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2024年7月31日2024年7月31日

[Tokyo National Museum] Special exhibition “Jingoji Temple – Kukai and the Origins of Shingon Esoteric Buddhism” coverage report. The principal image, the “Standing Statue of Yakushi Nyorai,” considered the greatest masterpiece in the history of Japanese sculpture, is on public display outside the temple for the first time.

Tokyo National Museum

The special exhibition “Jingo-ji Temple – Kukai and the Origins of Esoteric Shingon Buddhism” commemorating the 1200th anniversary of its founding has opened at the Tokyo National Museum, showcasing the treasures of Jingo-ji Temple in Kyoto, the birthplace of Kobo Daishi Kukai and Esoteric Shingon Buddhism . The exhibition will run until Sunday, September 8, 2024.

*Some of the works on display will be changed during the exhibition period.
Early exhibition: July 17th (Wednesday) – August 12th (Monday/Closed)
Late exhibition: August 14th (Wednesday) – September 8th (Sunday)

The large “Jingo-ji Temple” sign at the entrance was written by the temple’s chief priest, Taniuchi Kosho.

A sacred place for Esoteric Shingon Buddhism, where 1200 years of treasures are gathered together

Jingo-ji Temple (Jingokokuzo Shingon-ji Temple), located in Takao, Kyoto, was established in 824 when two temples, Takao-san-ji Temple and Shingan-ji Temple, merged. Takao-san-ji Temple was the family temple of Wake no Kiyomaro, who proposed moving the capital to Heian, and was the residence of Kukai (774-835), who had systematically studied esoteric Buddhism in Chang’an, the capital of the Tang Dynasty, after returning to Japan, and where he built the foundations of Shingon Esoteric Buddhism.

After Kukai passed away, the temple fell into ruin due to fires and other incidents, but was restored thanks to the efforts of the Shingon monk Monkaku, who was supported by Emperor Goshirakawa and Minamoto no Yoritomo. Even after that, the temple has endured many crises, including the Onin War, the destruction of Buddhism and Shingon temple land during the Meiji Restoration, and more, but it has continued to preserve the light of the Dharma to this day.

Important Cultural Property “Statue of Kobo Daishi” Kamakura period, 14th century, owned by Jingoji Temple, Kyoto, on display throughout the year

This exhibition is being held to commemorate the 1,200th anniversary of the founding of Jingo-ji Temple and the 1,250th anniversary of the birth of Kukai in 2024.

The core of the exhibition are the treasures that Jingo-ji Temple has protected and passed down over the turbulent years of 1,200 years, such as the principal image of the temple, the National Treasure “Standing Statue of Yakushi Nyorai,” known as one of the greatest masterpieces in the history of Japanese sculpture, and the National Treasure “Ryokai Mandala (Takao Mandala),” associated with Kukai, which has been restored over a period of six years. This exhibition is unparalleled in both quality and quantity, showcasing around 100 masterpieces of Japanese art, not just Buddhist art, including 17 National Treasures and 44 Important Cultural Properties.

National Treasure “Maple View Screen” by Kano Hideyori, Muromachi to Azuchi-Momoyama period, 16th century, Tokyo National Museum, first half of exhibition

The exhibits are structured to trace the history of Jingo-ji Temple.
At the beginning of the exhibition, the exhibition symbolically features the Maple Viewing Screen, which depicts people enjoying a banquet with maple leaves lined up along the clear Kiyotaki River that flows through Takao, with the sacred Jingo-ji Temple overlooking the clouds. The display conveys the atmosphere of Jingo-ji Temple, which has long been beloved as a scenic spot for viewing autumn leaves and continues to fascinate people today with its beautiful scenery.

National Treasure “Gilded bronze esoteric Buddhist ritual implements (Vajra plate, five-pronged bell, five-pronged vajra)” China, Tang Dynasty, 8th to 9th century, kept at Kyoogokoku-ji Temple (Toji Temple) in Kyoto, on display throughout the year / These ritual implements are said to have been bestowed upon Kukai by his teacher, Huiguo.

National Treasure “Kanjo Calendar” by Kukai, Heian period, Kōnin 3 (812), owned by Jingoji Temple, Kyoto, exhibition period: July 17th to August 25th / A list of those who received the kanjo ceremony. You can see the free and open calligraphy style used in daily life by Kukai, who is counted among the three great calligraphers of the time.

On the right is the National Treasure “Portrait of Minamoto no Yoritomo” from the Kamakura period, 13th century, owned by Jingo-ji Temple in Kyoto, on display in the first half of the exhibition. This life-size portrait of Yoritomo, who supported Jingo-ji Temple, is a masterpiece of Japanese portraiture, with every single hair carefully depicted, from the hairline to the eyelashes.

There are many temple treasures related to the national treasure “Takao Mandala”!

The highlight of the first half of the exhibition is the National Treasure “Ryokai Mandala (Takao Mandala),” the oldest existing Ryokai Mandala in Japan. Of the two mandalas, the “Taizōkai” will be exhibited in the first half, and the “Konjōkai” in the second half, alternately.

National Treasure “Ryokai Mandala (Takao Mandala)” Heian period, 9th century, owned by Jingoji Temple, Kyoto. Image is from the early exhibition at “Taizōkai”

The Ryōkai Mandala is a pair of two scrolls that visualize the universe centered on Dainichi Nyorai as preached in Shingon Esoteric Buddhism, that is, the two worldviews of the Vajrayana world, which shows the path to enlightenment, and the Garbha world, which represents the expanse of compassion. This work, also known as the Takao Mandala because it was handed down to Takao-san Jingoji Temple, is also extremely valuable in that it was produced directly based on the mandala that Kukai brought back from China during the Tenchō era (824-834) at the request of Emperor Junna.

Looking at the huge screen, about 4 meters square, many Buddhas and Bodhisattvas are neatly painted with flowing lines of gold and silver on twill silk woven with a pattern of flowers and phoenixes using a purple dye called “Shikon,” which was rare at the time. The number of Buddhas and Bodhisattvas is overwhelming, with 1,461 in the “Kongokai” and 409 in the “Taizokai.” There were detailed rules for each face and possession, and no mistakes were allowed, so I couldn’t help but imagine how much time and energy must have been spent on the creation of these works.

“Ryokai Mandala” On the right is the “Tanzoukai” from the Edo period, 1795 (Kansei 7), and on the left is the “Kongokai” from the Edo period, 1794 (Kansei 6). Owned by Jingoji Temple in Kyoto. On display throughout the year.

On the same floor, a full-sized copy of the Takao Mandala created during the Edo period is also on display. Both of these paintings are on display throughout the year. Compared to the original, which is noticeably damaged, the lines and the vivid colors of the silk are clearer, and the elegant atmosphere of the original is beautifully expressed, so it’s a must-see to compare them together.

If you would like to know more about the appearance of the various deities, you can refer to the Takao Mandala Images, which are ink outline copies of the images, or to the explanatory video shown in a separate room.

Important Cultural Property “Takao Mandala Image” Heian period, 12th century, owned by Hasedera Temple, Nara. Image is from the first half of the exhibition “Taizōkai Volume 3”

There are records of two repairs to Takao Mandala in the past: the first was carried out by Emperor Gouda in 1309 during the Kamakura period, and the second was carried out by Emperor Kokaku and Emperor Gosakuramachi in 1793 during the Edo period. This is the third time the mandala has been open to the public, after undergoing major repairs for the first time in about 230 years, which took place from 2016 to 2022.

National Treasure “Takao Mandala Imperial Renovation Record” written by Emperor Gouda, Kamakura period, Enkei 2 (1309), owned by Daikakuji Temple, Kyoto, first half of the exhibition

Exhibits such as the old storage box for the Takao Mandala, which contains notes on the two repairs, and the restoration notes written by Emperor Go-Uda himself, convey some of the feelings and faith of our ancestors who wanted to pass on the Takao Mandala, which is considered the foundation and model of mandalas handwritten by Kukai, to future generations.

Important Cultural Property “Great Perfection of Wisdom Sutra”, Volume 1 (among all sutras with gold letters on navy blue paper), Heian period, 12th century, owned by Jingo-ji Temple, Kyoto, on display throughout the year/A beautiful sutra with gold paint shining on a navy blue background, which was made at the request of Emperor Toba and donated to Jingo-ji Temple by Emperor Goshirakawa.

“Map of the Jingo-ji Temple Complex on Mt. Takao” Muromachi period, 15th century, owned by Jingo-ji Temple, Kyoto, on display throughout the year / A medieval guide map that uses mainly ink painting to depict in detail the Jingo-ji Temple complex.

A special exhibition room with impressive statues has also been created! The stern gaze of the principal image, the Yakushi Nyorai standing statue, is piercing

In the second half of the exhibition, a wave of sculptures from Jingoji Temple appears on display.

