Category: Report

Taito Ward Calligraphy Museum

A legendary calligrapher who was active in China about 1700 years ago and was later revered as a “sage of calligraphy.” Wang Xizhi Ogishi (303-361, heresy) and his most famous work, “ Ranting order Renteijo The exhibition “Wang Xizhi and Rantei Cho” , which focuses on ” , is being held at the Taito Ward Calligraphy Museum.

Date: January 31 (Tue) to April 23 (Sun), 2023 * During the period, the exhibition will be changed according to the following schedule. First term: January 31 (Tue) – March 12 (Sun) Second term: March 14 (Tue) – April 23 (Sun) * Click here for the list of exhibited works *This exhibition is a joint project with the Tokyo National Museum. *The images posted were taken with special permission.

 

The most famous calligrapher, but there is no true trace? About Wang Xizhi

In the history of China, calligraphy flourished most during the Eastern Jin Dynasty in the 4th century, when an elegant aristocratic society was formed. Wang Xizhi appeared at a time when the aristocrats, who were striving to achieve the ultimate in elegance in all aspects of their daily lives, began to add artistry and criticality to calligraphy, which had been all about practicality.

Wang Xizhi refined cursive, cursive, and square script, which were transitional calligraphy styles at the time, and made great strides in artistry while incorporating his own emotions into calligraphic expression. The advanced new style of calligraphy with universal beauty that he acquired became the source of calligraphic norms even in Japan, where Wang Xizhi’s calligraphy was introduced in the Nara period, and to this day it is synonymous with nosho. It is

“Rantei Chou” (353) is such a representative work of Wang Xizhi, and a masterpiece that shines brilliantly in history. This is a draft of the preface of a collection of poems written in March of the 9th year of Yonghe (353), written at a banquet held by Wang Xizhi inviting 41 celebrities in the scenic land of Lanting in Guiji (Shaoxing City, Zhejiang Province). .

Wang Xizhi improvised while intoxicated with a draft of Ranteijo, written in beautiful cursive script, full of emotional sentiments about the pleasures of parties and the ephemerality of life. Anecdotally, no matter how many times he tried to make a clean copy, it never turned out better than the draft. Even now, it is treated as a compulsory work for people who are trying to learn gyosho.

Wang Xizhi’s calligraphy, including “Ranteijo”, was highly valued during his lifetime and was the object of collection among the aristocrats, but in fact, it seems that not a single true copy has survived.

In addition to being gradually lost due to wars and natural disasters, 300 years after the death of Wang Xizhi, the Tang dynasty who loved his calligraphy Taejong so bad The main reason is that the emperor (598-649) thoroughly collected them and buried them together with the Ranteijo when he passed away. However, Emperor Taizong commissioned excellent calligraphers to make “copies” such as copies and rubbed copies of works such as “Lanting Cho” and gave them to his subjects, and Wang Xizhi’s advanced calligraphy was passed down to future generations. It’s decided.

The special exhibition “Wang Xizhi and Rantei Cho” was planned to commemorate the 20th anniversary of the collaborative project between the Tokyo National Museum and the Calligraphy Museum. Paintings and calligraphy that show the influence of these works are exhibited in both museums.

“Ranteijo” appeared one after another. Which is the essence of Wang Xizhi?

The major feature of the exhibition is that you can compare more than 10 types of “Ranteicho” in the first half and the second half.

“Ranteijo” has been duplicated and duplicated. For this reason, the strength, speed, and speed of the characters are all subtly different, and the “Ranteijo” of various histories has been handed down, reflecting the skill of the people involved in the reproduction and the image they had of Wang Xizhi.

In the first half of the exhibition, we were able to appreciate 《Sadatake Honran-tei Chorus》 Hanju ship book Kanju Senbon ―》《Shinryu Honran Tei Introduction― Yamamoto Kakuzan Yamamoto Kyoto Former Collection―》《 Yui Eisho Honrantei-jo Wenzhi Wang home Former Collection―》《 Senwa Naifu Sennanaifu Former Zorantei Cho” , etc. By the way, the phrases such as “XX book” in the title of the work are used to distinguish it from other “Ranteijo”, such as the land where the stone that was the basis of the rubbing was found and the unique characteristics of the work.

《Jingu Honran Teijo – Hanjusenbon》 has a subdued character and an overall cool feel. When Emperor Taizong ordered his retainers to copy the “Rantei Cho”, the one who was the best was counted as one of the “three great masters of the early Tang”. ouyang Ouyoujun (557-641). This work is said to be a rubbed copy from the Song Dynasty, which is particularly old among the many “Seibubon” lineages.

The next thing that caught my eye was “Shinryu Honran Tei Chou – Formerly owned by Yamamoto Kakuzan -“ . The “Shinryu book” is named after the fact that the beginning and end of the text are half-stamped with the name of the Tang dynasty era, “Shenryu.” The “Shinryu-bon” is characterized by its lively and colorful characters compared to others, and it is often featured in textbooks because it is easy to read and learn.

However, according to Mr. Nakamura, the museum’s chief researcher, the character style of the Shenlong version reflects the refined aesthetics of the Tang dynasty. If so, it should be a little more simple.” Certainly, when I looked at the same work compared to others, I felt that the splashes and harassments were a little exaggerated.

Even in the same system, the character appearance is quite different and it is worth seeing. There seems to be various backgrounds, such as whether the person who duplicated it unconsciously brought out his own color, or whether he changed it intentionally to appeal to the people of the time. This is also a personality that was born because there is no true trace of “Ranteicho” and it is impossible to match the answers.

In addition to “Lanteicho”, there are several other works by Wang Xizhi (although they are reproductions) on display at the same exhibition, so even those who are not familiar with calligraphy will wonder, “Which Ranteicho still retains traces of Wang Xizhi?” You can enjoy it while considering it.

Also, although it goes without saying, there is something to be learned from watching Ranteijo on its own. For example, the kanji character ‘之’ appears frequently in ‘Ranteijo’, and I was surprised to find that each was written in a unique style and style.

I don’t know much about calligraphy, so I vaguely imagine that a person who is good at calligraphy has the best character shape perfected in themselves and always outputs that character shape without blurring. was However, in “Ranteijo”, “之” is written differently depending on the context. When viewing the work while reading the Japanese translation of “Ranteijo” in the exhibition room, one realizes that the charm of this work lies not only in the scenery, but also in the rich power of expression that conveys the artist’s emotions. I felt that I could understand part of the greatness of Wang Xizhi, who created the basics of calligraphy art.

In addition to the “Lanting Preface, ” several “Seventeen Chapters,” a collection of 29 letters written in cursive by Wang Xizhi, are also on display in the first half and second half.

“At first glance, it’s a plain work. The content of the writing conveys a feeling of poor health, but the fact that it’s written in beautiful characters, even though it’s said to be in poor health, gives the impression of Wang Xizhi. It’s nice, but the spacing and size between the characters is also a highlight.Just like there are main characters and supporting characters in a drama, there are characters that look good in calligraphy as well, and there are characters that look gorgeous, such as those with harai on the left and right. Please pay attention to the harmony of the entire calligraphy that has been completed.” (Mr. Nakamura)

Creating works with Wang Xizhi font? The popularity of Wang Xizhi is also in Japan…

The exhibition will also display calligraphy from before, during, and after the appearance of Wang Xizhi. In subsequent works, we can see how great the influence of Wang Xizhi was.

A master of regular calligraphy who was active from the end of the Later Han dynasty to the Wei dynasty of the Three Kingdoms, and was said to be admired by Wang Xizhi. shong show ( 151-230 ) recommendation Senkicho Hail ( Shinsho Saijo new year -Higobon-)” is “the first step in the development of calligraphy from slave script to regular script over a long period of time,” says Mr. Nakamura. There are remnants of clerical writing, and primitive characters that are slightly short and wide can be seen.

Wang Xizhi’s << yellow court sutra Kōteikyo 》 and << Filial Lady Cao’e Monument Kojo sogahi 》 (Original site: Eastern Jin Dynasty, 2nd year of Xiuping (358) / Displayed for the entire period). Compared to Sho’s calligraphy, it was noticeably more sophisticated, and I felt that he had grown taller and had a natural character style and brushwork that closely followed the movement of humans writing letters with a brush. I would like you to actually compare them.

Wang Xizhi’s works of about the same period include Michiyuki Hannya Sutra Vol . Handwriting before the Tang dynasty is very valuable. You can see the true appearance of the calligraphy in the era when Wang Xizhi lived.

The running calligraphy of Emperor Taizong of Tang, the central figure in the myth of Wang Xizhi Jin Temple inscription Shinshimei 》 was also there. It’s comfortable to write with a solid and dignified style like an emperor.

“A layman tends to think that if you write in cursive or cursive script by connecting lines to create a sense of speed, the calligraphy of Emperor Taizong was cut off on purpose. If you add too much leeway, the characters will look sloppy, but for the character “Moon”, for example, the lines facing each other between the first and second strokes are tightened. I hope you will enjoy that sense of balance.” (Mr. Nakamura)

As an indication of the popularity of Wang Xizhi after the Tang Dynasty, Holy Order of Kings Shuuou Shogyoujo ” and “Kofuku-ji Temple Cut Monument” (Wang Xizhi / Tang Dynasty, Kaiyuan 9 (721)) are interesting. It is said that it is a rubbed copy made from a stone monument in which each character is collected from Wang Xizhi’s calligraphy and made into sentences as if it were written by Wang Xizhi. The thickness of the lines in “Shu-o Sei Kyojo” has a collage-like atmosphere, but “Kofuku-ji Temple” is quite skillfully harmonized as a whole.

A complete collection of popular Chinese calligraphy created in the Song dynasty . Junkakakucho Junkakujo ― heavy snow Kyousetsu The book—” also contained Wang Xizhi’s calligraphy as a matter of course. According to the story, out of the 10 volumes, Wang Xizhi is introduced in volumes 6-8, and his son Wang Xianzhi is introduced in volumes 9-10. understand. When I came this far, I laughed at the size of the influence.

At the end of the exhibition, we introduced how Wang Xizhi was received in Japan. In the Heian period, Kukai and Ono Dofu, who learned from the copies of Wang Xizhi brought back by the envoys to Tang Dynasty, rose to prominence, and after their success, Japanese-style calligraphy called Kokufu Bunka and Wayo was established. In the Edo period, the trend toward respect for Wang Xizhi became stronger due to the popularity of Tang-style calligraphy, and at the end of the Edo period, a large number of Wang Xizhi calligraphy pamphlets (rubbed copies arranged in the form of calligraphy) began to reach Japan. It seems that it has always had an overwhelming presence not only in China but also in the history of Japanese calligraphy.

Among Japanese works, Rantei Preface by Gochiku Nakabayashi (1827-1913), a great master in the Meiji period, caught my eye. It is a work that I finished the sentences of “Ranteijo” in my own style, and the richness of the variation of the character line is not something you see very often.

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Until now, when I looked at the calligraphy of Wang Xizhi, I couldn’t understand what I should pay attention to, saying, “It’s certainly beautiful, but it’s kind of ordinary.” However, after visiting the exhibition, I reconsidered that the fact that I felt “normal” may be proof that people continue to be Wang Xizhi’s followers even after 1,700 years. .

For a limited time only, the exhibition will feature three works related to the “Seisetsu New Book,” a collection of gossip from the time Wang Xizhi lived, written during the Tang Dynasty, when the most beautiful regular script in China was written. Appears in All of them are national treasures written by hand.

From January 31 to March 12 , Sesetsu Shinsho Vol.
From February 28th to March 26th , 《Seisetsu Shinsho Vol.
From March 28 to April 23 , Sesetsu Shinsho Vol.
Don’t miss this rare opportunity.

The Tokyo National Museum, which has joint exhibitions, is within walking distance, so please visit both museums.

 

■ Overview of the special exhibition “Wang Xizhi and Lanting”

exhibition period	January 31 (Tue) – April 23 (Sun), 2023 * During the period, the exhibition will be changed according to the following schedule. First term: January 31 (Tue) – March 12 (Sun) Second term: March 14 (Tue) – April 23 (Sun)
venue	Taito Ward Calligraphy Museum
Opening hours	9:30 a.m. to 4:30 p.m. (Admission until 4:00 p.m.)
closing day	Mondays (or the following weekday if it falls on a public holiday), special organizing periods, etc.
Admission fee	General 500 yen Elementary, junior high and high school students 250 yen *Admission is free for those with a disability certificate, rehabilitation certificate, mental disability certificate, or specific disease medical care recipient certificate and their caregivers. *Every Saturday, elementary and junior high school students living or attending school in Taito Ward and their guardians are free of charge. For other details, please check the official website.
Taito Ward Calligraphy Museum Official Site	https://www.taitocity.net/zaidan/shodou/
List of exhibited works	https://www.taitocity.net/zaidan/shodou/wp-content/uploads/sites/7/2023/02/kikakuten_20230131.pdf

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Tokyo Metropolitan Art Museum

 

A large-scale exhibition of Egon Schiele (1890-1918), one of the most important painters representing fin- de-siècle Vienna, will be held on January 26, 2023 in Ueno, Tokyo. It opened at the Tokyo Metropolitan Art Museum.

