たいとう文化発信プログラムCMS

Tokyo Metropolitan Art Museum

We have received a report from Tokyo Metropolitan Art Museum on the special exhibition “Listening to the Earth: Presence and Texture,” which opened on Saturday, July 20, 2024, so we would like to share it with you.

---

The Tokyo Metropolitan Art Museum’s special exhibition, “Listening to the Earth: Presence and Texture,” opened on Saturday, July 20th. The exhibition features works by five contemporary artists who are deeply connected to nature and continue to create, conveying the breath of the earth, which is difficult to hear in our human-centered lives. A press preview was held on Friday, July 19th, and the exhibition was open to the press. This article reports on the exhibition commentary by Ohashi Natsuko, the curator in charge of the exhibition, and the participating artists.

■ The feeling and texture of listening to the earth
■Saturday, July 20, 2024 to Wednesday, October 9, 2024

Curator Natsuko Ohashi, who was in charge of this exhibition, explained the background of the project, saying, “Over the past dozen years, there have been many times when we have felt the convenience of living in a big city, along with its fragility, such as the Great East Japan Earthquake and the spread of COVID-19. In addition to feeling the fragility of the city, I also felt that nature was somewhat distant, and that my ability to sense not only the changing of the seasons, but also the state and changes of nature, was gradually weakening. This was the big trigger for me to proceed with the research,” and the exhibition features artists who have left big cities to sharpen their senses in nature and create their works.

The participating artists are five people who have a deep connection with nature in their work: Kawamura Kiichi, Furusaka Haruka, Mimoko Machiko, Kurashina Mitsuko, and Enomoto Yuichi.

As you enter the exhibition hall (Gallery C) just after descending the escalator at the entrance, you will find an installation of photographs by Kiichi Kawamura in a high-ceilinged, open space. Born and raised in Tokyo, Kawamura (born in 1990) moved to the Shiretoko Peninsula in Hokkaido in 2017 and continues to work as an artist.

“It is a place known as a World Heritage Site. Brown bears, killer whales, and sometimes whales come here, and while it is rich in nature, it also lives in a very harsh environment. Rather than the so-called nature photography that puts the word “nature” in quotation marks, I create my work with the desire to express myself as a resident living there, feeling the local climate with my own skin,” he says. In the autumn of his second year after moving here, he obtained a hunting license and went into the mountains to hunt. Although he started out with a desire to learn more about nature and animals, at first he felt that he was not accepted by the forest and it was difficult to meet animals. If you do not understand the terrain and the ecology of the creatures living in that area, you cannot walk through the area or reach your prey.

“I live in Shiretoko because I’m conscious of the issues that you can’t feel or understand in the city, but rather than looking at the ecosystem from the outside through hunting, I want to be part of it, and link the spirituality and process of the act with the expression of photography.” (Kawamura)

The photographs printed on fabric capture Kawamura’s daily life, including his life with his Ainu dog Upashi, who is a member of his family, and the scenery of Shiretoko. Framed in wooden frames made in Hokkaido, the photographs are hung with ropes used for outdoor camping, forming the exhibition space. In consideration of the environment and respecting the architecture of the museum, no new walls were erected for the exhibition. The way the works are comfortably arranged in the space will be a fresh sight for viewers. The wooden frames are foldable. The artist himself packs them all into his car and transports them to the venue, where they are exhibited. After the exhibition ends, he folds them up again and drives them back to Shiretoko. This is probably also part of the process that Kawamura, who values the continuity of life, production, and exhibition, speaks of.

Woodblock artist Furusaka Haruka was born in Osaka Prefecture. After spending time in Finland, Norway and other parts of Northern Europe, she began working in Aomori in 2017, interviewing people who live in harmony with nature. This exhibition features three themes: the print series Duodji of Reindeer Mountain, which was created in response to her fascination with the handicrafts of the nomadic Sámi people of Northern Europe; Soma’s Boat and Voice of a Message, which were created after extensive research in the mountainous regions of Aomori and Minami-Tsugaru.

Furusaka sees the trees in his woodblock prints as a way to connect with nature. He says that this view was largely influenced by his first stay and production in a Sámi village in 2003. Since then, he has communicated with the Sámi villagers via e-mail and other means, gradually learning what it is like to live alongside the harsh natural environment.

“Reindeer Fur” was inspired by the Sámi people, who have long survived in regions where temperatures can reach minus 40 degrees Celsius by wearing reindeer fur. When they catch a reindeer, they use everything from the fur to the bones and tendons to survive. For Furusaka, woodblock prints are like reindeer to the Sámi. Making woodblock prints made him want to live like the Sámi and reindeer, so he started making prints by making use of the shape and grain of the solid wood and using dirt he picked up as paint. This was the beginning of the “Duoji of Reindeer Mountain” series.

In “Weaving,” people tie warp threads to trees in the forest, adjust the tension, and feel the lightness of doing handiwork in nature, as well as the comfort of being there. “I recorded their words about how to behave in nature and created my work,” he says.

