Grand Renewal of the HONKAN (Japanese Gallery) on September 1, HONKAN, the Pantheon of Japanese Art, is reborn!

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1 Grand Renewal of the HONKAN (Japanese Gallery) on September 1, 2004 HONKAN, the Pantheon of Japanese Art, is reborn! The Tokyo National Museum proudly announces the renewal of the HONKAN (Japanese Gallery) in September In July 2003, the Museum has changed the presentation of the second floor galleries into a chronological order as opposed to the previous genre order. The chronological presentation Highlights of Japanese Art, which was inaugurated in 2003, has been greatly popular with our visitors. Based on the first renewal as well as valuable visitor feedback, the Museum renews the first and second floor galleries on a grand scale this summer. The Grand Renewal of 2004 will further enhance the viewing experience by choosing more representative themes to give a clearer idea of any given periods. In response to the demands for quality and quantity alike, meaning HONKAN (Japanese Gallery) more objects, especially paintings and calligraphies, on display as well as a display enabling a deeper understanding of each genre, the first floor galleries have also been transformed considering both aspects. We hope that the new presentation of the HONKAN (Japanese Gallery) will greatly increase the understanding of the history of Japanese art. More enjoyable! More coherent! Highlights of Japanese Art on the second floor The history of Japanese art and culture, from the Jomon to the Edo period, is easily comprehensible within a short frame of time Themes like: The Rise of Buddhism: Asuka and Nara Periods (6c-8c), Courtly Art: Heian Muromachi Periods (8c-16c), Zen and Ink Painting: Kamakura and Muromachi Periods (12c-16c), Art of the Tea Ceremony, Ukiyo-e and Costume: Edo Period (17c-19c) are chosen to highlight the trends and characteristics of the periods. The viewing experience is therefore supported by an understanding of the history and culture of the period concerned Perfect introduction for first-time visitors, foreign visitors, and school children or students! (See the following page for more information)

2 More information! More objects! Parts of the second and first floor galleries are devoted to displays of different genres or thematic exhibitions Enjoy more objects, even more thorough than before, such as sculpture, lacquerware, ceramic, or swords, just to name a few genres. In-depth thematic exhibitions invite to new discoveries and sensations. Two Thematic Exhibition Rooms on the second floor have been dedicated to the popular genres of painting and calligraphy, showing exhibitions based on specific concepts examining various interesting aspects throughout the year. Especially recommended for repeat-visitors or those interested in specific genres! More convenient! More comfortable! Signboards are upgraded and easily understandable even on the first visit. More lounge space is now available offering space for relaxation. A brand new HONKAN Gallery of the Tokyo National Museum, enjoyable on a multiple and individual basis, awaits your visit About the Honkan (Japanese Gallery) of the Tokyo National Museum Josiah Conder designed the former Honkan, which was severely damaged in the Kanto Earthquake of The present tile-roofed building was rebuilt by Watanabe Jin to commemorate the Showa emperor s enthronement in It is in the Emperor s Crown style and was designated an Important Cultural Property in The Honkan houses artworks and historic materials of Japan, as well as material culture of Ainu and Ryukyu. Visitor Information Hours: 9:3017:00 Last entry is 30 minutes before closing time. *- 20:00 on Fridays from April to November (during special exhibitions only) *- 18:00 on Saturdays, Sundays and national holidays (April - September) Closed: Mondays (except for April 29 - May5 and July 20 - August 31) and December 28 - January 1 *When a national holiday falls on a Monday, the Museum is closed on the following day instead. Admissions: Adults: 420 (210) yen; University Students: 130 (70) yen; High School Students and under: Free *( ) indicate prices for those in groups of 20 or more. *Special exhibitions require a separate admission fee. *Persons with disability and one accompanying person are admitted free of charge. *Regular admission is free for persons over 65. Please show proof of age (driver's license, passport, etc.) when entering. *Free admission to the regular exhibitions on Respect for the Aged Day (the third Monday of September)

