Exciting! Thrilling! The experiential event “STEAM FESTIVAL” that combines music and STEAM education will be held for two days on June 27th (Fri) and 28th (Sat) at Takenodai Square (Fountain Square) in Ueno Park!

Ueno Park Takenodai Square (Fountain Square)

~This is an educational event that fosters children's creativity through music and STEAM education. There will also be food truck stalls and artist performances~

The Taito Ward Committee of the Tokyo Junior Chamber of Commerce (Public Interest Incorporated Association) will be holding an experiential event at Ueno Park Takenodai Square (Fountain Square) on June 27th (Friday) and 28th (Saturday) in order to foster creativity and spread STEAM education, where participants can experience STEAM education through music, programming, and more .

On June 27th (Friday) as a pre-event announcement project, there will be a live concert by the idol group SAKURADOLL , and on the 28th (Saturday) there will be an opening concert by various artists, a free live concert by singer-songwriter Megu Tohsaka , a signing session and a special event, as well as various STEAM experiences and music production experiences for elementary school students in Taito Ward.
In addition, 35 food trucks will gather over the two days, making it an event that can be enjoyed by both children and adults.

[Information on Music Production Experience, STEAM Experience, and Visitor Benefits]
After participating in each STEAM experience session, children who answer a questionnaire will receive a gift ticket to Hanayashiki!
・Music production experience (pre-registration required): gift for everyone
・Robot workshop, invention idea workshop (optional participation): Gifts for the first 180 people
In addition, 1,000 visitors who answer a questionnaire via QR codes posted around the venue will be entered into a lottery to win sweets from Koikeya Co., Ltd.!

Business overview

Event name STEAM FESTIVAL ~A workshop to connect the future with sound and color~
Date and Time Friday, June 27, 2025 11:00-20:00
Saturday, June 28, 2025 10:00-18:00
Location Ueno Park Takenodai Square (Fountain Square)
Ueno Park, Taito Ward, Tokyo
Artist
(More details below)
■SAKURADOLL
■ Megu Tohsaka
■ PALM
■ Sunaho Kaneda
■ Ami Yuki
Participation fee free
Organizer Tokyo Junior Chamber of Commerce Taito Ward Committee
Supporting Organizations Taito City, Taito City Board of Education, Taito Branch of the Tokyo Chamber of Commerce and Industry
Cooperating Organizations UUUM Co., Ltd., GMP Co., Ltd., STAR SEARCH LABEL Co., Ltd., Taito Ward Elementary School PTA Association, Toyo University Bbooth (in alphabetical order)
Sponsoring companies Ichikawa Kosan Co., Ltd., eNMUSUBi Co., Ltd., O-Techno Corporation Co., Ltd., Ogatomo Co., Ltd., Kanto Kitack Sales Co., Ltd., The Association for Supporting Active Workers, Koikeya Co., Ltd., Sanzendo Co., Ltd., Korean Youth Chamber of Commerce in Japan, CIC Co., Ltd., CU Co., Ltd., Johoku Communication Service Co., Ltd., Tokiwa Co., Ltd., No.1 Partner Co., Ltd., Nodoraku Co., Ltd., Hanayashiki Co., Ltd., Fis Innovation Co., Ltd., Fujita Construction Co., Ltd., Prime Financial Partners Co., Ltd., Bonds Trust Co., Ltd., Uniplus Co., Ltd. (in alphabetical order)

Time Schedule

June 27th (Friday) 11:00-20:00

time content
11:00~ Food truck area opens
Berabou Edo Taiga Drama Museum PR
18:30~ SAKURADOLL Artist Live Performance
*SAKURADOLL live performance times are subject to change.

●Saturday, June 28th 10:00-18:00

time content
10:00~ Food truck area opens
Sunaho Kaneda, General Host of Ami Yuki's Opening Live
10:30~
10:30-13:25
Robot Workshop
PALM Music Production Experience
14:00-15:25 Megu Tohsaka Music Production Class
16:30~ Megu Tohsaka Free Live & Autograph Session & Special Event

Artist Profile

SAKURADOLL

With the theme of "Made in Japan to the world," SAKURADOLL will bring a new wind of Japanese idol culture to the world and make cherry blossoms bloom all over the world with their music and performances. From the world-famous anime that Japan is proud of to global idols, they aim to build a new history in entertainment with passion and brilliance and to convey the charm of Japan on the global stage.

Megu Tohsaka

The No. 1 popular music creator/singer-songwriter in the short video world. After his video "I'm mad at the broken butter!", posted at the end of February 2022, went viral on TikTok and YouTube Shorts, his "I'm mad!" series, which sings about minor stresses in daily life to a light rhythm, became a huge hit with over 600 million cumulative views on social media. In recognition of his achievements, at the end of the same year, he won the TikTok Awards 2022 Music Division Grand Prize, which is given to the most active music creator in the year. "The fireworks will start soon," released in the summer of 2023, was a long-running hit with over 100 million cumulative views, thanks in part to the influence of collaboration projects with popular influencers. "Because I'll see you tomorrow," released in January 2024, had over 150 million views on social media-related videos and ranked 7th weekly and 3rd daily in the YouTube Shorts song usage rankings. Released in December 2024, "Even if I get a lot of red marks every day" has been viewed over 1 million times in just one month since its release, and the number of times the sound source has been used in short videos has exceeded 10,000, spreading the song at high speed, attracting attention for its self-production using SNS. His activities are not limited to SNS, but he has also appeared on numerous TV and radio programs. His piano playing skills are also highly regarded, and he has appeared three times on Fuji TV's "TEPPEN ~Piano Division~", a show that features the king of entertainment skills. He is currently appearing as a semi-regular on Untouchable Yamazaki Hiroya's regular radio program, NACK5's "Enekuru presents Mainichi Zakiyama". A singer-songwriter with a voice that melts into your ears, catchy lyrics that stay in your head once you hear them, and melodies that are familiar to Japanese people.

