Author: nakano

Tokyo National Museum

From June 22nd (Tuesday) to September 12th (Sunday), 2021, a special exhibition “National Treasure Seirinji Eleven-faced Kannon-Miwayama Faith Mihotoke” is being held at the Tokyo National Museum in Ueno, Tokyo. is.

This exhibition attracts attention as the national treasure “Eleven-faced Guanyin Bodhisattva Statue”, which is said to be the masterpiece of Japanese sculpture due to its exceptional beauty, is exhibited outside Nara Prefecture for the first time in history. Since I participated in the press preview, I will report on the situation at the venue.

Buddha statues related to Oomiwa Shrine reunited for the first time in about 150 years!

The national treasure “Eleven-faced Kannon Bosatsu Statue”, which is the main character of this exhibition, is owned by Shorinji Temple in Sakurai City, Nara Prefecture, but until the Edo period, it was enshrined at Oomiwa Shrine in the same city, not at Shorinji Temple. Did you know that it was done?

Oomiwa Shrine with Mt. Miwa as the deity that conveys the ancient Japanese belief in nature to the present day. In the Nara period, the introduction of Buddhism promoted Shinto-Buddhist training, and Oomiwa-ji Temple (renamed to Oomiwa-ji Temple in the Kamakura period) was built in the precincts of Oomiwa Shrine, and many Buddhist statues are now enshrined.

However, when the Meiji government’s Shinbutsu bunri decree caused a wave of abolition of Buddha, Daimiwaji became an abandoned temple. Buddha statues are also forced to move to nearby temples such as Shorinji Temple, which they have a close relationship with.

This exhibition includes the national treasure “Eleven-faced Kannon Bodhisattva statue”, the national treasure “Jizo Bodhisattva statue” (Horyuji temple collection), “Nikko Bodhisattva statue” and “Moonlight Bodhisattva statue” (both are Shokei temple collection). The Buddhist statues enshrined at Rinji are exhibited together in the form of reunion for the first time in about 150 years.
At the same time, we will introduce materials that tell the story of the natural beliefs of Oomiwa Shrine and ancient rituals, as well as excavated items from the Mt. Miwa forbidden land.

Eleven-faced Kannon to enjoy 360 degrees from various angles

The national treasure “Eleven-faced Kannon Bodhisattva Statue” is settled in the center in a clean atmosphere. Behind the statue is a reproduction of the three torii gates of Oomiwa Shrine. It is not the main shrine that continues from the torii gate, but Mt. Miwa, which visually conveys the form of natural beliefs at Oomiwa Shrine.

Eleven-faced Kannon, as the name implies, has 11 faces.
In India, the number “10”, which means all directions, is combined with the main body surface to make 11 faces, but in Japan, the main body face + 11 faces is common. The national treasure “Eleven-faced Kannon Bodhisattva Statue” is also the latter.

The 11 faces of the crown overlooking all directions have individuality, and the 3 front faces are the “Bodhisattva face” with a gentle expression. The “shinnu side” looks like an angry face on the left side (right side when facing the front) when viewed from the statue. The right side (left side when facing the front) when viewed from the statue is the “gejoshutsu side” where the fangs are exposed. “Laughing face” with a big laugh on the back side. And it is the “top Buddha face” in the center.

The current national treasure “Eleven-faced Kannon Bodhisattva Statue” has lost three sides. Therefore, unfortunately, it is not possible to check only the “laughing face”, but since the venue is arranged so that you can watch it from anywhere in the front, back, left and right, it is a nice point to enjoy all the existing faces with the naked eye.

Most of the pre-modern Buddhist statues that exist in Japan are made of wood, but in the Nara period and around the latter half of the 8th century, a technique called dry lacquer was used for production. This statue is also one of those made by “Kishin dry lacquer ware”, which is made by molding lacquer and wood powder kneaded material called Kokuso lacquer on the wood core.

Wooden lacquer is said to be suitable for realistic expression because it is made by raising lacquer instead of scraping it. In this statue, the loose curves of the folds of the heavenly garment that seem to be covered with wind, the tension of the flesh, the undulations of the eyelids that make you feel the presence of the eyeballs, and the orderly appearance of the hair muscles are expressions unique to wooden lacquer. Is the highlight.

From the side, you can see the slender proportions of 8 life, the thickness of the chest, and how to place the center of gravity. The posture with the head of a solemn face slightly forward seems to be trying to capture the appearance of people firmly.

The rear view is a gem of beauty, not to mention the smoothness of the back, but especially the graceful appearance that the curve of the clothes from the waist to the legs is fascinating is a must-see. The contrast between the gold leaf that has been peeled off in places and the glossy black color of the ground creates a shadow with an atmosphere.

If you look closely at the details, you will also be fascinated by the gentleness of the fingers of your left hand holding the treasure bottle and your right hand lowered. The pedestal with a lotus flower motif also has the gorgeousness of Tenpyo art. It makes me realize that the reputation of being “the masterpiece of Japanese art” is not an exaggeration.

In addition, a halo that visually expresses the halo of the gods and Buddha is also on display. Nowadays, most of it is lost except for the shaft part, but it is speculated that it was originally a halo that engraves a triple sphere and arabesque. The splendor of the past days is remembered.

Introducing other exhibited works

The national treasure “Jizo Bosatsu Statue”, which was once placed next to the eleven-faced Kannon at Omiwaji Temple, is a Buddhist statue carved from a single piece of wood except for the hands of both hands. The thick body is full of realism, as if a single tree were standing there.

The “Nikko Bosatsu Statue” and “Moonlight Bosatsu Statue” look exactly like each other, but it is interesting that the materials, structural techniques, and styles are different, and it seems that they were not originally one tool. The Nikko Bodhisattva has a large nose, and the Moonlight Bodhisattva has a long and gentle expression, and the area around the chin looks refreshing.

In this exhibition, the ones excavated at Mt. Miwa Forbidden Land and Yamanokami Heritage are also exhibited, but most of them are imitations in the shape of tools used for some kind of ritual. The most eye-catching are the stone products and earthenware that are shaped like the utensils related to sake brewing.
It was interesting to see that the brewing beliefs of Oomiwa Shrine, which remains to this day, can be traced back to the Kofun period from the existence of excavated items, assuming that Omononushi, the deity of Oomiwa Shrine, is the god of sake. ..

The special exhibition “National Treasure Shorinji Eleven-faced Kannon-Mt. Miwa Faith Mihotoke” will be held until September 12, 2021 (Sun).

At the same time as the opening of this exhibition, a new permanent experience exhibition called “Japanese Art Tobira” was released in the special 3 rooms of the main building of the Tokyo National Museum. If you move your hand in front of a huge screen where you can learn about the history of Japanese art, you can experience interactive experiences such as rotating the displayed pop-up of Japanese art and turning pages. You can also appreciate masterpieces such as “Wind” and “Flowering Plants of Summer”.

Advance reservations are required, but the admission fee for the special exhibition will be included as it is, so why not take a tour together?

Outline of the special exhibition “National Treasure Shorinji Eleven-faced Kannon-Mt. Miwa Faith Mihotoke” * This exhibition requires advance reservation (reserved-seat ticket). Please check the official exhibition website for details.

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Ueno Royal Museum

Exhibition of Yasuhisa Hara original of the cartoon "Kingdom," "Kingdom Exhibition – Shin -" is, is being held at the Ueno Royal Museum in Tokyo Ueno. * The session is from June 12th (Sat) to July 25th (Sun), 2021.

"Kingdom Exhibition-Shin-" created under the full supervision of the author

The popular manga "Kingdom" serialized in "Weekly Young Jump" (Shueisha) is set in China during the Warring States period in the spring and autumn, and is a former servant boy, Shin, who aims to become a general in the world, and Qin, who later becomes Qin Shi Huang. This is a story about the young king, Eisei, aiming to unify China.

This "Kingdom Exhibition-Shin-" was planned to commemorate the 15th anniversary of the serialization of "Kingdom". This is the largest exhibition of original paintings in history, where you can immerse yourself in the world of powerful works.

Under the full supervision of the author, Mr. Hara, the story of the main character, Shin, is reconstructed, and the story of encounters, battles, and farewells from the first episode "The Boy With No Name" to the 438th episode "The Time of Yuhi" is 400. It is a content that will be followed with a handwritten original picture with more than a point and a huge graphic.

20 original drawings! Introducing the exhibition contents and venue of "Kingdom Exhibition-Shin-"

This exhibition is divided into areas consisting of Chapters 0 to 13 + ending.

In Chapter 0 "The Boy With No Name", which introduces the beginning of Shin's story, Shin and his best friend Hyo, who were orphans from the war, talk about their dreams of becoming a general in the world and the original picture of the farewell scene is exhibited. It has been. In this exhibition, 20 original drawings drawn for this exhibition are exhibited, but about 1/3 of them are concentrated in this chapter 0! Newly beautifully drawn faith and days spent drifting … I feel Mr. Hara's strong commitment.

