Exhibitions
2020-2 MOMAT Collection
Date
Location
Collection Gallery, from the fourth to second floors
Special feature: What Is Like the Present?
The collection exhibition from November 3, 2020–February 23, 2021
This edition of the MOMAT Collection centers on a special feature titled “What Is Like the Present?”, which unfolds over nine rooms. To consider “the present,” an era defined by the maelstrom of the coronavirus crisis, we have chosen a riddle-like approach with nine solutions in order to consider a century of art history from a variety of perspectives.
A riddle consists of a solution followed by a punch line. As we search for a common punch line to the solutions, which deal with subjects such as personal expressions and isms, art and the state, the subjective and the objective, and works and museums, we might come to the conclusion that distance is important. An artist’s distinctive way of observing the current state of a given phenomenon while maintaining their distance from it promises to provide us with some helpful hints for creatively passing our time in the present. In Room 12, we present new works by Okazaki Kenjiro, which was made during the coronavirus pandemic.
Viewers will also enjoying seeing some old favorites in “Highlights” (Room 1, 4th floor) as well as Soul and Soul, a work by the photographer Suzuki Kiyoshi, which is being shown to commemorate the 20th-anniversary of Suzuki’s death (Room 9, 3rd floor). In Room 10 (3rd floor), you will also a find selection of Nihon-ga (Japanese-style paintings) presented in two terms (the first running from Nov. 3 to Dec. 20, and the second from Dec. 22-Feb. 23). And a small exhibit devoted to sculptures of the male form can be found in Gallery 4 (2nd floor). Please relax and enjoy your visit to the museum.
translated by Christopher Stephens
List of Works
| room | audio guide (En) | artist | title | 美术家 | 标题 | 작가의 | 표제 | date | on view from | on view to |
|---|---|---|---|---|---|---|---|---|---|---|
| 1 | HISHIDA, Shunso | Sparrows on Plum Blossoms | 菱田春草 | 梅与雀 | 히시다 슌소 | 매화나무와 참새 | 1911 | 2020/02/11 | 2020/04/12 | |
| 1 | YAMAMOTO, Shunkyo | Snow and Pine Trees | 山元春举 | 雪松图 | 야마모토 슌쿄 | 눈 속의 소나무 | 1908 | 2020/11/03 | 2020/12/20 | |
| 1 | KAWABATA, Ryushi | Divine Light of Love: Morning, Evening | 川端龙子 | 慈悲光礼赞（朝、夕） | 가와바타 류시 | 자비의 빛을 예찬하다(아침, 저녁) | 1918 | 2020/12/22 | 2021/02/23 | |
| 1 | Fusen, Tetsu | Seaside Village | 不染铁 | 海村 | 후센 데쓰 | 바닷가 마을 | 1923 | 2020/12/22 | 2021/02/23 | |
| 1 | KOSUGI, Hoan (Misei) | Camellia | 小杉放庵（未醒） | 茶花 | 고스기 호안(미세이) | 동백 | 1937 | 2020/12/22 | 2021/02/23 | |
| 1 | KOSUGI, Hoan (Misei) | Great Argus Pheasant | 小杉放庵（未醒） | 青鸾 | 고스기 호안(미세이) | 푸른 난새 | 1938 | 2020/12/22 | 2021/02/23 | |
