MIHARA KEN (B

Total Page:16

File Type:pdf, Size:1020Kb

MIHARA KEN (B MIHARA KEN (b. 1958) Mihara Ken's unique style is the culmination of a thoughtful dialogue between potter and clay. Using materials from his native Shimane prefecture, Mihara constructs each work through an organic creative process. His hand-formed works possess a strong linear quality while at the same time incorporating soft, delicate curves to create a unique combination of subtlety and solidity. Elegant shapes, often drawn from ancient forms or more currently inspired by the tradition of origami, are fully sculptural and successful from every vantage point. With repeated firings at high temperatures, the surfaces of these vessels radiate subtle and soft colors ranging from deep gray to peach to misty white and purple. While younger than most of his equally prominent colleagues, Mihara is able to convey in his vessels a confident design sense, sophisticated style and brilliance of execution of a far more mature artist. This creative brilliance has been widely recognized by Japanese critics as evidenced by the awarding of numerous prestigious prizes and grants. 1958 Born in Shimane Prefecture 1981-82 Studied with Funaki Kenji 1999 Featured in NHK program, Yakimono tanbô [Visiting Pottery] (also 2009 2000 Public Commission, Ceramic Wall Installation at Sankei Building, Tokyo (also 2002) 2003 Book Ceramic Art of MIHARA Ken in the Four Seasons of Izumo, published by Coherence, Inc. Awards: 1985 Shimane Prefecture Craft Arts Association Prize 1986 Entry to San-in Craft Arts Exhibition 1988 Governor’s prize, Japan Traditional Arts and Crafts Chûgoku division (also in 1993) Entry to Asahi Ceramic Art Exhibition 1989 Entry to Japan Ceramic Art Exhibition 1991 Entry to the Chôza Award Ceramic Exhibition Entry to the Exhibition of Unglazed Ceramic Competition 1992 Incentive Prize, Arts of the Tea Ceremony Exhibition, Tanabe Museum, Shimane (also in 1994, 2002, 2003, 2004) Entry to International Ceramics Festival Mino, Gifu 1995 Award of Excellence, Arts of the Tea Ceremony Exhibition, Tanabe Museum, Shimane (also in 2005, 2006) Award of Excellence, Vessels for Bonsai Exhibition 1996 Grand Prize, Hana-no-sumika Exhibition, Daimaru Museum, Tokyo Entry to the Tankō Biennale, Tea-ware Museum, Kyoto (also 1998) Entry to the Flower Vessel Biennale, The Sōgetsu Museum, Tokyo 2001 Grand Prize, Arts of the Tea Ceremony Exhibition, Tanabe Museum, Shimane (also in 2008) 2002 Energia Art Award 2005 Grant to study in Italy from Musée Tomo 2006 Award, Paramita Ceramics Competition, Paramita Museum, Japan Grand Prize, Contemporary Ceramics for the Tea Ceremony Exhibition, Musée Tomo, Tokyo JOAN B MIRVISS LTD JAPANESE FINE ART 39 EAST 78TH STREET, 4TH FLOOR NEW YORK, NY 10075 Phone: 212-799-4021 Fax: 212-721-5148 www.mirviss.com 2008 Japan Ceramic Society Prize 2009 Cultural Encouragement Award, Shizuoka Prefecture, Japan 2010 Encouragement Prize, Arts of