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The Price Collection JAKUCHU and the Age of Imagination the Etsuko
The Price Collection JAKUCHU and The Age of Imagination The Etsuko and Joe Price Collection based in California is world-renowned for its superb Edo period paintings. The Exhibition entitled The Price Collection-Jakuchû and the Age of Imagination will be held at the Tokyo National Museum (Ueno Park, Tokyo) from July 4th through August 27th, 2006. Some fifty years ago, Joe Price became fascinated by, and began to collect, paintings by the individualist artists of the Edo period, a field ignored by the art historians of the time. Mr. Price dubbed his collection and his foundation the Shin’enkan, borrowing one of the studio names of Itô Jakuchû (1716-1800), an individualist painter whose popularity has grown in recent years. Today the Price Collection centers around a superb group of works by Jakuchû, along with major works by Jakuchû ’s other Kansai region contemporaries such as Nagasawa Rosetsu (1754-1799) and Mori Sosen (1747-1821), along with Edo-based Rimpa artists Sakai Hôitsu (1761-1828) and Suzuki Kiitsu (1796-1858). The marvels of the collection include paintings by ukiyo-e artists and other painters who have recently attracted great attention from art lovers. This exhibition presents a selection of 101 works chosen jointly by Mr. Price and the Tokyo National Museum staff from more than 600 works in the collection. The exhibition is divided into five sections, with the paintings arranged according to their artistic lineage. A special feature of this exhibition is its avoidance of glass cases in one of the galleries and use of careful lighting effects to create a display environment similar to an Edo period viewing experience. -
Hakuhodo-VRAR and Kennin-Ji Hold “MR Museum in Kyoto”
February 21, 2018 Microsoft Japan Co., Ltd. hakuhodo-VRAR and Kennin-ji Hold “MR Museum in Kyoto”, a New Cultural Asset Viewing Experience that Applies Mixed Reality to The Folding Screen of Fujin and Raijin (Wind God and Thunder God Screens), a National Treasure - Open to Public for Limited Period at Kennin-ji Temple and Kyoto National Museum - Microsoft Japan Co., Ltd. (head office: Minato-ku, Tokyo; President: Takuya Hirano) has provided technical support for a project for providing new cultural experiences by leveraging mixed reality that is being implemented by Hakuhodo Inc. (head office: Minato-ku, Tokyo; President: Masayuki Mizushima, a certified member of the Microsoft Mixed Reality Partner Program), Hakuhodo Product’s Inc. (head office: Koto-ku, Tokyo; President: Akihiko Ebana, a certified member of the Microsoft Mixed Reality Partner Program) and hakuhodo-VRAR, a lab specializing in the latest VR and AR technologies that was established by the two companies. hakuhodo-VRAR has since July 2017 been pursuing joint research with Kennin-ji, the main temple of the Rinzai school of Buddhism, on applying mixed reality (MR) technology to The Folding Screen of Fujin and Raijin (Wind God and Thunder God Screens), a National Treasure, to explore new ways of experiencing such cultural assets. “MR Museum in Kyoto”, the first outcome of this research, was recently completed, and will be open to the public for a limited period as a totally novel cultural asset viewing experience. “MR Museum in Kyoto” allow viewers to enjoy a 10-minute MR experience that combines The Folding Screen of Fujin and Raijin with 3D graphics by using Microsoft HoloLens headsets, while standing in front of the masterpiece (a replica). -
Faith and Power in Japanese Buddhist Art, 1600-2005