A retrospective exhibition of the genius Egon Schiele, who died young, for the first time in about 30 years in Tokyo

From the end of the 19th century to the beginning of the 20th century, Egon Schiele was a painter who was brilliantly active in Vienna, which was experiencing a period of rare artistic maturity. .

In 1906, Schiele, who showed glimpses of painting sense from an early age, entered the Vienna Academy of Fine Arts as a special admission at the age of 16, the youngest in the school year. In the following year, he was discovered by Gustav Klimt (1862-1918), another representative painter of fin-de-siècle Viennese art, and was greatly influenced by him.

In 1909, he voluntarily withdrew from the conservative system of the academy and formed the “New Artist Group” with friends. He continued to produce innovative works, and in 1918 he was successful at the 49th Vienna Secession Exhibition, but in the same year he died of the Spanish flu at the age of 28.

His scandalous creative activities, which were unconstrained by the common sense of the time, were criticized, and he was arrested. Schiele’s works, which vividly depict the spirituality, life and death, and sex of the world, continue to fascinate people even today.

“Leopold Museum Egon Schiele Exhibition: A Young Genius Born in Vienna” has a world-class collection of Schiele’s works. A retrospective exhibition that looks back on Schiele’s life and work through a total of 50 paintings and drawings.

65 works by contemporary painters such as Klimt, Moser, and Kokoschka are also introduced.

Self-Portrait with Hozuki Fruit, a representative work by Schiele, who continued to explore the inner world of human beings, is coming to Japan!

I would like to introduce some of the exhibited works.

The centerpiece of this exhibition is Self-Portrait with Hozuki (1912), which Schiele made when he was 22 years old. Schiele’s most famous self-portrait is synonymous.

The tension created by the composition of the cherry blossom vines and the slanting posture of the characters creates a tense atmosphere. The contrast between the white background, the clothes, the hair, the black eyes, and the red of the cherry blossoms creates a dignified beauty, while the pale face is boldly arranged with colors such as red and green, giving it a strange liveliness. reflected.

Is the gaze directed at the viewer a provocation or a rejection? Her quiet mouth gives the impression of being both snobbish and swallowing words, and she expresses clearly narcissism and unstable emotional fluctuations with naive sensitivity.

Around 1910, Schiele broke away from the influence of his teacher Klimt and established a one-of-a-kind expressionist style characterized by unstable forms, expressive line drawings, and vivid colors. This work is a masterpiece of the time when his painting style reached maturity.

If you look closely, you’ll notice that the cropping and poses in this work are common in modern “selfie” culture.

According to the director of the Leopold Museum, more and more young people are coming to see Schiele’s works at the Leopold Museum. For those who express themselves through self-portraits, Schiele’s self-portraits, in which he visually puts into practice his thoughts on the “ego,” such as human identity, sexuality, and spirituality, while exposing the body and mind, are a striking source of inspiration. It may be something. In that sense, Schiele can be said to be an extremely modern painter.

Self-Portrait with Cherry Blossoms is paired with Portrait of Valli (1912), which is not shown in this exhibition but is modeled on the woman who was Schiele’s lover and muse at the time. It is made to be, so if you don’t know it, please check it out.

Death was familiar to Schiele from an early age, such as the repeated stillbirths and premature deaths of his siblings, and the death of his beloved father when he was 14. I had a view of life and death. “Death” is an important theme in Schiele’s paintings, and there are many works that incorporate the disturbing signs of death.

The Person Contemplating Oneself II (Death and Man) (1911) is a work in which Schiele directly expresses “death”. Schiele’s self-portraits are often depicted as two people, and in this work as well, the painter himself, with his eyes closed as if indulging in meditation, is surrounded by a presence that looks like a god of death or a ghost. increase. It feels as if he is impatient with the approaching fate of death, and as if he has already accepted his fate, but the third person’s hand extending from below strengthens the eerie impression.

According to the exhibition commentary, this work attempts self-reflection using the image of division. As you can see from Self-Portrait with Hozuki Berries, most of Schiele’s self-portraits have no background. Going against Klimt’s decorative painting style, it suggests that Schiele’s interest is directed toward thorough self-exploration and self-introspection, single-mindedly inward.

Schiele also repeatedly uses the motif of mother and child. In general, mother and child images are associated with love and peace, but Schiele’s Mother and Child (1912) and Mother and Two Children II (1915) both depict death rather than love and peace. emphasizing unrest such as fear, sadness, and despair. Not only the skillful expression, but also the intense brushwork and gloomy colors, I felt a thrilling dreadfulness that made me take a step back. It can be said that it is a development typical of Schiele that breaks the traditional image of mother and child.

Another must-see is the drawing of a nude woman, where you can enjoy Schiele’s exceptional drawing ability and line expression.

For Schiele, who sought to depict “light emanating from all bodies” and depicted radical “sex” that did not sublimate aesthetically, the female nude was also an extremely important motif. Traditionally, nudes are drawn in standing or lying poses, but many of Schiele’s nudes are characterized by a wide variety of poses, such as holding the knees, crouching, and extreme twists.

Their bodies are sometimes in a state of extreme agony, but it is strange how beautiful and vivid it looks. There is no doubt that the certainty of Schiele’s lines is supported by his relentless exploration of physicality, such as bending his own body to the limit.

The screen composition, which denies spatiality by eliminating the floor and the background and leaving blank spaces around the characters, is also interesting.

The drawings in later years especially caught my eye. The expressive contour lines and slight gradation of black chalk are used to explore the model, and the unwavering lines and silhouette are truly beautiful. In spite of the fact that he sketches the complicated poses with the minimum level of brushwork, such as in Reclining Girl with a Ribbon (1918), the level of perfection is so high that it can be called a work of art by itself. is.

Schiele was the youngest student in the school and was able to enter the academy as a special admission.

Stylized Flowers in Front of a Decorative Background (1908) and earlier Academy Several early works, such as the period, before Schiele established his own style of painting, were also introduced. You can closely follow the artist’s journey to emerge, and how he continued to change his style with an obsessive inquisitive mind even after establishing his style.

Painters such as Klimt and Moser who colored the art of Vienna at the end of the century

As mentioned above, this exhibition focuses mainly on Schiele’s works, but also Klimt , Schiele’s teacher, as well as Koloman Moser (1868-1918), who founded the Vienna Secession with Klimt and specializes in landscape painting and graphic art. ), Richard Gerstl (1883-1908), who is positioned as the first painter of Austrian Expressionism and has been re-evaluated in recent years, and Oskar Kokoschka (1886-1980), a master of Viennese Expressionism like Schiele. A collection of works by Viennese painters associated with Schiele. We can see the background of how Schiele stood out in the flow of the Golden Age of Viennese art.

The modernity of Schiele’s work remains intact even after 100 years.

Once again, this exhibition is a very valuable opportunity to bring together 50 works by Egon Schiele, a genius painter who died young. Please come and experience Schiele’s trembling, provocative and delicate sensibilities, as well as the creative energy that filled Vienna at the turn of the century.

Outline of “Leopold Museum Egon Schiele Exhibition Young Genius Born in Vienna”

exhibition period	Thursday, January 26, 2023 – Sunday, April 9, 2023 *Dates are subject to change.
venue	Tokyo Metropolitan Art Museum (Ueno Park, Tokyo)
Opening hours	9:30-17:30, until 20:00 on Fridays (last admission 30 minutes before closing)
Closed day	Monday
viewing fee	[Date and time reservation system] General 2,200 yen, University/vocational school students 1,300 yen, 65 and over 1,500 yen, weekday pair discount 3,600 yen*For details, please check the ticket page on the official website ⇒ https://www.egonschiele2023.jp/ticket.html
organizer	Tokyo Metropolitan Foundation for History and Culture, Tokyo Metropolitan Art Museum, The Asahi Shimbun, Fuji Television Network, Inc.
patronage	Austrian Embassy, Austrian Cultural Forum Tokyo
inquiry	Hello Dial 050-5541-8600 (All day/9:00-20:00)
Exhibition official website	https://www.egonschiele2023.jp

*The content of the article is as of the interview date (January 25, 2023). For the latest information, please check the official website of the exhibition.

 

Article provided by: kokosil Ueno

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Ueno Royal Museum

An exhibition commemorating the 50th anniversary of the normalization of diplomatic relations between Japan and China, “Terracotta Warriors and Ancient China – Heritage of the Qin and Han Civilizations -” opened on November 22, 2022 at the Ueno Royal Museum. (Exhibition period is until February 5, 2023)

This exhibition introduces the heritage of ancient Chinese civilization with about 200 precious cultural relics, centering on 36 terracotta warriors. I covered the press preview held the day before the opening, so I will report on the state of the exhibition.

Confronting a magnificent history that transcends 2000 years

Yo is a human figure made of wood and earth that was buried with the body of a powerful person in ancient China.

In 1974, when a farmer was digging a well about 1.5km away from the Mausoleum of the First Emperor, a large number of almost life-size figures of soldiers and horses with different faces and clothes were unearthed. Investigation revealed that the terracotta warriors were placed underground to protect the Qin Shi Huang after his death, making it one of the greatest archaeological discoveries of the 20th century. Excavation work is still ongoing, but the number is estimated to be about 8,000.

In 221 B.C., the Spring and Autumn Warring States period ended when seven kingdoms fought against each other, and the Qin Dynasty of Shi Huang, the first emperor to establish a unified dynasty in Chinese history, fell in just over ten years. .

This exhibition focuses on the Qin dynasty and excavated artifacts from Guanzhong (current Shaanxi province), the central region of the Han dynasty, which is said to be the golden age of ancient China, founded by Liu Bang after the Qin Dynasty fell in 202 BC. In addition, about 200 items will be introduced, including first-class cultural relics (a unique Chinese classification that refers to the highest grade valuable cultural relics) that have been exhibited in Japan for the first time.

Actor Shosuke Tanihara, who was the navigator of the exhibition and also narrated the audio guide, rushed to the opening event.

Looking at the terracotta warriors lined up at the venue, he commented, “It’s a masterpiece. I was surprised by the size of its presence as an object.” “Among the things that have been made for a long time, pottery and metal items tend to survive. I really felt it,” he said, describing his impressions after visiting the venue.

In addition, this exhibition has a corner that collaborated with the popular manga “Kingdom” depicting the Spring and Autumn Warring States period, and he himself is a big fan of the work. Please come to this exhibition to experience this.”

Valuable shogun figures will be exhibited for the first time in Japan!

At the venue, historical materials covering approximately 1,000 years from the relocation of the capital of the Zhou Dynasty in 770 B.C. to the fall of the Han Dynasty in 220 B.C. It is introduced in three chapters , “Birth of the Dynasty-Era of the First Emperor” and “Chapter 3 Prosperity of the Han Dynasty-From Liu Bang to Emperor Wu” .

The highlight is the 36 terracotta warriors and horses, but especially the many terracotta warriors from the era of the first emperor in “Chapter 2: The Birth of the Unified Dynasty – The Era of the First Emperor” were very impressive with an average height of around 180cm.

Japan has held exhibitions on the theme of terracotta warriors and horses several times in the past. One of the precious “Shogun” that has not been exhibited in Japan for the first time is coming to Japan.

This is the “War Uniform General” . Although it has the name “shogun,” it actually refers to a military officer or a high-ranking military officer who rode a tank and commanded a small unit of infantry and cavalry. The image height is 196 cm and tall.

Among the numerous terracotta warriors and horses lined up, it is easy to recognize at a glance because it has a uniquely shaped crown on its head called a katsukan. The pheasant is a wild bird of the pheasant family, and it is said that its tail feathers came to be used as the crown of warriors because it would fight back violently when attacked.

It is known that the terracotta warriors and horses were originally brightly colored, and if you look closely at the cheeks and ears on the right side, you can see traces of skin color overlaid on a white background, and you can feel the remnants of the past. The right hand is unnaturally rounded, but it seems that this represents the state of holding a sword.

It is interesting that not only the faces and clothes, but also the poses are diverse, such as those who shoot standing, and those who wait with a crossbow.

At 64cm in height, Kizayo , which is slightly smaller than life-size, is a faithful imitation of an official who raises horses and animals. Soldiers and horses are sometimes buried in combination, but kneeling figures like this one are buried in horse stables and rare birds and animals pits. It seems that it was placed in a place called this.