| 1 | 0003 | Henri Rousseau | Liberty Inviting Artists to Take Part in the 22nd Exhibition of the Société des Artistes Indépendants | 亨利·卢梭 | 自由女神指引艺术家参加第22届独立沙龙 | 앙리 루소 | 제22회 앙데팡당전에 참가하도록 예술가들을 이끄는 자유의 여신 | 1905-06 | 2020/11/03 | 2021/02/23 |
| 1 | 0001 | HARADA, Naojiro | Kannon Bodhisattva Riding the Dragon | 原田直次郎 | 骑龙观音 | 하라다 나오지로 | 기룡관음 | 1890 | 2020/11/03 | 2021/02/23 |
| 1 | 0020 | KISHIDA, Ryusei | Road Cut through a Hill | 岸田刘生 | 道路、土堤和围墙（凿开之路的写生） | 기시다 류세이 | 도로와 제방과 담(언덕길 사생) | 1915 | 2020/11/03 | 2021/02/23 |
| 1 | 0039 | SAEKI, Yuzo | Gas Lamp and Advertisements | 佐伯祐三 | 煤气灯和广告 | 사에키 유조 | 가스등과 광고 | 1927 | 2020/11/03 | 2021/02/23 |
| 1 | 0040 | KOGA, Harue | Sea | 古贺春江 | 海 | 고가 하루에 | 바다 | 1929 | 2020/11/03 | 2021/02/23 |
| 1 | AI-MITSU | Horse | 叆光 | 马 | 아이미쓰 | 말 | 1936 | 2020/11/03 | 2021/02/23 | |
| 1 | 0044 | SAKAMOTO, Hanjiro | Horse Coming out of the Water | 坂本繁二郎 | 从水中升起的骏马 | 사카모토 한지로 | 물에서 걸어 나오는 말 | 1937 | 2020/11/03 | 2021/02/23 |
| 1 | FUJITA, Tsuguharu | Cats | 藤田嗣治 | 猫 | 후지타 쓰구하루 | 고양이 | 1940 | 2020/11/03 | 2021/02/23 | |
| 1 | 0025 | TAKAMURA, Kotaro | Hand | 高村光太郎 | 手 | 다카무라 고타로 | 손 | c.1918 | 2020/11/03 | 2021/02/23 |
| 2 | TOKUOKA, Shinsen | Poppy | 德冈神泉 | 罂粟花 | 도쿠오카 신센 | 양귀비 | 1924 | 2020/11/03 | 2020/12/20 | |
| 2 | TSUCHIDA, Bakusen | Sketch of Chrysanthemums | 土田麦仙 | 菊花写生 | 쓰치다 바쿠센 | 국화 사생 | c.1933 | 2020/11/03 | 2020/12/20 | |
| 2 | TSUCHIDA, Bakusen | Sketch of Chrysanthemums | 土田麦仙 | 菊花写生 | 쓰치다 바쿠센 | 국화 사생 | c.1933 | 2020/11/03 | 2020/12/20 | |
| 2 | TSUCHIDA, Bakusen | Sketch of Chrysanthemums | 土田麦仙 | 菊花写生 | 쓰치다 바쿠센 | 국화 사생 | c.1933 | 2020/11/03 | 2020/12/20 | |
| 2 | TSUCHIDA, Bakusen | Sketch of Chrysanthemums | 土田麦仙 | 菊花写生 | 쓰치다 바쿠센 | 국화 사생 | c.1933 | 2020/11/03 | 2020/12/20 | |
| 2 | MURAKAMI, Kagaku | Camellias | 村上华岳 | 山茶花 | 무라카미 가가쿠 | 동백 | 1938 | 2020/11/03 | 2020/12/20 | |
| 2 | MAEDA, Seison | Peonies | 前田青村 | 牡丹 | 마에다 세이손 | 모란 | 1944 | 2020/11/03 | 2020/12/20 | |
| 2 | OMODA, Seiju | Camellia | 小茂田青树 | 茶花 | 오모다 세이주 | 동백 | c.1919 | 2020/12/22 | 2021/02/23 | |
| 2 | HAYAMI, Gyoshu | Scroll of Sketches (Winter Peonies) | 速水御舟 | 寒牡丹写生图卷 | 하야미 교슈 | 겨울 모란 사생 두루마리 | 1926 | 2020/12/22 | 2021/02/23 | |
| 2 | HAYAMI, Gyoshu | Camellias | 速水御舟 | 野山茶 | 하야미 교슈 | 동백 | 1923 | 2020/12/22 | 2021/02/23 | |
| 2 | Paul Cézanne | Grand Bouquet of Flowers | 保罗·塞尚 | 大花束 | 폴 세잔 | 큰 꽃다발 | c.1892-95 | 2020/11/03 | 2021/02/23 | |
| 2 | YASUI, Sotaro | Yellow Flower Vase | 安井曾太郎 | 黄色之瓮 | 야스이 소타로 | 노란 항아리 | 1912 | 2020/11/03 | 2021/02/23 | |
| 2 | YASUI, Sotaro | Dahlias | 安井曾太郎 | 大丽花 | 야스이 소타로 | 달리아 | 1916 | 2020/11/03 | 2021/02/23 | |
| 2 | FUJISHIMA, Takeji | Artichoke | 藤岛武二 | 洋蓟花 | 후지시마 다케지 | 아르티쇼 | 1917 | 2020/11/03 | 2021/02/23 | |