the Tea Ceremony Exhibition, Tanabe Museum, Shimane Solo Exhibitions: 1989 Gallerie Pousse, Ginza (also in 1990, 1992, 1996, 1998, 2000, 2004) 1993 Nanba Takashimaya Gallery, Osaka (also in1995, 1997, 2012) 1995 Mitsukoshi Nihonbashi Gallery, Tokyo 1997 Yufuku Gallery, Tokyo (thereafter biannually) 2001 Shukokan Museum, Shimane 2002 Aso Bijutsu, Tokyo (also in 2004, 2009, 2011) Ichibata Art Gallery, Matsue, Shimane (also in 2012) 2003 Takashimaya Art Gallery, Osaka Takashimaya Art Gallery, Yonago, Tottori Art Salon Kōgen, Nagoya, Aichi Prefecture 2008 Joan B. Mirviss Ltd. at SOFA New York, New York 2010 Utsuwa Nanohana Gallery, Odawara, Kanagawa Galerie Besson, London 2011 Awakenings in Clay: The Sculptural Art of Mihara Ken, Joan B. Mirviss Ltd, NYC 2012 Ken Mihara: SEKKI, The Museum of Ceramic Art, Hyogo Takashimaya Art Gallery, Osaka Group Exhibitions: 1986 San-in Craft Arts Exhibition (also in 1987, 1988) 1988 Japan Traditional Arts and Crafts Exhibition, Chûgoku division (also in 1993) Asahi Ceramic Art Exhibition (also in 1990, 1991, 1994) 1989 Japan Ceramic Art Exhibition (also in 1991, 1995) 1991 Chôza Award Ceramic Exhibition Unglazed Ceramic Competition (also in 1994, 1997) 1992 Arts of the Tea Ceremony, The Tanabe Museum of Art, Matsue, Shimane (also in 1994, 1995, 2001, 2002, 2003, 2004, 2005, 2006) Entry to International Ceramics Festival Mino, Gifu 1993 Ceramics Biennale 1995 Vessels for Bonsai Exhibition 1996 Hana-no-sumika, Daimaru Museum, Tokyo Tankô Biennale, Tea-ware Museum, Kyoto (also in 1998) Flower Vessel Biennale, The Sōgetsu Museum, Tokyo 2000 Asahi Contemporary Crafts Exhibition The Japanese Art of Tea–– Modern Teaware from the Collection of the Tanabe Museum, Helsinki City Art Museum, Finland 2002 International Asia-Pacific Contemporary Ceramics, Taipei Yingko Ceramics Museum, Taiwan Tea, Zen, Ceramics-The International Living Pottery Art of Taiwan, Japan and Korea, Fo Kuang Yuan Art Gallery, Taipei, Taiwan The Legacy of Modern Ceramic Art, Museum of Modern Ceramic Art, Gifu 2004 Contemporary Ceramics of Sanyô and Sanin, Higashi-Hiroshima City Museum JOAN B MIRVISS LTD JAPANESE FINE ART 39 EAST 78TH STREET, 4TH FLOOR NEW YORK, NY 10075 Phone: 212-799-4021 Fax: 212-721-5148 www.mirviss.com 2005 Wege zur Japanischen Keramik: Tradition in der Gegenwart, Museum für Ostasiatische Kunst zu Berlin 2006 Ceramic Art Grand Prize Exhibition, Paramita Museum Contemporary Ceramics for the Tea Ceremony: Free Creativity and Atypical Usage, Musée Tomo, Tokyo Asian Ceramic Delta-Japan, Korean and Taiwan 2007 Invitation to the World of Contemporary Ceramic, Museum of Ceramic Art, Hyogo 2008-14 Collect: the International Art Fair for Contemporary Objects, Victoria and Albert Museum, and Saatchi Gallery, London 2009 Breaking from Tradition Japanese Ceramics Today, Harvey/Meadows Gallery, Aspen in conjunction with Joan B. Mirviss, LTD., New York Mirai no takaramono (The Future's Treasures), Takashimaya