Author: nakano

Tokyo Metropolitan Art Museum

“Girl Reading a Letter at the Window” by Johannes Vermeer, a painter representing the 17th century Holland. The exhibition “Vermeer and 17th Century Dutch Painting Exhibition in the Dresden National Classical Painting Museum” will be held at the Tokyo Metropolitan Art Museum for the first time in the world to show the “original appearance” restored by the large-scale restoration work. It is being held.
The session is from February 10th (Thursday) to April 3rd (Sunday), 2022.

Since I participated in the press preview held prior to the event, I will report on the contents of the exhibition.

* All works without special mention are in the collection of the Dresden National Classical Painting Museum.

Cupid’s painting that appeared in “Girl Reading a Letter at the Window”

“Girl Reading a Letter at the Window” in the Dresden National Classical Painting Museum, where a large-scale restoration project was carried out from 2017 to 2021. Johannes Vermeer (1632-75) is an early masterpiece shortly after turning from historical painting to genre painting. It is a turning point where the Vermeer-like style that we know today, such as the expression of light coming in through the window and the image of a woman reading a letter indoors, has been established.

The biggest change in this modified work was the restoration of Cupid’s painting, which was hidden behind the wall.
Originally, the existence of the painting itself was revealed by an X-ray survey conducted in 1979, but it has been thought that the artist himself painted it. However, in the process of the restoration project, it turned out that it was overcoated by a third party after Vermeer’s death.

A team of experts has decided to bring the film back to a state close to 1658 from Vermeer’s atelier. After the restoration, it was first unveiled at the Dresden National Classical Painting Museum, and then it was to be exhibited at this exhibition ahead of the rest of the world.

Cupid, the god of love depicted in the painting, has a somewhat proud expression while trampling on the mask that symbolizes lies and deception.

According to the exhibition commentary, the prototype of this Cupid is in the iconography collection that was popular at that time. The implication is that “honest love overcomes lies and hypocrisy”, and it is clear that the letter that the woman is reading is a love letter, and she can receive a message related to allegory.

Next to this work, a replica before restoration is displayed, so you can enjoy comparing the differences.

The woman before the restoration had a mysterious impression that her emotions could not be read, and she received some gloomy signs such as sadness and disappointment. When I watched this work after restoration on the premise of a love letter, I noticed redness on my cheeks, and I felt that the gently dropped eyes had a deep feeling for the other party of the letter. The appearance has changed considerably.

It is also noteworthy that the varnish and stains that have discolored due to aging have been removed, making the entire screen brighter. The white of the wall is remarkable, but the Vermeer blue of the window frame and the red of the tapestry spreading in front of the screen are also vivid. The expression of light by Vermeer’s specialty pointier technique (a technique of drawing light reflections and highlights with white dots), which is seen in female blonde hair, seemed to shine more beautifully.

The balance of the standing figure of the woman surrounded by curtains, tapestries, window frames, chairs, and paintings is calculated, giving the impression that the depth is emphasized without cluttering the screen. It’s also interesting that Cupid is arranged so that he can open the curtain and secretly look into the female figure.

 

By the way, I was thinking that it would be unavoidable to feel that the screen became narrower due to the appearance of the in-picture image that occupies about a quarter of the screen … Actually, before and after the restoration, I noticed that the screen was really narrow. The edges of the screen are gradually disappearing from the top, bottom, left, right, and all four sides.

Why? When I checked the official catalog, it seems that the four sides were also removed because it was discovered that it was a top coat by a third party. Originally, that part was unfinished, or it was just left unerased from the painted wine glass and just uneven shades.

Uta Knighthardt, a senior curator at the Dresden National Classical Painting Museum, may have originally hidden the four sides with a picture frame. I speculated that elements that now seem to be missing, such as the top of the curtain rod, were drawn directly on the frame for the purpose of enhancing the optical illusion effect.

I don’t know the truth, but in any case, the long-loved Girl Reading a Letter at the Window has undergone a dramatic transformation. Those who like the clean atmosphere of the uncorrected painting may have mixed feelings about this restoration, but if you look at the real thing, you will surely find not only the feeling of loss but also the new charm of the revived masterpiece. Should be.

Why has Cupid been erased?

In this exhibition, a large space is used to introduce the entire restoration project in detail with explanation panels and videos showing the restoration. It seems to be daunting to see the details of the work of removing varnish and dirt little by little with an anatomical sword while looking through a microscope. It is an exhibition that shows how carefully the restoration work that took four years was done.

In the first place, it’s interesting to see why “Girl Reading a Letter at the Window” was so modified by whom. However, it remains a mystery even after extensive research.

Since Cupid’s paintings are in good condition, there is a possibility that they may be maintained not for preservation reasons but for aesthetic considerations such as temporary hobbies and changes in fashion. How careless, it’s scary from our current sense, but Vermeer at that time wasn’t as famous as it is now …

In fact, when this work was added to the collection of the Electorate of Saxony, which was the basis of the Dresden National Classical Painting Museum in 1742, it was considered to be Rembrandt van Rijn’s work, not Vermeer’s. Isn’t the painting erased in order to bring it to the style of Rembrandt, who was extremely popular in Europe? There seems to be a view that.