| 2 | MUKAI, Junkichi | Dahlias | 向井润吉 | 大丽花 | 무카이 준키치 | 달리아 | 1919 | 2020/11/03 | 2021/02/23 | |
| 2 | KANAYAMA, Heizo | Chrysanthemums | 金山平三 | 菊 | 가나야마 헤이조 | 국화 | 1928 | 2020/11/03 | 2021/02/23 | |
| 2 | SUDA, Kunitaro | Study | 须田国太郎 | 书斋 | 스다 구니타로 | 서재 | 1937 | 2020/11/03 | 2021/02/23 | |
| 2 | UMEHARA, Ryuzaburo | Roses | 梅原龙三郎 | 蔷薇图 | 우메하라 류자부로 | 장미 | 1940 | 2020/11/03 | 2021/02/23 | |
| 3 | 0012 | OGIWARA, Morie | Woman | 荻原守卫 | 女子 | 오기와라 모리에 | 여자 | 1910 | 2020/11/03 | 2021/02/23 |
| 3 | TOBARI, Kogan | Cloudiness | 户张孤雁 | 多云 | 도바리 고간 | 흐림 | 1917 | 2020/11/03 | 2021/02/23 | |
| 3 | 0017 | YOROZU, Tetsugoro | Nude Beauty | 万铁五郎 | 裸体美人 | 요로즈 데쓰고로 | 나체 미인 | 1912 | 2020/11/03 | 2021/02/23 |
| 3 | YOROZU, Tetsugoro | A Cornfield in the Sun | 万铁五郎 | 太阳下的麦田 | 요로즈 데쓰고로 | 태양의 보리밭 | c.1913 | 2020/11/03 | 2021/02/23 | |
| 3 | KISHIDA, Ryusei | Self-Portrait | 岸田刘生 | 自画像 | 기시다 류세이 | 자화상 | 1913 | 2020/11/03 | 2021/02/23 | |
| 3 | KISHIDA, Ryusei | An Apple Exists on Top of a Pot | 岸田刘生 | 壶上放着苹果 | 기시다 류세이 | 항아리 위에 사과가 놓여 있다 | 1916 | 2020/11/03 | 2021/02/23 | |
| 3 | NAKAMURA, Tsune | Landscape, Island Oshima | 中村彝 | 大岛风景 | 나카무라 쓰네 | 오시마섬의 풍경 | 1914-15 | 2020/11/03 | 2021/02/23 | |
| 3 | 0029 | NAKAMURA, Tsune | Portrait of Vasilii Yaroshenko | 中村彝 | 爱罗先珂先生的肖像 | 나카무라 쓰네 | 에로셴코 씨의 초상 | 1920 | 2020/11/03 | 2021/02/23 |
| 3 | 0021 | MURAYAMA, Kaita | Roses and a Girl | 村山槐多 | 玫瑰和少女 | 무라야마 가이타 | 장미와 소녀 | 1917 | 2020/11/03 | 2021/02/23 |
| 3 | SEKINE, Shoji | Portrait of a Woman | 关根正二 | 妇人像 | 세키네 쇼지 | 부인상 | c.1918 | 2020/11/03 | 2021/02/23 | |
| 3 | 0027 | SEKINE, Shoji | Three Stars | 关根正二 | 三星 | 세키네 쇼지 | 삼형제 별 | 1919 | 2020/11/03 | 2021/02/23 |
| 3 | HAYAMI, Gyoshu | Green Grapes and Tea Bowl | 速水御舟 | 白葡萄与茶碗 | 하야미 교슈 | 청포도와 찻잔 | 1920 | 2020/11/03 | 2020/12/20 | |
| 3 | 0030 | HAYAMI, Gyoshu | Tea Bowl and Fruit | 速水御舟 | 茶碗与果实 | 하야미 교슈 | 찻잔과 과실 | 1921 | 2020/12/22 | 2021/02/23 |
| 4 | MAKINO, Torao | Sunny Room | 牧野虎雄 | 明亮的房间 | 마키노 도라오 | 밝은 방 | 1931 | 2020/11/03 | 2021/02/23 | |
| 4 | MIGISHI, Kotaro | Butterflies Flying above Clouds | 三岸好太郎 | 飞舞在云上的蝴蝶 | 미기시 고타로 | 구름 위를 나는 나비 | 1934 | 2020/11/03 | 2021/02/23 | |
| 4 | KOBAYASHI, Tokusaburo | Reading | 小林德三郎 | 读书 | 고바야시 도쿠사부로 | 독서 | 1936 | 2020/11/03 | 2021/02/23 | |
| 4 | OKUBO, Sakujiro | Play in the Flower Garden | 大久保作次郎 | 花园中的玩耍 | 오쿠보 사쿠지로 | 화원에서 놀다 | 1948 | 2020/11/03 | 2021/02/23 | |
| 4 | Ito Ren, “Migishi’s Studio,” Mizue no. 358, December 1934. | 2020/11/03 | 2021/02/23 | |||||||
| 4 | Yamawaki Iwao, “Migishi’s Studio¬¬, Not Finished in Time,” Atelier 11-8, August 1934. | 2020/11/03 | 2021/02/23 | |||||||
| 4 | Improvement of Residential Furniture, third edition, Seikatsu Kaizen Domeikai (League for Improvement of Daily Life), 1928. | 2020/11/03 | 2021/02/23 | |||||||