In Chapter 1, "Battle of the Dakan Heigen", Shin's first battlefield is fully reproduced with a graphic panorama based on the newly drawn original picture and battle BGM.

In the following Chapter 2, "The Phantom Bird of Qin," a huge original drawing (Japanese paper panel) of Qin's general, Ouki, who meets Shin in the "Battle of the Snake Sweet Plains" and chases his back. Will show up. The size is about 3m in height and about 1.5m in width, which is a powerful score!

In the 66th episode of the original story, when I first met the royal knight, I was overwhelmed by the size of his existence, saying, "This … this guy … is too big to solve!" One can look up at the royal knight from the same perspective as Shin.

In Chapter 3, "Mayo Defense Battle," which focused on the activities of Shin's unit, which was named "Hishin Corps" by the royal horse, Zhao's enemy general, Feng, had a slight gap after the fierce battle. The highlight is that it expresses one of the most famous scenes in which Shin defeated) with a three-dimensional structure.

And the exhibition is Chapter 4 "Pang Nuan and Pang Nuan", which pursues the death battle between the royal knight and the enemy, Pang Nuan, and the fifth, which shows the final scene of the royal knight only with a series of original drawings. We will continue to Chapter "Inheritors" and Chapter 6 "Aiming for Generals", which introduces those who have emerged in Qin.

The battle of Shin is extremely fierce, with Chapter 7 "Battle of Sanyo" and Chapter 8 "Battle of Kankokukan". In particular, the exhibition of "Battle of Hakotani Seki", in which the five countries of Wei, Zhao, Han, Yan, and Chu became joint forces and invaded Qin and despaired many readers, is an enemy country that changes rapidly in 15 days. The highlights of each battlefield are tightly packed and very impressive!

The battle between Qin and the combined forces involves the exhibitions in Chapters 9 and 10. Chapter 9 "Great Flame", which expresses the burning flames of the fiery battle of Lord Biao, who was the first battlefield commander for Nobu, on the red wall, is also exciting, but it was ridiculed. In the final phase, Chapter 10 "Battle of Buds" introduces the battle in "Sai", which has no end if you lose.

Looking sideways from the original picture depicting the figure of Shin, who was exhausted by repeated death battles, lost Lord Biao, and was about to break his heart, he was confident that he came to the dead ground despite being a king. The scene that appears in front of you appears with a graphic on the entire wall. It had a presence as if Shi Huang was right in front of him, and it was a nice production where he could experience the light that reached the darkness and the impression that Shin received.

Chapters 11-12 are a moving gem arrangement

The original drawings have been arranged in chronological order up to Chapter 10, but at the end of the exhibition, after Chapter 11, it is an original development only for this exhibition.

From Chapter 11 "Questions of Lu Buwei" to Chapter 12 "The essence of human beings is light", the nation of Qin fighting for supremacy and hegemony, which was drawn in episodes 423 to 427 of the original story.・ Based on the questions and answers about the pros and cons of unifying China by Lu Buwei.

War is an unmistakable manifestation of the essence of human beings, and the background of why Qin Shi Huang, who strongly denies Lu Buwei's idea that war will not disappear, "the essence of human beings is light" came to that idea. Is introduced in a vast space.

A woman named Shi Huang who saved her childhood politics, drifting, royal knights and Lord Biao, and unnamed people. Impressive scenes of characters who have met, supported, entrusted their thoughts, and died by shining the light inside themselves appeared like a magic lantern, shaking the tear glands of the original reader. I will.

The arrangement that makes it more dramatic without spoiling the charm of the famous scene that was the most exciting in the original is excellent. It may be said that this chapter is the biggest highlight of this exhibition.

Color originals and one-shot names

The final chapter, Chapter 13, "The Time of Yuhi," features a remake of the future of Shin, who became a shogun, drawn at the beginning of the first episode. The story exhibition ends when Shin and Shi Huang, who have overcome their harsh fate, take a new step.

At the end of this exhibition, the "ending" that core fans will be pleased with awaits the viewers. "Bonus original picture selection" that introduces famous scenes that could not fit in each chapter with author's comments, color original pictures including newly drawn exhibition key visuals, one-shot "golden wings" name that can be said to be a prototype of "Kingdom", Valuable items such as rough sketches were lined up.

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"Kingdom Exhibition-Shin-" where you can fully enjoy the writing condition of the original drawings, such as the realistic battle scenes, which is one of the greatest attractions of "Kingdom", and the facial expressions of characters full of vitality.

This exhibition, where you can walk with the feeling of "reading" rather than seeing, should be able to enjoy the story of Shin from the beginning with a fresh feeling, regardless of whether you are a light fan or a core fan. Please come and visit us.

Outline of "Kingdom Exhibition-Shin-"

Session	June 12th (Sat) -July 25th (Sun), 2021
Venue	Ueno Royal Museum
Opening hours	10: 00-20: 00 * Last admission is 1 hour before closing
Admission fee	All-day date and time designation system Please check the official website for details. https://kingdom-exhibit.com/ticket
Organizer	Shueisha, Asahi Shimbun
Sponsorship	Kyodo Printing, Lawson Ticket
Inquiry	050-5541-8600 (Hello dial from 9:00 to 20:00 all day)
Official site	https://kingdom-exhibit.com/

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Tokyo Metropolitan Art Museum

At the Tokyo Metropolitan Art Museum in Ueno, Tokyo, a special exhibition “Isamu Noguchi’s Discovery Road” is being held from April 24th to August 29th, 2021.

This exhibition traces the “path of discovery” that Isamu Noguchi took while searching for “what is sculpture” throughout his life with about 90 works. We will report on the state of the venue and the exhibited works.

About the sculptor Isamu Noguchi

Isamu Noguchi (1904-1988), a leading sculptor of the 20th century, has demonstrated exceptional talent in various fields such as stage art, product design, and landscape design.

Despite being a well-known master, Noguchi was not good at sticking to one form or material due to his unique sculptural philosophy, as you can see at a glance at the works of sculpture.

Not even one base, he is a person who “does not settle down” in many ways, having continued his creative activities while going back and forth between New York and Japan, and sometimes Italy.

Noguchi used to feed on the loneliness and strong desire to belong to his father as a Japanese and his mother as an American, but the work expressed from his creative attitude of avoiding peace is surprising. It is colorful and rich in expression.

This exhibition, entitled “The Road to Discover Isamu Noguchi,” is an encounter that Noguchi gained from the culmination of the stone carvings of his later years, including various aspects of Japanese tradition and culture that continued to give important inspiration. A panoramic view of 90 works. The idea is to experience the possibilities of sculpture and the boundaries of art that Noguchi has pioneered.

A scene from the special exhibition “Isamu Noguchi’s Road to Discovery”

The venue for this exhibition consists of three chapters of exhibition space based on Noguchi’s idea that “sculpture and space are one”, but the first thing you notice when you look at the whole is the small number of walls. The works were scattered on a large floor.

As it is a so-called strolling exhibition, you can immerse yourself in the world of Noguchi’s works as you go.

Another feature is that the works are exhibited without being put in a glass case, except for some parts.

“Without the purpose of public enjoyment, the meaning of sculpture itself would be questioned.” “I have never seen sculpture as something that should be separated and sacred.” (Note 1)

Noguchi who once said that. His work, which focuses on the usefulness of sculpture in daily life, not just as an appreciation, may shine more lively when exhibited in a form that is not separated from people like this exhibition. Hmm.

Chapter 1 “The Universe of Sculpture”

On the floor of Chapter 1, “The Universe of Sculpture,” there are various works from the 1940s to the last 80s, which are studded like stars.

There are many notable works such as “Black Sun” that makes you feel as if the unevenness is moving when you change the angle, and “Void” that reminds you of infinite space-time, but the biggest highlight is still in the center of the exhibition room. It will be a large-scale installation with 150 lights that give off a feeling.

“Akari”, which was likened to the light of the sun and moon, started production after Noguchi met Gifu lanterns in 1951. It is a special series that should be called life work, which is rare for Noguchi who avoids sticking to a certain material and form, and has continued to make more than 200 variations over 30 years.

Noguchi is not just a lighting fixture, but a “light sculpture” that engraves the light itself through Japanese paper, and “provides quality to life and fills any world with light” (Note 2). I was thinking.

This is a complete form of Noguchi, who continued to ask “what is sculpture” by expanding the conventional concept of sculpture.

There is a passage under the installation of “Akari” that blinks slowly, and you can walk in it. I felt the comfort of being gently wrapped in the soft light that illuminates the world without distinction.

Chapter 2 “The World of Karomi”

In Chapter 2, you can experience the world of “Karomi (lightness)” challenged by Noguchi who tried to incorporate the element of “lightness” contained in the state of Japanese culture into his work.

