This database is a comprehensive collection of articles from Nihon bijutsu nenkan (Year Book of
Japanese Art), published by the Tokyo National Institute for Cultural Properties (Tobunken).
On July 11, the exhibition titled ‘Shirazaru tao no sekai – Dōkyō no bijutsu (Taoism Art)’ opened at the Mitsui Memorial Museum (until September 6). Featuring a total of 410 works of sculpture, calligraphy, painting and crafts from China and Japan dating the second century BC to the present day, the exhibition illustrated how Taoism was deeply rooted in the cultures of East Asia. It consisted of twelve chapters: ‘Chūgoku kodai no shisen shisō (Ancient Chinese Immortal Thought)’; ‘Rōshi to dōkyō no seiritsu (Laozi and the Origins of Taoism)’; ‘Dōkyō no shinkō to sonzō (Taoist Beliefs and Deity Images)’; ‘Onmyōdō (The Way of Yin and Yang)’; ‘Jigoku to meikai, jūō shisō (Hell and the underworld, the Ten Kings)’; ‘Hokuto shichisei to seishuku shinkō (The Big Dipper and Belief in the Constellations)’; ‘Zenshū to dōkyō (Zen Buddhism and Taoism)’; ‘Sennin, dōkyō no Kamigumi to minkan shinkō (Immortals, Taoist Deities and Folk Beliefs)’; ‘Dōkyō shisō no hirogari (The Spread of Taoist Thought)’; ‘Kindai nihon to dōkyō (Modern Japan and Taoism)’; and ‘Kakusan sure dōkyō no imēji (The Diffusion of Taoist Imagery)’. This was a major exhibition showcasing the history of Taoism, which traced its origin to Laozi and had developed through its integration with philosophy of immortality, feng shui, constellations, divination and Buddhism. The exhibition subsequently toured to the Osaka City Museum of Fine Arts (September 15 – October 25) and the Nagasaki Museum of History and Culture (January 23 – March 22, 2010). (Japanese)
On July 4, the exhibition titled ‘Sharaku and Other Hidden Japanese Masterpieces from the Land of NAUSICAA’ opened at the Edo-Tokyo Museum (until September 6). It showcased the collection of Japanese art donated to the Museum of Asian Art in Corfu, Greece, by Gregorios Manos, a collector of East Asian art who served as a diplomat in the late nineteenth and early twentieth centuries. From a collection of several thousand Japanese artworks, a total of 126 of paintings and woodblock prints were exhibited, including a fan painting by the ukiyo-e artist Sharaku and a pair of folding screens ‘Grazing Horses on a Pasture’ by KANŌ Sanraku, which attracted considerable interest. (Japanese)
On July 3, the exhibition titled ‘Paul Gauguin’ opened at the National Museum of Modern Art, Tokyo (until September 23). It showcased approximately 50 works by Paul Gauguin, who exerted a profound influence on modern Japanese art, focusing on his artistic career from the 1880s onwards, when he began to take an interest in the wild, the antithesis of urban culture. It consisted of three chapters: Chapter 1 ‘The discovery of the inner “wildness”’; Chapter 2 ‘The tropical paradise: Mythology and reality’; and Chapter 3 ‘Beyond the South Seas: Painting as his dying wish’. The exhibition also marked the first in Japan that his late masterpiece, ‘Where Do We Come From? What Are We? Where Are We Going?’, was on public display. (Japanese)
On May 19, the Council for Cultural Affairs (Commissioner: NISHIHARA Suzuko) submitted a report on 116 structures across 23 prefectures to be designated as Registered Tangible Cultural Properties to SHIONOYA Ryū, Minister of Education, Culture, Sports, Science and Technology. The list included the Clock Tower of Kwansai Gakuin University (Nishinomiya City, Hyōgo Prefecture), designed by the American architect William Merrell Vories. This brought the total number of Registered Tangible Cultural Properties to 7,628. (Japanese)
The recipients of the 3rd Yomiuri Aoniyoshi Award (sponsored by the Yomiuri Shimbun with special support from the Japan Society for the Conservation of Cultural Property), which publicly honors individuals and organizations for their outstanding achievements in the fields of conservation science and restoration, were announced. The Aoniyoshi Award was given to SHIRATAKA Yukinori (73), a blacksmith. The Encouragement Award went to MORI Yoshio (67), a dyer specializing in natural indigo dyeing. In addition, the Association for Conservation of National Treasures (President: OKA Kōzō) received the Special Award. The award ceremony took place on May 31 in Osaka. (Japanese)
On May 15, the Council for Cultural Affairs (Commissioner: NISHIHARA Suzuko) submitted a report on ten sites to be designated as Historic Sites and four sites to be designated as Places of Scenic Beauty to SHIOTANI Ryū, Minister of Education, Culture, Sports, Science and Technology. The list included the Uji River Taikō Embankment site (Uji City, Kyoto Prefecture), built by TOYOTOMI Hideyoshi in the late sixteenth century, as Historic Sites; the Shuri Castle Shoin and Sasunoma Garden (Naha City), as Places of Scenic Beauty; and two places such as the grounds of the National Museum of Western Art (Taitō Ward, Tokyo) to be registered as Registered Monuments. (Japanese)
