Tokyo Metropolitan Art Museum
At the Tokyo Metropolitan Art Museum in Ueno Park, Tokyo, “Van Gogh Exhibition: Resonating Souls Helene and Fincent” is being held from Saturday, September 18, 2021.
The museum’s special exhibitions (most recently, “Hiroshi Yoshida Exhibition 70 Years After Death” and “Isamu Noguchi’s Discovery Road”), which introduce domestic and foreign masterpieces, are very popular every time, but this “Van Gogh Exhibition” ] Is crowded with many visitors as usual.
We want people in wheelchairs and people with various disabilities such as visual and hearing disabilities to appreciate the special exhibition with peace of mind. With that in mind, every time during the special exhibition, “people with disabilities” A special appreciation event for wheelchairs is being held, and the “Van Gogh Exhibition” was also held on October 11th (Monday), which is a closed day.
* A separate article details the venue and exhibited works of “Van Gogh Exhibition: Resonating Souls Helene and Fincent”. ⇒ https://www.culture.city.taito.lg.jp/ja/reports/22665
Art communicators who support “special appreciation for people with disabilities”
The “Special Appreciation Party for Persons with Disabilities” (hereinafter referred to as “Special Appreciation Party”) is a program that started in 1999. Since 2012, an art communicator (nicknamed “Tobira”), who is active in the “Tobira Project” in collaboration with the museum, Tokyo University of the Arts, and citizens, has been involved from the preparatory stage, helping with the day’s appreciation and speaking out. I am doing.
What is the “Door Project”?
A social design project based in a museum that nurtures a community through art. It was started in collaboration with Tokyo University of the Arts with the renewal of the Tokyo Metropolitan Art Museum in 2012. Citizens gathered from the general public, curators, university faculty members, and experts who are active on the front lines are based in the museum, and while making the best use of the cultural resources there, people and works, people and people, people and places We are developing activities to connect.
Who is the publicly recruited citizen through art as the art communicator “Tobira” (nicknamed “Tomi” and “Opening a new door” at the Tokyo Metropolitan Art Museum)? We are working on designing a place where people can have a flat dialogue and a community that connects people with diverse values.
About 40 people from Tobira, who are active for a three-year term, are recruited every year, and currently about 140 people of different ages and backgrounds, such as office workers, freelancers, housewives, retired people, and college students, are active. It seems that it has been done.
The activity is voluntary, but not a supporter given a role by the museum. He is an active player who proactively launches and realizes projects at museum sites while deepening his learning as an art communicator during his term. Until now, “Tobikan Yakan Kaikan Tour” where you can enjoy the charm of the architecture of the Tokyo Metropolitan Art Museum at night, and “Graduation Exhibition Tour” where you can talk with the artist about the graduation exhibition of Tokyo University of the Arts. Various programs utilizing the museum were carried out from a unique perspective.
The “special appreciation party” is also evolving into a better form while incorporating the ideas of “Tobira”. This time around 100 people, including “Tobira” and former “Tobira” who are active as independent art communicators in their respective communities after their term of office, welcomed the participants.
(* Hereafter, the situation on the day will be collectively referred to as “art communicator” because “Tobira” and former “Tobira” are involved in the “special appreciation party” as a whole.)
Time for people with disabilities to face the work without hesitation
About 400 people with disabilities and about 320 caregivers who have disability certificates, etc. participated in the “special appreciation event”.
The art communicators seemed to have been preparing for the “special appreciation party” many days before the event. For example, there are three types of pre-registration methods for the “Special Appreciation Party”: WEB form, email, and postcard. The participation certificate envelope sent by mail to those who applied for the postcard has the theme of the exhibition as a motif. I heard that he is pushing a handmade eraser stamp.
This is also an initiative devised by an art communicator with the desire to “make it a nice participation certificate.” I showed you the real thing, but it was a waste of quality to be used only here.
From the entrance to the reception, you will hear greetings to the participants such as “Hello” and “Please enjoy”.
Mr. Kumagai, a curator, said, “Is it okay to go? Maybe it will cause trouble?”
“It is important to create a welcome atmosphere that conveys the feeling of hospitality to the participants so that they will feel that the museum is a place where they can go.”
Wheelchairs for rent were prepared at the reception. I was wondering, “Isn’t the person who needs a wheelchair riding from the beginning?”, But there are many people with bad legs who want to use a wheelchair only when looking at the exhibition. I was surprised to see that a large number of wheelchairs were actually rented out in a blink of an eye.
As Mr. Kumagai said, such people may find it difficult to go to the usual exhibitions in consideration of their surroundings. Of course, it seems that wheelchairs are rented even on normal opening days, but if they are prepared in front of the entrance of the exhibition room like this, everyone seems to be comfortable and easy to use.
Here, I felt that I could get a glimpse of the reason why the repeat rate of the “special appreciation party” was so high.
Not only the exhibition room of the special exhibition, but also the entrance, escalators, elevators, etc., the art communicators will entertain you almost everywhere the participants pass. We kept in touch with each other in each position and saw them working closely together.
An unfamiliar sight is that a large elevator for luggage was in operation.
If many people in wheelchairs try to use the normal elevator for visitors at the same timing, the waiting time will inevitably occur. With the desire to enjoy the “special appreciation party” without stress, the art communicators at the site made suggestions for improvement, such as “If there are multiple wheelchairs, we will guide you to a large elevator.” It is impressive that we were discussing.
Since it is a viewing party that requires advance reservations, a very relaxing time will flow in the exhibition room. It seemed that all the participants were able to appreciate the work.
This is also in front of the main feature of this exhibition, “Country Road in Provence at Night”. At the time of normal opening, the front of popular works is often crowded, and wheelchair users tend to watch from behind. I could see that he was enjoying the time of one-on-one dialogue.
In the exhibition room, there is also an art communicator carrying a magnetic writing board for the hearing impaired. This is an initiative that started from this “special appreciation event” and is an attempt to create an environment where people with hearing impairments can easily talk to them when they have a problem in the exhibition room. While talking using the written conversation board, it is possible to have a sign language interpreter called from the reception if necessary.
I couldn’t see it at the time of the interview, but before the epidemic of the new coronavirus infection, the participants and the art communicator exchanged their impressions and opinions while watching the work, and each of them shared a good time.
Based on the idea of an art communicator, those who have difficulty seeing the work, such as those with low vision or wheelchairs, can see the work image at hand. He also carried out activities such as creating character display support so that the content can be conveyed to people with hearing impairments in the “One Point Talk” that explains the highlights of the meeting.
When asked about these various initiatives, Mr. Kumagai emphasized, “Art communicators are creating a community through art based in museums.” I will do something for people with disabilities. I am not in the place of this “special appreciation party” in the relationship between the supporter and the recipient. “
“What kind of place do you want to be in this space where people with and without disabilities spend time together? What kind of place do you want to be? Think about it, and communicate and act as necessary for that. Therefore, art communication There is no manual that summarizes what to do in Ta, “he said, which is often misunderstood as an art communicator.
Unfortunately, many efforts to avoid contact and closeness are not feasible nowadays. But it became painful feelings in the expression of the Art communicator lament the “I’m in great pains same space, is lonely not able to talk with everyone of the participants”, communication and way not to conversation, and even more real He is looking for a way to complement the dialogue outside of the space .
“Special appreciation party” under such circumstances. Participants who enjoyed Van Gogh’s world to their heart’s content for an hour or two left the museum with a very satisfying expression.
“I’m always looking forward to the next appreciation party.”
We also talked to the people who participated in the “special appreciation party”. What surprised me was that everyone I talked to had participated in the “special appreciation party” many times.
A woman in a wheelchair said, “This appreciation party is helpful because the number of people is limited. Normally, people are double, triple, or quadruple, but here you can see it in the forefront. I’m happy, “he smiled.
Another participant, who said he had been away from the museum he had visited because of his illness, said, “I’m always looking forward to the next event.” He shines his eyes and talks about his expectations.
A visually impaired woman participated at the timing when she read Maha Harada’s novel and was eager to see Van Gogh’s work, and she seemed to be happy. It seems that he watched the work while having a caregiving explain it.
“I think the audio guide was well done. I understood that Mr. Helene (* the collector of Van Gogh’s work featured in this exhibition) was such a person,” he said with satisfaction. While following the changes in his style, he was deeply moved, saying, “This is how Van Gogh arrived at <Sunflower>.”
“In an ordinary exhibition, even if a caregiving person walks with me, I get hit or kicked. On the contrary, even if I interrupt in front of a person, I feel sorry because I do not notice it. I’m grateful that you can see it with confidence if it’s so vacant. ”
Originally, the museum should be an open place for people with and without disabilities. Unfortunately, many people now hesitate to go to museums.
There may be more ingenuity in the “special appreciation event for people with disabilities”. However, I realized that the existence of such an appreciation party is a significant attempt to surely lower the hurdles for people with disabilities to go to the museum.
We will continue to pay attention to the movements of art communicators on how to create communication opportunities that have diminished in the Corona disaster.
In addition, in the special exhibition “Vermeer and 17th Century Dutch Painting Exhibition in the Dresden National Classical Painting Museum” to be held from January 22nd (Sat) to April 3rd (Sun), 2022 at the Tokyo Metropolitan Art Museum, “Obstacles” “Special viewing party for those who have” will be held.
400 people and their caregivers (up to 1 person) who have various notebooks such as the certificate of the physically disabled can apply. If there are many applications, it will be a lottery.
The application period is from January 5, 2022 (Wednesday) to January 24, 2022 (Monday).