In the same space, we will also introduce four duplicate prints of “Girl Reading a Letter at the Window” of different ages, such as 1783, 1850, 1893, and 1907. According to the exhibition commentary, the person misidentified as the author of “Girl Reading a Letter at the Window” was not only Rembrandt, but also Rembrandt’s disciple Govert Flinck and Pieter de Hooch depending on the times. And twists and turns. It’s surprising that it was recognized as Vermeer’s work in 1862. It turned out that it was something unfortunate when the author changed around and changed here and there.

Gem paintings that colored the golden age of the 17th century Holland

The Netherlands in the 17th century was one of the first countries in Europe to realize civil society, and many of the painting patronage were citizens rather than churches and royal aristocrats. Small genre paintings (indoor paintings) that are familiar to people on a daily basis in private residences are preferred rather than exaggerated historical paintings. Established as one. Portraits that reflect the rise in social status have also made remarkable progress.

Using realistic depictions in every detail and sometimes symbolic pictorial rhetoric, he portrays Dutch life and culture in a realistic or surpassing reality. It was a time when rich painting expressions that could be called the golden age of painting blossomed.

In this exhibition, about 70 paintings from the Dresden National Classical Painting Museum, such as Rembrandt, Gabriël Metsu, and Jacob van Ruisdal, who were active at the same time as Vermeer, which color the golden age of 17th century Dutch painting, will be exhibited. doing.

Many portraits, including Rembrandt, are striking with their skillful depictions of light and shadow.

Rembrandt’s portrait of his wife, “Portrait of Young Saskia,” is a fictional head study rather than a general portrait, due to its ancient costumes and shadows on the upper half of his face. It is thought that it is. The dynamic light and dark depiction of Rembrandt’s spotlight makes the suspicious smile even more mysterious. If I see this picture in the middle of the night, I’m afraid I can’t sleep …

Michiel Janszsche Felt, who painted “Portrait of a Woman”, is considered to be the most popular and influential portrait painter in Delft, the Netherlands. It was a great honor to have him write a portrait, and he received many requests from aristocrats and wealthy citizens.

The portrait of a woman depicts a wealthy aristocratic woman, whose dignified standing and gaze are impressive. The expression of the glossiness and transparency of the white ruffs also makes me groan, but what I want you to pay attention to is the color and texture of the skin! It seems to shine lively while being elegant, and it is full of charm that can be convinced by the popularity at that time.

In genre paintings, especially indoor paintings, elaborate works based on accurate observations of daily life are lined up. At the same time, many of them, like Peter van Slingeland’s “Old Woman Presenting a Chicken from a Window to a Young Woman,” add a deeper artistry to her work with lessons and depictions of allegory. At first glance, it seems to depict a slightly eccentric scene of buying and selling, but in reality, the depiction of the birds handed over and the shoes on only one side hides the nuances of mediating prostitution and inviting sexual intercourse.

It’s good to taste it with your own sensibility, but it seems interesting to appreciate it intellectually while grasping the meanings of those things.

Although it is very small and unobtrusive at 18.5×23.5cm, Evbert van der Pour’s “Great Fire in the Night Village” is a genre painting dealing with a rare “fire”. Van der Pour is a person who has been passionate about creating fire and fire works throughout his life from the experience of losing his fellow painters and daughter in a fire. In the middle of the night, the only light source, the flame, illuminates people trying to protect their families and household goods in front of a burning house. It is a work that draws in awe of flames and impermanence.

In the still life, Jan de Heem’s “Vase and Fruit”, which is a mixture of two kinds of tulips, which were expensive at that time, had an outstanding presence.

This work meets the needs of collectors in the latter half of the 17th century for still life with rich decorativeness and aesthetic sophistication. The powerful contrast of light and darkness and colors is wonderful, but the drops on the flowers and leaves, the windows reflected in the vase, the luster of the fruits … I have no choice but to admire the painter’s own overly precise observation eyes and the transcendental technique of being able to perfectly reproduce what he has observed.

This exhibition is a collaboration with Miffy, who was born in the Netherlands. As original goods for the exhibition, various products with the theme of “letter” such as two kinds of stuffed animals and sealing wax set were developed. If you are a fan, don’t miss it!

