An Outline of the Independent Administrative Institution National Museum 2004 Independent Administrative Institution National Museum Secretariat

Total Page:16

File Type:pdf, Size:1020Kb

An Outline of the Independent Administrative Institution National Museum 2004 Independent Administrative Institution National Museum Secretariat An Outline of the Independent Administrative Institution National Museum 2004 Independent Administrative Institution National Museum Secretariat 13-9, Ueno Koen, Taito-ku, Tokyo, 110-8712 Phone: 03-3822-1111 URC: http://www.natmus.jp/ Greetings from the chairman of board directors from Greetings An Outline of the Independent Administrative Institution National Museum CONTENTS Greetings from the chairman of the board of directors…… 1 I What is the new mandate of the National Museum ……2 II Activities of the National Museum ………………………3 1. Disseminating Japanese aesthetics and culture………3 ① Exhibitions ② Research activities ③ Educational activities ④ Volunteer activities As of April 2004, four years have passed since the 2. Passing down Japanese aesthetics and culture ………6 Independent Administrative Institution (IAI) National ① Collection, preservation and restration Museum, consisting of the Tokyo National Museum, the ② Recording and disseminating information Kyoto National Museum and the Nara National Museum, 3. Attracting more people to the museums ……………7 was established. ① Number of visitors In August of 2003, the IAI Evaluation Committee of the ② Efficient use of museum facilities Ministry of Education, Culture, Sports and Science and 4. Activities of the individual national museums ………8 Technology stated its opinion that it would like the Tokyo, ① Tokyo National Museum Kyoto and Nara National Museums to be operated in an ② Kyoto National Museum integrated manner. In response to this recommendation, we ③ Nara National Museum have decided that some administrative processes, including ④ Kyushu National Museum (tentative name) personnel affairs common to the three national museums, should be handled at Institution Secretariat and that III Operation of the National Museum …………………16 museum outline brochures formerly published separately 1. Cooperation with outside organizations and people ……16 by each national museum should also be compiled into a ① The supporting members system single booklet, to make it easy for the public to understand ② Friends of the Museum the general nature of the National Museum. 2. Organization and number of staff at each museum ……16 In addition, the chairman of the board of directors and ① Organization other directors, who doubled the role of the executive ② Directors directors of the national museums, have tended to focus ③ Board of Special Advisors most on their own duties as executive directors. In the ④ Board of Outside Evaluation future, however, these directors will share the work of ⑤ Board of Trustees (by each museum) overseeing cross-museum management while the chairman of the board of directors serves as the supervisor of overall ⑥ Number of museum staff museum activities. 3. Budget of the fiscal year 2004 ……………………21 We intend to operate the branch museums of the National Museum in an integrated manner, while making the most IV Evaluation 22 …………………………………………… of the individual characteristics of each national museum. V Disclosure of information ……………………………24 Chairman of the board of directors of the Independent ◇ Information about membership ………………………25 Administrative Institute National Museum NOZAKI Hiroshi National Treasure "Waterfowl in Lotus Pond," by Tawaraya Sotatsu (Kyoto National Museum) Greetings from the chairman of board directors from Greetings An Outline of the Independent Administrative Institution National Museum CONTENTS Greetings from the chairman of the board of directors…… 1 I What is the new mandate of the National Museum ……2 II Activities of the National Museum ………………………3 1. Disseminating Japanese aesthetics and culture………3 ① Exhibitions ② Research activities ③ Educational activities ④ Volunteer activities As of April 2004, four years have passed since the 2. Passing down Japanese aesthetics and culture ………6 Independent Administrative Institution (IAI) National ① Collection, preservation and restration Museum, consisting of the Tokyo National Museum, the ② Recording and disseminating information Kyoto National Museum and the Nara National Museum, 3. Attracting more people to the museums ……………7 was established. ① Number of visitors In August of 2003, the IAI Evaluation Committee of the ② Efficient use of museum facilities Ministry of Education, Culture, Sports and Science and 4. Activities of the individual national museums ………8 Technology stated its opinion that it would like the Tokyo, ① Tokyo National Museum Kyoto and Nara National Museums to be operated in an ② Kyoto National Museum integrated manner. In response to this recommendation, we ③ Nara National Museum have decided that some administrative processes, including ④ Kyushu National Museum (tentative name) personnel affairs common to the three national museums, should be handled at Institution Secretariat and that III Operation of the National Museum …………………16 museum outline brochures formerly published separately 1. Cooperation with outside organizations and people ……16 by each national museum should also be compiled into a ① The supporting members system single booklet, to make it easy for the public to understand ② Friends of the Museum the general nature of the National Museum. 