National Treasure “Five Great Seated Kokuzo Bosatsu Statues” Heian period, 9th century, owned by Jingoji Temple, Kyoto, on display throughout the year

The oldest esoteric Buddhist statues at Jingo-ji Temple, the Five Great Seated Kokuzo Bodhisattvas , were erected by Kukai’s disciple Shinzai at the request of Emperor Ninmyo as Buddha statues to be placed in the pagoda. These secret Buddha statues are open to the public twice a year at Jingo-ji Temple, and this exhibition marks the first time that all five statues will be displayed together outside the temple.

The Five Great Kokuzo Bosatsu are said to be five parts of the virtue of Kokuzo Bosatsu, who endows people with infinite wisdom and good fortune, or to be the incarnations of the Five Wisdom Buddhas of the Vajrayana Realm. This work is thought to be modeled after early esoteric Buddhism iconography such as the Takao Mandala, and the highlights are the refined facial features with long, narrow eyes and plump lips, as well as the expression of fleshiness.

It is said that for Kukai, this in itself was a kind of mandala, and at the venue, the four statues were arranged in a circle with Hokkai Kokuzo at the center, creating the appearance of a three-dimensional mandala. When you stand in front of it, you feel as if you are enveloped in a mysterious atmosphere created by the almost identical seated statues.

“Standing Statues of Two Heavenly Kings” Heian period, 12th century, Jingo-ji Temple, Kyoto, on display throughout the year / A pair of statues of two heavenly kings welcome visitors at the tower gate at the end of the long staircase of Jingo-ji Temple. This exhibition is the only photo spot.

From the left: Important Cultural Property “Standing Gekko Bodhisattva” Heian period, 9th century; National Treasure “Standing Yakushi Nyorai” Heian period, 8th-9th century; Important Cultural Property “Standing Nikko Bodhisattva” Heian period, 9th century. All are owned by Jingoji Temple in Kyoto and are on display throughout the year.

The final exhibition room is lined with only masterpieces of standing statues, creating a solemn atmosphere. In the center is the principal image of the temple, the “Standing Statue of Yakushi Nyorai,” which is also on public display outside the temple for the first time. It is not an esoteric Buddhist statue, but is thought to have been enshrined at one of the temple’s predecessors and was brought to Jingoji by Kukai.

Many unique Buddhist statues were created between the end of the 8th century and the beginning of the 9th century, but this statue stands out among them all. Its greatest feature is its stern gaze that makes you instinctively straighten your posture. Combined with its firm mouth, it exudes dignity.

National Treasure “Standing Statue of Yakushi Nyorai” Heian period, 8th-9th century, owned by Jingoji Temple, Kyoto, on display throughout the year

One of the great attractions of this exhibition is that it allows visitors to enjoy the beauty of the sculpture, which can usually only be viewed from the front as it is enclosed in a shrine at Jingoji Temple, from a variety of angles.

The statue is carved from a single piece of wood, excluding both arms, and its thighs, which overhang more than one would imagine from the front, emphasize its thickness. The left sleeve is decorated with a honpashiki fold pattern, which alternates between large round waves and small, ridged waves, and the depth of the carving creates an even more profound feeling. The honpashiki fold pattern is a characteristic of early Heian sculpture, but it is said that it is rare to see such a beautiful and clear statue.

Why did Kukai choose this statue, which is not an esoteric Buddhist statue, as his principal image? The reason is unclear, but Shiro Maruyama, a researcher at the Tokyo National Museum, explains as follows:

“Even more than Esoteric Buddhism placed great importance on form, I believe Kukai himself probably had a deep interest in form from the start. How did Kukai feel when he received this statue? I hope this exhibition will give you the opportunity to think about it.”

Standing Statues of the Twelve Heavenly Generals, by Yoshino Ukyo and Ohashi Sakuemon, “Rooster God, Boar God” Muromachi period, 15th-16th century, “Child God – Monkey God, Dog God” Edo period, 17th century, owned by Jingoji Temple, Kyoto, on display throughout the year

Surrounding the main image are the Four Heavenly Kings and the Twelve Heavenly Generals . At Jingoji Temple, they are placed close together, but here they are spaced out and spaced apart. Furthermore, the lighting makes the silhouettes of the statues, which are in unique poses, stand out in the background, beautifully highlighting their dynamic expressions. It was such a spectacular sight that I was entranced for a while.

The special exhibition “Jingo-ji Temple – Kukai and the Origins of Shingon Esoteric Buddhism,” where you can experience the spirit and thought of Kukai, will be held until Sunday, September 8, 2024.

Summary of the special exhibition commemorating the 1200th anniversary of the temple’s founding, “Jingo-ji Temple – Kukai and the origins of Esoteric Shingon Buddhism”

Dates	July 17th (Wednesday) – September 8th (Sunday), 2024 *Some of the works on display will be changed during the exhibition. Early exhibition: July 17th (Wednesday) – August 12th (Monday/Closed) Late exhibition: August 14th (Wednesday) – September 8th (Sunday)
venue	Tokyo National Museum Heiseikan
Opening hours	9:30-17:00 * Open until 7:00pm on Fridays and Saturdays (except August 30th and 31st) *Last admission is 30 minutes before closing.
closing day	Monday, August 13th (Tuesday) However, the museum will be open on Monday, August 12th (holiday) The general cultural exhibition will be open on Tuesday, August 13th
Admission fee	Adults: 2,100 yen, University students: 1,300 yen, High school students: 900 yen * Free for junior high school students and younger, people with disabilities and one caregiver. No advance reservation (specified date and time) is required. You can also view the General Cultural Exhibition with your ticket for this exhibition on the day of the event. For further details, please see the official exhibition website.
Organizer	Tokyo National Museum, Takaosan Jingoji Temple, Yomiuri Shimbun, NHK, NHK Promotion
inquiry	050-5541-8600 (Hello Dial)
Exhibition official website	https://tsumugu.yomiuri.co.jp/jingoji/

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

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2024年7月29日2024年7月29日

[National Museum of Nature and Science] Special exhibition “Insect MANIAC” coverage report. Digging deep into the overwhelming diversity of insects from an insect enthusiast’s perspective!

National Museum of Nature and Science

Insects are the largest group of living organisms on Earth, accounting for more than half of all reported species. A special exhibition called “Insect MANIAC” has opened at the National Museum of Nature and Science, delving into this unknown world from a variety of unique perspectives. The exhibition will run until Monday, October 14, 2024 (national holiday).

There are approximately one million species of insects that have been named by humans. Although they are the wild animals that live closest to humans, only a handful of species are generally recognized. Furthermore, even for insects whose names are known to everyone, there are many cases where their ecology is shrouded in mystery, or where they hide interesting secrets that only researchers know.

This exhibition features a wide range of insects, from giant beetles over 10 cm long to tiny bees less than 1 mm long, and even spiders, centipedes, and other terrestrial arthropods that are also called “mushi” (insects). Five researchers from the National Museum of Nature and Science interweave precious specimens and the latest insect research to delve deeply into the overwhelming diversity of insects, one step beyond the knowledge you can get from books and illustrated guides.

Exhibition view of “Zone 1: Insects and Bugs”

Although it is a niche subject, the venue has set up an introductory section called “Zone 1: Insects and Bugs” where basic information such as the differences between insects and bugs and their characteristics is reviewed, so even those who are not familiar with insects need not worry.

The next section, “Zone 2: Diverse Insects,” is the main section of the exhibition. It is divided into five doors according to the researchers’ specialties. The “Dragonfly Door” introduces incomplete metamorphosis insects such as dragonflies, grasshoppers, and cicadas, the “Bee Door” introduces bees and flies with membranous wings, the “Butterfly Door” introduces butterflies and moths, the “Rhinoceros Beetle Door” introduces beetles such as rhinoceros beetles and stag beetles, and the “Spider Door” introduces the world of arthropods other than insects, such as spiders, centipedes, and scorpions. Each door deals with content related to three keywords: “The key to diversification,” “New common knowledge about insects,” and “Food, clothing, and shelter for insects.”

“Zone 2: Diverse Insects” exhibition view. The insect specimens displayed at each door are also a highlight.

Five giant models, each of which was carefully designed by researchers with great attention to detail, await visitors as landmarks in each area.

It’s a little different from a typical insect exhibition. For example, the model of the Ezo longhornet does not show a cool flight, but rather reproduces the indescribable appearance of the insect deforming its body to lay eggs. The surprise of “That’s what you’re paying attention to!?” is also one of the best parts of this exhibition.

As someone who is not very knowledgeable about insects, this exhibition was full of surprises.

For example, the societies formed by insects. The familiar ecology of hornets and honeybees, where worker bees and queen bees live in groups and divide up the tasks of labor and egg-laying, is rather rare in the Hymenoptera order, which has about 150,000 species, and there are overwhelmingly more solitary bees. This is a low level of knowledge in terms of mania, but I was shocked because I had the fixed idea that “bees are insects that live in groups.”