PALM

In junior high school, he discovered club music through his older sister's influence and started his career as an artist. At the same time, he picked up the bass through his older brother's influence, and began his career as an artist in earnest during high school. He actively participated in planning his own parties and live events, building a foundation as an artist. After that, he started DTM due to his interest in internet labels, and worked as an artist at subculture events based at Niigata clubs "Planet" and "Yellow Pigs". He performed with famous artists such as Okadada and i-dep, and his skills were widely recognized. He began composing in earnest when he entered university, and performed with a variety of artists. He is currently active as a musician. He has released six singles so far, and the music videos are available on YouTube. He is breathing new life into the scene with his unique style.

Sunaho Kaneda

Dreaming of musicals, she entered the entertainment industry at the age of 10. She began studying singing and acting, and began full-fledged vocal lessons in 2015. In 2018, she debuted as part of the idol group "Spiritant". From 2020, she began performing as "Jewel☆Ciel", and her 4th single "Bokura wa" reached 6th place on the Oricon Daily Ranking. In 2021, she changed her name to "gran☆ciel" and reached 1st place on the Oricon Daily Ranking with "Message!". She began her solo career in April 2022. In December 2023, she released the single "Yume ga Kanau Made". She is actively working in many areas, including stage performances, commercials, and YouTube, making use of her natural brightness, clear singing voice, and solid singing ability.

Ami Yuki

He has been familiar with music since he was a child and has been playing the electric organ for 25 years. He plays a variety of songs from pop songs to jazz, and has recently expanded his range of activities as a keytar player. While he is active as a photographer, he is also a multi-talented person who has published photo books as a model and works as a host.

Background

In today's rapidly changing society, there is a demand for developing human resources who can deal with complex issues by nurturing creativity , problem-solving skills , and teamwork .
This time, in addition to music production experiences and live performances , the event will combine STEAM education with workshops on programming and inventions .
The project aims to encourage participants to identify various problems and acquire the means to solve them creatively .

STEAM education is a cross-disciplinary education that combines the initials S for Science , T for Technology , E for Engineering , A for Art , and M for Mathematics .
Generally, experience sessions where people can learn about STEAM education are often held indoors, and the number of visitors may be limited.
Therefore, this time, in order to provide more people with an opportunity to experience STEAM education, the event will be held at the easily accessible Takenodai Square (Fountain Square) in Ueno Park .

For the music production experience, instructors will include artist PALM and popular YouTuber Megu Tohsaka , and participants will learn about the concepts and fun of music production using an iPad.
In addition, the invention idea workshop encourages participants to develop their creativity by thinking about what kind of inventions would be useful to the world.
In addition, there will be live performances by various artists and many food trucks.
This is not only a music and STEAM education experience , but also a free event that anyone can enjoy .

Organizers

About the Organizing Organization: The Tokyo Junior Chamber International (Tokyo JC), a public interest incorporated association (hereafter referred to as "Tokyo Junior Chamber International"), was founded in 1949 (Showa 24) at a time when the scars of war were still deeply etched in the city and in the hearts of its people, by young people who shared the same aspiration that "it is the job of young people to rebuild a new Japan."
Since then, the Tokyo Junior Chamber has promoted the philosophy of "creating a bright and prosperous society" and has been carrying out various activities and campaigns.
The Tokyo Junior Chamber of Commerce is made up of members who have joined of their own free will, regardless of race, nationality, sex, occupation or religion.
The Japan Junior Chamber bases its activities on "personal training," "service to society," and "friendship with the world." It promotes mutual enlightenment and interaction among members, fosters public spirit, and works to contribute to the development of society through collaboration with the local community, actively addressing social issues.
Having undergone various practical training at the Junior Chamber, students are active in a wide range of fields, and many of our graduates, including those who graduate after turning 40, have gone on to become active leaders in their local communities and have also gone on to enter the political and business worlds.

Contact Us
〒101-0054
3-1 Kanda Nishikicho, Chiyoda-ku, Tokyo Ohm Building New Wing 8th Floor
TEL:03-6285-1515 (Secretariat)
FAX:03-6285-1516 (Secretariat)
Tokyo Junior Chamber of Commerce
Taito Ward Committee Person in charge Kodai Kaneko
Email address: akhrknk@gmail.com

[Tokyo Junior Chamber of Commerce, Public Interest Incorporated Association] Press release

Article provided by: Kokosil Ueno


See other exhibition information

Report on the “Five Great Ukiyo-e Artists Exhibition – Utamaro, Sharaku, Hokusai, Hiroshige, Kuniyoshi” (The Ueno Royal Museum). Many masterpieces by the stars who reached the pinnacle of ukiyo-e.