There are various types of metal plate sculptures, such as “Zazen”, created based on ideas from origami and kirigami, such as bent aluminum plates and cut steel plates. However, the impression I get is just like paper.

It embodies the “denial of the weight and materiality of sculpture” that Noguchi aimed at, which is flat but has volume and depth.

Noguchi, who had an amusement park construction plan, has also started making large playsets, one of which is the playset sculpture “Place Culture” that stands out on the floor. The characteristic form of a ring of pipes that undulate like waves is full of dynamism and bouncy lightness that tickles children’s hearts.

Chapter 3 “Stone Garden”

In Mure-cho, Kagawa Prefecture, there is the Isamu Noguchi Garden Museum, which is a museum of Noguchi’s outdoor atelier and residence, but on the Chapter 3 “Stone Garden” floor, the stone carvings that remain in the museum are on special display. It is said that this exhibition will be the first to be exhibited together except for Murei since the museum opened in 1999!

Under the abundant nature of the ritual, with the help of mason Masatoshi Izumi, he faced the essence of stone and began to hear the “voice of stone” by connecting his senses and the world in an atelier where everything anaphorically interacts. Noguchi who said that.

We created a group of stone carving works, which is also called the culmination of Noguchi, with a completely new expression method of adding only the minimum necessary work while leaving the appearance of the stone as it is.

Approximately 3 meters, the largest sculpture in this exhibition, “Twisted Pillar,” is a masterpiece with bold shavings while skillfully utilizing the original essence of megaliths. You will be overwhelmed by the mysteriously balanced majesty.

“Floor lock” is a work in which two rocks are cut in a straight line from multiple angles, and the contrast between the polished stone surface and the background and the pattern that floats like a sword are sharp. It was as if Noguchi’s spirit of facing the work was still in the beauty of the sculpture.

The world of Isamu Noguchi’s work, which saw sculpture as “something that should be completely experienced, not just staring at it” (Note 3). Please visit this exhibition and experience the <Noguchi Space> with your whole body.

<Overview of the special exhibition “Isamu Noguchi’s Path of Discovery”> * Reservation recommended by date and time

(Note 1) Isamu Noguchi / Translated by Miwako Kitadai “Isamu Noguchi Essay”, Misuzu Shobo, 2018, P23, P96
(Note 2) Masayo Duus, “Isam Noguchi, Fateful Cross-border”, Kodansha, 2000, P318
(Note 3) Isamu Noguchi / Translated by Miwako Kitadai “Isamu Noguchi Essay”, Misuzu Shobo, 2018, P197

References:
“Official Catalog of’Isamu Noguchi’s Discovery Road'” (Asahi Shimbun, NHK, NHK Promotion)
Masayo Duus “Isam Noguchi Fateful Cross-Border” (Kodansha)
Translated by Miwako Kitadai “Isamu Noguchi Essay” (Misuzu Shobo)

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Tokyo National Museum

From April 13th to May 30th, 2021, a special exhibition “All about National Treasure Birds and Beasts Caricature” is being held at the Tokyo National Museum in Ueno, Tokyo.

One of the best masterpieces in the history of Japanese painting, “Choju-Giga,” which vividly depicts anthropomorphic animals and people’s activities, and continues to capture people’s hearts over time. We covered this exhibition, which attracted a lot of attention in the first attempt in the history of the exhibition to release all four volumes and all scenes at once, so we will report on the contents and highlights of the exhibition.

* The session is divided into the first half (April 13th to May 9th) and the second half (May 11th to 30th). Regarding the works introduced with photographs in this article, all the works that do not have a period notation in the information column at the bottom are exhibited for the entire period.

Don’t you know it? The mysterious world of “Choju-Giga”

Along with “Genji Monogatari Emaki”, “Ban Dainagon Ekomaki”, and “Shigisan Engi”, it is one of the four major picture scrolls in Japan, and is a national treasure “Choju-Giga” that has been protected and handed down by Kozanji Temple, an old temple in Kyoto.

It boasts an outstanding reputation among Japanese paintings, but “Choju-Giga” is also known as “Choju-Giga”, and not only animals but also people are drawn, and there is not one painter involved in the production. I think there are surprisingly few people who have a complete picture of what is presumed to be.

About 800 years ago, this work is said to have been drawn in stages from the end of the Heian period to the beginning of the Kamakura period, but in reality most of the detailed background, such as the author, the purpose of production, and the history of collection at Kozanji Temple, is It is a mysterious work that has not been clarified yet.

 It is said that each of the four volumes is related, but it seems that it was not conceived as a series from the beginning …

There is no textual information called a word book written in a general picture scroll, and I don’t even know if there is a common theme …

In other words, compared to the timeless sense of painting that you will never forget once you see it, the other information is a work that does not show its substance vaguely.

The only way to understand the work is to face the work itself seriously. There is no doubt that the unfamiliarity of the bottom is a factor that arouses the inquisitive mind of researchers and attracts us.

This exhibition is a unique opportunity to overlook the mysterious world of “Choju-Giga”.

The state of the venue and the contents of the special exhibition “All about National Treasure Choju-Giga”

This exhibition, which uses the space of two venues luxuriously, consists of three chapters. From here, we will introduce the contents of each chapter’s exhibition.

[Chapter 1] All of the national treasure Choju-Giga

The main feature of Chapter 1 is the effort to display all four volumes of A, Otsu, Hei, and Ding, all of which are about 44 meters (!) In total, all at once throughout the session. It will be an irresistible point for fans to be able to make a cross-sectional comparison of each volume, such as differences in brush strokes and expressions, which was not possible in the previous exhibitions where rewinding was carried out during the exhibition period.

Also, in Chapter 1, you can’t miss the unprecedented challenge of setting up a moving walkway and letting you appreciate “Choju-Giga”.

I think that the one installed in front of the instep, which is probably the most popular, was designed to prevent new coronavirus infections, but it does not push against people and moves very slowly, so it is “too fast”. There was no inconvenience such as “I couldn’t see it!” … I felt that it was an epoch-making facility where everyone could take a closer look at the work in the front row.

In the first place, picture scrolls are enjoyed in a dynamic way of viewing, from right to left, unfolding, rolling up, and unfolding again. This attempt can be taken as a smart measure by the organizer, who wants you to feel as if you are unraveling the picture scroll yourself.

[Chapter 2] A short cut and a model of a bird and beast caricature-recovery of a lost scene

In Chapter 2, Duncan and that was the one screen of the partially missing picture scroll to the hanging scroll, is Reproductions that hold copies of the lost screen in the original are exhibited.

Actually, the original “Choju-Giga” that has been handed down to date has some missing screens, and it is said that the current Komaki is complicated (the order of the screens is changed). Therefore, in this exhibition, originals, sketches, and models will be gathered from home and abroad. I am trying to get a bird’s-eye view of “all of the bird and beast caricatures” that once existed.

For example, on the left side of “Choju-Giga-Kansho (Tokyo National Museum)”, you can see black dots under the lotus umbrella of the frog, which is connected to the Hagi flower drawn on the 16th paper of the current Komaki. Therefore, it turns out that this syllabary was originally located in front of the 16th paper.

The contents of the screen correspond to the current Komaki 11th paper and later, “Choju-Giga Model (Nagao Family Old Collection)”, which is said to be a copy of the state before Komaki became complicated. In addition, it is a very useful material to know the former instep, such as holding screens that can not be confirmed at present, such as rabbits and monkeys jumping high.

Many people may be thrilled by the act of gathering various hints in this way and revealing the whole picture as if solving a mystery. If you go back to the original of Chapter 1 from here, it seems that you can enjoy it differently from the first viewing.

[Chapter 3] Myoe Shonin and Kozanji Temple

Kozanji Temple in Kyoto, which was founded in the Nara period and was revived in the Kamakura period by a scholar, Myoe, has many cultural assets in addition to “Choju-Giga”.

Chapter 3 summarizes the important cultural property “Myoe Shonin Sitting Statue”, which will be exhibited outside the temple for the first time in 28 years, the dream record “Yume no Ki” written by Myoe Shonin throughout his life, and the Japanese poems of Myoe Shonin. Works related to Kozanji Temple, such as Myoe Shonin Kashu, which show the personality of Myoe Shonin, who was loved by many people, are on display.

As I look at the items related to it, I feel somehow familiar with Myoe. Apparently, during the lifetime of Myoe Shonin, “Choju-Giga” was stored in a different place, but it is because Myoe Shonin laid the foundation for his love for small animals and vegetation. I imagined that “Caricature” had been carefully protected.

The more you see it, the more interesting it is! Comparison of 4 volumes of “Choju-Giga”

As mentioned above, the way to enjoy the whole volume and all scenes is a cross-sectional comparison. Here are some interesting things.