If you are interested, please check the details. ⇒ https://www.tobikan.jp/learn/accessprogram.html
“Van Gogh Exhibition — Resonating Souls Helene and Vincent” Outline
| Session | September 18th (Sat) -December 12th (Sun), 2021 |
| venue | Tokyo Metropolitan Art Museum Planning Exhibition Room |
| Opening hours | 9: 30-17: 30 Fridays 9: 30-20: 00 (Admission is 30 minutes before closing) |
| Closed days | Monday * However, the room will be open on November 8th (Monday), November 22nd (Monday), and November 29th (Monday). |
| Admission fee | General 2,000 yen, university / vocational school students 1,300 yen, 65 years old and over 1,200 yen * Reservation required by date and time. * Free for high school students and younger. (Reservation with specified date and time is required) Click here for other details ⇒ https://gogh-2021.jp/ticket.html |
| Organizer | Tokyo Metropolitan Foundation for History and Culture Tokyo Metropolitan Museum of Art, Tokyo Shimbun, TBS |
| inquiry | 050-5541-8600 (Hello dial) |
| Exhibition official website | https://gogh-2021.jp |
National Science Museum
Known as a cultural heritage hall of fame, the British Museum has led the world in the study of ancient Egyptian civilization. A special exhibition “British Museum Mummy Exhibition: Six Ancient Egyptian Stories” will be held at the National Museum of Nature and Science in Ueno, Tokyo, focusing on the six mummies carefully selected by the museum, based on the latest research results. It is being held.
* The session is from October 14, 2021 (Thursday) to January 12, 2022 (Wednesday).
We covered the press preview held on the day of the opening, so we will report on the situation at the venue.
* The photos shown are taken with special permission, and the general public is prohibited from taking them.
* The photo is often reflected on the glass due to the equipment. Please note that some parts may be difficult to see.
An ancient Egyptian figure unraveling from six mummies
Even if they die in this world, their existence does not end, and the ancient Egyptians, who had the view of life and death that they would be resurrected in the afterlife, developed the technique of making mummies in order to preserve the body necessary for regeneration. In the special exhibition “British Museum Mummy Exhibition: Six Stories of Ancient Egypt”, the mummies of six people who lived in ancient Egypt from about 800 BC to about 100 BC are exhibited.
The bright decoration of the casket is eye-catching. On the chest is the image of the god Nut, who spreads his wings as if to protect him.
“Amen Iri Ireto Thebes officials” “Nesper Ennebu Thebes priests” “Pen Amen Nebnes Uttaui lower Egyptian priests” “Takenemet Thebes married women” “Hawara children” “Young men of the Greco-Roman era” Six mummies with different positions, ages, and times of life.
The interior is restored with a high-precision 3D construction image created based on a large amount of CT scan images of about 7,000 images per body. Introducing life aspects such as health condition, medical history such as cancer and arteriosclerosis, and age of death that could not be understood from textual information such as inscriptions, along with about 250 abundant exhibits.
In the 3D construction video, detailed information on the inside is explained, as well as the clarified medical conditions during life.
Of particular interest to the benefit of CT scans is the priest of the Karnak Temple, Nesperennebuu, which was the most important religious facility in Thebes (now Luxor) around 800 BC in the Third Intermediate Period, around 800 BC. It’s a mummy.
Various amulets and magical trinkets are placed on the mummy to protect the dead and help them gain eternal life. A CT scan revealed that the Nesper Ennebu mummies remained unopened, and their detailed layout and materials were revealed.
The video shows the location of the amulets and jewelry placed on the mummy, but I was surprised that they were placed not only on the skin and between the bandages, but also inside the body. It is said that amulets and accessories have important meaning not only in shape and letters but also in position, and it is a result of technological improvement that such inside information is known without damaging the relics.
Many of the items inside are 3D printed and displayed, so please compare them with the images and appreciate them.
Many relics showing the ancient Egyptian beliefs related to funerals, including mummification, are exhibited in this exhibition, but an example that clearly shows the form of one belief is the “Canopic jar”.
The perishable internal organs are removed when making mummies, but the liver, lungs, stomach, and intestines are considered to be particularly important for regeneration, and they are carefully protected by a container called the Canopic jar, which is modeled after the four sons of Horus. rice field.
Imagine that the brain is also stored somewhere on the premise of resurrection, but it seems that the brain was abandoned in the process of making a mummy because its function was not understood at that time. so…….
It is the heart that the ancient Egyptians believed to be the part that governs intelligence and memory. It is usually left in the body by a mummy craftsman as an indispensable item for regeneration.
We are also paying attention to the changes in the design of mummies from time to time.
A photorealistic portrait of a child’s mummy, which was drawn to cover his head, appeared in the mummy of a child from 40 to 55 years after the Roman rule. You can feel the influence of Greek and Roman art styles. In addition, it seems that mummification of children was rare until the time of Roman rule, and it was said that the tradition of burial customs was also affected.
Speaking of mummies, you can also appreciate familiar relics such as the statue of Osiris, the god of the underworld who has the power of regeneration, and the document “Book of the Dead” buried with the dead in the hope of the well-being of the afterlife. In addition, this exhibition features items that are close to the culture and daily life of ancient Egyptians, such as musical instruments, women’s makeup tools, children’s toys and accessories, and fossil bread, which are rarely seen in other exhibitions. The point is also the highlight.
How did they live and become mummified? While feeling mysterious from the view of life and death and magical relics, it seems to be familiar to somewhere. It can be said that this is a unique exhibition where you can see the life of ancient Egyptians.
Cute things you can meet at the venue
The charm of the ancient Egyptian world is that it is full of unique and adorable designs that attract Japanese people today, such as Egyptian gods such as Medjed, Anubis, and Bastet, and hieroglyphs.
Of course, you can meet them in this exhibition, so I will introduce some photos.
Anubis, the god of mummy making, is a lovely accessory with a figure lying down on the grave. Goods were also made at the special shop at the venue!
Amulet with a fish motif that symbolizes regeneration, with beautiful gold and blue feldspar. A stylish item with large dorsal fins and tail fins.
The creature (cow?) Drawn at the foot of “Takenemet’s inner casket”. Is the round head a corner? Or is it like a ball? I can’t say anything about the blurred expression.
Japan original exhibition: Archaeological excavation of Saqqara ruins
This exhibition is an international traveling exhibition, but in the latter half of the venue, you can also see a special exhibition original to Japan. It is a state-of-the-art excavation survey still being conducted at the Saqqara archaeological site in Egypt.
The actual size of the inside of the catacombs (underground mass grave) during the Roman rule, discovered in 2019 by the Japan-Egypt Joint North Saqqara Survey Team, headed by Professor Nozomi Kawai of Kanazawa University, who is the supervisor of this exhibition. Most of them will be introduced in models and videos. I couldn’t take a picture, but I was impressed by the attention to detail, such as the decayed atmosphere and the buried bones, that made me feel as if I was actually at the scene.
How were the six mummies that appeared in this exhibition unearthed so that we can appreciate them today? This exhibition should give you an idea of the big picture that wasn’t often introduced in the exhibition before.
If you want to hear the excitement and excavation romance that Mr. Nozomi Kawai felt and want to enhance the sense of reality, we recommend using the audio guide.
Let’s smell the mummy
At the second venue, under the theme of “Ancient Egyptian Civilization and the Japanese,” we will introduce how the Japanese learned about the existence of the ancient Egyptian civilization and continued their research. Here, the “Cat Mummy” obtained in Egypt by Masauji Hachisuka, the 18th head of the Awa and Tokushima Domains, is unveiled for the first time.
In connection with “Cat Mummy”, there is also a corner where you can smell the mummy at the time of making it, which was reproduced by Kao Corporation’s Sensory Science Research Institute! The chance to smell a mummy is unlikely for the average person, so it’s a valuable opportunity.
Special collaboration with “Kaiketsu Zorori”!
In addition, this exhibition attracts the attention of fans by collaborating with the reading series “Kaiketsu Zorori”, which is loved by a wide range of generations.
A quiz about the story of rescuing Zorori and others who have lost their way into the world of ancient Egypt and cannot return to the present day is posted on the official website. If you want to watch it with a small child, please try it by referring to the hints on the panel inside the venue. In addition, many “Kaiketsu Zorori” original goods were prepared at the special shop, so fans should not miss it.
Outline of the special exhibition “British Museum Mummy Exhibition 6 Stories of Ancient Egypt”
| Session | October 14, 2021 (Thursday) -January 12, 2022 (Wednesday) * The session is subject to change. |
| venue | National Science Museum |
| Opening hours | 9:00 to 17:00 (Admission is 30 minutes before closing time) |
| closing day | Monday, December 28th (Tuesday) -January 1st (Saturday / holiday) * However, the museum is open on December 27th (Monday), January 3rd (Monday), and January 10th (Monday / holiday). |
| Admission fee | General / university students 2,100 yen Elementary / junior high / high school students 600 yen (tax included) * Reservation by date and time is required. * Free for preschoolers. Free for persons with a disability certificate and one caregiver. |
| Organizer | National Science Museum, British Museum, Asahi Shimbun |
| inquiry | 050–5541–8600 (Hello dial) |
| Exhibition official website | https://daiei-miira.exhibit.jp/ |
[Tokyo Metropolitan Art Museum] “Van Gogh Exhibition — Resonating Souls Helene and Fincent” Venue Report: Follow the collection of van Gogh collectors and gems of belief
Tokyo Metropolitan Art Museum
On Saturday, September 18, 2021, “Van Gogh Exhibition-Resonating Souls Helene and Fincent” opened at the Tokyo Metropolitan Art Museum in Ueno, Tokyo. The session is until December 12th (Sun).