For the Zhou Dynasty, horses were bred and given the land of Qin. You can feel the depth of the Qin people’s feelings for horses and animals, to take care of them in the afterlife.

On the same floor, there was also a figure of a chariot horse.

The terracotta army was born in place of human martyrdom (killing and burying according to the death of the grave owner), which was already abolished at that time. It is said to have been modeled.

Some of the terracotta warriors are posing with weapons, but if you look around, you won’t find any stern expressions about going into battle. Knowing that the first emperor had begun building his own mausoleum before his death, I imagined that these expressions might have been instructions from the first emperor himself who wished for rest in the world after his death.

The interesting thing about the terracotta army is that such realistic, life-size figures can only be seen during the Qin Shi Huang era.

At the venue, one of the oldest examples of terracotta warriors from the Qin Dynasty, the Horse Warriors, and the Colored Infantry Soldiers , which was made in the Former Han dynasty, can also be admired. , Former Han has a simplified and standardized design. In other words, the terracotta warriors of the Qin Shi Huang era, which are almost life-size and have one-on-one models, are quite special.

Kazuyuki Tsuruma, professor emeritus at Gakushuin University and the supervisor of this exhibition, explains why the Terracotta Warriors of the First Emperor were created.

■(As mentioned earlier) When real horses and animals were carefully buried, the horses and animals were respected, such as placing kneeling figures to take care of them, and later combining life-sized ceramic horses and ceramic figures. Is it not the gift of the spirit of the Qin people?

■Since a decorative plaque depicting the Greek god of wine, Dionysus, was discovered in a Qin tomb during the Warring States period, it is possible that ancient Greek sculpture and art had an influence.

It sounds like you’re making an assumption.

Confucius once criticized the figure of a human being, but since the First Emperor is known for burning books and digging Confucian scholars, he may have dared to create something that goes against Confucius’ teachings.

In the vicinity of the Mausoleum of the First Emperor, which was equipped with sleeping halls and ritual facilities, not only soldiers but also civil officials, musicians, and acrobats have been found, although they are not on display.
In any case, these terracotta warriors and horses, which have a thorough realism, seem to reproduce the appearance of Qin at that time as it is, not only the enormous national power of Qin at that time, but also the extraordinary posthumous emperor’s death. I could feel his expectations for the world and his pride as a ruler.

There are also exhibits that deepen your understanding of the world of “Kingdom”

I mentioned earlier that this exhibition is collaborating with the popular manga “Kingdom”, which is set in the Spring and Autumn Warring States period and depicts the path to the unification of China by Qin, but here is the collaboration.

The panel display surrounding the room where “No. 2 Bronze Horse” (reproduction) is placed allows us to compare the historical figures, places, weapons, and accessories that appear in the work with the exhibits in this exhibition. , to deepen your understanding of ancient China.

This “No. 2 Chariot Horse” was excavated from the Mausoleum of the First Emperor, and is half the size of the real thing. It retains the dignity of the first emperor’s parade during his lifetime. It is praised as the pinnacle of ancient Chinese bronze technology due to the combination of elaborate parts.

In fact, this copper horse is very similar to the carriage that Masafumi was on in the first episode of “Kingdom” (although there is a difference between two horses and four horses). I am reminded of the fascination that reality is born in the world of the work from such detailed descriptions.

In addition, we also discovered the “Bronze Bell” , which is one of the most popular characters in the work, and is related to Lu Buwei, the first minister of Qin who stands in the way of Qin Shi Huang (later Shi Huang). “Keki” is a weapon with a spear attached to a weapon called a dagger. This item was discovered in the Terracotta Warriors’ Mine, and it is engraved with the words “Three Years Old Lu Fu Wei”, indicating that Lu Fu Wei was in charge of manufacturing this weapon.

In this way, exhibits linked to the world of “Kingdom” will appear here and there in this exhibition, so if you are a fan, please check every corner of the venue.

Feel the breath of ancient Chinese people

In addition, there are carefully selected masterpieces such as bronze ware and jade. Among them, the treasure “Ryukin Bronze Horse” , which was made by Emperor Wu of the Former Han Dynasty and was exhibited for the first time in Japan, had a strong presence. It is a gold-plated statue of a horse, and its model is said to be Hanchiuma, a famous horse that was said to run a thousand miles in one day, and was entrusted with the admiration of Emperor Wu, who had never seen the Hanchima. It is considered

In addition to ancient administrative documents called “Liyeqinjian” and gold seals, there are valuable cultural relics of the highest grade, as well as coins, jars, jars, incense burners, boards (tools for washing one’s hands), and vases (for pouring sake and water). A wide range of items that remind us of the lives of people who lived in ancient China, such as tableware, dings (tools for boiling meat and fish), were introduced, making it a perfect introduction to ancient China. .

The exhibition “Terracotta Warriors and Ancient China – Heritage of the Qin and Han Civilizations -” where you can feel the romance of ancient China will be held until February 5, 2023.

 

“Terracotta Warriors and Ancient China – Heritage of Qin and Han Civilization -” Overview

exhibition period	November 22, 2022 (Tuesday) to February 5, 2023 (Sunday)
Opening hours	9:30-18:00 Admission until 30 minutes before closing
closing day	December 31, 2022 (Sat) – January 1, 2023 (Sun)
venue	Ueno Royal Museum
organizer	Tokyo Shimbun, Fuji Television Network, Ueno Royal Museum, Shaanxi Provincial Cultural Relics Bureau, Shaanxi Historical Museum (Shaanxi Cultural Relics Exchange Center), Qin Shi Huang Mausoleum Museum
inquiry	050-5541-8600 (Hello Dial/9:00~20:00)
Exhibition official website	https://heibayou2022-23.jp

*The content of the article is as of the interview date (2022/11/21). For the latest information, please check the official website of the exhibition.

 

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National Science Museum

The National Museum of Nature and Science in Ueno, Tokyo will hold a special exhibition “Poison” from November 1, 2022 (Tuesday) to February 19, 2023 (Sunday).

In this exhibition, specialists in zoology, botany, earth science, anthropology, and science and engineering thoroughly delve into the various “poisons” that exist on earth.

I participated in the press preview held prior to the opening, so I will report on the contents of the exhibition and the state of the venue, along with my impressions.

Poison, poison, poison… A special exhibition that explains all kinds of poisons

Various “poisons” that exist in the natural world and human society, such as animals, plants, fungi, minerals, and even artificial poisons, are roughly understood as “substances that harm living things, including humans.”

The special exhibition “Poison” collects such poisonous organisms and toxic substances, and not only introduces the diversity of poisons, but also the history of organisms that have evolved with poisons, and the history of poisons since ancient times, sometimes weapons, sometimes poisons. A multi-faceted commentary on “What is poison?”, such as the relationship between poison and humans who have used it as medicine.

This special exhibition on the theme of poison will be the first attempt at the National Museum of Nature and Science.

The total number of poisons that appear is over 250!
Nine specialists from different research departments, such as zoology, botany, earth science, anthropology, and science and engineering, provide comprehensive commentary unique to the National Museum of Nature and Science, as well as valuable specimen materials.

In the venue, you can deepen your knowledge of poison while solving the “poison quiz” by QuizKnock led by Mr. Takuji Izawa, the quiz king . While searching for poisons that can be used for conquest, they appear here and there in the venue and leave interesting comments about the world of poisons.

In addition, you can enjoy the audio guide by voice actor Yuichi Nakamura, who will be the first museum audio guide, and the illustrations drawn by Toko Shino, who is the illustrator of the popular poison-themed novel “Yakuya no Hitorigoto”. Creators are making this exhibition exciting.

At the opening talk held before the press preview, we received messages from Mr. Tsuyoshi Hosoya, director of the Botanical Research Department of the National Museum of Nature and Science, who supervised this exhibition, and Mr. Takuji Izawa, who became an official supporter of this exhibition.

Mr. Hosoya said, “This exhibition was planned with the hope that people will understand the diversity and multifaceted nature of poison. Poison is a substance, but it is also an opportunity to understand the workings and workings of nature.” I think we can think of it as an idea or concept that was created for the purpose.The attitude of confronting poison is science itself.”

There were too many stories to show because it was a project that crossed each research department of the science museum, and it was difficult to carefully select information and give a story to the exhibition.

Mr. Izawa says that he had an image of poison as something that “feels fear since childhood, but at the same time is attractive and attractive.” After viewing this exhibition, he said, “The exhibition is solid! There are gimmicks that can be enjoyed by children and adults alike. It’s worth seeing, so I’d like you to take two hours (to appreciate it). I go around the exhibition. It might take 3 or 4 hours to do it,” he said, showing off the richness of the content.

“Poisons have a scary image, so parents may not want to let their children see them, but the important thing is to know correctly and fear correctly. We can’t escape from the poison inside, so I would be happy if you could feel (the importance of) getting along well while gaining knowledge.”

Visitors are welcomed by a large scale model of a hub and a hornet!

This exhibition consists of five chapters, Chapters 1 to 4 and the final chapter.

In “Chapter 1: Welcome to the World of Poisons,” which includes videos and panels to help you grasp the concept of what poison is, you can also learn about poisons that we might encounter indoors or outdoors. The “Poisons in the Inside” panel was gaining popularity.

Looking at the panel, “moldy bread” and “carbon monoxide” feel like hum hum, but I’m surprised to see that foods that I usually eat casually such as “grapes” and “peanuts” are also listed as examples. (What kind of poison this will be is revealed at the end of the exhibition)

I had a vaguely unusual image of poison, such as poisons used in suspense cases, poisonous snakes, and poisonous spiders. As you can see in the explanation, it is the introduction part that immediately makes it clear that there is no such thing at all.

Next, we will enter the “Chapter 2 Poison Museum” area, which can be said to be the main part of this exhibition, where we introduce various poisons and poisonous creatures around us.

Here, a spectacular enlarged model created to explain “poison for attack” used to capture and disable prey and “poison for defense” used to protect yourself from external enemies appears!

There were four larvae, about 30 times the size of the real thing, a giant hornet about 40 times the size, a nettle about 70 times the size, and a larva about 100 times the size of the real thing .

The details of the model of the habu and giant hornet, which are about to attack with bare tusks and stingers, are eye-catching. The dynamism is amazing…!

“Japan’s three major poisonous plants”, the world’s poisonous plants that far surpass its toxicity, the rare poisonous bird “Shrike”, poisonous mushrooms that are easily mistaken for edible mushrooms, once believed to be the medicine of immortality A wide variety of poisons, such as the highly toxic mercury, appear one after another, stimulating your thirst for knowledge.

What was interesting was the column about the “Schmidt index” in one section of the exhibition about bees with venom, which is a blend of various chemical substances described as a “poisonous cocktail.”

The Schmidt Index is an American researcher, Dr. Justin Schmidt (1947-), in response to the question, “Which bee sting hurts the most?” digitized to . (He was awarded the Ig Nobel Prize for this research.)

The figurative expressions attached to the Schmidt index are strangely clever, such as “A sharp pain that feels like a hot flash. I thought it was mild Havarti cheese, but it turned out to be extremely spicy jalapeño cheese.” invite

Are humans evolved from poison? Human history has been with poison

The exhibition will continue even after you pass Chapter 2, which is sure to give you a lot of poison knowledge.

So far, the atmosphere has been like exploring the world of living creatures and minerals, but from “Chapter 3: Evolution of Poison” , the atmosphere changes to that of a clean laboratory.

Here, we introduce examples of poison-triggered evolution, such as mimicking poisonous organisms, stealing poison from poisonous organisms, acquiring poison-resistant properties, and a seed dispersal strategy using poison. .

For example, oxygen, which is essential to many organisms, is actually toxic. We, humans, were creatures that evolved to adapt to poison.

In addition, yellow-headed poison dart frogs and red-bellied newts have evolved to have “warning colors” that tell others that they are poisonous animals and avoid unnecessary conflicts.

The yellow-black warning color of yellow-billed poison dart frogs is often seen in other creatures such as giant hornets, but red-bellied newts are red and black. I was wondering if there was some reason for this difference, but the point is that “contrast between bright and dark colors” is important.

As an example of the acquisition of the property to withstand poison, there was an exhibition of “Eucalyptus vs. Koala”.

Eucalyptus leaves are hard, rich in fiber and low in nutrients, and contain many toxic chemical substances. The koalas that have successfully bred in the eucalyptus forests are anti-eucalyptus specialists who have developed a variety of traits that are resistant to eucalyptus leaf toxins. Even though he has a cute face, he’s strong inside…!

“Chapter 4 Poison and Humans” looks back on what kind of existence poison was for us humans, such as using it for hunting and warfare, and creating medicine by researching “poison”. This area also introduces the research of “poison”, such as the elucidation of poison through progress and its use.