In 2017, he turned his attention to Japan and began to visit Aomori to interview people who have lived with the harsh winter. For this exhibition, he produced a large woodblock print that matches the ceiling height of the venue. He was present from the felling of the wood for the printing block in the lacquer forest, and printed the new work using lacquer sap from Aomori and indigo that he grew himself. Not only the woodblock prints but also the printing blocks are exhibited at the venue, creating an exhibition space resembling an Aomori grove. In addition, natural materials such as lacquer sap, indigo, and soil that Furusaka uses as paint are also exhibited. In “Vessel that Makes Lines,” Aomori hiba is thinly coated with mud collected in Aomori. As it dries, it cracks little by little to create lines in the installation, and you can observe how it changes as the exhibition period progresses.

In addition, a video is being shown that records the process of creating woodblock prints in response to the nature of his hometown. From harvesting indigo in summer, cutting down wood in winter, collecting soil, to carving and printing, the video shows how closely his hometown is connected to nature, and how the process of creating woodblock prints, which begins with growing the materials, takes an enormous amount of time and effort. The video was shot by Kiichi Kawamura, a participating artist in this exhibition.

The atrium exhibition room on the floor below (Gallery A) is home to the dynamic world of Machiko Mimoko’s work. Born in Osaka Prefecture, Machiko Mimoko moved to Amami Oshima in 2019 after 11 years of work in Tokyo. An “island” has been created in the center of the exhibition space, and many of the works she created on Amami Oshima are on display around it.

Miroko Machiko says that because the people of Amami Oshima live in harmony with nature, they have a strong ability to sense it.

“I realized that I had no ability to sense nature at all. I thought that it would be very important to acquire that ability, so I started watching every day to see what kind of movements and changes were occurring, and the nature on the island was very bustling. The movements were like those of a living thing, and I perceived them as living things that cannot be seen with the naked eye and created them.” (Miroko)

The painting on the inside of the wall that forms the island was painted on-site over a period of four days. The outside is surrounded by original illustrations from the picture book “Invisible Dragon,” which was published in 2023.

“I would like people to experience the story of the Invisible Dragon before entering the exhibition. Everything influences each other. When the wind blows, waves form, and small waves wash ashore as spray. I was conscious of these connections, and I didn’t have a set goal in mind when I created the work; I improvised. I have expressed the world that I see from the island, so I would be happy if people can sense the hustle and bustle of nature.” (Miroko)

The floor of “Island” is dyed with mud. After moving to Amami Oshima about five years ago, Miroco has come to realize that the natural materials of the island, which give her the energy of the earth, suit what she wants to express.
The video of the live painting “Umi-Matou,” which depicts the “buzz of light” in the forests of Amami Oshima, can also be viewed in a hut set up in a corner of the venue.

“When I paint outdoors, I receive the movement of the wind, the changes in light, and a lot of energy, and I express it instantaneously. The thing that is shaped by these things begins to look like a living thing. It is what is shaped as a living thing, and I feel that it is important for me to paint what I receive from my surroundings as if I am imprinting it on my body.” (Miroko)

For the people of Amami Oshima, mountains and forests are sacred places where gods reside. Rather than just entering the forest, Miroco says, “I just walked in at the entrance. The forest is full of roots and stones, so it’s hard to move around. I was overwhelmed with things I wanted to paint, but I think the pictures that emerged were like a conflict that I couldn’t paint. I took apart the clothes I was wearing during the creation process and used them as canvases or in other works, so they are connected to the original.” (Miroko)

The exterior walls of the hut in the video are also painted with a dye from a plant called hikagehengo, which grows abundantly in Amami.

Mitsuko Kurashina, whose works are on display at Gallery B, was born in Aomori Prefecture and currently lives in Tokyo. She began drawing botanical illustrations in 2001.

Observing the changes in plant habitats caused by the tsunami following the Great East Japan Earthquake (2011), he has been making regular visits to the affected areas since 2013, painting the vegetation in watercolors. This exhibition features two botanical paintings of the Kanto region that he created when he was unable to visit the disaster-stricken areas, as well as 15 paintings he created during his research in Iwate, Fukushima, and Miyagi prefectures.

The numbers in the titles of the works are the latitude and longitude where the plants depicted were located. Kurashina says this is very important because she wanted to “suggest that the place actually exists, while at the same time depicting a scene that was only visible at that time.” By carefully observing and drawing each of the plants, which she has named “tsunami plants,” Kurashina explains, “I will explore what happened in that place and why the plants took root there; whether the seeds of the plants were carried there by the tsunami, sprouted due to the stirring up of the soil, or were carried there by heavy machinery during reconstruction work.”

Works in progress are also on display. For this exhibition, Kurashina has put a lot of effort into creating a white wisteria. The wisteria we know generally has vines that grow upwards, entangle the wisteria trellis, and drooping flowers. However, this wisteria has vines that creep along the ground, grow leaves, and bloom white flowers. In 2016, Kurashina had the opportunity to see a photo of white wisteria creeping along the ground, and she was determined to paint it, so she went to the site to investigate, and began painting last year. It is rare for white flowers to bloom on the ground. Kurashina believes that it must take a lot of energy to make them bloom. It is also a rare opportunity to be able to see the work in progress.