| 4 | “A Salaried’ Workers Japanese/Western-Style Home Built by Saving Bonuses,” Shufu no tomo 13-1, January 1929. | 2020/11/03 | 2021/02/23 | |||||||
| 4 | New Architecture for a Convenient Home, Shufunotomo Co., Ltd., 1933. | 2020/11/03 | 2021/02/23 | |||||||
| 4 | Middle-Class Japanese/Western-Style Homes, Shufunotomo Co., Ltd., 1929. | 2020/11/03 | 2021/02/23 | |||||||
| 4 | What First-Time Home Builders Need to Know About Residential Construction, Shufunotomo Co., Ltd., 1931. | 2020/11/03 | 2021/02/23 | |||||||
| 4 | “Confessions of a Bachelor, The Painter MakinoTorao,” Shukan Asahi 27–31, June 30 1935. | 2020/11/03 | 2021/02/23 | |||||||
| 5 | Walker Evans | Side Walk Scene, Selma | 沃克·埃文斯 | 路边的景象，塞尔玛 | 워커 에반스 | 거리의 광경, 셀마 | 1936 | 2020/11/03 | 2020/12/20 | |
| 5 | Walker Evans | Child’s Grave, Alabama | 沃克·埃文斯 | 孩子的墓，阿拉巴马州 | 워커 에반스 | 어린이의 묘, 앨라배마 | 1936 | 2020/11/03 | 2020/12/20 | |
| 5 | Walker Evans | Miners’ Houses, Birmingham | 沃克·埃文斯 | 煤矿工的住宅，伯明翰 | 워커 에반스 | 탄광부의 주택, 버밍엄 | 1936 | 2020/12/22 | 2021/02/23 | |
| 5 | Walker Evans | Interior of Floyd Burroughs’ Cabin, Alabama | 沃克·埃文斯 | 弗洛伊德·伯勒斯的小屋室内，阿拉巴马州 | 워커 에반스 | 플로이드 버로우즈의 오두막 안, 앨라배마 | 1936 | 2020/12/22 | 2021/02/23 | |
| 5 | Ansel Adams | Spanish American Woman, near Chimayo, New Mexico | 安塞尔·亚当斯 | 西班牙裔美国人女性，奇马约附近，新墨西哥州 | 앤설 애덤스 | 히스패닉계 미국인 여성, 치마요 부근, 뉴멕시코 | 1937 (1981 print) | 2020/11/03 | 2020/12/20 | |
| 5 | Ansel Adams | El Capitan Fall, Yosemite National Park, California | 安塞尔·亚当斯 | 酋长岩，约塞米蒂国家公园，加利福尼亚州 | 앤설 애덤스 | 엘 캐피탄 암벽, 요세미티 국립공원, 캘리포니아 | c.1940 (1981 print) | 2020/11/03 | 2020/12/20 | |
| 5 | Ansel Adams | Winnowing Grain, Taos, New Mexico | 安塞尔·亚当斯 | 谷物筛，陶斯，新墨西哥州 | 앤설 애덤스 | 곡식 키질, 타오스, 뉴멕시코 | 1929 (1980 print) | 2020/12/22 | 2021/02/23 | |
| 5 | Ansel Adams | Georgia O’Keeffe and Orville Cox, Canyon de Chelly Monument, Arizona | 安塞尔·亚当斯 | 乔治娅·欧姬芙和奥维尔·考克斯，切利峡谷国家遗址，亚利桑那州 | 앤설 애덤스 | 조지아 오키프와 오빌 콕스, 캐니언 드 셰이 국립공원, 애리조나 | 1937 (1980 print) | 2020/12/22 | 2021/02/23 | |
| 5 | KAWAMURA, Gozo | Cow (Holstein) | 川村吾藏 | 牛（荷坦因牛）母 | 가와무라 고조 | 암소(홀스타인) | 1923 | 2020/11/03 | 2021/02/23 | |
| 5 | KAWAMURA, Gozo | Ox (Holstein) | 川村吾藏 | 牛（荷坦因牛）公 | 가와무라 고조 | 수소(홀스타인) | 1923 | 2020/11/03 | 2021/02/23 | |
| 5 | OBATA, Chiura | Entrance of Masedo River, Yosemite, Calif. from World Landscape Series AMERICA | 小圃千浦 | 默塞德河入口−加利福尼亚州约塞米蒂 出自世界风景画集《美国》 | 오바타 지우라 | 세계 풍경 화집 『아메리카』 중에서, 마세도강의 입구—캘리포니아주 요세미티 | c.1930 | 2020/11/03 | 2020/12/20 | |
| 5 | OBATA, Chiura | Eagle Peak Trail, Yosemite, Calif. from World Landscape Series AMERICA | 小圃千浦 | 鹰峰小路－加利福尼亚州约塞米蒂 出自世界风景画集《美国》 | 오바타 지우라 | 세계 풍경 화집 『아메리카』 중에서, 이글 피크의 좁은 길—캘리포니아주 요세미티 | c.1930 | 2020/12/22 | 2021/02/23 | |