In addition to the “eusocial” ecology of bees, in which they live in groups, there are various other ecologies, such as “solitation,” in which bees basically live alone after the mother bee leaves after laying eggs, “subsociality,” in which the mother bee feeds the hatched larvae even after laying eggs, and “worker parasitism,” in which bees depend on other bees to build nests and gather food. For this reason, bees are said to be of great interest as research material for considering the evolution of sociality in insects.

The exhibit on gender diversity was packed with some pretty nerdy stuff, and one thing that caught my eye was a unique “ginandromorph” (hermaphrodite) specimen that has both male and female characteristics.

A specimen of a ginandromorph butterfly. The red-spotted pearl sphagnum hawkmoth at the bottom right has male and female characteristics diagonally across from each other.

Among many individuals of the same species, ginandromorphs can occasionally occur, and in the case of butterflies in particular, many examples have been found in which the butterfly is clearly divided into left and right wings along the center line. The exhibit also features an even rarer ginandromorph specimen in which the left forewing and right hindwing are male characteristics, and the right forewing and left hindwing are female characteristics. The symmetry of each butterfly is beautiful, and one cannot help but feel the mystery of life.

A specimen of a praying mantis that camouflages itself as a dead branch or fallen leaf. The violin mantis on the top right has a particularly unique form, and at first glance it doesn’t look like a living thing.

A specimen of the panda ant that lives in South America. The confusing thing is that it’s neither a panda nor an ant, but actually a bee.

At the venue, you can not only observe the complex, strange, and beautiful visuals of insects as they are, sometimes even under a microscope, but you can also enjoy elaborately presented specimens that are not just displayed in a monotonous manner.

Beetle and stag beetle specimens of various sizes

For example, different sized rhinoceros beetles and stag beetles are arranged in a gradational circle to create a stylish piece of art, or a single different species of butterfly is mixed in with a row of the same butterfly to create a spot the difference game. The arrangements are well-balanced to entertain visitors.

This is a quiz where you have to guess the species that is mixed in with the only other animal. It’s quite difficult.

The specimens of insects with “structural colors” such as the iridescent color of the Japanese jewel beetle, which are produced not by pigments but by the interaction of sunlight with fine structures, looked like an unusual jewelry box. The gemstone weevil, which lives around New Guinea and has structural colors on its body surface called phoronic crystals, was extremely beautiful, shining brilliantly in green, blue, and purple depending on the angle.

One of the attractions of this exhibition is that it allows visitors to experience the world of insects from various perspectives, not just by “seeing,” but also by “listening,” “touching,” and “smelling.”

In North America, there are two groups of cicadas, the 17th cicada, which emerges every 17 years, and the 13th cicada, which emerges every 13 years, known as “prime cicadas.” Both groups emerge in large numbers at the same time once every 221 years, which is a common multiple of 17 and 13 years, and as was reported in the news in Japan, 2024 was a lucky year.

The venue is filled with the sounds of various insects, but one spot in particular that is worth paying attention to as an experiential exhibition that allows you to “listen” is the spot where you can experience the chorus of the Prime Number Seminars. The research team traveled to Chicago, Illinois for this exhibition. The recordings, which reached a maximum of 85-86 decibels (the same level of noise as inside a pachinko parlor), are presented along with a travelogue.

A spot to experience the Prime Number Seminar chorus

As an experiential “smelling” exhibit, there is a spot that sprays out the scent of eucalyptus tallow, which is found in the essential oils of eucalyptus, which is favored by ground wasps, and skatole, which is found in their droppings. Ground wasps live only in Central and South America, and have a unique habit in the world of males collecting the scent components of flowers in order to approach females. Their glossy beauty is also a highlight.

The “touch” experience exhibit allowed visitors to touch real galls, which are nests made by aphid larvae that parasitize plants and create abnormal developments in the plant to protect themselves from predators. Although none of the exhibits were flashy, they were sure to stimulate intellectual curiosity.

Various gall specimens. The one in the petri dish is a gall from the Jumping Coal Wasp, known as the only “jumping gall” in the world, and the video shows the gall jumping around.

The remaining zone, “Zone 3: Insects and People,” serves as an epilogue, looking into the world of insects that surround us and are part of our everyday lives, and thinking about the future of insects and people.

Exhibition view of “Zone 3: Insects and People”

Depending on a person’s perspective, insects can be considered either pests or beneficial. The exhibit uses hornets as an example of a typical pest, explaining that while they pose a risk of stinging people, they also help to prevent damage caused by insects in farmland. By changing one’s perspective, the exhibit conveys that people’s lives are supported by an ecosystem made up of a diverse range of organisms.

At first glance, insects seem to live robustly even in cities where there is little natural environment left, and even inside homes, which can be a big deal for people who dislike insects. Interestingly, there is a hypothesis that even if people see the same insect, they feel more psychological disgust when they see it inside the house than outside. Furthermore, it is possible that the fact that urbanization has reduced the opportunities to see insects on a daily basis is the reason why people dislike insects as “mysterious things.”

Therefore, the caption of the epilogue also included an advice-like statement: “By learning about each individual bug and why you don’t like them, you may be able to ease your aversion to all bugs a little.”

Exhibits of insects whose populations are declining due to changes in the global environment, such as the endangered Ishigaki Niini

The exhibition made visitors think naturally about the tiny world of insects, most of which are unnoticed by humans, yet they are inseparable from our lives and are our closest neighbors.

Display of the Motonari small-winged long-horned beetle

In addition, this exhibition will also feature a specimen of the Motonarihimekobaenagakushi, a new species of insect discovered by Yoshiaki Yamane of the comedy duo “Ungirls” while recording a program called “Motonari.” in the mountains of Hiroshima in 2023.

Ungirls’ Yoshiaki Yamane (left) and Takashi Tanaka (right)

As a result of this discovery, Ungirls became the official supporters of this exhibition. Yamane, who appeared at the opening talk held prior to the opening, recalled that when the new species was discovered, Yoshihiro Senda, a researcher at the Hiwa Natural Science Museum who accompanied him, pointed out to him that “this is rare,” but Yamane didn’t take it seriously, thinking it was just flattery for television.

His partner, Takuji Tanaka, continued, “Yamane wanted to finish the location early, so instead of going deep into the mountain, he quickly scooped up some suitable soil near the entrance and found the new species. On the other hand, that was a place that the teacher would not look for.” He laughed and analyzed that the reason for the new species discovery was Yamane’s “sloppiness.”

It seems that new species of insects are surprisingly close to us, but we just don’t notice them. At the end of the exhibition, researchers are introduced to the perspectives, techniques, and tools they use to search for insects, so it might be interesting for students to try discovering a new species of insect as their summer vacation independent study project.

The special exhibition “Insect MANIAC” will be held until Monday, October 14th (national holiday).

Overview of the special exhibition “Insects MANIAC”

Dates	July 13, 2024 (Sat) – October 14, 2024 (Monday/Holiday)
venue	National Museum of Nature and Science (Ueno Park, Tokyo)
Opening hours	9:00-17:00 (Entry until 16:30) *However, opening hours will be extended until 7:00 p.m. every Saturday and from August 11th (Sun) to 15th (Thu) (entrance until 6:30 p.m.)
closing day	September 2nd (Monday), 9th (Monday), 17th (Tuesday), 24th (Tuesday), 30th (Monday)
Admission fee (tax included)	Adults and university students: 2,100 yen; elementary, middle and high school students: 600 yen Free for preschool children. Free for those with a disability certificate and one caregiver. *For further details, please check the official website.
Organizer	National Museum of Nature and Science, Yomiuri Shimbun, Fuji Television Network
inquiry	050-5541-8600 (Hello Dial)
Exhibition official website	https://www.konchuten.jp/
Supervisor	Tatsuya Ide [General Supervisor, Wasps] / Researcher, Terrestrial Invertebrate Research Group, Animal Research Department, National Museum of Nature and Science Shuhei Nomura [Coleoptera] / Group Director, Terrestrial Invertebrate Research Group, Animal Research Department, National Museum of Nature and Science Takeshi Jinbo [Butterflies and Moths] / Principal Researcher, Terrestrial Invertebrate Research Group, Animal Research Department, National Museum of Nature and Science Takuya Kiyo [Odonata] / Principal Researcher, Terrestrial Invertebrate Research Group, Animal Research Department, National Museum of Nature and Science Kenichi Okumura [Arachnida] / Researcher, Terrestrial Invertebrate Research Group, Animal Research Department, National Museum of Nature and Science

*The contents of this article are current as of the date of coverage (July 12, 2024). For the latest information, please check the official exhibition website.