It is a scene of the Komaki and Chomaki Hokai. A very interesting composition in which the crying monkey and the rabbit with a fan drawn in the instep volume are arranged as human beings who have similar appearances and movements in the chomaki, and the motif parodyed by animals is further parodyed by human beings. It has become.

The animal caricatures are drawn in the second half of the Komaki and Hei-maki, and while the animals in the Komaki wear eboshi, the animals in Hei-maki wear leaves that look like eboshi.

What is the intent of the animals in the instep to behave more humanly and the animals in the Hinoe to remain somewhat animal-like, using the same anthropomorphic technique? The mystery is only deepening.

Otomaki, whose motif is different from Japanese animals in the first half and foreign animals and fantasy animals in the second half, is also interesting because of the subtle differences in brush strokes.

The exotic and fantasy animals are a little cautious and have a solid brush stroke, but it is thought that this is not due to the difference between the painters, but because the painters drew with reference to the model. It’s the result of faithfully drawing an example so as not to misrepresent an unknown animal.

It’s not a comparison across volumes and screens, but here’s what you should check. At first glance, it is easy to think that it was written by a painter with a childish skill, but when you look at the face of a Kuge-style man looking back on the left side of the screen, it is very easy to understand compared to the men making noise on the right side. You should be able to convey that you are “good”.

The easy-going style of painting is a must-see because it is a point that a painter with a certain skill can understand that he dares to draw like that.

At the end

At the museum shop, there are a lot of cute items such as T-shirts and masking tapes featuring the animals that appear in “Choju-Giga”, but the most notable item is the almost full-scale whole volume and various articles. It will be an official catalog. It’s a huge volume with over 400 pages and it’s a definitive edition, so fans should check it out.

By the way, popular voice actors Koichi Yamadera and Ayumi Tsunematsu are in charge of the audio guide navigator for this exhibition. It is explained in plain language that even children can enjoy listening to with a light narrative, so please come along with the appreciation.

The world of “Choju-Giga” that grabs our hearts with a truly rich expression, even though it is a monochromatic line drawing with ink. It may be fun to visit this exhibition, read the work in your own way, and try to “solve the mystery”.

Outline of the special exhibition “All about National Treasure Choju-Giga”

* Advance reservations are required for this exhibition. You need to reserve a reserved-seat ticket online. Please check the official website of the exhibition for details. In addition, you can see the national treasure “Choju-Giga Komaki” on the moving walkway.

Reference: “Special Exhibition” All about National Treasure Choju-Giga “Catalog”

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National Science Museum

 

At the National Museum of Nature and Science in Ueno, Tokyo, a special exhibition “Hunter of the Earth-400 Million Years on Land” (hereinafter “Hunter of the Earth Exhibition”) from March 9 to June 13, 2021 “) Is being held.

Since I participated in the press preview held prior to the event, I would like to introduce the venue and the contents of the exhibition.

Exciting “Hunter of the Earth Exhibition” venue

This exhibition focuses on the “predation” activities of diversified organisms during the 400 million years since they landed.
It is an exhibition that follows the ecology of land hunters (predators) who catch and eat prey and the spread of hunting techniques with more than 300 specimen exhibitions centered on the precious specimen collection that the National Museum of Nature and Science is proud of. I will.

From extinct to modern. The specimens of hunters are mammals, reptiles, amphibians, birds, insects, etc. Chapter 4 of “Ancient hunters”, “Hunters living on the earth”, “Hunting technology”, “Forever and hunters of the earth” It was arranged in the composition.

Not only familiar hunters such as “lion”, “tiger”, and “falcon”, but also many unknown hunters who use poison, parasitize, and play with such tricks are introduced, so both adults and children are intelligent. There is no doubt that your curiosity will be satisfied! is.

Collaboration with the popular manga “BEASTARS”!

One of the attractions of this exhibition is that it collaborates with Paru Itagaki’s popular manga “BEASTARS” (published by Akita Shoten “Weekly Shonen Champion”), which depicts a group of anthropomorphized animals. .. Cartoon characters such as Legoshi and Louis will introduce you to the highlights around the venue.

There was also a corner where many duplicate original drawings were exhibited, so fans should not miss it. However, since the installation location was an aisle, I felt that it was necessary to be careful not to stop for too long when it was crowded. Limited goods with illustrations drawn by this exhibition are also on sale at the museum shop.

By the way, the audio guide navigator of this exhibition is Yuki Kaji, a popular voice actor. Manga fans and voice actor fans may enjoy it even more.

Introducing the “Hunter of the Earth Exhibition” exhibition specimens

From the exhibition of more than 300 specimens, we will pick up and introduce some interesting ones that you would like us to pay attention to.

◆ Deinosuchus

Specimens vary in size, but the huge ones are the full-scale restoration model of the Cretaceous crocodile Deinosuchus, which welcomes visitors by the entrance!

It was produced under the supervision of a researcher at the National Museum of Nature and Science based on the latest research results, and it is said that this exhibition will be unveiled for the first time. When you think of an ancient hunter, you may think of a dinosaur, but this “Deinosuchus” is a crocodile that is said to have preyed on dinosaurs of the Tyrannosaurid family (!).
It is said that the total length reached 12m, and the restored model was only the upper body, but it was quite powerful when standing in front of me. If something like this comes out of the water, I’m going to faint …

◆ Sparganum proliferator

A very small specimen is the parasite “Sparganum proliferator”, which was described as a “silent hunter”. When humans are infected, they gradually invade all organ tissues from subcutaneous products. More than half of the dozen cases discovered so far are dead, and it is scary that the infection route and ecology are still a mystery. It’s about 1 cm in size, but it was a hunter with a different meaning from Deinosuchus.

◆ Pacific lamprey

What caught my eye in the “Ancient Hunter” area was this “Pacific lamprey” head model. It looks like a monster that seems to appear in an RPG game, and in short, it’s too scary!
In the case of vertebrates without jaws that have survived to date, they are living by sticking to the surface of whales and sucking blood and body fluids. Most vertebrates now have jaws, but it seems that these jawless vertebrates were diverse in the Paleozoic era. “Pacific lamprey” is a precious survivor, isn’t it?

◆ Alligator snapping turtle

The most basic strategy of hunting is “ambush”, but some hunters have acquired the technique of lure ring, which not only waits but also actively lures prey by using artificial bait.

Alligator snapping turtle, the largest freshwater turtle in the Americas, with an instep length of 80 cm and a weight of over 80 kg, lurks at the bottom of the river, opens its mouth, and moves its pink tongue, which looks like an earthworm, to attract fish. I felt the history of evolution in the figure that was completed as a lure ring specialized type, with the overall astringent color and easy to blend in with the surrounding scenery, while only the tongue is very conspicuous.

◆ Striated heron

This is also a bird called “Striated Heron” that specializes in lure rings. The difference from “alligator snapping turtle” is that it uses another creature instead of its own body. It seems that decoy insects are floated on the surface of the water and the fish that approach it are caught. It’s like fishing and it’s fun! I was able to watch some of the techniques of the brain hunters who did not exhaust their physical strength unnecessarily in the video.

◆ Bertsuno frog

We will also introduce adorable-looking specimens.
This is a frog called “Berts no frog”, which is distributed in South America and has a maximum length of about 16 cm. It has a very round body shape and seems to be popular as a pet. The round eyes and the forefoot that you can peek at from your body are so cute. Although it is an ambush type, it seems to be a fairly greedy hunter despite its laid-back appearance because it eats not only frogs and insects but also small birds and mammals if it gets in its mouth.

◆ Chisui Galapagos Finch

The bird “Chisui Galapagos Finch” is distributed only on Darwin Island and Wolf Island in the Galapagos Islands. When I approached and read the explanation, “There are cute birds,” I was surprised that there are blood-sucking birds in the world because they are the only birds that eat blood regularly. He seems to drink the blood that has flowed out by poking the waist of a bird called “gannet” with a beak, and he has a cute face and is quite a scary hunter … In addition, it is introduced that you also eat cactus flowers, seeds, insects, etc., so it is strange why you started to eat blood.

◆ Japanese river otter

Humans are also introduced as hunters in this exhibition. Sometimes as a “regrettable hunter” who upsets the balance of the ecosystem and sometimes puts many wild animals in danger of extinction.

“Raccoons” and “Small Indian mongoose” are exhibited as hunters whose habitat has been expanded by human activities, and skeleton specimens of “Japanese river otters” and “Japanese wolves” are exhibited as examples of extinct hunters. It was an appreciation while grasping the weight of the epilogue’s words, “Ecosystem puzzles take a long time to recover because only one piece is missing.”

It is said that the number of “Japanese river otters” has decreased due to overfishing and development, and the record of Kochi prefecture in 1979 was finally extinct. This is a very valuable type specimen that was designated as the standard for scientific names.

Many original goods are available at the museum shop!

After seeing the exhibition, the special museum shop finally appears. Many items such as Japanese river otter stuffed animals, masking tape, and “BEASTARS” designed sheeting totes were on sale, including the original goods for this exhibition.