| 5 | Dorothy Waugh | National Parks | 多萝西·沃 | 国家公园 | 도로시 보 | 국립공원 | c.1935 | 2020/11/03 | 2020/12/20 | |
| 5 | Dorothy Waugh | National Parks | 多萝西·沃 | 国家公园 | 도로시 보 | 국립공원 | c.1935 | 2020/12/22 | 2021/02/23 | |
| 5 | 0051 | YASUI, Sotaro | Oirase Stream | 安井曾太郎 | 奥入濑的溪流 | 야스이 소타로 | 오이라세 계류 | 1933 | 2020/11/03 | 2021/02/23 |
| 5 | SHIMIZU, Toshi | Chinatown | 清水登之 | 唐人街 | 시미즈 도시 | 차이나타운 | 1928 | 2020/11/03 | 2021/02/23 | |
| 5 | ISHIGAKI, Eitaro | Undefeated Arm | 石垣荣太郎 | 手臂 | 이시가키 에이타로 | 팔 | 1929 | 2020/11/03 | 2021/02/23 | |
| 5 | ISHIGAKI, Eitaro | The Noose | 石垣荣太郎 | 私刑 | 이시가키 에이타로 | 린치 | 1931 | 2020/11/03 | 2021/02/23 | |
| 5 | ISHIGAKI, Eitaro | Standing Woman | 石垣荣太郎 | 女子立像 | 이시가키 에이타로 | 서 있는 여인 | n.d. | 2020/11/03 | 2020/12/20 | |
| 5 | ISHIGAKI, Eitaro | Woman | 石垣荣太郎 | 女 | 이시가키 에이타로 | 여인 | n.d. | 2020/12/22 | 2021/02/23 | |
| 5 | NODA, Hideo | City | 野田英夫 | 都会 | 노다 히데오 | 도시 | 1934 | 2020/11/03 | 2021/02/23 | |
| 5 | 0042 | NODA, Hideo | Way Home | 野田英夫 | 归路 | 노다 히데오 | 귀로 | 1935 | 2020/11/03 | 2021/02/23 |
| 5 | NODA, Hideo | Sketchbook | 野田英夫 | 写生簿 | 노다 히데오 | 스케치북 | 1930ｓ | 2020/11/03 | 2021/02/23 | |
| 5 | KUNIYOSHI, Yasuo | Waiting | 国吉康雄 | 等待 | 구니요시 야스오 | 기다림 | 1938 | 2020/11/03 | 2021/02/23 | |
| 5 | KUNIYOSHI, Yasuo | Between Two Worlds | 国吉康雄 | 两个世界 | 구니요시 야스오 | 두 개의 세계 | 1939 | 2020/11/03 | 2021/02/23 | |
| 5 | Georgia O’keeffe | Hollyhock White and Green with Pedernal | 乔治亚·欧姬芙 | 蜀葵的白和绿－与皮德农山在一起 | 조지아 오키프 | 접시꽃의 흰색과 녹색—페더널산이 보인다 | 1937 | 2020/11/03 | 2021/02/23 | |
| 5 | Jackson Pollock | Untitled [Head with Polygons] | 杰克逊·波洛克 | 无题（有多角形的头部） | 잭슨 폴록 | 무제(다각형이 있는 머리) | c.1938-41 | 2020/11/03 | 2021/02/23 | |
| 5 | Arshile Gorky | Untitled | 阿希尔·戈尔基 | 无题 | 아실 고키 | 무제 | 1940s | 2020/12/22 | 2021/02/23 | |
| 5 | Arshile Gorky | Study for Tree of the Cross (Khatchdzar ) | 阿希尔·戈尔基 | 为《十字架树》而作的习作 | 아실 고키 | 《십자가의 나무》를 위한 습작 | c.1946 | 2020/12/22 | 2021/02/23 | |
| 5 | Willem de Kooning | Woman in Landscape | 威廉·德·库宁 | 风景中的女子 | 윌렘 드 쿠닝 | 풍경 속의 여인 | 1966 | 2020/11/03 | 2020/12/20 | |
| 5 | Rufino Tamayo | Striped Figure | 鲁菲诺·塔马约 | 条纹人物 | 루피노 타마요 | 줄무늬 인물 | 1975 | 2020/11/03 | 2021/02/23 | |
| 5 | YOSHIDA, Hatsusaburo, Illustrated Maps of the Eight Views of Japan, Shufunotomo Co., Ltd., 1930. | 2020/11/03 | 2021/02/23 | |||||||
| 5 | Eight Views of Japan, Osaka mainichi shinbunsha, 1927. | 2020/11/03 | 2021/02/23 | |||||||
| 6 | OTA, Kijiro | Season on Fresh Green | 太田喜二郎 | 新绿的时候 | 오타 기지로 | 신록의 계절 | 1911 | 2020/11/03 | 2021/02/23 | |
| 6 | OTA, Kijiro | On Army Memorial Day | 太田喜二郎 | 陆军纪念日 | 오타 기지로 | 육군기념일에 | 1945 | 2020/11/03 | 2021/02/23 | |
| 6 | FUJITA, Tsuguharu | Street in Paris | 藤田嗣治 | 巴黎的风景 | 후지타 쓰구하루 | 파리의 풍경 | 1918 | 2020/11/03 | 2021/02/23 | |