An exhibition that highlights the collection of Helene Kröller-Muller (1869-1939), the largest individual collector of Van Gogh’s works. We will report on the venue where popular works such as “Country Road in Provence at Night” and “Yellow House (Street)” are lined up.
Van Gogh’s popular driving force Helene Kröller-Muller
Vincent van Gogh (1853-1890), who has fans all over the world and is one of the most beloved painters here in Japan.
It is said that he aspired to be a painter at the age of 27 and left about 2,000 works in the 10 years until his life ended at the age of 37. In my lifetime, I couldn’t get fame.
However, he is now positioned as a master of modern art, and his works can be priced in the hundreds of millions or billions. Behind this was the passion of those who recognized the value of his work, preserved it, and worked hard to preserve it for posterity.
One of the key players who played an important role was Helene Kröller-Muller, who was spotlighted in this “Van Gogh Exhibition-The Resonating Souls Helene and Fincent”.
Helene, one of the leading Dutch wealthy men, has built a huge collection of over 11,000 pieces with her husband Anton, focusing on the works of French and Dutch artists from the 19th to 20th centuries. She felt deep humanity and spirituality in Van Gogh’s work, and collected more than 90 oil paintings and about 180 drawings and prints from the beginning of the 20th century, when Van Gogh was not yet widely evaluated.
This exhibition introduces 48 selected works from Van Gogh’s early to late years’ paintings from the precious art collection of the Kroller-Muller Museum in the Netherlands (opened in 1938), where Helene was the first director. is.
Helene relied on Van Gogh, but Helene himself did not leave a clear word as to why she was so attracted. Mr. Ohashi, the curator in charge of this exhibition, said, “I can’t say for sure, but I felt a very high spirituality in Van Gogh’s art. Also, Van Gogh was born as the son of a minister, but he was on the path to becoming a priest. I think the main reason is the common background that Helene was suffering because she was frustrated and was not accustomed to Christian culture. ”
In addition to Van Gogh’s works, 20 modern Western paintings from the mid-19th century to the 1920s, such as Millet, Renoir, Surah, and Mondrian, which Helene collected particularly enthusiastically, are also exhibited in this exhibition. ..
From realism to impressionism, neo-impressionism, symbolism, and abstractionism. Not only does Van Gogh’s work follow the flow of modern painting, which has changed 180 degrees from the realism that depicts it as it is to the focus on the human spirit and emotions, but Van Gogh’s work is a bridge between the changes. It is an exhibition that you can see in.
From these Helene collections, in order to share the excitement she got with people, she systematically built a collection so that she could overlook the outline of Western art, with her lifelong mission to establish a museum from the early stages of collection activities. You can see that.
Visited Japan for the first time in 16 years! Masterpiece of the Itosugi series “Country road in Provence at night”
One of the highlights of this exhibition is “Country Road in Provence at Night”, which is the first time in 16 years to visit Japan.
Van Gogh’s masterpiece is a series of sunflowers, but for Van Gogh, who was fascinated by the dark green color and beauty of the cypresses standing in the sunny scenery of the Provence region of Southern France, the cypresses are ” I want to make it a work like <Sunflower> “, and it was an important motif that made me enthusiastic.
Among the dozens of cypresses that he drew while struggling to express the deep green tones, “Country Road in Provence at Night”, which was probably produced at the end of his stay in Southern France, is often called a masterpiece.
The cypress, which stands in the background of the starry night that swells boldly like ripples, is like a burning black flame. Van Gogh himself likens the beauty of the shape of the cypresses to an Egyptian obelisk, but he is overwhelmed by the majestic presence of an obelisk that exudes awe of nature.
A dramatically changing style of painting. From what we know to “Van Gogh”.
I think that many people cite “vivid colors,” “swells,” and “extremely thick coating” as the characteristics of Van Gogh’s work, but all of these characteristics have been exhibited since he moved his base from his native Netherlands to France. Born in the latter half of the year. This exhibition introduces Van Gogh’s painting industry, whose style of painting has changed dramatically, in chronological order.
Van Gogh spent five years in the Netherlands since he began his career as a painter in 1880. In the early days, painters called “Hague School” who liked the lives of farmers and fishermen and the landscape of the countryside using dull colors such as gray and brown, and Jean-Francois Millet, who is known as a peasant painter. While being influenced, I hurried to master drawing and eventually made an oil painting.
Through the painting industry, I continued to have a keen interest in the cycle of harvesting and the transition of the four seasons, from sowing, which I thought was a symbol of nature, especially infinity and eternity. From the exhibition, we can see that they carefully picked up themes such as the appearance of workers working in rural areas while being closely related to nature, the facial expressions of their poverty, and sadness and grief.
In 1886, Van Gogh headed to Paris, France, and was shocked by the Impressionists, Neo-Impressionists, and Japanese ukiyo-e prints he met there, and his style changed dramatically.
Subsequent works will be rich in color and the screen will become brighter. Please note that we have begun to adopt the pointillism technique by brush stroke division to prevent color turbidity by arranging small touches without mixing paints.
In Arles, southern France, where he moved from 1888, he was fascinated by the bright blue of the sky and yellow as the color of the blazing sun, and enthusiastically repeated experiments on color effects with the combination of complementary colors of blue and yellow. From this area, you can see the process of creating a “Van Gogh-like” expressionist style of painting that many people know, with a sculptural and thick brush stroke that imitates the shape of the object with the touch of a paintbrush.
In 1889, while admitted to Saint-Remy’s sanatorium due to illness, he worked on typical Provencal motifs such as the garden of the sanatorium and the surrounding countryside, as well as cypress and olive groves, and devised the expression of “swell”. , Produced masterpieces such as “Country Road in Provence at Night” and the famous “Starry Night”. After moving to Auvers-sur-Oise in northern France in 1890, he continued to produce one piece a day, inspired by the beautiful scenery of the village and its surroundings. It seems that he was also exploring the possibility of a new style of brush strokes.
Van Gogh has been constantly learning from new places and new encounters, and has spent his life holding the brush even if no one understands the work. From Helene’s collection, I was able to witness his belief and passion, “I want to express something soothing like music in a painting.”
In addition to the works in the Kroller-Muller Museum, this exhibition introduces another great museum in the Netherlands, including four fans from the Van Gogh Museum collection, such as “The Yellow House (Street)”.・ Van Gogh’s works are exhibited.
These works are permanently lent by the Vincent van Gogh Foundation, which was established by his wife Yo after the death of his younger brother Theo, who supported Van Gogh financially and mentally, to prevent the works from being dissipated. .. She was also one of the people who devoted her life to spreading Van Gogh’s art to the world.
The exhibition “Van Gogh Exhibition-The Resonating Souls Helene and Vincent” will be held until December 12, 2021 (Sun).
By all means at this exhibition, while thinking about the fact that many people today have made efforts to preserve and inherit the works of art in the past, we can evaluate and exchange opinions with each other. Immerse yourself in the charm of a rare collection.
“Van Gogh Exhibition — Resonating Souls Helene and Vincent” Outline
| Session | September 18th (Sat) -December 12th (Sun), 2021 |
| venue | Tokyo Metropolitan Art Museum Planning Exhibition Room |
| Opening hours | 9: 30-17: 30 (Enter until 30 minutes before closing) |
| closing day | Monday * However, the room will be open on November 8th (Monday), November 22nd (Monday), and November 29th (Monday). |
| Admission fee | General 2,000 yen, university / vocational school students 1,300 yen, 65 years old and over 1,200 yen * Reservation required by date and time. * Free for high school students and younger. (Reservation with specified date and time is required) Click here for other details ⇒ https://gogh-2021.jp/ticket.html |
| Organizer | Tokyo Metropolitan Foundation for History and Culture Tokyo Metropolitan Museum of Art, Tokyo Shimbun, TBS |
| inquiry | 050-5541-8600 (Hello dial) |
| Exhibition official website | https://gogh-2021.jp |
Tokyo National Museum
An experimental exhibition will be held at the Tokyo National Museum this fall.
The exhibition, entitled “Four Seasons,” fuses the traditional Japanese sensibilities entrusted to the flowers of the four seasons with the modern pop icon Nogizaka46. How did the seven filmmakers who challenge this exciting theme bring out the essence of Japanese art through Nogizaka46? We will report on the state of the preview held in advance and introduce our efforts.
“Classic x modern” challenged by Nogizaka46
From Saturday, September 4, 2021 to Sunday, November 28, 2021, “Spring, Summer, Autumn and Winter / Four Seasons Nogizaka46” is being held at the Hyokeikan of the Tokyo National Museum.
The core of the theme of this exhibition is “classical x contemporary” of Japanese art.
When it comes to “Japanese art,” I think there are many people who feel that young people are somehow far away. However, the nature, seasons, and seasonal flowers depicted there still exist. I love nature and try to portray it in a way that is familiar to me.
The National Museum thought that Nogizaka46, which has gained tremendous support from a wide range of generations, would be a bridge between such ancient Japanese aesthetics and young people. This is because Nogizaka46 is the one who spreads the calm daily life and the nature around us as a visual starting from “songs” and entrusts hope there.
In this exhibition, 7 pieces of Japanese art (reproductions) depicting seasonal flowers will be exhibited. Seven filmmakers independently interpret the work that can be said to be the “essence” of Japanese art, and develop it as a large-scale installation.
For example, the opening “Perspective Expression of Japanese Painting” by Asuka Saito is a work based on Naganobu Kano’s “Hanashita Yuraku Folding Screen” , but it is taken up here and reinterpreted in the same painting. It is a perspective that can be seen.
