Month: July 2023

Tokyo National Museum

A special exhibition "Ancient Mexico – Maya, Aztec, Teotihuacan", which introduces the treasures of three civilizations representing ancient Mexico, will be held from Friday, June 16, 2023 to Sunday, September 3, 2023 at the Tokyo National Museum. Currently being held at the museum (Ueno, Tokyo).

This exhibition will focus on the three civilizations representing Mesoamerica ( the Maya, Aztec, and Teotihuacan civilizations that shared cultural elements and prospered in parts of Mexico and Central America until the Spanish invasion in the 16th century). Focused.

About 140 valuable excavated items such as inscriptions and reliefs and archaeological relics carefully selected from major museums in Mexico are introduced along with the results of recent excavations. We will explore the depth and charm of the ancient Mexican civilization, such as the unique world view and the beauty of molding created from the diverse natural environment.

The exhibition consists of four chapters : "An Invitation to Ancient Mexico", "Teotihuacan: City of the Gods", "Maya: The Rise and Fall of City-States", and "Aztec: The Great Temple of Tenochtitlan".

Chapter 1 "Invitation to Ancient Mexico"

Chapter 1, "An Invitation to Ancient Mexico," is a cross-sectional exhibition of works based on common themes of the three civilizations, such as "corn," "celestial bodies and calendars," "ball games," and "human sacrifices," as well as images of the ruins of each civilization. It is an introductory part that conveys the world view of the whole ancient Mexico through.

Here, the roots of Mesoamerica, which arose in the Gulf of Mexico around 1500 B.C., were the Olmec civilization, which inherited various elements to later Mesoamerican civilizations, such as the concept of sovereignty and many gods linked to rituals. The work "Olmec style stone figurine" that shows the existence of

Chapter 2 "Teotihuacan City of the Gods"

Chapter 2, "Teotihuacan: City of the Gods," deals with the Teotihuacan civilization, which flourished from 100 B.C. to 550 A.D.

Based on the cosmic view of the world that people believed in at the time, Teotihuacan is a state-led city centered on the "boulevard of the dead" and incorporating pyramids, ritual halls, palace-type buildings, and strict housing complexes. It was a planned city and a large religious city . Recent research has revealed that up to 100,000 people lived there, but the language and characters used have not been clarified, and it is still a civilization with many mysteries.

Here, we introduce the three pyramids representing Teotihuacan , the Pyramid of the Sun, the Pyramid of the Moon, and the Pyramid of the Feathered Snake, as well as works excavated from their surroundings.

The "Death Disk Stone Sculpture" exposed in the center of the exhibition room was excavated from the plaza in front of the Pyramid of the Sun, the largest of the pyramids in Teotihuacan, during an excavation in 1964.
It is a stone sculpture with a diameter of more than 1m, and the motif that spreads radially like a halo and the tongue protruding from the mouth of the skull are impressive. In Mesoamerica, sunset is death and sunrise is rebirth.

The exhibits that had a particularly strong presence were the Stone Sculpture of the Feathered Serpent God and the Stone Sculpture of the Sipaktri Headdress .
This is part of the large stone carving that covered the four walls of the Feathered Snake Pyramid, the central temple of the Citadel, a large ceremonial hall measuring 400m on a side. It is said to represent the headdress of the Feathered Snake God, which is a symbol of Venus and power, and the creator god, Shivakhtri, who symbolizes the beginning of time (calendar).

At the venue, the installation was devised so that you can see how these stone carvings protrude from the pyramid.

The feathered serpent god's wavy body is repeatedly carved with the motif of the Cipactri's headdress, so the entire Feathered Serpent Pyramid is the first monument in Mesoamerica to represent sacred kingship and coronation. It is thought that

Among the artifacts excavated from the 15m – deep, 103m-long tunnel beneath the Feathered Snake Pyramid, the trumpet, a musical instrument made from the tip of a snail shell, was eye-catching. This work has an iconography similar in style and content to that of Mayan religious centers, which is not found in Teotihuacan.

Buried in the burial body of the Teotihuacan dwelling site was an animal-shaped pottery with gorgeous decorations such as shells, which the excavator named "a strange duck". Since it was found with many shellfish products, it is thought that it was a grave goods related to shellfish traders who traded with the Gulf of Mexico.

Exhibits such as the "Trumpet" and "Bird Pottery" tell us that Teotihuacan was a multi-ethnic city with thriving trade and market economic activities.