| 6 | FUJITA, Tsuguharu | Fierce Advance of the Ogaki Unit | 藤田嗣治 | 大柿部队的奋战 | 후지타 쓰구하루 | 오가키 부대의 분투 | 1944 | 2020/11/03 | 2021/02/23 | |
| 6 | FUJITA, Tsuguharu | A Girl | 藤田嗣治 | 少女 | 후지타 쓰구하루 | 소녀 | 1956 | 2020/11/03 | 2021/02/23 | |
| 6 | SHIMIZU, Toshi | Engineering Corps Constructing a Bridge in Malaya | 清水登之 | 工兵队架桥作业 | 시미즈 도시 | 공병대의 가교 작업 | c.1944 | 2020/11/03 | 2021/02/23 | |
| 6 | OKUBO, Sakujiro | Convoy | 大久保作次郎 | 护送船队 | 오쿠보 사쿠지로 | 선단 호송 | 1943 | 2020/11/03 | 2021/02/23 | |
| 6 | MUKAI, Junkichi | Annihilation on Parit Sulong | 向井润吉 | 巴力士隆歼灭战 | 무카이 준키치 | 패릿 술롱 섬멸전 | c.1944 | 2020/11/03 | 2021/02/23 | |
| 6 | MUKAI, Junkichi | Early Autumn at Hida | 向井润吉 | 飞驒立秋 | 무카이 준키치 | 히다의 입추 | 1962 | 2020/11/03 | 2021/02/23 | |
| 6 | KOISO, Ryohei | Dancers in the Studio | 小矶良平 | 练功房里的舞蹈演员们 | 고이소 료헤이 | 연습장의 무용수들 | 1938 | 2020/11/03 | 2021/02/23 | |
| 6 | KOISO, Ryohei | Marching through Niangziguan | 小矶良平 | 出征娘子关 | 고이소 료헤이 | 냥쯔관으로 출정하다 | 1941 | 2020/11/03 | 2021/02/23 | |
| 6 | MATSUMOTO, Shunsuke | Nikolai Cathedral and Hijiri-Bridge | 松本竣介 | 东京复活主教座堂与圣桥 | 마쓰모토 슌스케 | 니콜라이성당과 히지리다리 | 1941 | 2020/11/03 | 2021/02/23 | |
| 7 | MARUKI, Toshi (AKAMATSU, Toshiko) | Emancipation of Humanity | 丸木俊（赤松俊子） | 被解放的人性 | 마루키 도시(아카마쓰 도시코) | 해방되어가는 인간성 | 1947 | 2020/11/03 | 2021/02/23 | |
| 7 | MATSUMOTO, Shunsuke | Building | 松本竣介 | 建筑 | 마쓰모토 슌스케 | 건물 | 1948 | 2020/11/03 | 2021/02/23 | |
| 7 | OKAMOTO, Taro | Dawn | 冈本太郎 | 黎明 | 오카모토 다로 | 새벽 | 1948 | 2020/11/03 | 2021/02/23 | |
| 7 | KITAWAKI, Noboru | Parabola | 北胁升 | 抛物线 | 기타와키 노보루 | 포물선 | 1949 | 2020/11/03 | 2021/02/23 | |
| 7 | KOMAI, Tetsuro | Momentary Illusion | 驹井哲郎 | 瞬息幻影 | 고마이 데쓰로 | 찰나의 환영 | 1951 | 2020/11/03 | 2020/12/20 | |
| 7 | SEIMIYA, Naobumi | Countenance of Sorrow | 清宫质文 | 悲伤的脸 | 세이미야 나오부미 | 슬픈 얼굴 | 1957 | 2020/11/03 | 2020/12/20 | |
| 7 | EI-KYU | Dawn | 瑛九 | 黎明 | 에이큐 | 여명 | 1957 | 2020/11/03 | 2021/02/23 | |
| 7 | EI-KYU | Travellers | 瑛九 | 旅人 | 에이큐 | 여행자 | 1957 | 2020/12/22 | 2021/02/23 | |
| 7 | NAMBATA, Tatsuoki | Generation | 难波田龙起 | 发生 | 난바타 다쓰오키 | 발생 | 1959 | 2020/11/03 | 2021/02/23 | |
| 7 | YANAGIHARA, Yoshitatsu | Song of the Dog | 柳原义达 | 犬之歌 | 야나기하라 요시타쓰 | 개의 노래 | 1961 | 2020/11/03 | 2021/02/23 | |
| Room to Consider the Building | Sol Lewitt | Wall Drawing#769: A 36-inch (90cm) grid covering the black wall. All two-part combinations using arcs from corners and sides, and straight and not straight lines, systematically. | 索尔·勒维特 | 墙绘#769 覆盖黑色墙壁的边长36英寸（90cm）的方格。从角和边伸出的圆弧、直线、非直线两两组成的所有有条理的组合。 | 솔 르윗 | 월 드로잉 #769: 검은 벽을 덮는 폭 36인치(90cm)의 그리드. 각 모서리와 변에서 시작하는 원호, 직선, 비직선 중에서 2종류를 체계적으로 사용한 조합 전부. | 1994 | 2020/12/22 | 2021/02/23 | |
| 8 | Vito Acconci | Centers | 维托·阿孔奇 | 中央 | 비토 아콘치 | 센터즈 | 1971 | 2020/11/03 | 2021/02/23 | |