japanese art | religions graham FAITH AND POWER IN JAPANESE BUDDHIST ART, 1600–2005 Faith and Power in Japanese Buddhist Art explores the transformation of Buddhism from the premodern to the contemporary era in Japan and the central role its visual culture has played in this transformation. The chapters elucidate the thread of change over time in the practice of Bud- dhism as revealed in sites of devotion and in imagery representing the FAITH AND POWER religion’s most popular deities and religious practices. It also introduces the work of modern and contemporary artists who are not generally as- sociated with institutional Buddhism but whose faith inspires their art. IN JAPANESE BUDDHIST ART The author makes a persuasive argument that the neglect of these ma- terials by scholars results from erroneous presumptions about the aes- thetic superiority of early Japanese Buddhist artifacts and an asserted 160 0 – 20 05 decline in the institutional power of the religion after the sixteenth century. She demonstrates that recent works constitute a significant contribution to the history of Japanese art and architecture, providing evidence of Buddhism’s persistent and compelling presence at all levels of Japanese society. The book is divided into two chronological sections. The first explores Buddhism in an earlier period of Japanese art (1600–1868), emphasiz- ing the production of Buddhist temples and imagery within the larger political, social, and economic concerns of the time. The second section addresses Buddhism’s visual culture in modern Japan (1868–2005), specifically the relationship between Buddhist institutions prior to World War II and the increasingly militaristic national government that had initially persecuted them. -
Tokyo National Museum
Ⅱ Outline of the National Institutes for Cultural Heritage The Independent Administrative Institution (IAI), National Institutes for Cultural Heritage, was formed in April 2007 through the merging of the IAI National Museums (Tokyo National Museum, Kyoto National Museum, Nara National Museum, and Kyushu National Museum) and the IAI National Research Institutes for Cultural Properties (Tokyo National Research Institute for Cultural Properties and Nara National Research Institute for Cultural Properties), all of which share the same mission: the conservation and utilization of cultural properties. With the addition of the International Research Centre for Intangible Cultural Heritage in the Asia-Pacific Region, which was established in October 2011, the National Institutes for Cultural Heritage now comprise a total of seven separate institutions. Japan’s cultural properties are the precious assets of the Japanese people. In order to preserve and utilize these properties more effectively and efficiently under unified management, each ofthe seven existing institutions plays the following roles: Tokyo National Museum Kyoto National Museum Nara National Museum As Japan’s foremost museum in the The Kyoto National Museum collects, Nara National Museum collects, pre- humanities field, Tokyo National Mu- preserves, manages, and exhibits serves, manages, and displays cultural seum collects, preserves, manages, cultural properties, while also properties, while also conducting re- and displays cultural properties from conducting research and providing search and providing educational pro- across Japan and other Asian regions, educational programs. The focus is gramming. The focus is Buddhist art while also conducting research and pro- on works from the Heian period to and the cultural properties of Nara. viding educational programs. -
El Drama Minúsculo Poética De Flores Y Pájaros En El Imaginario Artístico Japonés
UNIVERSIDAD DE SEVILLA departamento de Dibujo TESIS DOCTORAL el drama minúsculo poética de flore ! p"jaro en el ima#inario art$ tico japoné % Vol. I directora &ilar 'arcía (ern"nde) doctorando (ranci co *avier Rui) Carra co , -NDICE .ip/te i 0 introducci/n 1 , todo c"li) e morada O#ata 23rin ,4 4 el drama min5 culo 2ami a6a Se66a 78 9 flore ! p"jaro Suzuki 2iit u 1: 0 re+erencia por la naturale)a Ta;ara!a S3tat u :, 7 la reflexi/n de la flore Sa6ai =3it u ,,: 1 el bot"nico ! el flori ta >atanabe Seitei ,9? ? ep$lo#o ,71 conclusione ,81 #lo ario ,?7 bibli#raf$a ,:0 4 Par l'oiseau rappelant l'oiseau tombé du nid. Par l'herbe qui a soif et recueille l'ondée. (ranci *amme 9 =I&@TESIS 0 La dimen i/n art$ tica del dibujo japoné re ide en u narrati+a% Es a.$A en la línea ar#umental, donde e intuye la +erdadera ma#nitud de la obra% En el ca o de la tem"tica de flores y pájaros el ar#umento e pre enta en cierto modo +eladoA como i el autor Bui iera di imular al#una .i toria per onal dentro de la con+er aci/n entre la planta ! la be te)uela% &or e o .a! Bue e tar tan atento al di"lo#o entre e to do peBueCo prota#oni ta A porBue pen amo Bue e a.$ donde acababa buena parte del cora)/n del arti ta% D a partir de e ta upo ici/n tra)amo nue tra principal .ip/te i E de de la Bue intuimo Bue la cultura japone a podr$a pro!ectar e en el di"lo#o entre la flor ! el p"jaro% Esta te i parte de de e e per onalí mo punto de vi ta% No parece un punto de partida dema iado con+encional, por e o .emo decidido continuar nue tro trabajo de de una per pecti+a poco -