A replica of a “notched wooden stick” about 24,000 years ago found in Border Cave in South Africa is exhibited as the oldest evidence that humans used poison, and the long history between humans and poison I feel

The Edo period’s “Oshiroi culture,” in which white powder containing toxic ingredients such as lead and mercury was used, and the poison that plants synthesize to protect themselves from predators, invented in Japan in 1890. It was also interesting to see the relationship between Japanese culture and poison, such as mosquito repellent incense using .

There is also an introduction to the technique of “poisonous organism cuisine,” which uses organisms that are normally inedible as ingredients by removing poison and detoxifying them.

I knew about puffer fish and eels, but I didn’t know that cassava, the raw material for tapioca, which caused a big move in Japan a while ago, was also a crop that needed to be detoxified. You can see that the insatiable quest for human food was the driving force to overcome toxicity.

From the exhibits so far, you can clearly understand that the world around us is full of poison. Even now, new poisons are being born and discovered… As long as humans live, we have no choice but to live with poisons . .

The exhibition concludes with a symbolic display of poison that invites us to look back at the entire venue and reconsider what kind of existence poison is, and how we, who cannot escape from poison, should face it.

At the second venue on the way to the exhibition special shop, you can read (or watch) an interview with the nine researchers who supervised this exhibition and what “poison” means to the “Hawk’s Talon”. I made it.

In particular, the answers to the question, “Is there anything you should be careful not to get poisoned by?”

Many original goods for this exhibition such as T-shirts, encyclopedia-style underlays, and pouches with pop designs are on sale at the special exhibition shop. The large stuffed fly agaric and tsukiyotake mushrooms are also cute, but the “Special Exhibition ‘Poison’ Branded Manju” is a surprising item. The red bean paste inside is also made with purple sweet potatoes, making it even more poisonous.

The special exhibition “Poison” explores the past and future of the relationship between humans and poisons while touching upon the mysteries and surprises of poisons. Some of the exhibitions include centipedes, poisonous insects, etc., so if you are not good at it, please be careful, but please try to step into the deep world of poison.

Overview of the special exhibition “Poison”

exhibition period	November 1, 2022 (Tuesday) to February 19, 2023 (Sunday) *Exhibition dates are subject to change.
venue	National Museum of Nature and Science (Ueno Park, Tokyo)
Opening hours	9:00-17:00 (entrance until 16:30)
closing day	Monday, December 28 (Wednesday) – January 1 (Sunday/holiday), January 10 (Tuesday) *Open on January 2nd (Mon/holiday), 9th (Mon/holiday), and February 13th (Mon).
Admission fee (tax included)	[General/university students] 2,000 yen [Elementary/middle/high school students] 600 yen *Admission must be made online for a specified date and time. *Admission is free for preschool children, persons with a disability certificate, and one caregiver. Please note that a reservation for a specific date and time is required.
inquiry	050-5541-8600 (Hello Dial)
Exhibition official website	https://www.dokuten.jp/
organizer	National Museum of Nature and Science / Yomiuri Shimbun / Fuji Television Network
supervision	・Tsuyoshi Hosoya (Director, Botanical Research Department, National Museum of Nature and Science) ・Masanori Nakae (Research Director, Vertebrate Research Group, Department of Zoology, National Museum of Nature and Science) ・Natsuhiko Yoshikawa (Researcher, Vertebrate Research Group, Department of Zoology, National Museum of Nature and Science) ・Tatsuya Ide (Researcher, Terrestrial Invertebrate Research Group, Department of Zoology, National Museum of Nature and Science) ・Nobuyuki Tanaka (Director of the Terrestrial Plant Research Group, Plant Research Department, National Museum of Nature and Science) ・ Kentaro Hosaka (Chief Researcher, Fungi and Algae Research Group, Botanical Research Department, National Museum of Nature and Science) ・ Yukiyasu Tsutsumi (Chief Researcher, Mineral Science Research Group, Geology Research Department, National Museum of Nature and Science) ・Kazuhiro Sakaue (Director, Human History Research Group, Department of Anthropology, National Museum of Nature and Science) ・Shun Hayashi (Researcher, Science and Engineering Research Department, National Museum of Nature and Science)

*The content of the article is as of the date of coverage (October 31, 2022). For the latest information, please check the official website of the exhibition.

 

Article provided by: kokosil Ueno

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Tokyo National Museum

*This article was written on October 22, 2022. Please note that some of the exhibited works introduced have already ended their exhibition period. (December 1, 2022)

From October 18th to December 11th, 2022, the Tokyo National Museum (hereinafter referred to as Tohaku) will hold a special exhibition "National Treasures: All About the Tokyo National Museum" .

In this exhibition commemorating the 150th anniversary of the founding of the museum, all 89 national treasures owned by the Tokyo Expo, as well as many important cultural properties will be on display! Even if you're not an art fan, you can't miss the content.

Since I participated in the press preview that was held prior to the event, I will report in detail on the state of the venue, which is too luxurious.

*Advance reservations are required for this exhibition (specified date and time).
*Exhibitions will be changed during the exhibition period.
*All works are owned by the Tokyo National Museum unless otherwise specified.

It will be difficult to realize in the next 50 years! ? Opening of a marvelous exhibition

The special exhibition "National Treasures: All of the Tokyo National Museum" aims to introduce the entire picture of Tohaku, the museum with the longest history of 150 years in Japan. This is an exhibition that displays masterpieces, including , and related materials that tell the history of 150 years since the Meiji era.

Tohaku's collection of national treasures is the largest in Japan, with 89 works representing about 10% of the arts and crafts currently designated as national treasures. Just by looking at the number, you should be able to understand how special this exhibition is.

Of course, such an exhibition is unprecedented, the first in history!
At a press conference held in May of this year, even the researchers of the Tokyo Expo said that they had never seen a scene in which all 89 national treasures were displayed.

It seems that it was very difficult to adjust the detailed exhibition plan from several years ago, and he said, "The next exhibition may be held at the 200th anniversary, 50 years later ." It may be a once-in-a-lifetime chance, so if you are interested, I would like you to adjust your schedule.

Tohaku Hasegawa, Sesshu, Koetsu Honami…The essence of beauty can now be found at the Tokyo Expo

This exhibition consists of two parts, " Part 1: National Treasures of the Tokyo National Museum" and "Part 2: 150 Years of the Tokyo National Museum ."

"Part 1 National Treasures of the Tokyo National Museum" is an area where only national treasures are simply displayed as far as the eye can see. The breakdown of the 89 national treasures is 21 paintings, 14 calligraphy, 4 oriental paintings, 10 oriental calligraphy, 11 Horyuji treasures, 6 archeology, 4 lacquer works, and 19 swords .

*Please note that all national treasures cannot be viewed in one visit, as they are all open to the public, including exhibition changes. (It seems that around 60 national treasures can be viewed in one visit at any time.)
In addition, all exhibition schedules are published on the exhibition official website .

When you enter the venue, instead of a greeting, you will be greeted by Tohaku Hasegawa, a painter who was active in the Azuchi-Momoyama period.

It is one of the National Treasures that makes you think, "This is what Tohaku is all about." Its elegant appearance takes your breath away every time you see it. You can even feel the humidity of the cool air surrounding the pine forest. The pine tree has a mysterious and mysterious atmosphere, but if you look closer, you will be overwhelmed by the surprisingly intense brushwork.

It is said to be the pinnacle of Japanese ink painting, but the interesting point is that there is suspicion that it was actually a sketch.

The statue of Kujaku Myo-o, a Buddhist painting representative of the Heian period, has a beautiful symmetrical composition, and the gorgeous colors such as red, gold, green, and indigo are eye-catching.

The skin is faint and reddish, and the outline is pink, giving it a plump and soft impression. Myoo has an angry face by default, but Kujaku Myoo is an exception, and this Peacock Myoo also has a gentle and loving expression like a bodhisattva. When I face each other, my heart becomes more and more calm.

If you look even closer, you can see the wonderful kirikane patterns that use gold leaf and gold paint on clothes, accessories, and peacock feathers! It's hard to notice because it's faded over time, but the craftsmanship of the lower body is a must-see. How bright was it at the time?

Peacock Myo-o is said to ward off people's misfortunes, but since the auspicious fruit he holds is a pomegranate, which is also considered a symbol of the prosperity of his descendants, it is believed that the painting was commissioned by high-ranking aristocrats to pray for safe childbirth. that there is

Also worth noting is the Kamakura era battle picture scroll masterpiece Heiji Monogatari Emaki Rokuhara Gyoko Scroll .

Based on the Heiji Rebellion, it depicts the situation before and after the imprisoned Emperor Nijo tried to escape while dressed as a court lady and escaped to Kiyomori Taira's Rokuhara residence. It is a work that you can enjoy the realistic depiction of the samurai's armor and swords, but because the total length is about 9m50cm, it seems that it is not common for exhibitions to display all of them due to space limitations.

However, it is indeed a national treasure exhibition! It was exhibited so that all scenes could be appreciated without omission. However, it will be open to the public until October 30th. Please note that the exhibition is for 2 weeks only.

Among the calligraphy, it is said to have been written by Emperor Shomu , and its magnificent large characters with plenty of ink are attractive. , 8th century, exhibition period: October 18th to November 13th), and Murasaki Shikibu, one of the Sanseki, wrote in "The Tale of Genji", The calligraphy looks so dazzling. ” You can appreciate works such as the Enchin-Giho-in Dai-Osho-I-Nami-Sho-Daishi Post-God Chronicle by calligrapher Ono Michifu.

Kokin Wakashu (Kokin Wakashu) is the oldest surviving relic of the Kokin Wakashu in its original binding. Luxurious writing paper that feels the sense of beauty is also a highlight.

The writing is composed mostly of kana, and the light brush strokes that match the writing paper seemed to convey the rhythm of the waka poems when read aloud.

For convenience, I have introduced some of the many paintings and calligraphy works, but to be honest, there are only highlights!

Some of the works, such as the Eta Funayama Tumulus excavated items , gave me the opportunity to learn that there were national treasures like this, but basically the old ones are from B.C. to the Edo period in the 19th century. The work will appear soon. It is frightening that the captions of the works are lined with unusual adjectives such as "the oldest in existence" and "the highest peak".

The aura of the National Treasures will burn your brain, so we recommend that you make sure you are in good physical condition and have enough time to stay and take breaks.

By the way, as you can see in the picture, the exhibition space is quite wide and there are many chairs, so it seems that you can go around at your own pace.

As the exhibition progresses, Kano Eitoku's Cypress Screen Folding Screen (Exhibition period: 11/1-11/27), Iwasa Matabei's Rakuchu Rakugai-Zu Folding Screen (Funaki Version) (Exhibition period: 11/15-12) /11), Korin Ogata's "Yatsuhashi Maki-e Mother-of-Pearl Inkstone Box" (Exhibition period: November 15-December 11) will appear.

You can also enjoy “Mikazuki” by Mikazuki Munechika! "National Treasure Sword Room"

Before the opening, it became a hot topic on SNS, etc., but in the second half of the first part, the "National Treasure Sword Room" appeared, where only 19 national treasure swords were collected .

It is a story that he was very particular about the display case and lighting so that he could appreciate the blade pattern and metals more beautifully. Certainly, the entire space is dark, so the lighting in the work looks great.

A sword that suddenly emerges in a solemn atmosphere. I couldn't help but let out a sigh of admiration at the lustrous beauty of the glittering tip.

Mikazuki Munechika, Okanehei, Oohannya Nagamitsu, Koryu Kagemitsu, Atsutoushiro Shiro, and Kikko Sadamune , who are the motifs of the characters in the popular game "Touken Ranbu -ONLINE-", have also been discovered!
Isn't it an irresistible space for fans?

What attracted attention was Mikazuki Munechika wearing an elegant sword, displayed in the center of the "National Treasure Sword Room". It is a representative work of Munechika, who was active in the late Heian period in Sanjo, Kyoto, and is known as a master craftsman of the early stage of Japanese swords. increase.

I could see a series of small scratches called uchi-no-ke on the blade pattern. It looks like a crescent moon, and because it is beautiful and rare, it is said that the name "crescent moon" was attached.

This is my first meeting with Mikazuki Munechika. Although I knew the origin of the name, I had assumed that it had a single large pattern that could be recognized as a crescent moon, so I was surprised to find that it actually had small dots.

To be honest, my first impression was, "It looks like a crescent moon… can you see it…?"

At a press conference prior to the event, it was announced that, like Mikazuki Munechika, Dojikiri Yasutsuna, who is famous as a Japanese sword in its early stages, actually has exactly the same blade dimensions. Since I was listening to the story, I decided to actually compare it with "There is such a coincidence!"