3 The Gallery Highlights of Japanese Art is a whole, genuine experience of the history of Japanese art from the Jomon to the Edo period, through art objects of highest renown including several National Treasures and Important Cultural Properties. Beginning with the gallery Dawn of Japanese Art displaying plastic art from the Jomon and the Yayoi periods, the chronological galleries not only follow the historical periods but underlie individual concepts such as Rise of Buddhism, Courtly Art, Zen and Ink Paintings, Attire of the Military Elite, Interior Furnishings and Daily Utensils, Ukiyo-e and Costumes, offering the chance to become not only acquainted with the exhibits, but also the historical and cultural background. In-between is the National Treasure Gallery, which invites to experience one National Treasure, exhibited in rotation, in a surrounding especially designed for a pleasant viewing. Encountering the heritage of Japanese art and culture one by one, a visit to the HONKAN will be an outstanding opportunity to witness Japanese culture and the development of its art, as well as the changing of aesthetics throughout history. Room 1 The Dawn of Japanese Art: Prehistory and Protohistory, or the Jomon, Yayoi, and Kofun Periods (10000 BC -AD 600) 1-1 The Jomon culture began around 12,000 years ago. Earthenware vessels of this age with various motifs and styles are the starting point of Highlights of Japanese Art. In the Yayoi period (450 B.C.- A.D. 250), pottery with a simplistic yet refined beauty and dotaku bell-shaped bronzes were prominent. Furthermore, the typical objects of the Kofun period (A.D ,) such as haji-, sue wares and haniwa figurines, as well as mirrors, arms and armor, saddlery, and accessory, expressing the essence of metal and glass craftsmanship are also featured. Jomon Vessel with Flame-like Ornamentation (Photo1) Attributed provenience: Umataka, Nagaoka-shi, Niigata Prefecture Jomon period, B.C. Haniwa Figure of a Nobleman in Formal Attire From Yotsuzuka Tumuls, Ota-shi, Gunma Kofun period, 6th century Photo1 The Rise of Buddhism: Asuka and Nara Periods (6c-8c) 1-2 In the mid-6 th century, the kingdom of Baekje on the southeastern coast of the Korean peninsula presented official gifts of Buddhist nature such as golden icons to Japan, marking the official introduction of Buddhism into Japan. Japanese culture made a remarkable progress with the adoption of Buddhism. This gallery features statues, sutras, reliquaries, and ritual implements. Standing Bosatsu (Bodhisattva) Asuka Period, 7th century Kengu-kyo Sutra Known as Ojomu, Attributed to Emperor Shomu Nara period, 8th century, National Treasure. (Photo 2) Photo 2

4 Introduction of the Gallery Highlights of Japanese Art Room 2 National Treasure Gallery The National Treasure Gallery is specially designed for the comfortable viewing of masterpieces in a tranquil setting. With each rotation, one exceptional, designated work of painting or calligraphy in the Museum s collection or on loan will be presented. September 1 October 11, 2004 Fugen Bosatsu (Samantabhadra Bodhisattva), Heian Period, 12th century, National Treasure (Photo 3) October 13 November 21, 2004 Caricature of Frolicking Animals and Humans, First Chapter, Heian Period, 12th century, Lent by Kozanji, Kyoto, Photo 3 November 23 December 26, 2004 Biographical Scroll of Founders of the Huayan School: Chapter traditionally known as that of Gangyo (Wonhyo), 13th century, Kamakura period, Lent by Kozanji, Kyoto January 2 February 13, 2005 Poems of Bai Letian, by Fujiwara Kozei, dated 1018, Heian period February 15 March 27, 2005 Portrait traditionally known as that of Fujiwara no Mitsunori, 13th century, Kamakura period, Lent by Jingoji, Kyoto March 29 May 8, 2005 Autumn- and Winter Landscapes, by Sesshu, 15th century, Muromachi period Room 3 Buddhist Art: Heian to Muromachi Periods (8c-16c) 3-1 The Heian period began with the new introduction of the mature school of esoteric Buddhism that monk Kukai brought from Tang China. It excelled in the expression of realistic sculptures and rich creativity in their material art. Later on, from the late Heian to the early Kamakura period ( ), several new Buddhist schools emerged. Illuminated sutras, portraits of founders, biographies of famous monks as well as narrative paintings of the origins and miracles related to temples and shrines are characteristic objects of this time. Sixteen Arhats: Ninth Arhat Heian period, 11th century, National Treasure Imperial Record of Posthumous Conferment of Epithet on Monk Enchin, By Ono no Tofu Heian period, dated 927, National Treasure Courtly Art: Heian to Muromachi Periods (8c-16c) 3-2 The court culture of the early Heian period changed drastically during the mid-heian period, departing from a culture orientating itself in China to the formation of an individual culture based on Japanese aesthetics. The keys to unveil the culture of this age are the waka (Japanese) poems and the narratives, most famously represented by the Tale of Genji. They both provided popular subjects for calligraphies, e-maki narrative picture scrolls, and the designs of decorative art objects. Narrative Picture Scroll of the Tale of Heiji Chapter of the Rokuhara Visit Kamakura period, 13th century, National Treasure (Photo 4) Photo 4 Fragment of Kokin Waka Shu Poetry Anthology Koyagire version, Attributed to Ki no Tsurayuki Heian period, 11th century, Important Cultural Property