Planting Edo: a Field Guide
Planting Edo: A Field Guide is a collaboration between the Arnold PLANTING EDO: Arboretum of Harvard University and the Harvard Art Museums, inspired by the exhibition Painting Edo: Japanese Art from the Feinberg Collection. We invite you to use this field guide to learn more about the botanical features and poetic significance of various flowers and trees featured in Painting Edo by observing artworks from the exhibition alongside the living collections of the Arnold Arboretum. Harvard Art Museums Arnold Arboretum of Harvard University 32 Quincy Street 125 Arborway Cambridge, MA 02138 Boston, MA 02130 harvardartmuseums.org arboretum.harvard.edu A FIELD GUIDE How to Use This Field Guide Table of Contents In the pages that follow, you will find key plants from the Painting Edo exhibition TREES paired with their counterparts from the living collections at the Arnold Arboretum. Japanese Maple (Acer palmatum) 4 Japanese Black Pine (Pinus thunbergii) 5 Whether you print this guide to take with you while visiting the Arnold Arboretum Japanese Red Pine (Pinus densiflora) 6 in person or if you’re exploring the Painting Edo exhibition online, you can use Higan Cherry (Prunus subhirtella) 7 this guide to learn about the botanical and poetic lives of each plant, compare Yoshino Cherry (Prunus × yedoensis) 8 living plants at the Arnold Arboretum with those depicted in paintings exhibited Sargent Cherry (Prunus sargentii) 9 in Painting Edo, document what you discover, and get inspired to create. Take photos of your explorations at the Arnold Arboretum and share them on social PLANTS media using #PlantingEdo. We will repost our favorite discoveries every week! Ōyama Magnolia (Magnolia sieboldii) 10 Tree Peony (Paeonia spp.) 11 Though the Harvard Art Museums remain closed for now, the Arnold Arboretum— Clematis (Clematis ssp.) 12 Harvard’s remarkable “museum of trees”—is free to visit and open to all every Bigleaf Hydrangea (Hydrangea macrophylla) 13 day, from sunrise to sunset. -
Japanese and Korean Art Brief Bibliography
Niwa, Motoji. Snow, Wave, Pine: Traditional Patterns in Japanese Design; translation by Jay W. Thomas. Tokyo; NY: Kodansha International, 2001. NK1484.A1N59 2001 Sun, Seunghye. Ilbon Misum ui Bogopung/The Lure of Asia in Japanese Art. Seoul: National Museum of Korea, 2008. N7350.I36 2008 Sullivan, Michael. The Three Perfections: Chinese Painting, Poetry, and Calligraphy. NY: George Braziller, 1999. ND 1040.S78 1999 March 27–August 28, 2011 Tokugawa Bijutsukan. Hatsune No Chodo/Hatsune Makie Lacquer The books and exhibition catalogues included in this bookmark are Furnishings. Nagoya-shi: Tokugawa Bijutsukan, Showa 60 [1985]. owned by the museum’s Ingalls Library. While not including every NK9900.7.J3T65 1985 book on Japanese and Korean art, the list includes some of the most important titles. Tsuji, Nobuo. “Kazari” no Nihon bunka/Decoration in Japanese Culture. Kyo¯to-shi: Kokusai Nihon Bunka Kenkyu¯ Senta¯, 1998. NK1484.A1N5 1998 EXHIBITION CATALOGUE Williams, Marjorie, et.al. Art of Japan: Masterpieces from the Sun, Seunghye. The Lure of Painted Poetry: Japanese and Korean Cleveland Museum of Art. Cleveland, OH: Cleveland Museum of Art, Art. Cleveland, OH: The Cleveland Museum of Art in association with 2005. Hudson Hills Press, 2011. N7352 .C52 2005 N7350 .S84 2011 WEB SITES RELATED PUBLICATIONS The Cleveland Museum of Art Arts, P. L. W. Japanese Porcelain, A Collector’s Guide to General www.clevelandart.org Aspects and Decorative Motifs. Lochem, Netherlands: De Tijdstroom, 1983. The Kyoto National Museum NK 4567 .A78 1983 www.kyohaku.go.jp/eng/index_top.html Brown, Kendall H. The Politics of Reclusion: Painting and Power in The Kyushu National Museum Momoyama Japan. -