Ueno Royal Museum

The "Five Great Ukiyo-e Artists – Utamaro, Sharaku, Hokusai, Hiroshige, Kuniyoshi" exhibition , which brings together masterpieces by the five biggest stars of the golden age of ukiyo-e, has opened at the Ueno Royal Museum (Ueno, Tokyo). The exhibition will run until Sunday, July 6, 2025.

At the gallery talk held prior to the press preview, Noriko Yamamoto, curator at the Kawasaki Ukiyo-e Gallery and author of the exhibition catalogue, took to the stage. She explained the highlights of the exhibition, which we will introduce below along with a look at the exhibition.

Exhibition view

Five artists who made their name with ukiyo-e, Japan's most popular art form that reached its golden age during the Tenmei and Kansei periods, are Kitagawa Utamaro, Toshusai Sharaku, Katsushika Hokusai, Utagawa Hiroshige, and Utagawa Kuniyoshi . This exhibition will display around 140 pieces, focusing on their masterpieces, which reached the pinnacle of their respective fields, such as portraits of beautiful women, actors, and landscapes, and will convey the distinctive features and appeal of their artistic expression.

Chapter 1: Kitagawa Utamaro: Thoughtful Women

The exhibition is divided into five chapters, each focusing on one artist, and the first to appear is Kitagawa Utamaro .

Kitagawa Utamaro, "A Picture of People Cooling Down on and Under the Bridge at Ryogoku" (Picture of People Cooling Down on and Under the Bridge) circa the late Kansei period (1795-1800)

Utamaro is known as an artist who was discovered by Edo's most famous producer, Tsutaju (Tsutaya Jusaburo), who is also active in the historical drama "Berabou – Tsutaju Eika no Yumebanashi" currently being broadcast on NHK.

He teamed up with Tsutaju and introduced the "Okubi-e" style, which featured a close-up of the upper body of a person, a style that was used in paintings of actors at the time, to the painting of beautiful women. He became a leading figure in the painting of beautiful women, and took the world by storm with his works that depicted the graceful gestures and thoughts of women.

Kitagawa Utamaro, Five Beauties Competing for Love, The Bride of Hyogoya, circa 1795-96

The exhibition focuses on portraits of beautiful women depicting everyday scenes, such as Five Beauties Competing for Charm: The Flower Wife of Hyogoya, which depicts a courtesan with disheveled hair reading a letter, rather than a woman dressed in elegant attire.

In the "Lessons for Parents" series, which contains morals for women, a "bakuren" (a carefree woman) appears, dressed in sloppy clothes and sipping alcohol. Bijin-ga (portraits of beautiful women) tend to depict the beauties of the time, such as the intelligent and beautiful courtesans who were the object of common people's admiration, or the popular poster girls of the town, but Utamaro, in a sense, used women with the polar opposite attributes as his models without distinction.

Kitagawa Utamaro, "Lessons for Parents: A Guide to the Popular Culture" (1802)

Yamamoto commented, "Utamaro's portraits of beautiful women are often depicted as ideal images of women, but he was actually also good at depicting these villainous women."

Utamaro was interested in the lifestyles and customs of women of all kinds, and used them as his subject matter, covering them all: an older sister watching over her younger brother playing at home with a smile, a female diver resting on the beach, a mountain witch nursing her child, etc. He said that a major feature of Utamaro's work is that he presents the charms of such diverse women with a rich expressiveness that allows us to imagine the story behind them, right down to the tip of a finger.

Kitagawa Utamaro, "Furyuko Treasure Combine Great Karakuri" circa 1802

By the way, in the letter illustrated in the aforementioned "Five Beauties Competing for Love, the Flower Wife of Hyogoya," there is a sentence that begins with "I hate to imitate, I don't copy, I am a self-made artist," which gives a glimpse of Utamaro's firm pride as a painter of beautiful women. If you can read cursive writing, please take a look.

Chapter 2: Toshusai Sharaku – The impact of actor paintings

Next up was Toshusai Sharaku , who, like Utamaro, was discovered by Tsutaju and became one of the artists who colored the Golden Age of Ukiyo-e. He produced around 145 nishiki-e prints in the ten months between May 1794 and January of the following year, but then suddenly vanished from the public eye, making him a mysterious figure whose background is largely unknown.

He produced many unique and impactful large-headed portraits of actors, and the period in which he produced them can be divided into four periods according to the performance dates of the plays he covered, allowing for a clear classification of style and specifications. More than half of the Sharaku works on display in this exhibition are large-headed portraits from the particularly popular first period, and it is said to be a very rare opportunity to see so many of his works gathered together in one place.

In the foreground is Toshusai Sharaku's "The Second Generation of Arashi Ryuzo and the Moneylender Ishibe Kanekichi" (1794)

Yamamoto cited "The Second Generation Arashi Ryuzo's Moneylender Ishibe Kanekichi," one of Sharaku's first works, as a clear example of the appeal of his work.