The mechanism of “Hanashita Yuraku Folding Screen”, which creates the experience of watching the spring feast held outdoors through the curtain, is reproduced by projecting the image in layers through the slit curtain. It is a work positioned as “a reinterpretation of the classics” by the filmmaker Takuro Okubo. In this way, what is shown in the exhibited works is a little rule code necessary to understand Japanese art.
A flower named “everyday” expressed by Nogizaka46
However, the girls in Nogizaka are more than just a reflection of the creator’s intentions. When I actually appreciate the work, there are moments when it seems that their existence has a truth that goes beyond the expectations of the writers. It may be possible to realize it because it is an installation format.
Personally, I was impressed by Sakura Endo in “Mysterious Beauty” (written by Kazuma Ikeda). I’m not familiar with Nogizaka46, so I was honestly surprised if there was an idol who could create such a bewitching atmosphere. This is a work with the motif of “Flame”, which depicts the spirit of Lady Rokujo by Uemura Shoen, but the costumes and hair movements that occur every moment due to her butoh are truly youkai.
In addition, the lyrical nature of Haruka Kaki in “Hidden Landscape” is also wonderful, and one of the charms of this exhibition is that each Nogizaka member can fully enjoy the charm that is different from usual.
The exhibition will end on November 28, 2021 (Sun).
The moment when traditional Japanese art connects with us living in the present through a filter called Nogizaka46. It’s very exciting.
By all means, I would like to recommend that you actually experience it at the venue.
Outline of the event
| Session | September 4, 2021 (Sat) -November 28, 2021 (Sun) |
| venue | Tokyo National Museum Hyokeikan |
| Opening hours | 9: 30-17: 00 Friday and Saturday from 9:30 to 20:00 (Admission is 60 minutes before closing) |
| closing day | Monday (however, open on Monday, September 20th), Tuesday, September 21st |
| Admission fee | General / university students 1,800 yen High school students 1,000 yen Junior high school students and younger, persons with disabilities and one caregiver are free of charge. * To alleviate congestion, this exhibition requires advance reservations (reserved-seat tickets). All customers are required to reserve a reserved-seat ticket for admission. Please check the official exhibition website for details. |
| Organizer | Tokyo National Museum, Cultural Properties Utilization Center, Sony Music Entertainment, Agency for Cultural Affairs, Japan Arts Council |
| Exhibition official website | https://nogizaka-fourseasons.jp |
Article provided by: Kokoshiru Ueno
[National Science Museum] “Plants: Friends Supporting the Earth” Venue Report: A plant world full of wonders and surprises!
National Science Museum
From Saturday, July 10th to Monday, September 20th, 2021, a special exhibition “Friends Supporting the Plant Earth” is being held at the National Science Museum in Ueno, Tokyo.
It’s a plant, but it’s active or ferocious, too big or too small. This exhibition is full of mysteries and surprises, where you can experience the unknown world of plants. We will report on the venue and highlights.
“Plants that support the earth” full of unique plants
Based on the latest scientific research results, this exhibition will be held all over the world from primitive to modern times from various viewpoints such as the way of life, living environment, shape and evolution of plants, which are indispensable for life on earth. This is a large-scale exhibition that introduces plants .
Not only can you see exhibits such as specimens, models, videos, and installations, but you can also comprehensively learn about the ecology of more than 200 types of plants while stimulating your sense of hearing and smell with music and scents.
Astonished by the non-standard scale!
One of the highlights of the exhibition, be on the watch visitors in the area entitled “○○○ too plant us”, it would be the exhibition of the plant we too large.
The first thing that catches the eye is the full-scale model of the “Titan arum”, which grows naturally in the lowland rainforest of Sumatra, Indonesia, and has the world’s largest inflorescence (a collection of flowers). The height is 2.72M, which is a little in the fantasy area …! I was surprised that it reached 3.1M in the Guinness World Records.
It is a mysterious ecology that heats up to about 38 degrees when it blooms and emits steam, and at that time it seems to evaporate the odor to attract insects, but there was a booth in the venue where you can smell the reproduced odor. Please experience the intense stench that the author, who was careless, unexpectedly warped.
In addition, the appearance of “Rafflesia”, which is familiar as the largest flower in the world. The full-scale model on display is a type called “Rafflesia Arnoldi” distributed on the island of Sumatra, with a diameter of 80CM.
Most people think of red flowers when they hear “Rafflesia,” but do you know what the leaves and stems are like? Actually, the members of the genus “Rafflesia” are parasites that parasitize the woody vines of the vine family and absorb nutrients, so only the flower part exists. The effronterie (?) That makes it famous as the best flower in the world from the standpoint of parasitism is interesting.
In addition, the “Mexico cypress”, which is the “tree of Thule” that exists in the village of Thule in Oaxaca, Mexico, has a root circumference of 57.9M and a trunk circumference of 36.2M, and is certified as the thickest tree in the world by the Guinness World Records. It is also a must-see to reproduce the hugeness around the trunk with a tapestry by making good use of the space on the ceiling of the venue. Please experience the scale feeling that is unbelievable and laughable.
In addition, many high-impact plant objects such as “Hanefukube Seed” with too large wings, “Jackfruit” with too large fruit, and “Jackfruit” with too large pine cones were exhibited.
From ancient fossils to genetically modified plants
From the birth of plants to landing, the birth of forests, the birth and diversification of gymnosperms and flowers … In the area that introduces the history of the dynamic evolution of plants, a number of precious plant fossils are lined up.
Along with the restored illustrations, the world’s first large-scale plant fossil “Cooksonia Balandy”, fossils of cladoxylons, the first plant to make a large body over 10M, and the main composition of a huge marsh forest in the Carboniferous period The fossils of Lepidodendron, which became an element, tell us what the earth looked like long before humans appeared.
On the other hand, it also covers modern plant circumstances such as “blue rose” and “blue chrysanthemum” that did not exist in the natural world and were born by genetic recombination technology.
Looking at the beauty of the yellow-green fluorescence emitted by “shining torenia” created by introducing the gene of the fluorescent protein of marine plankton with the aim of imparting a new trait of “shining”, this technology will be in the future. It makes me excited to see how it develops.
Really scary plants
Cunning carnivorous plants and ferocious fruits that make people who have the image of “quiet” and “healing” for plants are also present at the venue.
“Venus flytrap” that closes the leaves to prevent insects from escaping when the sensory hair is stimulated twice within 30 seconds, and “Drosera rotundifolia” that catches insects with sticky digestive juice and dissolves them to the core of the body in half a day Reproduces the dignity of its form, which is not limited to its properties, with a magnified model of about 100 times and about 200 times.
In the aquarium exhibition next to it, many of them are packed like a diorama with carnivorous plants that look pretty at first glance alive. I can’t help but imagine what would happen if I let go of insects in this lawless zone.
A typical example of a “ferocious” plant that attaches to animals with hook-shaped tips and thorns called “kaeshi” and sprays fruits is a lion that has adhered to the mouth and has become unable to open its mouth and starved to death. There is also an actual exhibition of fruits such as “Lion Goroshi”, which has an anecdote, and “Onibishi,” which looks exactly like Makibishi, which is famous for its ninja tools.
It is also interesting that they all have a gap in common that the flowers themselves are very beautiful.
Fun entertainment elements too!
There is also a participatory installation exhibition in the venue that children can enjoy.
The browser game “Photosynthesis FACTORY” for smartphones that allows you to learn the mechanism of photosynthesis is that the player becomes the factory manager of the photosynthesis factory and clears three missions. At the venue, you can experience Mission 1 with your body with up to 4 players. (Click here for smartphone games ⇒ https://kougousei-factory.com )
How much can you collect (photons) under light energy while cooperating with other players? The operation is as simple as moving your arm, but when you try it, it naturally becomes like a competition with other players, so even adults alone can get excited.
Speaking of having fun learning, there are explanations about the three genes “A gene”, “B gene”, and “C gene” that the shape of the flower is determined by the combination in the venue, but it is related to “Flower gene ABC”. The original song is playing. It’s a song to learn the functions of the three genes, but the lyrics and melody may be a little strange.
In addition, at the special shop of this exhibition, original goods limited to the exhibition using designs drawn by 4 popular creators on the theme of “plants”, including cushions and pouches of quirky plants such as “Rafflesia”. , Collaboration products with the popular trading card game “Duel Masters” are on sale. If you want it, please come and visit us as soon as possible.
Outline of the special exhibition “Plant Exhibition Friends Supporting the Earth”
| Session | July 10th (Sat) -September 20th (Monday / holiday), 2021 * The session is subject to change. Please check the official website for the latest information. |
| venue | National Science Museum |
| Opening hours | 9:00 to 17:00 (admission is until 16:30) |
| closing day | July 12th (Monday), September 6th (Monday) |
| Admission fee | General / university students: 1,900 yen (tax included) Elementary / middle / high school students: 600 yen (tax included) * Online advance reservation (date and time specified) is required. |
| Organizer | National Science Museum, NHK, NHK Promotion, Asahi Shimbun |
| Exhibition official website | https://plants.exhibit.jp |
[Tokyo National Museum] Report on the special exhibition “Prince Shotoku and Horyuji Temple”
The “form” of Japanese prayer that has been handed down from time to time.
Tokyo National Museum
From July 13th (Tuesday) to September 5th (Sunday), 2021, Prince Shotoku's 1400 Memorial Special Exhibition "Prince Shotoku and Horyuji Temple" is being held at the Tokyo National Museum Heiseikan. A special preview for the media was held the day before the release, so this time we will tell you about it.
