Category: Report

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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Ueno Royal Museum

 

Numerous art works using waste materials born from the slums of Ghana, Agbogblothy.
The world’s attention is now focused on the activities of Shingo Nagasaka, an artist aiming for sustainable capitalism.
Nagasaka’s first solo exhibition at a museum is currently being held at the Ueno Royal Museum.

Game consoles, computer keyboards… Covered on the canvas are electronic devices and their parts that we are all too familiar with.
Shingo Nagasaka is an artist who creates original works with broken electronic devices discarded by developed countries.
In addition to his work, the philosophy symbolized by the word “sustainable capitalism” and the method of investing profits in slums have attracted attention from all over the world. Still A Black Star was also produced.

“Shingo Nagasaka Exhibition Still A “BLACK” STAR Supported by Nanboya” is his first solo exhibition at an art museum. About 200 works are exhibited.

The truth of the world that I met in the slums of Ghana

“We in developed countries can’t be the only ones to be happy.”

Mr. Nagasaka appealed to the assembled press with a sincere look. He then speaks forcefully about his vision of raising 10 billion yen to build a recycling plant in the slums of Ghana.

In June 2017, Mr. Nagasaka, who was a street painter, visited Ghana’s slum area Agbogbloshie, which is called the “ graveyard of the world’s electronic equipment ”. There, he was shocked to meet young people who live on a meager 500 yen a day by burning electronic devices discarded by developed countries.

Since then, Mr. Nagasaka has continued to use the power of art to convey the reality that “our rich lives are made possible by the sacrifices of the people of this slum.”

If the world is not beautiful, we cannot live a beautiful life either.

As can be seen in the monstrous form of “Law of Conservation of Mass,” in which the smoke of cinders, a young man, and a cow are integrated, Mr. Nagasaka severely criticized the consumer society that ignored the local natural environment. there is
However, at the same time, to borrow Mr. Nagasaka’s words, we are born “capitalist draggers,” and we cannot immediately realize a social form that completely ignores capitalism.

Therefore, he proposes “sustainable capitalism ,” a form in which the three wheels of “culture,” “economy,” and “social contribution” rotate continuously.
For example, the more Ghanaian works he owns, the less garbage there will be, the more it will contribute to the economy, and the more cultural it will become. And at the same time, the message of this problem spreads all over the world. It is an attempt to create a sustainable virtuous circle while making good use of the form of capitalism.

One of his sustainable capitalism activities is his first NFT * project “MAGO Mint”.

In the first project, “Waste St. in NYC,” he created a unique collection of 300 limited photographic works, using home appliances that are thrown away on the streets of New York every day as canvases. did.
Things that will disappear in a few days will continue to live as digital archives with the artist’s energy. It can be said that this is an attempt unique to NFT.

The daily trading volume of this “Waste St. in NYC” has reached a scale second only to Mr. Takashi Murakami’s, and the sales are said to be invested in the establishment of a recycling factory in the slums.

The form of love shown in the theory of relativity

There are about 200 works on display at this exhibition, but one of the works that left a personal impression on me was Theory of Relativity, which was displayed at the end of the exhibition.
This diagrammatically expresses the ideal society and the way love should be based on the advanced/backward axis and the rich-poor axis.
“If you put your hand on a hot stove for a minute, it feels like an hour. If you sit with a pretty girl for an hour, it feels like a minute.”
A work inspired by the famous theory of relativity.

In other words, when there is love, the sense of time disappears. Conversely, when we talk about “advanced countries” and “underdeveloped countries,” there is no love there.
What is shown in the center of the canvas is exactly the state where time has disappeared. Eternal peace and full of love.
In order to achieve this, we need the participation of the viewers. A coin slot is provided on the side of the canvas, and the inserted coin reaches the “underdeveloped country” along the pipe.
It can be said that this is a work that embodies Mr. Nagasaka’s method of sustainable capitalism.

 

In addition, at the venue, there was an animated video of “Millie-chan” inspired by Anpanman, an art work made of dumped waste from the Seto Inland Sea that was visited for olive cultivation, and a work drawn before the corona disaster. Despite this, various works such as “Let’s Go Diversity”, a future forecast that seems to imply the “new normal” due to the spread of infectious diseases after 2020, are exhibited.

Building factories in slums, and world peace.
Shingo Nagasaka’s attempt to change the world through art continues at this very moment.
Why don’t you visit the venue and participate in the “MAGO Project” yourself?