5 Introduction of the Gallery Highlights of Japanese Art Zen and Ink Paintings: Kamakura and Muromachi Periods (12c-16c) 3-3 During the Kamakura period, Japan witnessed the introduction of Zen Buddhism, along with new Chinese arts of the Southern Song and Yuan dynasties. In the following Muromachi period, ink painting (landscape painting) established itself in Japan beyond the world of Zen. This gallery features works by famous artist of the landscape-painting genre such as Shubun, Sesshu, Sesson, and Kano Motonobu, along with famous works of bokuseki (calligraphy of Zen monks). Reading in the Bamboo Grove Studio Attributed to Shubun Muromachi period, 15th century, National Treasure Geju (Verse in Praise of the Buddha) By Muso Soseki Nanbokucho period, 14th century (Photo 5) Room 4 Photo 5 Art of the Tea Ceremony The tea ceremony with its roots in the Muromachi period, brought to its fullest blossoming by Sen no Rikyū during the following Azuchi-Momoyama period, is one of the world-renowned traditional cultures of Japan. This gallery highlights the way of tea through its various art works such as paintings and calligraphy, vases, vessels for kaiseki meals, kettles, tea caddies, and tea bowls. Tea bowl Known as Bakohan, Longquan ware Southern Song dynasty, 13th century, China, Important Cultural Property Tea bowl Oido type, known as "Uraku-ido" Joseon dynasty, 15th - 16th century, Korea Important Art Object (Photo 6) Photo 6 Room Attire of the Military Elite: Heian to Edo Periods (12c-19c) The military elite held the political power in Japan for about 700 years spanning from the late 12th century until the Meiji Restoration in Beginning with the sword as the single most important equipment for a samurai, this gallery focuses on arms and armor, saddlery, attire of the bushi (warrior) as well as their portraits and hand-writings. Tachi sword Known as Uesugi no Tachi Hyogo-gusari Type with scabbard decorated with bird motif Kamakura period, 13th century, National Treasure Yoroi Armor with white lacing Kamakura period, 14th century National Treasure, Lent by Hinomisaki-jinja, Shimane (Photo 7) Photo 7

6 Introduction of the Gallery Highlights of Japanese Art Room Folding Screen- and Sliding Door Paintings: Azuchi-Momoyama and Edo Periods (16c-19c) This gallery dedicated to the genre of shohei-ga, which includes mural paintings, fusuma paintings and byobu paintings, and especially designed for an effective display of grand-scale paintings. The spatial effect of a painting rendered in gold and vibrant colors differs greatly to a monotonous ink example. The exhibits reflect the dynamics of shohei-ga during its development, influenced by purpose and trend. In this gallery visitors can enjoy the setting of a daimyo houseroom surrounded by grand scale paintings. Chinese landscape By Ikeno Taiga Edo period, 18th century, National Treasure, Gift of Mr. Dan Ino Kabuki play By Hishikawa Moronobu Edo period, 17th century, Important Cultural Property Room 8 Interior Furnishings and Daily Utensils: Azuchi-Momoyama and Edo Periods (16c-19c) 8-1 The Azuchi-Momoyama period, marked by a liberal international exchange and stimulated national economic activities, was followed roughly 250 years of peace during the Edo period. Through both these periods, the maturing of Japanese culture supported by the military and commoner classes continued. This gallery introduces interior furnishings and daily commodities that had adorned the life of the people during these periods. Square dish Nezumi-Shino type, Mino ware with design of autumn grass Azuchi-Momoyama - Edo period, 16th - 17th century, Private collection Writing box with design of ivies on brushwood fence in maki-e lacquer By Koma Kyui, Edo period, 17th century (Photo 8) Photo 8 Developments in Painting and Calligraphy: Azuchi-Momoyama and Edo Periods (16c-19c) 8-2 The gallery introduces the dynamic and multi-faceted world of paintings and calligraphy from the Azuchi-Momoyama- to the Edo period. Myriad styles and schools developed around the axis of the Kano School of painters represented by famous artists such as Eitoku and Tanyu. The Rinpa School with Sotatsu, Korin and Hoitsu; the Nanga School with Buson and Taiga; the Maruyama School founded by Okyo; individualists such as Jakuchu, Rosetsu, Shohaku. In calligraphy, works by the Three Famous Calligraphers of the Kan ei period: Konoe Nobutada, Hon ami Koetsu, and Shokado Shojo, who had established a new style during this time are featured, along with works of the karayo Chinese calligraphic style popular during the mid-edo period, as well as works by warriors and tea masters active during this age. Sketches from the boat By Tanomura Chikuden Edo period, dated 1830, Important Cultural Property, Private Collection (Photo 9) Tengu-setu (Theory about the Tengu) By Ogyu Sorai Photo 9 Edo period18th century, Lent by Aizenkura Kanko