Art Gallery, Nihonbashi, Osaka, Shinjuku, Kyoto 2010 The 21st Century Exhibition of Japanese Art, Tokyo Bijutsu Club (traveled to Kyoto, Kanazawa, Toyama and Osaka) Third Musée Tomo Prize, Contemporary Ceramics for the Tea Ceremony: Free Creativity, Musée Tomo, Tokyo Collect Art Fair, Saatchi Gallery, London (also in 2011) 2011 Pioneers of Contemporary Ceramics: From Tomimoto Kenichi to Yagi Kazuo, Museum of Ceramic Art, Hyogo Gold Award Winners from Japan Ceramic Society, Wako Hall, Tokyo 2012 Feel Ceramics – Life & Art, Higashi-Hiroshima Municipal Museum of Art, Hiroshima 2012 Japanese Ceramics from the William Bayer Collection, Robert F. Agrella Art Gallery at Santa Rosa Junior College, CA 2013 Fired Earth, Woven Bamboo: Contemporary Japanese Ceramics and Bamboo Art, Museum of Fine Arts, Boston 2014 The Betsy and Robert Feinberg Collection: Japanese Ceramics for the Twenty-first Century, The Walters Art Museum, Baltimore Selected Public Collections: Chazen Museum of Art, WI Cornell University, Ithaca, NY East Hiroshima City Museum of Art Gotoh Museum, Tokyo Los Angeles County Museum of Art Metropolitan Museum of Art Museum of Ceramic Art, Hyogo Museum of Modern Ceramics, Tajimi, Gifu Museum of Fine Arts, Boston, MA National Museum of Modern Art, Tokyo New Orleans Museum of Art Peabody Essex Museum Philadelphia Museum of Art Sankei Building, Tokyo Takagi Bonsai Art Museum, Tokyo Tanabe Art Museum, Shimane Victoria & Albert Museum, London JOAN B MIRVISS LTD JAPANESE FINE ART 39 EAST 78TH STREET, 4TH FLOOR NEW YORK, NY 10075 Phone: 212-799-4021 Fax: 212-721-5148 www.mirviss.com Yale University Art Gallery Walters Art Gallery, Baltimore, MD References: Exhibition Catalogue: Nihon Tōgei-ten (Japan Ceramic Art Exhibition 2007), Tokyo: Mainichi Shimbun, 2007: p. 45. Enomoto, Toru, Aoyama, T. et.al. Izumo fū doki (Ceramic Art of Mihara Ken in the Four Seasons in Izumo), Coherence, Co., 2003. Feel Ceramics – Life & Art, Higashi-Hiroshima Municipal Museum of Art, Hiroshima, 2012, pp.58- 59. “50 persons representing Japanese ceramic art,” Honoho Geijutsu No. 112, Winter 2012 (Tokyo: Abe shuppan, 2012), pp. 56. Hantover, Jeffrey, “Mihara Ken: The Power of Chance,” Ceramics Art and Perception, vol. 73, 2008 Morse, Anne, et. al. Fired Earth, Woven Bamboo: Contemporary Japanese Ceramics and Bamboo Art (MFA Publications: Museum of Fine Arts, Boston, 2013). Exhibition Catalogue. Mintz, Robert and Joan Mirviss with Betsy Feinberg. The Betsey and Robert Feinberg Collection: Japanese Ceramics for the Twenty-first Century. Exhibition Catalogue. The Walters Art Museum, Baltimore, 2014. Nihon Tōgei-ten (Japan Ceramic Art Exhibition 2009), Tokyo: Mainichi Shimbun, 2009, p. 49 Wege zur Japanischen Keramik: Tradition in der Gegenwart, Museum für Ostasiatische Kunst zu Berlin, 2005 JOAN B MIRVISS LTD JAPANESE FINE ART 39 EAST 78TH STREET, 4TH FLOOR NEW YORK, NY 10075 Phone: 212-799-4021 Fax: 212-721-5148 www.mirviss.com .