Outline of “Vermeer and 17th Century Dutch Painting Exhibition in Dresden National Classical Painting Museum”

Legislative session	February 10th (Thursday) -April 3rd (Sunday), 2022
venue	Tokyo Metropolitan Art Museum Planning Exhibition Room
Opening hours	9: 30-17: 30 (Admission is 30 minutes before closing) * Friday 9: 30-20: 00
Closed days	Monday (* Open on March 21st), March 22nd (Tuesday)
Admission fee	General 2100 yen / College student / vocational school student 1300 yen / 65 years old and over 1500 yen * This exhibition requires reservations by date and time. For details, please check the ticket page of the official exhibition website. https://www.dresden-vermeer.jp/ticket/
Organizer	Tokyo Metropolitan Foundation for History and Culture Tokyo Metropolitan Art Museum, Sankei Shimbun, Fuji Television
inquiry	050-5541-8600 (Hello dial)
Exhibition official website	https://www.dresden-vermeer.jp

 

Article provided by: Kokoshiru Ueno

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Tokyo National Museum

Pompeii, a city of the Roman Empire that once existed in southern Italy and disappeared with the eruption of a volcano about 2000 years ago. A special exhibition “Pompeii” is being held at the Tokyo National Museum Heiseikan in Ueno, Tokyo, which introduces the prosperity and people’s lives with about 150 excavated items. The session will be from January 14th (Friday) to April 3rd (Sunday), 2022.

Since I participated in the press preview held prior to the event, I will report on the state of the venue and the exhibited works.

* All works not mentioned in the caption are in the collection of the National Archaeological Museum of Naples.

Introducing about 150 masterpieces including the first public release in Japan!

Pompeii, a provincial city of the Roman Empire, was a scenic land where about 10,000 people lived and was suitable for the production of wine and olive oil. In 79 AD, a large eruption occurred on Mount Vesuvius in the northwest of the city, and it was a tragic city that was completely buried all day and night.

The ruins, which are 1600m east-west and 800m north-south, are like a time capsule that kept the bustle of the city asleep for about 1700 years until the start of full-scale excavation in the 18th century. As a treasure trove of valuable materials that give you an idea of the appearance of the ancient Roman city, vigorous archaeological research is still ongoing.

The special exhibition “Pompeii” is about 150, including the first public exhibition in Japan, including mosaics, murals, statues, and daily necessities that the museum is proud of, with the full cooperation of the National Archaeological Museum of Naples, which holds many excellent items excavated from Pompeii. An exhibition of dots. It is a valuable exhibition where you can feel the breath of the people who lived in the city that prospered 2000 years ago.

From now on, I will introduce the contents of the exhibition from the beginning to the 5th chapter of this exhibition.

Preface: Mount Vesuvius eruption and Pompeii burial

The introduction introduces the situation before and after the eruption of Mount Vesuvius. There are several huge displays of high-definition images in this exhibition, but the eruption CG images in the introductory part are particularly impressive. How the city of Pompeii was swallowed was realistically depicted, and it was a moving experience for a person living in Japan, which has many active volcanoes.

There is also an exhibition of “Gypsum Statue of Female Victims” right next to it. Occasionally, the solidified volcanic ash creates cavities due to the decomposition of organic matter, and when plaster is poured into it, plaster statues such as human bodies are created. Although it does not contain a corpse, it has a vivid presence.

Also, in the fresco “Bucks (Dionysus) and Mount Vesuvius”, which is the only example of the painting of Mount Vesuvius before the eruption, you can see the appearance of the mountain before it was greatly deformed. It’s a very rare document, but I’m drawn to the surrealism of the Roman god of wine, Bucks, whose whole body is wrapped in grapes rather than the mountains.

Chapter 1: City of Pompeii-Public Architecture and Religion

Chapter 1 introduces works related to public facilities such as Pompeii’s form (central square), theaters, amphitheaters, baths, and playgrounds, as well as works related to religion and religion.

The mosaic painting “Tsuji Ongakushi”, which was adopted as the main visual of this exhibition, which shows the popularity of theater at that time, and the marble model of Polykleitos’s “Doryphoros”, which had a great influence on the human body expression of Western art. Full of highlights such as ticks!

“Venus in Bikini”, which expresses Venus, the goddess of beauty who takes off her sandals just before bathing, has beautiful gold accessories. Venus is the guardian deity of Pompeii, and it seems that a temple was also built in the city, but this marble statue was displayed in the hall of the mansion.

Also, as an inconspicuous but surprising exhibition, I would like to recommend a water valve that was widely used in Pompeii. If you look into it, you can see how the ancient Romans had reached a high level of technology in the field of hydraulics, since it was around the 16th century that water services appeared in earnest in Japanese history.

Chapter 2 Pompeii Society and People’s Activities

Chapter 2 exhibits excavated items such as lifestyle furnishings and decorations that convey the lifestyle of wealthy citizens who lived in the city of Pompeii. From there, the existence of wealthy people such as women of low origin and freed slaves who have risen with business talents also emerges, and the surprising liquidity of ancient Roman society where the difference between rich and poor was wide can be seen.

What’s interesting is this kind of rock with big letters. Actually, this is a rental advertisement written on the outer wall of the mansion. If you think that it is the same as the advertisement of “Recruitment of residents!” That we often see in the city, the realization that “I really lived there” comes to me at once.

It seems that the advertisement text says as follows. “At the mansion of Julia, daughter of Spryus Felix, elegant bathrooms, stores, mezzanine and upstairs rooms for well-behaved people, from August 13th to August 13th, the sixth year, 5 It will be rented annually. SQDLENC (Omitted) ”

Julia Felix, who ran a real estate leasing business, is also a good example of a wise woman who has become a wealthy person with a talent for work.