Yuichi Enomoto (born in 1974) was born and raised in Tokyo, and since 2018 has had an atelier in Nemuro, Hokkaido, and since this year he has also had an atelier in Itoigawa, Niigata, where he creates his works.
This exhibition features oil paintings based on the landscapes of Nemuro and a new work titled “Frost”, which uses aluminum panels to resemble ice.

When viewed from a distance, Swamp and Trees appears to be a black and white abstract painting, but when viewed up close, trees become visible in the black canvas.

Curator Ohashi conveyed Enomoto’s words, “I remember feeling surprised, happy, and also scared at the sudden scene that appeared in the deep forest where no one was around and no one ever came,” and introduced the work as one that captured the nature that Enomoto encountered — piled up white snow — with a fresh sensibility. Because it is a work simply carved in black and white, it has room for viewers to freely connect it to their own memories and expand their imaginations.

Meanwhile, the ten new pieces in the series “Frost”, which are painted on aluminium panels, capture the expressions created by snow caused by the strong winds coming from the sea.

“Even if you don’t have the experience of walking on ice, the many pieces lined up create a space that feels like you’re surrounded by ice,” says curator Ohashi. The 10 pieces lined up make you imagine the countless beautiful shapes woven by nature in Nemuro in winter. Incidentally, the last small piece on display shows animal footprints on the snow. At first glance, it is a quiet, monochrome world, but it expresses the presence of living things and the sparkle of life that Enomoto felt in Nemuro.

 

At the end of the exhibition, there is a work that represents spring. It is a vessel-shaped work with the motif of Corydalis ambiguus, a perennial plant found in Hokkaido that blooms from April to May. It is a new work created by Enomoto at the end of the exhibition.

Next to it is a slideshow of photos taken by Enomoto as reference material for his work, showing the change of seasons from spring in Nemuro. Not only does it fully convey the fresh sensations that Enomoto felt when he was fascinated by Nemuro, which offers a completely different landscape from Tokyo, but it is also interesting that it includes photos that are closely related to the works on display, such as a landscape on a frozen lake and Corydalis ambiguus flowers.

As you wander through the space, where a variety of works by five contemporary artists are on display, including photography, woodblock prints, oil paintings, watercolors, and installations, you will be inspired to awaken the sense of connection with nature that humans have innately, but which we often forget.

The exhibition catalogue is accompanied by a piece of mud-dyed cloth made on Amami Oshima.
It is made in the same workshop that produces the mud dyeing used by participating artist Machiko Miroko in her work.

Photo by Wataru Suzuki

---

Exhibition details: Exhibition title: Listening to the Earth: Presence and Texture
The Whispering Land: Artists in Correspondence with Nature
●Period: July 20, 2024 (Saturday) to October 9, 2024 (Wednesday)
●Venue Tokyo Metropolitan Art Museum, Galleries A, B, and C
●Closed on Mondays, September 17th (Tues), September 24th (Tues) *Open on August 12th (Mon. holiday), September 16th (Mon. holiday), September 23rd (Mon. holiday)●Opening hours 9:30am-5:30pm, 9:30am-8pm on Fridays *Last entry 30 minutes before closing●Admission fee: 1,100 yen for adults, 700 yen for university and vocational school students, 800 yen for those 65 and over, free for high school students and younger*For details on discounts, such as the Summer Night Museum Discount, please visit the official exhibition website.
●Organizers: Tokyo Metropolitan Foundation for History and Culture, Tokyo Metropolitan Art Museum ●Special cooperation: Tsugawa Co., Ltd. ●Cooperation: Hokureki LLC, Mishimasha Co., Ltd., Gallery Camellia, Aomori Contemporary Art Center, Aomori Public University ●Contact: Tokyo Metropolitan Art Museum 03-3823-6921
For the latest information on events, please visit the official exhibition website.
https://www.tobikan.jp/daichinimimi

 

Article provided by: Kokosil Ueno

---

See other exhibition information

Tokyo National Museum

The special exhibition “Jingo-ji Temple – Kukai and the Origins of Esoteric Shingon Buddhism” commemorating the 1200th anniversary of its founding has opened at the Tokyo National Museum, showcasing the treasures of Jingo-ji Temple in Kyoto, the birthplace of Kobo Daishi Kukai and Esoteric Shingon Buddhism . The exhibition will run until Sunday, September 8, 2024.

*Some of the works on display will be changed during the exhibition period.
Early exhibition: July 17th (Wednesday) – August 12th (Monday/Closed)
Late exhibition: August 14th (Wednesday) – September 8th (Sunday)

A sacred place for Esoteric Shingon Buddhism, where 1200 years of treasures are gathered together

Jingo-ji Temple (Jingokokuzo Shingon-ji Temple), located in Takao, Kyoto, was established in 824 when two temples, Takao-san-ji Temple and Shingan-ji Temple, merged. Takao-san-ji Temple was the family temple of Wake no Kiyomaro, who proposed moving the capital to Heian, and was the residence of Kukai (774-835), who had systematically studied esoteric Buddhism in Chang’an, the capital of the Tang Dynasty, after returning to Japan, and where he built the foundations of Shingon Esoteric Buddhism.