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2024年7月21日2024年7月21日

Dinosaurs will have a night parade at the Tokyo National Museum this fall! Report on the “Dinosaur Night Parade” press conference

Tokyo National Museum

The Tokyo National Museum (hereafter referred to as “Tokyo National Museum”) is a temple of Japanese beauty, boasting a vast collection of approximately 120,000 items, including 89 national treasures, and the building itself is designated as an Important Cultural Property. Although the Tokyo National Museum usually has a solemn atmosphere , approximately 20 giant dinosaurs, including Tyrannosaurus and Giganotosaurus, will appear in the courtyard in front of the main building! The unexpected event “Dinosaur Night Parade” , in which the dinosaurs will make a night parade while letting out primitive roars, will be held for two days on Friday, September 27th and Saturday, September 28th, 2024.

I attended the press conference held prior to the event.

“Dinosaur Night Parade” is a night event organized by “DINO-A-LIVE,” an experiential dinosaur live show project featuring “DINO-TECHNE,” a dinosaur-shaped mechanical suit developed by ON-ART Co., Ltd.

■Introduction video for “DINO-A-LIVE”

“If dinosaurs were alive, if they were resurrected in the present day, how would we feel about them?” – “DINO-A-LIVE” was born from such a simple question. It is a project that started in 2011 to deliver a sense of wonder that can only be created by witnessing and experiencing “living beings” with your own eyes, not through words, information, or knowledge.

The main attraction, the self-walking dinosaur-shaped mechanical suit “DINO-TECHNE”, was developed by ON-ART using the technology it has cultivated in the production of special artworks and realistic balloons, in order to realize a realistic dinosaur live show unlike any other in the world. (Currently patented in 14 countries around the world)

“Our dinosaurs are brought to life as if they were alive. We have created them as if we were putting our souls into them,” says Kaya Kanamaru, CEO of ON-ART.

The aim of the live show is to provide edutainment (a portmanteau of education and entertainment) that allows visitors to have fun while learning about the natural environment and the world of living creatures. Although no one has ever seen a real dinosaur, they have repeatedly improved the sculptures by incorporating the latest theories and opinions of experts, and are extremely particular about reproducing every aspect of the dinosaurs, including their skeletons, skin, and joint movements. In addition, they synthesize dozens of biological sounds for each species using sampled sounds such as the cries of living animals. They express the “dinosaur sounds” by synchronizing them in real time with the dinosaurs’ movements.

The lively dinosaurs, so lifelike that it’s hard to believe they are being controlled by humans, stalk before your eyes, wagging their tails and screaming, sometimes even baring their fangs at the audience. The dynamic and lively “DINO-A-LIVE” has been so popular in recent years that it has successfully completed an arena tour in five major cities in Japan, and has also been in the spotlight overseas, having been invited to the Royal Opening Ceremony of the Royal Museum in Kuwait and to a popular Italian TV show.

Some may wonder, “Wouldn’t a dinosaur event be more appropriate to hold at the National Museum of Nature and Science next door?”

In fact, the Tokyo National Museum is holding an exhibition entitled “National Treasures 150 Years from Now” in 2022-23 to commemorate its 150th anniversary, and the dinosaurs from “DINO-A-LIVE” participated in the corporate section as candidates for national treasures 150 years from now. Through this connection, Kanamaru and his team were appointed as “Tokyo National Museum Ambassadors.” The ambassador project “Dinosaur Night Parade” was planned to spread the greatness of Japan’s manufacturing spirit and to raise interest in the Tokyo National Museum, which is a collection of the best of manufacturing culture.

“The Great Dinosaur Night Parade” is inspired by the “Night Parade of One Hundred Demons,” a grand procession of monsters and demons that has been depicted in Japanese picture scrolls and letters since ancient times. This will be the project’s first outdoor event.

Kanemaru said, “The idea is to have the dinosaurs have a big parade every night in the courtyard in front of the main building,” and explained the concept as follows:

“There is a huge lily tree in the courtyard. It is a species that has survived since the age of the dinosaurs without changing its shape much. The tree speaks every night, inviting the dinosaurs to come. The idea is for all the guests to join in and let out a wild roar towards the future together with the dinosaurs! We hope to create a performance that combines the valuable art and culture created by humans with a primitive sensibility.”

The two-day performance will last about an hour each. The first 30 minutes will be spent playing various ethnic instruments, and the last 30 minutes will be a dinosaur parade. About 20 popular dinosaurs representing each era will gather, including 8-meter-long Tyrannosaurus and Giganotosaurus, as well as Triceratops, Stegosaurus, and Allosaurus.

In the second half of the press conference, a Tyrannosaurus and a Giganotosaurus burst in early, creating a frenzy in the venue! They paraded around the venue swinging their long tails, and sometimes even biting the reporters.

Dinosaurs burst into the press conference!

As flashes went off, he roared and stalked the venue as if he owned the place.

Just when I thought he was staring at me, appraising me, he suddenly closed the distance between us.

Not only was the design amazing, but the movements were so lifelike that when it opened its mouth wide in front of me, I felt a chill as I thought, “I’m going to be eaten!” Even though I knew it wasn’t real. This movement of the heart, which makes you aware of the primitive “will to live” from your senses rather than your head, may be the true joy of “DINO-A-LIVE.”

During the photo session, the dinosaurs continued to be out of control, even teasing Tokyo National Museum’s Deputy Director, Asami.

The Tokyo National Museum Ambassador Project “Dinosaur Night Parade,” where visitors can experience the fusion of the history of traditional craftsmanship and cutting-edge technology, will be held for two days on Friday, September 27th and Saturday, September 28th, 2024. Depending on the weather, the number of dinosaurs may be limited, the content of the event may be changed, or it may be canceled, so we can only hope that the weather will be good on the day.

Seats and ticket prices will be announced at a later date, so please check the special page for details.

Article provided by: Kokosil Ueno

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2024年7月17日2024年7月17日

[National Museum of Western Art] “Naito Collection Manuscripts – A Microcosm of the Elegant Middle Ages” Coverage Report

National Museum of Western Art

The exhibition “Naito Collection: Manuscripts – A Microcosm of the Elegant Middle Ages,” which explores the charm of illuminated manuscripts that were popular in medieval Europe, is currently being held at the National Museum of Western Art. The exhibition will run until Sunday, August 25, 2024.

A manuscript is a book that was popular in Europe before the invention of printing technology in the 15th century . It was produced by hand copying text onto vellum, paper made from thin animal skins, and required an enormous amount of time and effort .

Manuscripts were often lavishly decorated and illustrated, and at times became extremely luxurious items; however, they were a major medium of communication for people at the time, and also played an important role in supporting the Christian faith.

The “Naito Collection” in the title of this exhibition refers to a collection centered on manuscript leaves (individual leaves separated from a book) collected by Hirofumi Naito, professor emeritus at the University of Tsukuba and Ibaraki Prefectural University of Health Sciences. It is one of the largest manuscript collections in a Japanese art museum, and was donated to the museum in 2015, with 26 more manuscript leaves added in 2020.

This large-scale exhibition, featuring approximately 150 items from the majority of the Naito Collection as well as items housed in university libraries around Japan, explores the role of each manuscript and the world of medieval illuminated art*, in which text and pictures are integrated.

(Note: The decoration of manuscripts is called “illuminated” due to its shining, extensive use of gold.)

The exhibition is divided into nine chapters based on the purpose of the parent manuscripts to which the leaves originally belonged: Chapter 1: The Bible, Chapter 2: Psalms, Chapter 3: Manuscripts for the Breviary, Chapter 4: Manuscripts for Mass, Chapter 5: Other manuscripts used by the clergy, Chapter 6: Books of Hours, Chapter 7: Calendars, Chapter 8: Canon Laws and Books of Oaths, and Chapter 9: Secular Manuscripts .

A typical example of manuscript decoration is the initial .

View of the venue. On the right is Simone Camaldoli’s “Liturgical Poetry Leaf”, Florence, Italy, around 1380, Naito Collection (Naganuma Fund), National Museum of Western Art

Initials were ornately decorated letters at the beginning of a sentence. They were not only pleasing to the eye, but also served to mark the beginning of important sections of the text or to separate clauses. What’s interesting is that the type of decoration could indicate the hierarchy of the initial, and therefore of the text.

For example, in the center left of the page of the “Liturgical Psalm Leaf” there is a large letter “B”, and in the upper part of the “B” there is a figure of God blessing, and in the lower part there is a figure of David, the traditional author of the “Psalm”, playing an instrument. In this way, a depiction of a story scene or person in the space inside the letter is called a “narrative initial”.

There are other types of initials, such as “champagne initials” with gold letters on a colored background and “filigree initials” with lines around the letters, but in terms of hierarchy, narrative initials are at the top. By showing the core text with the most prominent narrative initials, they visually assisted the reader in understanding the text.

The Liturgical Psalms are a compilation of the texts of the Psalms from the Old Testament, as well as hymns and prayers, for the Divine Office , a worship service held at set times eight times a day in monasteries and churches.