Chapter 3: People’s Lives-Food and Work

Chapter 3 exhibits kitchen utensils, tableware, and excavated ingredients to help you understand your eating habits. It also introduces work tools used by Pompeii residents, such as medical tools, painting materials, farm tools, and tools, and focuses on the daily lives of the people who lived in Pompeii.

There are about 30 bakeries and take-out restaurants in Pompeii, so it was easy to eat. The fresco “Bakery storefront” depicts bread shaped like a disk-shaped pie, but the bread as it was drawn in the picture was excavated from the ruins and exhibited in this exhibition. ..

I was impressed that the carbonized bread kept its shape so plump. This is a typical bread called “Panis Quadratus”, and it was said that a knife was used to make radial cuts before baking to make it easier to separate.

Even with daily miscellaneous goods such as cooking utensils and scales, you can see that many of them are sophisticatedly decorated with a little scrutiny. Some of the works have animal motifs, and the weight is in the shape of a piglet, which is humorous and makes me laugh.

Chapter 4: History of Pompeii Prosperity

Chapter 4 is the highlight of this exhibition. Part of the three mansions “House of the Tragic Poet”, “House of the Tragic Poet” and “House of the Fauns” showing the history of Pompeii’s prosperity are reproduced in the venue! It is an exhibition space where you can feel the atmosphere of a 2000-year-old mansion while appreciating masterpieces of mosaics and murals.

The most prominent is the “House of the Faun”, which was built around the 2nd century BC and retains the richness of pre-Romanized Hellenistic culture. It is the largest mansion in Pompeii, which occupied all of one block (about 3,000 m2). Here, the dynamic bronze statue of Faun, the origin of the “House of the Faun”, “Dancing Faun”, and the beautiful and terrifying floor mosaic “Faun and the Mask of Tragedy” made by a detailed technique called Ops Welmicratum. You can appreciate such things.

Also, what was discovered in the lounge of this “House of the Faun” was the masterpiece of the famous mosaic painting “Mosaic of Alexander the Great”. Unfortunately, this work, which depicts the “Battle of Issus” in which the Macedonian army led by Alexander the Great defeated the Persian army led by Darius III, is still under restoration work, but this exhibition can be enjoyed in full-scale 8K high-definition video. increase. A copy of the same work was laid on the floor in front of the display, and it was possible to walk by stepping on the popular house at that time.

Chapter 5: Now of excavation, long ago

The archaeological excavation used to have a strong meaning of “treasure hunting” to acquire works of art, but now it seems that the protection of archaeological sites and archaeological finds is more important than excavation. In Chapter 5, which will be the epilogue, the 18th century will be exhibited, such as the early excavated “Satyr of the ropewalk” and the representative excavation of the University of Tokyo’s academic research team, “Bucks holding a leopard (Dionysus)”. We look back on the history of excavation of the Pompeii ruins from to the present.

As the latest information at the end, a documentary video also introduced the ongoing restoration work of Alexander the Great’s Mosaic.

In addition, this exhibition is generous, and photography is OK only for personal use! In connection with that, on the official Instagram of the exhibition (@ pompeii2022), along with “# Pompeii-kun” dressed as model AMON, we will proceed with a plan to introduce “shining” recommended shooting spots in the venue. Pompeii may appear at the venue during the session.

Many original goods for this exhibition are on sale at the museum shop, but the cushions for the above-mentioned “Carbonized Bread” are also available. There is an indescribable taste in the expression of cracks. Also, cute collaboration goods with Pompompurin! If you are a fan, don’t miss this limited edition product that can only be bought here by Pudding, who has been recolored in an ancient Roman style.

It was a wonderful exhibition where you can feel the meaning of the catch phrase “I was there.”
The special exhibition “Pompeii” will be held from January 14th (Friday) to April 3rd (Sunday), 2022. Why don’t you immerse yourself in the romantic atmosphere of ancient times through a group of works that still have a lively presence beyond the time of 2000.

Outline of the special exhibition “Pompeii”

Legislative session	January 14th (Friday) -April 3rd (Sunday), 2022
venue	Tokyo National Museum Heiseikan
Opening hours	9:30 am to 5:00 pm
closing day	Monday, 3/22 (Tuesday) * However, 3/21 (Monday / holiday) and 3/28 (Monday) are open.
Admission fee	General 2,100 yen, university students 1,300 yen, high school students 900 yen * Advance reservations (reserved-seat tickets) are recommended for this exhibition. Please check the official website of the exhibition for details.
Organizer	Tokyo National Museum, Naples National Archaeological Museum, Asahi Shimbun, NHK, NHK Promotion
inquiry	050-5541-8600 (Hello dial)
Exhibition official website	https://pompeii2022.jp/

* The content of the article is as of January 20, 2022. Please note that the information may differ from the latest information.