The impression of the appearance is quite different, and Mikazuki Munechika is a slender sword that tapers toward the tip. Dojigiri Yasutsuna, on the other hand, has a solid, powerful sword with a somewhat wild feel. Also, Mikazuki Munechika has a strong angle between the stem of the handle and the blade, or rather, it is strongly aligned, but Dojigiri Yasutsuna draws a smooth curve between the stem and the blade. It looked like there was

This difference may be due to the regional culture of the author Yasutsuna, who was based in Hoki Province (present-day Tottori Prefecture), as opposed to Munechika, who was based in Kyoto. I was wondering if there would be any. The same national treasure, the same era, and the same dimensions, but the beauty of the swords is completely different. This extravagant way of enjoying is probably unique to this exhibition.

Among the exhibited works, the swords in particular have something that can only be seen when the light slides over the blade. You can enjoy the charm in the best exhibition space full of commitment, so I sincerely recommend it to those who are not fans of swords!

Regarding swords, all 19 cases are open to the public throughout the year.

Stuffed giraffes also return home for the first time in about 100 years! Looking back on 150 years of Tokyo Expo

Tohaku has its roots in the Museum of the Ministry of Education, which was born in 1872 as a result of the Yushima Seido Exposition held at the Taiseiden of the former Yushima Seido. In order to promote the modernization of Japan , to disseminate Japanese culture both domestically and internationally, and to protect cultural assets, the museum was originally intended to be a comprehensive museum with the functions of a botanical garden, a zoo, and a library .

In 1882, he moved his base to Ueno and started full-scale activities. In 1886 (Meiji 19), the museum came under the jurisdiction of the Imperial Household Ministry , and in 1889 (Meiji 22), it was renamed the "Imperial Museum", and in 1900 (Meiji 33), it was renamed "Tokyo Imperial Household Museum". At this time, it was positioned as a cultural symbol of the nation, as well as a temple of beauty that protected the treasures of the imperial family, and gradually strengthened its character as a museum of history and art.

The current main building opened in 1938, and after the end of the war, the jurisdiction changed from the Imperial Household Ministry to the Ministry of Education again. In 1952, the name was changed to the current "Tokyo National Museum" , and it continues to this day with new facilities such as the Oriental Museum, Museum, and Horyuji Treasure Museum.

In the National Treasures Exhibition, followed by "Part 2: 150 Years of the Tokyo National Museum," collections and related materials that tell the story of the Tokyo National Museum's 150-year history are displayed in three stages. You can relive the steps from the Meiji era.

"Chapter 1: The Birth of the Museum (1872-1885)" introduces works exhibited at the Yushima Seido Exposition, which triggered the birth of the Tohaku, with a focus on the early Tohaku collection. In order to recreate the atmosphere of the exposition, there is a life-size replica of the golden dolphin of Nagoya Castle, which was said to have been the most popular at the time.

It is said that some of the display cases were actually used over 100 years ago and have been repaired and put to good use, so be sure to check them out. The retro atmosphere is irresistible.

Even the author, who lives in the Reiwa era, was astonished by the brown-glazed crab-covered pedestal bowl and the eagle figurine , which made the world know about the high level of Japanese craftsmanship in the Meiji period.

A pot with brown glaze crab affixed to a table by Kazan Miyagawa I, a pioneer of exporting ceramics, was held in Ueno Park in 1881, and the second exhibition attracted more than 800,000 people in about four months. Works exhibited at the National Industrial Exhibition. It is a work with a dynamic composition in which a crab, which looks as if it is about to start moving at any moment, is hooking its claws on the edge of a vessel.

On the other hand, "Eagle Figurine" is a representative work of Chokichi Suzuki, a master of wax mold casting representing the Meiji era. After being exhibited at the Chicago World's Fair held in the United States in 1893 (Meiji 26), it was acquired by the Tohaku. From a distance, it looks so lively that it can be mistaken for a stuffed animal.

There is also an exhibition of Cannonballs (Four Lobster Cannons) , which is related to the birth of Tokyo Expo.

During the Ueno War that occurred in 1868 (Meiji 1), this is the actual cannonball that the new Meiji government forces fired at the former shogunate forces, including the Shogitai, who barricaded themselves in Kan'eiji Temple. Currently, Kaneiji Temple is adjacent to the north side of Tohaku, but in fact, the land of Ueno Park was the precincts of Kaneiji Temple during the Edo period.

Kan'ei-ji Temple, which was considered to have sheltered the Shogitai, once had all of its precincts confiscated. After that, there were twists and turns, most of the land was transformed into Ueno Park, and museums and expositions were held to promote modernization. I think that today's Ueno Park, and by extension the Tokyo Expo, exist because it was a burnt-out land in the Ueno War and was just the right place to build a town. Although it is a sad event, it may be said that the Ueno War was one of the reasons for the birth of Tohaku.

"Chapter 2: The Imperial Family and Museums (1886-1946)" features the Tokyo Expo when it was under the jurisdiction of the Ministry of the Imperial Household. We also introduce works that show the connection with the imperial family.

In relation to the imperial family, the giant carriage called "Horen" had a particularly noble aura. It is said that Emperor Komei and Emperor Meiji actually rode the phoenix, which was used by the emperor when he visited.

In 1890 (Meiji 23), there was a system called the Imperial Household Technician System, which was established by the Imperial Family as a system to protect and encourage outstanding artists. It is said that

"Flowers in a Bottle" is a work by Kuroda Seiki, the first Western-style painter to be appointed as an Imperial Household Technician. At the bottom right of the screen is the signature "Kuroda Seiki's copy", which is rare for Kuroda's work. It suggests a special history of being an offering to the imperial family.

Also, there is a stuffed giraffe specimen that gives you a sense of the remnants of the Tokyo Expo when it was aiming to be a general museum!

Natural history materials such as specimens of animals, plants and minerals were transferred to the Tokyo Museum (currently the National Museum of Nature and Science) after the Great Kanto Earthquake. It has become a form of going home.

He was one of the first two giraffes to come to Japan alive from Germany in 1907, and his name was "Fanji." He was raised at the Ueno Zoo, which was part of the Tokyo Expo at the time, and became popular with many people.

"Chapter 3: Towards a New Museum (1947-2022)" describes the activities that Tohaku has undertaken since the end of World War II, as a museum open to the public, in response to the changing times and changes in society. The future prospects are introduced along with representative post-war collections.

Many famous works are on display here as well as in the national treasure area, such as Korin Ogata's "Fujin Raijin-zu Folding Screen" , which is an important cultural property, and "Shakoki Dogu", which many people may think of as clay figurines. It was done.

As the latest collection of Reiwa, the appearance of the "Kongo Rikishi Statue" that became the collection of the Tokyo National Museum in February this year.

These two statues were once enshrined at the Niomon Gate of Rendaiji Temple in Shiga Prefecture, but they were destroyed by the Muroto Typhoon in 1934. Although it remained broken for a long time, it was repaired over the course of two years and restored to its former appearance, making its debut at this exhibition.

It is one of the few standing statues of Kongo Rikishi from the late Heian period. It is about 2m80cm in size, and is the largest among the Buddha statues owned by the Tohaku. You can enjoy the 360-degree view of their muscular bodies and angry expressions.

In addition, this work also introduces the basic activities of the Tokyo Expo, such as the collection, storage, preservation, and restoration of cultural properties.

At the exit, Moronobu Hishikawa's "Mikaeri Bijin Zu" sees visitors off. Or does it represent the feelings of the visitors who involuntarily look back at the venue with regret?

By the way, photography was allowed only for the Kongo Rikishi Statue and the Mikaeri Bijinzu, which will be described later.

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During its 150 years of history, the Tokyo Expo has hosted several exhibitions that have been handed down from generation to generation, such as "Tutankhamun Exhibition" (1965) and "Mona Lisa Exhibition" (1974). All of the National Treasures of the Tokyo National Museum will surely be one of them.

Tokyo National Museum 150th Anniversary Special Exhibition “All About the National Treasures of the Tokyo National Museum” Overview

*Advance reservations are required for this exhibition (specified date and time). For details, please check the official website of the exhibition.
*Some of the works on display will be changed during the exhibition period.

exhibition period	October 18th (Tue) – December 11th (Sun), 2022
venue	Tokyo National Museum Heiseikan
Opening hours	9:30 a.m. to 5:00 p.m. *Open until 8:00 p.m. on Fridays and Saturdays (General cultural exhibition closes at 5:00 p.m.)
closing day	Monday
Viewing fee (tax included)	General 2,000 yen, university students 1,200 yen, high school students 900 yen *Advance reservations are required for this exhibition (specified date and time). *Junior high school students and younger are free. However, advance reservation is required. Please show your student ID when entering the building. * Free for persons with disabilities and one caregiver. Advance reservations are not required. Please show your disability certificate when entering the building. Admission is until 30 minutes before closing. *Tickets are not sold at the ticket office at the main gate of the Tokyo National Museum.
organizer	Tokyo National Museum, Mainichi Shimbun, NHK, NHK Promotions, Japan Arts Council, Agency for Cultural Affairs
inquiry	050-5541-8600 (Hello Dial)
Exhibition official website	https://tohaku150th.jp/

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

Article provided by: kokosil Ueno

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Tokyo Metropolitan Art Museum

The Tale of Genji, the masterpiece of Heian literature that has been read for over 1000 years.

As the 6th installment of the "Ueno Artist Project" with the participation of artists of various genres, "The Tale of Genji that weaves beauty -Meguri Encounter, Eni Deep Shina-" was held.

This time, we will report on the press preview held prior to the event.

The "Ueno Artist Project" is a series launched in 2017 with the aim of inheriting the history of the Tokyo Metropolitan Art Museum, which is also known as the "hometown of public exhibitions," and developing it into the future. The theme of this project, which will be the sixth installment, is "The Tale of Genji."

The Tale of Genji is a literary epic written by Murasaki Shikibu in the Heian period and has been read unchanged for about 1000 years. In addition to the interpersonal relationships centered on the main character, Hikaru Genji, the beautiful scenes of the four seasons are depicted, and have captivated people across time and culture.

From November 19th, the Tokyo Metropolitan Art Museum will hold an exhibition titled "The Tale of Genji: The Tale of Genji: The Tale of Genji: The Tale of Genji", an exhibition by artists in various genres such as painting, calligraphy, dyeing, and glass crafts. . It is an attempt to explore the aesthetic sense and charm that the story has created through the works of contemporary writers inspired by The Tale of Genji.

The world of "The Tale of Genji" expressed by seven writers

The venue for "The Tale of Genji that weaves beauty – Encounter encounters are deep" will be held at Galleries A and C.
The genres of the works on display are wide-ranging, including glasswork , dyeing, calligraphy, and painting. I am reminded that it is a spun work.
However, it is not necessarily the case that individual writers are completely close to The Tale of Genji. Rather, I even got the impression that the motif of the Tale of Genji was used as a theme, and the wings of the imagination were spread freely.

The artists featured in this exhibition are Hisae Aoki, Tatsuya Ishiodori, Atsuto Takagi, Riyoshi Takano, Kyoko Tamada, Tadashi Moriya, and Hiroko Watanabe (in alphabetical order).
One of the themes of this exhibition is "Eni", as indicated by the title, "Megurienai Hikaru Eni wa Deep". It is also an encounter between the viewer and the work, an encounter between the artist and the space, and an encounter between the artists.

Introduction of exhibiting artists

Riyoshi Takano
Riho Takano

At the age of 6, he entered the Shunkei Calligraphy Institute led by Shunkei Iijima. After that, he studied kana calligraphy under Takayoshi Iijima.
In addition to continuing to write waka poetry based on the Tale of Genji, which remains unchanged over time, he has also worked on decorative works such as combining the image of the princess who appears in the story with colorful writing paper. is.

Atsuto Takagi
Atsuhito Takagi

Born in Chiba prefecture. While still a student at Kyoto University, he studied under Kason Sugioka and learned that the aesthetic sense depicted in The Tale of Genji is the basis of kana calligraphy.
Fascinated by the Tale of Genji through modern translations and Yamato Waki's manga "Asaki Yumemishi", she has been working on gift-giving songs exchanged between Hikaru Genji and various women.

Kyoko Tamada
Kyoko Tamada

Graduated from Musashino Art University Industrial Design Department. Students will visit Pilchuk Glass School (USA) and other educational institutions and studios for glass education in various places to learn about glass art.
A unique technique is used in which colored glass and suminagashi patterns produced by air-blowing are formed into plates in an electric furnace and then laminated in layers. With a fantastical style that encloses waka poems from The Tale of Genji inside the glass, it embodies the aesthetic philosophy of the Heian period, "Mono Aware".