On April 26, the exhibition titled ‘Yakudō guru tamasii no kirameki: Nihon no hyōgen shugi (Expressionist Movements in Japan)’ opened at the Tochigi Prefectural Museum of Fine Arts (until June 15). Featuring works from the 1910s to 1930s, including nihonga painting, yōga painting, crafts, architecture and the performing arts, the exhibition sought to examine works of art made in Japan from the latter half of Meiji period onwards not as a transplantation of Western concept but as a development rooted in Japan’s vernacular logic, and to trace its history using ‘Expressionism’ as a key concept. It consisted of five chapters: Prologue ‘Yochō (Premonitions)’; Chapter 1 ‘Hyōgen I – Seimei shugi (Expression I – Vitalism)’; Chapter 2 ‘Hyōgen II – Eikyō to koō (Expression II – Influences and Resonances)’; Chapter 3 ‘HyōgenIII – Seikatsu to zōkei (Expression III – Life and Art)’; and Epilogue. The exhibition subsequently toured to the Hyogo Prefectural Museum of Art (June 23 – August 16), the Nagoya City Art Museum (August 25 – October 12), the Iwate Museum of Art (October 20 – November 29) and the Matsudo Museum (December 8 – January 24, 2010). (Japanese)
On April 17, the Council for Cultural Affairs (Commissioner: NISHIHARA Suzuko) submitted a report on eight assets (seven new and one additional) to be designated as Important Cultural Properties to SHIONOTANI Ryū, the Minister of Education, Culture, Sports, Science and Technology. The list included the Nihonbashi Takashimaya main building in Tokyo and the Tsukayama Aomori Distillery in Nago City, Okinawa Prefecture. In addition to the list, Kuroshima District in Wajima City, Ishikawa Prefecture, and Kurogi, Kurogi Town, Fukuoka Prefecture, were also suggested to be selected as Important Preservation Districts for Groups of Traditional Buildings. This marked the first time a department store building was designated as an Important Cultural Property. (Japanese)
On April 14, the exhibition titled ‘Amanozeki – A Hidden Heritage: Treasures of the Japanese Imperial Convents’ opened at the University Art Museum, Tokyo University of the Arts (until June 14). It presented the beliefs, rituals and daily life of the thirteen Amanozeki temples, where women of high rank, including imperial, aristocratic or shogun families, served as abbesses. It consisted of two sections: Section I ‘Shinkō no sekai (The World of Faith)’ introduced the Buddhist faith of the Amanozeki temples, centering on ‘imperial princess nuns in history’ and ‘worship, decoration and rituals at Amanozeki temples’. Section II ‘Gosho bunka no sekai (The World of Imperial Court Culture)’ showcased furnishings, costumes, dolls and incense utensils, focusing on ‘imperial court culture in daily life’, ‘cultivation and leisure’, and ‘the women who supported Amanozeki temples’. The exhibition shed light on the roles played by women in Japanese Buddhist culture, a subject often discussed primarily from a male perspective. (Japanese)
On April 11, the exhibition titled ‘Tibet – Treasures from the Roof of the World’ opened at the Kyushu National Museum (until June 14). Featuring 123 works that shed light on the history and culture of Tibet, the exhibition showcased the cultural artifacts from Tibet, located on the Tibetan Plateau at the foot of the Himalayas. Since the establishment of the Tibetan Empire in the early seventh century, Tibet has absorbed various Buddhist cultures to develop Tibetan Buddhism. It consisted of five chapters: Introduction ‘Toban ōkoku no chibetto tōitsu (The Unification of Tibet by the Tibetan Empire)’; Chapter 1 ‘Bukkyō bunka no juyō to hatten (The Embracement and Development of Buddhist Culture)’; Chapter 2 ‘Chibetto mikkyō no seika (The Quintessence of Tibetan Esoteric Buddhism)’; Chapter 3 ‘Gen, Min, Shin to no ōrai (Exchanges with the Yuan, Ming, and Qing Dynasties)’; and Chapter 4 ‘Chibetto no kurashi (Life in Tibet)’. The exhibition subsequently toured to the Hokkaido Museum of Modern Art (July 11 – August 23), the Ueno Royal Museum (September 19 – January 11, 2010), the Osaka Museum of History (January 23 – March 29), and the Sendai City Museum (April 20 – May 30). (Japanese)
The Asahi Shimbun Company, the organiser of the Asahi Ceramic Art Exhibition – the longest-running open-call exhibition dedicated exclusively to ceramics – announced that the exhibition would be suspended starting fiscal year 2009. The exhibition had aimed to promote the development of ceramics and nurture emerging ceramic artists, yet the organizer stated that it had fulfilled its role for the past 46 years. (Japanese)
On March 31, the exhibition titled ‘The National Treasures ASHURA and Masterpieces from Kohfukuji’ opened at the Tokyo National Museum to commemorate the 1300th anniversary of the founding of Kōhfukuji temple (until June 7). A total of 75 works were exhibited, including statues of the Eight Kinds of Mythological Beings, among which was the statue of Ashura, and the Ten Great Disciples as well as votive objects from the Central Golden Hall and various Buddhist statues. The exhibition attracted over 940,000 visitors, underscoring the growing popularity of Buddhist statues in recent years. The exhibition subsequently toured to the Kyūshū National Museum from July 14 to September 27. (Japanese)
