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 March 18, the Japan Art Academy (Director: MIURA Shumon) announced the recipients of the 66th Japan Art Academy Prize. The Imperial Prize and the Japan Art Academy Prize were given to YAMAMOTO Fumihiko (for his yōga painting titled ‘Jusō’, exhibited at a Nikiten exhibition) in the Fine Arts category; and AWAZU Norio (for his longstanding contributions to various artistic fields, particularly in literately criticism, translation and literature) in the Literature category. In the Fine Arts category, the Japan Art Prize was given to TAKEGOSHI Toshiaki (for his kōgei work titled ‘Kohan, Saiyū kaki’, exhibited at a Nitten exhibition); TARUMOTO Juson (for his calligraphy titled ‘富陽妙庭観董雙成故宅發地得丹鼎’, exhibited at a Nitten exhibition); and KITAGAWARA Atsushi (for his architectural design of the Nakamura Keith Haring Collection). (Japanese)
On March 12, the Agency for Cultural Affairs announced the recipients of the Minister of Education, Culture, Sports, Science and Technology’s Art Encouragement Prize for the fiscal year 2009. The recipients of the Minister of Education, Culture, Sports, Science and Technology’s Art Encouragement Prize were sculptor NAGASAWA Hidetoshi (for his expiation titled ‘NAGASAWA – Dove tende aurora’) and nihonga artist YAMAMOTO Naoaki (for his exhibition titled ‘Yamamoto Naoaki ten: Kikan suru fūkei’) in the Fine Arts category; and FUJIHATA Masaki, Professor, Department of Inter Media Art, Tokyo University of the Arts, (for his work titled ‘Simultaneous Echoes 2009: “Field-work” in Londonderry’) in the Media Art category. The recipients of the Art Encouragement Prize for New Artists were photographer TSUDA Nao (for his exhibition titled ‘Rera Faraway’) in the Fine Art Category; and IWAKIRI Shinichirō, Professor, Bunka Junior College, (for his monograph titled ‘Meiji hangashi’) in the Criticism category. (Japanese)
On March 9, the Agency for Cultural Affairs decided not to permit the display of the statue of Miroku Bosatsu (National Treasure) from Chūgūji temple and fourteen Important Cultural Properties at the exhibition titled ‘Nara no koji to butsuzō (Old Temples and Buddhist Statues of Nara)’, which had been scheduled to open in April at the Niigata City Art Museum. The reason cited was that, following the occurrence of mold on exhibited works at the museum in July 2009, spiders and insects were detected in February 2010. Consequently, the museum’s director KITAGAWA Fram was replaced, and the exhibition ‘Nara no koji to butsuzō’ was relocated to the Niigata Prefectural Museum of Modern Art. (Japanese)
On March 8, the winner of the 35th Kimura Ihei Award (sponsored by the Asahi Shimbun and Asahi Shimbun Publications), the award given to exceptional new photographers in honor to photographer KIMURA Ihei’s achievements, was announced. The award was given to TAKAGI Cozue for her photobooks titled ‘MID’ and ‘GROUND’. (Japanese)
On February 23, the exhibition ‘HASEGAWA TOHAKU: 400th Memorial Retrospective’ opened at the Tokyo National Museum to commemorate the 400th anniversary of the passing of HASEGAWA Tōhaku (1539 – 1610), a master painter of the Momoyama period (until March 22). Featuring approximately 80 works including National Treasures such as ‘Maple Tree’ (Chishakuin temple) and ‘Pine Trees’ (Tokyo National Museum), the exhibition traced the artistic career of HASEGAWA Tōhaku from his early years painting Buddhist art in Noto through his rise in Kyoto where, backed by TOYOTOMI Hideyoshi and SEN no Rikyū, he produced numerous large-scale golden paintings, called konpekiga, while simultaneously deepening his mastery of ink painting, suibokuga. It consisted of seven chapters: Chapter 1 ‘Hasegawa Nobuharu: Buddhist Painter of Noto Peninsula’; Chapter 2 ‘The Turning Point: The Move to Kyoto and the Emergence of Tohaku’; Chapter 3 ‘Portraiture: Tohaku’s Contemporaries’; Chapter 4 ‘Momoyama Masterpieces: The World of Colorful Screens on Gold Ground’; Chapter 5 ‘A Testament to Faith: Tohaku and Honpoji Temple’; Chapter 6 ‘Master of Ink: The Devotion to Ink Paintings’; and Chapter 7 ‘The Realm of Pine Trees’. The exhibition subsequently toured to the Kyoto National Museum (April 10 – May 9). (Japanese)