7 Introduction of the Gallery Highlights of Japanese Art Room Noh and Kabuki Medieval and Pre-modern Performing Arts This gallery introduces the traditional performing arts of Japan, noh and kabuki, through an array of masks, costumes, stage accessory, and musical instruments. The mask as an original expression of Japanese aesthetics as well as costumes that were made to the best of available textile skills replicate the characteristic atmosphere of noh: yugen (lit. subtle and profound ). The avant-garde and colorful kabuki costumes embody the Edo chic of iki. Thematic Exhibition The Noh Costumes in the Komparu Family Collection: The Noh masks and costumes of the age of Komparu Yasuteru The exhibits are centered around costumes from the collection of the Noh-theater School of Komparu that had emerged as one of the four old yamato sarugaku groups, and has been based in Nara since the Muromachi period, always closely associated with the festivities of Nara, such as the Kasuga Shrine goen noh, or the Kofukuji takigi noh. The current display shows a selection of costumes and masks from the age of the noh actor, Komparu Yasuteru (-1621), who had gained tremendous patronage and was bestowed numerous objects from the ruler Toyotomi Hideyoshi. Noh costume Nuihaku type with lilies and carts on brown ground Azuchi-Momoyama period, 16th century Important Cultural Property Noh costume Surihaku type with shikishi paper and grapes on purple ground Azuchi-Momoyama period, 16th century Important Cultural Property (Photo 10) Room 10 Ukiyo-e and Costumes: Edo Period (17c-19c) Edo Period Fashion and Design Keicho kosode kimonos with delicate embroidery and gold leaf imprint designs, dynamically composed Kanbun kosode; graceful Genroku kosode with a renaissance-aristocratic flair: Edo period fashion changed by the age, always maintaining vibrancy. A focal point is the newly born Edo chic of iki, preferring the subtle elegance of hidden decorations, for example on hems or inner linings. Kosode (garment with small wrist openings) with noshi (gifts ornaments) and chrysanthemums on dark blue figured satin Edo period, 17th century, Gift of Ms. Uebayashi Michiko (Photo 11) Inro with a horse in maki-e Inscription on gold base: Jokasai, Edo period, 19th century Photo 10 Photo 11 Ukiyo-e and People During the mid-17th century, the production of paintings and woodblock prints for the common market, depicting famous beauties or amusement scenes, rose hand in hand with its increasing popularity. Works of the ukiyo-e artists were individualistic and manifold, ranging from depictions of pleasure quarters, kabuki plays, traditional bird- and flower motifs, over narrative pictures to landscapes. Works that one would think of as Japanese art are all here; ukiyo-e, kimono, into and netsuke. Courtesan and her attendant By Kaigetsudo Ando (dates unknown) Edo period, 18th century (Photo 12) The Great Wave of Kanagawa By Katsushika Hokusai, Edo period, 19th century Various inro and netsuke are also on view in this room. Photo 12

8 Are you especially fond of pottery? Interested in the flawless masterpieces of Japanese swords? The Genre Gallery and the Thematic Exhibitions on the first and second floors are dedicated to visitors with a special interest or preference. They feature one specific theme or genre of objects, enabling in-depth study or comparative viewing. Additional to the chronological gallery, these galleries enable a multi-faceted approach towards the art on display. Room 11 Sculpture The history of sculpture in Japan began around the mid-6th century (Asuka period) when Buddhism was introduced from the Korean peninsula. The gallery introduces the history of sculptural art in Japan through prototypical wood-sculptures featuring examples dating from the Heian to the Kamakura periods, the zenith of Japanese sculpture. Standing Komokuten (Virupakusa) of the Four Heavenly Kings Heian period, 12th century, National Treasure, Lent by Joruriji, Kyoto Standing Senju Kannon Bosatsu (Thousand-armed Avalokitesvara) By Tankei Kamakura period, 13th century, Important Cultural Property, Lent by Myohoin, Kyoto (Photo 13) Photo 13 Room 12 Sculpture and Metal Art This gallery introduces many different types of gilt bronze Buddhist figures from the Asuka and Nara periods such as the kyozo (mirror icons) and the kakebotoke (hanging icons) that have been popular from the Heian to the Kamakura periods, as well as Buddhist implements such as candlesticks and incense burners, golden garlands, special utensils for monks, bells and gongs, and implements for esoteric Buddhist rituals. Seated Dainichi Nyorai (Mahavairocana) Kamakura period, 12th century, Important Cultural Property, Lent by Kotokuji, Tochigi Buddhist ritual bell with Five-Pronged Handle Heian period, 12th century, Important Cultural Property, Lent by Gokokuji, Tokyo Room 13 Ceramics Ceramics of the Azuchi-Momoyama and Edo Periods The splendidly decorated Edo period ceramics and characteristic tea ceremony wares of the Azuchi-Momoyama period are highlighted here. Edo porcelain is known by representative Hizen wares ranging from early Imari wares to Kokutani- or Kakiemon style, as well as the famous Kinrande and Nabeshima wares of a later date. The world of Kyoto wares pottery evolved around famous artists such as Ninsei and Kenzan. The ceramics of the Azuchi-Momoyama period with its individual as well as dynamic design reflect the aesthetics of the way of tea. Tea leaf jar with Moon and Plum Tree in Overglaze Enamels By the Ninsei Studio Edo period, 17th century, Important Cultural Property Photo 14 Fresh water jar for the Tea Ceremony Known as "Shiba no Iori", Shigaraki Ware Azuchi-Momoyama period, 16th century, Important Cultural Property, Gift of Mr. Hirota Matsushige (Photo 14)