Arashi Ryuzo II was an actor who specialized in playing villains, and in this painting he is playing the role of a moneylender. Noting the actor's unique realistic depictions, achieved through a keen eye for observation, such as the movement of his eyes as he rolls up his sleeves and makes a spectacular pose, the tense movements of each of his fingers, and the wrinkles around his straight mouth, he said, "In an era when there were no zoom cameras or telescopes, it's amazing how much detail he was able to depict. Sharaku was about trying to accurately capture a single moment of an actor's performance."

Toshusai Sharaku, Onoe Matsusuke's Matsushita Brewery, 1794

In Onoe Matsusuke's Matsushita Sake Brewery , the depiction of the fallen ronin's long, tousled hair and hollow, sunken eyes stands out. By using dark colors throughout the painting, it is not only possible to express the loneliness of poverty, but also to depict the tragic fate of his imminent death.

Toshusai Sharaku's "Miyagino of Nakayama Tomisaburo" 1794

At the time, other artists idealized actors, but Sharaku placed emphasis on realism and a sense of presence as if watching the stage up close, rather than on beauty, such as by drawing the masculine bone structure of even female actors. His realistic paintings convey an energy not found in other actor paintings, but his excessive pursuit of authenticity drew criticism from the actors themselves and their fans at the time, and it is said that this was the reason why his career was short-lived.

From the left, Toshusai Sharaku's "Daidoyama Ring-entering: Tanikaze, Raiden, Hanachōyama, Tatsugaseki, Miyagino" and "Daidoyama Ring-entering: Daidoyama Bungoro" from 1794 (Kansei 6)

Chapter 3 "Katsushika Hokusai – Raging Blue"

The third person is Katsushika Hokusai (1760-1849). His name spread throughout Europe during the Japonism movement that occurred in the second half of the 19th century, and he was the only Japanese person to be selected in a recent survey by the American photo magazine LIFE of "The 100 Most Important People in the World Who Have Made the Most Important Achievements in the Last 1,000 Years." It is no exaggeration to say that he is the most famous Japanese painter in the world.

Katsushika Hokusai, Kanadehon Chushingura, Act 10, around 1806

During his 90-year life, Hokusai not only illustrated woodblock prints, but also worked in a wide range of fields, including nishiki-e, surimono prints, and hand-painted illustrations, and continued to paint everything in the universe, not just landscapes, flowers, birds, and people. Just looking at the extraordinary drawing skills of Hokusai's representative picture book , "Hokusai Manga," which is said to contain a total of 4,000 pictures, you can get a sense of the incredible artistic career of a man who devoted himself to painting for over 70 years, eventually calling himself "the crazy artist manji."

Katsushika Hokusai's "Hokusai Manga" Volumes 1-14, 1828-1878

Hokusai was in his 70s when he produced his well-known Thirty-six Views of Mount Fuji series, which captures Mount Fuji from various perspectives, but when we look at the works on display from before to after this period, we can see that the colors have become deeper and richer. This is probably due to the change in paint, but these changes, which give us a sense of Hokusai's never-ending spirit of inquiry and ambition, no matter how old he got, are also a highlight.

Hokusai Katsushika, Thirty-six Views of Mount Fuji, White Rain Below the Mountain, circa 1831 (Tenpo 2)

Among his masterpieces is Thirty-six Views of Mount Fuji: Under the Great Wave off Kanagawa , which boldly captures the moment when the spray of waves rises wildly high into the air in the ocean with the shape of Mount Fuji in the distance.

Katsushika Hokusai, Thirty-six Views of Mount Fuji, Behind the Great Wave off Kanagawa, circa 1831

Using this painting as an example, Yamamoto pointed out that one of the attractions of Hokusai's work is the "visual tricks."

"It has been pointed out that Hokusai purposely included designs in his works that would guide the viewer's gaze. When people look at this painting, I think their eyes are first drawn to the violently rising waves. The waves in the foreground are triangular, and on closer inspection they correspond to Mount Fuji in the distance. The painting is designed to naturally guide the viewer's gaze from the triangle in the foreground to the triangle in the distance."

Katsushika Hokusai, Thirty-six Views of Mount Fuji, Sazaido at Gohyakurakanji Temple, circa 1831 (Tenpo 2)

Similarly, the intention to guide the viewer's eye is clear in Thirty-six Views of Mount Fuji, Sazaido Hall of the Gohyakurakan Temple , where various lines from the floorboards, roof, and balustrade of the hall, to the fingertips of the worshippers, converge on Mount Fuji towering in the background. Hokusai, who excelled in Western perspective drawing, also excelled in this work, demonstrating his skill with geometric composition.

Katsushika Hokusai, "Famous Bridges of Various Provinces: Old Map of the Eight Bridges of Mikawa" 1833-34
Katsushika Hokusai, "One Hundred Tales: Laughing at Me", circa Tempō 2-3 (1831-32)

Chapter 4: Utagawa Hiroshige – Edo in Rain, Moon and Snow

The next artist, Utagawa Hiroshige (1797-1858), initially produced portraits of beautiful women and actors, but his breakthrough series , "Fifty-three Stations of the Tokaido," firmly established him as a landscape painter.