Horyuji Temple The beauty of prayer in 1400, all of which is here.
"Be precious with harmony" "I was very good at hearing and could hear many stories at once"
"Prince Shotoku" that every Japanese knows the anecdote even if he is not so familiar with Japanese history. It is also the "first great man" we meet in textbooks, and has long been revered as the object of worship of the Japanese people.
This year, Reiwazo (2021) is the 1400th anniversary of Prince Shotoku (574-622) . The special exhibition "Prince Shotoku and Horyuji Temple" to be held in this milestone year will showcase the portraits of the prince, treasures that are handed down as relics, and valuable cultural assets since the Asuka period, centering on the temple treasures that have been protected and handed down at Horyuji Temple. , The prince approaches the world of the prince and the prince worship.
Prince Shotoku and Horyuji Temple
Prince Shotoku is a person who assisted politics with Soga no Iruka during the time of Empress Suiko and promoted the nation-building by Buddhism.
Speaking of Prince Shotoku's achievements, the episode that made Sui, who was a great empire at that time, deliver the book "Tenko in the place of sunrise, the book to Tenshi in the place of sunset. This passage of "Tenko of the rising sun" is used as it is in the title of Ryoko Yamagishi's manga "Tenko of the rising sun".
Prince Shotoku built Horyuji Temple in 607, which is the oldest existing wooden structure in the world.
Although it was hit by a fire in 670, the Saiin Garan centered on the main hall and five-storied pagoda was rebuilt by the beginning of the 8th century. Buddhas from the Asuka period are enshrined in the main hall, and the Toin temple centered around the Yumeden, which was built around 739, became the center of the prince's worship.
At the venue, not only the works in the collection of the Tokyo National Museum, but also many temple treasures related to Prince Shotoku from Horyuji Temple are exhibited, and it is structured so that you can enjoy a wide range of masterpieces of Buddhist art such as sculpture, painting, crafts, dyeing and weaving.
Exhibition work introduction
<< National Treasure Yakushi Nyorai Sitting Statue >> Asuka period, 7th century Nara, Horyuji warehouse
The mystery fascinates people. A masterpiece of ancient Buddha sculpture.
A work that is said to be a masterpiece that shows the stylistic beauty of the Asuka period, such as the mysterious facial features with a smile on the mouth and the linear clothing expression, which is the principal image of the Kondo Higashi. According to the inscription on the back of the halo, it was built in 607, but since the casting technology is more advanced than the statue of Shakyamuni in the Kondo, which was completed in 623, the actual production date is considered to be after 623. Has been done.
You can feel the rounded softness of the cheeks, neck, and hands, and you can feel the outstanding skill of the Buddhist priest. It is one of the representative Buddhist statues of the Asuka period, but it seems that many mysteries remain, such as the inscription and pedestal as well as the production date.
《Den Tachibana's memorial Buddha kitchen》 Asuka period 7th-8th century Nara Horyuji warehouse
The highest peak of beautiful Hakuho art.
Amitabha triad statue with an impressive soft smile. Along with the delicate workmanship, the flowing curves seen on the fingertips and clothing are exceptionally beautiful, and it is considered to be the best masterpiece among the gold and bronze Buddhas created during the Hakuho period. The original kitchen with a canopy equipped with Mt. Meru, which enshrines the Amitabha triad statue. It is a work that conveys the ancient prayer space to the present.
《Seven Stars Bronze Sword》 Asuka period 7th century Nara Horyuji warehouse (former Horyuji dedication treasure)
If you are a sword fan, please click here.
This is what the sword-loving writer paid attention to. It is a beautiful copper sword that represents the Big Dipper on the blade. There are other swords designed with the Big Dipper as a motif, such as the "Big Dipper" in Shitennoji, Osaka, but it was believed that the Big Dipper had a strong power to defeat the enemy in ancient China. It seems that such swords have come to be made.
It seems that the blade was painted with lacquer and pressed with gold leaf, and gold color still remains everywhere. At that time, I was wondering how magnificent the sword was, but I was the only one …
Speaking of Tokyo National Museum, it is also famous for its fulfilling product sales.
In addition to standard products such as T-shirts and pictorial records, there are also unique goods such as Prince Shotoku's dog "Yukimaru" goods and "Eshinkyo Tenugui Towel" that exploded the business spirit of Tohaku.
Also, at the Toyokan of the Tokyo National Museum, the museum theater "Horyuji National Treasure Kondo-Prince Shotoku's Heart" will be screened from Wednesday, July 14, 2021 to Sunday, October 10, 2021. Everything inside the Kondo of Horyuji Temple in Nara, which cannot be entered locally, is reproduced by virtual reality, and you can experience the Buddha statue and mural painting of the principal image up close!
For details, please see the official website of the Museum Theater.
Outline of the event
| Exhibition name | Prince Shotoku 1400 Memorial Special Exhibition "Prince Shotoku and Horyuji Temple" |
| Legislative session | July 13th (Tuesday) -September 5th (Sunday), 2021 First term: July 13th (Tuesday) -August 9th (Monday / holiday), 2021 Late: August 11th (Wednesday) -September 5th (Sunday), 2021 |
| Opening hours | 9: 30-17: 00 |
| closing day | Monday * However, the museum will be open on Monday, August 9th, and will be closed only for this exhibition on Tuesday, August 10th. |
| Admission fee | General 2,200 yen University student 1,400 yen High school student 1,000 yen * To alleviate congestion, this exhibition requires advance reservations (reserved-seat tickets). All customers are required to reserve a reserved-seat ticket for admission. Please check the exhibition official website for details on "advance reserved-seat tickets" and "same-day tickets". |
| Venue | Tokyo National Museum Heiseikan (Ueno Park) |
| Official site | https://tsumugu.yomiuri.co.jp/horyuji2021/index.html |
[Tokyo National Museum] Report on the special exhibition “National Treasure Shorinji Eleven-faced Kannon-Mt. Miwa Faith Mihotoke” first released in Tokyo! The appearance of eleven-faced Kannon to enjoy at 360 degrees
Tokyo National Museum
From June 22nd (Tuesday) to September 12th (Sunday), 2021, a special exhibition “National Treasure Seirinji Eleven-faced Kannon-Miwayama Faith Mihotoke” is being held at the Tokyo National Museum in Ueno, Tokyo. is.
This exhibition attracts attention as the national treasure “Eleven-faced Guanyin Bodhisattva Statue”, which is said to be the masterpiece of Japanese sculpture due to its exceptional beauty, is exhibited outside Nara Prefecture for the first time in history. Since I participated in the press preview, I will report on the situation at the venue.
Buddha statues related to Oomiwa Shrine reunited for the first time in about 150 years!
The national treasure “Eleven-faced Kannon Bosatsu Statue”, which is the main character of this exhibition, is owned by Shorinji Temple in Sakurai City, Nara Prefecture, but until the Edo period, it was enshrined at Oomiwa Shrine in the same city, not at Shorinji Temple. Did you know that it was done?
Oomiwa Shrine with Mt. Miwa as the deity that conveys the ancient Japanese belief in nature to the present day. In the Nara period, the introduction of Buddhism promoted Shinto-Buddhist training, and Oomiwa-ji Temple (renamed to Oomiwa-ji Temple in the Kamakura period) was built in the precincts of Oomiwa Shrine, and many Buddhist statues are now enshrined.
However, when the Meiji government’s Shinbutsu bunri decree caused a wave of abolition of Buddha, Daimiwaji became an abandoned temple. Buddha statues are also forced to move to nearby temples such as Shorinji Temple, which they have a close relationship with.
This exhibition includes the national treasure “Eleven-faced Kannon Bodhisattva statue”, the national treasure “Jizo Bodhisattva statue” (Horyuji temple collection), “Nikko Bodhisattva statue” and “Moonlight Bodhisattva statue” (both are Shokei temple collection). The Buddhist statues enshrined at Rinji are exhibited together in the form of reunion for the first time in about 150 years.
At the same time, we will introduce materials that tell the story of the natural beliefs of Oomiwa Shrine and ancient rituals, as well as excavated items from the Mt. Miwa forbidden land.
Eleven-faced Kannon to enjoy 360 degrees from various angles
The national treasure “Eleven-faced Kannon Bodhisattva Statue” is settled in the center in a clean atmosphere. Behind the statue is a reproduction of the three torii gates of Oomiwa Shrine. It is not the main shrine that continues from the torii gate, but Mt. Miwa, which visually conveys the form of natural beliefs at Oomiwa Shrine.
Eleven-faced Kannon, as the name implies, has 11 faces.
In India, the number “10”, which means all directions, is combined with the main body surface to make 11 faces, but in Japan, the main body face + 11 faces is common. The national treasure “Eleven-faced Kannon Bodhisattva Statue” is also the latter.
The 11 faces of the crown overlooking all directions have individuality, and the 3 front faces are the “Bodhisattva face” with a gentle expression. The “shinnu side” looks like an angry face on the left side (right side when facing the front) when viewed from the statue. The right side (left side when facing the front) when viewed from the statue is the “gejoshutsu side” where the fangs are exposed. “Laughing face” with a big laugh on the back side. And it is the “top Buddha face” in the center.
The current national treasure “Eleven-faced Kannon Bodhisattva Statue” has lost three sides. Therefore, unfortunately, it is not possible to check only the “laughing face”, but since the venue is arranged so that you can watch it from anywhere in the front, back, left and right, it is a nice point to enjoy all the existing faces with the naked eye.