2. Organization and number of staff at each museum ……16 In addition, the chairman of the board of directors and ① Organization other directors, who doubled the role of the executive ② Directors directors of the national museums, have tended to focus ③ Board of Special Advisors most on their own duties as executive directors. In the ④ Board of Outside Evaluation future, however, these directors will share the work of ⑤ Board of Trustees (by each museum) overseeing cross-museum management while the chairman of the board of directors serves as the supervisor of overall ⑥ Number of museum staff museum activities. 3. Budget of the fiscal year 2004 ……………………21 We intend to operate the branch museums of the National Museum in an integrated manner, while making the most IV Evaluation 22 …………………………………………… of the individual characteristics of each national museum. V Disclosure of information ……………………………24 Chairman of the board of directors of the Independent ◇ Information about membership ………………………25 Administrative Institute National Museum NOZAKI Hiroshi National Treasure "Waterfowl in Lotus Pond," by Tawaraya Sotatsu (Kyoto National Museum) National What is the new mandate National Activities of the Museum of the National Museum? Museum National Museum In April 2001, the Tokyo National Museum, the Kyoto National Museum and the Nara National The primary activities of the National Museum involve providing such direct services to visitors as exhibitions Museum were united under the name of the Independent Administrative Institution National and education. Study and research, including collecting and preserving works of art, are conducted in support Museum (hereunder referred to as the National Museum), as part of the national government's of the exhibit and education functions. Of course, the expansion and improvement of museum facilities -- such as storages and exhibition rooms -- is administrative reform program, to provide higher quality and better educational services to the very important and prerequisite to all the museum's activities. Here are some of the most important things we public. do: To achieve the goals of the 5-year mid-term plan suggested as a guideline for the operation of the National Museum by the Minister of ECSST, we at the National Museum worked out our own SStudytudy aandnd rresearchesearch OfferingOffering exhibitionsexhibitions Serving mid-term plan and annual plans, and are carrying out various projects according to these plans. CCollectingollecting PPreservingreserving aartrt visitors As part of the 5-year mid-term plan (2001 through 2005), the National Museum aims to play the aartrt oobjectsbjects oobjectsbjects PProvidingroviding ppublicublic educationeducation following four basic roles, to make itself more appealing to the public and attract more people to the museum. Improving and enhancing our facilities ① Inherit Japanese culture, while passing down Japanese cultural properties, our invaluable national properties, to the following generations in good condition ② Present cultural properties to the public, in order to improve and develop Japanese 1 Disseminating Japanese aesthetics and culture culture ③ Promote cultural exchanges between Japan and foreign countries, thus serving as a ① Exhibitions representative of Japanese culture The National Museum offers regular exhibitions and provides a variety of special exhibitions, to meet the ④ Contribute to the activities of museums in Japan and abroad, as Japan's central needs of the public. This encourages people to take an interest in Japanese cultural properties, including works museum of art and archaeological objects, and to appreciate Japanese aesthetics and develop a better understanding of traditional Japanese culture. In addition, we cooperate with overseas art museums and other types of museums, To fulfill these goals, it is necessary for us to increase our collection and improve museum enabling us to provide many exhibitions that bring representations from other cultures to the Tokyo, Kyoto and facilities as well as our ability to collect, preserve, display, and study cultural properties, including Nara national museums. At the same time, we can help with the presentation of exhibitions all around the works of art and archaeological objects. In addition, we need to enhance our functions as an world that illustrate Japanese aesthetics and culture to people
Recommended publications
  • 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).