Recommended publications
  • Exhibition Schedule
    November 8 (Sun.) - December 13 (Sun.), 2020 Special Exhibits at the Masterpieces Collection Room 2 Thematic Exhibition February 20 - March 2, 2021 Reading and Re-envisioning The Tale of Genji Tea Scoop, named Namida ("Tears") 2020 - 2021 through the Ages It is said that Sen-no-Rikyū (1522-1591), in April March Exhibition Rooms at Hōsa Library his last days, carved this bamboo tea scoop and used it in his last tea gathering, after Toyotomi Hideyoshi (1537-1598) The Tale of Genji written by Murasaki Shikibu is a masterpiece of classic ordered punishment upon him. March 28, the day of Rikyū's death, literature that has been read continuously over the course of a thousand is remembered as a memorial day called "Rikyū-ki." The scoop was Exhibition Schedule years. The National Treasure The Diary of later owned by Furuta Oribe who made the outer case for the scoop, Murasaki Shikibu Illustrated Handscroll in the then by Tokugawa Ieyasu and by the 1st Owari Lord Tokugawa THE TOKUGAWA ART MUSEUM collection of Gotoh Museum, Tokyo, will be on Yoshinao. HŌSA LIBRARY CITY of NAGOYA special exhibit and this exhibition will unravel the charm of Japan’s world-famous Tale of February 6 (Sat.) - April 4 (Sun.), 2021 Genji by tracing the cultural history pertaining to the tale. Special Exhibition The Doll Festival of the Owari Tokugawa <Chapter "Kiritsubo" from the Tale of Genji> Edo period, 1655 Family Private Collection Exhibition Rooms 7-9 at The Tokugawa Art Museum Special Exhibits at the Masterpieces Collection Room 5 Focused on the Hina dolls and doll accessories passed down in the Owari November 8 - December 13, 2020 Tokugawa family, this exhibition presents the extravagant and refined world of dolls that is The Diary of Murasaki Shikibu Illustrated Handscroll (designated a distinctive of an elite daimyō family.
    [Show full text]
  • Reading and Re-Envisioning the Tale of Genji Through the Ages
    Symbols of each chapters of The Tale of Genji Thematic Exhibition Ⅳ Dissemination of the Genji Tale from the Genji-kō Incense Game Reading and Re-envisioning The Tale of Genji attracted many readers, irrespective of gender, through "Genji-kō" is a name of the kumikō incense game which is tasting different the beauty of the text and its thorough depictions fragrances and guessing the name, developed in Edo period. Participants The Tale of Genji of every aspect of classical court culture, its skillful would taste 5 different fragrances and draw a horizontal line to connect the psychological portrayals of the characters, and same fragrance. Thus drawn, figures appear in 52 different shapes, matching through the Ages its diverse world view based on Japanese the number of chapters of The Tale of Genji except the first and the last ones, and Chinese literature, various arts, and and they are called "Genji-kō" design. The "Genji-kō" design often appears in Buddhism. Not only did it have a significant impact on various traditional craft works as well as design of Japanese confectionery later literary works, but its influence can also be seen in associated with the story of The Tale of Genji. Japanese performing arts, such as Noh theater, and cultural arts, such as incense ceremony (kōdō), and tea ceremony (sadō), as well as the arts and crafts that accompany them. 46 37 28 1 9 1 0 1 “The Tale of Genji,” written Shiigamoto Yokobue Nowaki Usugumo Sakaki Kiritsubo At the same time, as a narrative that features Art Museum & The Tokugawa 2020 / By Hōsa Library, City of Nagoya Nov.
    [Show full text]
  • Introduction This Exhibition Celebrates the Spectacular Artistic Tradition
    Introduction This exhibition celebrates the spectacular artistic tradition inspired by The Tale of Genji, a monument of world literature created in the early eleventh century, and traces the evolution and reception of its imagery through the following ten centuries. The author, the noblewoman Murasaki Shikibu, centered her narrative on the “radiant Genji” (hikaru Genji), the son of an emperor who is demoted to commoner status and is therefore disqualified from ever ascending the throne. With an insatiable desire to recover his lost standing, Genji seeks out countless amorous encounters with women who might help him revive his imperial lineage. Readers have long reveled in the amusing accounts of Genji’s romantic liaisons and in the dazzling descriptions of the courtly splendor of the Heian period (794–1185). The tale has been equally appreciated, however, as social and political commentary, aesthetic theory, Buddhist philosophy, a behavioral guide, and a source of insight into human nature. Offering much more than romance, The Tale of Genji proved meaningful not only for men and women of the aristocracy but also for Buddhist adherents and institutions, military leaders and their families, and merchants and townspeople. The galleries that follow present the full spectrum of Genji-related works of art created for diverse patrons by the most accomplished Japanese artists of the past millennium. The exhibition also sheds new light on the tale’s author and her female characters, and on the women readers, artists, calligraphers, and commentators who played a crucial role in ensuring the continued relevance of this classic text. The manuscripts, paintings, calligraphy, and decorative arts on display demonstrate sophisticated and surprising interpretations of the story that promise to enrich our understanding of Murasaki’s tale today.