Hiroshige Utagawa, "Fifty-three Stations of the Tokaido: Morning Scene at Nihonbashi Bridge," 1833-34

The series depicts 55 landscapes, including the 53 post towns along the Tokaido road connecting Edo and Kamigata, as well as Nihonbashi and Kyoto's Sanjo Ohashi bridge. It became an explosive hit, fueled by the travel boom caused by Jippensha Ikku's "Tokaido Chu Hizakurige." It is also noteworthy that it was published at roughly the same time as Hokusai's "Thirty-six Views of Mount Fuji" series, which is often compared to Hokusai's masterful landscape painting.

Utagawa Hiroshige, "The Fifty-three Stations of the Tokaido: Kambara, Snow at Night," circa Tempō 4-5 (1833-34)

Regarding Hiroshige's landscape paintings, Yamamoto says the following:

"Although they are landscape paintings, they also depict local people, travelers, the customs and customs of travel, and the atmosphere, which creates a sense of charm. They are not just landscape paintings, nor are they just portraits, nor are they just nature, nor are they just people's lives. The beauty of Hiroshige's works is that they are all integrated together."

Both Hiroshige and Hokusai are said to have been avid travelers. Hiroshige made full use of the natural scenery, the climate, and the people who lived there, while Hokusai boldly exaggerated the formative qualities of the things he saw. It is interesting to compare the differences in their perspectives and directions.

Utagawa Hiroshige, "Yumiharitsuki, one of 28 scenes of the moon", circa 1832 (Tenpo 3)
Utagawa Hiroshige, One Hundred Famous Views of Edo: Showers over the Great Bridge, 1857

Hiroshige was also skilled at painting famous places around Japan, and in his "One Hundred Famous Views of Edo" series, a masterpiece from his later years, he even attempted the unusual vertical layout of a landscape painting.

Particularly striking is "One Hundred Famous Views of Edo: The Plum Tree Shop at Kameido," in which the plum tree branches are drawn extremely enlarged in the foreground, and the overall view of the plum tree house is captured in the gaps between them, creating a sufficient sense of perspective even in a vertical frame. This type of composition is called a close-up composition, and was a favorite of Hiroshige in his later years.

Utagawa Hiroshige, One Hundred Famous Views of Edo, Kameido Plum Shop, 1857

One of the great features of Hiroshige's work is the way he varies the composition of each work, from taking the same perspective as the traveller, to looking down from a great height like a bird, to deliberately placing the rugged rock face in the center of the picture to express the precipitousness of the cliffs. The unrestrained spatial expression, drawn with imagination as if it were taken by drone, never tires the viewer.

Chapter 5: Utagawa Kuniyoshi – Heroes and Spectacles

Chapter 5 features Utagawa Kuniyoshi (1797-1861), who was the same age as Utagawa Hiroshige and was active during the late Edo and Meiji periods. The atmosphere of the exhibited works has changed drastically from previous exhibitions, presenting a spectacular, action-packed drama.

Kuniyoshi made his breakthrough with the "Popular Suikoden" series, which combines dynamic character portrayals and beautiful colors in dynamic scenes created with bold brushwork. He created many Japanese heroes and heroines, and broke new ground with his fantastical and exciting warrior paintings and rebellious and humorous caricatures.

Kuniyoshi Utagawa《One Hundred and Eight Heroes of the Popular Water Margin: Changjun, the White Jump》 Around the end of the Bunsei era (1827-29)

One of the 108 Heroes of the Popular Suikoden: Zhang Shun Leaps White on the Rise is renowned as a masterpiece in the series, depicting the scene in which Zhang Shun, the leader of the navy, falls into an enemy trap, is hit by countless arrows and meets a heroic end. The depiction of his glaring expression and each strand of standing hair conveys the menace of someone prepared to die.

As in this work, Kuniyoshi often decorated his characters with flashy tattoos (irezumi), and it is said that these were so impressive that they sparked a tattoo boom in Edo.

Utagawa Kuniyoshi, "Ogobesu Karu Toyoura Village Captured by Lightning," 1836-37 (Tenpo 7-8)

The Old Palace of Soma, with its striking giant skull straddling the seam of the paper, is a work based on Santo Kyoden's Yomihon (a long illustrated novel that was popular in the Edo period). The distinctive widescreen triptych (a composition that treats a series of works as one large screen) is a technique that Kuniyoshi was good at.

In the foreground is Utagawa Kuniyoshi's "The Old Imperial Palace of Soma" from around the Koka period (1844-48).

The painting depicts the appearance of strange creatures in the ruins of Taira no Masakado's Imperial Palace, but in the illustration in the book, which shows countless small skulls, Kuniyoshi has uniquely changed it to a single giant skull. Furthermore, the powerful effect of the triptych shows a glimpse of Kuniyoshi's unique creativity.

Utagawa Kuniyoshi, "Kinji Sakata, Sadamitsu Usui, Tsugutsuna Minamoto and the Monsters", Bunkyū 1 (1861)

Although Kuniyoshi excels at depicting action-packed warriors, he does not always depict spectacular scenes. For example, "Sakata Kintoki, Usui Sadamitsu, Minamoto no Tsugutsuna and Monsters" depicts the scene where Minamoto no Yorimitsu's four heavenly kings are playing a game of Go with monsters plotting evil deeds. The humorous contrast between the pitiful monsters who are easily subdued and the samurai who are playing Go with stern but unaffected expressions will make you chuckle.