    [Show full text]
  • The Aesthetics of the Capital, at The
    Those Beautiful Images We Know So Well, Shown In Context Rinpa: The Aesthetics of the Capital, at the Kyoto National Museum Review by Emily Sano, October 20, 2015 The abundant exhibitions at many museums in major cities and the national museums provide one of the special treats of visiting Japan in the autumn. This year is no exception, but visitors need to know that this year's most significant exhibit for the traditional Japanese arts is Rinpa: The Aesthetics of the Capital, at the Kyoto National Museum. The exhibition, which opened on October 10, will last only six weeks, until November 23, 2015. While the excellent catalogue lists 175 objects, many are on view for shorter periods of time, and some displays change every week on Mondays during the run of the exhibition. The term Rinpa―which is combined from the second character in Kōrin's name and the character for "school" or "style"―was coined in modern times and did not exist during the Edo period. Though sometimes described as a school, Rinpa is less a direct lineage of teachers and their disciples than a lineage of personal artistic influence: Sōtatsu's work inspired Kōrin, whose oeuvre, in turn, influenced Hōitsu. Of course, these three artists never actually met: most artists working in the Rinpa mode discovered the aesthetic for themselves and pursued it out of admiration for their artistic predecessors. “Rinpa and Kyoto,” English preface, p. V) One of the most familiar of Japanese decorative styles, Rinpa (also spelled Rimpa, which this reviewer prefers, but I will stay with the Museum's spelling) includes works commonly viewed as the epitome of the arts of Japan.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Deer Than People in One Japanese City Is Not As Cute As It Might Seem
    Article of the Week Mrs. Wiegner’s Penn’s Grove Middle School More Deer Than People In One Japanese City Is Not As Cute As It Might Seem Instructions: COMPLETE ALL QUESTIONS AND MARGIN NOTES using the CLOSE reading strategies practiced in class. This requires reading the article three times. ​ ​ Step 1: Skim the article using these symbols as you read: ​ (+) agree, (-) disagree, (*) important, (!) surprising, and (?) wondering Step 2: Number the paragraphs. Read the article carefully and make notes in the margin. ​ ​ ​ ​ ​ Notes should include: ● Comments that show that you understand the article. (A summary or statement of the main idea of ​ ​ important sections may serve this purpose.) ● Questions you have that show what you are wondering about as you read. ​ ​ ● Notes that differentiate between fact and opinion. ​ ​ ​ ​ ● Observations about how the writer’s strategies (organization, word choice, perspective, support) and ​ ​ choices affect the article. Step 3: A final quick read noting anything you may have missed during the first two reads. ​ ​ ​ Your margin notes are a part of your score for this assessment. Answer the questions carefully in complete ​ ​ ​ sentences unless otherwise instructed. ​ Student Name: __________________________________ Class Period: ___________ More Deer Than People In One Japanese City Is Not Notes on my thoughts, reactions, and questions as I As Cute As It Might Seem read: TOKYO, Japan - Tourists love the ancient Japanese city of Nara, which is famous for its old Buddhist temples and Shinto shrines. It is also famous for its deer. Every year, hordes of tourists flock to Nara, just south of Kyoto. They come to experience the peace of the historic sites and the playfulness of the 1,200 or so deer that freely roam through the park in the middle of these sites.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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:
    [Show full text]
  • 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.
    [Show full text]
  • The Essence of Japanese Culture
    1 The essence of Japanese culture... Shrines, N Temples, Gardens Temples in gold, temples in simplicity, shrines in tranquility, and gardens in refinement ... Which is your favorite? o Magnificent Buddhist temples, and those which embody the essence of c understated architectural elegance through the elimination of almost all Kinkakuji Temple: i "... As a country Buddhist priest, my father, rather poor in decorative features. Quiet and stately Shinto shrines rest amid dark vocabulary, used to tell me that nothing in this world is as green woods ... Japan has them. Everywhere (even nestled in large beautiful as Kinkakuji ..." (an excerpt from "The Temple of The Gold Pavilion" by renowned author, Yukio Mishima) population centers like Tokyo and Osaka!). Many date back well over 1,000 years. Shinto, an ancient, indigenous religion unique to Japan, with emphasis on ancestor worship and harmony with the natural world. Buddhism, brought in from the Asian Continent way back in the sixth century teaches spiritual enlightenment and salvation. Both continue to Rice cultivation began in Japan over be prime and moving sources of inspiration, culturally and esthetically, for 2 the Japanese even today. Putting temple structures aside, the Buddhist images enshrined The Great Buddha of Kamakura: This Great Buddha is world-famous as the symbol of the therein and their gardens are splendid pieces of art. Japanese gardens ancient capital Kamakura. are world-renowned as refined reproductions of nature's beauty all confined within a limited space. Sit on a temple veranda and let time float by while viewing the garden. The perfect way to get away from it all.