| 8 | KATSURAGAWA, Hiroshi | Illustration no.1 to the Novel The Wall by Abe Kobo | 桂川宽 | 安部公房著《墙》插图1 | 가쓰라가와 히로시 | 아베 고보 저 『벽』 삽화 1 | 1951 | 2020/11/03 | 2020/12/20 | |
| 8 | KATSURAGAWA, Hiroshi | Illustration no.2 to the Novel The Wall by Abe Kobo | 桂川宽 | 安部公房著《墙》插图2 | 가쓰라가와 히로시 | 아베 고보 저 『벽』 삽화 2 | 1951/94 | 2020/11/03 | 2020/12/20 | |
| 8 | KATSURAGAWA, Hiroshi | Illustration no.3 to the Novel The Wall by Abe Kobo | 桂川宽 | 安部公房著《墙》插图3 | 가쓰라가와 히로시 | 아베 고보 저 『벽』 삽화 3 | 1951 | 2020/11/03 | 2020/12/20 | |
| 8 | KATSURAGAWA, Hiroshi | Illustration no.5 to the Novel The Wall by Abe Kobo | 桂川宽 | 安部公房著《墙》插图5 | 가쓰라가와 히로시 | 아베 고보 저 『벽』 삽화 5 | 1951 | 2020/11/03 | 2020/12/20 | |
| 8 | KATSURAGAWA, Hiroshi | Illustration no.6 to the Novel The Wall by Abe Kobo | 桂川宽 | 安部公房著《墙》插图6 | 가쓰라가와 히로시 | 아베 고보 저 『벽』 삽화 6 | 1951 | 2020/11/03 | 2020/12/20 | |
| 8 | KATSURAGAWA, Hiroshi | Illustration no.7 to the Novel The Wall by Abe Kobo | 桂川宽 | 安部公房著《墙》插图7 | 가쓰라가와 히로시 | 아베 고보 저 『벽』 삽화 7 | 1951 | 2020/11/03 | 2020/12/20 | |
| 8 | KATSURAGAWA, Hiroshi | Illustration no.8 to the Novel The Wall by Abe Kobo | 桂川宽 | 安部公房著《墙》插图8 | 가쓰라가와 히로시 | 아베 고보 저 『벽』 삽화 8 | 1951 | 2020/12/22 | 2021/02/23 | |
| 8 | KATSURAGAWA, Hiroshi | Illustration no.9 to the Novel The Wall by Abe Kobo | 桂川宽 | 安部公房著《墙》插图9 | 가쓰라가와 히로시 | 아베 고보 저 『벽』 삽화 9 | 1951 | 2020/12/22 | 2021/02/23 | |
| 8 | KATSURAGAWA, Hiroshi | Illustration no.11 to the Novel The Wall by Abe Kobo | 桂川宽 | 安部公房著《墙》插图11 | 가쓰라가와 히로시 | 아베 고보 저 『벽』 삽화 11 | 1951 | 2020/12/22 | 2021/02/23 | |
| 8 | KATSURAGAWA, Hiroshi | Illustration no.12 to the Novel The Wall by Abe Kobo | 桂川宽 | 安部公房著《墙》插图12 | 가쓰라가와 히로시 | 아베 고보 저 『벽』 삽화 12 | 1951 | 2020/12/22 | 2021/02/23 | |
| 8 | KATSURAGAWA, Hiroshi | Illustration no.14 to the Novel The Wall by Abe Kobo | 桂川宽 | 安部公房著《墙》插图14 | 가쓰라가와 히로시 | 아베 고보 저 『벽』 삽화 14 | 1951 | 2020/12/22 | 2021/02/23 | |
| 8 | KATSURAGAWA, Hiroshi | Illustration no.15 to the Novel The Wall by Abe Kobo | 桂川宽 | 安部公房著《墙》插图15 | 가쓰라가와 히로시 | 아베 고보 저 『벽』 삽화 15 | 1951 | 2020/12/22 | 2021/02/23 | |
| 8 | MOTONAGA, Sadamasa | Work | 元永定正 | 作品 | 모토나가 사다마사 | 작품 | 1961 | 2020/11/03 | 2021/02/23 | |
| 8 | 0083 | TAKAMATSU, Jiro | No.273 (Shadow) | 高松次郎 | No.273（影子） | 다카마쓰 지로 | No.273（그림자） | 1969 | 2020/11/03 | 2021/02/23 |
| 8 | ENOKURA, Koji | Interference (STORY-No.18) | 榎仓康二 | 干涉(STORY-No.18) | 에노쿠라 고지 | 간섭((STORY-No.18) | 1991 | 2020/11/03 | 2021/02/23 | |
| 8 | YOSHIDA, Katsuro | Work 9 | 吉田克朗 | 作品 9 | 요시다 가쓰로 | 작품 9 | 1970 | 2020/11/03 | 2021/02/23 | |
| 8 | YOSHIDA, Katsuro | Work 19 | 吉田克朗 | 作品 19 | 요시다 가쓰로 | 작품 19 | 1971 | 2020/11/03 | 2021/02/23 | |
| 8 | KIMURA, Kosuke | Present Situation-Framing B | 木村光佑 | 现在位置−Framing B | 기무라 고스케 | 현재 위치—프레이밍 B | 1971 | 2020/11/03 | 2020/12/20 | |