9 Introduction of the Gallery: Genre Gallery Lacquerware The smooth surface coupled with the splendor of kin-maki-e (gold sprinkle decoration) against a background of rich and varied colors, are just a few of the characteristics of lacquerware that had caught the attention and contributed to the sharply rising popularity in the West upon its introduction. Thematic Exhibition Autumnal Designs in Maki-e Focusing on the popular maki-e design genre of autumnal motifs, this thematic exhibition features lacquerware design such as the Seven Flowers of Autumn (bush clover, silver grass, arrowroot, fringed pinks, patrinia, mistflower, and Japanese bellflower) and the chrysanthemum. Seasonal motifs reflect the appreciation of nature in Japanese culture. Tebako (cosmetic box) with chrysanthemum in maki-e lacquer Nanbokucho period, 14th century Writing box with an aristocratic cart in maki-e lacquer Edo period, 17th century, Important Cultural Property (Photo 15) Photo 15 Swords and Sword-Fittings This gallery dedicated to the history of Japanese sword features manifold types of sword blades from the Heian to the Edo periods, as well as scabbards and individual sword fittings of all ages that were appreciated throughout history as precious details. Tachi sword Known as "Mikazuki - Munechika" By Sanjo Munechika Heian period, 10th - 11th century, National Treasure, Gift of Mr. Watanabe Seichiro Set of sword furniture for Dai-Sho (Pair of long and short swords): Menuki Kogai, Kozuka and Sword guard Design of cherry and maple trees, By Goto Ichijo Edo period, dated , Important Cultural Property, Private Collection Room 14 Thematic Exhibition - Decorative Arts The room dedicated to thematic exhibition of decorative arts focuses on the introduction and study of decorative arts from various angles. Medieval Ceramics From kilns specializing in large coarse wares void of glaze such as Atsumi, Tokoname, Shigaraki, and Echizen; over kilns producing luxury wares with Chinese influence such as Seto, to the Suzu and Bizen kilns producing daily wares without glaze, the range of Japanese medieval ceramic wares was truly wide. This gallery follows its rich varieties of styles and developments focusing on chronology as well as classification. Large jar with natural glaze, Tokoname ware Heian period, 12th century, Important Cultural Property, Private collection Large-mouthed jar with carved peony scrolls and yellow glaze, Seto ware Kamakura period, 14th century, Important Cultural Property(Photo 16) Photo 16

10 Introduction of the Gallery: Genre Gallery Room 15 Material Culture: Ainu and the Ryukyu Islands Ritual implements and daily utensils of the unique and indigenous culture nurtured by the people of Ainu inhabiting the northern regions of the Japanese islands. Paintings, documents, daily utensils, and old photographs of the formerly independent Kingdom of Ryukyu that had prospered through trade with China, Korean, and Southeast Asia. The gallery allows a remarkable insight into these cultures that had blossomed on the Japanese islands, enabling a re-evaluation of their richness. Coat Attushi (bast fiber), Hokkaido Ainu 19th century, Transferred from the Agency for International Expositions Iku-pasui (conveyer of wine and prayer to god), Hokkaido Ainu 19th century, Gift of Mr. Tokugawa Yorisada Room 16 Historic Material: 2004/2005 Observing Edo Series This gallery introduces various facets of the life and culture of the Edo people through historic materials. Main themes are annual events and entertainments related to the daily life, as well as arts such as ikebana, haikai (contemporary poetry including renku, hokku and haiku), sadō (tea ceremony) or kadō (studies on classical poetry of waka) many of which still flourish today. Thematic Exhibition The TANAKA Fusatane Collection of Natural History Paintings and Drawings Donated by TANAKA Yukiho This exhibitionfeatures illustrated materials of natural history from the Tanaka Fusatane Collection, donated by Mr. Tanaka Yukiho in March, 2004, including 57 illustrations of natural plants and fish. Illustration of Elaeocarpus sylvestris var. ellipticus, color on paper, Dated 1892 (Meiji 25), Gift of Mr. Tanaka Yukiho Grafting Method, ink on paper Meiji period, 19th century, Gift of Mr. Tanaka Yukiho Room 18 Modern Art: Painting and Sculpture Japanese modernization was accelerated by the influx of European culture. Western rationalism also had a great impact in the world of art. The field of art during the Meiji era (A.D ) was inspired by the struggle between modernists eagerly adapting Western techniques on one side, and traditionalists on the other. This gallery enables a chronological reconstruction of this process centered on sculptures and paintings that are representative for each stage. Hotspring By Kobayashi Kokei Dated 1921 (Taisho 10) Autumn in Grez By Asai Chu Dated 1901 (Meiji 34) (Photo 17) Photo 17