In addition, the murals and earthenware that make you imagine life in Teotihuacan are also interesting.
Multicolored murals, such as the Storm God Mural , which is said to represent one of Teotihuacan's principal deities, the storm god, or Tlaloc, the rain god, are found in many apartment complexes and ceremonial facilities. It was

In addition, many incense burners excavated from the ruins of dwellings were made by rearranging various decorative pieces according to their purpose. The "incense burner" on display is thought to have been used for ceremonial requiems for dead warriors, based on motifs such as arrows and shields.

Chapter 3 "Rise and Fall of Mayan City-States"

Chapter 3, "The Rise and Fall of Maya City-States," introduces the culture and dynasties of the Mayan civilization, which flourished around the Yucatan Peninsula from around 1200 BC to the 16th century. This section is composed of the largest number of works in this exhibition.

It is said that the Maya established a dynasty with a distinct culture and form of governance around the first century AD. However, it has never been politically unified, and has formed a large network society through friendly exchanges such as trade between countless cities and the coming and going of diplomatic missions, and sometimes wars for supremacy. The excavated items convey various trends in the Mayan region.

One of the Maya's forested cities is Palenque , a middle-sized city that prospered in the western region between 400 and 800 AD. In particular, the artifacts excavated from the tomb of the Red Queen (Reina Roja), which will be exhibited for the first time in Japan, is one of the highlights of this exhibition, which is famous as a masterpiece of dynasty art .

Palenque, the city of art, is known for its sophisticated architecture, sculptures and inscriptions, and its golden age was the reign of King Kinichi Hanab Pakal (615-683).
It is said that while King Pakal strengthened the influence of Palenque through diplomacy and warfare, he also focused on expanding the royal palace, making it one of the most magnificent buildings in the Mayan region. His body was placed in a mausoleum called the Temple of Inscriptions, which is said to have been designed by King Pakal himself.

The body, called "Red Queen (Reina Roja)", was found in 1994 in Temple 13 next to the Temple of Inscriptions. Its common name comes from the fact that it was buried covered with bright red cinnabar (mercury red). As a result of the investigation, it is highly likely that this person is Ish Tsakub Ahau, the wife of King Pakal.

At the venue, the 12 burial goods of the "Red Queen" were attached to mannequins to recreate the state of burial in a space inspired by the stone chamber of Temple 13. The "Red Queen's Mask" is made of small pieces of malachite, with obsidian for the eyes and white jadeite for the whites of the eyes.

Although it is not shown in the photograph, among the beautiful grave goods such as necklaces and crowns, there was a small, unremarkable "needle" quietly displayed next to the mannequin that caught my eye. Strange as it may seem, spinning and weaving is one of the activities that women of all social classes do, and the needle was also used by the "Red Queen" on a daily basis and was thought to be necessary in the afterlife. that there is
Not only do they dress up according to their status, but they also empathize with the life-size wish of the person himself or the people around him, who say, "I want to live without trouble."

Next to the reproduction exhibition, video materials of the excavation survey of "Red Queen" were also played.

In addition, at the exhibition of the 96-character lithograph found in the royal palace of Palenque ruins, we were able to thoroughly appreciate the picturesque and beautifully shaped Mayan characters.

The Maya script is a mysterious language composed of logograms and syllabaries, but currently about 700 characters and various combinations that are said to be tens of thousands of weaves are being elucidated. People's deeds were thought to reproduce the deeds of gods and ancestors, so letters were mainly used to record the histories of kings and nations, as well as court ceremonies.
This work also records the accession of the kings of Palenque with exact dates.

Like in Japan, calligraphy was not only used to convey information, but was also loved as a work of art in the Maya.

After the decline of Palenque and many other cities, the excavated artifacts of Chechen Itza, which became the largest city in the Maya region in the northern part of the Yucatan Peninsula around 900, are also worth seeing.
Among them, "Charcoal statue" is a work that I felt the scariest of this exhibition after reading the explanation. On the belly of the statue there is something like a plate, in which it is possible that an offering, sometimes a heart taken from a human sacrifice, was placed…

In this exhibition, there are many frightening keywords such as "sacrifice" and "human sacrifice." These peculiar practices have persisted in Mesoamerica for over 3,000 years, and modern sensibilities may raise eyebrows at their brutality.

However, it is not just an inhumane ritual act. All life forms are born and move through the work and sacrifice of the gods. This was due to the ethics of the indigenous peoples, who believed that principles must be maintained. There is a universal prayer to God and nature.