 

* NFT – “Non-Fungible Token” = Non-fungible token. Non-fungibility means irreplaceable. Tokens are crypto assets that use blockchain technology. Art, music, and other works circulating on the Internet, which until now were easy to copy due to the abuse of copyrights, can now be marked with a unique data identification signature, making the ownership clear. system.

*The content of this article is as of the preview (September 9, 2022). Please check the exhibition website for details, as it may differ from the latest information.

Overview of the event

exhibition period	September 10th (Sat) – November 6th (Sun)
venue	Ueno Royal Museum
Opening hours	10:00-17:00 *Last entry is 30 minutes before closing *There are no closed days during the exhibition period
viewing fee	General 1,400 yen, high school/university/vocational school students 1,000 yen, middle/elementary school students 600 yen *Admission is free for preschoolers. *Children under elementary school age must be accompanied by a guardian. *If you enter with a student ticket, please show your student ID. (Excluding elementary school students) *Persons with a disability certificate (Physical Disability Certificate, Rehabilitation Certificate, Mental Disability Certificate, Ai no Techo, Atomic Bomb Survivor Health Techo) can enter the museum free of charge for themselves and up to one accompanying person. . Please speak to the venue entrance staff when you visit.
organizer	Fuji Television Network, The Ueno Royal Museum
Contact information	050-5541-8600 (Hello Dial 9:00-20:00 all day)
Exhibition HP	https://www.mago-exhibit.jp

 

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The University Art Museum, Tokyo University of the Arts

Tokyo University of the Arts (former Tokyo Fine Arts School) plays an important role as an art education and research institution.
A special exhibition that combines the collection of the Imperial Household Agency's Sannomaru Shozokan with the collection of gems
“Unraveling Japanese Art: The Imperial Household, the Treasure Box of Beauty” has begun.

From August 6th (Sat) to September 25th (Sun), 2022, the special exhibition “Unraveling Japanese Art: The Imperial Family, the Treasure Box of Beauty” is being held at the University Art Museum, Tokyo University of the Arts.

The Tokyo University of the Arts, where this exhibition will be held, is the place where Okakura Tenshin first systematically lectured on Japanese art history in 1890 at its predecessor, the Tokyo School of Fine Arts, and is an important art education and research institution in Japan. has played a role.

In this exhibition, 82 works will be exhibited, including masterpieces and excellent works related to the imperial family, which are stored in the Sannomaru Shozokan, Imperial Household Agency, and those in the collection of Tokyo University of the Arts. Japanese art from the Nara period to the Showa period is introduced in an easy-to-understand manner by motifs and themes such as calligraphy, waka poems, people and stories, flowers and birds, animals, and landscapes.

*The content of the article is as of August 5, 2022. Please check the exhibition website for the latest information.

An overview of masterpieces from each era! A true textbook to experience

Tenshin Okakura, who contributed to the founding of the Tokyo School of Fine Arts, established the history of Japanese art as a foundation for creating future art, and developed it as an academic discipline. It can be said that the achievement is very large.
However, although it is not limited to Japan, when appreciating art, it is not uncommon for people to avoid it because it is difficult to know the author, historical background, technical terms and concepts.

What is shown in the special exhibition “Unraveling Japanese Art: The Imperial Family, the Treasure Box of Beauty” is to untangle the rigid image of “Japanese art” as much as possible, and to touch and become familiar with individual works. National treasures that everyone knows are lined up at the venue, and conversations such as "I saw it in a textbook!"

At the venue, works are exhibited according to themes such as "The beauty of Japan that begins with letters," "Collaboration between people and stories," "Exciting creatures," and "Feeling heartened by landscapes." Ingenuity has been devised so that you can enjoy it.

The exhibition begins with Chapter 1, "Beauty of Japan Beginning with Letters," which introduces how kana characters created by Japanese sensibilities are linked to art. In the second chapter, "Collaboration of People and Stories," you can see the process in which the various written stories are linked to the scenery of the four seasons and the state of people, and sublimated into beauty.

Here, precious picture scrolls such as " Kasuga Gongen Genki Eki-e" and " Mongol Invasion Ekotoba" , which were designated as National Treasures for the first time in the Sannomaru Shozokan collection last year, are on display. Furthermore, works such as The Tale of Genji Folding Screen , which is said to have been made by Eitoku Kano, tell us that literature from the Heian period was long loved by Japanese people after that.