After Kukai passed away, the temple fell into ruin due to fires and other incidents, but was restored thanks to the efforts of the Shingon monk Monkaku, who was supported by Emperor Goshirakawa and Minamoto no Yoritomo. Even after that, the temple has endured many crises, including the Onin War, the destruction of Buddhism and Shingon temple land during the Meiji Restoration, and more, but it has continued to preserve the light of the Dharma to this day.

This exhibition is being held to commemorate the 1,200th anniversary of the founding of Jingo-ji Temple and the 1,250th anniversary of the birth of Kukai in 2024.

The core of the exhibition are the treasures that Jingo-ji Temple has protected and passed down over the turbulent years of 1,200 years, such as the principal image of the temple, the National Treasure “Standing Statue of Yakushi Nyorai,” known as one of the greatest masterpieces in the history of Japanese sculpture, and the National Treasure “Ryokai Mandala (Takao Mandala),” associated with Kukai, which has been restored over a period of six years. This exhibition is unparalleled in both quality and quantity, showcasing around 100 masterpieces of Japanese art, not just Buddhist art, including 17 National Treasures and 44 Important Cultural Properties.

The exhibits are structured to trace the history of Jingo-ji Temple.
At the beginning of the exhibition, the exhibition symbolically features the Maple Viewing Screen, which depicts people enjoying a banquet with maple leaves lined up along the clear Kiyotaki River that flows through Takao, with the sacred Jingo-ji Temple overlooking the clouds. The display conveys the atmosphere of Jingo-ji Temple, which has long been beloved as a scenic spot for viewing autumn leaves and continues to fascinate people today with its beautiful scenery.

There are many temple treasures related to the national treasure “Takao Mandala”!

The highlight of the first half of the exhibition is the National Treasure “Ryokai Mandala (Takao Mandala),” the oldest existing Ryokai Mandala in Japan. Of the two mandalas, the “Taizōkai” will be exhibited in the first half, and the “Konjōkai” in the second half, alternately.

The Ryōkai Mandala is a pair of two scrolls that visualize the universe centered on Dainichi Nyorai as preached in Shingon Esoteric Buddhism, that is, the two worldviews of the Vajrayana world, which shows the path to enlightenment, and the Garbha world, which represents the expanse of compassion. This work, also known as the Takao Mandala because it was handed down to Takao-san Jingoji Temple, is also extremely valuable in that it was produced directly based on the mandala that Kukai brought back from China during the Tenchō era (824-834) at the request of Emperor Junna.

Looking at the huge screen, about 4 meters square, many Buddhas and Bodhisattvas are neatly painted with flowing lines of gold and silver on twill silk woven with a pattern of flowers and phoenixes using a purple dye called “Shikon,” which was rare at the time. The number of Buddhas and Bodhisattvas is overwhelming, with 1,461 in the “Kongokai” and 409 in the “Taizokai.” There were detailed rules for each face and possession, and no mistakes were allowed, so I couldn’t help but imagine how much time and energy must have been spent on the creation of these works.

On the same floor, a full-sized copy of the Takao Mandala created during the Edo period is also on display. Both of these paintings are on display throughout the year. Compared to the original, which is noticeably damaged, the lines and the vivid colors of the silk are clearer, and the elegant atmosphere of the original is beautifully expressed, so it’s a must-see to compare them together.

If you would like to know more about the appearance of the various deities, you can refer to the Takao Mandala Images, which are ink outline copies of the images, or to the explanatory video shown in a separate room.

There are records of two repairs to Takao Mandala in the past: the first was carried out by Emperor Gouda in 1309 during the Kamakura period, and the second was carried out by Emperor Kokaku and Emperor Gosakuramachi in 1793 during the Edo period. This is the third time the mandala has been open to the public, after undergoing major repairs for the first time in about 230 years, which took place from 2016 to 2022.

Exhibits such as the old storage box for the Takao Mandala, which contains notes on the two repairs, and the restoration notes written by Emperor Go-Uda himself, convey some of the feelings and faith of our ancestors who wanted to pass on the Takao Mandala, which is considered the foundation and model of mandalas handwritten by Kukai, to future generations.

A special exhibition room with impressive statues has also been created! The stern gaze of the principal image, the Yakushi Nyorai standing statue, is piercing

In the second half of the exhibition, a wave of sculptures from Jingoji Temple appears on display.

The oldest esoteric Buddhist statues at Jingo-ji Temple, the Five Great Seated Kokuzo Bodhisattvas , were erected by Kukai’s disciple Shinzai at the request of Emperor Ninmyo as Buddha statues to be placed in the pagoda. These secret Buddha statues are open to the public twice a year at Jingo-ji Temple, and this exhibition marks the first time that all five statues will be displayed together outside the temple.

