yen (tax included)
Sales period: November 28th (Friday) 10:00 ~ until sold out
Sales location: Available at ARTPASS and other play guides

*This is a set of two general advance tickets ( available only on weekdays ).
* Only one set per person can be purchased.
*This ticket can only be used on weekdays. It can also be used by one person on different dates.

❖ [Weekdays only] Ticket with audio guide
The navigator for the audio guide for this exhibition is JUJU, who has experienced the charm of Nordic items and culture as the MC of the NHK program "The World is Full of Things I Want."
With narration by voice actor Hino Satoshi, we will explore the charm of Swedish paintings!
This is a great value ticket that includes one general advance ticket and one audio guide exchange ticket.

[JUJU profile]
She made her major label debut in 2004. At age 18, she moved to New York, where she experienced a variety of musical cultures, including jazz, hip hop, club music, and soul, and launched her career as a singer. While releasing numerous hits such as "If You Want a Miracle…" and "Yasashisa de Afureru Youni," she has also attracted attention for her life's work of conveying stories through song, singing classics that transcend genres, Japan and the US, and generations, including the Japanese cover album "Request" series and the jazz album "DELICIOUS" series. In spring 2026, she will release the Western cover album "Showa Western Music: Jun Kissa JUJU 'Time Travel' produced by Masataka Matsutoya," and will embark on a nationwide hall tour to promote the album, "Junkissa JUJU 'Time Travel' directed by Masataka Matsutoya," starting in June.

Sales price: 2,700 yen (tax included)
Sales period: November 28th (Friday) 10:00 ~ until sold out
Sales location: Limited sale at Lawson Ticket
*This is a set ticket that includes one general advance ticket and one audio guide exchange ticket ( both valid only on weekdays ).
*Only one ticket can be purchased per person.
*Audio guides will be available for rental at the entrance to the venue only on the days and periods when the exhibition is open. The app version cannot be used.

Goods set ticket

❖Ticket with original sauna hat
Appreciating art is a luxurious time to "harmonize" the mind. This ticket includes an original sauna hat to deepen that "harmonizing" experience. The hat, made from high-quality Imabari towels, is decorated with embroidery of the Dalahäst, a traditional Swedish craft known as the "horse that brings happiness." In Sweden, saunas are called "Bastu," and are said to be an important time to reset the mind and body. Get off to a lucky start in the coming Year of the Horse with the Dalahäst, the horse that brings happiness!

・Unisex (free size)
・Material: Imabari brand, 100% cotton
Antibacterial and deodorizing fabric (SEK mark certified)
・Country of manufacture: Japan

Sales price: 7,000 yen (tax included)
Sales period: November 28th (Friday) 10:00 ~ until sold out
Sales location: Limited sale at Lawson Ticket
*Sales will end once the planned number of tickets is reached.
*The image is for illustrative purposes only and may differ from the actual product.
*The original sauna hat can only be exchanged at the special shop within the venue on the opening days and during the opening hours of this exhibition.
*Available in the limited color (navy) for the goods set ticket.

❖Ticket with original Kewpie costume
This ticket comes with an original costume Kewpie doll dressed in the official Swedish national costume. It features a blue dress, yellow apron, and white hat. It's 100% Swedish! This adorable Kewpie doll is exclusive to this exhibition and is packed with the charm of Sweden.

・Body size: Approx. W27 x H36 x D16 mm
Material: Body: ATBC-PVC, Fabric: Polyester
Strap/Polyester, Iron, Brass
・Country of manufacture: Japan

Sales price: 3,200 yen (tax included)
Sales period: November 28th (Friday) 10:00 ~ until sold out
Sales location: Limited sale at Seven Ticket
*Sales will end once the planned number of tickets is reached.
*The image is for illustrative purposes only and may differ from the actual product.
*The original costume Kewpie can only be exchanged at the special shop within the venue on the opening days and during the opening hours of this exhibition.
*The strap color (orange) is available only with the goods set ticket.

How to purchase

●Official ticket ARTPASS

●Electronic ticket "ASOVIEW!"
*When entering, you will need to complete the entry procedure on your smartphone. You will not be able to enter with a printed ticket or a screenshot of the screen.

● Electronic ticket "Sma Ticket"
*When entering, you will need to complete the entry procedure on your smartphone. You will not be able to enter with a printed ticket or a screenshot of the screen.
*To use Smart Ticket, you must install the ePlus app (free). Please check the recommended environment before using.
How to purchase Smart Ticket: https://eplus.jp/sf/guide/spticket

◎If you purchase your ticket at any of the ticket agencies listed below, you will need to get a paper ticket at a convenience store. You will not be able to enter by presenting your payment history or a screenshot of your ticket.
Please check the website of each retailer for fees and sales end dates before purchasing.

Seven Ticket
In-store sales: Seven-Eleven stores (in-store multi-copy machines)
How to purchase in store: http://7ticket.jp/go/i000008

Lawson Ticket
L code: 34607
In-store sales: Loppi machines in Lawson and Ministop stores
How to purchase in store: https://l-tike.com/concert/mevent/?mid=391437

e+ (eplus)
In-store sales: FamilyMart stores (in-store multi-copy machines)
How to purchase in store: https://support-qa.eplus.jp/hc/ja/articles/6638367888665

Ticket Pia
P-Code: 995-747
In-store sales: Seven-Eleven stores (in-store multi-copy machines)
How to purchase in store: https://t.pia.jp/guide/sej-t.jsp

Boo-Woo Ticket

CN Play Guide
In-store sales: FamilyMart stores (in-store multi-copy machines)
How to purchase in store: http://www.cnplayguide.com/familymart/

●Tokyo Metropolitan Art Museum
Advance tickets will be sold at the Tokyo Metropolitan Art Museum Museum Shop.
Regular tickets for the duration of the exhibition will be sold at the ticket counter of Tokyo Metropolitan Art Museum.
During busy times, it may take some time from the time of purchase to the time of entry.

[Exhibition Overview]
Sweden is a country located on the Scandinavian Peninsula in northern Europe. This exhibition is a comprehensive introduction to paintings from the Golden Age of Swedish art, which has been attracting worldwide attention in recent years.
In Sweden, a young generation of artists began studying in France around 1880, and became fascinated with Realism, which portrays humans and nature as they are. When they returned home, they aimed to create art that was uniquely Swedish and reflected the country's identity, portraying nature, the people around them, and the brilliance hidden in everyday life in intimate and emotional expressions.
With the full cooperation of the Nationalmuseum of Sweden, this exhibition explores the uniquely Nordic sensibility of living in harmony with nature through fascinating paintings produced in Sweden from the late 19th century through to the 20th century.