In Chapter 3, "Wakuwaku Ikimono," which focuses on the diverse gazes and expressions of Japanese people toward living things, there are a lot of noteworthy exhibits.
Hoichi Sakai’s “12 Months of Flowers and Birds”, which will be exhibited at once in all 12 paintings, Ito Jakuchu’s National Treasure “Animals and Plants” (Exhibition 1), and Tani Buncho’s “Tiger” (Exhibition 1). All of them are lined up with works that should be called the treasures of Japanese art.

The most notable is the National Treasure "Karajishi-zu Folding Screen" , which was drawn by Eitoku Kano on the right screen (Momoyama period, 16th century) and by Tsunenobu Kano on the left screen (Edo period, 17th century). I would like you to see the powerful lion on the right screen, which is considered to be Eitoku Kano's masterpiece, at the venue.

In Chapter 4, "Focus on the Landscape", works with nature and landscape motifs will be exhibited, starting with the traditional natural theme of "Hamamatsu-zu" and landscape paintings from the early days of Western painting. You can trace how the essence of ancient Japanese landscape expression has been passed down to modern painting while changing its form.

Yoshimatsu Gosoda's "Niagara Landscape" is a painting from the Meiji period depicting the magnificent Niagara Falls. By contrasting the sightseeing boat in the foreground with the waterfall, the grand scale is communicated to the viewer.

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Many masterpieces have been handed down to future generations through the efforts of the Imperial Household Agency and the Tokyo Fine Arts School.
"That work" that everyone knows will have a fresh impression if you actually see it.

By all means, I would like you to visit the venue to see the real thing.

*All works that do not indicate where they are owned are in the collection of the Sannomaru Shozokan, Imperial Household Agency.

Overview of the event

exhibition period	August 6 (Sat) – September 25 (Sun), 2022 *During the exhibition period, there will be changes in the exhibition and rewinding of the works. First half exhibition: ① August 6th (Sat) – August 28th (Sun) / ② August 6th (Sat) – September 4th (Sun) Late exhibition: ① August 30 (Tue) – September 25 (Sun) / ② September 6 (Tue) – September 25 (Sun)
venue	Exhibition Rooms 1, 2, 3, 4, Main Building, The University Art Museum, Tokyo University of the Arts
Opening hours	10:00 am – 5:00 pm (Last entry 30 minutes before closing) * Open until 7:30 p.m. on Fridays and Saturdays in September
closing day	Mondays (but open on September 19th)
viewing fee	General 2,000 yen, high school/college student 1,200 yen * Free for junior high school students and younger, and those with a disability certificate and one assistant. *This exhibition does not require advance reservations, but there is a possibility that admission restrictions, etc. will be implemented depending on the future situation.
organizer	Tokyo University of the Arts, Imperial Household Agency, Yomiuri Shimbun
Contact information	050-5541-8600 (Hello Dial)
Exhibition HP	https://tsumugu.yomiuri.co.jp/tamatebako2022/

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Tokyo Metropolitan Art Museum

This exhibition was planned for 2020, the 150th anniversary of the establishment of the Museum of Fine Arts, Boston, but was forced to be postponed due to the spread of the new coronavirus.
The “Boston Museum of Fine Arts Exhibition: Art x Power” opened on July 23rd.

 

From Saturday, July 23, 2022 to Sunday, October 2, 2022, the “Boston Museum of Fine Arts Exhibition Art x Power” is being held at the Tokyo Metropolitan Art Museum.
Egypt, Europe, India, Japan… The warp thread running through the approximately 60 artworks collected from various regions in this exhibition is “authority” and “power”.

Many people today have an image that art is “anti-authority” and “anti-authority”. But historically, the two are closely related.
Powerful people in all ages and countries have used the power of art to maintain their power, decorate their courts, and demonstrate their legitimacy.
As a result, the excellent works of art created by the top painters and craftsmen of the times by those in power continue to fascinate us even today.

Focusing on the relationship between “art and power,” this exhibition presents carefully selected works from the encyclopedic collection of the Museum of Fine Arts, Boston. Focus on the social role that works of art have played since ancient times.

A majestic collection of beauty loved by those in power

Throughout history, works of art have played a variety of roles, not just for viewing.
For example, the portrait of Princess Mary painted by Van Dyck is splendid, expressing the texture of the fabric of the dress, the elegance of the hand, and the sparkle of the innocent eyes. Or there was an important “role” to advance.

Natsuko Ohashi, curator in charge

“An exhibition that highlights the power of the powerful in each era through art and follows how each work has been used to demonstrate that power. I want you

and the significance of holding this exhibition.