 

Article provided by: Kokoshiru Ueno

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Taito Ward Calligraphy Museum

While serving the Yuan dynasty dominated by the Mongolian people, he spent his life inheriting the traditional culture of the Han people and left a great deal of achievement in the history of Chinese calligraphy. Zhao Mengfu Chomofu (1254-1322). To commemorate the 700th anniversary of his death, the Taito Ward Calligraphy Museum is holding a special exhibition “700 years after his death Zhao Mengfu and its era-reconstruction and folklore”.

Mr. Nobuhiro Nakamura, a senior researcher at the Calligraphy Museum, introduced us to this exhibition, so we would like to report on the state of the venue and the contents of the exhibition.

Session: January 4th (Tuesday) -February 27th (Sunday), 2022 During the period, some works will be exhibited and scenes will be changed. First term: January 4th (Tuesday) to 30th (Sunday), second term: February 1st (Tuesday) to 27th (Sunday)

* This is a collaborative project with the Tokyo National Museum .
* The photos shown are taken with special permission.
* The photo is dark overall due to the lighting in the exhibition room. note that.

Zhao Mengfu, the folklore of Wang Xizhi’s calligraphy

Zhao Mengfu Chomofu Was born at the end of the Southern Song Dynasty as the 11th descendant of Song’s great ancestor (the founder of the dynasty), and was an active literary person in the field of calligraphic works. At the age of 26, he was worried that his country would be destroyed, but at the age of 33 he was invited to the Yuan dynasty under the rule of the Mongolians and held important positions.

Even though he was from the Song dynasty, which is a Han Chinese dynasty, he was criticized at that time and in posterity for how unscrupulous it was to serve a foreign dynasty. However, Zhao Mengfu did not serve for the sake of career advancement and money. Will be described later Wang Xizhi Wang Xizhi It is believed that he chose to have power even if he was stigmatized, with his mission to protect and inherit the traditional culture of the Han Chinese, including the writing style of.

In this exhibition, about 50 items including related materials such as banknotes and seals that show how Zhao Mengfu, who has such a sense of mission, learned and wrote books and passed them on to posterity. Introduced in the work.

Before taking a closer look at Zhao Mengfu’s work, the Eastern Jin dynasty aristocrat, who was the first to be named as a well-learned calligrapher, he was devoted to. Wang Xizhi Wang Xizhi I would like to briefly introduce (303-361).

Wang Xizhi, who is called Shosei, the god of calligraphy, is the most famous person in the history of Chinese calligraphy, who raised the calligraphy to the realm of art by bringing emotional expressions into the world of calligraphy, which was all about practical use. The book has a plain and universal beauty and is still the highest norm of calligraphy to this day.

When Zhao Mengfu began working in the Yuan dynasty, Wang Xizhi’s presence diminished in the big city, and during the Tang Dynasty, when he was a reformist of calligraphy. Yan Zhenqing Cancer It is said that (709-785) was worshiped. Zhao Mengfu learned the writing style of Wang Xizhi, who has the same roots, and advocated a retrospective principle, in order not to turn off the lights of the Han Chinese culture, especially the culture of southern China, which is his roots. The style that returned to the origin of the classical writing method and shape derived from Wang Xizhi seems to have changed the flow of calligraphy since the Song dynasty.

Wang Xizhi does not have an existing handwriting, and can only trace his handwriting from his autographs and rubbing books. In other words, Zhao Mengfu, who is essentially the successor to Wang Xizhi, is an indispensable presence in approaching Wang Xizhi, and vice versa.

Naturally, many books by Wang Xizhi are introduced in this exhibition dealing with Zhao Mengfu.

The photo above is the famous masterpiece of Wang Xizhi’s book, “ Lantingji Xu Rantejo Of the many reproductions of Sadatake Tebu What is called a book. Mr. Nakamura says about this work, “There is a certain strength in the quiet atmosphere by removing unnecessary meat. It is a character that the aristocrats at that time are likely to write with elegant writing.”

Other “Lantingji Xu” have flashy brush strokes, but it was evaluated that Sadatakemoto was the quietest and approaching the essence of Wang Xizhi, and Zhao Mengfu also respected Sadatakemoto in particular. Yes.

This is”絳 帖Kojo It is a book of Wang Xizhi recorded in the copybook (model book), but it is said that it was actually owned by Zhao Mengfu 700 years ago. The proof is marked with “Matsuyuki”, which is the issue of Zhao Mengfu, so it may be fun to look for it when you see the real thing.

It’s a little off the subject, but it’s very bold from the modern Japanese sense to feel free to stamp the possession stamp not only for this work but also for valuable works. Write down your history and impressions “ Epilogue Batsu “Sentence” was also left in the empty space of various books, which made me feel strange.

Although it was not posted, Wang Xizhi wrote the Taoist scripture, which was also owned by Zhao Mengfu, in a small regular script. Yellow garden sutra This way The copybook of “” is also a must-see. The harmonious and elegant character that can be understood at a glance why Wang Xizhi is treated as a calligraphy was enough to be seen even if it was not a handwriting.