    [Show full text]
  • Download Artist's CV
    Annely Juda Fine Art 23 Dering Street London W1S 1AW T +44 (0) 20 7629 7578 F +44 (0) 20 7491 2139 www.annelyjudafineart.co.uk [email protected] KATSURA FUNAKOSHI Born 1951 Selected Solo Exhibitions 2019-20 Katsura Funakoshi: A Tower in the Night Forest, Work 2011-2019, Van Doren Waxter, New York, USA 2016 The Sphinx in Myself, Mie Prefectural Art Museum, Tsu, Japan Galerie Claude Bernard, Paris, France 2015-16 Museum Wiesbaden, Germany 2015 Galerie Albrecht, Berlin, Germany 2014 Claude Bernardi, Paris, France 2013 Bunkamura, Tokyo, Japan 2012 Menard Art Museum, Aichi, Japan 2011 Kami City Art Museum, Kochi, Japan Recent Sculptures and Drawings, Annely Juda Fine Art, London, UK 2010 Nishimura Gallery, Tokyo, Japan Contemporary Art Museum, Kumamoto, Japan 2009 Gallery Tamura, Hiroshima, Japan 2008 Nishimura Gallery, Tokyo, Japan Greenberg Van Doren Gallery, New York, USA Tokyo Metropolitan Teien Art Museum, Tokyo, Japan Ando Gallery, Tokyo, Japan 2007 Gallery Tamura, Hiroshima 2006 Cite Du Livre, Aix En Provence Nishimura Gallery, Tokyo 2005 Continental Gallery, Sapporo VAT No. GB 234 4061 93 Incorporated as Annely Juda Fine Art Ltd. Registered in England and Wales No. 2261663. Registered office as above. Annely Juda Fine Art 23 Dering Street London W1S 1AW T +44 (0) 20 7629 7578 F +44 (0) 20 7491 2139 www.annelyjudafineart.co.uk [email protected] Annely Juda Fine Art, London / Ernst Barlach Haus, Hamburg Tokyo Zokei University, ZOKEI Gallery 2004 Museum of Contemporary Art Tokyo Gallery Tamura, Hiroshima Galerie Frank
    [Show full text]
  • MUSEUMS and ART GALLERIES PAGE 1 / 10
    MUSEUMS and ART GALLERIES PAGE 1 / 10 PG-801 MUSEUMS and ART 10th Fl., Tokyo Kotsu Kaikan Bldg., 2-10-1, Yurakucho, Chiyoda-ku, Tokyo 100-0006 GALLERIES Tel. (03)3201-3331 In Japan, there are more than 1,500 museums and art galleries Notes: and their numbers are increasing year by year. 1) Admission fees will be higher than indicated when special exhibi- The present leaflet, however, mainly introduces those found tions are held. in and around such major tourist centers as Tokyo, Kyoto and 2) The museums are closed temporarily during changes of exhibi- Osaka, which are easily accessible to visitors. Regarding similar tions. institutions in other districts, only those comparatively well 3) The museums are generally closed from Dec. 28 to Jan. 4. favored by visitors from abroad have been listed. 4) “Open:” shows opening hour and closing hour, but ticket win- Listed are art galleries, folk history museums, treasure houses dows are usually closed 30 minutes before closing time. and folk art museums. Major science museums and those of a 5) At most museums, identification labels for objects and pam- unique nature are also introduced. phlets are written in Japanese. These institutions are arranged geographically from north to 6) Telephone numbers in parentheses are the area codes for long- south and are classified roughly by district and city according to distance calls. their location. 7) Mon. (Tue)* = Closed on Mon. however, when Mon. falls on a The information contained in this leaflet is based on current national holiday, the museum is open and it is closed on the fol- data as of July 2007.