Most of the pre-modern Buddhist statues that exist in Japan are made of wood, but in the Nara period and around the latter half of the 8th century, a technique called dry lacquer was used for production. This statue is also one of those made by “Kishin dry lacquer ware”, which is made by molding lacquer and wood powder kneaded material called Kokuso lacquer on the wood core.
Wooden lacquer is said to be suitable for realistic expression because it is made by raising lacquer instead of scraping it. In this statue, the loose curves of the folds of the heavenly garment that seem to be covered with wind, the tension of the flesh, the undulations of the eyelids that make you feel the presence of the eyeballs, and the orderly appearance of the hair muscles are expressions unique to wooden lacquer. Is the highlight.
From the side, you can see the slender proportions of 8 life, the thickness of the chest, and how to place the center of gravity. The posture with the head of a solemn face slightly forward seems to be trying to capture the appearance of people firmly.
The rear view is a gem of beauty, not to mention the smoothness of the back, but especially the graceful appearance that the curve of the clothes from the waist to the legs is fascinating is a must-see. The contrast between the gold leaf that has been peeled off in places and the glossy black color of the ground creates a shadow with an atmosphere.
If you look closely at the details, you will also be fascinated by the gentleness of the fingers of your left hand holding the treasure bottle and your right hand lowered. The pedestal with a lotus flower motif also has the gorgeousness of Tenpyo art. It makes me realize that the reputation of being “the masterpiece of Japanese art” is not an exaggeration.
In addition, a halo that visually expresses the halo of the gods and Buddha is also on display. Nowadays, most of it is lost except for the shaft part, but it is speculated that it was originally a halo that engraves a triple sphere and arabesque. The splendor of the past days is remembered.
Introducing other exhibited works
The national treasure “Jizo Bosatsu Statue”, which was once placed next to the eleven-faced Kannon at Omiwaji Temple, is a Buddhist statue carved from a single piece of wood except for the hands of both hands. The thick body is full of realism, as if a single tree were standing there.
The “Nikko Bosatsu Statue” and “Moonlight Bosatsu Statue” look exactly like each other, but it is interesting that the materials, structural techniques, and styles are different, and it seems that they were not originally one tool. The Nikko Bodhisattva has a large nose, and the Moonlight Bodhisattva has a long and gentle expression, and the area around the chin looks refreshing.
In this exhibition, the ones excavated at Mt. Miwa Forbidden Land and Yamanokami Heritage are also exhibited, but most of them are imitations in the shape of tools used for some kind of ritual. The most eye-catching are the stone products and earthenware that are shaped like the utensils related to sake brewing.
It was interesting to see that the brewing beliefs of Oomiwa Shrine, which remains to this day, can be traced back to the Kofun period from the existence of excavated items, assuming that Omononushi, the deity of Oomiwa Shrine, is the god of sake. ..
The special exhibition “National Treasure Shorinji Eleven-faced Kannon-Mt. Miwa Faith Mihotoke” will be held until September 12, 2021 (Sun).
At the same time as the opening of this exhibition, a new permanent experience exhibition called “Japanese Art Tobira” was released in the special 3 rooms of the main building of the Tokyo National Museum. If you move your hand in front of a huge screen where you can learn about the history of Japanese art, you can experience interactive experiences such as rotating the displayed pop-up of Japanese art and turning pages. You can also appreciate masterpieces such as “Wind” and “Flowering Plants of Summer”.
Advance reservations are required, but the admission fee for the special exhibition will be included as it is, so why not take a tour together?
Outline of the special exhibition “National Treasure Shorinji Eleven-faced Kannon-Mt. Miwa Faith Mihotoke” * This exhibition requires advance reservation (reserved-seat ticket). Please check the official exhibition website for details.
| Session | June 22nd (Tuesday) -September 12th (Sunday), 2021 |
| Venue | Tokyo National Museum Main Building Special 5 Rooms |
| Opening hours | 9:30 am to 5:00 pm |
| closing day | Monday (However, it will be open on August 9th) |
| Admission fee | Advance reserved-seat ticket General 1,400 yen, college students 700 yen, high school students 400 yen, junior high school students and younger free
For other details, please visit the official exhibition website ⇒ https://tsumugu.yomiuri.co.jp/shorinji2020/tickets.html |
| Organizer | Tokyo National Museum, Yomiuri Shimbun, Agency for Cultural Affairs, Japan Arts Council |
| Exhibition official website | https://tsumugu.yomiuri.co.jp/shorinji2020/ |
Ueno Royal Museum
Exhibition of Yasuhisa Hara original of the cartoon "Kingdom," "Kingdom Exhibition – Shin -" is, is being held at the Ueno Royal Museum in Tokyo Ueno. * The session is from June 12th (Sat) to July 25th (Sun), 2021.
"Kingdom Exhibition-Shin-" created under the full supervision of the author
The popular manga "Kingdom" serialized in "Weekly Young Jump" (Shueisha) is set in China during the Warring States period in the spring and autumn, and is a former servant boy, Shin, who aims to become a general in the world, and Qin, who later becomes Qin Shi Huang. This is a story about the young king, Eisei, aiming to unify China.
This "Kingdom Exhibition-Shin-" was planned to commemorate the 15th anniversary of the serialization of "Kingdom". This is the largest exhibition of original paintings in history, where you can immerse yourself in the world of powerful works.
Under the full supervision of the author, Mr. Hara, the story of the main character, Shin, is reconstructed, and the story of encounters, battles, and farewells from the first episode "The Boy With No Name" to the 438th episode "The Time of Yuhi" is 400. It is a content that will be followed with a handwritten original picture with more than a point and a huge graphic.
20 original drawings! Introducing the exhibition contents and venue of "Kingdom Exhibition-Shin-"
This exhibition is divided into areas consisting of Chapters 0 to 13 + ending.
In Chapter 0 "The Boy With No Name", which introduces the beginning of Shin's story, Shin and his best friend Hyo, who were orphans from the war, talk about their dreams of becoming a general in the world and the original picture of the farewell scene is exhibited. It has been. In this exhibition, 20 original drawings drawn for this exhibition are exhibited, but about 1/3 of them are concentrated in this chapter 0! Newly beautifully drawn faith and days spent drifting … I feel Mr. Hara's strong commitment.
In Chapter 1, "Battle of the Dakan Heigen", Shin's first battlefield is fully reproduced with a graphic panorama based on the newly drawn original picture and battle BGM.
In the following Chapter 2, "The Phantom Bird of Qin," a huge original drawing (Japanese paper panel) of Qin's general, Ouki, who meets Shin in the "Battle of the Snake Sweet Plains" and chases his back. Will show up. The size is about 3m in height and about 1.5m in width, which is a powerful score!
In the 66th episode of the original story, when I first met the royal knight, I was overwhelmed by the size of his existence, saying, "This … this guy … is too big to solve!" One can look up at the royal knight from the same perspective as Shin.
In Chapter 3, "Mayo Defense Battle," which focused on the activities of Shin's unit, which was named "Hishin Corps" by the royal horse, Zhao's enemy general, Feng, had a slight gap after the fierce battle. The highlight is that it expresses one of the most famous scenes in which Shin defeated) with a three-dimensional structure.
And the exhibition is Chapter 4 "Pang Nuan and Pang Nuan", which pursues the death battle between the royal knight and the enemy, Pang Nuan, and the fifth, which shows the final scene of the royal knight only with a series of original drawings. We will continue to Chapter "Inheritors" and Chapter 6 "Aiming for Generals", which introduces those who have emerged in Qin.
The battle of Shin is extremely fierce, with Chapter 7 "Battle of Sanyo" and Chapter 8 "Battle of Kankokukan". In particular, the exhibition of "Battle of Hakotani Seki", in which the five countries of Wei, Zhao, Han, Yan, and Chu became joint forces and invaded Qin and despaired many readers, is an enemy country that changes rapidly in 15 days. The highlights of each battlefield are tightly packed and very impressive!
The battle between Qin and the combined forces involves the exhibitions in Chapters 9 and 10. Chapter 9 "Great Flame", which expresses the burning flames of the fiery battle of Lord Biao, who was the first battlefield commander for Nobu, on the red wall, is also exciting, but it was ridiculed. In the final phase, Chapter 10 "Battle of Buds" introduces the battle in "Sai", which has no end if you lose.
Looking sideways from the original picture depicting the figure of Shin, who was exhausted by repeated death battles, lost Lord Biao, and was about to break his heart, he was confident that he came to the dead ground despite being a king. The scene that appears in front of you appears with a graphic on the entire wall. It had a presence as if Shi Huang was right in front of him, and it was a nice production where he could experience the light that reached the darkness and the impression that Shin received.
Chapters 11-12 are a moving gem arrangement
The original drawings have been arranged in chronological order up to Chapter 10, but at the end of the exhibition, after Chapter 11, it is an original development only for this exhibition.
From Chapter 11 "Questions of Lu Buwei" to Chapter 12 "The essence of human beings is light", the nation of Qin fighting for supremacy and hegemony, which was drawn in episodes 423 to 427 of the original story.・ Based on the questions and answers about the pros and cons of unifying China by Lu Buwei.
War is an unmistakable manifestation of the essence of human beings, and the background of why Qin Shi Huang, who strongly denies Lu Buwei's idea that war will not disappear, "the essence of human beings is light" came to that idea. Is introduced in a vast space.
A woman named Shi Huang who saved her childhood politics, drifting, royal knights and Lord Biao, and unnamed people. Impressive scenes of characters who have met, supported, entrusted their thoughts, and died by shining the light inside themselves appeared like a magic lantern, shaking the tear glands of the original reader. I will.