The official catalog of the “Hunter of the Earth Exhibition” can be purchased at the venue or at the online store. If you read the inside, there is also a Q & A corner for children called “Tell me! Kawada Sensei”, and the contents are substantial as a supplementary reader of this exhibition, so please do not forget to check it if you are interested.

* Click here for online store ⇒ https://daichi-exhn.shop/

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The special exhibition “Hunter of the Earth-400 Million Years on Land” will be held until June 13th (Sun). Please visit this exhibition to learn about the wonderfulness of nature and the importance of environmental conservation while touching the individuality and charm of hunters.

 

< Overview of the special exhibition “Hunter of the Earth-400 Million Years on Land”>

Session	March 9th (Tuesday) -June 13th (Sunday), 2021
Venue	National Museum of Nature and Science Earth Pavilion
Opening hours	9:00 to 17:00 * Admission is 30 minutes before closing time
closing day	Monday * Open on March 29th (Monday), April 26th (Monday), May 3rd (Monday / holiday), 24th (Monday), 31st (Monday), and June 7th (Monday)
Admission fee	2000 yen for general / university students, 600 yen for elementary, junior high and high school students * Online advance reservation (date and time specified) is required for admission. Click here for details ⇒ http://daichi.exhn.jp/ticket/ * Free for preschoolers. * Free for persons with a disability certificate and one caregiver. * Those who have viewed this exhibition can also see the permanent exhibition (Earth Pavilion / Japan Pavilion) only on the same day.
Organizer	National Science Museum, Nihon Keizai Shimbun, BS TV Tokyo
Official page	http://daichi.exhn.jp/

Article provided by: Kokoshiru Ueno

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Posted on 2021年2月3日2021年2月3日

[Preview Report] The world of woodblock prints fascinated by original colors. “70 years after death Hiroshi Yoshida exhibition” is being held at the Tokyo Metropolitan Art Museum

Tokyo Metropolitan Art Museum

 

From January 26, 2021, a special exhibition “70 years after his death, Hiroshi Yoshida Exhibition “ is being held at the Tokyo Metropolitan Art Museum in Ueno, Tokyo . (The session is until March 28th)

Hiroshi Yoshida (1876-1950), a painter who was active as a leading figure in landscape painting from the Meiji era to the Showa era, with high descriptive power acquired through studying to the extent that he was described as a “demon of painting”.

While demonstrating his talent in watercolor and oil painting, in the latter half of the painting industry, he pioneered a completely new world of woodblock prints by combining Western realistic styles with traditional Japanese print techniques. It was loved by people all over the world, including Princess Diana of England and Freud, a psychiatrist.

In this article, we will introduce the exhibition contents and highlights of the “70 Years After Death Hiroshi Yoshida Exhibition”, which is a collection of about 200 works, focusing on woodblock prints from the early days of Hiroshi Yoshida to his later years.

* The exhibition period is divided into the first half (January 26th to February 28th) and the second half (March 2nd to March 28th) , and some of the exhibited works will be replaced . This article focuses on works that can be viewed during the first half of the year.
* Works without a period notation in the image are on display for the entire period.

Hiroshi Yoshida’s woodblock prints that fascinated the world

Hiroshi Yoshida, who had the belief that “the true nature can be drawn only by immersing himself in nature and becoming a sacrum (= the state of the hermit)”, jumped into nature from a young age with a thorough field principle. , I was absorbed in landscape photography and rigorously refined my technique.

In 1899, 23-year-old Hiroshi chose America as a place of challenge instead of France, where many Japanese painters studied abroad at that time, and set out with as much of his own paintings as possible. Hiroshi’s work, which contains Japanese lyric nuances, fascinates the hearts of Americans. The solo exhibitions held locally were very successful one after another.

 

Hiroshi, who made a name for himself in the field of watercolors and oil paintings, began to work on woodblock prints in earnest after he was in his mid-40s. It is said that in 1923, when he visited the United States for the third time, he witnessed the local people seeking all the woodblock prints of mixed boulders rather than oil paintings.

After returning to Japan, Hiroshi immediately started making woodblock prints. At that time, the idea is to combine traditional ukiyo-e printmaking techniques with Western realistic depictions. The color coding and composition have also been devised in various ways that are not bound by tradition.

Then, we challenged the oversized prints, sometimes rubbed them nearly 100 times, and used the same woodblock to change the color to express the state of light and atmosphere at different times. It expanded the world of original woodblock prints and was praised both at home and abroad.

Kobayashi, a curator of the Tokyo Metropolitan Art Museum, said, “I think what Hiroshi pursued with woodblock prints was to realize delicate color expressions of watercolors and oil paintings with prints.” Mr.

After thoroughly studying the techniques of carving and rubbing, Hiroshi hired a tattooist and a tattooist to supervise all the work. Sometimes he was in charge of carving and rubbing himself. He compared himself to a conductor and an architect, and even in a complicated process where it was said that only the person could know how far it would be completed, he did not make any compromises in search of perfection.

Mr. Kobayashi continues like this. “Please pay attention to the light and atmosphere that can only be expressed by Hiroshi Yoshida, a Western-style painter with solid drawing power, and the delicate hue nuances unique to him.”

Woodblock prints depicting landscapes from all over the world are in one place. Exhibition composition of “70 years after death Hiroshi Yoshida exhibition”

This exhibition is organized to introduce Hiroshi Yoshida’s works by theme according to a rough age, from Prologue to Chapter 1 to Chapter 11 to Epilogue.

Each chapter is composed of various themes such as landscapes of the United States and Europe, mountains of Mt. Fuji and Japan, landscapes of various parts of Japan, landscapes of India and Southeast Asia, and landscapes of Korea and the former Manchuria. Since there are many works, it is a good idea to secure enough viewing time.

The main exhibited works are woodblock prints, but in the prologue, you can also appreciate typical oil paintings and watercolors in order to look back on the history of the exhibition until you worked on woodblock prints.

A sketch book is also exhibited as a material. It seems that the woodblock prints were not always produced according to the composition of the sketch, but you can get a glimpse of what captured the eyes and spirit of Hiroshi.

Speaking of materials, pay attention to the fact that woodblock prints are exhibited. To understand the difficulty of carving and rubbing more frankly by comparing the main version (wooden block to show the outline) and the color version of “Fuji Pickup Asahi” on display with the finished work. Is done.

There is also a video exhibition, one is a video that introduces the woodblock print production process, and the other is a video that briefly introduces the life of Hiroshi. In particular, the latter has a storytelling narration, so I enjoyed it in a very easy-to-understand manner.

Introducing featured works and highlights

As a Western-style painter living in Japan, Hiroshi Yoshida continued to search for what is an original “painting” that can compete with the world. The answer that came to the end of that pondering was woodblock prints. There are countless highlights, but here I will pick up and introduce the points that I found particularly wonderful.

Highlights ① Mountaineering landscape drawn from the perspective of a mountaineer

Expo, who loved nature, was so interested in the mountains that he could spend his days in the mountains every summer. He is called a “mountain painter” or “mountain painter” because he has left many of the scenery he saw through full-scale mountain climbing in his works.

He climbed to the top of the mountain, confronted the mountains where the weather was changing, and camp for days until he was satisfied with the moment he wanted. The magnificent mountain scenery captured in this way is one of the best highlights of Hiroshi’s work.

Above all, the composition overlooking the sea of clouds from the summit, such as “Fuji Picking Up Sunrise”, can be said to be a remarkable achievement for mountain painters. The flowing clouds that created the exquisite gap and the sun that began to rise from the back were captured at the perfect timing, and the scenic appearance is beyond description. There is a mountain that is surrounded by silence that no one can invade.

Highlight (2) A work of “Separate” that skillfully expresses the change of time with colors

Hiroshi used the technique of “separate sliding” to create works of different colors using the same woodblock, and expressed changes in the field of vision that change over time, such as “morning” and “night.”

For example, in the “Seto Inland Sea Sailing Ship” series, which is one of Hiroshi’s masterpieces, the same scene at different moments can be seen in “morning,” “am,” “afternoon,” “fog,” “evening,” and “night.” It is drawn, and the differences in light and atmosphere are depicted in color and expressively.

Don’t think, “You just changed the color?” Only the sails of the “morning” sailing ship have a slight pattern added, perhaps playful. The silhouette of the ship drawn behind “evening” was not in “afternoon”. At “night”, the inside of the sailing ship and the background are lit, and so on. The more you compare, the more you will find small differences in detail, and you will never get tired of it.

“Morning” is especially beautiful. The morning sun is backlit, the outline of the sailing ship turns red, and the boundary between the sea and the sky is blurred by gradation, creating a fantastic atmosphere. If you look closely at the brilliance of the sun, which gives a soft impression, you can see that the colors are finely outlined in concentric circles.