[Event Overview]
Exhibition title: Tokyo Metropolitan Art Museum 100th Anniversary Commemoration: Swedish Paintings: Nordic Light, the Brilliance of Everyday Life
Date: January 27th (Tuesday) – April 12th (Sunday), 2026
Venue: Tokyo Metropolitan Art Museum, Special Exhibition Room
Closed: Mondays, February 24th (Tuesday) *However, open on February 23rd (Monday, national holiday)
Opening hours: 9:30-17:30, until 20:00 on Fridays (last entry 30 minutes before closing)

Organized by: Tokyo Metropolitan Art Museum (Tokyo Metropolitan Foundation for History and Culture), NHK, NHK Promotion, Tokyo Shimbun
Sponsored by: DNP Dai Nippon Printing Supported by: Embassy of Sweden Special cooperation: Nationalmuseum of Sweden
Cooperation: All Nippon Airways, Lufthansa Cargo AG Planning cooperation: S2

Admission fee: Tickets will go on sale on Friday, November 28th
Adults: 2,300 yen (2,100 yen), university and vocational school students: 1,300 yen (1,100 yen), those 65 and over: 1,600 yen (1,400 yen)
Free for those under 18 and high school students
*Prices include tax
*Advance ticket prices in parentheses *Free admission for those with 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)
*Those under 18, high school students, university/vocational school students, those over 65, and those with various certificates must present proof of their age.
*Free admission for university and vocational school students only on weekdays from January 27th (Tue) to February 20th (Fri).

Inquiries: 050-5541-8600 (Hello Dial)

*The session period, opening hours, and closed days may be subject to change.
Please check the official exhibition website for the latest information.

Official exhibition website: https://swedishpainting2026.jp
Exhibition Official X・Instagram: @swedish2026

[Travel information]
Yamaguchi Prefectural Museum of Art: April 28th (Tue) – June 21st (Sun), 2026 (planned)
Aichi Prefectural Museum of Art: Thursday, July 9th – Sunday, October 4th, 2026 (planned)

*This exhibition is part of the Swedish Embassy Year of Cultural and Scientific Cooperation in Japan 2026.

[Swedish Paintings: Nordic Light, Everyday Sparkle Public Relations Office] Press release


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A three-year series starting in 2026. Tokyo University of the Arts will hold its first “experience-based exhibition”! “Geidai-style Art Friend – Become a Geidai Student This Summer”

Tokyo University of the Arts University Art Museum

Venue: The University Art Museum, Tokyo University of the Arts
Date: July 24, 2026 (Friday) to September 23, 2026 (Wednesday, holiday)

The University Art Museum, Tokyo University of the Arts (Ueno Park, Tokyo) is pleased to announce that it will be holding the exhibition "Geidai-style Art Friend: Become a Geidai Student This Summer" from Friday, July 24th, 2026 to Wednesday, September 23rd (national holiday).
Tokyo University of the Arts, Japan's only national comprehensive arts university, was founded in 1887 as the Tokyo School of Fine Arts and the Tokyo Music School, and over its 140-year history has been a hub for arts education and research, producing many outstanding artists and researchers. While the university enjoys nationwide recognition, the specific type of university and the type of students who attend it are not widely known, and in recent years interest has been building, as evidenced by the best-selling book "The Last Unexplored Place: Tokyo University of the Arts – The Chaotic Everyday Life of Geniuses" (2016, Shinchosha).

A simulated experience of art education at Tokyo University of the Arts.
This exhibition is part of a series called "Geidai-style Art's Friend," which will be held every summer for three years from 2026 to 2028. Comprised of a variety of themes related to Tokyo University of the Arts, this will be the first attempt to allow visitors to appreciate artworks while experiencing lecture-style exhibitions planned by current professors and lecturers.
The first exhibition in 2026 will focus on the Tokyo University of the Arts collection and approach "art" from various angles, including art history, practical skills, expression, appreciation, materials, preservation and restoration, etc. The venue will also feature workshops that people can easily participate in, and the exhibition is planned to be an easy-to-understand and enjoyable way for people of all ages to "take" "lectures."
Located on the university campus, this museum will provide visitors with the opportunity to virtually experience what it's like to be an art university student and learn about the depth and enjoyment of art.
Tokyo University of the Arts is putting all its efforts into this new exhibition, "Geidai-style Art Friend: Become a Geidai Student This Summer," and the first of these exhibitions will be held in the summer of 2026. We hope you will look forward to it.

[Event Overview]
Exhibition title: Geidai-style Art "Friendship" – Become a Geidai student this summer –
Dates: July 24th (Friday) to September 23rd (Wednesday, national holiday), 2026 *Scheduled
Venue: Tokyo University of the Arts University Art Museum Main Building Exhibition Rooms 1, 2, 3, 4[Ueno Park, Tokyo]
[Location] 12-8 Ueno Koen, Taito-ku, Tokyo 110-0007
Organizers: Tokyo University of the Arts, Yomiuri Shimbun
Inquiries: 050-5541-8600 (Hello Dial)
Tokyo University of the Arts University Art Museum official website: https://museum.geidai.ac.jp
Official website: Under preparation
*Details will be announced on the official website as soon as they are decided.

[Teachers participating in this exhibition] *In alphabetical order
Daigo Ushijima (Intermedia Art Department, Intermedia Art Major)
Yasushi Okada (Cultural Heritage Conservation)
Hiroshi Kumazawa (University Art Museum)
Naoki Sato (Art Studies major, Department of Art)
Keishi Takashima (Japanese Painting Department, Painting Department)
Tomoko Taguchi and Ni Xue (Future Creation and Inheritance Center)
Ryo Furuta (General Supervisor, University Art Museum)
Sunao Maruyama (Design Department, Design Major)
Seiichiro Miida (Painting Department, Oil Painting Major (Printmaking))
Takenori Miyamoto (Oil Painting Department, Painting Department)
Murakami Takashi (University Art Museum)

[Works to be exhibited]


Yuki Ogura, "Path," 1966, Tokyo University of the Arts


Kuroda Seiki, "Dr. Tulp's Anatomy Lectures," 1888, Tokyo University of the Arts
Original work by Rembrandt van Rijn


Right) Shintaji, "Study of wood carving techniques using Kaikei's Seated Vairocana Statue," 1987
Tokyo University of the Arts
Left) Kaikei and An'ami "Seated Vairocana" Kamakura period/late 12th century – early 13th century
Tokyo University of the Arts


Tokyo University of the Arts (exterior)

[What is Tokyo University of the Arts?]
Tokyo University of the Arts is Japan's only national comprehensive arts university. It was established in May 1949 as a successor to the Tokyo School of Fine Arts (now the Faculty of Fine Arts) and the Tokyo Music School (now the Faculty of Music), both of which were founded in 1887. It comprises two faculties and 10 departments: the Faculty of Fine Arts (Department of Painting, Department of Sculpture, Department of Crafts, Department of Architecture, Department of Art) and the Faculty of Music (Department of Composition, Department of Vocal Music, Department of Instrumental Music, Department of Conducting, Department of Musicology), as well as an affiliated library.
Since then, the university has expanded and reorganized its faculties several times, and currently consists of two faculties and 14 departments: the Faculty of Fine Arts (Department of Painting, Department of Sculpture, Department of Crafts, Department of Design, Department of Architecture, Department of Interdisciplinary Art Expression, Department of Art) and the Faculty of Music (Department of Composition, Department of Vocal Music, Department of Instrumental Music, Department of Conducting, Department of Traditional Japanese Music, Department of Musicology, Department of Musical Environment Creation), as well as facilities such as the affiliated library, university art museum, and performing arts center.
In addition to Ueno Park, the university also has campuses in Toride City, Ibaraki Prefecture, Yokohama City, Kanagawa Prefecture, and Senju, Adachi Ward. For approximately 140 years since its founding, the university has been at the center of art education and research, producing many outstanding artists, researchers, and educators in the arts field.

