The National Museum of Nature and Science will hold a special exhibition, "Satoshi Kako's Science Picture Books: Celebrating the 100th Anniversary of His Birth," from Tuesday, March 24, 2026 to Sunday, June 14, 2026, as detailed below. [For more information, please visit: https://www.kahaku.go.jp/tenji-event/nid00001839.html ]
Poster visual for "Satoshi Kako's Science Picture Books," commemorating the 100th anniversary of his birth.
Satoshi Kako (1926-2018) was a picture book author who debuted in 1959 with "The Dam Builders" and has since published over 600 books. His picture books spanned a wide range of genres, including humorous works such as "The Crow's Bakery," as well as many science picture books, including "The River." These works can be considered pioneers of science communication and contributed to the development of science education.
This exhibition commemorates the 100th anniversary of Satoshi Kako's birth and showcases his major science picture books, along with his passionate beliefs in science education and his insatiable curiosity for natural science, all presented with original illustrations. Please enjoy the world of science picture books as seen through the eyes of a researcher, as only the National Museum of Nature and Science can.
Project Overview
Special Exhibition: 100th Anniversary of Birth – "Satoshi Kako's Science Picture Books"
[Venue] National Museum of Nature and Science (Ueno Park, Tokyo), Japan Gallery, 1st Floor, Special Exhibition Room and Central Hall
[Event Period] March 24, 2026 (Tue) – June 14, 2026 (Sun)
[Opening Hours] 9:00 AM – 5:00 PM
*From April 25th (Sat) to May 6th (Wed/Holiday), we will be open until 6 PM.
*Entry is permitted until 30 minutes before each closing time.
[Closed days] Mondays, Thursday, May 7th
*However, the museum will be open on March 30th (Mon), April 27th (Mon), May 4th (Mon/National Holiday), and June 8th (Mon).
[Admission Fee] General public and university students: 630 yen (510 yen for groups), high school students and younger, and those 65 years and older: Free
*This exhibition can be viewed with the regular admission fee only. *Group rate applies to groups of 20 or more.
*For details on admission procedures and other information, please visit our website. https://www.kahaku.go.jp/
[Sponsor] National Museum of Nature and Science
[Special Cooperation] Kako Research Institute
[Exhibition Overview] See attached exhibition flyer.
Supervisor of this exhibition
Senior Researcher, Fungi and Algae Research Group, Department of Botany, National Museum of Nature and Science Taiju Kitayama
His specialty is phycology. To unravel the mysteries of the seaweed fauna along the Japanese coast, where an unparalleled diversity of warm and cold currents flows, he collects seaweed by free diving and dredge from Hokkaido in the north to the Ogasawara Islands in the south. Recently, he discovered the brackish water alga Kanagawa Aonori, a new species found in Japan, on Chichijima Island and is continuing his research. He also conducts research on freshwater algae in Tokyo, and in 2024, he reported a new species of red alga Kitanomaru Mozuku from Kitanomaru Park in the outer gardens of the Imperial Palace. The museum's permanent exhibitions include a systemic plaza, Japanese seaweed, Earth history navigator, and Yoshio Tanaka projection mapping.
Kako Research Institute Representative: Mari Suzuki
She is the representative of Kako Research Institute and the eldest daughter of Satoshi Kako. She has worked at Kako Research Institute since 2003, supporting her father's work. Currently, she gives lectures and engages in other activities with her husband.
From Friday, March 6th to Tuesday, March 10th, 2026, the 5th annual “Exhibition in the Forest” was held at the Ueno Royal Museum.
“The Exhibition in the Forest” is an art exhibition by people with disabilities, co-sponsored by Taito Ward and the Ueno Royal Museum since 2021. Its aim is to allow people to experience the joy of engaging in culture and art through the opportunity to exhibit their work in a museum.
The competition was open to people with disabilities who live, study, or work in Taito Ward, or who use disability facilities or organizations within the ward. Participants were free to create works in any genre or on any theme, including watercolors, crayons, paper cuttings, and clay sculptures (*). This year, the fifth time the event was held, a record-breaking 325 works were exhibited.
(*)…Limited to two-dimensional works that can be displayed on a wall.
Venue sceneryVenue sceneryVenue scenery
An awards ceremony was held on Saturday, March 7th, where works deemed particularly outstanding were awarded the “Taito Ward Mayor’s Award” (1 work), the “Ueno Royal Museum Award” (1 work), “Excellence Awards” (3 works), and “Honorable Mentions” (6 works). The judges were Yuwa Kabayama, President of Musashino Art University ; Masanori Fukino, calligrapher and chairman of the board of directors of Takayusha; and Akemi Sakamoto, curator at the Ueno Royal Museum. The associate judges were Kirika Ito, calligrapher and instructor for this year’s art workshop, and Satoshi Yoshida, painter.
Yukio Hattori, Mayor of Taito Ward
At the beginning of the ceremony, Taito Ward Mayor Yukio Hattori offered his congratulations to the award recipients and encouraged them, saying, “I hope that this award will inspire you to further your creative activities.” He introduced the exhibited works as being full of rich expressiveness and originality, and expressed his hope that “this will be an opportunity to feel the charm of art born from the thoughts and free ideas embedded in the works, and to deepen understanding of people with disabilities.”