In this way, please pay attention to the fact that even if it is a “separate slide”, it takes a lot of effort one by one.

Highlight ③ Depiction of various lights

As you watch the exhibited works, you can see that Hiroshi has an extraordinary passion for portraying light, but the atmosphere of light that is gently dropped into the darkness, such as the brilliant moon and the lights of lanterns. Has an indescribable charm.

Especially strong is the golden light that comes from the setting sun on the verge of setting.

The golden light that oozes from the Islamic architecture of Arabesque in “India and Southeast Asia Fuwatepur Shikuri” conveys the atmosphere of a foreign country.

It seems that pale similar colors were rubbed over and over again to express this diffuse reflection, but I have no idea how to stack the plates anymore, and it would be hard to believe that Hiroshi could use magic. Perhaps because the contours are suppressed, the beauty that makes you lose words gives the viewer the impression that you are looking into a world that is not in the world, as if you were floating somewhere in the air.

Highlight ④ Overshadowing of the water surface

Including the sea, rivers, ponds, lakes, puddles, and the woodblock prints of the Expo have a wide variety of waterfronts. Landscapes and buildings are reflected on the surface of the water, and some of the works are such that the composition is completed only when there is the scenery reflected on the surface of the water.

The author groaned at the magnificent upside-down Mt. Fuji of “Lake Yamanaka” and the symmetry between the substance of the drum bridge and the shadow of the pond seen in “Tokyo Picking Two Kameido”.

At first glance, the latter tends to look at the wisteria flower clusters that are in full bloom, but if you shift your gaze downwards, you may feel that you were more particular than wisteria. Will take a look at. The composition that Taikobashi weaves with the shadow is strangely beautiful. Regardless of the truth, it seemed to me that “Hiroshi wanted to copy this into a picture.” It is a work that expands the imagination of what the aesthetic sense of Hiroshi should be.

 

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After being overwhelmed by the beauty of Hiroshi’s woodblock prints, don’t forget to check out the exhibition goods.
In addition to standard items such as framed posters and postcards, this exhibition’s original works that make use of the charm of Hiroshi Yoshida’s works, such as tote bags, A5 notebooks, ticket files, mask cases, furoshiki, coloring book sets, and chocolate Karinto as a variant. Goods were also prepared.

Some of the catalogs and goods can be purchased at the online shop, and if you can’t go to the exhibition, we recommend you to immerse yourself in the world of the exhibition with the official catalog (2,200 yen including tax).

<Online shop https://www.mainichi.store/categories/3121995 >

From February 9th, Hiroshi Yoshida’s prints exhibited at this exhibition, Hiroshi Yoshida’s oil painting “Seika” in the Tokyo National Museum, and Kuroda Seiki, an artist of the same age as Hiroshi Yoshida. A free audio commentary program will be delivered to introduce the works of the Kuroda Memorial Museum, which is permanently exhibiting the works. You can listen to it on your smartphone, tablet, or PC, and enjoy a journey that follows in the footsteps of their art, whether at the venue or at home.

<Click here for details https://www.tobikan.jp/information/20210126_1.html >

The Tokyo Metropolitan Art Museum “70 Years After Death Hiroshi Yoshida Exhibition” will be held until March 28, 2021.
Don’t miss Hiroshi Yoshida’s large-scale exhibition, which is becoming more and more popular year by year.

 

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“70 years after his death Hiroshi Yoshida Exhibition”

Session	January 26th (Tuesday) -March 28th (Sunday), 2021 * Some exhibitions will be changed during the exhibition period.
Venue	Tokyo Metropolitan Art Museum Planning Exhibition Room
Opening hours	9:30 am to 5:30 pm (admission until 5 pm)
Closed days	every Monday
Admission fee	General 1,600 yen, university / vocational school students 1,300 yen, high school students 800 yen, 65 years old and over 1,000 yen * Free for junior high school students and younger (bring proof) * Persons with a physical disability certificate, love certificate, nursing certificate, mental disability certificate, health certificate for the atomic bomb survivor and their attendants (up to 1 person) are free of charge (bring a proof)
Organizer	Tokyo Metropolitan Art Museum, Mainichi Newspaper, Nihon Keizai Shimbun
Co-sponsored	Toyota Motor, new color photo printing
Official page	https://yoshida-exhn.jp

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Posted on 2021年2月3日2021年2月3日

[National Museum of Nature and Science] Notice of the special exhibition “Metasequoia-Living fossils talk” ≪From January 26th to April 4th, 2021≫

National Science Museum

 

The National Museum of Nature and Science (Director: Yoshihiro Hayashi) will hold a special exhibition “Metasequoia-Living Fossils Talk” from January 26, 2021 (Tuesday) to April 4, 2021 (Sunday). We will hold it.
[Detailed URL: https://www.kahaku.go.jp/event/2021/01metasequoia/ ]

 

• Outline of the special exhibition “Metasequoia-Living fossils talk”

2021 marks the 80th anniversary of the name of the Cupressaceae coniferous metasequoia, called “living fossil,” by Dr. Shigeru Miki (1901-1974).
In this exhibition, we will introduce the efforts of researchers in the discovery and protection of metasequoia, and explain the relationship between plants and changes in the global environment. In addition, through the introduction of these conservation activities, we will also face issues such as the environmental problems facing us today.

 

[Venue] National Museum of Nature and Science Japan Pavilion 1st Floor Special Exhibition Room (7-20 Ueno Park, Taito-ku, Tokyo)

[Date] January 26th (Tuesday) -April 4th (Sunday), 2021 (Reiwa 3)

[Opening hours] 9:00 am to 5:00 pm

[Closed] Every Monday (However, the museum is open on Monday, March 29)
* The session is subject to change.

[Admission fee] You can see it only with the admission fee for the permanent exhibition.
(General / university students: 630 yen including tax, free for high school students and younger and 65 years old and over)

[How to enter] We are implementing measures to prevent the spread of new coronavirus infection.
* Advance reservations are required on the museum’s website to enter the museum.
* Before entering the museum, we will check the temperature and physical condition, and if you have a fever, we will refuse to enter the museum.
* For details on how to enter the museum, please see the reservation site on our website.
https://www.kahaku.go.jp/news/2020/reservation/index.html

[Host] National Science Museum

[Cooperation] Axima Ensis (Akishima City Education and Welfare Center), Japan Greenery Center, Osaka City Museum of Natural History, Osaka City University Faculty of Science Botanical Garden, Kanagawa Prefectural Museum of Life and Earth, Miyauchi Office, Shiga Prefectural Lake Biwa Museum, University of Tsukuba Life and Environment, Botanical Garden, Graduate School of Science, University of Tokyo, Fukui Prefectural Dinosaur Museum, Fukushima Prefectural Museum

[Detailed URL] https://www.kahaku.go.jp/event/2021/01metasequoia/

 

• Exhibit contents

■ What kind of plant is Metasequoia?
Metasequoia is a deciduous tree that can be found in familiar places such as schoolyards and tree-lined roads. We will introduce its characteristics and why it is called a “living fossil”.

■ Discovery of Metasequoia that surprised the world <br /> The fossil Metasequoia named by Dr. Miki and the extant species discovered after that. Introducing the story of two “discoveries”.

■ What was the time when Metasequoia lived? -From fossil producing areas in Japan-
Based on the results of Metasequoia fossil forest research discovered in Tokyo and Kinki, we will introduce the environment and the flora and fauna that lived there millions of years ago.

■ Why did Metasequoia become extinct from Japan?
We will approach the mystery of why Metasequoia, which had spread to the Arctic Circle, remained only in some parts of Asia and disappeared from Japan.

■ Present and future of Metasequoia <br /> After discovering the extant species, Metasequoia has spread to the world again with the efforts of researchers. Introducing your own fabric and conservation activities in Japan.

■ What do you learn from Metasequoia?
The extinct Metasequoia is now facing environmental problems again. What should we learn through “living fossils”?

 

• National Science Museum

* Currently, advance reservation is required for admission. Please be sure to visit the official website before visiting.
[Opening hours] 9:00 to 17:00
[Closed] Every Monday (Tuesday if Monday is a national holiday)
[Admission fee] General / university students 630 yen including tax, high school students (including college students) and younger and 65 years old and over Free [Location] 7-20 Ueno Park, Taito-ku, Tokyo 110-8718
[Inquiries] 050-5541-8600 (Hello dial)
[Official homepage] https://www.kahaku.go.jp/

 

Article provided by: Kokoshiru Ueno

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Tokyo National Museum

The exhibition "Japanese Tate-Traditional Techniques and Wisdom Utilizing Natural Materials", which introduces the modeling characteristics and craftsmanship of traditional Japanese architecture through materials such as models and designs, is held at the Tokyo National Museum and National Science. It is being held jointly by the museum and the National Archives of Modern Architecture.