[From the "Geidai-style Art Friend" Secretariat] Press release


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Fukuoka-based Christmas Advent to be held for the first time on November 19th at Ueno Park in Tokyo

Fukuoka's Christmas Advent, which has been visited by a total of 12 million people, finally comes to Tokyo

Location: Ueno Park, Hakamagoshi Square
Dates: 2025/11/19 (Wed) – 12/25 (Thu) Opening hours: 11:00-22:30 every day
11/19 (Wed) 18:00 Lighting Ceremony with surprise guest appearance

Official website: https://christmas-advent.jp/ueno/

"Christmas Advent," a winter tradition in Fukuoka, kicked off again this year on Saturday, November 1st at various locations across the city. Boasting a cumulative total of approximately 12 million visitors, this event is beloved by people of all ages and nationalities as a "Christmas to enjoy with all five senses" that combines light, music, and art. It will finally be held for the first time on Wednesday, November 19th, 2025, at Hakamagoshi Square in Ueno Onshi Park, Tokyo. The lighting ceremony, which begins at 6:00 PM, will feature the Governor of Fukuoka Prefecture, the Mayor of Taito Ward, the Chairman of the Ueno Tourism Federation, and tenor Kazuma Kudo of the female vocal unit "Luminous," among others, taking to the stage for a spectacular ceremony filled with light and sound.

Date and time: Wednesday, November 19, 2025
Location: Ueno Park, Hakamagoshi Square
Speakers: Fukuoka Prefecture Governor Seitaro Hattori, Taito Ward Mayor Yukio Hattori, Ueno Tourism Association Chairman Nobuhiro Nagaoka, General Producer Takehiro Saeki, and female vocal unit "Luminous" tenor Kazuma Kudo

A Christmas culture woven together with light, sound and art, passing it on to the future

Until now, Christmas events in Japan have mainly been consumer experiences such as "seeing" illuminations and "eating" at markets.
By holding the event in Tokyo, we aim to create an "experiential culture" that will transform the entire city into a theater. Our goal is not an "event" but "culture."
By combining the three pillars of light, sound, and art, people can experience happiness such as love, joy, peace, and hope through their five senses.
This sense of happiness spreads as altruism and empathy, creating a "chain of happiness" throughout the city. By 2030, we aim to become the world's largest Christmas market with 300 stores, surpassing the Christmas market in Stuttgart, Germany (approximately 280 stores). From Fukuoka to Tokyo and the world.
Now, in an age when people seek security and hope, we will deliver the "Happiest Christmas in the World" by wrapping the city in love and light.

■ Highlights [Light] A huge 5m wide Santa Christmas tree lights up, creating a new winter attraction

Giant Santa Claus, 5 meters wide

Ueno Park is garnering attention as a new spot for Christmas illuminations in Tokyo. At its center will be a giant Santa Claus measuring 5 meters wide and 3 meters tall. Countless illuminations will envelop the trees, transforming the entire park into a fantastical world of light. During the day, Santa, surrounded by the green trees and clear blue sky, welcomes visitors as a photo spot in harmony with nature. At night, the park is completely transformed, with countless lights enveloping it, creating a romantic and fantastical atmosphere. The scenery of Ueno Park changes with the changing seasons, adding a new story to winter Tokyo.

■ Highlights [Sound] Live performances by artists held daily (free)

Luminous
Kazuma Kudo
Rinko Matsubara

A variety of artists will perform on the festival stage every day, creating a special evening of classical and pop music. The opening act will be "Luminous," a female vocal unit with music college alumni. Their vocals, as their name suggests, "emit light," bringing a vibrant color to a range of songs, from classical to pop. Next up will be young tenor Kazuma Kudo, who has won numerous awards at international opera competitions. He will captivate the audience with his clear voice and passionate performance. Starting on Sunday, December 14th, musical actress and singer Rinko Matsubara, who has earned acclaim for her roles in numerous classic musicals, including Eponine in "Les Sérables" and Hélène in "Miss Saigon," will make a special appearance. Her overwhelming expressiveness and clear vocals, cultivated on stage, will deliver a moving moment on a winter night.

■ Highlights [Art] A huge 6m-wide mural by emerging artist Torigoe Kazuki

A huge mural, measuring 6 meters and 3 meters wide, will be exhibited at the venue. Created by Fukuoka-born artist Kazuki Torigoe, known for his rough brushstrokes and unique technique known as "beyond stroke," the mural will envelop the space with overwhelming energy that stirs the emotions of viewers. It has also attracted attention as a work that inherits the spirit of the avant-garde art movement known as the "Kyushu School."

Kazuki Torikoshi
Born in Fukuoka Prefecture in 1986. Graduated from the Kyushu branch of Nippon Designer Gakuin. Known for his abstract expressions that seem to violently wrestle with the canvas. In order to get to the depths of human emotions and existence, he established his own unique technique, "Beyond Stroke," which goes beyond the limits of brushstroke. His intense expressions also evoke the spirit of the "Kyushu-ha" avant-garde art group that was born in Fukuoka.

■Other attractions [food and drink]
Introducing a mug exclusive to Ueno, Tokyo! A lineup of delicious gourmet foods that draws long lines in Fukuoka every year

Tokyo Ueno Limited Edition Mug (From November 28th)

The venue will be decorated with a variety of authentic gourmet foods that will warm your heart. This year, 12 popular Fukuoka restaurants will be gathering in Tokyo, allowing you to enjoy authentic flavors. Highlights include the ningyo-yaki (dumpling) of "San-chan," the official Christmas Advent mascot, which draws a line every year in Fukuoka, and the "Guru-Guru Sausage," made with an exquisite blend of coarsely ground pork, with a crispy skin and fragrant flavor. On cold nights, you can also enjoy rich hot chocolate in a Tokyo-exclusive mug. The melting texture and deep cocoa aroma will gently envelop you in the winter.
*Tokyo limited edition mugs will be on sale from Friday, November 28th

Round and round sausage
Rich hot chocolate served in a Tokyo-exclusive mug
Christmas Advent official character "San-chan" doll

■ Highlights [Merchandise]
Limited-edition winter goods and artisan craft items imported directly from Europe
"Snow globe" and "candle holder"

Snow globe
candle holder

At the venue, you'll also want to check out the craft items that will add color to your winter. One of them is a snow globe made with highly purified water from Austria. Carefully selected for its clear water and delicate snow powder, the slowly falling snow creates a fantastical world. It's a soothing item that captures the essence of winter, and just looking at it will soothe your soul. Also on display will be a clay candle holder crafted using traditional German techniques. This masterpiece of artisanal craftsmanship is made by layering colorful clay to create patterns, and when lit, the image appears. The soft light of the candle will envelop your table or windowsill, creating a warm atmosphere reminiscent of a European winter market. Both are perfect as a treat for yourself or as a gift for a loved one.

■ Operating company overview
Christmas Advent Office
Planning and management: Planning and management: Mr.Weihnachtsmann Co., Ltd.
Christmas Advent 2025 Tokyo Ueno Official Website
https://christmas-advent.jp/ueno/

From the press release of Mr. Weihnachtsmann Co., Ltd.