The arrangement that makes it more dramatic without spoiling the charm of the famous scene that was the most exciting in the original is excellent. It may be said that this chapter is the biggest highlight of this exhibition.
Color originals and one-shot names
The final chapter, Chapter 13, "The Time of Yuhi," features a remake of the future of Shin, who became a shogun, drawn at the beginning of the first episode. The story exhibition ends when Shin and Shi Huang, who have overcome their harsh fate, take a new step.
At the end of this exhibition, the "ending" that core fans will be pleased with awaits the viewers. "Bonus original picture selection" that introduces famous scenes that could not fit in each chapter with author's comments, color original pictures including newly drawn exhibition key visuals, one-shot "golden wings" name that can be said to be a prototype of "Kingdom", Valuable items such as rough sketches were lined up.
"Kingdom Exhibition-Shin-" where you can fully enjoy the writing condition of the original drawings, such as the realistic battle scenes, which is one of the greatest attractions of "Kingdom", and the facial expressions of characters full of vitality.
This exhibition, where you can walk with the feeling of "reading" rather than seeing, should be able to enjoy the story of Shin from the beginning with a fresh feeling, regardless of whether you are a light fan or a core fan. Please come and visit us.
Outline of "Kingdom Exhibition-Shin-"
| Session | June 12th (Sat) -July 25th (Sun), 2021 |
| Venue | Ueno Royal Museum |
| Opening hours | 10: 00-20: 00 * Last admission is 1 hour before closing |
| Admission fee | All-day date and time designation system Please check the official website for details. https://kingdom-exhibit.com/ticket |
| Organizer | Shueisha, Asahi Shimbun |
| Sponsorship | Kyodo Printing, Lawson Ticket |
| Inquiry | 050-5541-8600 (Hello dial from 9:00 to 20:00 all day) |
| Official site | https://kingdom-exhibit.com/ |
Special Exhibition “Isamu Noguchi: The Road to Discovery” Venue Report (Tokyo Metropolitan Art Museum ~ 2021/8/29)
Tokyo Metropolitan Art Museum
At the Tokyo Metropolitan Art Museum in Ueno, Tokyo, a special exhibition “Isamu Noguchi’s Discovery Road” is being held from April 24th to August 29th, 2021.
This exhibition traces the “path of discovery” that Isamu Noguchi took while searching for “what is sculpture” throughout his life with about 90 works. We will report on the state of the venue and the exhibited works.
About the sculptor Isamu Noguchi
Isamu Noguchi (1904-1988), a leading sculptor of the 20th century, has demonstrated exceptional talent in various fields such as stage art, product design, and landscape design.
Despite being a well-known master, Noguchi was not good at sticking to one form or material due to his unique sculptural philosophy, as you can see at a glance at the works of sculpture.
Not even one base, he is a person who “does not settle down” in many ways, having continued his creative activities while going back and forth between New York and Japan, and sometimes Italy.
Noguchi used to feed on the loneliness and strong desire to belong to his father as a Japanese and his mother as an American, but the work expressed from his creative attitude of avoiding peace is surprising. It is colorful and rich in expression.
This exhibition, entitled “The Road to Discover Isamu Noguchi,” is an encounter that Noguchi gained from the culmination of the stone carvings of his later years, including various aspects of Japanese tradition and culture that continued to give important inspiration. A panoramic view of 90 works. The idea is to experience the possibilities of sculpture and the boundaries of art that Noguchi has pioneered.
A scene from the special exhibition “Isamu Noguchi’s Road to Discovery”
The venue for this exhibition consists of three chapters of exhibition space based on Noguchi’s idea that “sculpture and space are one”, but the first thing you notice when you look at the whole is the small number of walls. The works were scattered on a large floor.
As it is a so-called strolling exhibition, you can immerse yourself in the world of Noguchi’s works as you go.
Another feature is that the works are exhibited without being put in a glass case, except for some parts.
“Without the purpose of public enjoyment, the meaning of sculpture itself would be questioned.” “I have never seen sculpture as something that should be separated and sacred.” (Note 1)
Noguchi who once said that. His work, which focuses on the usefulness of sculpture in daily life, not just as an appreciation, may shine more lively when exhibited in a form that is not separated from people like this exhibition. Hmm.
Chapter 1 “The Universe of Sculpture”
On the floor of Chapter 1, “The Universe of Sculpture,” there are various works from the 1940s to the last 80s, which are studded like stars.
There are many notable works such as “Black Sun” that makes you feel as if the unevenness is moving when you change the angle, and “Void” that reminds you of infinite space-time, but the biggest highlight is still in the center of the exhibition room. It will be a large-scale installation with 150 lights that give off a feeling.
“Akari”, which was likened to the light of the sun and moon, started production after Noguchi met Gifu lanterns in 1951. It is a special series that should be called life work, which is rare for Noguchi who avoids sticking to a certain material and form, and has continued to make more than 200 variations over 30 years.
Noguchi is not just a lighting fixture, but a “light sculpture” that engraves the light itself through Japanese paper, and “provides quality to life and fills any world with light” (Note 2). I was thinking.
This is a complete form of Noguchi, who continued to ask “what is sculpture” by expanding the conventional concept of sculpture.
There is a passage under the installation of “Akari” that blinks slowly, and you can walk in it. I felt the comfort of being gently wrapped in the soft light that illuminates the world without distinction.
Chapter 2 “The World of Karomi”
In Chapter 2, you can experience the world of “Karomi (lightness)” challenged by Noguchi who tried to incorporate the element of “lightness” contained in the state of Japanese culture into his work.
There are various types of metal plate sculptures, such as “Zazen”, created based on ideas from origami and kirigami, such as bent aluminum plates and cut steel plates. However, the impression I get is just like paper.
It embodies the “denial of the weight and materiality of sculpture” that Noguchi aimed at, which is flat but has volume and depth.
The squirrel, produced in the last years of Noguchi’s death, has cute rounded ears and a tail.
Noguchi, who had an amusement park construction plan, has also started making large playsets, one of which is the playset sculpture “Place Culture” that stands out on the floor. The characteristic form of a ring of pipes that undulate like waves is full of dynamism and bouncy lightness that tickles children’s hearts.
Chapter 3 “Stone Garden”
In Mure-cho, Kagawa Prefecture, there is the Isamu Noguchi Garden Museum, which is a museum of Noguchi’s outdoor atelier and residence, but on the Chapter 3 “Stone Garden” floor, the stone carvings that remain in the museum are on special display. It is said that this exhibition will be the first to be exhibited together except for Murei since the museum opened in 1999!
Under the abundant nature of the ritual, with the help of mason Masatoshi Izumi, he faced the essence of stone and began to hear the “voice of stone” by connecting his senses and the world in an atelier where everything anaphorically interacts. Noguchi who said that.
We created a group of stone carving works, which is also called the culmination of Noguchi, with a completely new expression method of adding only the minimum necessary work while leaving the appearance of the stone as it is.
Approximately 3 meters, the largest sculpture in this exhibition, “Twisted Pillar,” is a masterpiece with bold shavings while skillfully utilizing the original essence of megaliths. You will be overwhelmed by the mysteriously balanced majesty.
“Floor lock” is a work in which two rocks are cut in a straight line from multiple angles, and the contrast between the polished stone surface and the background and the pattern that floats like a sword are sharp. It was as if Noguchi’s spirit of facing the work was still in the beauty of the sculpture.
The world of Isamu Noguchi’s work, which saw sculpture as “something that should be completely experienced, not just staring at it” (Note 3). Please visit this exhibition and experience the <Noguchi Space> with your whole body.
<Overview of the special exhibition “Isamu Noguchi’s Path of Discovery”> * Reservation recommended by date and time
| Session | April 24th (Sat) -August 29th (Sun), 2021 |
| Venue | Tokyo Metropolitan Art Museum Planning Exhibition Room |
| Opening hours | 9: 30-17: 30 (Enter until 30 minutes before closing) |
| Closed days | Monday (However, the room is scheduled to open on July 26th, August 2nd, and August 9th) |
| Admission fee | [Recommended date and time reservation] General 1,900 yen, college / vocational school students 1,300 yen, 65 years old and over 1,100 yen・ Free for high school students and younger ・ Free for persons with a physical disability certificate, love certificate, nursing certificate, mental disability health and welfare certificate, and A-bomb survivor health certificate (up to 1 person). * High school students, college students, vocational school students, people aged 65 and over, and those who have various notebooks must bring something that can be proved. Click here for details ⇒ https://isamunoguchi.exhibit.jp/ticket.html |
| Organizer | Tokyo Metropolitan Art Museum, Asahi Shimbun, NHK, NHK Promotion, Agency for Cultural Affairs, Japan Arts Council |
| Inquiry | 03-5777-8600 (Hello dial) |
| Official page | https://isamunoguchi.exhibit.jp/ |
(Note 1) Isamu Noguchi / Translated by Miwako Kitadai “Isamu Noguchi Essay”, Misuzu Shobo, 2018, P23, P96
(Note 2) Masayo Duus, “Isam Noguchi, Fateful Cross-border”, Kodansha, 2000, P318
(Note 3) Isamu Noguchi / Translated by Miwako Kitadai “Isamu Noguchi Essay”, Misuzu Shobo, 2018, P197
References:
“Official Catalog of’Isamu Noguchi’s Discovery Road'” (Asahi Shimbun, NHK, NHK Promotion)
Masayo Duus “Isam Noguchi Fateful Cross-Border” (Kodansha)
Translated by Miwako Kitadai “Isamu Noguchi Essay” (Misuzu Shobo)
[Tokyo National Museum] Special Exhibition “All about Choju-Giga, a National Treasure” Venue Report | Enjoy the world of Choju-Giga! All volumes and scenes are released for the first time in the history of the exhibition
Tokyo National Museum
From April 13th to May 30th, 2021, a special exhibition “All about National Treasure Birds and Beasts Caricature” is being held at the Tokyo National Museum in Ueno, Tokyo.