This exhibition has different exhibition themes and sessions for each venue.
This time, I saw an exhibition at the Tokyo National Museum on the theme of "Ancient to modern times, the origin of Japanese architecture" that started on December 24th, so I will report on the venue and the exhibited works.

* Tokyo National Museum "From ancient times to modern times, the origin of Japanese architecture"
Date: December 24, 2020-February 21, 2021
* National Science Museum "Modern Japan, Diversification of Styles and Technologies"
Session: December 8, 2020-January 11, 2021
* National Archives of Modern Architecture "Craftsman and Modernization-Succession and Development of Carpentry Technology-"
Date: December 10, 2020-February 21, 2021

Buddhist temples, castles, tea rooms-A variety of 19 ancient and modern traditional architectural models are on display.

Traditional Japanese architecture has undergone repeated changes and diversification while adapting to the climate and regions under social conditions such as politics and religion, and infusing the aesthetic sense of each era.

The architectural model is a condensed expression of the excellent techniques and aesthetics of the craftsmen found in such traditional architecture. Wood, soil, stone … It can be said that it is a convenient existence to get a bird's-eye view of the history of Japanese architecture itself, as well as the modeling features that make use of various natural materials.

The main exhibits in "From ancient times to the early modern period, the origin of Japanese architecture" are models whose original buildings are national treasures and important cultural properties, such as the Horyuji Five-storied Pagoda, Matsumoto Castle Tower, Tofukuji Sanmon, and Nyoan. With 19 models that have been precisely reproduced in detail, you will appreciate the styles and designs of traditional architecture up to the early modern period.

It is rare for such models to meet together, and some of them are architectural models that have rarely been shown before, making it a valuable exhibition.

Great power! Presence of 1/10 scale model

The venue for this exhibition is the Hyokeikan in the Tokyo National Museum. In each room on the 1st and 2nd floors, works were classified into a wide range of categories such as "medieval Buddhist temples," "shrines," and "private houses."

Most of the architectural models on display are 1/10 the size of the original building, which is quite large. It is very powerful and you can carefully check not only the overall structure but also each of the ornaments.

In addition, some models were arranged so that they could be viewed from anywhere around 360 degrees, while others were divided and manufactured so that the internal structure could be confirmed, such as Tofukuji Sanmon and Toshodaiji Kondo.

It is recommended to appreciate the work from various angles, from front to back and diagonally from below.

For example, here. The 1/10 model (divided) of Toshodaiji Kondo is actually a beautifully colored pattern that reproduces the original building behind the ceiling. However, I have inadvertently overlooked it and regret it, so if you are going to go, please watch every corner.

The more you look for any model, the more highlights you will find. You may enjoy it like a treasure hunt.

Introducing model works

The main hall of Daisen-in Temple, which is said to have the oldest "Tokonoma" in Japan, is a representative building of Zen-in Hojo architecture and is designated as a national treasure.

What I would like you to pay attention to in this 1/10 model (division) is the obstacle painting. It was amazing to see that even one of Motonobu Kano's masterpieces, "Four Seasons Bird-and-Flower", was reproduced in detail.

Currently, it has been renovated to a hanging width, but it was originally an eight-sided fusuma painting. It may be said that the fun of the model is that you can appreciate the Daisen-in Temple at that time when the fusuma paintings were included.

Matsumoto Castle, along with Himeji Castle, is the representative remains of the five-storied castle tower, and is said to be the oldest existing five-storied castle tower in Japan. It seems that a model was made as an example of a typical Japanese castle architecture.

This 1/20 model (divided) is also impressive enough. I can't imagine what the inside looks like from the outside, but when I look at the overall structure from the cross section, I noticed various things such as "the arrangement of the stairs is interesting" and "the space itself is quite simple". Feeling fresh and exciting.

In November 2019, following the coronation of the new emperor, the Miyanaka ritual "Daijosai" was held to pray for the well-being and fertility of the five grains for the nation and the people, and was open to the public.

The festival ground "Daijo-sai", which was built just for that purpose, has already been dismantled, but in this exhibition, a model of "Meiji degree Daijo-sai" used at the Daijo-sai, which was the throne of the Emperor Meiji in 1871, is exhibited.

Reiwa's "Daitogu" had a thatched roof, but this was lined with traditional thatched roof buildings.

It was made by the Shikibu staff of the Imperial Household Agency, and was exhibited at the Tokyo National Museum until the Taisho era, but after that it was stored in a warehouse. It's a waste that such a masterpiece has been buried for many years …!

◆ A model of Shurijo Castle, which was burnt down in 2019.

Shurijo Castle, which is said to have been built in the first half of the 18th century, was once the cultural and diplomatic center of the Ryukyu Kingdom and can be called a symbol of the history of Okinawa.

The main facilities were restored in 1992 after the Battle of Okinawa, but a large-scale fire in October 2019 burned down six buildings, including the main hall. The appearance of the fiery flames burning was covered in the news every day, so I think many people are new to their memory.

A 1/10 model of Shurijo Castle will also be exhibited at this exhibition. This work was made in 1953 by a carpenter named Chinen Choei who participated in the dismantling and repair before the war, and this is the first time that it will be exhibited at an exhibition outside Okinawa Prefecture.

You can see a unique design that mixes Japanese and Chinese architectural styles. For example, the two-story, three-story building and the stairs that spread out from the front are unique to Ryukyu.

Although the characteristic vermilion color of the original building cannot be seen, I was motivated to rebuild it in 2026 by comparing it with the photo of the main hall of the day on the same floor.

On December 17, the United Nations Educational, Scientific and Cultural Organization (UNESCO) summarized the techniques of 17 fields inherited by Japanese palace carpenters and plasterers, "Traditional Building Craftsmanship: Traditional Techniques for Inheriting Wooden Buildings" UNESCO I just decided to register it as an intangible cultural heritage.

That's why now, why not take a look at the techniques and aesthetics that the Japanese have cultivated so far at the "Japanese Tate-Traditional Techniques and Wisdom Utilizing Natural Materials" exhibition.

Outline of the event

"Japanese Tate-Traditional Techniques and Wisdom Utilizing Natural Materials"
Venue theme "From ancient times to modern times, the origin of Japanese architecture"

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Tokyo National Museum

During the period from October 6th (Tuesday) to November 29th (Sunday), 2020, a special exhibition “Momoyama-100 Years of the World” is being held at the Tokyo National Museum Heiseikan in Ueno, Tokyo. ..

The other day, I participated in the press preview held earlier, so I will report on the exhibited works and the state of the venue.

The special exhibition “Momoyama-100 Years of the World” is such an exhibition

The Azuchi-Momoyama period lasted for 30 years from the fall of the Muromachi Shogunate in 1573 to the opening of the Edo Shogunate in 1603. It was a time of rapid change, when Japan changed from the time of turmoil with the rise of Sengoku warlords to the time of peace by the Edo Shogunate.

“Momoyama Art”, which is said to be the most magnificent and splendid in the history of Japanese art, has blossomed.

The special exhibition “Momoyama-100 Years of the Tenkajin ” represents the Japanese aesthetic sense that changed during the 100 years from the end of the Muromachi period to the beginning of the Edo period, centered on the Azuchi-Momoyama period. This is an exhibition where you can check out about 230 works of art.

Exhibition points ① National treasures and important cultural properties are packed!

In this exhibition, more than 100 national treasures and important cultural properties are exhibited in the first and second semesters . Selected masterpieces, each of which can be the centerpiece of the exhibition, are gathered at this Tokyo National Museum from all over the country.

Famous works such as “Rakuchu Rakugaizu Rakufu (Uesugi Family Book)” and “St. Francis Xavier Statue” that you have seen in textbooks are lined up. In addition, items related to Nobunaga Oda and Ieyasu Tokugawa are lined up, and it may be said that this is an exhibition that Sengoku fans should see at least once.

Exhibition points ② Check it out! Exhibited works change in the first half and the second half

Please note that the exhibition period is divided into the first half and the second half, and a considerable number of works will be replaced .

・ The first half exhibition will be from October 6th (Tuesday) to November 1st (Sunday).
・ The second half of the exhibition will be from November 3rd (Tuesday / holiday) to November 29th (Sunday).

Some works will be exhibited for the entire period, some will be exhibited only in the first half, only in the second half, and some will be exhibited only for a specific period, so if you absolutely want to see some works, it is recommended to check the exhibition period in advance. is. Please check the official website for details on changing exhibits.

In this article, we will mainly introduce works that can be viewed in the previous term.

Exhibition work introduction

From here, I will introduce some of the works that can be viewed during the exhibition period of the previous term with photos.

■ Pickup ① Obstacle painting

There is a wide variety of exhibits such as paintings, tea utensils, kimonos, swords, armor, and furniture such as suzuri-bako , but the most notable are the large-screen paintings such as obstacle paintings . With the impression that he is putting great effort into it, in both the first and second semesters, a large number of masterpieces by painters representing the Azuchi-Momoyama period, such as Eitoku Kano, Tohaku Hasegawa, and Chokuan Soga, are collected.