11 Introduction of the Gallery: Genre Gallery Room 19 Modern Decorative Arts The Museum has been closely linked to expositions through the Meiji governmental museum bureau since its establishment in 1872 and thus owns many modern decorative art objects dating back to the Meiji era: exhibits from World Expositions beginning with the 1873 Vienna World Exposition, from the National Industrial Exhibitions, and objects created by the teishitsu gigei-in (Artists to the Imperial Household). Centered on these examples, this gallery illustrates the essence of modern Japanese decorative arts. Large vase with crow and persimmons in underglaze painting By Kato Tomotaro Meiji period, 20th century (Photo 18) Pair of cloisonné vases with flowers and butterflies By Namikawa Yasuyuki Dated 1892 (Meiji 25) Room 20 Photo 18 Donations Gallery The collection of this Museum is roughly based on two pillars: purchases and donations. Since its founding in 1872 (Meiji 5), more than 3,000 donors have greatly contributed to the forming of the collection in quality as well as in quantity. These objects have already been enjoyed by many visitors through regular as well as special exhibitions. The Grand Renewal in 2004 was taken as an opportunity to convert Room 20 into a dedicated Donations Gallery, listing all the donors. Each rotating exhibition in this room will be held in honor as well as in grateful remembrance of the donors. The chairs in this room provide space for relaxation and reflections during the visit. Cat By Tobari Kogan, dated 1910 (Meiji 43), Gift of Mr. Miura Tetsutaro Large flower vase By Suzuki Chokichi dated 1912, Gift of the artist Room T1, T2 These are rooms for thematic exhibitions of painting and calligraphy Thematic Exhibition Appreciating Kohitsu: Ancient calligraphy Kohitsu describes Japanese calligraphy works, mainly copies of poetry anthologies dating from the Heian to the middle of the Kamakura period. There are several traditional aspects under which calligraphy can be appreciated: the aesthetic shape and sophisticated flow of the letters, the comfortable proportion between space and script, the aesthetic intentions of the calligrapher, and finally the poetry itself. Further noteworthy details are the choice of paper and binding strings as well as mountings, and even the accompanying boxes that were meticulously taken care of. Poem Attributed to Ono no Tofu Heian period, 10th century, Important Cultural Property Segment from a poetry anthology Known as "Akihagi-jo" Attributed to Ono no Tofu Heian period, 11th - 12th century, National Treasure (Photo 19) (Photo 19)

12 Thematic Exhibition Portrait Painting In Japan, portraits were regarded as mementos until the end of the Edo period, paintings ordered by disciples or families after the portrayed person had departed. During the Heian period, only monks had been portrayed. From the Kamakura period onwards, there had been a gradual spread of portrait culture and it began to include secular personalities, limited to the nobility, emperors, warriors, and intelligentsia. After the late Muromachi period, portraits of women and children began to appear at rare intervals. The development peaked in the Edo period, when finally popular personalities of the times, such as haiku poets, playwrights, kabuki actors and ukiyo-e artists, began to be portrayed. The exhibition includes works from the Muromachi though to the Edo periods, focusing on secular male portraits of the Edo period. Photo 20 Portrait of retired Emperor Goshirakawa Kamakura period, 13th century, Important Cultural Property, Lent by Myoho-in, Kyoto Preliminary drawing for the portrait of Master Tsubouchi By Watanabe Kazan Edo period, dated 1818, Gift of Mr.Okano Tessaku (Photo 20) Room T3, T4 These are rooms for thematic exhibitions of various genres Thematic Exhibition Designs on Dôtaku Bell-shaped Bronzes The dôtaku bell-shaped bronze sometimes bears pictures of the people of the Yayoi period (ca B.C.) and animals as well as architecture surrounding them, such as people pounding rice with a pestle, or a building structure resembling a raised floor rice barn, and deer and birds. These pictures show a glimpse of daily life of the Yayoi people in a straightforward manner, but perhaps even more than that, they could be representing myths or tales. Dotaku (bell-shaped bronze) with crossed bands, Reportedly excavated in Kagawa Prefecture Yayoi period, 2nd - 1st century B.C., National Treasure (Photo 21) Dotaku (bell-shaped bronze) with streams, Excavated in Kehi, Toyooka-shi, Hyogo Prefecture Yayoi period, 2nd - 1st BC, Important Cultural Property Photo 21