No matter where you look, there are only beautiful characters! Enjoy the world of Zhao Mengfu

Now, from here, I will introduce the work of Zhao Mengfu, who is the main subject.

“It’s a must-see for anyone who wants to learn a book for the first time, or who is thinking about what to learn, because there are only beautiful characters no matter how you look at it,” says Mr. Nakamura. It was.

Zhao Mengfu acknowledged his feelings about “Lantingji Xu” and Wang Xizhi of Sadatakemoto introduced earlier. Rantei 13 scarlet Ranteju Sanbatsu Is one of the highlights of this exhibition. Mr. Nakamura described the charm of this work as “The first four pages on display are Zhao Mengfu’s writings of” Lantingji Xu “, and the second four pages are Zhao Mengfu’s swordsman. You can see how Zhao Mengfu aimed for Wang Xizhi’s writing style and was thin. ”

Indeed, until I was told, I was unaware that the writings and scarlet texts were written. I feel that characters with many strokes have a similar shape and atmosphere.

Wang Xizhi said, “Of the many” Lantingji Xu “, Sadatakemoto is the best. The shape of the characters changes with the times, but the brushstrokes do not change even a thousand years ago. From the book, Yuhide’s spirit (excellent taste) naturally comes out. It should be a teacher’s method. ” You can feel the deep respect for Wang Xizhi.

Although it has been partially burned down, the handwriting of this work can be seen in the exhibition at the Tokyo National Museum.

“ Ten Crimes of Qin Kashinron “or” Regular script Han Ji An Kaishokankyu Andensatsu From the work written neatly and neatly, Zhao Mengfu’s extraordinary discipline can be seen. People are just overwhelmed by how well they can write such well-organized characters.

Looking at Zhao Mengfu’s small sword, I think that he has a solid correct form of letters, and that he can output it accurately without any deviation. How much study did you have to reach that level? According to Mr. Nakamura, Zhao Mengfu wrote 10,000 characters (!) A day, which is why.

By the way, Zhao Mengfu’s regular script was popular in the Qing dynasty, and in the Imperial Examination (high difficulty bureaucratic appointment test), when making an answer with Zhao Mengfu’s regular script, the score was sometimes positive. It was a convincing beauty to be treated that way.

Although it was not posted, especially the handwritten “Regular Script” is a fine brush that can not be expressed in Takumoto, and you can see the writing style like a razor, and you can not breathe. I will forget my breath when I carry it.

This is” Thousand characters Senjimon This is a 1000-character long poem consisting of 250 four-character phrases that was used as a model when teaching Chinese characters to children. It is written side by side with a regular script and a cursive script, and Zhao Mengfu also learned with “Senjibun” and left “Senjibun” as a duty of the landlord. Even the author, who is not familiar with cursive script, can feel the elegance of each stroke of this cursive script.

By the way, as a master of calligraphy, I imagined that before the appreciation, there was a characteristic of the characters that could clearly say “This is Zhao Mengfu!”. However, when I appreciate it, it seems that the beauty that is well-proportioned is wonderful because it follows Wang Xizhi, but there are not many other features …?

Is it just beautiful? Mr. Nakamura taught the author, who is not sure about the “likeness” of Zhao Mengfu’s landlord, as follows.

“It’s true that Zhao Mengfu’s book is beautiful. It’s beautiful for everyone, so it’s easy for beginners to enter, but it’s not a big deal, and it’s easy for anyone to write it. You can see that it is the beauty calculated for the first time. If the strokes shift even a little, the collapse starts at once, which may be said to be a feature. “

After listening to that story, I watched it again. Su Shiji Rhythm Poem Soshokujiinsenshi “. Zhao Mengfu looks up to be a teacher Akimoto Nakamine Chuhominpon This is the work I wrote when I visited. It is a mixture of regular script, semi-cursive script, cursive script and typeface, and it is improvised and written quickly, but I am surprised that the overall balance is outstanding.

It is strange to get an uneven impression when looking at a part of the characters, such as thick and thin lines and large and small shapes. Is this also part of the “calculated beauty”?

“It’s important that the whole thing is organized. Even if the characters look disjointed at first glance, they can be put together without any discomfort. Excellent technology is required, but the landlord can do that,” says Nakamura.

So that’s it……! I finally understood how amazing it was. Please pay attention to this point and go around the exhibition.

In addition, there was an exhibition that conveys the popularity of Zhao Mengfu in Japan, such as a masterpiece that was handed down to the Mito Domain during the Edo period, and a work that was copied by Zhao Mengfu’s “Hakurakuzu”, which was also an excellent painter, by the Kano school Kano Nakanobu.

The book of Zhao Mengfu’s younger brother, who is extremely valuable!