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[Ichiyo Memorial Museum] Special Exhibition “Shitaya Ryusenjicho, where Ichiyo lived” Coverage Report. Tracing the turning point in her life that led to her masterpiece “Takekurabe”

Taito City Ichiyo Memorial Museum

 

The Taito City Ichiyo Memorial Museum is currently hosting a special exhibition, “Shitaya Ryusenjicho, where Ichiyo lived,” showcasing Ichiyo Higuchi’s life in Shitaya Ryusenjicho (now Ryusen), the setting for her masterpiece, “Takekurabe.” The exhibition will run from Saturday, October 25th to Sunday, December 21st, 2025.

Taito City Ichiyo Memorial Museum
■ Taito City Ichiyo Memorial Museum <br />Thanks to the efforts of volunteers who came together to preserve the literary achievements of Higuchi Ichiyo, an outstanding female writer of the Meiji period, this museum opened in 1961 as Japan’s first literary museum dedicated solely to a female writer. Triggered by Ichiyo’s portrait being chosen to appear on the new 5,000 yen bill, the old, dilapidated building was renovated in 2006. Another highlight is the beautiful design by architect Yanagisawa Takahiko. The museum houses and exhibits a large number of valuable materials that convey Ichiyo’s creative activities and lifestyle, including unfinished manuscripts of “Takekurabe,” as well as letters and waka poem strips.

The experience of living in Shitaya Ryusenjicho that fueled the “Miraculous 14 Months”

Higuchi Ichiyo (real name: Natsu) was born in 1872 (Meiji 5) into a middle-class family. She was gifted from a young age, and at the age of 14 she entered Nakajima Utako’s poetry school, Haginoya, where she studied classical poetry, waka poetry, and calligraphy.

In 1889, his father died of illness, leaving him with a large debt, and at just 17 he was forced to lead a difficult life as head of the household, supporting his mother, Taki, and younger sister, Kuni. He studied under newspaper journalist and author Hanai Tosui, and made his debut as a novelist with “Yamizakura,” published in the literary magazine Musashino in 1892. He tried to support his family with royalties from his writing, but was unable to escape poverty, so in July 1893 he moved from the quiet Hongo Kikusaka-cho to 368-banchi, Shitaya Ryusenji-cho, near the Yoshiwara red-light district, where he opened a general goods and candy store. He experienced the excitement of local annual events such as the Senzoku Inari Festival and Tori no Ichi, and spent his days observing the people coming and going in the red-light district.

In the end, his business did not get on track, and he ended up moving to Fukuyama-cho, Maruyama, Hongo after just over nine months. From there, he devoted himself to writing, publishing a succession of masterpieces, including “Takekurabe,” “Nigorie,” and “Juusanya,” based on his experiences living in Shitaya Ryusenji-cho. These were later described as “14 miraculous months.” He was highly praised by Mori Ogai and Koda Rohan, and received numerous requests to write, but he died of pulmonary tuberculosis in 1896, at the young age of 24.

Exhibition view

The special exhibition “Shitaya Ryusenjicho, where Ichiyo lived” introduces the local characteristics of Shitaya Ryusenjicho, the fertile ground for Ichiyo to blossom as a writer, and unravels how she lived there, what she saw, and what she learned.

The poor tenement district where Ichiyo lived

Upon entering the exhibition room, visitors are greeted by a model of Shitaya Ryusenjicho as it was at the time , recreated based on meticulous historical research and interviews. In the center are the two tenement houses where Ichiyo lived, and at the end of Daionji Street (now Chayamachi Street), which stretches straight out from there, you can see the stone wall and emergency gate of Ohaguro-dobu, which marks the boundary with the Yoshiwara red-light district. It is only a few minutes’ walk away.

“Shitaya Ryusenjicho around 1893” (1961) / Researched by Ueshima Kintaro and others
“Shitaya Ryusenjicho around 1893” (1961) / Researched by Ueshima Kintaro and others
“The lights reflected in the Ohaguro moat made it seem as if they were there, and the constant coming and going of carriages bespeaks an immeasurable prosperity. (Omitted) Turning the corner at Mishima Shrine, there was no visible large building, just a row of ten tenement houses with sagging eaves, numbering 20 houses in total…” (From the beginning of “Takekurabe”)

Modern translation: The commotion of the three-story red-light district, its lights reflected even in the blackened gutters, can be heard clearly. The volume of traffic, morning and evening, suggests the immeasurable prosperity of the area. (Omitted) However, once you turn the corner at Mishima Shrine, there are no large, conspicuous mansions to be seen, but rather a row of ten or twenty row houses with slanting eaves.

■ “This house is on a single road that runs from Shitaya to Yoshihara. Since evening, the sounds of carriages flying by and the light of lights have been heard. It is a sight beyond words.” (From the diary “In the dust”)

This house is located on the only road that leads from Shitaya to Yoshiwara, and in the evenings, the sound of rickshaws echoes and lights flicker here and there. The scene is beyond description.

Daionji Street, which connects Mishima Shrine to the Yoshiwara pleasure district, was a major route taken by rickshaws bound for Yoshiwara. When you look at the model together with Ichiyo’s words, the stark contrast between Yoshiwara’s vibrant lights, the bustling three-story brothels, and the constant traffic, and the shabby tenement district nearby, becomes clear.

Hiroshi Miura, “Ichiyo’s Former Residence in Shitaya Ryusenjicho” In the 1970s, the space next to the two-story tenement house was used as a rickshaw inn.
A letter written by Higuchi Ichiyo to Nishimura Sennosuke on July 9, 1893. This is a letter in which Ichiyo inquires about a loan to start a business before moving.

Yoshiwara in the Meiji era – Children are also fascinated by Niwaga

“Takekurabe” is set in the Shitaya Ryusenjicho area and the Yoshiwara red-light district, and is an emotionally rich story that depicts the faint love between Nobuyuki, who will one day become a monk, Midori, who will become a prostitute, and their childhood friend Shotaro, as well as the conflicts they face as they approach adulthood, all set against the backdrop of seasonal events.

The story begins on August 18th, two days before the Senzoku Inari festival, and ends after the Third Bird Festival, around the end of November or early December, which overlaps with the period Ichiyo spent in Shitaya Ryusenji-cho. It is clear that Ichiyo’s own life experiences are heavily reflected in her work, and it is said that many of the characters were modeled after real people.

Photographic materials of Yoshiwara during the Meiji period

The hustle and bustle can be felt in the nishiki-e print “Nakanomachi Niwaka Iryou No Zu from Inamotoro, Corner Street of Shin-Yoshiwara,” which depicts the autumn Niwaka, an event that also appears in the work. This is an event where geisha perform impromptu plays at street stalls. In Yoshiwara, the spring Nakanomachi cherry blossoms (night cherry blossoms), the summer Tamagiku lanterns, and the autumn Niwaka are all popular as the three major views of Yoshiwara, and Ichiyo beautifully expressed the changing seasons by incorporating these into her work.

Above: Yoshii Ochiai, “Map of the Shin-Yoshiwara Corner Street from Inamotoro to Nakanomachi and Ninwaka,” Meiji 2 (1869)
Bottom: Yoshu Shuen, “The Bustle of New Yoshiwara,” 1879

The story also depicts how the children, who have become completely immersed in the Yoshiwara atmosphere, begin to imitate geisha during the Ninwaka period, and Ichiyo writes with a hint of amazement at how quickly they improve, saying, “Mencius’s mother would be amazed.”It can be said that only Ichiyo, who actually lived in the area, could include such realistic impressions.