Honor: Invincible to the Right, Jingoro to the Left depicts the famous Edo sculptor Jingoro and the sculptures that surround him. However, the scattered trademarks of Kuniyoshi, such as the Hell Transformation Picture Dotera, the Hoto Seal cushion, and the cat that is beside him, show that in fact it is Kuniyoshi himself who appears in the work, likening him to Jingoro.

In the foreground is Utagawa Kuniyoshi's "Honor: Invincible to the Right, Jingoro to the Left" (1848)

Yamamoto also points out that the faces of the surrounding sculptures, such as Nio and Guan Yu, are caricatures of actors.

"During the Tenpo Reforms, the entertainment industry was cracked down on and ukiyo-e artists were banned from painting pictures of actors or beautiful women. But the artists continued to create works by any means possible, and Kuniyoshi in particular had an extremely rebellious spirit, so even after the reforms relaxed, he continued to paint Buddhist statues resembling actors, as if to mock the shogunate, and demonstrate what he was capable of. He was a commoner who painted pictures for the common people, yet he rebelled against authority in this way. That was the artist Kuniyoshi."


The "Five Great Ukiyo-e Artists – Utamaro, Sharaku, Hokusai, Hiroshige, Kuniyoshi" exhibition will run until Sunday, July 6, 2025. One of the exhibition's catchphrases is "Find your favorite!" Even if you are not familiar with ukiyo-e, we encourage you to experience the masterpieces of the five great stars who reached the pinnacle of ukiyo-e at this exhibition and find your favorite artist.

Overview of the "Five Great Ukiyo-e Artists Exhibition – Utamaro, Sharaku, Hokusai, Hiroshige, Kuniyoshi"

Dates May 27th (Tue) – July 6th (Sun), 2025 *No closing days
Opening hours 10:00-17:00 (Last admission 30 minutes before closing)
venue Ueno Royal Museum (1-2 Ueno Park, Taito-ku, Tokyo 110-0007)
ticket Please visit the official website for details.
Organizer Ueno Royal Museum / Fuji Television Network
inquiry 050-5541-8600 (Hello Dial, all day/9:00-20:00)
Exhibition official website https://www.5ukiyoeshi.jp/

*The contents of this article are current as of the time of coverage. Please check the official exhibition website for the latest information.

Article provided by: Kokosil Ueno


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“Great Buddha sculptor Matsumoto Meikei’s studio Buddhist sculpture exhibition – The spirit and technique of Unkei”

Matsuzakaya Ueno store

Wednesday, June 4th, 2025 – Tuesday, June 10th, 10:00am – 6:30pm *Closing at 5pm on the final day (last admission 30 minutes before closing) / Matsuzakaya Ueno Store, 6th floor event space *Free admission

Matsuzakaya Ueno store will be holding its first ever "Great Buddha sculptor Matsumoto Meikei Workshop Buddhist sculpture exhibition" from June 4th (Wed) to 10th (Tue) in the event space on the sixth floor. More than 300 breathtakingly intricate and soulful wooden Buddha statues created by Matsumoto Meikei, a sculptor in the style of Unkei and Kaikei and known as the "great Buddha sculptor of our time," will be on display and for sale.

Mr. Akiyoshi Matsumoto

Great Buddha Master Akiyoshi Matsumoto
Born in Kyoto in 1945. He has been aiming to become a Buddhist sculptor since 1962 at the age of 17, and it has been 63 years since then. He currently lives in Oharano, Kyoto, and continues to carve the figures of Buddha every day, devoted to bringing light to people living in modern times, which are filled with hardships. He is also active in the creation and installation of a statue of Tokugawa Ieyasu and a shrine for the 850th anniversary of the founding of Zojoji Temple in 2024.

Examples of works

Bishamonten
(Kusunoki / Kirikane / 7 sun / total height 42.0 cm)

Bishamonten (camphor wood/Kirikane/7 inches/total height 42.0 cm)

Fugen Bodhisattva
(Kusunoki/Kirikane/Hanpotsu 3 sun/Total height 34.0 cm)

Fugen Bodhisattva (Kusunoki/Kirikane/half-prosidence 3-sun/34.0cm)

Daikokuten (with mouse)
(Kusu / 3 sun 2 minutes / total height 20.0 cm)

Daikokuten (with mouse) (camphor wood/3.2 inches/total height 20.0 cm)

Eleven-faced Thousand-Armed Kannon Bodhisattva
(Sandalwood / 2.5cm seat / total height 27.0cm)

Eleven-faced Thousand-armed Kannon Bodhisattva (sandalwood / 2.5 sun seat / total height 27.0 cm)

White Robed Kannon Bodhisattva
(Hinoki leaves/painted/6 sun/total height 37.0 cm)

White-robed Kannon Bodhisattva (Cypress leaf/colored/6 inches/total height 37.0 cm)

[Jodo sect] Amitabha Buddha
(Kusu / 5 sun / total height 30.0 cm)

[Jodo sect] Amitabha Buddha (camphor wood/5 inches/total height 30.0 cm)