Chapter 4 "The Great Temple of the Aztec Tenochtitlan"

Chapter 4 "Temple of the Aztec Tenochtitlan" is a large city of the Aztec Kingdom of Tenochtitlan (present-day Mexico) founded in 1325 on an island in Lake Texcoco in the central highlands of Mexico by people whose mother tongue was Nahuatl , such as the Mexica. City) excavated items. With a population of over 200,000 at its peak, it prospered until it fell to Spain in 1521.

By the way, in the central highlands of Mexico, civilizations rise and fall in the order of Teotihuacan ⇒ Toltec ⇒ Aztec. The name "Teotihuacan", which means "City of the Gods" in Nahuatl, was named by the Mexica people of the Aztec kingdom who discovered the ruins.

The Aztecs, which strengthened their national power with military power and a tribute system, brought amazing developments in architecture and painting, especially sculpture. Tenochtitlan, where the Aztecs concentrated their wealth, is said to have created a creative environment unlike any other in history, with national and international artists sharing techniques, tastes and traditions.

The courageous "Eagle Warrior Statue" conveys a part of the creative beauty of Tenochtitlan.

At the heart of Tenochtitlan stood the Templo Mayor, a pair of majestic pyramidal temples dedicated to Huitzilopochtli, god of the sun and war, and Tlaloc, god of rain and earth. This work was discovered in the "Eagle House" on the north side of the Great Temple. Life-size and powerful.

Many experts consider them to be the warriors of the "Eagle Legion" under the direct control of the king, who played an important role in battle and religion. It seems that there are still various theories that it represents the appearance of Lopochitori.

Many of the sculptures on display represented the gods worshiped by the Aztecs.

"Tralok God's Vase" is impressive with its bulging eyes and bright blue.
Mesoamerica, an agricultural society, is said to have had an obsession with controlling rainfall for centuries. Therefore, prayers, offerings, and child sacrifices were all devoted to Tlaloc, the rain god and 'giver' who provides everything that plants need to germinate.

It is believed that this work contains a wish for rain and a bountiful harvest, as the pot for storing water is decorated with the deity Tralok.

One of the exhibits is a "mask" made of green serpentinite, and it has a similar atmosphere to the "mosaic statue" introduced in the Teotihuacan exhibition in Chapter 2. In fact, it was a mask excavated from the ruins of Teotihuacan, polished by the Mexicans, and touched with eyes and earrings.

It is said that the people of the late postclassic period (1250-1521), including the Messikas, dug up past civilizations and dedicated them to their temples as sacred substances with magical powers. One of the interesting things about this exhibition is that you can feel these connections.

At the end of the exhibition, pendants, earrings, and scepter-shaped ornaments made of gold, which are rare in Mesoamerica, were exhibited all at once, showing the latest excavation results of Templo Mayor.

---

At the venue, we were particular about the production of the exhibition space, such as video materials that convey the charm of the ancient city ruins and realistic reproduction exhibitions, and we could feel the atmosphere of ancient Mexico just by walking. It is also a nice point that the distance between the exhibits is wide and it is easy to appreciate.

By the way, at present, all the exhibits in the venue are allowed to be photographed for personal use only. (There is a possibility that it will be canceled or changed in the future, so please see the information in the hall and the official website for details.)

The special exhibition “Ancient Mexico” explores the depth and charm of the cultural traditions of ancient Mexico, which are still passed down by the people living in the land. The event will be held until September 3, 2023 (Sun).

Overview of the Special Exhibition “Ancient Mexico: Maya, Aztec, and Teotihuacan”

exhibition period	June 16th (Friday) to September 3rd (Sunday), 2023
venue	Tokyo National Museum Heiseikan
Opening hours	9:30 a.m. to 5:00 p.m. *Saturday until 7:00 p.m. *From Friday, June 30 to Sunday, July 2, and from Friday, July 7 to Sunday, July 9 until 8:00 p.m. * General cultural exhibition closes at 5:00 p.m. *Admission until 30 minutes before closing
closing day	Monday, July 18 (Tue) *Open on July 17th (Mon/holiday) and August 14th (Mon)
Viewing fee (tax included)	Adults ¥2200, University students ¥1400, High school students ¥1000, Junior high school students and younger free *For details, please see the ticket page on the official website.
organizer	Tokyo National Museum, NHK, NHK Promotions, Asahi Shimbun
inquiry	050-5541-8600 (Hello Dial/9:00 a.m. to 8:00 p.m., open all year round)
Exhibition official website	https://mexico2023.exhibit.jp/

*The content of the article is as of the interview date (June 15, 2023). Please check the official website for the latest information.