Ichiyo not only observed Yoshiwara from the outside, but also visited it herself. She heard about the circumstances of the pleasure quarters from the head maid of the Hikite-chaya teahouse who arranged work for her, viewed the Tamagiku lanterns, and took detailed notes on the age, clothing, and demeanor of the female courtesans performing the Shinnaibushi dance through the pleasure quarters… Each of these interviews would go on to shape the future Takekurabe.

Days of trial and error at a candy store – and sometimes complaining

Yasuhiro Takizawa, “A leaf on the way back from purchasing,” 1984

Ichiyo’s striking portrait is said to have been inspired by an entry in her diary “Dust Inside” dated August 6, 1893: “The sixth day, clear skies. I open the shop. (omitted) Tonight I load my first load, and it’s quite heavy…” August 6 was the shop’s opening day, and initially, the shop sold miscellaneous goods such as dusters, soap, scrubbing brushes, and Asakusa paper. Ichiyo soon realized that this alone would not be enough to make a profit, so she turned to a friend’s father, who ran a candy wholesale business, and began selling toys and cheap sweets such as menko, balloons, and illustrated books. She spent her days befriending the children who came to the shop.

Purchase ledger handwritten by Higuchi Ichiyo, September 1st to November 23rd, 1893 (Meiji 26).

Although Ichiyo was so energetic that she would walk 20km a day in geta or zori sandals in the heat of summer while searching for a new place to live, she found the hectic pace of business difficult to bear, and her letters and diary contain many complaints. For example, when her friend Nonomiya Kikuko invited her to her hometown of Tako Town in Chiba Prefecture for a retreat, Ichiyo wrote:

■ “I hope to escape from the dust for at least three days… but I’m stuck in a burning house, squirming without a moment’s rest, battling the fury of my neighbors, and you’ll laugh at me.”

Modern translation: I wish I could escape from this troublesome world, even if only for three days, but petty problems keep popping up, I have no time for anything, and I struggle in my difficult living conditions. Please make me laugh.

In his reply letter, he wrote about his situation with a hint of self-mockery.

Letter written by Higuchi Ichiyo to Nonomiya Kikuko, September 28, 1893 (Meiji 26)

Despite trying all sorts of help, business worsened when a competitor opened a shop on Chayamachi Street in January of the following year. In the end, he closed the store after just over nine months and moved to his new home in Maruyama Fukuyamacho, Hongo, where he decided to devote himself to writing.

Ichiyo returns to the path of novelist

Incidentally, even while Ichiyo was living in Shitaya Ryusenji-cho and had almost completely stopped writing, writers Hoshino Tenchi and Hirata Toki, who had praised her talent for “Umoregi,” continued to patiently persuade her to continue writing despite her hesitation due to her busy schedule. As a result, she was able to publish two works, “Koto no Oto” (The Sound of the Koto) and “Hanagomori” (The Flowering Garden), in the magazine they founded, Bungakukai. This exhibition features an unfinished draft of “Hanagomori,” which shows signs of revision and significant deletions, conveying the pains of the writer, as well as diary entries describing the agonies she experienced while writing “Koto no Oto,” and the magazines in which both works first appeared .

Bungakukai, December issue (featuring “Koto no Oto”), December 30, 1893, Bungakukai Magazine Company
Higuchi Ichiyo’s handwritten novel “Hanagomori” (Flower Gomori), unfinished manuscript, 1894 (Meiji 27)

At the end of the venue , there are materials related to “Takekurabe,” including unfinished drafts, the origami book “Takekurabe Emaki,” and even books containing the manuscripts published in the “Bungei Club” magazine . The unfinished drafts are significantly different in content from the finished versions, so you’re sure to make new discoveries by reading them side by side.

Unfinished draft of the novel “Takekurabe,” 1895
Left: Kunichika Toyohara “Mitate day and night 4 o’clock, 12 o’clock in the afternoon (Shinnai)” 1891
Right: Shosai Ikkei, “Forty-eight Famous Views of Tokyo: Willows Looking Back at Shin-Yoshiwara,” 1891

Ichiyo’s early works featured a fantastical style, including mundane tales of tragic love, but her vivid experiences living in Shitaya Ryusenji-cho led to a more realistic style that sometimes captured harsh realities such as poverty and the plight of women. This exhibition showcases a major turning point in her creative career, which led to her being highly regarded as one of the leading writers of the Meiji period.

Higuchi Ichiyo Former Residence Monument

Additionally, there is a monument to the former residence of Higuchi Ichiyo on Chayamachi Street, about a two-minute walk from the Ichiyo Memorial Museum. The Ryusen area has changed significantly since Ichiyo lived there due to land readjustment projects as part of the Imperial Capital Reconstruction Plan following the Great Kanto Earthquake, but traces of the “single straight road from Shitaya to Yoshihara” still remain.

If you go east along Chayamachi Street, you will come across a pillar marking the location of the emergency gate to Yoshiwara Ageyamachi. In addition to viewing the special exhibition, why not take the time to imagine what the Yoshiwara pleasure quarter looked like from Ichiyo’s tenement house?

Overview of the special exhibition “Shitaya Ryusenjicho, where Ichiyo lived”

Dates October 25th (Sat) – December 21st (Sun), 2020
venue Taito City Ichiyo Memorial Museum (3-18-4 Ryusen, Taito-ku, Tokyo)
Opening hours 9:00 AM – 4:30 PM (entry until 4:00 PM)
Closed days Every Monday
Admission fee Adults: 300 yen, elementary, junior high and high school students: 100 yen

* Free admission for those with a physical disability certificate, rehabilitation certificate, mental health and welfare certificate, or specific disease medical care recipient certificate, and their caregivers.
*Every Saturday, admission is free for elementary and junior high school students who live or attend school in Taito Ward and their accompanying supervisors.

inquiry Ichiyo Memorial Museum 03-3873-0004
Official website https://www.taitogeibun.net/ichiyo/

*The content of this article is current as of the date of the interview. Please check the official website for the latest information.


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[National Museum of Nature and Science] Report on the “Great Extinction Exhibition: The Big Five in the History of Life.” Unraveling the history of extinction and evolution through the latest research

National Museum of Nature and Science

 

The National Museum of Nature and Science is currently hosting a special exhibition titled “The Great Extinctions: The Big Five in the History of Life,” which focuses on the five “mass extinctions” that have occurred over the Earth’s 4 billion year history, commonly known as the Big Five. The exhibition will run from November 1, 2025 (Saturday) to February 23, 2026 (Monday, national holiday).

Venue scenery

In the history of life, “extinction” and “evolution” go hand in hand. Extinction occurs when a species dies out without leaving any offspring, and it is generally thought that around 10% of species become extinct every million years. On the other hand, a mass extinction is when species from different taxonomic groups become extinct all at once in a geologically extremely short period of time.

At one point, around 90% of species were wiped out, causing a massive impact on ecosystems. This may give a negative impression of the phenomenon of mass extinction. However, while the asteroid impact around 66 million years ago brought an end to the “age of dinosaurs,” mammals took over the terrestrial ecosystem, leaving a void, and the subsequent diverse evolutionary process led to the birth of humans. In this way, the thriving of new taxa in place of extinct taxa has been repeated throughout the history of life. In other words, mass extinctions are major turning points in the history of life, and can also be seen as a driving force behind the evolution and diversification of life.