13 Gallery Structure 2nd Floor, HONKAN Highlights of Japanese Art 1st Floor, HONKAN Genre Gallery

14 Spatial Design Spatial Design Creating a new space for the viewing of Japanese Art where it is: Easy to focus on the exhibit Easy to understand the historical and cultural background of the artworks and the theme of the exhibition The new exhibition space of the Honkan has been designed with these two main objectives in mind, as well as the additional, important task to fully utilize the architectural appeal of the Honkan itself, which is designated as an Important Cultural Property. 1. Artworks speak for themselves: abstract presentation of historical backgrounds The new exhibition space aims to incorporate an image of the original, historical environment of the exhibited artwork, yet in a symbolical, abstract manner. For example, in Room 11 on the ground floor, dedicated to sculptures, pillars and beams create a temple-like atmosphere in which the statues were originally enshrined. However, texture and color of the structural design are executed in a monotonous manner or in a metallic color. The structure as a visual aid is reduced to an abstract reflection of the original, thereby allowing the viewer to retain a natural approach to each exhibit. It is a prevailing trend in exhibition design to present artworks against a background mimicking its original, historical environment. The 2004 Grand Renewal aims to provide the visitor with more historical and cultural context for a better understanding of the exhibits. However, a concrete recreation of any original environment may interfere with a liberal viewing experience. The renovated HONKAN seeks the ideal exhibition space in which the artworks themselves enable a deeper understanding of their own historical and cultural backgrounds. An environment supporting a deeper understanding, yet subtle enough not to overpower the exhibit is the target of the new HONKAN Gallery. 2. A spatial design that visibly underlines the exhibition theme One of the many attractiveness of the new HONKAN is the distinctness of each gallery room. To underline this feature, the rooms have been clearly marked to raise the awareness for this distinction. To enable a new and serene approach when entering the next gallery, the rooms are divided either by gates or glass partitions. The viewer experiences a clearly structured development within the display that simultaneously maintains continuity, all without denying the drama behind the exhibits. Together with this large-scale restructurisation, the finer details of room- and theme titles, explanation panels, size of letters used, as well as the color of the labels has been revised for increased viewer-friendliness.

15 Spatial Design 3. A design fully utilizing the architectural appeal of the HONKAN The new structural design was created with utmost consideration of the original, architectural appeal of HONKAN, an Important Cultural Property as a representative example of the Imperial Style. The biggest attraction of the HONKAN is its high ceiling, another charm point being its decorative gallery balcony that runs along the upper walls. The spotlights cast on this balcony also serves as indirect lighting to illuminate the entire gallery. The contradiction between the modern architecture and the antiquity that many exhibits radiate, has been a great challenge. An example would be the second-floor Room 8: Interior Furnishings and Daily Utensils. Here, objects traditionally used and viewed in an enclosed environment are placed in a large gallery. To overcome the gap between the nature of the exhibits and the nature of the room, the showcases have been partly covered with plastic sheets allowing a more private view on the exhibits when peering into the windows. Thus, the nature of the space is left untouched whilst the nature of the exhibit remains alive.. Increased sensation of brightness whilst omitting the glare: An artwork- as well as viewer-friendly lighting strategy Criticism concerning the dark display is frequent in museums. This could sometimes be due to the restricted lighting due to the conservational protection of many of the exhibits in this Museum, which are of extremely frail and often light-sensitive nature. The Grand Renewal introduced indirect lighting reflected off walls and ceilings to increase the sensation of brightness to a comfortable level, whilst maintaining the regulated illuminance level for the artworks. Furthermore, no effort was spared to diminish the unpleasant glare to avoid fatigue to the eyes. In the specific case of the ukiyo-e woodblock print gallery, superior fiber lighting was used that eliminates heat and UV rays, yet simultaneously enhances the red pigment often used on ukiyo-e prints. This and other methods are employed to pursue a lighting design that is both art- and viewer-friendly.