Article provided by: kokosil Ueno

---

See more reports

Ueno Royal Museum

A unique dinosaur exhibition that collects only dinosaur art centered on paintings, not fossils and skeletal specimens, a special exhibition “Dinosaur Picture Book-Imagination / Creation of the Lost World” May 31, 2023 (Wednesday)-7 It is being held at the Ueno Royal Museum on Saturday, March 22nd.

This exhibition draws attention for its large number of works by Charles R. Knight and Zdenek Briand, two of the greatest dinosaur paintings of the 20th century. Report on the state of the venue.

When we think of dinosaur exhibitions, we usually think of exhibits centering on fossils and skeletal specimens, but in this exhibition , we draw paleontological creatures such as dinosaurs based on scientific evidence such as fossils, which are usually placed beside those materials. The spotlight is on ecological reconstruction map = “Paleoart” .

Dinosaurs, which ruled the earth in the Mesozoic Era from about 250 to 66 million years ago, came to be known to the general public through ecological reconstruction maps following the excavation of fossils in the first half of the 19th century. Since then, many scholars have worked hand-in-hand with artists to try to reproduce the appearance of ancient creatures full of romance from ancient times.

At the venue, about 150 pieces of paleo art collected from all over the world will be displayed, ranging from strange reconstruction drawings drawn in the early days to masterpieces by contemporary artists based on recent research.

In the 200 years since the “discovery” of dinosaurs until today, we will trace how the expressions of dinosaurs (paleontology) have changed as the scientific basis changes with each new discovery.

Chapter 1 “The Birth of Dinosaurs – Strange Monsters of the Dawn”

The exhibition consists of four chapters. Chapter 1, “The Birth of Dinosaurs – Strange Monsters of the Dawn” introduces a group of works created with limited knowledge shortly after the “discovery” of dinosaurs in the 19th century. You can enjoy a unique appearance that is far from the dinosaurs that we imagine in our minds.

At the beginning, the lithograph “Douria Antiquiol (Ancient Dorset)” (1830) based on the original painting by geologist Henry de La Beach, is said to be one of the first paintings in history to restore the ecology of paleontology. Display your work.

The work is a female fossil collector known for contributing to the development of paleontology in the 19th century by discovering marine reptiles such as the ichthyosaur Ichthyosaurus and the plesiosaur plesiosaur before the dinosaurs in Dorset, southern England. It was made to honor the achievements of Mary Anning .

Set on the prehistoric coast of Dorset, it is filled with ancient creatures discovered by Anning. Attention is drawn to the right side of the screen, and it seems that the Ichthyosaurus is biting the thin neck of the Plesiosaurus.

Hiroki Okamoto (Professor at Kobe Design University and former curator at the Hyogo Prefectural Museum of Art), the organizer of this exhibition, said, “From modern research, it’s hard to imagine an ichthyosaur attacking a plesiosaur. It conveys that there was an image of a predator that was overwhelmingly stronger.”

In addition, this exhibition focuses on introducing the evolution of the image of Iguanodon , the first dinosaur to be “discovered” along with Megalosaurus.

British physician and amateur geologist Gideon Mantell, known as “the man who discovered the dinosaurs”, named it “Iguanodon” (iguana tooth) in 1825 because it had teeth similar to those of the modern reptile Iguana. It seems that this creature was originally imagined as a gigantic iguana.

An early example of an Iguanodon, George Schaaf’s Reconstructed Reptile (1833), depicts an exceptionally large Iguanodon with its enormous body crawling on the ground and its long, snake-like tail undulating.

However, if you look at the sculpture Iguanodon of the Crystal Palace produced around 1853, the image has undergone a minor change. Iguanodon’s four legs descended straight from its body to the ground like mammals such as elephants and rhinos.

It was created under the guidance of Richard Owen , the most influential British paleontologist of the time and the person who coined the word “dinosaur” . According to Okamoto, this physical feature is one of the current definitions of dinosaurs.

Furthermore, the discovery of near-perfect Iguanodon fossils in Belgian coal mines in 1878-80 greatly revised the image of the Iguanodon reconstruction that had spread for nearly 50 years since Mantell’s discovery. Especially. It turned out that it was erecting its upper body, and that the bones previously thought to be the snout horns were actually thumb spikes on its forelimbs.