“Bible Leaf”, England, circa 1225-35, color, ink, gold on vellum, Naito Collection, National Museum of Western Art

The Naito Collection contains many leaves from Bible manuscripts produced in 13th century England and France, and the Bible Leaf showing the beginning of Genesis is a representative example of this.

Among the densely packed, detailed layout of a huge number of characters, the gold-bordered decoration that runs vertically across the page catches your eye, but you’ll be surprised to find out that it’s actually a giant “I” for the story. It’s a scale befitting the beginning of a grand story. In a small circle of just 2cm in size, it intricately depicts the story from God’s creation of all things to Cain’s murder of Abel.

View of the venue, Jacobus van Enkhuisen’s copyist/illustrator of the Zwolle Bible, “Leaf of the Zwolle Bible”, Zwolle, Northern Netherlands, House of the Brothers of the Common Life, Gregory (copyist)/probably Zwolle (illustration), 1474 (copyist)/1475-76 (illustration), Naito Collection (Naganuma Fund), National Museum of Western Art

Leaf of the Zwolle Bible, produced in the late 15th century in the town of Zwolle in the North Netherland (near present-day Netherlands), is a leaf that emphasizes the letter “D” including the initial of the story. I was captivated by its neat and tidy beauty.

Initially, monks and nuns were responsible for copying and illuminating the manuscripts, but gradually lay artisans began to join in. The refined typeface seen in this work, which looks almost impossible to have been handwritten, was created by the renowned calligrapher Jacobus van Enkhuisen, who is said to have spent 14 years copying the entire volume.

This harmonious layout is the result of juxtaposing three versions of the Psalms, each with a narrative initial depicting a scene from David’s life, such as David carrying the Ark of the Covenant to Jerusalem.

Giovanni di Antonio da Bologna, Illuminated “Liturgical Poetry Leaf”, Bologna, Italy, 1425-50, color, ink, gold/vellum, Naito Collection, National Museum of Western Art

In some cases, initials indicate for whom the manuscript was produced and the occasion for which it was used, for example, the initial “C” on the Liturgical Poems Leaf depicts a Franciscan friar singing in front of a lectern, indicating that the original manuscript was produced for the Franciscan Order.

Incidentally, border decorations that use plant motifs to fill the margins of the pages, as in this work, are common among manuscripts, but on closer inspection this work is quite unique in that, among the graceful, vividly colored flowers and plants, there is the head of a strange old man, perhaps a monk.

There were also other leaves at the venue with mischievous-looking decorations in the margins, perhaps as a sign of the artist’s playfulness, and it was fun to check out every page.

Leaf of the “Leonello d’Este Breviary” by Francesco da Codigoro and illuminated by Giorgio d’Alemagna, Ferrara, Italy, 1441-48, Naito Collection, National Museum of Western Art

The Breviary, which contains all the texts to be read during the Divine Office, was originally kept by the priest who conducted the service, but gradually became popular among ordinary believers as well.

Among them, the leaf of the “Breviary of Leonello d’Este”, commissioned by the Este family who ruled the Italian city of Ferrara in the 15th century, is a gorgeous example of the utmost luxury for secular believers. The frame decoration, with its gold studded and fine lines like threads, is reminiscent of the sparkle of lavish jewelry and is nothing short of magnificent.

The decoration was done by Giorgio D’Alemagna, one of Ferrara’s leading manuscript illuminators, and although the overall style is late Gothic, the Renaissance was already underway in Ferrara at the time, and the way the figures are depicted within the initials shows some Renaissance influence.

Because manuscript decorations have been preserved within books and have avoided scattering and damage compared to murals and tapestries, they can be considered valuable witnesses to medieval art. This work, too, is a good example of a period in which the essence of two aesthetic sensibilities at the time of the transition in fashion is sealed away.

Luçon Painter, Illuminated Leaf of the Book of Hours, Paris, France, c. 1405-10, color, ink, gold on animal skin, Naito Collection, National Museum of Western Art, Tokyo

View of the venue, Painter of the Prayer, Illumination “Prayer Book Leaf” Northern Netherlands, probably Leiden, circa 1500-30, Naito Collection, National Museum of Western Art

Of course, there are also many Zeroyo leaves that, rather than being decorated with initials, feature miniatures (illustrations) that are assigned their own independent space on the page.

The Prayer Book Leaf features an illustration of Christ surrounded by a trompe l’oeil-style decoration of flowers and insects scattered on a gold background (a type of optical illusion that was popular in Ghent and Bruges around 1500). The leaf was originally produced to be inserted into an existing manuscript to enhance its aesthetic value, but the owner added an embroidered border to it and used it in worship in the form of a small painting.

View of the venue, “Gabriel de Quero’s Noble Identification Card”, Granada, Spain, 1540, Naito Collection, National Museum of Western Art

The exhibition also included non-Christian “secular” manuscripts, such as encyclopedic works and identity cards. As a result of the research, the exhibition also featured parent manuscripts of the zero leaf, which were identified based on the content of the copied text, the typeface, and the style of decoration, as well as sister leaves that had been separated from the parent.

Illuminated manuscripts were sometimes used as status symbols for their owners, or were lavishly decorated to satisfy aesthetic tastes. Some collectors cut out only the decorative parts, and they were cherished as first-class works of art that went beyond the realm of books. Although many of them are small in size, they are infused with the same aesthetic sense as the Western paintings we usually see in museums, and are in no way less impressive. Why not visit this exhibition and reflect on the aesthetic sense of the people of the Middle Ages, who probably read books with a different sensibility than we do today?

Summary of “Naito Collection Manuscripts – A Microcosm of the Elegant Middle Ages”

Dates	June 11, 2024 (Tuesday) – August 25, 2024 (Sunday)
venue	National Museum of Western Art, Special Exhibition Room
Opening hours	9:30-17:30 (9:30-20:00 on Fridays and Saturdays) *Last admission is 30 minutes before closing.
closing day	Monday, July 16th (Tuesday) However, the museum will be open on July 15th (Monday, national holiday), August 12th (Monday, holiday), and August 13th (Tuesday).
Admission fee	Adults: 1,700 yen, university students: 1,300 yen, high school students: 1,000 yen Free for junior high school students and younger. Free for people with physical or mental disabilities and one accompanying person. *For further details, please check the official exhibition page.
Organizer	National Museum of Western Art, The Asahi Shimbun Company
inquiry	050-5541-8600 (Hello Dial)
Official exhibition page	https://www.nmwa.go.jp/jp/exhibitions/2024manuscript.html

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

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2024年7月8日2024年7月8日

[National Museum of Western Art] Let’s all enjoy art! Chatting is OK! Free admission “Nigiyaka Saturday” will be held

National Museum of Western Art

The National Museum of Western Art will hold a "Livid Saturday" on Saturday, August 3rd, during which admission to the permanent and special exhibitions will be free, allowing everyone to enjoy the art in their own way, including chatting with others while viewing the works.

■ Purpose of the event
"I feel nervous because I have to be quiet in museums" "It's hard to go to an exhibition with small children"… We want even such customers to be able to enjoy appreciating the artworks at the museum without hesitation. With this in mind, we will be holding "Livid Saturday", a day where you can talk freely about the artworks, further expanding the circle of surprise and joy that comes from appreciating the artworks. On the day, we will also set up a kids' space and a nursing room, and have planned events so that people of all ages can enjoy appreciating the artworks. (There will be no restrictions on conversations between customers on normal opening days.)

Overview
Date: Saturday, August 3, 2024
Venue: National Museum of Western Art (permanent exhibition/special exhibition)
Opening hours: 9:30-20:00
Cost: Free (However, if you use the shop or CAFÉ Suiren, an additional fee will be charged.)
Website: https://www.nmwa.go.jp/jp/experience-learn/detail/event_74.html

[Permanent Exhibition Project]
The permanent exhibition, which displays works that you may have seen before in textbooks such as Monet's "Water Lilies," is holding a "Let's go find this work!" project. Each person will be given a postcard with a cut-out photo of a part of the work attached, allowing you to enjoy art appreciation like a game. You may make a new discovery by paying attention to the details of the work.

[Special Exhibition Planning]
The special exhibition "Naito Collection Manuscripts – A Microcosm of the Elegant Middle Ages" is currently being held. In addition to distributing pamphlets with questions and explanations of the works to help visitors enjoy them more, this year we will be offering a bingo game featuring some of the manuscripts. There are lots of interesting elements in the manuscripts. While appreciating the works, try to find pictures and initials and aim for bingo!

(Image: A pamphlet distributed to each person)

(Image: Bingo with one ticket handed out to each person)

All of these events are enjoyable not only for children, but for people of all ages, both first-time museum visitors and repeat visitors.

■About the National Museum of Western Art
The National Museum of Western Art was established in April 1959 (Showa 34) as an institution to make works of Western art available to the public, based on the Matsukata Collection (including masterpieces by Monet, Renoir, Rodin, etc.) donated and returned by the French government. The main building was designed by French architect Le Corbusier (1887-1965) and completed in March 1959 (Showa 34). It was registered as a World Heritage Site in 2016.