The Hirakushi Denchū Award (sponsored by Ibara City, Okayama Prefecture), established to commemorate HIRAKUSHI Denchū’s achievements along with the promotion of wood carvings in Japan, announced that the 24th winner was ISHIMATSU Toyoaki. He was awarded for his recent works and activities. (Japanese)
On March 20, the Japan Art Academy (Director: MIURA Shumon) announced the recipients of the 65th Japan Art Academy Prize. In relation to art, the Imperial Prize and the Japan Art Academy Prize was given to KOYAMA Yasuko (84, calligraphy titled ‘Sarashina nikkishō’, exhibited at Nitten exhibition in 2008). The Japan Art Academy Prize was shared with YABUNO Ken (65, yōga painting titled ‘Aruhi asshiji no oka de’, exhibited at Nitten exhibition in 2008) and MIYASE Tomiyuki (born MIYASE Tomio, 67, sculpture titled ‘Genji monogatari ni omou’). The award ceremony was held on June 15 at the headquarters of the Japan Art Academy in Ueno, Tokyo. (Japanese)
On March 19, the Council for Cultural Affairs (Commissioner: NISHIHARA Suzuko) submitted a report on two assets to be designated as National Treasures and 38 assets to be designated as Important Cultural Properties to SHIONOYA Ryū, Minister of Education, Culture, Sports, Science and Technology. The two assets to be designated as National Treasures were a dogū excavated from the Kazahari I Site in Hachinohe City, Aomori Prefecture (Hachinohe city collection) and YOSA Buson’s ‘Snowclad Houses in the Night’ (private collection, Hyōgo Prefecture). One of 38 assets to be designated as Important Cultural Properties was a wooden seated statue of Dainishi Nora from the Kamakura period, which was sold at auction in New York in the previous year for approximately 1.4 billion yen. The Council for Cultural Affairs also recommended one work of art and 105 structures, including Gakushūin University South Building No. 1, be registered as Registered Tangible Cultural Properties. (Japanese)
On March 12, the Japan Academy announced ten recipients of the Japan Academy Prize for fiscal year 2009, the annual prize given to outstanding achievements in academic fields/ In relation to art, there were no recipients. (Japanese)
The Domon Ken Award (sponsored by the Mainichi Newspapers Co.), an award for a photographer who has made excellent achievements in the previous year, announced that the 28th winner was IMAMORI Mitsuhiko. He was recognized for his exhibition ‘Insects: On the move for 400 million years’ (held at Tokyo Photographic Art Museum, July 5 – August 17, 2008) and his photo book ‘Insects: On the move for 400 million years’ (published by Shinchōsha, July 2008). (Japanese)
On March 28, the government budged for fiscal year 2009 (Heisei 21) was passed. The budget for the Agency for Cultural Affairs was ¥102.012 billion, 0.3 % or ¥257 million more than the previous year. Aiming to ‘realize a “nation building based on culture and the arts” and promote Japanese culture’, the budget is divided into three principal projects as follows: I. Promotion of the plan for the creation of culture and the arts; II. Passing on cultural properties to the next generation; and III. Strategic promotion of Japanese culture. In particular, for Project 1, ¥108 million yen was newly allocated to the ‘History Museum Activity Infrastructure Development Support Project’; for Project 2, emphasis was placed on the restoration and preservation of cultural properties, including initiatives such as ‘Promotion of Conservation, Restoration, and Disaster Prevention Facilities’; and for Project 3, the budget for strategic promotion overseas has been increased in particular. (Japanese)
The winner of the 34th Kimura Ihei Award (sponsored by the Asahi Shimbun and Asahi Shimbun Publications), an award given to exceptional new photographers in honor to photographer KIMURA Ihei’s achievements, was announced. The award was given to ASADA Masashi (29) for his photobook ‘Asadake’ (Ayaka Art Publishing). (Japanese)
On March 13, Japan Post announced that it had reached an agreement with the Agency for Cultural Affairs regarding the redevelopment of the former Tokyo Central Post Office to double the size of the preserved area compared to the original plan. Construction, which had been suspended amid debates over the preservation of the old building, would resume, with the goal of completing the renovation by the end of fiscal year 2011. While the plan to replace the building with a 38-story skyscraper remained unchanged, the preserved portion of the low-rise section would be approximately twice the size of the original plan. About 30 percent of the current building would be retained, and nearly the entire section facing the Marunouchi side of JR Tokyo Station would be preserved. (Japanese)