For nearly 100 years, Iguanodon was depicted in paleo art as a bipedal creature with sharp spikes on its forelimbs. In the following chapters 2 and 4, you can see works depicting the appearance of Iguanodon that “evolved” while being modified in this way.

In addition, in Chapter 1, eerie dinosaurs that look and behave like humans are disgusted by their friends who are being attacked and retreat, or walk around the residential area like a monster movie. It is interesting that there are works that depict dinosaurs more like story paintings than restoration paintings. It was a glimpse of the people’s fluffy perception of dinosaurs and the richness of their imagination at the time.

Chapter 2 “Establishment and Popularization of Classical Dinosaur Images”

In Chapter 2, “Establishment and Popularization of Classical Dinosaur Statues,” which introduces works from the golden age of paleo art from the end of the 19th century to the middle of the 20th century, Charles R. and Zdeněk Briand have a lot of space.

The stage for dinosaur excavation and research gradually shifted from Europe to the North American continent, and from the 1870s to the 1890s, two paleontologists fought a fierce battle called the “Bone Wars” over the discovery of dinosaur fossils. We waged a competition. As a result, numerous types of dinosaurs such as Stegosaurus and Triceratops were found, revealing the diversity of animals that lived in the Mesozoic Era.

Charles R. Knight (1874-1953), an American paleontology painter, was the greatest contributor to the realistic visualization of new dinosaurs that had taken off the veil of the unknown and popularized them.

Knight, who was also a wildlife painter, left nearly 1,000 paintings of living animals, and it is believed that the observational eyes and biological knowledge cultivated through such activities were useful in the creation of paleo art.

Knight’s realistic landscapes, and the lively figures of dinosaurs and extinct creatures placed within them, were excellent for the time in terms of both anatomical and natural environment depictions, and soon became popular. It has attracted the attention of both the general public and experts. His work had an impact on film culture, such as the movies “The Lost World” (1925) and “King Kong” (1933).

In the exhibition of Knight’s work, one of his greatest masterpieces , Cretaceous-Montana (1928), one of the sketches for the murals of the Field Museum of Natural History, cannot be overlooked.

“Cretaceous-Montana” is a monumental work that fixed the image of the rivalry between the stars of the dinosaur world, “Tyrannosaurus vs. Triceratops,” and has become widely known as a work that symbolizes dinosaur painting itself. The tense composition has been imitated and adapted by many subsequent artists, and it often appears in the entertainment world such as movies and comics, so many people should have seen it at least once. I was deeply moved that this was the original.

 

On the other hand, Zdenek Brian (1905-1981), a painter from Czechoslovakia (now the Czech Republic), gained popularity in a generation slightly after Knight.

Although Knight’s work was a departure from the unrealistic paleo art of the previous era, Briand was also an excellent painter. His works, based on the tradition of realism in European art, were so persuasive that you might believe it if you were told that he had actually seen the real thing and painted it.

Looking at the paleontological creatures that Brian draws, they naturally have a body temperature, and you can tell that they are living creatures.

Briand’s works gained popularity around the world with books such as the masterpiece “Breaks of the Last Century” (1956), and were reproduced and copied in large numbers in children’s encyclopedias and children’s books here in Japan in the 1960s and 1970s. , is said to have played a decisive role in establishing the image of dinosaurs of an era. For this reason, people of the generation who were obsessed with dinosaur encyclopedias during this period may find a lot of works that make them feel like they’ve seen this somewhere before.

In the past, it was not possible to determine the color of dinosaurs from fossils, so artists used their own guesses to color them. The contrast of te … is strongly impressed. The Stegosaurus in Antrodemus Valens and Stegosaurus Stenopus (1950) is probably one of the sources of that image. I was able to realize the magnitude of Brian’s influence.

This exhibition brings together 18 precious Briand works. It is the biggest attraction.

Also, in the same chapter, we can admire the majestic figure of the past of Hypsilophodon, which was popular as a “tree-climbing dinosaur” but later discovered that the restoration itself, which was the basis of research in the first place, was wrong.

Chapter 3 “History of Reception of Dinosaurs in Japan”

The image of dinosaurs that was established in Europe and the United States entered Japan at the end of the 19th century. Chapter 3, “History of Reception of Dinosaurs in Japan,” changes direction and introduces dinosaurs that were rooted in Japanese cultural history from the Meiji to Showa eras. In addition to science magazines, children’s comics, and classic science fiction translations such as Conan Doyle’s The Lost World (1912), toys such as soft vinyl dolls and plaster figurines imitating dinosaurs are also on display. .