Fudo Myoo
(Agarwood / Platinum Kirikane / 2.5 sun / Total height 13.0 cm)

Acala (agarwood/platinum kirikane/2.5 sun/total height 13.0 cm)

Demon (soul)
(Cherry blossoms / 2.5cm / total height 23.0cm)

Demon (Soul) (Cherry Blossoms/2.5cm/Total height 23.0cm)

Child Kannon (with frog)
(Sandalwood / 1 inch 1 minute / total height 12.0 cm)

Child Kannon (with frog) (Sandalwood/1.1 inch/total height 12.0 cm)

Incense holder Buddha
An incense container is a container for incense, with a Buddha engraved on the inside. Small and easy to carry, incense containers can be used as talismans, with a guardian Buddha associated with the zodiac sign of the year you were born or a Buddha you worship.

Incense holder Buddha Samantabhadra
(Sandalwood/Kirikane/Diameter 6.0cm)

Incense holder Buddha Samantabhadra (Sandalwood/Kirikane/Diameter 6.0cm)

Incense holder Buddha Dainichi Nyorai
(Sandalwood/Kirikane/Diameter 6.0cm)

Incense holder Buddha statue of Dainichi Nyorai (Sandalwood/Kirikane/Diameter 6.0cm)

*During the period, staff from Matsumoto Meikei Studio will be on-site to take special orders in addition to the exhibits.
*We provide free estimates and consultations for the repair and restoration of old Buddhist statues.


" Great Buddha sculptor Matsumoto Meikei's studio Buddhist sculpture exhibition – The spirit and technique of Unkei "
Date: Wednesday, June 4, 2025 → Tuesday, June 10, 2025
Venue: Matsuzakaya Ueno Store, 6th floor event space Admission: Free
Business hours: 10:00-18:30 *Closing at 17:00 on the last day *Last admission is 30 minutes before closing
Special page: https://www.matsuzakaya.co.jp/ueno/topics/250604_matsumotomyokei.html

From the press release of Daimaru Matsuzakaya Department Stores Co., Ltd.

Article provided by: Kokosil Ueno


See other exhibition information

[Ueno Royal Museum] Report on the “100th Anniversary of the Birth of Kyoko Asakura” Exhibition. Introducing 12 carefully selected pieces centered on sophisticated female figures

Ueno Royal Museum
Lisa, 1994, bronze

A solo exhibition commemorating the 100th anniversary of the birth of Kyoko Asakura (1925-2016), a representative contemporary figurative sculptor, "100 Years of Kyoko Asakura" was held at the Ueno Royal Museum Gallery from Sunday, May 11, 2025 to Wednesday, May 21, 2025. Admission is free.


Kyoko Asakura is the second daughter of sculptor Fumio Asakura, who led the Japanese sculpture world from the Meiji period through to the Showa period and is known for his outstanding naturalistic realistic expression.

She studied sculpture at the Asakura School of Sculpture, which was run by her father, and was first selected for the 5th Shinbunten Exhibition in 1942. She received several special selections at the Nitten Exhibition, and in 1952, at the young age of 26, she became the youngest and first female judge, but left the Nitten Exhibition as if to break away from the male-dominated society and various ties. From that point on, she produced many sophisticated, urbane female figures from a freer position, and established her own style. She remained active at the forefront of her field until her later years, passing away in 2016 at the age of 90.

This exhibition will introduce 12 selected pieces from the works donated to Taito Ward by her family after her death, mainly bronze works created after 1970. It was planned to promote the artist's appeal once again on the occasion of the 100th anniversary of her birth. The Ueno Royal Museum Gallery is also the venue where Asakura Kyoko held her last solo exhibition before her death.

Alisa, 2005, bronze, greeted visitors at the entrance
Exhibition view

According to Yasuko Tobari, a senior researcher at the Asakura Museum of Sculpture (※), who guided us through this exhibition, Kyoko Asakura was extremely particular about the models she used for her work, and sometimes it took her several years to select one. Most of the people who suited her glasses were young foreign or mixed-race women, with small faces, long limbs, and stylish figures.

(*) This is the studio and residence that Fumio Asakura had in Yanaka, Taito Ward, where Kyoko Asakura learned the basics of sculpture from her father. It is now open to the public as a museum.

"Tsky", 1977, bronze

The "Tski" series, which draws the viewer in with its bold features, features three pieces on display. One full-body figure is in a strange pose, as if dancing, fully expressing the beauty of the statue's well-honed proportions. The sculptor's solid skill can be seen in the symmetrical expression of the muscles, with the taut lower body and relaxed arms, seen in the unique dynamic stance, and the sense of balance that allows the statue to stand on its tiptoes.

In the foreground is "Tski", 1978, bronze

The elegant "Hat," featuring a large hat pulled down over the artist's eyes, is one of Kyoko Asakura's favorite pieces. Her facial expression cannot be seen from the front, but the beautiful expression of her hands spread open around her chest adds a charming touch to the piece, and the impression it gives changes depending on the height and angle of your gaze.

"Hat", 1976, bronze

According to Tobari, it was from this production onwards that this type of hand expression became an accent in Asakura Kyoko's works.