The Five Great Kokuzo Bosatsu are said to be five parts of the virtue of Kokuzo Bosatsu, who endows people with infinite wisdom and good fortune, or to be the incarnations of the Five Wisdom Buddhas of the Vajrayana Realm. This work is thought to be modeled after early esoteric Buddhism iconography such as the Takao Mandala, and the highlights are the refined facial features with long, narrow eyes and plump lips, as well as the expression of fleshiness.

It is said that for Kukai, this in itself was a kind of mandala, and at the venue, the four statues were arranged in a circle with Hokkai Kokuzo at the center, creating the appearance of a three-dimensional mandala. When you stand in front of it, you feel as if you are enveloped in a mysterious atmosphere created by the almost identical seated statues.

The final exhibition room is lined with only masterpieces of standing statues, creating a solemn atmosphere. In the center is the principal image of the temple, the “Standing Statue of Yakushi Nyorai,” which is also on public display outside the temple for the first time. It is not an esoteric Buddhist statue, but is thought to have been enshrined at one of the temple’s predecessors and was brought to Jingoji by Kukai.

Many unique Buddhist statues were created between the end of the 8th century and the beginning of the 9th century, but this statue stands out among them all. Its greatest feature is its stern gaze that makes you instinctively straighten your posture. Combined with its firm mouth, it exudes dignity.

One of the great attractions of this exhibition is that it allows visitors to enjoy the beauty of the sculpture, which can usually only be viewed from the front as it is enclosed in a shrine at Jingoji Temple, from a variety of angles.

The statue is carved from a single piece of wood, excluding both arms, and its thighs, which overhang more than one would imagine from the front, emphasize its thickness. The left sleeve is decorated with a honpashiki fold pattern, which alternates between large round waves and small, ridged waves, and the depth of the carving creates an even more profound feeling. The honpashiki fold pattern is a characteristic of early Heian sculpture, but it is said that it is rare to see such a beautiful and clear statue.

Why did Kukai choose this statue, which is not an esoteric Buddhist statue, as his principal image? The reason is unclear, but Shiro Maruyama, a researcher at the Tokyo National Museum, explains as follows:

“Even more than Esoteric Buddhism placed great importance on form, I believe Kukai himself probably had a deep interest in form from the start. How did Kukai feel when he received this statue? I hope this exhibition will give you the opportunity to think about it.”

Surrounding the main image are the Four Heavenly Kings and the Twelve Heavenly Generals . At Jingoji Temple, they are placed close together, but here they are spaced out and spaced apart. Furthermore, the lighting makes the silhouettes of the statues, which are in unique poses, stand out in the background, beautifully highlighting their dynamic expressions. It was such a spectacular sight that I was entranced for a while.

The special exhibition “Jingo-ji Temple – Kukai and the Origins of Shingon Esoteric Buddhism,” where you can experience the spirit and thought of Kukai, will be held until Sunday, September 8, 2024.

Summary of the special exhibition commemorating the 1200th anniversary of the temple’s founding, “Jingo-ji Temple – Kukai and the origins of Esoteric Shingon Buddhism”

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

---

View other reports

National Museum of Nature and Science

Insects are the largest group of living organisms on Earth, accounting for more than half of all reported species. A special exhibition called “Insect MANIAC” has opened at the National Museum of Nature and Science, delving into this unknown world from a variety of unique perspectives. The exhibition will run until Monday, October 14, 2024 (national holiday).

There are approximately one million species of insects that have been named by humans. Although they are the wild animals that live closest to humans, only a handful of species are generally recognized. Furthermore, even for insects whose names are known to everyone, there are many cases where their ecology is shrouded in mystery, or where they hide interesting secrets that only researchers know.

This exhibition features a wide range of insects, from giant beetles over 10 cm long to tiny bees less than 1 mm long, and even spiders, centipedes, and other terrestrial arthropods that are also called “mushi” (insects). Five researchers from the National Museum of Nature and Science interweave precious specimens and the latest insect research to delve deeply into the overwhelming diversity of insects, one step beyond the knowledge you can get from books and illustrated guides.

Although it is a niche subject, the venue has set up an introductory section called “Zone 1: Insects and Bugs” where basic information such as the differences between insects and bugs and their characteristics is reviewed, so even those who are not familiar with insects need not worry.

The next section, “Zone 2: Diverse Insects,” is the main section of the exhibition. It is divided into five doors according to the researchers’ specialties. The “Dragonfly Door” introduces incomplete metamorphosis insects such as dragonflies, grasshoppers, and cicadas, the “Bee Door” introduces bees and flies with membranous wings, the “Butterfly Door” introduces butterflies and moths, the “Rhinoceros Beetle Door” introduces beetles such as rhinoceros beetles and stag beetles, and the “Spider Door” introduces the world of arthropods other than insects, such as spiders, centipedes, and scorpions. Each door deals with content related to three keywords: “The key to diversification,” “New common knowledge about insects,” and “Food, clothing, and shelter for insects.”

Five giant models, each of which was carefully designed by researchers with great attention to detail, await visitors as landmarks in each area.

It’s a little different from a typical insect exhibition. For example, the model of the Ezo longhornet does not show a cool flight, but rather reproduces the indescribable appearance of the insect deforming its body to lay eggs. The surprise of “That’s what you’re paying attention to!?” is also one of the best parts of this exhibition.