One of the best masterpieces in the history of Japanese painting, “Choju-Giga,” which vividly depicts anthropomorphic animals and people’s activities, and continues to capture people’s hearts over time. We covered this exhibition, which attracted a lot of attention in the first attempt in the history of the exhibition to release all four volumes and all scenes at once, so we will report on the contents and highlights of the exhibition.
* The session is divided into the first half (April 13th to May 9th) and the second half (May 11th to 30th). Regarding the works introduced with photographs in this article, all the works that do not have a period notation in the information column at the bottom are exhibited for the entire period.
Don’t you know it? The mysterious world of “Choju-Giga”
Along with “Genji Monogatari Emaki”, “Ban Dainagon Ekomaki”, and “Shigisan Engi”, it is one of the four major picture scrolls in Japan, and is a national treasure “Choju-Giga” that has been protected and handed down by Kozanji Temple, an old temple in Kyoto.
It boasts an outstanding reputation among Japanese paintings, but “Choju-Giga” is also known as “Choju-Giga”, and not only animals but also people are drawn, and there is not one painter involved in the production. I think there are surprisingly few people who have a complete picture of what is presumed to be.
About 800 years ago, this work is said to have been drawn in stages from the end of the Heian period to the beginning of the Kamakura period, but in reality most of the detailed background, such as the author, the purpose of production, and the history of collection at Kozanji Temple, is It is a mysterious work that has not been clarified yet.
It is said that each of the four volumes is related, but it seems that it was not conceived as a series from the beginning …
There is no textual information called a word book written in a general picture scroll, and I don’t even know if there is a common theme …
In other words, compared to the timeless sense of painting that you will never forget once you see it, the other information is a work that does not show its substance vaguely.
The only way to understand the work is to face the work itself seriously. There is no doubt that the unfamiliarity of the bottom is a factor that arouses the inquisitive mind of researchers and attracts us.
This exhibition is a unique opportunity to overlook the mysterious world of “Choju-Giga”.
The state of the venue and the contents of the special exhibition “All about National Treasure Choju-Giga”
This exhibition, which uses the space of two venues luxuriously, consists of three chapters. From here, we will introduce the contents of each chapter’s exhibition.
[Chapter 1] All of the national treasure Choju-Giga
The main feature of Chapter 1 is the effort to display all four volumes of A, Otsu, Hei, and Ding, all of which are about 44 meters (!) In total, all at once throughout the session. It will be an irresistible point for fans to be able to make a cross-sectional comparison of each volume, such as differences in brush strokes and expressions, which was not possible in the previous exhibitions where rewinding was carried out during the exhibition period.
Also, in Chapter 1, you can’t miss the unprecedented challenge of setting up a moving walkway and letting you appreciate “Choju-Giga”.
I think that the one installed in front of the instep, which is probably the most popular, was designed to prevent new coronavirus infections, but it does not push against people and moves very slowly, so it is “too fast”. There was no inconvenience such as “I couldn’t see it!” … I felt that it was an epoch-making facility where everyone could take a closer look at the work in the front row.
In the first place, picture scrolls are enjoyed in a dynamic way of viewing, from right to left, unfolding, rolling up, and unfolding again. This attempt can be taken as a smart measure by the organizer, who wants you to feel as if you are unraveling the picture scroll yourself.
[Chapter 2] A short cut and a model of a bird and beast caricature-recovery of a lost scene
In Chapter 2, Duncan and that was the one screen of the partially missing picture scroll to the hanging scroll, is Reproductions that hold copies of the lost screen in the original are exhibited.
Actually, the original “Choju-Giga” that has been handed down to date has some missing screens, and it is said that the current Komaki is complicated (the order of the screens is changed). Therefore, in this exhibition, originals, sketches, and models will be gathered from home and abroad. I am trying to get a bird’s-eye view of “all of the bird and beast caricatures” that once existed.
For example, on the left side of “Choju-Giga-Kansho (Tokyo National Museum)”, you can see black dots under the lotus umbrella of the frog, which is connected to the Hagi flower drawn on the 16th paper of the current Komaki. Therefore, it turns out that this syllabary was originally located in front of the 16th paper.
The contents of the screen correspond to the current Komaki 11th paper and later, “Choju-Giga Model (Nagao Family Old Collection)”, which is said to be a copy of the state before Komaki became complicated. In addition, it is a very useful material to know the former instep, such as holding screens that can not be confirmed at present, such as rabbits and monkeys jumping high.
Many people may be thrilled by the act of gathering various hints in this way and revealing the whole picture as if solving a mystery. If you go back to the original of Chapter 1 from here, it seems that you can enjoy it differently from the first viewing.
[Chapter 3] Myoe Shonin and Kozanji Temple
Kozanji Temple in Kyoto, which was founded in the Nara period and was revived in the Kamakura period by a scholar, Myoe, has many cultural assets in addition to “Choju-Giga”.
Chapter 3 summarizes the important cultural property “Myoe Shonin Sitting Statue”, which will be exhibited outside the temple for the first time in 28 years, the dream record “Yume no Ki” written by Myoe Shonin throughout his life, and the Japanese poems of Myoe Shonin. Works related to Kozanji Temple, such as Myoe Shonin Kashu, which show the personality of Myoe Shonin, who was loved by many people, are on display.
As I look at the items related to it, I feel somehow familiar with Myoe. Apparently, during the lifetime of Myoe Shonin, “Choju-Giga” was stored in a different place, but it is because Myoe Shonin laid the foundation for his love for small animals and vegetation. I imagined that “Caricature” had been carefully protected.
The more you see it, the more interesting it is! Comparison of 4 volumes of “Choju-Giga”
As mentioned above, the way to enjoy the whole volume and all scenes is a cross-sectional comparison. Here are some interesting things.
It is a scene of the Komaki and Chomaki Hokai. A very interesting composition in which the crying monkey and the rabbit with a fan drawn in the instep volume are arranged as human beings who have similar appearances and movements in the chomaki, and the motif parodyed by animals is further parodyed by human beings. It has become.
The animal caricatures are drawn in the second half of the Komaki and Hei-maki, and while the animals in the Komaki wear eboshi, the animals in Hei-maki wear leaves that look like eboshi.
What is the intent of the animals in the instep to behave more humanly and the animals in the Hinoe to remain somewhat animal-like, using the same anthropomorphic technique? The mystery is only deepening.
Otomaki, whose motif is different from Japanese animals in the first half and foreign animals and fantasy animals in the second half, is also interesting because of the subtle differences in brush strokes.
The exotic and fantasy animals are a little cautious and have a solid brush stroke, but it is thought that this is not due to the difference between the painters, but because the painters drew with reference to the model. It’s the result of faithfully drawing an example so as not to misrepresent an unknown animal.
It’s not a comparison across volumes and screens, but here’s what you should check. At first glance, it is easy to think that it was written by a painter with a childish skill, but when you look at the face of a Kuge-style man looking back on the left side of the screen, it is very easy to understand compared to the men making noise on the right side. You should be able to convey that you are “good”.
The easy-going style of painting is a must-see because it is a point that a painter with a certain skill can understand that he dares to draw like that.
At the end
At the museum shop, there are a lot of cute items such as T-shirts and masking tapes featuring the animals that appear in “Choju-Giga”, but the most notable item is the almost full-scale whole volume and various articles. It will be an official catalog. It’s a huge volume with over 400 pages and it’s a definitive edition, so fans should check it out.
By the way, popular voice actors Koichi Yamadera and Ayumi Tsunematsu are in charge of the audio guide navigator for this exhibition. It is explained in plain language that even children can enjoy listening to with a light narrative, so please come along with the appreciation.
The world of “Choju-Giga” that grabs our hearts with a truly rich expression, even though it is a monochromatic line drawing with ink. It may be fun to visit this exhibition, read the work in your own way, and try to “solve the mystery”.
Outline of the special exhibition “All about National Treasure Choju-Giga”
* Advance reservations are required for this exhibition. You need to reserve a reserved-seat ticket online. Please check the official website of the exhibition for details. In addition, you can see the national treasure “Choju-Giga Komaki” on the moving walkway.
| Session | April 13th (Tuesday) -May 30th (Sunday), 2021
* Some works may be changed and scenes may be changed during the exhibition period, but the 4th volume of the national treasure “Choju-Giga” will be exhibited throughout the exhibition period without changing the scenes. |
| Venue | Tokyo National Museum Heiseikan |
| Opening hours | 9 am-7pm (last admission is 6pm) |
| closing day | Closed on Mondays * However, it will be open on May 3 (Monday / holiday) |
| Admission fee | General 2,000 yen, university / vocational school students 1,200 yen, high school students 900 yen
* Junior high school students and younger, persons with disabilities and one caregiver are free of charge, but it is necessary to make a reservation for a “reserved-seat ticket” and present a student ID card, disability certificate, etc. Please check here for details. |
| Organizer | Tokyo National Museum, Kozanji Temple, NHK, NHK Promotion, Asahi Shimbun |
| Sponsorship | Kajima Construction, Sompo Japan, Toppan Printing, Mitsui & Co. |
| Official page | https://chojugiga2020.exhibit.jp/ |
Reference: “Special Exhibition” All about National Treasure Choju-Giga “Catalog”