"The sculptor Tadayoshi Sato has written, 'It's true that hands are quite attention-seeking, and if you let your guard down for even a moment, they will start chattering away and turn into vulgar sculptures.' However, in Kyoko's works, which effectively use the expression of hands as seen in Hat, it feels as though she is creating a time and space that seems to be in dialogue with us as we confront the work."

In the foreground is "Christine", 2000, bronze

One piece that particularly caught the eye at the venue was "F" (later renamed "Rest" ), a rare male figure among Asakura Kyoko's works, modeled on singer Akira Fuse. The piece depicts a busy young singer taking a break on a terrace during his free time, and won the 7th Nagano City Outdoor Sculpture Award in 1979. The fact that part of the foot protrudes from the black base is the sculptor's intention to show an image of a relaxed mind.

F (Rest) 1978, bronze

As an aside, Kyoko Asakura's works are scattered throughout public spaces all over Japan, and this one is also installed in Shiroyama Park in Nagano City, Nagano Prefecture. In this idyllic location, where the greenery spreads out, the title "Rest" is perfectly suited to the piece, the figure stretches its toes out from the stone pedestal onto the ground, relaxing and stretching out as if on a picnic, which is likely to give the viewer a sense of mental space.

Lisa, 1994, bronze

At the very back of the venue, "Lisa," which was also chosen as the main visual for this exhibition, was on display. It is a sculpture that sublimates a woman's natural standing posture, and Tobari says that its distinctive feature is that it is "flawless" from any angle, 360 degrees.

"In many cases, a work of art has a front, or when you stand facing the work, it is the side that the sculptor wants to show. In Kyoko's case, the pose is fixed no matter what angle you look at the work from. Kyoko's works do not have the weaknesses that humans have. This work makes you realize this. I think this work presents one answer to what sculpture means to Kyoko."

Lisa, 1994, bronze

Tobari also asked people to pay attention to the feet of the piece.

Apparently, it takes a great deal of skill to make a sculpture stand on two legs. You often see sculptures where the ground beneath the feet is one with the work. This is called "jiama" and acts as a weight to adjust the center of gravity of the work.

"One sculptor said that it's easier to adjust the balance if you leave some 'room', but this piece doesn't have that. What's amazing about Kyoko-sensei is that she manages to achieve such difficult feats with such ease. This piece was made by creating a plaster mold from a clay prototype, then pouring in bronze to finish it. To make it stand like a human being, and to achieve the shape and balance out of clay, it is essential to study the human body. When you imagine that process, you can see that Kyoko's stylish works are made possible by keen observation and outstanding technical skill."

Looking at the work as a whole, it is surprising that although it has been a while since it was created, the female figures do not feel dated at all. One of the reasons why it has achieved timelessness as a work of art is the fashion, which is simple and makes the most of the beauty of the body. With her fingers in her jeans pockets and a dignified expression, she is not trying to be too cool. The natural and free female figure seems to overlap with the figure of Kyoko Asakura, who struggled away from her father's protection in the still male-dominated art world.

There were also a few abstract sculptures on display. Original Title Unknown, Year of Production Unknown, FRP

Finally, Tobari offered the following opinion on the appeal of Asakura Kyoko's work:

"Fumio Asakura's works tend to be installed at a high position, so many of them are viewed by looking up. Kyoko's works, in contrast, are often installed at the same height as the viewer. The space and the work become one, creating a sense of ease and closeness, as if we are blending into the work. I think this is a big attraction, and that is why his works are still installed in outdoor public spaces and are familiar to people."

Kyoko Asakura's sculptures are like a kind of refreshing agent, bringing a breath of fresh air to the cityscape. Even if you missed this exhibition, we encourage you to seek out Kyoko Asakura's works, many of which are scattered around Tokyo, and experience their lively atmosphere and universal beauty.

The Asakura Museum of Sculpture is set to hold a special exhibition entitled "ASAKURA Kyoko: 100 Years Since Birth" from Saturday, September 13th to Sunday, December 14th, 2025. This will be the first time that the museum will exhibit a sculptural space created by father and daughter Asakura Fumio and Kyoko. For more details, please see the Asakura Museum of Sculpture's official website .

[Reference] Articles about past exhibitions are available.
Special exhibition commemorating 60 years since the death of Asakura Fumio: "Wonderful Cat Life: Asakura Fumio and Cats, and Sometimes Dogs"
(Duration: Saturday, September 14, 2024 to Tuesday, December 24, 2024)

Overview of the "100th Anniversary of the Birth of Kyoko Asakura Exhibition"

venue Ueno Royal Museum Gallery
Dates May 11, 2025 (Sun) – May 21, 2025 (Wed)
Opening hours 10:00-17:00
Admission fee free
Museum official website https://www.ueno-mori.org/

Asakura Museum of Sculpture (7-18-10 Yanaka, Taito-ku)

Opening hours 9:30-16:30 (entry until 16:00)
Closed Days Mondays and Thursdays (open on public holidays)
Admission fee Adults: 500 yen / Elementary, middle and high school students: 250 yen
TEL 03-3821-4549
Asakura Museum of Sculpture Website https://www.taitogeibun.net/asakura/

*The content of this article is from the time of the interview.


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