As someone who is not very knowledgeable about insects, this exhibition was full of surprises.

For example, the societies formed by insects. The familiar ecology of hornets and honeybees, where worker bees and queen bees live in groups and divide up the tasks of labor and egg-laying, is rather rare in the Hymenoptera order, which has about 150,000 species, and there are overwhelmingly more solitary bees. This is a low level of knowledge in terms of mania, but I was shocked because I had the fixed idea that “bees are insects that live in groups.”

In addition to the “eusocial” ecology of bees, in which they live in groups, there are various other ecologies, such as “solitation,” in which bees basically live alone after the mother bee leaves after laying eggs, “subsociality,” in which the mother bee feeds the hatched larvae even after laying eggs, and “worker parasitism,” in which bees depend on other bees to build nests and gather food. For this reason, bees are said to be of great interest as research material for considering the evolution of sociality in insects.

The exhibit on gender diversity was packed with some pretty nerdy stuff, and one thing that caught my eye was a unique “ginandromorph” (hermaphrodite) specimen that has both male and female characteristics.

Among many individuals of the same species, ginandromorphs can occasionally occur, and in the case of butterflies in particular, many examples have been found in which the butterfly is clearly divided into left and right wings along the center line. The exhibit also features an even rarer ginandromorph specimen in which the left forewing and right hindwing are male characteristics, and the right forewing and left hindwing are female characteristics. The symmetry of each butterfly is beautiful, and one cannot help but feel the mystery of life.

At the venue, you can not only observe the complex, strange, and beautiful visuals of insects as they are, sometimes even under a microscope, but you can also enjoy elaborately presented specimens that are not just displayed in a monotonous manner.

For example, different sized rhinoceros beetles and stag beetles are arranged in a gradational circle to create a stylish piece of art, or a single different species of butterfly is mixed in with a row of the same butterfly to create a spot the difference game. The arrangements are well-balanced to entertain visitors.

The specimens of insects with “structural colors” such as the iridescent color of the Japanese jewel beetle, which are produced not by pigments but by the interaction of sunlight with fine structures, looked like an unusual jewelry box. The gemstone weevil, which lives around New Guinea and has structural colors on its body surface called phoronic crystals, was extremely beautiful, shining brilliantly in green, blue, and purple depending on the angle.

One of the attractions of this exhibition is that it allows visitors to experience the world of insects from various perspectives, not just by “seeing,” but also by “listening,” “touching,” and “smelling.”

In North America, there are two groups of cicadas, the 17th cicada, which emerges every 17 years, and the 13th cicada, which emerges every 13 years, known as “prime cicadas.” Both groups emerge in large numbers at the same time once every 221 years, which is a common multiple of 17 and 13 years, and as was reported in the news in Japan, 2024 was a lucky year.

The venue is filled with the sounds of various insects, but one spot in particular that is worth paying attention to as an experiential exhibition that allows you to “listen” is the spot where you can experience the chorus of the Prime Number Seminars. The research team traveled to Chicago, Illinois for this exhibition. The recordings, which reached a maximum of 85-86 decibels (the same level of noise as inside a pachinko parlor), are presented along with a travelogue.

As an experiential “smelling” exhibit, there is a spot that sprays out the scent of eucalyptus tallow, which is found in the essential oils of eucalyptus, which is favored by ground wasps, and skatole, which is found in their droppings. Ground wasps live only in Central and South America, and have a unique habit in the world of males collecting the scent components of flowers in order to approach females. Their glossy beauty is also a highlight.

The “touch” experience exhibit allowed visitors to touch real galls, which are nests made by aphid larvae that parasitize plants and create abnormal developments in the plant to protect themselves from predators. Although none of the exhibits were flashy, they were sure to stimulate intellectual curiosity.

The remaining zone, “Zone 3: Insects and People,” serves as an epilogue, looking into the world of insects that surround us and are part of our everyday lives, and thinking about the future of insects and people.

Depending on a person’s perspective, insects can be considered either pests or beneficial. The exhibit uses hornets as an example of a typical pest, explaining that while they pose a risk of stinging people, they also help to prevent damage caused by insects in farmland. By changing one’s perspective, the exhibit conveys that people’s lives are supported by an ecosystem made up of a diverse range of organisms.

At first glance, insects seem to live robustly even in cities where there is little natural environment left, and even inside homes, which can be a big deal for people who dislike insects. Interestingly, there is a hypothesis that even if people see the same insect, they feel more psychological disgust when they see it inside the house than outside. Furthermore, it is possible that the fact that urbanization has reduced the opportunities to see insects on a daily basis is the reason why people dislike insects as “mysterious things.”

Therefore, the caption of the epilogue also included an advice-like statement: “By learning about each individual bug and why you don’t like them, you may be able to ease your aversion to all bugs a little.”

The exhibition made visitors think naturally about the tiny world of insects, most of which are unnoticed by humans, yet they are inseparable from our lives and are our closest neighbors.