Japanese Interest
LIST 179 – 1 – JAPANESE INTEREST H ANSHAN TANG B OOKS LTD Unit 3, Ashburton Centre 276 Cortis Road London SW 15 3 AY UK Tel (020) 8788 4464 Fax (020) 8780 1565 Int’l (+44 20) [email protected] www.hanshan.com 馬克 。 呂布 : 東 89 方[R印ibo象 ud, Mark]: MAKE • LUBU DONGFANG YINXIANG. Marc Riboud: Into the Orient. Beijing, 2012. c.60 pp. per volume. Full page b/w photographs throughout each volume 5 vols. 20x19 cm. Decorative cloth. £110.00 Details the journeys the famous French photographer, Mark Riboud, made in Asia in the 1950s. Each of the five volumes covers a par - ticular country or countries visited and photographed in black-and-white. Turkey 1955; Iran, Afghanistan, Pakistan 1955-56; India and Nepal 1956; China 1957 and Japan 1958. Dual texts in Chinese and English. 308 Ako City Museum of History: THE DEPICTION OF CHUSHINGURA IN THE AREA OF NANKOKU TOSA: SCREEN PAINTINGS BY EKIN. Ako City, 2007. 57 pp. Numerous colour plates. 21x14 cm. Paper. £25.00 Catalogue of an exhibition exploring depictions of the famous Kabuki play. Chushingura, coming from the southern Japanese area of Tosa as exemplified by screen paintings by Ekin and his followers. 34 exhibits all illustrated in colour. Text in Japanese. 309 Alcock, Sir Rutherford: THE CAPITAL OF THE TYCOON: A NARRATIVE OF A THREE YEARS’ RESIDENCE IN JAPAN. New York, 1969. xxxii, 469; viii, 539 pp. 152 plates and illustrations. 2 folding maps. Index. 2 vols. 24x16 cm. Cloth. £110.00 Facsimile reprint of a now very rare book, originally published in 1963. -
The Format of Asia Week New York Continues to Evolve. Thirty
Asia Week New York he format of Asia Week New York continues to evolve. Thirty- miniature paintings, acquired mainly in the 1970s and ’80s. Several Tfour galleries from the UK, France, Italy and Japan, and the were purchased from Colnaghi in the late 1970s, and others at US, five auction houses and several museums and institutions auction. A Mughal work in opaque watercolour with gold on paper are now grouped under the ‘Asia Week’ (AWNY) umbrella (18- titled An assembly of royal pigeons round a dovecote (circa 1660) 26 March; asiaweekny.com). All are listed in a printed guide, depicts prize pigeons that would have been kept by special trainers as well as on a new website. Following a panel discussion and for the amusement of the emperor. On the reverse are ten lines of private cocktail reception at Asia Society on 18 March, the various nastal’iq calligraphy. From the desert state of Bikaner is a circa galleries will hold open houses over the weekend. 1670 illustration of the story, Madhavanala faints when he sees Asia Society will also be hosting its annual gala benefit the beauty of Kamakandala (26 x 25.5 cm), inscribed ‘work of the reception and dinner on 21 March. Japan Society will host a lecture imperial master’, which was formerly in the Paul Walter collection. and private reception on 22 March, previewing a group show by (18-26 March; 9 East 82nd Street, Suite 1A) young Japanese artists, titled ‘Bye Bye Kitty!!! Between Heaven Kang Collection will show and Hell in Contemporary Japanese Art’ (see Joe Earle, ‘Memories, classical and contemporary Dreams, Reflections: Bye Bye Kitty!!! at Japan Society, New Korean art spanning 200 years, York’, pp. -
News Release ATZ200730-E E
News Release ATZ200730-E_E July 30, 2020 Artizon Museum, Ishibashi Foundation Rimpa and Impressionism: Arts Produced by Urban Cultures, East and West November 14 (Saturday), 2020 ‒ January 24 (Sunday), 2021 The Artizon Museum of the Ishibashi Foundation (Director: Ishibashi Hiroshi) is delighted to announce its upcoming exhibition, Rimpa and Impressionism: Arts Produced by Urban Cultures, East and West. The Rimpa school of painting was initiated by Tawaraya Sotatsu in the early seventeenth century. It evolved through the work of Ogata Korin in the early eighteenth century and Sotatsu’s and Korin’s colleagues in context of the townsman culture of Kyoto, then Japan’s imperial capital. In the early nineteenth century, Rimpa was carried on by artists such as Sakai Hoitsu and Suzuki Kiitsu, in Edo (today’s Tokyo), the shogun’s headquarters. In Edo, the evolving Rimpa school became an urban genre with a decorative