There are also interesting exhibits that show the timeliness. A bureaucrat of the Northern Song Dynasty Cai Xiang Saijo Dedicated to the emperor Regular script Thank you book Poetry table volume Kaishosha Shigosho Hyokan “is. The highlights are the way the space is taken and the neat character appearance, but the focus is on one of the four Song dynasties. Mi Fu Beifutsu The scarlet sentence added by. Mi Fu has only seen this book in a rubbing book for many years, and 40 years later, he finally saw his autograph, so he wrote a scarlet sentence as a memorial.

Even the landlord of the book that served the emperor has been around for 40 years. You can see how valuable the chance to meet a celebrity’s autograph at that time was. The regular script says “40 years” as it is, so it’s easy to find, so please take a look at the book filled with myriad feelings.

In addition, multiple people wrote a scarlet sentence in this work, and among them, Zhao Mengfu’s best friend, Xian Yushu Senusu And younger brother Zhao Mengfu Chomoyu Also the character of. Zhao Mengfu’s characters are very rare, so don’t miss it.

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I was worried that people who couldn’t read the written content would enjoy it because the book wasn’t bright, but I was completely fascinated by the fact that I could watch it for hours.

This interview is done at the timing when the first half exhibition can be appreciated, and it seems that the face of the work will change considerably in the second half exhibition starting from February 1 (Tuesday). In the second half, the number of exhibitors has increased by several points, so it seems to be even more enjoyable. Please see the list on this page for detailed exhibits.

By the way, the author also visited the exhibition at the Tokyo National Museum, which is a collaborative project. Compared to the exhibition of Zhao Mengfu, a calligraphy museum that focuses on individuals, the Tokyo National Museum has contents that allow you to enjoy books and paintings that give you a bird’s-eye view of the atmosphere of the entire era. Please watch it together.

■ Outline of the special exhibition “700 years after his death Zhao Mengfu and its era-reconstruction and folklore-“

Legislative session	January 4th (Tuesday) -February 27th (Sunday), 2022
venue	Taito Ward Calligraphy Museum
Opening hours	9:30 am to 4:30 pm (admission is until 4 pm)
closing day	Monday (the next weekday if it overlaps with a holiday), special arrangement period, etc.
Admission fee	General 500 yen (300 yen) Small, middle and high school students 250 yen (150 yen) * Please check the official website for details.
Exhibition official page	https://www.taitocity.net/zaidan/shodou/oshirase/news/2113/

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Tokyo National Museum

From January 7th (Friday) to March 13th (Sunday), 2022, at the Tokyo National Museum Hyokeikan in Ueno, Tokyo, a UNESCO Intangible Cultural Heritage Special Exhibition “Experience! Japanese Traditional Performing Arts-Kabuki / Bunraku / The world of Noh, Yagaku, and Kumidance- “ is being held.

This exhibition where you can enjoy the unique beauty and “work” of the five traditional performing arts registered as UNESCO Intangible Cultural Heritage. The contents of 2020, which was canceled to prevent the spread of new coronavirus infection, have been partially renewed.

Since I participated in the press preview held prior to the event, I would like to report on the situation at the venue.

* Please note that some works will be changed during the exhibition period.
First term: January 7th (Friday) -February 13th (Sunday)
Late: February 15th (Tuesday) -March 13th (Sunday)

The gorgeous “Kinmon Gozan Kiri” reenactment stage welcomes visitors

In this exhibition, we have gone through various histories such as the oldest gagaku, which was roughly formed in the Heian period, Nogaku, which was completed in the Muromachi period, Bunraku (Ningyo Joruri) dating back to the early Edo period, Kabuki, and Kumi Odori. It is a content that you can enjoy by viewing the traditional Japanese performing arts that continue to live in.

Specifically, a part of each entertainment stage is reproduced in a size close to the actual size. At the same time, we introduce costumes, musical instruments, props, and valuable video materials that were actually used on the stage.

Some of the reproduction stages are designed so that visitors can go up so that they can experience the stage space from the actor’s point of view, and the atmosphere is especially enjoyable at the Kabuki “Kinmon Gosan no Kiri” stage immediately after entering the venue. .. A number of hanging branches of cherry blossoms hang down at the top of the colorful temple architecture, and the gorgeous and spectacular three-dimensional exhibition of Ishikawa Goemon shows its presence in the center.

It is also noteworthy that the entire room where the stage is placed is colored like a playhouse in the Edo period with graphics and lanterns of people who are bustling on the pier. On display on the wall is a nishiki-e depicting a Kabuki actor. In addition, the screening of Japan’s oldest movie “Momijigari” starring Ichikawa Danjuro 9th and Kikugoro Onoe 5th.

In a space that expresses the spirit of Kabuki that enlivens the festive mood with gorgeous colors, it invites visitors to the extraordinary world at once.

The costumes of Kamakura Gongoro Kagemasa of “Temporary” are plentiful! Powerful exhibition work

Here are some of the works that caught the eye of this exhibition.

First of all, here is a costume that expresses the superhuman power of Kamakura Gongoro Kagemasa, one of the eighteenth Kabuki. You will be amazed at the majesty of the sleeves of the large crest, which is the white crest of the three squares! Seen from the side, it looks more like a kite than a sleeve.