Hisae Aoki
Sue Aoki

Born in 1926 (Taisho 15) in Hirakata City, Osaka Prefecture. In 1965, he began researching hand-painted sarasa while making a living from rokets dyeing, and has held solo exhibitions nationwide, including Wako Hall in Ginza, Tokyo.
He creates works with a free sensibility based on the impression obtained from the vitality of nature, and not only exotic patterns represented by sarasa, but also the original world of the dynasty based on the Tale of Genji.

stone dance tatsuya
Tatsuya Ishiodori

Japanese painter. Characterized by a detailed and decorative painting surface based on gold and platinum leaf, he pursues beauty that transcends while freely manipulating Japanese painting techniques.
From 1996 to 1997, he worked on the cover art for the 54 chapters of "The Tale of Genji" (Kodansha) translated by Jakucho Setouchi into modern language.

Tadashi Moriya
Tadashi Moriya

Japanese painter. Born in Ogaki City, Gifu Prefecture. In 1930, he studied under Seison Maeda, who was from the same town, and produced many historical and genre paintings at the Japan Art Institute.
In addition to engaging in many reproductions of murals such as the Takamatsuzuka Burial Mound, he developed an interest in The Tale of Genji through illustrations and stage art work. I completed it.

Hiroko Watanabe
Hiroaki Watanabe

Born in Ehime prefecture. Using ballpoint pens of different sizes, after hatching (drawing overlaid lines), the density is gradually deepened with stippling to express a colorful world.

While replacing brushes with modern writing instruments such as colored ballpoint pens, I try to relive the culture and people's activities of the time and the vision of the artist who drew the original paintings through production, and to reproduce a scene of history in the present age.

Also pay attention to "The Tale of Genji and Edo Culture" held at the same time!

In addition, "The Tale of Genji and Edo Culture" will be held at Gallery B at the same time as "The Tale of Genji Weaving Beauty". This is a one-room exhibition, and admission is free. We introduce the popularity and development of The Tale of Genji, which rose in the midst of Edo culture, along with valuable materials.

The Tale of Genji was originally a piece of literature that was read among a limited class of people, mainly court nobles and samurai. However, in the latter half of the 17th century, it became popular with the general public due to the spread of mass printing technology, and at the same time, 'Nisemura Saki Inaka Genji' , an adaptation of The Tale of Genji, gained popularity , and the content of The Tale of Genji was turned into a painting. The scenes and figures spread among the common people through Genji-e paintings.
Among the many Genji-e paintings displayed at the venue, there are the figure of Hikaru Genji (Hikaru Ashikaga in "Kanshi Raka Genji" ) with a unique hairstyle called "Ebi Chasenmage", and the lyrical four seasons. You can see the scenery of

In addition, the influence of The Tale of Genji was not limited to literature and paintings, and designs based on The Tale of Genji were accepted by a wide range of people. For example, in the case of kimonos, the “Genji pattern”, which is a design of a scene or motif from The Tale of Genji, was especially liked by the people of the Edo period, and it came to be enjoyed as a familiar fashion. In this exhibition, we will introduce a number of patterns born from the Tale of Genji from the stencils used for dyeing kimonos owned by Mr. Kotaro Shimizu, a holder of important intangible cultural properties, and Mr. Kichigoro, the predecessor.

In addition, some of the exhibits in the "The Tale of Genji and Edo Culture" are different between the first half and the second half * .

*"The Tale of Genji and Edo Culture" 1st term exhibition 2022/11/19-12/18 2nd term exhibition 2022/12/20-2023/1/6

Mr. Tetsuji Sugiyama, curator of the Tokyo Metropolitan Art Museum, who was in charge of commentary on the exhibition for the press, commented on the theme of this exhibition, "Eni".
“This is an exhibition where you can feel that The Tale of Genji is more than just a literary work. We live in a hectic world, but at times like this, we should stop and look back on the past and make use of it for the future.
He hoped that viewers would find new perspectives on their daily lives through the "eni" (connection) with The Tale of Genji.

The period of both exhibitions is relatively short, until January 6, 2023. By all means, please experience the world of The Tale of Genji, which has been given a new life by the imagination of the writers.

Overview of the event

exhibition period	Saturday, November 19, 2022 to Friday, January 6, 2023
venue	Tokyo Metropolitan Art Museum Gallery A/C (Ueno Artist Project 2022 “The Tale of Genji that weaves beauty – Encounter encounters are deep”) Gallery B ("The Tale of Genji and Edo Culture")
Opening hours	9:30-17:30, until 20:00 on Fridays (except January 6) (last admission 30 minutes before closing)
Closed day	November 21, 2022 (Monday), December 5 (Monday), 19 (Monday), 29 (Thursday) to January 3, 2023 (Tuesday)
viewing fee	General 500 yen / 65 years old and over 300 yen * "The Tale of Genji and Edo culture" is free * Free for students and younger *Admission is free for those who have a physical disability certificate, love certificate, rehabilitation certificate, mental disability certificate, atomic bomb victim health certificate, and one accompanying person. *Students, those aged 65 and over, and those with various types of notebooks, please present proof. *Free admission with a ticket for the special exhibition " Exhibition Taro Okamoto " (Exhibition period: October 18 (Tue)-December 28 (Wed), 2022) *You can see it without advance reservation. However, please note that admission may be restricted during times of congestion.
organizer	Tokyo ("The Tale of Genji and Edo Culture" only), Tokyo Metropolitan Art Museum, Tokyo Metropolitan Foundation for History and Culture
Contact information	Tokyo Metropolitan Art Museum Exchange Section TEL: 03-3823-6921 (representative)
Exhibition HP	https://www.tobikan.jp/exhibition/2022_uenoartistproject.html (Ueno Artist Project 2022 "The Tale of Genji that Weaves Beauty: A Deep Encounter") https://www.tobikan.jp/exhibition/2022_collection.html (Collection Exhibition "The Tale of Genji and Edo Culture")

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Toeizan Kan’eiji Temple

Kan’eiji Temple was founded by Tenkai Daisojo, who was devoted to three generations of Tokugawa shoguns: Ieyasu, Hidetada, and Iemitsu.
On October 15, 2022, the Konponchudo Hall of Kaneiji Temple, the Aoi no Ma, where Yoshinobu Tokugawa was confined, and the mausoleums of successive Tokugawa shoguns were opened to the public on October 15, 2022.
This time, I received special shooting permission and will report on the situation.

 

Kan’ei-ji Temple is adjacent to the north side of Ueno Park and protects the cemetery, including the grave of the Tokugawa family.
It was founded in 1625 by Jigen Daishi Tenkai as a prayer temple to pray for peace and security for the shogunate and all people.
Later, the mausoleum of the fourth shogun Tokugawa Ietsuna was built, and it is a famous temple that also serves as the shogun’s family temple.

The Konpon Chudo, which will be open to the public this time, was originally built near the current Ueno Park Great Fountain, but was destroyed by fire during the Ueno War.
In the Meiji era, the current Konpon Chudo Hall is said to have been relocated from Kawagoe’s Kitain Temple Honjido Hall.

If you walk a little away from the area where art galleries, museums, music halls, etc. are lined up, and walk to Kan’eiji, the atmosphere will change, and a dignified temple and shrine will welcome you.

The Buddha of Konponchudo, which embodies the idea that all things are equal

When I was guided to the Konponchudo, many participants had already gathered.
On this day, Mr. Ryogaku Ishikawa, a butler at Kan’eiji Temple, gave us an explanation.

The official name of Kan’eiji is ‘Toeizan Kaneiji’. “Toei” means “Mt. Ninna-ji Temple and Kennin-ji Temple in Kyoto, Kencho-ji Temple in Kamakura, and so on, are very few ‘Gengo-ji Temples’ that have received imperial permission, and this also suggests that Kan’ei-ji Temple was one of the most famous temples in Edo.

Kan’ei-ji Temple was built by order of the shogunate, but Ishikawa says that the founder, the high priest Tenkai , did not want it to be a place just for reading sutras for the sake of the shogunate .

Therefore, Tenkai built Kiyomizu Kannondo, which imitated the stage of Kiyomizu Temple, and Shinobazu Pond Bentendo, which likened Shinobazu Pond and a small island floating there to Chikubu Island, which is known for Lake Biwa and Benzaiten Hall. In addition, seasonal flowers such as cherry blossoms from Mt.
In this way, Kan’eiji gradually changed its appearance into a “open temple” for the common people.

What is particularly eye-catching in Konponchudo is the wooden Buddhist statues that are extremely elaborate and exude a solemn atmosphere.

According to Mr. Ishikawa, the Buddhist statues in the main hall are modeled after Enryakuji Temple on Mt. This is very interesting because it embodies the philosophy of Mahayana Buddhism that “all living beings have the Buddha nature, that is, the possibility of becoming a Buddha.” .

It seems that Tenkai Daiso had a strong belief that “there is no discrimination between people in the presence of Buddha.”

Special release of “Aoi no Ma” where Prince Yoshinobu was confined!

After walking through the corridor inside the Konponchudo, we were guided to the Aoi-no-ma, which was specially opened to the public this time. This is the room where Yoshinobu, the fifteenth shogun who was defeated in the Battle of Toba-Fushimi, spent his confinement life.

Yoshinobu was a “talented man” who excelled in various fields such as Western-style painting, Japanese-style painting, and calligraphy. As a witness, he tells the impressions of his life.

In addition to the items that Yoshinobu used to keep in the room, the wallpaper with the elegantly designed Futaba Aoi (Futaba Aoi) is eye-catching, but this was not the case at the time, and it goes well with the ukiyo-e prints depicting Prince Yoshinobu. It is interesting that it was added later.

In the past, the precincts of the Kan’ei-ji Temple covered an area of 305,000 tsubo (305,000 tsubo) centered on the land of Ueno Park. Kan’ei-ji Temple lost most of its precincts in the Meiji era. Eventually it will become Ueno Park.

In addition, since it suffered great damage during the Pacific War, there are not many buildings in Kan’ei-ji Temple since the Edo period, but the ‘Aoi no Ma’ has been repaired and preserved and has been reduced in size to the present day.

What was Yoshinobu’s state of mind when he was confined to the long-lasting decline of the Edo period? I couldn’t see it, but I was impressed by the bright sunlight shining into the room and the somewhat clear air.

A place where the spirits of successive generals sleep

The last place we were guided to was the Goreibyo, a mausoleum that enshrines successive Tokugawa shoguns.
A mausoleum is a mausoleum architecture called ‘aino-ma-zukuri’, which connects the main hall where the principal image, mortuary tablets, and wooden statues are enshrined, and the worship hall where it is worshiped. Suibansha).

The structure of the mausoleum was built under the guidance of Tenkai Daisojo based on the philosophy of the Lotus Sutra, the fundamental scripture of the Tendai sect, but most of the structure was destroyed in the air raids of World War II. Fortunately, the Chokugakumon and Suibansha escaped damage and were designated as Important Cultural Properties, preserving the architectural style of the past.

The third shogun, Iemitsu, who was deeply devoted to Tenkai Daisojo, left a will to build a mausoleum beside Nikko Toshogu Shrine after holding a funeral at Kaneiji Temple. After the fourth Ietsuna was buried at Kan’ei-ji Temple, the mausoleums of the fifth Ietsuna, the eighth Ieharu, the tenth Ieharu, the eleventh Ienari, and the thirteenth Iesada were built one after another on the Kan’ei-ji premises.
Kan’ei-ji Temple was originally a prayer temple for the Tokugawa shogunate, but later became a Tokugawa family temple along with Zojo-ji Temple.

The bronze pagoda of the 5th shogun Tsunayoshi and the elegant carvings of phoenixes and giraffes on the left and right doors are eye-catching, but the 8th shogun Yoshimune’s pagoda contrasts with Tsunayoshi’s, giving it a very simple impression.
In 1720 (Kyoho 5), he issued a ban on the construction of goryoya, which was typical of Yoshimune, who issued a “thrift order” to rebuild the finances of the shogunate. After that, no large-scale mausoleums were built, and it is said that a policy was established to enshrine him in a mausoleum at either Kan’ei-ji Temple or Zojo-ji Temple.
Mr. Ishikawa said , “I’m not a tyrannical general, but a thrifty general .”

In addition, the mausoleum of Atsuhime Tenshoin, the wife of the 13th Iesada, is next to it. I wonder if a woman who has been watching the future of the Tokugawa family is still watching over the new era from here.

Kan’eiji’s path was not smooth, including repeated war damage and the confiscation of the entire precincts by the new Meiji government.
However, Kan’ei-ji Temple has maintained its trajectory by continuing to be an open temple while adapting to the changing times, such as taking over the forest of the burned-down Tokugawa family mausoleum from the head family and turning it into a cemetery and accepting general parishioners. .
Although the times have changed, the philosophy of Tenkai, that “all things are equal” and “there is no distinction before the Buddha,” seems to be alive today thanks to the efforts of people.