[Access] Please see our website for details.
https://www.nmwa.go.jp/jp/visit/map.html

(train)
1 minute walk from JR Ueno Station (Park Exit)
7 minutes walk from Keisei Ueno Station on the Keisei Electric Railway
8 minutes walk from Ueno Station on the Tokyo Metro Ginza Line or Hibiya Line

[Agency for Cultural Affairs] Press Release

Article provided by: Kokosil Ueno

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2024年6月26日2024年6月26日

Exhibition Ambassador Yuriko Ishida also appears! [National Museum of Western Art] “Monet: Water Lilies” Press Conference Report

National Museum of Western Art

The National Museum of Western Art will hold the exhibition "Monet: Water Lilies" from Saturday, October 5, 2024 to Tuesday, February 11, 2025 (national holiday). This time, we will introduce the information about this exhibition announced at the press conference on Wednesday, June 12.

Purpose of the event

Claude Monet (1840-1926) was one of the most representative painters of the Impressionist movement.

Monet's final years were a time when he faced many difficulties, including the death of a beloved family member, his own eye disease, and World War I. However, even in these times, his greatest source of creativity was the water lily pond he created in the garden of his house at Giverny, where the surrounding trees, sky, and light were reflected in its surface.

The idea of a "large decorative painting" in which a huge canvas of this subject would cover the entire wall of a room would remain in Monet's mind until the very end. The focus of this exhibition is on the large-scale "Water Lilies" paintings that were created during this process of trial and error.

This time, about 50 pieces will be coming from the Musée Marmottan Monet in Paris, including many important works that will be shown in Japan for the first time. In addition, works from collections around Japan will also be added, making this a rare opportunity to see the largest collection of Water Lilies ever in Japan.

Highlights of the Exhibition

Claude Monet, Water Lilies, c. 1914-1917, oil on canvas, Musée Marmottan Monet, Paris © Musée Marmottan Monet

1. Monet's final challenge: the ultimate exhibition of Monet, focusing on his later works as a culmination of the "painter of light"

2. The Marmottan Monet Museum, which boasts one of the world's largest collections of Monet paintings, will bring about 50 carefully selected works, including seven works that will be shown in Japan for the first time! In addition, the museum will also have masterpieces from Japan, bringing together a full lineup of Monet masterpieces from Japan and abroad.

3. More than 20 works on Water Lilies, the most important theme of Monet's later years, will be on display

4. A truly immersive experience of being immersed in Monet's world, surrounded by over 2m of large-scale Water Lilies

Exhibited Works

We will introduce some of the works on display in this exhibition.

Claude Monet "Water Lilies, Twilight Effect"

1897 Oil on canvas Musée Marmottan Monet, Paris © Musée Marmottan Monet / Studio Christian Baraja SLB

Monet's early "Water Lilies."

It is believed that Monet first painted water lilies in 1897. This work is believed to be one of his earliest "Water Lilies" paintings. In contrast to his later series, this work focuses on the lily flowers themselves, depicted with delicate brushstrokes, rather than the effect of light that paints the water a pale pink.

Claude Monet "Water Lilies, Reflection in the Willows"

Circa 1916-1919 Oil on canvas Musée Marmottan Monet, Paris © Musée Marmottan Monet

Monet, on the verge of going blind, painted this work of thirst for light.

The forked trunk of a weeping willow forms a gentle S-shape in this enormous study, measuring two meters in length and width. The glittering sunlight filtering through the trees, expressed with sharp vertical strokes, seems to convey the artist's thirst for light, at a time when he was in the midst of the fear of going blind due to cataracts.

Claude Monet "Japanese Bridge"

Circa 1918-1924 Oil on canvas Musée Marmottan Monet, Paris © Musée Marmottan Monet

The color and abstraction brought about by an encounter with Ukiyo-e.

The motif of an arched bridge is said to have been inspired by the ukiyo-e prints of Katsushika Hokusai and Kitagawa Utamaro, which Monet collected. In the "Japanese Bridges" series, which he painted towards the end of his life, of which 24 pieces are known today, Monet boldly portrayed this motif with colors and brushstrokes that could almost be called abstract.

Exhibition ambassador Yuriko Ishida will be speaking!

Actor Yuriko Ishida, who has been appointed as the exhibition ambassador, appeared on stage at the press conference held at the Nippon Television Hall on Wednesday, June 12th.

Ishida, who appeared in a lustrous purple outfit reminiscent of Monet's water lilies, is the ambassador for the exhibition, the audio guide, and the theme song for the exhibition. The theme song, "My Monet," is Ishida's first new song in about two years, produced by Ohashi Trio under her artist name "lily."

When asked how she felt when she was appointed as the ambassador for this exhibition, Ishida

"It really felt like a dream come true. I had always dreamed of being an ambassador for a major art exhibition, and to be chosen for an exhibition of my favorite artist, Monet… I couldn't imagine a more wonderful and rewarding job."

He expressed his joy.
When asked about the theme song for this exhibition, for which he wrote the lyrics, Mr. Ishida said:

"I've been doing my music career really quietly. I wanted to remain unknown (laughs). But when I heard about this opportunity, I thought I might never get another chance like this, so I accepted."

", she confessed her thoughts with a bit of embarrassment.

After this, music producer Ohashi Trio gave a surprise comment, which made everyone emotional. We got a glimpse of Ishida's pure, genuine face, which has not changed even as she has gotten older.

When asked about his personal preferences when appreciating paintings, Mr. Ishida said,

"I want to see it based on my senses, without getting too much knowledge. Some people may think that prior knowledge of Monet's paintings is necessary, but I think each person's perspective and way of accepting things are infinitely different. I want people to simply immerse themselves in the art with a clear mind."

I was very impressed by the answer.

Including works from collections in Japan, "Monet: The Water Lilies" traces the rich development of Monet's art, which "transcended Impressionism."
We hope you will enjoy Monet's feast of light and water using your own sensibilities.
The event will begin on Saturday, October 5, 2024.

Event Outline

Dates	Saturday, October 5, 2024 – Tuesday, February 11, 2025
venue	National Museum of Western Art
Opening hours	9:30 – 17:30 (until 21:00 on Fridays and Saturdays) *Last admission 30 minutes before closing
closing day	Mondays, October 15 (Tue), November 5 (Tue), December 28 (Sat) – January 1, 2025 (Wed, holiday), January 14 (Tue) (However, the museum will be open on October 14th (Monday, holiday), November 4th (Monday, closed), January 13th, 2025 (Monday, holiday), February 10th (Monday), and February 11th (Tuesday, holiday))
Organizer	National Museum of Western Art, Marmottan Monet Museum, Nippon Television Network Corporation, The Yomiuri Shimbun, BS Nippon Television
inquiry	050-5541-8600 (Hello Dial)
Exhibition website	https://www.ntv.co.jp/monet2024/

Article provided by: Kokosil Ueno

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2024年6月25日2024年6月25日

Outdoor jazz festival to be held in Ueno for the first time in two years! Okijin x Yosuke Onuma, GENTLE FOREST JAZZ BAND and more confirmed to perform!

Water Music Hall (Ueno Park Outdoor Stage)

Sponsored by the Taito Arts and Culture Foundation, a public interest incorporated foundation, “UENO JAZZ INN’24” will be held on Saturday, August 3rd at the Ueno Onshi Park Outdoor Stage (Water Music Hall).
Tickets will go on general sale at Confetti from 10:00 on Wednesday, June 5th.

General sales start at 10:00 on Wednesday, June 5th at Confetti
http://confetti-web.com/@/taitocity-uenojazz2024
Official website
https://www.taitogeibun.net/our_events/zaidan_event_2024/2024_uenojazz/

“UENO JAZZ INN’24” will be held on Saturday, August 3rd!
The outdoor jazz concert is coming back to Ueno for the first time in two years!

The venue will be filled with exciting performers, including a collaboration between the currently active and talented musicians Oki Jin and Onuma Yosuke, as well as the professional jazz band GENTLE FOREST JAZZ BAND!
Would you like to join us in making Ueno’s summer even more exciting? Please come along!
Tickets are now on sale!