On February 14, Professor NAKAI Izumi, Tokyo University of Science, proposed the possibility of gold leaf being used for the background of the folding screens ‘Red and White Plum Blossoms’ at a symposium held at the MOA Museum which houses the work. This observation was based on Professor NAKAI’s measurement of the crystal structure using techniques such as X-ray diffraction, commissioned by the museum, which detected crystal planes identical to those found in gold leaf. It drew attention as research outcomes differing from the use of gold paste, kindei, which had been announced by the National Research Institute for Cultural Properties, Tokyo, in 2004 based on scientific research, which had sparked debate. (Japanese)
The winners of the VOCA Prize, which encourages young artists who create two-dimensional artworks, were announced. The 17th Grand Prize of the VOCA was awarded to MIYAKE Saori (‘a secret talk’ and ‘Bed’). SAKAMOTO Natsuko and NAKATANI Michiko jointly received the VOCA Encouragement Prize. KIYOKAWA Asami and SAITŌ Meo jointly received the VOCA Honorable Mention Prize. SAITŌ Meo also received the Ohara Museum Art Prize. The VOCA 2010, where the winners’ works were exhibited, was held at the Ueno Royal Museum in Tokyo from March 14 to 30 in 2010. (Japanese)
The recipients of the 51st Mainichi Art Award (sponsored by the Mainichi Newspapers Co.), an annual award given to outstanding individuals in art and culture, were announced. In relation to art, the award was given to architect KUMA Kengo for his architectural design of the Nezu Museum in Architecture Category; and SEKI Masato for his special display at the 9th Fusōinsha exhibition, held at the Tokyo Central Museum of Art and his publication of the collection of tenkoku seal-engraving. (Japanese)
On January 1, the recipients of the Asahi Prize for the fiscal year 2009 (sponsored by the Asahi Shimbun Foundation) were announced. In relation to art, architect Toyo ITO received the prize for ‘achievements that expanded the possibilities of spatial expression in contemporary architecture.’ (Japanese)
On December 10, the exhibition titled ‘The World of Ishiko Junzō: From Art via Manga to Kitsch’ opened at the Fuchu Art Museum (until February 26, 2012). It revisited the full scope of work by ISHIKO Junzō, who was active as a contemporary art critic during Japan’s turbulent high-growth period. It consisted of three chapters: ‘Bijutsu (Art)’; ‘Manga’; and ‘Kitsch’. This densely packed exhibition, comprising 130 works, explored ISHIKO’s approach of questioning established artistic values and evaluating works through a ‘process of digging deeper and deeper downwards’. (Japanese)
On December 1, the Japan Art Academy (Director: MIURA Shumon) announced that four new members had been elected to join their ranks for their distinguished artistic achievements. In relation to art, lacquer artist ITŌ Hiroshi was elected. It was officially announced by NAKAGAWA Masaharu, Minister of Education, Culture, Sports, Science and Technology, on December 15. (Japanese)
On December 1, the International Council on Monuments and Sites (ICOMOS) announced at its General Assembly held at the headquarters of the United Nations Educational, Scientific and Cultural Organization (UNESCO) in Paris, France, that the Gazzola Prize had been awarded to ITŌ Nobuo, an honorary member of the Japanese ICOMOS National Committee. The recognition honored his longstanding contributions as a bridge among Japan, Asia and the wider world. He advocated that the methods and traditions for preserving and restoring wooden architecture in Asia differ from those for European masonry structures, calling for understanding and respect for this diversity. He also contributed significantly to the adoption of new international standards for the protection of historic buildings. He is the second Japanese recipient of the award, following SEKINO Masaru in 1987. (Japanese)