This exhibition consists of five chapters. Each chapter focuses on the relationship between power and art from various angles, but it is also interesting to pay attention to the differences depending on the era and regional characteristics.

For example , in the Portrait of Napoleon I in Coronation Dress , displayed at the entrance of the exhibition hall, Napoleon is depicted in a simple and dignified manner with a gold laurel wreath and an eagle-tipped scepter. ing.

However, in the Heiji Monogatari Emaki Sanjoden Night Raid Scroll , the existence of the emperor is hidden behind the bamboo blinds, and is not shown overtly in accordance with the tradition of Japanese art. Just as regalia such as Kusanagi no Tsurugi and Yata no Kagami are never seen by the public, “authority” is a hidden existence in Japan.

Since ancient times, it has been supernatural and religious concepts such as ‘God’ and ‘Heaven’ that give ‘approval’ to authority and power. A chapter titled “Sacred Worlds” presents religious artworks produced by those in power who have become “God’s Agents.”

In addition to statues of the Madonna and Child and Tathagata statues, many statues of monks, saints, and earthly figures with strong ties to the spiritual world were created, and El Greco’s “St. Dominic Praying” is one of them. A very private moment of devotion by St. Dominic, who founded the Order of the Preachers, known as the Dominican Order, is depicted in powerful strokes.

The palace is one of the direct and symbolic representations of authority and power. It can be said that many of the works of art displayed in this exhibition are deeply connected to the formal ceremonies and social customs of these palaces and courts.
In particular, costumes and accessories are decisive in conveying the power and status of the individual who wears them.

“Marjorie Meriweather Post Brooch” was purchased by Marjorie Meriweather Post from Manhattan’s Marcus Company when she had an audience with King George V and Queen Mary of England. Adorned with platinum and diamonds, the 60-carat emerald set in the center sparkles.
Although this brooch was never used for the audience, it is said that it continued to be treasured as a treasure in Post’s jewelry collection.

A national treasure in Japan? ! Famous Treasures Returned Home

The Boston Museum of Fine Arts in the United States is called the “Eastern Art Hall of Fame” and has collected more than 100,000 works of Japanese art for over 100 years, beginning with Ernest Fenollosa and Tenshin Okakura. Among the vast collection, Kibi Daijin iri Tang Emaki , which stands out, is a valuable work that is said to be a national treasure in Japan, along with the previously introduced Heiji Monogatari Emaki Sanjoden Night Attack Scroll .
The two major picture scrolls are exhibited together, giving off a presence that can be called the highlight of this exhibition.

“Kibi Daijin Nyuu Emaki” is a story about Kibi Makibi, who has crossed the sea as an envoy to Tang Dynasty, and solves many difficult problems with the help of Nakamaro Abe, who has turned into a demon. Due to its large size, the room is displayed in a U-shape. It has been protected and handed down from generation to generation by temples and shrines and powerful families, but due to social changes from the end of the Edo period to the Meiji period, it was leaked to the market. For a long time there was no buyer, but eventually it was purchased by the Museum of Fine Arts, Boston in 1932.

This work has become a “phantom national treasure”. It would be interesting to think about the strange fate that this emakimono followed when viewing it.

The final piece of this exhibition is Peacock, which depicts a charming peacock on the left and right sides.
The painter Sessai Masuyama, whose name was Masataka, was a feudal lord who ruled the Ise-Nagashima domain (present-day Nagashima-cho, Kuwana City, Mie Prefecture) in the mid-Edo period. He protected many painters and intellectuals, and even produced many paintings and calligraphy himself.
“Peacock”, which was restored for this exhibition and returned home for the first time, is a theme Sessai worked on many times, and boasts a high quality that can be said to be a representative work.

Balance and gradient woven by power and art in different places and different times.
Those in power have used the power of art to showcase themselves and lend mythic legitimacy to the stories they depend on. However, what is shown in this exhibition is not just the appearance of art that is subordinate to authority.

Art hides within it a “power” that surpasses the “power” of the world, and moves not only people’s hearts, but sometimes even the world. When I look at the many treasures that have been collected, such a thought sprouts in my heart.

After being postponed for a while, the long-awaited opening of this exhibition is finally here. We hope that you will be able to see it directly at the venue.

