Month: November 2022

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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