The special exhibition “The Great Extinctions – The Big Five in the History of Life” focuses on the five major mass extinction events , commonly known as the Big Five, that significantly influenced the history of life. It explores the causes of each extinction and the biodiversity before and after the extinctions, using evidence based on the latest research.

Scene from the venue, with the “Great Extinction Sphere” in the center

After the introduction, visitors are greeted by the spherical video exhibit “The Great Extinction Sphere,” which displays digest images of the Big Five.

With this Great Extinction Sphere at the center, there are six areas arranged radially, including an area that explains the Big Five episode by episode, and an area that touches on the world of the Cenozoic Era that followed. Every time you finish looking at one area, you return to the Great Extinction Sphere, which is a somewhat unusual exhibition structure for a special exhibition at the National Museum of Nature and Science, and the key point is that it is easy to move between each area.

The exhibit contents are as follows:

Episode 1: “OS Boundary: Diversification of the Marine Environment”
Episode 2 “FF Boundary: The Development of the Terrestrial Ecosystem”
Episode 3: “PT Border: The Greatest Extinction in History”
Episode 4: “TJ Boundary: A Great Transformation to the Age of Dinosaurs”
Episode 5: The K-Pg Boundary: The End of the Mesozoic Era
Episode 6: “Biodiversity in the Cenozoic Era: The Post-Big Five World”

“XX boundary” is a term used to divide geological time periods; for example, the “OS boundary” represents the boundary between the Ordovician and Silurian periods, approximately 444 million years ago, when the first mass extinction occurred.

Exhibition view of Episode 1 “OS Boundary: Diversification of Marine Environments” / Exhibition of Radiodonta, represented by Anomalocaris, which lived mainly from the Cambrian to Ordovician periods
Exhibition view of Episode 1 “OS Boundary: Diversification of Marine Environments” / Display of Actiramus and Eurypterus, sea scorpions that were among the animals that diversified in the aquatic ecosystems of the Silurian period after the first mass extinction
Exhibition view of Episode 2 “FF Boundary: The Development of Terrestrial Ecosystems” / Ammonites, which appeared in the Early Devonian period, thrived in oceans around the world until the fifth mass extinction at the end of the Cretaceous period, going through repeated extinctions and recoveries.

In preparation for this exhibition, the museum has also conducted research in Morocco, which has a strong connection to the Big Five, including the Fezouata Fossil Site, which offers a glimpse into the world before the mass extinction at the end of the Ordovician period, as well as collecting specimens of trilobites and other creatures, and investigating volcanic activity related to the mass extinction at the end of the Triassic period, and the results of these surveys are being shown to the world for the first time. One of the results of this research is the fossil specimen of the giant armored fish, the placoderm Dunkleosteus, which appears in Episode 2.

Exhibition view of Episode 2 “FF Boundary: Development of Terrestrial Ecosystems” / Dunkleosteus exhibit
Exhibition view of Episode 2 “FF Boundary: The Development of Terrestrial Ecosystems” / Dunkleosteus fossil discovered in southern Morocco, Tokyo City University Collection

The mass extinction that occurred in stages at the FF boundary (corresponding to the Late Devonian period) between approximately 380 million and 360 million years ago is believed to have been caused by the combined impact of sudden cooling caused by volcanic eruptions and ocean acidification. Although it was the smallest in scale among the Big Five, marine organisms suffered the greatest damage, with 18-41% of genera and 42-69% of species becoming extinct. There was also a major collapse of coral reefs, and nearly 100% of jawless fish species disappeared.

Dunkleosteus was a large placoderm with a body length of over 4 meters and a skull with powerful jaws. It dominated the oceans of the Late Devonian period, but it seems that placoderms also did not survive into the Calcareous period.

Exhibition view of Episode 2 “FF Boundary: Development of Terrestrial Ecosystems” / Fossil (replica) of Wattierza (stem and leaf), National Museum of Nature and Science

On the other hand, on land, plants that had no roots or leaves underwent rapid evolution in their body structures throughout the Devonian period, and from the middle of the Devonian onwards, several taxonomic groups appeared that developed thick trunks and became trees. Of these , the world’s oldest known tree is the primitive fern, Wattiersa , discovered in New York State, USA (a replica is on display in this exhibition). Early gymnosperms and microphyllous plants also appeared, and the first forests in history were formed in the late Devonian period.

It has also been pointed out that the massive carbon dioxide consumption caused by the emergence of these forests may have contributed to the cooling of the climate and contributed to the mass extinction of marine life.

Exhibition view from Episode 3 “PT Boundary: The Greatest Extinction in History” / Fossil of Helicoprion, a cartilaginous fish with strange spiral teeth that flourished in the Permian period before the third mass extinction, in the Gunma Museum of Natural History
Exhibition view from Episode 3 “PT Boundary: The Greatest Extinction in History” / A complete skeleton fossil (replica) of Cotylorhynchus, a type of synapsid that dominated the land during the Permian period, housed at Tochigi Prefectural Museum
Exhibition view from Episode 4 “TJ Boundary: The Great Transformation to the Age of Dinosaurs” / Comparative exhibit of Redondasaurus, a phytosaur that flourished in the late Triassic period before the fourth mass extinction, and Cryolophosaurus, a dinosaur that flourished in the Jurassic period after the extinction.
Exhibition view of Episode 4 “TJ Boundary: A Great Transformation to the Age of Dinosaurs” / Footprints are surprisingly cute, fossilized dinosaur tracks (replica), housed at the Jurassic Museum (Switzerland)

Episode 5, “The K-Pg Boundary: The End of the Mesozoic Era,” explains the fifth mass extinction that occurred at the end of the Cretaceous period, approximately 66 million years ago, triggered by the impact of an asteroid approximately 10 km in diameter that fell near the Yucatan Peninsula in Mexico.

The impact energy of the fire generated a large amount of sulfur-containing vapor, which reacted with water vapor to form sulfate aerosols. Together with the soot from the forest fires, these blocked sunlight for years to decades. This not only stopped photosynthesis in plants, which are the foundation of the food chain, but also caused acid rain, which dealt a major blow to living organisms.

The venue displays a CM2-type carbonaceous chondrite meteorite that is believed to be of the same type as the asteroid, which fell in the Murchison region of Australia in 1969, as well as specimens of the geological strata formed by the earthquake and giant tsunami that occurred when the asteroid collided.

Exhibition view of Episode 5 “K-Pg boundary: The end of the Mesozoic Era” / On the left is the Murchison meteorite, owned by the National Museum of Nature and Science

In addition, the section that focuses on Mesozoic mammals that survived the fifth mass extinction and the recovery of forests features a number of valuable fossil specimens that have been brought to Japan from the Denver Museum of Nature and Science in the United States, which boasts one of the world’s leading collections of vertebrate and plant fossils.

Exhibition view of Episode 5 “K-Pg Boundary: The End of the Mesozoic Era” / Fossil exhibit provided by the Denver Museum of Nature and Science

Speaking of rare specimens, Episode 6, “Biodiversity in the Cenozoic Era: The World After the Big Five,” features the world’s first public unveiling of a complete skeletal fossil of Steller’s sea cow, discovered in Tokyo’s Tama River. Steller’s sea cows are large, algae-eating mammals that lived in the North Pacific Ocean, and the fossil on display, measuring approximately 6 meters in length, is the oldest in the world. The last known sighting of this species was in 1768, and some believe that human activity may have hastened its extinction.