I remembered that the costume of Superman Kamakura Gongoro Kagemasa was out of the standard, but it was so exaggerated that I really laughed when I saw the real thing. How many tens of kilometers are there … Since you are going to be rampaged by wearing something like this, it is a presence that you will be convinced without asking questions if it is decided to be strong.

Next to it is a large sword that exceeds 2M of Kagemasa. The scene in which Kamakura daringly cuts off the necks of many people with just one swing of this Ōdachi is one of the most impressive scenes in the “temporary”, but it was powerful enough to make me think that it was possible.

You will be overwhelmed by the Daiko drums displayed in the Gagaku area. What kind of prop is this colorful object? When I read the explanation, I was very surprised that it was an instrument. It is a huge taiko drum used for formal dance, and it is originally a pair of left and right drums, but the taiko drums in the National Theater of Japan are decorated on the left and right sides.

At the top are a sun ring and a moon ring, a large flame and a five-colored cloud shape surrounding the drum, sculptures of a rising dragon and a phoenix on the left and right, and gold leaf on the leather of the drum. Various patterns and colors that indicate auspiciousness are used, and 5M, combined with the probable giant body, made me feel the power that makes me want to worship just by looking at it. I’m wondering what kind of sound it makes!

Fascinated by the delicate beauty of costumes and props

The real thrill of this exhibition is that you can appreciate the details of the costume and prop designs that you cannot understand from the audience seats of the theater.

What was so vivid as to wake up was the three-dimensional exhibition of the celestial maiden of the Kumi Odori “Mekaru” based on the legend of Hagoromo.

The author, who lives in the Kanto region, didn’t have much chance to come into contact with Okinawa’s performing arts, Kumi Odori, so the unique shape of the raging waves depicted in the Bingata costume “Yellow ground phoenix Tachinami pattern” worn by the celestial maiden. Looks fresh. Bingata, which is characterized by its splendid multicolored color, is said to be a pattern dyeing peculiar to Okinawa.

The appearance of wearing a swan maiden that seems to express a rainbow-like brilliance will surely look many times more graceful than the exhibition if you move. During this exhibition, I was interested in the difference in the color sense of Kumi Odori, especially the way of incorporating red, when compared to the mainland entertainment.

In the Nogaku area, we introduce standing by combining faces, costumes, and props for each role, but there are things that are particularly drawn to standing by the appearance of a demon.

“Hannya”, who becomes a demon from jealousy and resentment and is a female face, is familiar because it expresses the duality of anger from the bottom of the eyes and deep sadness from the top of the eyes. In addition to the mystery of being on the border between the mystery and this world, I once again enjoyed the modeling that conveys many intertwined emotions, such as the unwillingness to become a demon and the sadness of being at the mercy of emotions.

The costume for the role of such a demon is “black background pattern sewing foil”. Various patterns are studded with embroidery and gold / silver leaf, and it is an elegant but playful design. Each pattern with cherry blossoms, plums, chrysanthemums, etc. as a motif has a cute color, so why is this exclusively for demons? I have some doubts, but …

As with family crests, even with one of these small patterns, we cannot help but feel the aesthetic sense of the Japanese people who have been involved in nature such as the four seasons and Kacho Fugetsu, and have incorporated nature into their lives and coexisted with it.

In the Bunraku area, you can see the gorgeous Joruri doll costumes that are not inferior to human size, such as “Yoshitsune Senbonzakura” Shizuka Gozen, but the display of the doll’s neck is also interesting.

It seems that each neck has a shape that expresses the fundamental character of “sexual root”, for example, “Bunshichi” used for the hero of tragedy, which causes anguish inside, and is simple and stupid. “Matahira” used for honest roles was introduced.

Even if you don’t read the explanation, I’m impressed because you can understand the general image of the person, “I wonder if it will be used in such a role.” It seems like nothing, but it’s actually amazing. I would like you to take a closer look at the beauty of the sculpture that has been refined and refined to the present day.

UNESCO Intangible Cultural Heritage Special Exhibition “Experience! Japanese Traditional Performing Arts-Kabuki / Bunraku / Nogaku / Gagaku / Kumi Odori World-” Overview

Legislative session	January 7th (Friday) -March 13th (Sunday), 2022 * Some works will be changed during the exhibition period.
venue	Tokyo National Museum Hyokeikan
Opening hours	9: 30-17: 00
closing day	Monday
Admission fee	General 1,500 yen, university students 1,000 yen, high school students 600 yen * Advance reservation (reserved-seat ticket) recommended * Free for junior high school students and younger, persons with disabilities and one caregiver, etc. Please check the official website for details. ⇒ https://tsumugu.yomiuri.co.jp/dentou2022/tickets.html
Organizer	Agency for Cultural Affairs, Japan Arts Council, Tokyo National Museum, Yomiuri Shimbun
inquiry	050-5541-8600 (Hello dial)
Exhibition official website	https://tsumugu.yomiuri.co.jp/dentou2022/

 

Article provided by: Kokoshiru Ueno

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