The mausoleum and Aoi no Ma introduced this time are usually not open to the public, but the schedule for special openings is announced on the official website of Kan’eiji Temple (currently suspended).
By all means, while strolling around Ueno, feel the thoughts of the people of the past.

 

Toeizan Kan’eiji Temple

Address: 1-14-11 Uenosakuragi, Taito-ku, Tokyo
Visiting hours: 9:00 am to 5:00 pm
Mausoleum of successive Tokugawa shoguns, Aoi no Ma: Normally not open to the public. Check the official website for information on special visits.
Access: 15-minute walk from JR Ueno Station (Park Exit), 7-minute walk from Uguisudani Station

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Opened in 1873 (Meiji 6) on a plateau called “Ueno Mountain”, it is Japan’s oldest park, and Ueno Onshi Park ( hereinafter referred to as Ueno Park) .

Known as one of Japan’s leading cherry blossom viewing spots, it is a popular spot visited by many tourists from Japan and abroad . Do you know

On October 14, 2022, a tour event called “Kaneiji Monks and Kaneiji Monks” will be held, where Kaneiji monks will personally guide you through Ueno Park, which is still dotted with various temples related to Kaneiji, such as Kiyomizu Kannondo and the five-storied pagoda. Walking around Ueno Park” was held, so I will report on the situation on the day.

20 lucky people gather at Kan’eiji’s Konponchudo!

The “Ueno Park Tour with Kan’eiji Monks” has been held as part of the “Ueno Mountain Cultural Zone Festival ,” which holds numerous arts and cultural events in the mountains of Ueno every fall. Participation is free of charge, and every year it is a popular event with a winning multiplier of more than 10 times.

Unfortunately, it was cloudy that day, but it was a pleasant weather with a maximum temperature of about 20 degrees, making it a perfect day for a walk.

The meeting place is Konponchudo , the main hall of Kaneiji Temple, which is adjacent to the north side of Ueno Park. The guide was Mr. Ryogaku Ishikawa , a butler of Kan’eiji Temple’s teaching department (a department like the public relations department that conveys the Buddha’s teachings to people).

Kan’ei-ji Temple is named after the era name “Kanei” when it was founded. In 1625 (Kanei 2nd year), Tendai priest, who was a priest of the Tendai sect to which the three generations of Tokugawa Ieyasu, Hidetada, and Iemitsu devoted themselves, was deeply involved in the construction of the castle town of Edo. It was erected on the mountain of Ueno, which is located in the northeast.

Originally, it was a prayer temple to pray for the peace of the Tokugawa Shogunate and the peace of all people.

Ueno’s Kan’eiji Temple is called ‘Toeizan’, which means ‘Eastern Hieizan’ . It is said that the temple grounds and layout of Kan’ei-ji Temple at that time resembled Enryaku-ji Temple on Mt.
(Kiyomizu Kannon-do is likened to Kyoto’s Kiyomizu-dera Temple, Shinobazu Pond Bentendo is likened to Lake Biwa and the Benzaiten-do Hall of Hogonji Temple on Chikubu Island, etc.)

In the Edo period, Kan’ei-ji Temple boasted an area that was about twice the size of today’s Ueno Park, and had 36 temples built with donations from feudal lords. Buildings were burned down one after another during the Ueno War (Boshin War) . Furthermore, he was thought to have harbored the Shogitai, and suffered the misfortune of having all of the precincts confiscated.

Later, only about 10% of the land that survived the war was returned, and it is said that the precincts of Kan’eiji Temple became an enclave as it is today. The confiscated land was developed as a park in the early Meiji period.

Hmmm, so it was a temple with a pretty spectacular history… As someone who regularly enjoys Ueno Park’s cultural facilities, I can’t say for sure, but 1/10 is just too bad!

After listening to this story, I will walk with the participants from Konponchudo to Ueno Park.

Tenkai Daiso was a key figure in making Mt. Ueno a famous spot for cherry blossoms.

I thought that the course would proceed in the form of a commentary when we arrived at a place related to Kan’eiji, but Mr. Ishikawa would like to show us various interesting episodes related to Kan’eiji and Ueno Park while on the move. I was.

For example, why are there so many cultural facilities and educational institutions that Ueno is called the “Forest of Culture”?

The new Meiji government originally planned to build the University East Campus (the predecessor of the University of Tokyo School of Medicine) on the confiscated land, which had been destroyed by fire and was a very convenient place to build a town from scratch. However, Dr. Bauduin, a Dutch military doctor who visited Ueno for inspection, was afraid that Ueno’s nature would be lost, and suggested that it should be made into a park.

As a result, Japan’s first park was completed in 1873. It was used as a place to appeal the civilization and enlightenment led by the new Meiji government, and cultural facilities such as museums and art galleries were born one after another, and it was also the stage for numerous expositions.

Also, the story of the cherry blossoms, which is a specialty of Ueno Park, came out.
When did cherry blossoms come to the mountains of Ueno? Mr. Ishikawa says that it was around 400 years ago when Kan’eiji Temple was built.

Kan’ei-ji was opened as a prayer temple, but Tenkai Daiso aimed to make it a temple that not only people related to the Tokugawa family, but also the common people could visit, and started to make it attractive as a tourist spot. rice field. The most prominent of these is the cherry blossoms, and the high priest Amami brought many wild cherry blossoms from the mountains of Yoshino and planted them in the precincts of Kan’eiji Temple. It is said that it is connected to today’s row of cherry blossom trees in Ueno Park.

In the old days, cherry blossom viewing meant viewing plum blossoms, but it is said that the culture of viewing cherry blossoms during cherry blossom viewing gradually spread as a result of events such as “Daigo Hanami” held at Daigoji Temple in Kyoto by Toyotomi Hideyoshi. . Over time, Ueno’s mountains have become the best cherry blossom viewing spot in Edo and are visited by many tourists.

Back then, unlike today, cherry blossom viewing at night was restricted. Mr. Ishikawa says with a smile that there is still an anecdote that he was sarcastically told, “Only monks can enjoy the cherry blossoms at night.”

Although it was a fairly long two-hour walk, I lost track of time listening to Mr. Ishikawa’s humorous narration, which gave us new bits of knowledge one after another.

The Konpon Chudo in the Edo period was as big as the Tokyo National Museum! ?

The first place I visited in Ueno Park was the fountain plaza , a space for relaxation. I can’t find any buildings that seem to be related to Kan’eiji Temple, but…?

Actually, Konponchudo was originally built around this fountain square. The Konponchu-do Hall, which was just a moment ago, was relocated and rebuilt after the Meiji Restoration.

You can see the big main building of the Tokyo National Museum in the back, but it seems that the Konpon Chudo Hall used to be about the size of that main building. There is even testimony that it burned for three days and three nights when it was set on fire.

The next place I visited was the relief that was installed just behind the coffee shop.

This relief is based on Utagawa Hiroshige’s “Touto Meisho Ueno Toeizan Complete Map”, which depicts the precincts of the former Kan’eiji Temple. The large building on the left is Konponchudo. You can feel the vastness of the precincts of the past.

If you look closely, you can see “bamboo shaped like broccoli” (by Mr. Ishikawa) drawn on both sides of the Konponchudo. Jikaku Daishi Ennin, a disciple of Saicho, brought bamboo from Mt. It is said to have been planted.

It is still planted in front of Konponchudo, so it would be interesting to look for it when visiting the shrine.

The graveyard of the Todo family, which stands quietly in the zoo

Next, we headed to Ueno Zoo. We will proceed to the middle while being watched by the customers who are waiting in line to see the pandas.

The destination was a cemetery where Takatora Todo the first and the Todo family rested, which is usually surrounded by a fence that people cannot enter. There’s a grave in a place like this…! ?
(The shooting inside was NG)

Mr. Ishikawa emphasized the degree of rarity, saying, “This is the only time a year when we can guide the general public!” It seems that many of the participants were more or less familiar with the history of Ueno, just because they had applied for this event. It’s how it is.

There were 14 stone pagodas that were almost 3 meters high, and it was a strange sight in a way, but it was also a very calming space where only the rustling of trees and the singing of birds could be heard.

The feudal lord Todo Takatora, who was known as a master of castle construction, was especially important among Ieyasu’s aides. He donated the land where the Todo family’s suburban residence was located for the construction of Ueno’s Toshogu Shrine (at the time, it was Toshosha, one of the temples of Kan’eiji Temple) in which Ieyasu was enshrined. Kansho-in was built on the ruins of the mansion as a separate temple of Toshogu.

The place where Kanshoin used to be is now replaced by Ueno Zoo, but only the cemetery remains as it is.

Mr. Ishikawa mentioned the scene right before Ieyasu’s death as his favorite Takatora episode.
Ieyasu believed in the Tendai sect, but worried that Takatora, whom he trusted, was not of the Tendai sect. Upon hearing this, Takatora was so moved that he asked Tenkai Daisojo, who was present, to change his sect to the Tendai sect.

Todo Takatora had an image of a renegade man who kept changing his lord, but he was a loyal man who was devoted to the Tokugawa family.

Caption: Ueno Zoo also has a five-storied pagoda to enshrine the remains of Buddha. Since Kan’eiji Temple cannot manage it directly, it has been handed over to the Tokyo Metropolitan Government for protection.

Very popular with students! The unfortunate episode of Ueno Daibutsu

If you leave Ueno Zoo and walk towards Sakura-dori, you will see the Ueno Great Buddha and pagoda on the hill near Ueno Seiyoken.

If you don’t have any prior knowledge, you may wonder, “What is this that enshrines only the face?”

The Great Buddha of Ueno began in 1631 when Naoyori Hori, the feudal lord of the Echigo Murakami domain, erected a seated statue of Shaka Nyorai with plaster for those who had fallen in the war. Around 1655 to 1660, it was changed to an 8-meter-tall copper Buddha statue, and although it was repeatedly damaged and rebuilt, it is said that its face finally fell off during the Great Kanto Earthquake. Although he tried to fix it, the torso was requisitioned by the military during World War II.

After the war, even the face kept by Kan’eiji Temple was enshrined on the site of the Daibutsuden until today.

Today, many students come to pray for passing exams as a great Buddha that does not fall down, saying, “I don’t have a body anymore, so I won’t fall down.” It is a rare spot in Japan where you can stroke the face of the Great Buddha.

When I got off the hill where Ueno Daibutsu is located, I could see the Toki no Kane (Time Bell Hall) in the distance. Basho Matsuo is famous for his haiku, “Hana no Kumo, the bell is Ueno or Asakusa?”
According to Mr. Ishikawa, this bell, which was active as a time signal in the Edo period, still rings three times a day, at 6:00 in the morning and at noon.

*The current Toki no Kane was recast in 1787.

“Tsuki no Matsu” is a photo spot where you can feel the elegance of the Edo period

After bowing to the Great Buddha, the group walks further along Sakura-dori to the stage of Kiyomizu Kannondo .

Looking towards Shinobazu Pond from the stage, you can see “Moon Pine”, a pine branch grown in a circle, which is known to have been drawn by Utagawa Hiroshige in “One Hundred Famous Views of Edo”. It was destroyed by a typhoon in the Meiji period and was revived in 2012 after 150 years.

Surprisingly, according to Mr. Ishikawa, the “Tsuki no Matsu” did not exist when Kan’eiji was founded. It seems that the specific year of production is not known, but “A peaceful era continued, and around 1800, people’s lives became relaxed and playful, and one of them appeared in this “ Tsuki no Matsu ”. I wonder if there is.”

An elegant landscape overlooking Shinobazu Pond and Bentendo in a circle. Mr. Ishikawa, who said that this is the most beautiful spot, recommended it to all the participants, and we entered the photo time. It was a pity that it was cloudy on this occasion, but I will try again on a sunny day in the future!

After this, we took a short break for about 10 minutes in Kiyomizu Kannondo, where the contrast between vermillion, black, and gold is beautiful.

By the way, Kiyomizu Kannondo, a hall modeled after Kyoto’s Kiyomizu Temple, was built in 1631 (Kanei 8) on Mt. It was relocated to its current location in Genroku 7. It is said to be one of the few halls of Kan’eiji that suffered almost no damage during the war.
When it was relocated, instead of building a new building, the wood was taken apart, so even now, more than 300 years after its construction, the wood used is still the same as it was at that time.

The principal object of worship is the statue of Senju Kannon, which was transferred from Kiyomizu-dera Temple. On the left and right, following Kiyomizu-dera Temple, the attendant Katsugun Jizo (Jizo Bosatsu) and Bishamonten Buddha statues are placed. The theory is that it is a basusen, and it is quite rare to see a Katsugun Jizo wearing armor.

The place where you can see the actual Katsugun Jizo itself is valuable, so Mr. Ishikawa said, “Please tell your friends who are history buffs about it.”