Masayoshi Miyauchi, Director of Ueno Royal Museum
Next, Masayoshi Miyauchi, director of the Ueno Royal Museum, took the stage. He explained that since 2022, the Ueno Royal Museum has been collaborating with Taito Ward to hold exhibitions and also to conduct art workshops at facilities for people with disabilities, and expressed his delight at the expansion of art activities in Taito Ward. Regarding the exhibited works, he commented that “each is an irreplaceable expression, overflowing with the joy of drawing and the desire to communicate,” and said, “I hope that visitors will feel the various emotions that arise from these works.”
Yuwa Kabayama, President of Musashino Art University
Finally, on behalf of the judges, President Yuwa Kabayama of Musashino Art University gave his comments. While the exhibition brings together a diverse range of expressions, President Kabayama noted a particular trend this year: “There are a great many works using ink, such as ink paintings and calligraphy, and many excellent pieces have been collected.” He reflected, “Looking at the works displayed on the wall again today, I felt as if each one was singing in a different voice.”
Furthermore, regarding the reason why art (visual expression) touches people’s hearts, he stated, “Perhaps it is because it is full of vitality, and the works themselves give us a pure feeling,” and praised the exhibited works, saying, “They are all pure and have a gentle impression.” In these turbulent times, he said, “Painting and expressing oneself has the potential to overcome various difficulties,” and expressed his hopes for the further development of the exhibition and his respect for those involved.
The certificate and prize were presented in front of the family and attendees.From left to right: Taito Ward Mayor Yukio Hattori, Naoyoshi Nakajima (recipient of the Taito Ward Mayor’s Award), and Taito Ward Assembly Chairman Yoshihiro Ishikawa.
Naoyoshi Nakajima’s acrylic painting “Maehotaka,” which won the Taito Ward Mayor’s Award, depicts the early summer scenery of Mount Maehotaka in the Northern Alps, with patches of lingering snow. The contrast between the deep blue sky and the vibrant green slopes is striking. The flowing brushstrokes, deliberately left visible, give the dynamic mountain landscape a lively rhythm.
Taito Ward Mayor’s Award: “Maehotaka” by Naoyoshi Nakajima
Ms. Nakajima is a regular exhibitor at the “Exhibition in the Forest,” having participated since its very first edition. She began painting after her health deteriorated due to illness. Among her subjects, mountains, which she says “bring peace to my mind when I paint them,” have been a theme she has been working on for over 10 years.
This work was created over approximately six months, based on memories of looking up at Mount Maehotaka from Kappa Bridge over the Azusa River in Nagano Prefecture, before his health deteriorated, and with reference to photographic materials. He expressed his delight at receiving the award, saying, “I just painted what I like, but I’m happy to receive an award like this,” and showed his enthusiasm for next time, saying he would like to try painting the landscape of Eboshi Rock on Mount Haruna in Gunma Prefecture.
Ueno Royal Museum Award: “The Kaleidoscope House” by the Painter of the King of the Egg Kingdom
The Ueno Royal Museum Award went to “The Painter of the Egg Kingdom” for his work, “The Kaleidoscope House.” The vibrant primary-colored stripes and geometric composition create a sense of depth and narrative in the space, inviting the viewer into a world of color in this energetic piece.
She originally enjoyed visiting art museums and cultural facilities in Ueno, and the Ueno Royal Museum was one of her favorite places. Therefore, she was especially delighted to win an award on her very first submission.
The distinctive artist name, “The Painter of the King of the Egg Kingdom,” reflects a worldview in which the artist paints a king and motifs from a fictional kingdom. He has previously depicted flowers, cars, animals, and other things that appear in the kaleidoscope the king looks through in over 50 paintings. Among these, “home” is a particularly meaningful motif for him, representing a warm and safe place, which led to his inclusion in this exhibition.
To faithfully recreate the scenes and inspirations that come to mind, the production process is always speedy, and it’s amazing that this piece was completed in about 10 minutes. The next project is planned to be themed around “The King’s Holiday.” We can’t wait to see how the “Egg Kingdom” world will unfold.
Excellence Award winners, from left: “Calligraphy: Shota’s Enso” by Shota Yokokawa, and “Untitled” by Yuki Ondo.Excellence Award: “What Color Do You Like?” by Hinako KawamuraHonorable Mentions: From top left, “Dorayaki” by Etsuko Saito; “Energetic Turtle” by Uyanga Fujita; From bottom left, “Printmaking” by Ryu Uchiyama; “Forest of Asahikawa” by Yoshiaki Tsunematsu; “Dream Whale” by NarumiHonorable Mention: “Minna no MALAMA” (Everyone’s MALAMA) – After-School Day Service MALAMA
At the venue, exhibiting artists were seen happily taking commemorative photos with their families, while visitors were also seen enthusiastically discussing the brilliance of the ideas and ingenuity of the works, using the artists’ comments accompanying the pieces as a starting point. In one corner, a “Forest Market” selling original products made at welfare workshops and other facilities was held, and the event was bustling with activity throughout.
On the right is the original artwork “In the Forest” by Yuji Takahashi, who was in charge of the title lettering and forest illustration for the “Exhibition in the Forest” flyer.
The “Exhibition in the Forest” continues to expand its reach. Some of the winning works will be on display at the Taito Ward Office 1st Floor Art Gallery until early April, so please be sure to visit.
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.
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/
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?"
■ 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.
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.
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.
■ 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.
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 1913Carl 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
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.
●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.
●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.
[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.
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
"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)
LuminousKazuma KudoRinko 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 sausageRich hot chocolate served in a Tokyo-exclusive mugChristmas 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 globecandle 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/
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 CompanyHiguchi 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,” 1895Left: 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.