    [Show full text]
  • Sightseeing Guide 西大寺駅 Popularly Known As Nara Park, Encompasses Four World Heritage (Nara Pref
    NaraCity ce) Sightseeing spots Bus Route Map ffi Nara Park 奈良公園 Kokujieitai Saidaiji eki (The Air Self- Defense Force Base) Located in the central part of Nara City, this vast green area, 航空自衛隊 Sightseeing Guide 西大寺駅 popularly known as Nara Park, encompasses four world heritage (Nara Pref. Government O From 710 to 784 the capital of Japan, Heijokyo, was located in present day Nara City. sites of UNESCO. Their origins date back to at least the 8th ) Heijo Kyuseki 寺 立博物館 福 国 century. In this park, history and nature blend in harmony. (Heijo Palace Site) 興 Hokkeji mae ( As is shown by the number of extant historical Buddhist images and buildings around 平城宮跡 前 神社・ 法華寺前 Kintetsu NaraKencho eki maeKencho HigashiHimurojinja Kokuritsuhakubutsukan Another charm of this park is deer. Approx. 1200 wild deer roam 県庁東 氷室 近鉄奈良駅 県庁 Todaiji DaibutsudenKen Shinkokaido Nara City, Japanese culture flourished here under the reign of successive emperors around freely and they are so tame that you can make friends 東大寺大仏殿 県新公会堂 and empresses during that era. Several historical sites have been registered on with them! Toshodaiji JR Nara Daibutsuden UNESCO’s World Heritage List as “Historical Monuments of Ancient Nara”. Higashiguchi Kasuga Taisha mae ★Why are there so many deer in the park? 唐招提寺東口 eki JR奈良駅 大仏殿春日大社前 Undoubtedly Nara is a treasure house of ancient history and culture set in a beautiful According to legend, when Kasuga Taisha Toshodaiji 唐招提寺 Kasuga Taisha Kasuga Taisha natural environment. Shrine was founded as a family shrine for Omote Sndo Honden the Fujiwaras, a dominant aristocrat clan 春日大社表参道 春日大社本殿 in the 8th century, they invited a mighty Wariishicho World Heritage Site World Heritage Site World Heritage Site Yakushiji 破石町 god from Kashima Shrine (in present day 薬師寺 Yakushiji 1 Takabatakecho odaiji Temple ohfukuji Temple asuga Taisha Shrine Ibaraki Prefecture).
    [Show full text]
  • Bamboo Grove of Spring and Autumn and Crows
    Screens from the 16th to 17th Century: Bamboo Grove of Spring and Autumn and Crows Golden Week Lecture Series— Four Masterpieces of Japanese Painting: A Symposium Masatomo Kawai, Professor Emeritus, Keio University and Senior Academic Advisor, Idemitsu Museum of Arts May 20, 2007 Seattle Art Museum First of all, I would like to congratulate the Seattle Art Museum for the successful conservation of two important Japanese folding screens. These works of art show the characteristics of late 16th and early 17th century Japanese painting in this category. I would like to celebrate and share the revived inspiration that these artworks present to you. Today I would like to discuss three important things. First of all, the time period in which these screens were produced, second the theme, and third the stylistic characteristics. Byōbu folding screens originated in the 8th century, and at this time Japanese artists began painting on these screens. This is an example from The Tale of Genji, a folding screen from the 12th century.1 At far right is a folding screen and above is shōji, which functioned as a sliding door. The topics or themes depicted in these screens are Japanese nature and life in that era, as well as some ceremonial events of the time. These themes often alluded to or had connections with Japanese literature. This is another example from The Tale of Genji, and here is another example of shōji screen art.2 This, however, is different from what you saw earlier because it is more like a Chinese painting. I will not have time to go in-depth into the differences between Chinese and Japanese style painting, but this one has perspective, which was derived from the Chinese painting style, while the Japanese folding screens did not have that type of perspective.
    [Show full text]