In addition, this exhibition will also feature a specimen of the Motonarihimekobaenagakushi, a new species of insect discovered by Yoshiaki Yamane of the comedy duo “Ungirls” while recording a program called “Motonari.” in the mountains of Hiroshima in 2023.

As a result of this discovery, Ungirls became the official supporters of this exhibition. Yamane, who appeared at the opening talk held prior to the opening, recalled that when the new species was discovered, Yoshihiro Senda, a researcher at the Hiwa Natural Science Museum who accompanied him, pointed out to him that “this is rare,” but Yamane didn’t take it seriously, thinking it was just flattery for television.

His partner, Takuji Tanaka, continued, “Yamane wanted to finish the location early, so instead of going deep into the mountain, he quickly scooped up some suitable soil near the entrance and found the new species. On the other hand, that was a place that the teacher would not look for.” He laughed and analyzed that the reason for the new species discovery was Yamane’s “sloppiness.”

It seems that new species of insects are surprisingly close to us, but we just don’t notice them. At the end of the exhibition, researchers are introduced to the perspectives, techniques, and tools they use to search for insects, so it might be interesting for students to try discovering a new species of insect as their summer vacation independent study project.

The special exhibition “Insect MANIAC” will be held until Monday, October 14th (national holiday).

Overview of the special exhibition “Insects MANIAC”

Dates	July 13, 2024 (Sat) – October 14, 2024 (Monday/Holiday)
venue	National Museum of Nature and Science (Ueno Park, Tokyo)
Opening hours	9:00-17:00 (Entry until 16:30) *However, opening hours will be extended until 7:00 p.m. every Saturday and from August 11th (Sun) to 15th (Thu) (entrance until 6:30 p.m.)
closing day	September 2nd (Monday), 9th (Monday), 17th (Tuesday), 24th (Tuesday), 30th (Monday)
Admission fee (tax included)	Adults and university students: 2,100 yen; elementary, middle and high school students: 600 yen *Free for preschool children. * Free for those with a disability certificate and one caregiver. *For further details, please check the official website.
Organizer	National Museum of Nature and Science, Yomiuri Shimbun, Fuji Television Network
inquiry	050-5541-8600 (Hello Dial)
Exhibition official website	https://www.konchuten.jp/
Supervisor	Tatsuya Ide [General Supervisor, Wasps] / Researcher, Terrestrial Invertebrate Research Group, Animal Research Department, National Museum of Nature and Science Shuhei Nomura [Coleoptera] / Group Director, Terrestrial Invertebrate Research Group, Animal Research Department, National Museum of Nature and Science Takeshi Jinbo [Butterflies and Moths] / Principal Researcher, Terrestrial Invertebrate Research Group, Animal Research Department, National Museum of Nature and Science Takuya Kiyo [Odonata] / Principal Researcher, Terrestrial Invertebrate Research Group, Animal Research Department, National Museum of Nature and Science Kenichi Okumura [Arachnida] / Researcher, Terrestrial Invertebrate Research Group, Animal Research Department, National Museum of Nature and Science

*The contents of this article are current as of the date of coverage (July 12, 2024). For the latest information, please check the official exhibition website.

---

View other reports

National Museum of Western Art

The exhibition “Naito Collection: Manuscripts – A Microcosm of the Elegant Middle Ages,” which explores the charm of illuminated manuscripts that were popular in medieval Europe, is currently being held at the National Museum of Western Art. The exhibition will run until Sunday, August 25, 2024.

A manuscript is a book that was popular in Europe before the invention of printing technology in the 15th century . It was produced by hand copying text onto vellum, paper made from thin animal skins, and required an enormous amount of time and effort .

Manuscripts were often lavishly decorated and illustrated, and at times became extremely luxurious items; however, they were a major medium of communication for people at the time, and also played an important role in supporting the Christian faith.

The “Naito Collection” in the title of this exhibition refers to a collection centered on manuscript leaves (individual leaves separated from a book) collected by Hirofumi Naito, professor emeritus at the University of Tsukuba and Ibaraki Prefectural University of Health Sciences. It is one of the largest manuscript collections in a Japanese art museum, and was donated to the museum in 2015, with 26 more manuscript leaves added in 2020.

This large-scale exhibition, featuring approximately 150 items from the majority of the Naito Collection as well as items housed in university libraries around Japan, explores the role of each manuscript and the world of medieval illuminated art*, in which text and pictures are integrated.

(Note: The decoration of manuscripts is called “illuminated” due to its shining, extensive use of gold.)

The exhibition is divided into nine chapters based on the purpose of the parent manuscripts to which the leaves originally belonged: Chapter 1: The Bible, Chapter 2: Psalms, Chapter 3: Manuscripts for the Breviary, Chapter 4: Manuscripts for Mass, Chapter 5: Other manuscripts used by the clergy, Chapter 6: Books of Hours, Chapter 7: Calendars, Chapter 8: Canon Laws and Books of Oaths, and Chapter 9: Secular Manuscripts .

A typical example of manuscript decoration is the initial .

Initials were ornately decorated letters at the beginning of a sentence. They were not only pleasing to the eye, but also served to mark the beginning of important sections of the text or to separate clauses. What’s interesting is that the type of decoration could indicate the hierarchy of the initial, and therefore of the text.