For an introduction of each performer, please click here
https://www.taitogeibun.net/our_events/zaidan_event_2024/2024_uenojazz/

・Performance details
“UENO JAZZ INN’24”
Performance date: Saturday, August 3, 2024
Venue: Ueno Park Outdoor Stage (Water Music Hall)

■ Performers (in no particular order)
Oki Jin x Onuma Yosuke / Otsuki “KALTA” Hidenori Oki Jin (Flamenco guitar) / Onuma Yosuke (Jazz guitar) / Otsuki “KALTA” Hidenori (Drums)

GENTLE FOREST JAZZ BAND
Gentle Kubota (leader, conductor, trb) / Murakami Motoi (tp) / Matsuki Risaburo (tp) / Akatsuka Kenichi (tp) / Sase Yusuke (tp) / Harigae Keita (tb) / Otagaki “OTG” Masanobu (tb) / Takahashi Shintaro (tb) / Ishikawa Tomohisa (btb) / Tada Hirokiyo (as, cl) / Kanno Hiroshi (as, harmonica) / Ouchi Mitsuharu (ts, fl, picc) / Ueno Makoto (ts) / Kojima Yuki (bs) / Umihori Kota (pf) / Kaji Yuta (gt) / Fujino “Digi” Toshio (wb) / Matsushita Masanao (ds)
Gentle Forest Sisters: Yuhi Deguchi / Miho Kimura / Yuzuko Igami

Showa University of Music Lily Jazz Orchestra
2023 54th Yamano Big Band Jazz Contest 1st Place Grand Prize Winner

2023 41st Asakusa JAZZ Contest Grand Prix Session
YOKO SUZUKI QUINTET (Band Division Grand Prize Winner)
KALUAGE (Vocal Division Grand Prize Winner)

■ Performance Schedule
Saturday, August 3, 2024
Doors open at 16:30 / Show starts at 17:00 / Finishes at 20:00 (scheduled)

■Ticket prices: Advance tickets 3,000 yen, same-day tickets 3,500 yen (all unreserved seats, tax included)
Same-day tickets are available for a 500 yen discount if you show your student ID.
Children of elementary school age or younger are admitted free of charge.

From the press release of Long Run Planning Co., Ltd.

Article provided by: Kokosil Ueno

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2024年6月12日2024年6月12日

This summer, enjoy the cool evening air at the museum. It’s happening again this year! [Summer Night Museum 2024]

Tokyo’s cultural facilities will be hosting the “Summer Night Museum” again this year!

From Thursday, July 18th to Friday, August 30th, 2024, we will be offering special benefits such as discounts on admission fees every Friday night*, and we look forward to welcoming you. Why not spend a cool and relaxing time on a hot summer night? *Tokyo Photographic Art Museum is also open on Thursdays.

Detailed information on “Summer Night Museum 2024”

◆Tokyo Metropolitan Art Museum (Ueno)

・”Listening to the Earth: Presence and Texture”
<Dates: July 20th (Sat) – October 9th (Wed) / Venue: Gallery A, B, C>
Nighttime opening dates during the Summer Night Museum period: July 26th, August 2nd, 9th, 16th, 23rd, and 30th

・“De Chirico Exhibition”
<Dates: April 27th (Sat) – August 29th (Thu) / Venue: Special Exhibition Room>
Nighttime opening dates during the Summer Night Museum period: July 19th, 26th, August 2nd, 9th, 16th, 23rd

◆Tokyo Metropolitan Teien Art Museum (Meguro)

・“140th Anniversary of the Birth of YUMEJI Exhibition: Taisho Romance and the New World”
<Dates: June 1st (Sat) – August 25th (Sun)>
Special night opening dates: July 19th, 26th, August 2nd, 9th, 16th, 23rd

・Garden open to the public
Special nighttime opening dates: July 19th, 26th, August 2nd, 9th, 16th, 23rd, 30th

◆Tokyo Photographic Art Museum (Ebisu)

・“Mitsuhiko Imamori: Japanese Villages”
<Dates: June 20th (Thursday) – September 29th (Sunday) / Venue: 2nd floor exhibition room>
Special night opening dates: July 18th, 19th, 25th, 26th, August 1st, 2nd, 8th, 9th, 15th, 16th, 22nd, 23rd, 29th, 30th

・“TOP Collection: An ensemble of sights”
<Dates: July 18th (Thursday) – October 6th (Sunday) / Venue: 3rd floor exhibition room>
Special night opening dates: July 18th, 19th, 25th, 26th, August 1st, 2nd, 8th, 9th, 15th, 16th, 22nd, 23rd, 29th, 30th

・“WONDER Mt.FUJI – Connecting the wonders and excitement of nature to the future”
<Dates: June 1st (Sat) – July 21st (Sun) / Venue: Exhibition Room on the 1st basement floor>
Special night opening dates: July 18th and 19th

・“Iwai Toshio x Tokyo Photographic Art Museum: 100 Story House of Light and Movement – Connecting 19th Century Video Devices and Media Art”
<Dates: July 30th (Tuesday) to November 3rd (Sunday, National Holiday) / Venue: Exhibition Room on the 1st basement floor>
Special night opening dates: August 1st, 2nd, 8th, 9th, 15th, 16th, 22nd, 23rd, 29th, 30th

◆ Museum of Contemporary Art Tokyo (Kiyosumi Shirakawa)

・”Personal View of Contemporary Japanese Art: Ryutaro Takahashi Collection”
<Dates: August 3rd (Saturday) to November 10th (Sunday)>
Special night opening dates: August 9th, 16th, 23rd, and 30th

・”Yoshiaki Kaihatsu ART IS LIVE – Welcome to One-Man Democracy”
<Dates: August 3rd (Saturday) to November 10th (Sunday)>
Special night opening dates: August 9th, 16th, 23rd, and 30th

・”MOT Collection”
<Dates: August 3rd (Saturday) to November 10th (Sunday)>
Special night opening dates: August 9th, 16th, 23rd, and 30th

◆ Shibuya Park Street Gallery (Shibuya)

・”Daily updates”
<Dates: June 15th (Sat) – September 1st (Sun)>
Special night opening dates: July 19th, 26th, August 2nd, 9th, 16th, 23rd, 30th

Other Summer Museum Events

The Edo Tokyo Open Air Architectural Museum will be holding the event “Evening Cool Down at the Open Air Architectural Museum in the Downtown Area” (Dates: Saturday, August 3rd and Sunday, August 4th, 16:00-20:30 (opens at 9:30, admission until 20:00))
Official website ( https://www.tatemonoen.jp/)

◆ A mystery-solving event will be held at national and metropolitan museums at the same time as “Summer Night Museum 2024” (Dates: Thursday, July 25th to Sunday, September 29th)
For details, please visit the Tokyo Metropolitan Foundation for History and Culture website ( https://www.rekibun.or.jp/ )
It is scheduled to be released in mid-July.

■For details on the dates and exhibitions, please click here■
This summer, enjoy the cool evening air at the museum. Summer Night Museum 2024 is happening again this year!

If there are any additional information or changes to the event or benefits, we will announce it on the Tokyo Metropolitan Foundation for History and Culture website ( https://www.rekibun.or.jp/nightmuseum2024/ ).

[Contact Information]
Tokyo Metropolitan Foundation for History and Culture, Arts Council Tokyo, Planning Department, Public Relations Division, Tel: 03-6256-9967

*Business content is subject to change.

[Tokyo Metropolitan Foundation for History and Culture] Press release

Article provided by: Kokosil Ueno

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2024年6月12日2024年6月12日

Reprinted immediately after its release! A collection of art quotes that will soothe your soul, “What does it mean to be alive?”. We are giving away postcards to readers that will be sold exclusively at the original art exhibition (June 19-24)!

92-year-old Shuntaro Tanikawa has been asking himself throughout his life, "What does it mean to be alive?"
This collection of art quotes to soothe your soul is a book you'll want to give to yourself and your loved ones.
When you feel emotionally exhausted, when you want to reset your mind, when you want to relax, just open to your favorite page and you will find a world that reflects your heart, and your own story will unfold. You are sure to find something that will support you through the "words" and "pictures" of this book.
Tetsuko Kuroyanagi, who also sent a comment, gave the book high praise, saying, "No matter what mood I'm in, turning the pages soothes my heart."

This time, an exhibition of original artwork by the author, Yoshio Miyauchi, will be held at Matsuzakaya Ueno store (June 19th to 24th).
In addition, to commemorate the reprinting shortly after the book's release, we will be giving away limited edition postcards to readers only available at the original exhibition.

Please see here for the application guidelines for the giveaway.
Special website : https://special.kobunsha.com/ikiteru/

【notice】
Original Art Exhibition: Matsuzakaya Ueno Store, 6th floor event space, Wednesday, June 19th to Monday, June 24th, 2024
(Business hours: 10:00-18:30 (closing at 18:00 on the last day)
*A signing session with author Yoshio Miyauchi has also been scheduled! Details will be announced on Kobunsha Promotion Department X.

[Author Profile]

Shuntaro Tanikawa
Born in Tokyo in 1931. Poet.
He made his debut in 1952 with "Two Billion Light Years of Solitude."
He received the Japan Translation Cultural Award for "Mother Goose Songs."
Since then, he has won numerous awards.
In addition to writing poetry, she is active in a variety of fields, including translating "Peanuts," as well as writing picture books, children's stories, scripts, and lyrics.
His recent book is "Into the Void" (Shinchosha).