    [Show full text]
  • The Deer Scroll by Kōetsu and Sōtatsu
    The Deer Scroll by Kōetsu and Sōtatsu Reappraised Golden Week Lecture Series— Four Masterpieces of Japanese Painting: A Symposium Miyeko Murase, Former Consultant for Japanese Art, Metropolitan Museum of Art and the Takeo and Itsuko Atsumi Professor Emerita, Columbia University Poem Scroll with Deer (part), Hon’ami Kōestu and Tawaraya Sōtatsu, early 17th century, handscroll, ink, gold and silver on paper, 13 3/8 x 372 in., Gift of Mrs. E. Frederick, 51.127 It has been quite some years since I last spoke here at this museum, so many in fact that I have lost count. It is really wonderful to be back, and I want to thank director Mimi Gates and curator Yukiko Shirahara, who invited me to speak today on the world-famous Deer Scroll by Sōtatsu and Kōetsu. This proud possession of the Seattle Art Museum is one of the most beautiful paintings ever created by Japanese artists.1 The scroll just came back from Japan after extensive restorative work. Although the handscroll itself does not bear any title, it is generally known as the Deer Scroll because the entire scroll is filled with images of deer, which are shown either singly, in couples, or in large herds. The animals are painted only in gold and/or silver ink, as is the very simple setting of sky, mist, and ground. As you may have noticed, these beautiful pictures of deer are really a background for the equally exquisite writings of waka poems in black ink. Here we have a symphony of three arts - poetry, painting, and calligraphy - as a testimonial to the ancient credo of Asia that these three arts occupy an equally important place in life and culture.
    [Show full text]
  • TEFAF Catalogue, Kigen (Genesis), Building, Japan / the Gotoh Museum, Japan / Herbert F
    TEFAF Maastricht 2017 10th March – 19th March 2017 Opening Preview on 9th March Stand 237 (new location) The Yufuku Collection 2017 Our Raison D'etre 06 Hisao Domoto 42 Naoki Takeyama In recent years, the emergence of a group of Japanese artists who have spearheaded a new way of thinking in the realm of contemporary art has helped to shift paradigms and vanquish stereotypes borne from the 19th century, their art and aesthetic understood as making vital contributions to the broader history of modern and contemporary art. This new current, linked by the phrase Keisho-ha (School of Form), Sueharu Fukami Hidenori Tsumori 10 46 encompasses a movement of artists who, through the conscious selection of material and technique, create boldly innovative works that cannot be manifested by any other means. The term craft holds no true meaning to this movement, nor do the traditional dichotomies that have traditionally separated fine art 14 Satoru Ozaki 50 Nobuyuki Tanaka from craft art. In the words of Nietzsche, "Craft is dead." A new age beckons. No country exemplifies this expanding role more so than the artists of contemporary Japan, a country that continues to place premium on elegance in execution coupled with cutting-edge innovation within 18 Niyoko Ikuta 54 Kanjiro Moriyama tradition. No gallery represents this new movement more so than Yufuku, a gallery that has nurtured and represented the Keisho School from its conceptual inception. Michelangelo once said, "every block of stone has a statue inside, and it is the task of the sculptor to 22 Ken Mihara 58 Takahiro Yede discover it." Our artists are no different, wielding material and technique to create a unique aesthetic that can inspire future generations, yet would resonate with generations before us, regardless of age, creed or culture.