In an era when the momentum for unification of the world was increasing, economic activities and cultural exchanges in each region became active, and the world of people was further opened by coming and going overseas. Gorgeous and magnificent art born as if reflecting the spirit of the time. It can be said that disability painting is a genre where you can feel the size of the scale most frankly.

A dragon and a tiger drawn on one side of each of the six songs and one pair. “Ryutorazu Ryofu” by Soga Chokuan, who specializes in ink painting, is a Ryu-Tora-zu Ryofu painting that was so powerful that it competed for one or two in the exhibition in the previous term. It is fantastic and intimidating, and is full of magnificence typical of the Azuchi-Momoyama period.

The trunk and branches, which are shaped by a speedy brush stroke and spread through the screen, are full of dynamic vitality despite being a plant, and are like a dragon. “Cypress Trees” by Eitoku, who established the large painting style, is rough and approaches the viewer with an overwhelming presence.

■ Pickup ② Armor armor

During the Azuchi-Momoyama era, when the battle continued, weapons and armor also developed significantly in order to win the battle. For example, the military commanders should actively use the practical sword “Uchigatana”, which was popular mainly among the people, with elaborate taste. It was also during this period that “Toseigusoku”, which makes the whole body armor uniform, appeared.

The warlords showed their status and personality by giving various decorations and ingenuity to their equipment while emphasizing practicality. At the exhibition, you can appreciate such works that you can feel the way of life of the warlords at that time.

The head that is said to represent the cliff of Ichi-no-Tani, which was the stage of the “Battle of Ichi-no-Tani”, which is especially famous in the Genpei War, and the large nail-shaped one that is over 90 cm in length and is inserted so as to rise toward the heavens. Back. “Tanigata Helmet of Weiichi Shiraito” is a strange helmet that is said to have been handed down from Ieyasu Tokugawa to the Mito Tokugawa family.

The large nail, which looks like a horn, is a motif favored by military commanders as it pierces the enemy. Originally, it is said that silver foil was pressed all over, and together with this menacing modeling, it is possible to imagine how inspiring the wearer’s heart.

This “black lacquer sword” is a sword made to accommodate the famous sword “Masamune Honjo”, which is said to have traveled the Tokugawa family for generations. This is the first time to exhibit at the exhibition!

“Uchigatana” was developed during the Azuchi-Momoyama period, but since the expression of this sword has been traditionally made since the Muromachi period, it is a transitional period of history where you can confirm the intersection of innovation and tradition. It is a gem reminiscent of.

The cool black lacquer of the scabbard and the elegant golden decorations such as chrysanthemums and paulownia decorated in three places made me feel elegance.

■ Pickup ③ Works related to Nanban art

Although it is not a genre of works such as paintings and armor, the existence of Nanban art is also indispensable for talking about the beauty of the Azuchi-Momoyama period.

From the Christian mission by Francis Xavier, the cultural and economic exchanges with foreign countries that flourished due to the traffic of Portuguese and Spanish ships, and the start of the isolation system. It was during this period that the situation changed drastically in relation to Western countries. Of course, it had a great influence on the world of art.

Nanban art refers to works of art that were established through encounters with the West and an interest in and longing for the West.

The one that caught my eye was “Kacho Makie Raden Niche”. It is written as a niche and read as “seigan”. An icon is a niche that houses Christian iconic paintings, and is one of the Nanban arts exported overseas.

The roof, frame, and other areas that can be seen from the front are densely decorated with patterns, but the flower and bird patterns that are drawn to fill the double doors are so beautiful that words cannot be said. It is a work with endless highlights together with the tempera painting inside.

In addition to the genres we picked up, there are also pottery related to Sen no Rikyu, the master of the tea ceremony, such as “Gourd Flower Yan Hui” and “Kuroraku Tea Ceremony Kamuro” (both exhibited in the previous term). Clothes such as “Kosode Dyed Rinzu Rinzu Kotemari Matsukaede” (exhibited for the entire period), etc., where you can see the transitional designs that gradually change from a design that emphasizes steps and streaks to a pictorial design.

There were so many things to see, and time passed in a blink of an eye.

Extensive museum goods

Be sure to check out the museum goods section before you return home. A wide range of items such as interior goods, T-shirts, and daily necessities with the motif of the exhibited works were available.

The special exhibition “Momoyama-100 Years of the World” will be held until November 29th (Sun).

Please note that due to the new coronavirus infection countermeasures, it is a complete advance reservation and time designation system.

A valuable exhibition of famous gems from all over the country. Please come visit us in the fall of art.

Outline of the event * Complete advance reservation system / time designation system

<Reference Material> Yomiuri Shimbun “Special Exhibition” Momoyama-100 Years of the World “”

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Ueno Royal Museum

The “KING & GUEEN Exhibition” is being held at the Ueno Royal Museum from Saturday, October 10, 2020 to Monday, January 11, 2021. A special preview for the media was held the day before the release, so this time we will tell you about it.

The story of the British royal family, traced in portraiture.

Like Japan, Britain is a country that has a royal family as a nation and continues to maintain its history.
Habsburg, Omanov, Ottoman Turkey … While many dynasties have collapsed after the First World War, the British dynasty has inherited its bloodline for more than 500 years while changing its name and form in the times …

The “KING & QUEEN Exhibition” is an exhibition that traces the history of the British royal family, which continues to attract attention from all over the world. The collection of the National Portrait Gallery in London, one of the world’s leading museums of portraiture, will showcase about 90 precious portraits and photographs from the Tudor dynasty to the present Windsor dynasty.

Mrs. Devi, a supporter of this exhibition, has also appeared!

In addition, Mrs. Devi, who became a supporter of this exhibition, appeared at the press preview.
Mrs. Devi, who was formerly called a “genius” in painting, once thought about pursuing that path. While showing solid insight into painting and royal fashion, there were many “celebrity” stories that only Mrs. Dewi could tell, such as the episode she met at a horse racing festival with Princess Diana.

Finally, when asked, “What is the point of wanting you to see here in the exhibition?”
“British history, the background of the event, and what the fate of the person was. It may be little known to the Japanese, but portraits really appeal to the depths. By all means, I hope that you will deepen your understanding by watching the captions while reading them carefully. “
As a supporter, he talked about how to enjoy this exhibition.

A portrait is a story.

Britain is also famous as the birthplace of the great playwright Shakespeare. In other words, the British people are naturally fond of people, history, and stories.

One of the ways to enjoy painting is to enjoy the colors and composition involuntarily, but the changes in style and fashion sense with the times, the allegations in the details of the screen, and the “story” in the background of the painting .. .. .By tasting such things, there may be a moment when the painting in front of you comes to life.

Here, the editorial department picks up three points from the exhibited portraits. I will introduce a little “story” that flows in the background!

《Henry VIII》 Author unknown (based on the original work of Hans Holbein)[child] ) 17th century?

Love or faith? The cruelest king in British history.

A portrait of Henry VIII, allegedly based on what Hans Holbein[child] painted in 1536. The traditional royal representation, adorned with gorgeous clothing and jewelery, shows the dignity of Henry VIII at the very top of his power.

What is surprising about him is that he has married six wives throughout his life, divorced and expelled them, and even executed them. He even turned the divorced Roman Church into an enemy to marry his second wife, Anne Boleyn, and finally founded the Anglican Church. This is exactly the beginning, and the storm of religious reform will blow in the world.

It may be said that he is a man who is crazy about love and changed history because of love.

《Lady Jane Gray》 Author unknown Around 1590-1600

A 16-year-old ephemeral life scattered on the decapitation stand.

Kyoko Nakano ” Lady Jane Gray’s Execution” by Paul Delaroche, who was featured in “Scary Picture” and became famous. This is a panel painting drawn to mourn Lady Jane Gray after death, not before life. Scratched scars remain on both eyes and mouth, indicating that they have been attacked to destroy the icon in its history.

Her reign, the granddaughter of Henry VIII, lasted only nine days, being robbed of the throne by Mary, a Roman Catholic, and dying her young life on a decapitation stand at the age of only 16. ..

“George IV” Thomas Lawrence circa 1814

Pretty handsome. But is the nickname “Prince Whale”?

George IV, who was handsome and well-educated from a young age and was also called “England’s most gentleman”. He ruled the country on behalf of George III, who suffered from a mental illness, and was crowned by the death of his father . In particular, he is known to the world for his excellent artistic support activities.

A beautiful figure that is not ashamed of the name of “Gentleman”. This fascinating sculpture was made for medals, but in the end the medals were never cast. Why.
That’s because he got fat without the shadow he saw … He was constantly wasting money and prodigal, and he didn’t seem to be good at complimenting him, so his nickname was “Prince Whale . “ Well, sorry!

Outline of the event

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