Exhibition view of Episode 6 “Biodiversity in the Cenozoic Era: The World After the Big Five” / Steller’s sea cow complete skeleton fossil (partial replica), National Museum of Nature and Science

In recent years, environmental changes and loss of biodiversity thought to be caused by human activity have become a hot topic around the world, with some describing the current situation as the “sixth mass extinction period.” Visitors to this exhibition will understand the importance of using the knowledge gained from natural science research, such as that reviewed here, to predict what the extinctions and climate change currently occurring may bring about in the future, and to use this knowledge to develop preparations and countermeasures.

Jun Yabe and Masaharu Fukuyama, who served as the general supervisors of this exhibition

At the press conference held prior to the event, Masaharu Fukuyama, who will be the special navigator for this exhibition, took the stage.

Fukuyama served as the host for NHK’s nature documentary program “Hot Spot: The Last Paradise,” and for 15 years has traveled around the world, pursuing the amazing ecology and evolutionary mysteries of endangered wild animals. In the second venue, a special exhibition of 27 photographs of animals taken by Fukuyama is being held, along with the statement “Voice of Life, Song of the Earth.”

Exhibition view at Venue 2

Fukuyama says that the origin of her creative work was her grandmother, who continued to face nature through farming while raising four children on her own. “From an early age, I’ve thought of nature as something incredibly beautiful that lies far away, but also as a very difficult place to live in. So when I received the offer to appear in a nature program, rather than wanting to go and see something beautiful, I was interested in what was happening to the nature that our family had lived in and been allowed to live in,” she explains of her thoughts on the program.

Fukuyama also said that through this exhibition, he felt that crustal movements and volcanic activity were occurring as part of the “metabolism” of the Earth when viewed as a single living organism. “When a mass extinction occurs, 70%, and in some cases 90%, of all living organisms become extinct. Was this a sacrifice made so that the Earth could grow and evolve? If we think of the surviving organisms as being essential to the Earth… If that’s the case, then if we consider the present to be the ‘sixth extinction,’ what exactly are we doing for the Earth as a living organism? Perhaps we too will become sacrifices to the Earth’s growth and change,” he said, reflecting on the many thoughts that have been swirling around in his mind.

Masaharu Fukuyama

Finally, he gave the following message to the children who will be visiting the exhibition:

“After seeing the exhibits, I felt that we cannot survive without both what is given to us (such as our surroundings and luck) and what we work hard to grasp for ourselves. Some people may wonder why they have to study and why they have to go to school. However, I hope that people will realize that, in a world where there is poverty, discrimination, division and disconnection, we are extremely blessed to be able to go to school for compulsory education and to have an environment where we can learn. Even if the Great Extinction exhibit makes you feel scared, I hope that it will make you think about what you can do to survive with your beloved family and friends, and that you need to do your best.”

Overview of the special exhibition “The Great Extinction: The Big Five in the History of Life”

Dates Saturday, November 1, 2025 – Monday, February 23, 2026 (Holiday)
venue National Museum of Nature and Science (Ueno Park, Tokyo)
Opening hours 9:00-17:00 ( entry until 16:30)
Closed days Mondays, November 4th (Tue), November 25th (Tue), December 28th (Sun) – January 1st, 2026 (Thu), January 13th (Tue)
*However, the museum will be open on November 3rd (Monday, national holiday), November 24th (Monday, closed), January 12th (Monday, national holiday), February 16th (Monday), and February 23rd (Monday, national holiday).
Admission fee Adults and university students: 2,300 yen; elementary, junior high and high school students: 600 yen

*Free for preschool children.
*Free admission for those with a disability certificate and one caregiver.
*For further details, please check the official exhibition website.

Organizer National Museum of Nature and Science, NHK, NHK Promotion, Yomiuri Shimbun
inquiry 050-5541-8600 (Hello Dial)
Official exhibition website https://daizetsumetsu.jp/

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


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[National Museum of Western Art] Report on the exhibition “Impressionism from the Musée d’Orsay – A Tale of Interiors.” Another charm of Impressionism that vividly illuminates the stage of “interiors”

National Museum of Western Art
“Impressionism from the Musée d’Orsay: Tales of Interiors” exhibition view, National Museum of Western Art, 2025

The National Museum of Western Art is hosting an exhibition titled “Impressionism from the Musée d’Orsay: Stories of Interiors,” which focuses on the representations of interiors by Impressionist painters. The exhibition will run from Saturday, October 25, 2025 to Sunday, February 15, 2026.

“Impressionism from the Musée d’Orsay: Tales of Interiors” exhibition view, National Museum of Western Art, 2025

When we hear the word “Impressionism,” the first thing that comes to mind is probably landscape paintings that capture outdoor light or the changing atmosphere. Their approach to creating landscapes and their use of plein air certainly brought about a revolution in modern art. At the same time, an interest in interior space was also an essential aspect of Impressionism, as exemplified by Edgar Degas, who explored the effects of artificial lighting rather than natural light and left behind many masterpieces of interior paintings based on refined human observation.

The first Impressionist exhibition was held in Paris in 1874, a time when the city was rapidly modernizing after undergoing extensive urban development projects, known as the Haussmann Reformation. In this bustling and vibrant metropolis, indoor scenes, where people spent much of their time, were more intimate than outdoors and could be said to be an essentially modern subject. In other words, they provided the perfect subject to inspire artists seeking to create new paintings that were in tune with the times.

This exhibition will feature approximately 100 paintings, drawings, and decorative arts, including around 70 masterpieces from the Musée d’Orsay in Paris, known as the “Temple of Impressionism,” as well as important works from Japan and abroad . The exhibition will explore the interests and expressive challenges of the interiors of Impressionist and contemporaries painters such as Degas, Manet, Monet, and Renoir in four chapters.

 

Chapter 1, “Portraits in Interiors,” focuses on portraiture, which was extremely popular in salons and the art market in the late 19th century and was an important means of expression for the Impressionists. In their portraits, they depicted models in their everyday environments, attempting to express social attributes such as their personality, occupation, social class, and aesthetic tastes, sometimes interweaving them with careful direction.

On the left is Édouard Manet’s “Emile Zola,” 1868, Musée d’Orsay, Paris
Frédéric Bazille, Bazille’s Studio (Rue de la Condamine), 1870, Musée d’Orsay, Paris
James Tissot, Portrait of Mademoiselle LL, 1864, Musée d’Orsay, Paris

The highlight of this section is Degas’s masterpiece from his youth , “Family Portrait (The Berelli Family)” (1858-69), which has been restored and is now on display in Japan for the first time. Degas’s aunt and her family, who were in exile in Florence, appear at first glance to be a formal family portrait, set in a room in a typically bourgeois, custom-built apartment, adorned with a striking blue hue. However, the work not only frankly captures the personalities and individuality of each individual, but also suggests the couple’s tense relationship and the psychological distance between them through skillful manipulation of facial expressions, poses, and positioning, like a psychological drama. This approach, which departs from the conventional, superficially idealized image of the family, is strikingly modern, and the young Degas’s sincerity and keen, keen observational eye are evident.