On November 18, the Council for Cultural Affairs (Commissioner: NISHIHARA Suzuko) submitted a report on the following places to be designated as Places of Scenic Beauty or Historic Sites to NAKAGAWA Masaharu, Minister of Education, Culture, Sports, Science and Technology. The list includes five places such as Jōdogahama (Miyako City, Iwate Prefecture), damaged by the tsunami caused by the Great East Japan Earthquake, to be designated as Places of Scenic Beauty; and eight places such as the precinct of Iwashimizu Hachimangū shrine (Yawata City, Kyoto Prefecture), where Imperial family members and aristocrats visited since the Heian period, to be designated as Historic Sites; three places such as Moriaishi teien (Miyako City), constructed by a wealthy merchant of the Sanriku region, to be registered as Registered Monuments; and the cultural landscape of Shinkamigotō kitauome (Shinkamigotō Town, Nagasaki Prefecture), where a fishing port and farming village coexist in a narrow area on the island, to be selected as an Important Cultural Landscape. Meanwhile, the Council recommended the withdrawal of the designation as Registered Tangible Cultural Properties for six structures such as Rokkakudō, Izura Institute of Art and Culture, Ibaraki University, damaged in the Great East Japan Earthquake. (Japanese)
On November 15, the exhibition titled ‘Undressing Paintings: Japanese Nudes 1880-1945’ opened at the National Museum of Modern Art, Tokyo (until January 15, 2012). It traced how Japanese artists depicted naked figures after embracing Western nude painting, featuring 98 artworks, primarily oil paintings. It consisted of three chapters: Chapter 1 ‘Creating the Nude’ covered the mid-to-late Meiji period when Japanese artists forged an ideal body image based on Western art; Chapter 2 ‘Deconstructing the Nude’, examined the Taishō period when body images were deformed or fragmented; and Chapter 3 ‘The Nude Anew’, focused on the 1920s to 1940s when reconstructed body images were depicted. The exhibition outlined the process by which the genre of ‘nude’ was established, despite friction with society such as the Nude Painting Controversy. It adopted an original approach that considered not only the modelling of the body image, but also perspectives such as the location of the nude and distinctions between standing and reclining figures. (Japanese)
On November 11, the exhibition titled ‘Jackson Pollock: A Centennial Retrospective’ opened at the Aichi Prefectural Museum of Art (until January 22, 2012). It showcased the full scope of Jackson Pollock’s artistic career, renowned as the first American artist to gain international acclaim through his technique of splashing paint across large canvases. It consisted of four chapters: Chapter 1 ‘Finding His Way, 1930 – 1941’; Chapter 2 ‘Engaging with Modern Art, 1942 – 1946’; Chapter 3 ‘Breaking New Ground, 1947 – 1950’; and Chapter 4 ‘In Anguish, 1951 – 1956’. It traced the process leading to his unique style and subsequent experimental developments. It marked the first comprehensive introduction of Pollock’s work in Japan with approximately 70 works on display, combining all his pieces held in Japan with major works from overseas institutions such as the Museum of Modern Art, New York City. The exhibition subsequently toured to the National Museum of Modern Art, Tokyo (February 10 – May 6, 2012). (Japanese)
On October 25, the exhibition titled ‘Honen and Shinran: Treasures Related to the Great Masters of the Kamakura Buddhism’ opened at the Tokyo National Museum (until December 4). It commemorated the 800th anniversary of the passing of Hōnen, founder of the Jōdō sect of Buddhism, and the 750th anniversary of the passing of Shinran, founder of the Jōdo Shinshū of Buddhism. It gathered outstanding works from related temples, displaying approximately 190 works and materials, including around one hundred National Treasures and Important Cultural Properties. It consisted of four chapters: Chapter 1 ‘The Founders and Their Teachings’; Chapter 2 ‘Illustrated Biographies of Honen and Shinran’; Chapter 3 ‘Honen and His Fellows, and Shinran and His Fellows’; and Chapter 4 ‘The Spread of Pure Land Teachings’. This exhibition marked the first occasion on which renowned treasures associated with the two founders were brought together in one place. (Japanese)