In addition, he also explains the symbolism of dinosaurs in the realm of general art, so-called fine art, whose purpose is not to realistically reproduce dinosaurs. (Some works from Heisei to Reiwa are also included)

Ichiro Fukuzawa, who brought surrealism to Japan and produced many works that included social satire and criticism of civilization , Ichiro Fukuzawa’s Reptiles Infested and Reptiles Perish (1974) are interesting in their bold composition of dinosaur limbs. The contrast between the intense colors of the blue sky and the setting sun, the ephemeral appearance of the giant beings that once boasted prosperity, and the appearance of small mammals flocking to take their place are said to satirize Japan’s factional politics.

Ai Shinohara 《From the Cradle to the Graveyard》 (2010-2011), which reminds us of the traditional image of “death and maiden” in Western painting, where no matter how beautiful a girl is, cannot escape old age and death; Hiroshi Fuji, Jurassic Plastic (2023) , reminds us that petroleum, the raw material of plastic, was originally the fossil of dinosaurs and other creatures, and at the same time, considers the problem of mass production and mass consumption. ), etc., were all large-scale and worth seeing.

Chapter 4 “Reconstruction of image based on scientific knowledge”

In Chapter 4, “Reconstruction of images based on scientific knowledge,” the topic returns to the changes in images of dinosaurs. Dinosaur research from the 1960s to the 1970s saw a revolution called the “Dinosaur Renaissance,” in which the view that dinosaurs were “active warm-blooded animals” rather than slow poikilotherms as previously thought was presented. Dinosaur statues have been greatly redesigned. One after another, works that expressed the appearance of new dinosaurs were born.

In the exhibition, illustrator William Stout , who boasts a cult-like popularity even in the field of fantasy art, and Michael Tursic , who worked on the three-dimensional model of the movie “Jurassic Park”, and an accurate and powerful touch of dinosaurs based on art anatomy. A wide variety of works by talented paleo artists who have appeared since 1960, such as Takashi Oda , the leading artist of paleo-creature restoration paintings in modern Japan, will be competing.

Contemporary artists are making dinosaurs move with agility. John Bindon’s “The Front of the Storm” (1996), in which a tyrannosaurus runs at a tremendous speed while raising water splashes, and Gregory Paul ‘s “Shichipachi and Sauro,” which seems to capture the moment when dinosaurs start moving all at once, whether they are friends or foes. Lunithoides (1989) and others have a different sense of dynamism compared to the dinosaurs seen in Chapter 2.

I have the impression that the individuality of the works is also strong. Douglas Henderson ‘s works, which are breathtakingly beautiful and lyrical pastels, precisely expressing the light and air of the ancient world, are like looking at a high-quality photo book.

While many painters focus on the dinosaurs themselves, Henderson has a strong tendency to depict dinosaurs together with the environment in which they lived at the time. situation. I draw so that it blends into the scenery without focusing.

I was completely drawn into the clever composition, which overlapped with common memories such as when I was trying to shoot a sunset and a bird was accidentally captured, or when I was walking in the forest and found a squirrel in the depths of the trees.

As academic knowledge increases, the special exhibition “Dinosaur Encyclopedia-Imagination/Creation of the Lost World” will be held until Saturday, July 22, 2023. . Of course, the contents will stir up the romance of the ancient world, and it is a rare opportunity to see paleo art that straddles the ages, so please check it out.

Overview of the special exhibition “Dinosaur Encyclopedia – Imagination/Creation of the Lost World”

exhibition period	Wednesday, May 31, 2023 to Saturday, July 22, 2023 * Open every day during the exhibition period
venue	Ueno Royal Museum
Opening hours	10:00 – 17:00 (9:30 – 17:00 on weekends and holidays) *Admission until 30 minutes before closing
Viewing fee (tax included)	General 2,300 yen, university/vocational school students 1,600 yen, high/junior high school/elementary school students 1,000 yen * Free for preschoolers (must be accompanied by a high school student or older) * Free for those with a disability certificate and one helper * Group discounts available. *Although it is not a reservation system, the number of people may be limited when it is crowded. For other ticket details, please check the official page .
organizer	Sankei Shimbun, Fuji Television Network, The Ueno Royal Museum
inquiry	Hello dial 050-5541-8600 (all day/9:00-20:00)
Official site	https://kyoryu-zukan.jp/

※※The content of the article is as of the interview date (May 30, 2023). Please check the official website for the latest information.

Article provided by: kokosil Ueno

---

See more reports