Edgar Degas, Family Portrait (The Berelli Family), 1858-1869, Musée d’Orsay, Paris

The poetic Corner of an Apartment (1875), depicting Monet’s home in Argenteuil near Paris, is one of his few interior paintings. Monet’s keen sense of light effects is fully displayed, with the open curtains and plants in the foreground and the dimly lit room beyond creating a dramatic contrast of light and shadow, warm and cool colors. The figures of his son Jean and a woman believed to be his wife, Camille, are depicted very subtly, almost as silhouettes, but the repeated diagonal lines on the curtains and parquet floor guide the eye and emphasize their impact.

Claude Monet, Corner of an Apartment, 1875, Musée d’Orsay, Paris

In the second half of the 19th century, when clear boundaries were being drawn between the workplace and the home, in contrast to men who roamed public spaces, women of the bourgeoisie, who were not permitted to go out freely, mainly focused their activities within the home. Chapter 2, “Scenes of Everyday Life,” introduces works that capture casual scenes of women enjoying their hobbies and handicrafts in the comfort of their homes, such as musical recitals, reading, and needlework.

Henri Fantin-Latour, Victoria Dubourg, 1873, Musée d’Orsay, Paris
Pierre-Auguste Renoir, “Girls Playing the Piano,” 1892, Musée d’Orsay, Paris

Renoir’s Girls Playing the Piano (1892), which is also used as the main visual for this exhibition, was created at the request of the Director General of the Fine Arts Bureau at the time, with the expectation that the work would be purchased by the Musée du Luxembourg (then the National Museum of Modern Art). At the time, owning a piano signified wealth and a cultured lifestyle, and playing the piano was a hobby enjoyed by the daughters of the upper class, making it a popular subject for painting. This work, with its dazzling composition of warm colors and soft brushstrokes, depicts girls with their faces close together, peering at sheet music, as an ideal image of a bourgeois family.

On the right is Ernest Duhuez, Around the Lamp, c. 1882, Musée d’Orsay, Paris
Alfred Stevens, Bathing, 1873-1874, Musée d’Orsay, Paris

Chapter 3, “Outdoor Light and Nature Indoors,” showcases how the Impressionists incorporated their interest in outdoor light and nature into their work, featuring works set in complex spaces that connect the indoor and outdoor spaces, such as balconies, terraces, and greenhouses, which were popular social spaces in the 19th century.

Berthe Morisot, “On the Terrace,” 1874, Tokyo Fuji Art Museum

Albert Bartolome’s In the Greenhouse (c. 1881) depicts a scene in a glass greenhouse custom-built for his home. Leaving the strong sunlight behind, Bartolome’s wife, Prosperi, dressed in a cool purple summer dress, steps into the dim light of the greenhouse, where palm trees and geraniums are sprouting vibrant leaves. The soft light that casts irregular shadows on her face and dress creates a comfortable summer atmosphere.

From left: Madame Albert Bartholomew’s Dress, 1880, Musée d’Orsay, Paris / Albert Bartholomew In the Greenhouse, c. 1881, Musée d’Orsay, Paris

Shortly after this work was painted, Prosperi fell ill and passed away in 1887. Bartholomew, overcome with grief, treasured the memory of the glorious day captured in this work, and apparently never let go of either the painting or the dress. As a special touch, the actual dress has been displayed alongside the painting at the exhibition.

The chapter also introduces still life paintings that presented nature as a decorative element brought indoors, and the development of Japonism, which used nature as its primary source of inspiration to create innovative decorative art.

On the right is Paul Cézanne’s “Dahlias in a Large Delftware Vase,” c. 1873, Musée d’Orsay, Paris
Emile Gallé, Flower Vase: Lake Landscape, c. 1878, Musée d’Orsay, Paris
“Mantelpiece (Clock and Candelabra)” by Emile-Auguste Raybert (design), Christofle, 1873, Musée d’Orsay, Paris

Chapter 4, “Impressionist Decoration,” examines the various interior decorative representations that emerged as the Impressionists incorporated nature into the interior, at a time when decorative art, which had previously been considered a low-class and superficial form of expression, was increasingly viewed positively. Examinations include a mansion design for the Romanian aristocrat Prince Bibesco, a collaboration between the young Renoir and architect Charles-Justin Le Cour, and a model of Morisot’s own drawing room and studio, providing a glimpse of the effect that decorative paintings added to living spaces.

Charles-Justin Le Cour’s “Proposal for a Residence for Prince Georges Bibesco”, 1870-1872, Musée d’Orsay, Paris

Manet and Monet created paintings to decorate the château owned by their patron, the businessman Ernest Hoschedé. Manet’s Child Among Flowers (Jacques Hoschedé) (1876) depicts the Hoschedé family’s eldest son, Jacques, peeking out from the flowers growing in the garden, while Monet’s Turkeys (1877) depicts a flock of poultry strolling across a meadow with the château in the background. Both paintings capture scenes and motifs familiar to the Hoschedé family with the bright colors and bold brushstrokes typical of Impressionism, allowing us to enjoy the aesthetics of Impressionism as well as the tastes of their clients.

Edouard Manet, “Child among Flowers (Jacques Hoschedé)”, 1876, National Museum of Western Art, Tokyo
Claude Monet, Turkey, 1877, Musée d’Orsay, Paris

Gustave Caillebotte, who shared Monet’s passion for horticulture and landscaping, also had a strong interest in decorative botanical paintings. Bed of Daisies (1892-1893) is an unfinished work that is thought to have been conceived as a wall decoration for his own home. By scattering white daisies across the canvas from a bird’s-eye view, the work creates a sense of immersion that seems to envelop the viewer. The image, which stretches out infinitely without beginning or end, overlaps with the Water Lilies series that culminated in Monet’s “Large Decorative Paintings” project.

Gustave Caillebotte, Bed of Daisies, 1892-1893, Museum of Impressionism, Giverny
Claude Monet, Water Lilies, 1916, National Museum of Western Art (Matsukata Collection)

The exhibition “Impressionism from the Musée d’Orsay – A Tale of the Interior” allows visitors to experience the charm of Impressionism, which created innovative art that transcended the boundaries between nature and the interior amid urban life in 19th century Paris. The exhibition will run until Sunday, February 15, 2026.

Overview of “Impressionism from the Musée d’Orsay: A Tale of Interiors”

Dates Saturday, October 25, 2025 – Sunday, February 15, 2026
venue National Museum of Western Art (Ueno Park, Tokyo)
Opening hours 9:30-17:30 (until 20:00 on Fridays and Saturdays)
Closed days Mondays, November 4th (Tue), November 25th (Tue), December 28th (Sun) – January 1st, 2026 (Thu, national holiday), January 13th (Tue)
*However, the museum will be open on November 3rd (Monday, national holiday), November 24th (Monday, closed), January 12th (Monday, national holiday), and February 9th (Monday).
Admission fee (tax included) Adults: 2,300 yen, University students: 1,400 yen, High school students: 1,000 yen

*Free admission 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.)
*You can also view the permanent exhibition with this exhibition ticket on the day of viewing.
*For further ticket information, please check the official exhibition website.

Organizer National Museum of Western Art, Musee d’Orsay, Yomiuri Shimbun, Nippon Television Network Corporation
inquiry 050-5541-8600 (Hello Dial)
Exhibition official website https://www.orsay2025.jp

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


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