Yoshio Miyauchi
Born in Tokyo in 1964. Illustrator.
Graduated from Tama Art University, Faculty of Fine Arts, Department of Design, majoring in dyeing and weaving design.
Using transparent watercolor paints, she expresses and creates "a warm storybook world."
He has worked on corporate calendars for companies such as Pfizer Pharmaceuticals and Isetan, as well as animation for the songs on NHK Educational TV's "Inai Inai Baa!"
Creator of Panda Label's official character, "Rainbow Panda Runrun."

[Bibliographic information]
Author: Words by Shuntaro Tanikawa Illustrations by Yoshio Miyauchi
Price: 1,800 yen (1,636 yen + tax)
Format: B5 variant hard cover
Publisher: Kobunsha

[Kobunsha Inc.] Press release

Article provided by: Kokosil Ueno

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2024年6月4日2024年6月4日

In conjunction with the closure of ABAB UENO, the “ABAB Closing Big Big Big Big Thanksgiving Art Festival” will be held from Wednesday, June 5th. Works by artists, mainly those who are residents of the Uenoshita Studio, will be on display.

Uenoshita Studio, which was established with the aim of supporting young artists, will close at the end of June 2024. This exhibition will be a presentation of the results of work produced at the Uenoshita Studio and an expression of gratitude to ABAB UENO.

The Chain Museum Co., Ltd. (hereinafter referred to as "The Chain Museum") will be holding the "ABAB Closing Thank You Art Festival" from Wednesday, June 5th at "ABAB UENO", which is operated by the art communication platform "ArtSticker".

Uenoshita Studio opened in September 2023 on the 6th floor of ABAB UENO, which is scheduled to close due to the aging of the building, as a studio where artists can create, store, and occasionally exhibit their works.
In conjunction with the closing of ABAB UENO on Sunday, June 30, 2024, we will be holding an art festival featuring artists involved in the Uenoshita Studio.

Participating artists (in alphabetical order, titles omitted)
Etsuko Ichihara, Embeli Lea, Risako Kokubun, Gunji, CON_, Aya Takahashi, Ari Tazaki, Ayane Nozaki, Kenji Hirazawa, Rintaro Fuse, Yoshimoto Masuda, Hibiki Yamada, Shu Yonezawa, Xihang Lu, Shiori Watanabe

・Comment from the organizer

Young artists face the triple whammy of "no place to create," "no place to show," and "no place to store." In September 2023, the Uenoshita Studio was opened on the sixth floor of ABAB UENO to solve these problems.
Two-thirds of the floor was used as a studio where artists could live and create, and the remaining third was set up as an exhibition space and a warehouse. The system works that the residents created in the studio can be exhibited in the exhibition space, and when the exhibition is over, they can store the works in the warehouse. As it is located a 15-minute walk from Tokyo University of the Arts, collaborations were also carried out with several laboratories at the university, and 35 artists have devoted themselves to creating and exhibiting their works over the past six months. Many of them are up-and-coming artists who are attracting a great deal of attention from the art world. It is worth noting that the works created here, using a variety of techniques, have gone on to be exhibited in large and small galleries, award winners' exhibitions, and museums.
The hustle and bustle of Ameyoko, its unique smells, and the all-encompassing character of the area provided each artist with tremendous inspiration and stimulation, giving them hints for their next productions.
This exhibition is a kind of final farewell to the residents, as an expression of gratitude to them at the closing ceremony.

"ABAB Closing Great Thank You Arts Festival"

Dates
June 5th (Wed) – June 30th (Sun), 2024

time
12:00-18:00 (last entrance 17:30)
*The final day, Sunday, June 30th, is open from 12:00 to 16:00 (final entrance 15:30)

closing day
Monday – Wednesday
*Open on the first day, Wednesday June 5th

venue
Uenoshita Studio (ABAB UENO 6th floor)

address
6th floor, ABABUENO, 4-8-4 Ueno, Taito-ku, Tokyo 110-8541

Admission fee
500 yen

Organizer
ArtSticker (run by The Chain Museum)

Exhibition URL
https://artsticker.page.link/uenoshita_grandfinale

・Concurrent Events

Additionally, the satellite venue, ABAB UENO, on the 5th floor, will host "Ddass Vol.1" by the artist project Man Monday.

ABAB UENO will be hosting the first project of Man Monday, "Ddass Vol.1", which aims to develop new forms of art by maintaining a pace and speed of presentations rooted in daily life and expression and by acquiring a new ecosystem, however small.
"Ddass" is an acronym for "Drawing duplication acquisition slow system," and is a project that focuses on the so-called "drawings" that artists draw during their creative process, thought experiments, or in random moments. Man Monday will turn these drawings into trading cards and sell them in vending machines at the venue during the event.
Currently, capsule toy vending machines are filling up vacant spaces in shopping complexes, and are also attracting attention as a business opportunity in the inbound tourist market.
Through "Ddass," Man Monday aims to provide clues and guidance to the increasingly complex world of contemporary art, and to attract new viewers through new distribution channels.

Drawing artists (in alphabetical order, titles omitted)
Kenta Ishige, Dan Isomura, Hayato Isozaki, Risa Komiya, Koichiro Tada, Datsuo, Namonaki Sanemasa, Marin Harada, Sae Fujita, We and everyone are alive, Taro Maruyama, Reina Sanpei, Eriko Mukae, Maho Motoyama, Yutaro Yamada, Yamada Yoshida

・Greetings from the organizer

Monday [Long-winded]
(adv.) (from Chinese) (manmande) A word used to describe something that is slow. Slowly. Leisurely.
(Source: The Selected Edition of the Japanese Language Dictionary)

With the recent development of social media and the expansion of the art market, artists have been given more opportunities to exhibit their work than ever before. The way in which new connections that did not exist before are being created, overtaking the conservative hierarchy of the industry, has captivated and engaged people without boundaries, which has led to a chain reaction that further strengthens this structure. However, gradually, this chain has taken an accelerating step, fueled by various intentions, desires, and emotions. At the end of this self-consuming chain, a violent wilderness has arisen in which each of these transforms the artwork into image data circulated on the web, words into weapons for confrontation and agitation, viewers into buyers and followers, and artists into devices for attracting public attention.

Monday is a project that aims to develop new forms of art by allowing artists living today to maintain a pace and speed of presentation rooted in their lives and expressions, and to acquire a new ecosphere, even if small, in other words, to re-cultivate the aforementioned wilderness into a more decent form. For example, in 19th century France, where the air was filled with the scent of war, Cezanne, who kept a certain distance from the radical Impressionists who were gaining fame using new chemical art materials at the time and continued his own explorations in the suburbs, was finally recognized in his later years and later called the "father of modern painting." It may take time, but we too will continue to experiment and reach our goal.

"Ddass Vol.1"

Dates
June 1st (Sat) – June 30th (Sun) 2024

time
10:30〜20:00

closing day
none

venue
ABAB UENO 5th floor

address
5F ABABUENO, 4-8-4 Ueno, Taito-ku, Tokyo 110-8541

Admission fee
free

Participating artists (in alphabetical order, titles omitted)
Kenta Ishige, Dan Isomura, Hayato Isozaki, Risa Komiya, Koichiro Tada, Datsuo, Namonaki Sanemasa, Marin Harada, Sae Fujita, We and everyone are alive, Taro Maruyama, Reina Sanpei, Eriko Mukae, Maho Motoyama, Yutaro Yamada, Yamada Yoshida

Organizer
FLOATING ALPS LLC.
Man Monday Writers: Kenta Ishige, Koichiro Tada, Yutaro Yamada

Exhibition URL
https://artsticker.page.link/Ddass_Vol1

・About ABAB UENO

This ladies' fashion building in Ueno, Tokyo is operated by AbuAbu Akafudado Co., Ltd. It houses over 40 shops selling a wide variety of clothing, shoes, miscellaneous goods, lingerie, cosmetics, and more, many of which offer trendy items at low prices. Founded in 1945, this department store has been operating in the Ueno area for 78 years.

・About ArtSticker

Operated by The Chain Museum Co., Ltd., this platform provides opportunities to encounter art and places to enjoy dialogue, and "connects a series of experiences" in art appreciation. It features a wide range of works from well-known artists to up-and-coming young artists. The genres of the works are also diverse, including installations, paintings, and performing arts.

▽ArtSticker Website
≫ http://bit.ly/3ZeK8vS

▽ArtSticker download URL
≫ App Store: https://apps.apple.com/app/artsticker/id1446438049
≫ Google Play: https://play.google.com/store/apps/details?id=art.tcm.artsticker

·Company Profile

Company name: The Chain Museum Co., Ltd.
Location: 3rd floor, Daikanyama Art Village, 17-10 Sarugakucho, Shibuya-ku, Tokyo
Representative: Masamichi Toyama, Representative Director
▽The Chain Museum Co., Ltd. Official Website
≫ https://tcm.art/

From the press release of The Chain Museum Co., Ltd.

Article provided by: Kokosil Ueno

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