    [Show full text]
  • Explore Japan Hokkaido
    Welcome to JAPAN Open a world map and look at the extensive Asia/ Pacific region. Almost at the very center, you'll discover the Japanese archipelago stretching north to south along the eastern edge of the Asian continent. Japan has lured untold numbers of adventurers since Marco Polo first introduced it to the world back in the 13th century as " Zipangu — the Land of Gold." Though the Japan of today may not be a land of gold, the "Neo Zipangu" does possess powerful and magnet-like attractions: great cultural variety, colorful and inspiring natural attractions beautifully interwoven by distinct four seasonal changes, not to mention the overflowing hospitality of its people. As such, Japan is vigorously gaining in popularity as a tourist destination that is easily accessible from any part of the world. A destination any one can enjoy on a reasonable budget and with a sense of complete security. This is where the past literally greets the future. This is where they both mingle. Japan has a long history of absorbing advanced cultures from the Asian Continent from ancient times through the Middle Ages. Later it began to assimilate elements of Western civilization from the latter half of the 19th century. By selectively assimilating these many cultural influences, the country has successfully added rich new dimensions and depth to its indigenous culture. This marvelous harmony between the refinement of things and concepts "Oriental" blended with the leading-edge technology and the often Ultramodern urban lifestyle you find in Japan today is truly proof of a long and eloquent history.
    [Show full text]
  • East Asian Art Department Records EAA Finding Aid Prepared by Bertha Adams, Leslie O'neill and Susan Anderson
    East Asian Art Department Records EAA Finding aid prepared by Bertha Adams, Leslie O'Neill and Susan Anderson. Last updated on January 31, 2017. 03/31/2011 Philadelphia Museum of Art Archives East Asian Art Department Records Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................3 Scope and Contents....................................................................................................................................... 4 Administrative Information........................................................................................................................... 4 Related Materials........................................................................................................................................... 5 Controlled Access Headings..........................................................................................................................5 Collection Inventory...................................................................................................................................... 7 Exhibitions............................................................................................................................................... 7 - Page 2 - East Asian Art Department Records Summary Information Repository
    [Show full text]
  • Outline of the National Institutes for Cultural Heritage, 2017 1
    JR Uguisudani Station Tokyo National Research Institute for Cultural Properties National Institutes for Cultural Heritage Secretariat International Library of West Gate Children’s Literature TOKYO NATIONAL Kuroda MUSEUM Memorial Hall Main Gate ◀To Tokyo Metro Nezu National Science Station Tokyo Metropolitan Museum Art Museum Fountain National Museum of Western Art Police Box Ueno park JR Ueno Tokyo Metropolitan Station 2017 Ueno Zoo Festival Hall Outline of the National Institutes Park Exit Tokyo Metro Ueno Station for Cultural Heritage N Keisei Ueno Station Access: (JR Line) 10 min. from Ueno or Uguisudani Station (Ginza or Hibiya Tokyo Metro Line) 15 min. from Ueno Station (Chiyoda Tokyo Metro Line) 15 min. from Nezu Station (Keisei Line) 15 min. from Keisei Ueno Station 13-9 Ueno Park, Taito-ku, Tokyo, 110-8712 Phone: +81-3-3822-1196 URL: http://www.nich.go.jp/ 三 校 04-574_英語版-表紙1-4.indd 1 2017/06/13 8:55:45 ○Membership Tokyo National Museum and Nara National Museum are supported by the Supporting Member system, while Kyoto National Museum is supported by the Seifukai Association. To encourage people to visit our museums more frequently, Tokyo National Museum, Kyoto National Museum, Nara National Museum and Kyushu National Museum have all established their own membership systems. In addition, to mark the 10th anniversary of the establishment of the National Institutes for Cultural Heritage, a new “National Museums Members Pass” CONTENTS system has been established, which applies to all four National Museums. We welcome new members at any time of the year. Tokyo National Museum Kyoto National Museum Nara National Museum Kyushu National Museum Message����������������������������1 Name National Museum Members Pass To mark the 10th anniversary of Annual its establishment, the NICH has Ⅰ OutlineoftheNationalInstitutesforCulturalHeritage���2 Regular 2,000 Yen (tax included) adoptedanewlogo.