16 Environmental and Informative Design Making the Museum a Comfortable Place The major aim of the current Honkan renovation was to achieve a relaxed viewing environment, a museum where even first time visitors can orientate themselves easily. With this ideal in mind, the Tokyo National Museum has gone through repeated examination of improvements concerning lighting design, the information provision, the lounge design, which are all equally important aspects of the 2004 Grand Renewal, together with the display of the collection. 1. Improved readability of panels and design of labels Our new explanation panels and labels are larger and of a lighter color. The font size of panels and object labels as well as the text layout has been improved. 2. HONKAN entrance as a new information area The entrance hall of the Honkan is an important center point where the axis connecting the main gate with the Honkan and the axis between the Heiseikan (one of other galleries of the TNM) and the Honkan crosses. This point has been designated as an information area where all information about the Museum can be found. The location as well as the spatial design of the information counter and the signboard was reviewed so that staff assistance at the counter and directional signs work in harmony. Visitors can gain all the information on exhibitions and events as well as directions in the Museum at a single glance. Part of the information counter is lowered to the eye-level of wheelchairs users and children. 3. Comfortable environment for foreign visitors The floor maps of the Honkan are provided in four different languages, Japanese, English, Chinese, and Korean, for the convenience of visitors from abroad. Museum brochures are also available in seven languages: Japanese, English, Chinese, Korean, French, German, and Spanish. A brief guide of the second floor Highlights of Japanese Art is also provided in the four languages of: Japanese, English, Chinese, and Korean. 4. Increase of Lounge Space The space for lounging, resting, or gaining further reference about art objects have been increased for the comfort of the visitors. The Room 17 has been converted into a combined Lounge & Reference space, whilst Room 20 has been reformed into the Donations Gallery & Lounge. The small lounges between Rooms 15 and 16 on the first floor, and between Rooms 5 and 6 on the second floor, where you can see the original architectural decoration of the Honkan building, are also very comfortable. Other rooms have also been designed to offer visitors a relaxing time while enjoying artworks. For More Information on the Grand Renewal project and Photo request, please contact: This news release is available on our web site ( ). Please access the home page and go to NEWS )

17 Memorial Events for the Grand Renewal Lectures, Talks and Other Public Events Museum consert Gagaku (traditional court music of Japan) Saturday, September 18 and Sunday, September 19 AT 13:00, 15:00 Performed by: Tokyo Gakuso * Entrance Hall, Honkan Free with Museum admission *All lactures and talks will be held in Japanese only without language assistance. Lecture series Years of Japanese Art Wednesday, September 1 13:3014:30 Birth of Japanese Art by Matsuura YuichiroSenior Research Chair, TNM 14:4515:45 Japanese Art Meets Buddhist Icons by Matsuura Masaaki (Senior Research Chair, TNM Thursday, September 2 13:3014:30 Tradition of Courtly Art and the Taste of Warriors by Matsubara ShigeruSenior Research Chair, TNM 14:4515:45 Attire and Culture of the Military Elite by Harada KazutoshiSenior Research Chair, TNM Friday, September 3 13:3014:30 Blossoming of the Edo Culture by Komatsu TaishuSenior Research Chair, TNM 14:4515:45 History of Nihonga, Traditional Japanese Style Paintings of the Modern Age by Tamamushi ReikoCurator of Japanese Painting, TNM *Heiseikan Auditorium, Limit 380 seats, Free with Museum admission *Prior reservation is not necessary (first-come first-served basis) Renewal Talk Saturday, September 4, at 13:30 15:00 We love Japanese Art! by Hana (TV personality) and Shimatani Hiroyuki (Supervisor of Exhibition Department, TNM) *Room T5, Honkan Free with Museum admission *Prior reservation is not necessary (first-come first-served basis) Thursday, October 7, at 13:30 15:00 Women and Art by Setouchi JakuchoWriter *Room T5, Honkan *Admission: 1000 yen (regular admission to the museum is included.) *Prior reservation is required. Please see our web site ( for details. Renewal Lecture Tuesday, September 7 14:0014: Renovation of Honkan-Three Articles of Its Design Concept by Kinoshita Shisei (Chief Designer, TNM 14:3015:00 The Display of Theatrical Costumes in the Renovated Honkan Yuzuruha OyamaAssistant Curator of Japanese Textiles, TNM *Auditorium, Heiseikan Free with Museum admission *Prior reservation is not necessary (first-come first-served basis) Memorial Lecture Saturday, September 18 at 13:3015:00 Rebirth of Honkan-Features of the Renovation by Shimatani Hiroyuki (Supervisor of Exhibition department, TNM) *Heiseikan Auditorium, Limit 380 seats, Free with Museum admission *Prior reservation is not necessary (first-come first-served basis)