Outline of “Museum of Fine Arts, Boston: Art x Power”

exhibition period	Saturday, July 23, 2022 to Sunday, October 2, 2022
venue	Tokyo Metropolitan Art Museum
Opening hours	9:30-17:30 *until 20:00 on Fridays (Last entry 30 minutes before closing)
closing 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 Foundation for History and Culture, Tokyo Metropolitan Art Museum, Museum of Fine Arts, Boston, Nippon Television Network, BS Nippon Television, Yomiuri Shimbun
Contact information	050-5541-8600 (Hello Dial)
Exhibition official website	https://www.ntv.co.jp/boston2022/

*The content of the article is as of the interview date (2022/7/22). Please check the official website for the latest information.

 

Article provided by: kokosil Ueno

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Tokyo Metropolitan Art Museum

A special exhibition "Finn Juhl and the Danish Chair" will be held at the Tokyo Metropolitan Art Museum, introducing the history and transition of Danish furniture design, focusing on the works of Finn Juhl, a Danish designer known as a "furniture sculptor." It started on July 23, 2022.

Since I participated in the press preview held earlier, I will report the state of the venue.

An exhibition focusing on "chairs" that support everyday life

In Denmark, a Scandinavian country known as a design powerhouse, the value of hygge, which means "comfortable and enjoyable time", has taken root in lifestyles, and simple comfort has been pursued in furniture design. rice field.

In particular, from the 1940s to the 1960s, Denmark entered a golden age when many outstanding pieces of furniture appeared in history. Finn Juhl (1912-1989) is one of the representative designers of this golden age.

The furniture he creates not only fits comfortably on the body, but also stands out for its modern design featuring graceful curves and the beauty of its details, like a work of art. increase.

The exhibition "Finn Juhl and Danish Chairs" traces the history and transition of furniture design centered on Danish chairs with a wide variety of examples, while approaching the charm of Finn Juhl's design.

At the end of the exhibition, there is also a special corner where you can actually experience Danish designed chairs.

Many of the exhibits are from the world-famous "Oda Collection" owned by Higashikawa-cho, Hokkaido. Kenji Oda (Professor Emeritus, Tokai University), one of the academic collaborators of this exhibition and a chair researcher, has collected furniture and daily necessities from the 20th century as research materials for many years. Is this the first opportunity for you?

Chapter 1 “The Danish Chair ─ Background of its design”

This exhibition consists of three chapters, from Chapter 1 to Chapter 3.

Chapter 1, "The Danish Chair," begins with an introduction to the 1930 Stockholm Exposition, which gave young Danish architects and designers a chance to come into contact with the modernist movement, which advocated rationalism and functionalism that swept Europe. increase.

He led the Danish modernism movement, which sought to open up design to the general public while inheriting traditional furniture-making techniques. Koa Klint (1888-1954) is known as the father of modern Danish furniture design .

Founding of the Furniture Department of the Royal Danish Academy of Fine Arts , where he served as the first professor and is said to have had the greatest impact on the development of Danish furniture design.

The existence of the furniture craftsmen's association that efficiently trained furniture craftsmen and frequently held exhibitions to appeal the high level of technology.

Along with various materials such as photographs, posters, publications, and videos, we carefully look back on the background of the creation of Danish masterpiece furniture that is loved all over the world.

In addition to Kohr Clint, Ole Wanscher, who became the second professor of the furniture department at the Royal Academy of Arts , Børge Mogensen , who designed functional furniture without superfluous decorations for the general public, and his deep knowledge of wood. You can see a wide variety of chairs by famous designers such as Hans J. Wegner, who created masterpiece furniture one after another with his knowledge and outstanding craftsmanship.

Chairs consist of a simple basic structure consisting of a seat, back, and legs, but some of them include Helge Vestgaard Jensen's "Racquet Chair," which uses strings stretched over a tennis racket, and Werner's ice cream cone-shaped chair.・There is a wide variety of slightly eccentric designs, such as Pantone's "Cone Chair" and Grete Jalk's "Plywood Chair" that looks like it is made of origami.

However, even if it is eccentric, it does not have a gorgeous impression, and it has a calm atmosphere common to Danish design.

In the same chapter, you will find an amazing variety of thoughts and ideas during the golden age of Danish furniture design.

Chapter 2 "The World of Finn Juhl"

Many of the furniture designers of the time were students of Koor Klint or from furniture workshops.

On the other hand, Finn Juhl entered the Royal Academy of Arts in 1930 to study architecture on the recommendation of his father, even though he aspired to be an art historian. He studied furniture design on his own while working in building and interior design at an architectural firm.