    [Show full text]
  • Ebook Download the Diary of Lady Murasaki 1St Edition
    THE DIARY OF LADY MURASAKI 1ST EDITION PDF, EPUB, EBOOK Murasaki Shikibu | 9780140435764 | | | | | The Diary of Lady Murasaki 1st edition PDF Book He sees four discrete sections, beginning with the dated descriptions of the birth, followed by two undated sections of introspective vignettes, and a final dated section in chronological order. Fairly dry with its dogged insistence of random details, told in a cool, detached, slightly depressing voice. Jan 13, Richie rated it liked it Shelves: autobiography , heian. As long as you are free from such faults, people will surely refrain from listening to tittle-tattle and will want to show you sympathy, if only for the sake of politeness. I wanted to read a non-Western memoir and a memoir from Japan's medieval era the Heian period , a delicate, diaphanous world of gossip, court frivolity, fastidious fashion, and secret musings and longings. Instead we are left to mere speculation for a lot of parts, including as to why the tone changes from a journal style to that of a letter written to an intimate. She is unflinching in her criticism of aristocratic courtiers, seeing beyond superficial facades to their inner core, a quality Keene says is helpful for a novelist but less useful in the closed society she inhabited. The Diary is also a work of great subtlety and intense personal reflection, as Murasaki makes penetrating insights into human psychology her pragmatic observations always balanced by an exquisite and pensive melancholy. View all 5 comments. Detailing all the costume and rituals of the court, some readers may get bored of reading paragraphs dedicated to a certain woman's ceremonial dress or what exactly happens on the 5th day of a Prince's life.
    [Show full text]
  • KATSURA FUNAKOSHI (1951 - ) Born in Morioka City, Iwate Prefecture, Japan; Lives and Works in Tokyo
    KATSURA FUNAKOSHI (1951 - ) Born in Morioka City, Iwate Prefecture, Japan; lives and works in Tokyo EDUCATION 1975 B.A., Tokyo Zokei University, University of Art and Design, Department Sculpture 1977 M.A., Tokyo National University of Fine Arts and Music SOLO EXHIBITIONS 2011 Katsura Funakoshi: Recent Sculptures and Drawings, Annely Juda Fine Art, London, United Kingdom 2008 Summer Villa: The Sculptures, Drawings, and Prints of Katsura Funakoshi in Art Deco Space, Tokyo Metropolitan Teien Art Museum, Tokyo(catalogue) Katsura Funakoshi, Tohoku University of Art and Design, Yamagata, Japan Katsura Funakoshi: New Sculpture, Greenberg Van Doren Gallery, New York Katsura Funakoshi: New Works, Nishimura Gallery, Tokyo 2007 Katsura Funakoshi, Tohoku University of Art and Design 2006 Nishimura Gallery, Tokyo 2005 Katsura Funakoshi - Ernst Barlach. A Map of The Time, Annely Juda Fine Art, London; traveled to Ernst Barlach Haus - Stiftung Hermann F. Reemtsma, Hamburg 2004-2003 Katsura Funakoshi Works: 1980-2003, Museum of Contemporary Art, Tokyo; traveled to Tochigi Prefectural Museum of Fine Arts; Hokkaido Asahikawa Museum of Art; Takamatsu City Museum of Art; Iwate Museum of Art; Hiroshima City Museum of Contemporary Art 2002 Nishimura Gallery, Tokyo (Drawings) 2001 Nishimura Gallery, Tokyo 2000 Continental Gallery, Sapporo Gallery Tamura, Hiroshima (Drawings) 1999 Katsura Funakoshi: Sculptures and Drawings, Annely Juda Fine Art, London; traveled to Kunsthalle Recklingahusen; Städtische Museen Heilbronn 4 Cats, Nagoya (Prints) Matsuya Tokyo
    [Show full text]