The tragedy that occurred at Kan’eiji Temple, the grave of the Shogitai that conveys the tragedy of war

At the end of the walk, we visited the grave of Shogitai .

In 1868 (Keio 4), the bloodless surrender of Edo Castle caused the 15th shogun Yoshinobu, who had been placed under confinement at Kan’eiji Temple, to leave for his hometown of Mito, but his aides and ronin volunteers were there to protect Yoshinobu. The Shogitai, which was formed by, remains stationary in Ueno. Before long, the new government army will be watching.

As a result, the Ueno War broke out involving Kan’eiji Temple, which was the base of the Shogitai. It is said that the victims of the Shogitai were not only defeated in battle, but also treated dishonorably as national bandits.

After that, a monk who hid his identity cremated the bodies of 266 people and buried them in Entsuji Temple in Arakawa Ward, but for a long time it was not possible to officially memorialize them. Finally, around 1881 (Meiji 14), a memorial monument was erected at the site of the fierce battle. That is the grave of the Shogitai.

By the way, in front of the Shogitai Grave, there is a bronze statue of Takamori Saigo, who was a central figure in the new government army, but he is standing with his buttocks facing the grave. It makes me wonder, “What was your intention?”

Mr. Ishikawa, summarizing this tragedy, said, “It can’t be helped because it was that kind of era, but as a modern person, I think it’s too much.” As the words of the monk of Kan’eiji Temple in Ueno, which became the only battlefield in Edo during the Boshin War, these words strike me deeply.

It seems that we need to remember that the education and art that we enjoy today at the cultural facilities in Ueno Park are based on the unreasonableness of war. After attending this event, I felt that my view of Ueno Park changed a little.

It was an interview report on “Walking around Ueno Park with the monks of Kaneiji Temple”.

The volume of the event was unbelievable for a two-hour event, and I was able to hear many times more interesting stories from Mr. Ishikawa than I have introduced here!

Everyone who participated did not look tired, and everyone had an aura of great satisfaction. It was impressive that people with companions exchanged their impressions.

It will be held as part of the “Ueno Mountain Culture Zone Festival” from next year, so if you are interested, please apply.

 

*Since the opening and closing times of each facility in Yamauchi are different, please check the website of Kaneiji Temple when visiting.

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Tokyo Metropolitan Art Museum

Taro Okamoto is the most popular and well-known artist in post-war Japan.

This autumn, the Tokyo Metropolitan Art Museum will hold its largest retrospective exhibition titled “Exhibition Taro Okamoto.”

We will report on the press preview held the day before the event and introduce some of the contents.

In Paris I learned to live as a whole human being.
Not limited to one profession such as a painter or a sculptor,
Live more broadly as a human being, as a whole being.

Words That Break Walls, East Press, 2005

 

It is said that once Taro Okamoto was asked, “Is this your main job?”
“Human beings—human beings who live furiously as whole beings.”

Taro Okamoto created a succession of works with overwhelming impact, ranging from paintings, sculptures, public art, to daily necessities.
Despite being one of the most well-known Japanese artists since the end of the war, it can be said that he strongly refused to be recalled by “art” itself. That’s where his mystery lies and what makes him interesting.

Works from the prime of life that led the avant-garde art movement, unique art born from a folklore perspective, public art aimed at the masses, and the Tower of the Sun. This exhibition is a long-awaited retrospective that introduces the whole picture of “Human Taro Okamoto” on the largest scale ever.

Experience the works of “TARO” that are alive today!

The Taro Okamoto Museum of Art, Kawasaki, which owns almost all of Okamoto’s works, and the Taro Okamoto Memorial Museum participate as organizers of this exhibition, which tours Osaka, Nagoya, and Tokyo.
This will be the first retrospective exhibition to be held in Osaka and Nagoya.
“Taro was a person who was thinking about how to confront the ‘present’ with his works.
In particular, the space at the entrance of the exhibition hall was devised as “a place where you can meet Taro Okamoto live”.

Specifically, the representative works from the early years to the later years are arranged without considering the chronological order or the context in which the works were produced, and furthermore, by not setting the order, the viewer can freely It is a place where you can “encounter” the works of Taro Okamoto.

Taro Okamoto, a journey that puts his entire existence on the line

From the first floor to the second floor of the exhibition hall, a total of six chapters follow Taro Okamoto’s painting career in chronological order, and it is structured so that you can experience it through his work.

In 1930, 18-year-old Taro Okamoto entered the Tokyo School of Fine Arts (currently Tokyo University of the Arts), and six months later he accompanied his parents to Paris. The works from his time in Europe were all destroyed in a fire after he brought them back to Tokyo, but in this first chapter, “Birth of Taro Okamoto,” works that were recreated in later years are displayed. You can get to know the full picture of the early works of painter Taro Okamoto.

The second chapter, “Creative Solitude,” introduces works from the period after returning to Japan, when he formed an avant-garde art community and energetically produced cutting-edge works while using the Nishina-kai as his main activity site. It was also during this period that the slogan “polarism,” which has become synonymous with him, was born.
Many of his works respond to social events in Japan, and in the work Burning Man (1955, The National Museum of Modern Art, Tokyo), he depicts a message about the atomic bombing, as well as motifs that lead to his later representative work Myth of Tomorrow. is

In 1951, when he stumbled across a bizarre-shaped Jomon pottery that was on display as an archaeological relic at the Tokyo National Museum, he exclaimed:
“What is this!”
Taking this opportunity, Taro Okamoto discovered the fundamental life of the Japanese people in the creation of Jomon pottery. It is a famous story that he discovered the image of Japan.

Chapter 3, “The Roots of Humanity,” presents works from the 1960s, when the possibilities of calligraphy and abstract painting were explored, with undulating curves influenced by Jomon pottery decoratively covering the canvas. . The group of works, which are almost like Sanskrit characters and give a strong sense of magic, have a strong impression of Okamoto’s face.

The following chapter 4, “Art in the Public,” completely changes the mood, entering the world of Okamoto’s public art. Okamoto is known for selling almost no work, but he believed that art, like mass media such as movies and television, should be widely shared by the general public. It is interesting that the exhibited works include a variety of works that are not suitable for “artists”, such as designing aliens for special effects movies.

Also, on the 4th floor, there is an exhibition of the famous “Chair that refuses to sit”, and of course the viewer can sit freely. When I sat down for a trial, I didn’t feel like I was being rejected, but I had the impression that I wouldn’t be able to sit for a long time. Is it a message to “Don’t sit around forever, fight”?

What awaits us in Chapter 5, “Two Suns,” is the “Tower of the Sun,” and one of his representative works, “Myth of Tomorrow.”
The approximately 70-meter-tall Tower of the Sun, which pierces the roof of rational modern architecture, had an overwhelming presence even at the Japan World Exposition, and continues to this day as the “Taro Okamoto” in our minds. built an image. At the venue, a 1/50 scale three-dimensional model and valuable conceptual sketches are on display.

Another gigantic project that was being carried out at the same time as “Tower of the Sun” was “Myth of Tomorrow”, a work that I visited Mexico many times while preparing for the Expo. In the center of the work, a human being burned by radioactive flames is depicted, and the composite image of the entire painting conveys not only tragedy, but also the energy that powerfully carves out a new destiny. In this exhibition, drawings and elaborate 1/3 size sketches are introduced.

That aloofness of “works of art” and “art”.
You should peel off that raw skin and let your imagination run free.

 

Taro Okamoto, who devoted his life not to an “artist” but to burning the primordial, vivid life.
Although he rarely exhibited paintings in his later years, the large canvases left in his studio after his death show that he continued to explore painting until his death.
What the works on display in the last six chapters show are not the remnants of aging and dying life. I’m sure I’m not the only one who can feel the radiance of life that still shines even in his later years from the final exhibition, “Thunderman.”

The exhibition will run until December 28th, which is relatively short.
By all means, I would like you to take this opportunity to face the work that Taro Okamoto has bet his life on, and sometimes challenge him.

© Taro Okamoto Memorial Foundation for the Promotion of Contemporary Art

Overview of the event

exhibition period	October 18th (Tue) – December 28th (Wed), 2022
venue	Tokyo Metropolitan Art Museum
Opening hours	9:30-17:30, until 20:00 on Fridays (last admission 30 minutes before closing)
Closed day	Monday, September 20 (Tuesday) *Open on August 22 (Mon), August 29 (Mon), September 12 (Mon), September 19 (Mon/holiday), and September 26 (Mon)
viewing fee	General 2,000 yen College student 1,300 yen Over 65 years old 1,400 yen *In order to avoid congestion in the exhibition room, this exhibition requires a reservation system for a specified date and time. → Exhibition website
organizer	Tokyo Metropolitan Museum of Art, Tokyo Metropolitan Foundation for History and Culture, Taro Okamoto Memorial Foundation for Contemporary Art, Taro Okamoto Museum of Art, Kawasaki, NHK, NHK Promotion
Contact information	050-5541-8600 (Hello Dial)
Exhibition website	https://taro2022.jp/

 

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National Museum of Western Art

The Berlin State Berggruen Museum boasts an unparalleled collection, including Picasso.

This exhibition, which was made possible by the renovation of the Berggruen Museum, brought together a collection of 97 works, including 76 that were exhibited for the first time in Japan.

This time, we will tell you about the press preview that was held prior to the event.

Picasso, Klee, Matisse, Giacometti… The Berggruen Museum in Berlin boasts a unique collection centered on four great masters of the 20th century. The foundation was laid by Heinz Berggrühn, a collector of modern art, and the works selected by Berggrühn, who was a first-rate connoisseur, are known worldwide as gem collections due to their high quality. there is

This exhibition consists of a total of 108 works, including 97 works carefully selected from the museum’s collection and 11 works owned or entrusted to Japan’s national museums. This will be the first opportunity to exhibit the main works of the Berggruen Museum outside the museum, including 76 works that will be exhibited for the first time in Japan.

There are 76 works released for the first time in Japan!

The main axis of this exhibition is a group of works representing each era from Picasso’s “Blue Period” to his later years. You can follow in the footsteps of Picasso’s painting career through the many masterpieces of Picasso that the Berggrün Museum boasts.In addition, there are 34 paintings by Klee centering on the Bauhaus, cutouts showing the state of Matisse’s later years, and Giacometti’s mature period. You can enjoy the essence of creative 20th century art with the addition of human figures.

In the first chapter, “Cezanne: A Teacher of Modern Artists, ” Cézanne’s portraits such as “Portrait of Madame Cézanne” and “Portrait of Valier the Gardener”, which Berggrühn has loved since he acquired it at an auction, are presented. Introduction.

Chapter 2, “Picasso and Black: Creation of a New Formative Language,” includes works such as “Portrait of Jaume Savartes,” which was painted in the latter half of Picasso’s “Blue Period,” as well as still life paintings from the late 1910s to the early 1920s. exhibition. In addition, by introducing three paintings by Georges Braque together, we trace the development of Cubism promoted by the close collaboration of the two artists.

About half of the works on display in this exhibition are works by Picasso, including 35 that will be exhibited for the first time in Japan. The greatest feature of this exhibition is that you can fully enjoy the masterpieces representing each era of Picasso’s painting industry with this substantial volume.

Chapter 3, “Picasso Between the World Wars: Classicism and Its Destruction” and Chapter 4, “Picasso Between the World Wars: The Image of Women,” feature a variety of Picasso works, including The Large Reclining Nude, which can be said to be the highlight of the exhibition. on display.

In particular, the treatment of women in Picasso’s works is sometimes controversial, such as protests.
This is my personal impression, but when you face the work directly, you can definitely feel the warmth and kindness in the eyes. I hope you will thoroughly enjoy the subtleties of Picasso’s emotions contained in the female figures displayed in Chapter 4.

In the final chapters 5, “Klee’s Universe” and 6, “Matisse: Rest and Vitality” , works by Klee and Matisse, who are given importance next to Picasso in Berggrün’s collection, will be exhibited respectively.

The final chapter consists of works by Picasso and Matisse, who established their reputation as the two great masters of the 20th century in the post-World War II period, and works by Giacometti, who reached maturity in this era. It is truly a masterpiece to see the works of these three great artists, with whom Berggrühn had direct contact, resonate in one space.

“European modern art has been greatly influenced by Japan. Without it, European modern art would not have developed.This exhibition will further advance exchanges between Japan and Europe. But I think it is very meaningful to exhibit it for the first time in Japan.”

Dr. Joachim Jaeger (Deputy Director of the New National Gallery Berlin), who said he had a strong desire to introduce the museum’s collection in Japan, emphasized the significance of holding this exhibition.

We are currently living in an era of turmoil symbolized by the Ukrainian War, but the works of artists who have continued to create while experiencing a great war offer us great suggestions and the vitality to survive in this era. may give you

Overview of the event

Article provided by: kokosil Ueno

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