aesthetic at its core. Impressionism was an innovative, modern school of art that emerged in Europe in the latter half of the nineteenth century. Centered on Paris, the Impressionists included artists such as Édouard Manet, Claude Monet, Edgar Degas, Pierre-Auguste Renoir, and Paul Cézanne who candidly expressed their impressions of their everyday experiences and the delights of urban lifestyles. This exhibition is an innovative attempt to compare and survey, through works by artistic geniuses nurtured by urban cultures in Japan and Europe, East and West, what the sophisticated aesthetics characteristic of major metropolises achieved. The exhibition includes the Impressionist masterpieces that are the core of our collection and Rimpa works from our collection being shown for the first time, plus masterworks from temples and museums in Japan. -
The Roles of National Museums in Japanese Society Mr. Masami
THE ROLES OF NATIONAL MUSEUMS IN JAPANESE SOCIETY Mr. Masami Zeniya, Executive Director, Tokyo National Museum INTRODUCTION the four museums of the National Institutes for Cultural Heritage are usually considered the National museums in Japan can be epitome of national museums in Japan because divided into three main categories based on their of their long histories and the circumstances of management: those managed directly by the their creation. In this paper, I will discuss the Tokyo National Museum government, Independent Administrative Insti- role of these museums and that of the Tokyo Image courtesy of Tokyo National Museum tutions, and Inter-University Research Institute National Museum in particular. Corporations. The frst category includes, for example, the Agency for Cultural Afairs’ Na- 1. NATIONAL MUSEUMS AS INDEPENDENT tional Archives of Modern Architecture, the ADMINISTRATIVE INSTITUTIONS Imperial Household Agency’s Museum of the Imperial Collections, and museums at bases of Museums are considered institutions for the Japan Self-Defense Forces under the Min- social education under the Museum Act in Japan istry of Defense. Institutions belonging to the (1951). They are expected to carry out systematic second category were operated directly by the educational activities while maintaining polit- government. However, with the introduction of ical and religious neutrality. However, because the Independent Administrative Institution in they were originally established by the govern- 2001, three such institutions were established: -
Tokyo National Museum
Ⅲ Activities of Each Institution Tokyo National Museum As Japan’s representative museum in the humanities field, Tokyo National Museum collects, preserves, manages, and displays cultural properties from across Japan and other Asian re- gions, while also conducting research and providing educational programs. Tokyo National Museum was established in 1872 and has the longest history among all museums in Japan. Our collection contains more than 114,000 items, including many National Treasures and Important Cul- tural Properties. We collect, preserve, restore and display tangible cultural properties from across Japan and other Asian regions. We also conduct research into these properties and promote understanding of them through educational activities. At Tohaku (our nickname for the Tokyo National Museum), April 2014 saw the opening of the Main Gate Plaza, as part of the redevelopment of the area around the museum’s main entrance. The Main Gate Plaza incorporates an information desk, ticket counters, a museum shop and a nursing room; this new fa- cility presents a warm welcome to visitors. In the regular exhibitions, Rooms 15-19 in the Honkan building have had new cases installed with special high-transmission, low-reflectance glass, which makes it possible to view the exhibits more clear- ly, creating an enhanced exhibition environment. In addition, special self-guided tours are now available using the museum’s “Tohaku Navi” guide application, along with various other new measures to help im- prove the visitor experience. Besides its exhibitions and displays, the museum also offers a wide range of different programs in- ZENIYA Masami cluding hands-on activities, guided tours, and workshops.