On October 25, the exhibition titled ‘Honen and Shinran: Treasures Related to the Great Masters of the Kamakura Buddhism’ opened at the Tokyo National Museum (until December 4). It commemorated the 800th anniversary of the passing of Hōnen, founder of the Jōdō sect of Buddhism, and the 750th anniversary of the passing of Shinran, founder of the Jōdo Shinshū of Buddhism. It gathered outstanding works from related temples, displaying approximately 190 works and materials, including around one hundred National Treasures and Important Cultural Properties. It consisted of four chapters: Chapter 1 ‘The Founders and Their Teachings’; Chapter 2 ‘Illustrated Biographies of Honen and Shinran’; Chapter 3 ‘Honen and His Fellows, and Shinran and His Fellows’; and Chapter 4 ‘The Spread of Pure Land Teachings’. This exhibition marked the first occasion on which renowned treasures associated with the two founders were brought together in one place. (Japanese)
On October 25, the Japanese government announced five recipients of the Order of Culture and fifteen recipients of the Person of Cultural Merit for the fiscal year 2011. In relation to art, potter ŌHI Toshirō was awarded the Order of Culture, and ceramic artist IMAI Masayuki, sculptor HASHIMOTO Kentarō, and calligrapher HIBINO Kōhō were awarded the Person of Cultural Merit. (Japanese)
On October 22, the exhibition titled ‘Goya: Light and Shadows’ opened at the National Museum of Western Art (until January 29, 2012). It featured the artistic career of Goya, Spain’s foremost painter, through 123 works and documents, which included 72 items from the Museo del Prado, such as the oil painting titled ‘La maja vestide (E: The Clothed Maja)’ alongside prints and letters. It consisted of fourteen chapters: I ‘Kaku aru watashi – Goya no jigazō (This is Me: Goya’s Self-Portraits)’; II ‘Sōi to jissen (Originality and Practice)’; III ‘Uso to musessō (Lies and Licentiousness)’; IV ‘Giga, yume, kimagure (Satire, Dreams, and Whimsy)’; V ‘Roba no shū: Gudon na mono tachi (The Donkeys: The Stupid Ones)’; VI ‘Mamono no mure (The Horde of Monsters)’; VII ‘Kokuō fusai ika, boku o shiranai hito wa inai (The King and Queen, and All Who Know Me)’; VIII ‘Hisan na nariyuki (The Tragic Outcome)’; IX ‘Fuun naru saiten (The Unfortunate Festival)’; X ‘Akumu (Nightmares)’; XI ‘Shinjin to danzai (Faith and Condemnation)’; XII ‘Yami no naka no shōki (Sanity in Darkness)’; XIII ‘Kikai na gūwa (A Strange Fable)’; and XIV ‘Itsuraku to bōryoku (Pleasure and Violence)’. The exhibition traced the work of artist who cast a profound gaze upon society and his own inner world during the turbulent period spanning the late eighteenth to early nineteenth centuries. (Japanese)
On October 21, the Council for Cultural Affairs (Commissioner: NISHIHARA Suzuko) submitted a report on six assets to be designated as Important Cultural Properties to NAKAGAWA Masaharu, Minister of Education, Culture, Sports, Science and Technology. The list includes the Old Sasebo Wireless Transmission Facility (Hario Transmitting Station) (Sasebo City, Nagasaki Prefecture), used by the Imperial Japanese Navy as a communication facility during the Pacific War. In addition to the list, two districts, one of which was the Kaga Higashitani area in Kaga City, Ishikawa Prefecture, were suggested to be selected to be Important Preservation Districts for Groups of Traditional Buildings. Meanwhile, the Council also recommended the partial withdrawal of the designation for the portion of the grounds of Rokasensuisō (Ōtsu City), where a residence had been constructed, which had been designated as an Important Cultural Property in 1994. (Japanese)