Chapter 2, "The World of Finn Juhl," begins with early architectural drawings by Finn Juhl, an architect, interior designer, and furniture designer.

In the latter half of the 1930s, he collaborated with the excellent cabinetmaker Niels Votter to explore unique forms.

The design of his own house (Finn Juhl House), which was built in 1942 in northern Copenhagen and became his life's workplace.

Since 1950, Finn Juhl's wide-ranging work has been recognized internationally, from the interior design of the United Nations Headquarters in New York to the design of the offices of Swedish Scandinavian Airlines and passenger aircraft cabins. Introducing the whole picture.

Described as "sculpture-like", Finn Juhl's work is heavily influenced by the forms and underlying aesthetics of abstract sculpture by sculptor Hans (Jean) Arp.

The sculptural approach is particularly prominent in his early works, and the smooth curves of the arms that follow the elbows and the slender, sharp legs are abstract, like sculptures of the human body by Arp. Makes me think of my body.

As Finn Juhl said, "A chair is not just a daily item, but a form and a space in itself." It is a great attraction that it creates harmony in the space while closely resonating with daily necessities.

The exhibition related to the Finn Juhl House clearly shows its charm. As a place where you can embody your own ideas without anyone interfering, it is a discerning mansion that not only designed the building but also the furniture and daily necessities.

Artworks such as paintings by Wilhelm Lunström are also beautifully arranged, and from the video material that introduces the space of the mansion in harmony with the lush forest scenery, you can feel a part of Finn Juhl's design aesthetic.

Chapter 3 "Experiencing Danish Design"

Finn Juhl believed that a chair is nothing more than an object if no one sits on it.

As a corner unique to this exhibition featuring such Finn Juhl, Chapter 3, "Experience Danish Design," presents the original role of a chair as an everyday tool and designed with the user's lifestyle in mind. I'm back to You can actually sit in over 30 Danish chairs!

Not only Finn Juhl, but also chairs by designers who supported the golden age of Danish furniture design that we saw in Chapter 1. There are solid leather chairs like the president's seat, and folding stools that are perfect for outdoor production.

You can directly touch the chair to check how comfortable it is to sit on and how it feels to the touch, and observe the appearance of the person sitting on it. How did the designers deal with the issues surrounding chairs and how did they solve them? You can enjoy rich ideas with your body.

The chairs and lighting fixtures introduced here are all still being produced by Danish manufacturers.

Denmark is known as "the happiest country in the world".
In a world where values and lifestyles are constantly changing, the fact that Danish design, with its simple design, functionality, and universal friendliness that blends in with any space, has taken root all over the world is something that I am very proud of. It may be a hint for us to live comfortably.

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Until October 9, 2022, the exhibition “Finn Juhl and the Danish Chair” will shed light on familiar furniture such as chairs that support every day.

By the way, regarding the holding of this exhibition, due to the renovation of the Tokyo Metropolitan Art Museum in 2012, Finn Juhl and other Danish chairs and tables have been set up in the "Sato Keitaro Memorial Art Lounge" on the first floor of the central building, and a rest area has been set up. It is said that it was triggered by the new establishment.

It seems that it was installed to create a comfortable space where visitors can spend a relaxing time, and not only the high affinity between the architecture of the Tokyo Metropolitan Art Museum and Scandinavian furniture, but also the power of the furniture to completely change the impression of the space. was also surprised.

If you visit this exhibition, please take a look at the "Sato Keitaro Memorial Art Lounge".

Overview of the exhibition “Finn Juhl and the Danish Chair”

exhibition period	Saturday, July 23, 2022 to Sunday, October 9, 2022
venue	Tokyo Metropolitan Art Museum Gallery A・B・C
Opening hours	9:30-17:30 (Last entry 30 minutes before closing) *Fridays 9:30-20:00 (Last entry 30 minutes before closing)
closing day	Monday, September 20 (Tue) *Open on August 22nd (Mon), 29th (Mon), September 12th (Mon), 19th (Mon/Holiday), and 26th (Mon)
viewing fee	General 1,100 yen / University and vocational school students 700 yen / 65 years old and over 800 yen * Free for high school 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. *For other details, please check the official website of the exhibition.
organizer	Tokyo Metropolitan Art Museum, Tokyo Metropolitan Foundation for History and Culture
Exhibition official website	https://www.tobikan.jp/finnjuhl

*The content of the article is as of the interview date (2022/7/22). Please check the official website for the latest information.

Article provided by: kokosil Ueno

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