For example, in the center left of the page of the “Liturgical Psalm Leaf” there is a large letter “B”, and in the upper part of the “B” there is a figure of God blessing, and in the lower part there is a figure of David, the traditional author of the “Psalm”, playing an instrument. In this way, a depiction of a story scene or person in the space inside the letter is called a “narrative initial”.

There are other types of initials, such as “champagne initials” with gold letters on a colored background and “filigree initials” with lines around the letters, but in terms of hierarchy, narrative initials are at the top. By showing the core text with the most prominent narrative initials, they visually assisted the reader in understanding the text.

The Liturgical Psalms are a compilation of the texts of the Psalms from the Old Testament, as well as hymns and prayers, for the Divine Office , a worship service held at set times eight times a day in monasteries and churches.

The Naito Collection contains many leaves from Bible manuscripts produced in 13th century England and France, and the Bible Leaf showing the beginning of Genesis is a representative example of this.

Among the densely packed, detailed layout of a huge number of characters, the gold-bordered decoration that runs vertically across the page catches your eye, but you’ll be surprised to find out that it’s actually a giant “I” for the story. It’s a scale befitting the beginning of a grand story. In a small circle of just 2cm in size, it intricately depicts the story from God’s creation of all things to Cain’s murder of Abel.

Leaf of the Zwolle Bible, produced in the late 15th century in the town of Zwolle in the North Netherland (near present-day Netherlands), is a leaf that emphasizes the letter “D” including the initial of the story. I was captivated by its neat and tidy beauty.

Initially, monks and nuns were responsible for copying and illuminating the manuscripts, but gradually lay artisans began to join in. The refined typeface seen in this work, which looks almost impossible to have been handwritten, was created by the renowned calligrapher Jacobus van Enkhuisen, who is said to have spent 14 years copying the entire volume.

This harmonious layout is the result of juxtaposing three versions of the Psalms, each with a narrative initial depicting a scene from David’s life, such as David carrying the Ark of the Covenant to Jerusalem.

In some cases, initials indicate for whom the manuscript was produced and the occasion for which it was used, for example, the initial “C” on the Liturgical Poems Leaf depicts a Franciscan friar singing in front of a lectern, indicating that the original manuscript was produced for the Franciscan Order.

Incidentally, border decorations that use plant motifs to fill the margins of the pages, as in this work, are common among manuscripts, but on closer inspection this work is quite unique in that, among the graceful, vividly colored flowers and plants, there is the head of a strange old man, perhaps a monk.

There were also other leaves at the venue with mischievous-looking decorations in the margins, perhaps as a sign of the artist’s playfulness, and it was fun to check out every page.

The Breviary, which contains all the texts to be read during the Divine Office, was originally kept by the priest who conducted the service, but gradually became popular among ordinary believers as well.

Among them, the leaf of the “Breviary of Leonello d’Este”, commissioned by the Este family who ruled the Italian city of Ferrara in the 15th century, is a gorgeous example of the utmost luxury for secular believers. The frame decoration, with its gold studded and fine lines like threads, is reminiscent of the sparkle of lavish jewelry and is nothing short of magnificent.

The decoration was done by Giorgio D’Alemagna, one of Ferrara’s leading manuscript illuminators, and although the overall style is late Gothic, the Renaissance was already underway in Ferrara at the time, and the way the figures are depicted within the initials shows some Renaissance influence.

Because manuscript decorations have been preserved within books and have avoided scattering and damage compared to murals and tapestries, they can be considered valuable witnesses to medieval art. This work, too, is a good example of a period in which the essence of two aesthetic sensibilities at the time of the transition in fashion is sealed away.

Of course, there are also many Zeroyo leaves that, rather than being decorated with initials, feature miniatures (illustrations) that are assigned their own independent space on the page.

The Prayer Book Leaf features an illustration of Christ surrounded by a trompe l’oeil-style decoration of flowers and insects scattered on a gold background (a type of optical illusion that was popular in Ghent and Bruges around 1500). The leaf was originally produced to be inserted into an existing manuscript to enhance its aesthetic value, but the owner added an embroidered border to it and used it in worship in the form of a small painting.

The exhibition also included non-Christian “secular” manuscripts, such as encyclopedic works and identity cards. As a result of the research, the exhibition also featured parent manuscripts of the zero leaf, which were identified based on the content of the copied text, the typeface, and the style of decoration, as well as sister leaves that had been separated from the parent.

Illuminated manuscripts were sometimes used as status symbols for their owners, or were lavishly decorated to satisfy aesthetic tastes. Some collectors cut out only the decorative parts, and they were cherished as first-class works of art that went beyond the realm of books. Although many of them are small in size, they are infused with the same aesthetic sense as the Western paintings we usually see in museums, and are in no way less impressive. Why not visit this exhibition and reflect on the aesthetic sense of the people of the Middle Ages, who probably read books with a different sensibility than we do today?

Summary of “Naito Collection Manuscripts – A Microcosm of the Elegant Middle Ages”

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

---

View other reports