| 8 | KIMURA, Kosuke | Present Situation-Framing C | 木村光佑 | 现在位置−Framing C | 기무라 고스케 | 현재 위치—프레이밍 C | 1971 | 2020/12/22 | 2021/02/23 | |
| 8 | WAKABAYASHI, Isamu | Dog 2.5 Meters Wide | 若林奋 | 2.5米的狗 | 와카바야시 이사무 | 2.5m의 개 | 1968 | 2020/11/03 | 2021/02/23 | |
| 8 | WAKABAYASHI, Isamu | Materials about Isamu Wakabayashi : Watercolors, Drawings and Plans | 若林奋 | 若林奋资料 | 와카바야시 이사무 | 와카바야시 이사무 관련 자료 | 1955-86 | 2020/11/03 | 2021/02/23 | |
| 8 | WAKABAYASHI, Isamu | Drawing 64-80 | 若林奋 | 素描 64-80 | 와카바야시 이사무 | 소묘 64-80 | 1964 | 2020/11/03 | 2021/02/23 | |
| 8 | WAKABAYASHI, Isamu | Drawing 67-37 | 若林奋 | 素描 67-37 | 와카바야시 이사무 | 소묘 67-37 | 1967 | 2020/11/03 | 2021/02/23 | |
| 8 | WAKABAYASHI, Isamu | Drawing 67-100 | 若林奋 | 素描 67-100 | 와카바야시 이사무 | 소묘 67-100 | 1967 | 2020/11/03 | 2021/02/23 | |
| 8 | WAKABAYASHI, Isamu | Drawing 68-52 | 若林奋 | 素描 68-52 | 와카바야시 이사무 | 소묘 68-52 | 1968 | 2020/11/03 | 2021/02/23 | |
| 8 | WAKABAYASHI, Isamu | Drawing 64-69 | 若林奋 | 素描 64-69 | 와카바야시 이사무 | 소묘 64-69 | 1964 | 2020/12/22 | 2021/02/23 | |
| 8 | WAKABAYASHI, Isamu | Drawing 68-5 | 若林奋 | 素描 68-5 | 와카바야시 이사무 | 소묘 68-5 | 1968 | 2020/12/22 | 2021/02/23 | |
| 8 | WAKABAYASHI, Isamu | Drawing 68-10 | 若林奋 | 素描 68-10 | 와카바야시 이사무 | 소묘 68-10 | 1968 | 2020/12/22 | 2021/02/23 | |
| 8 | WAKABAYASHI, Isamu | Drawing 70-99-14 | 若林奋 | 素描 70-99-14 | 와카바야시 이사무 | 소묘 70-99-14 | 1970 | 2020/12/22 | 2021/02/23 | |
| 8 | GOCHO, Shigeo | SELF AND OTHERS [3] | 牛肠茂雄 | SELF AND OTHERS [3] | 고초 시게오 | SELF AND OTHERS [3] | 1977（2003 print) | 2020/11/03 | 2021/02/23 | |
| 8 | GOCHO, Shigeo | SELF AND OTHERS [8] | 牛肠茂雄 | SELF AND OTHERS [8] | 고초 시게오 | SELF AND OTHERS [8] | 1977（2003 print) | 2020/11/03 | 2021/02/23 | |
| 8 | GOCHO, Shigeo | SELF AND OTHERS [16] | 牛肠茂雄 | SELF AND OTHERS [16] | 고초 시게오 | SELF AND OTHERS [16] | 1977（2003 print) | 2020/11/03 | 2021/02/23 | |
| 8 | GOCHO, Shigeo | SELF AND OTHERS [18] | 牛肠茂雄 | SELF AND OTHERS [18] | 고초 시게오 | SELF AND OTHERS [18] | 1977（2003 print) | 2020/11/03 | 2021/02/23 | |
| 8 | GOCHO, Shigeo | SELF AND OTHERS [32] | 牛肠茂雄 | SELF AND OTHERS [32] | 고초 시게오 | SELF AND OTHERS [32] | 1977（2003 print) | 2020/11/03 | 2021/02/23 | |
| 8 | GOCHO, Shigeo | SELF AND OTHERS [59] | 牛肠茂雄 | SELF AND OTHERS [59] | 고초 시게오 | SELF AND OTHERS [59] | 1977（2003 print) | 2020/11/03 | 2021/02/23 | |
| 8 | GOCHO, Shigeo | SELF AND OTHERS [60] | 牛肠茂雄 | SELF AND OTHERS [60] | 고초 시게오 | SELF AND OTHERS [60] | 1977（2003 print) | 2020/11/03 | 2021/02/23 | |
| 9 | SUZUKI, Kiyoshi | Children in Coal Mining Town, Junai, Ibaraki from Soul and Soul | 铃木清 | 煤矿之子 茨城，重内 出自《漂泊之歌》 | 스즈키 기요시 | 『유랑의 노래』 중에서, 탄광의 아이, 이바라키 주나이 | 1969 | 2020/11/03 | 2021/02/23 | |
| 9 | SUZUKI, Kiyoshi | Miners, Junai, Ibaraki from Soul and Soul | 铃木清 | 矿工 茨城，重内 出自《漂泊之歌》 | 스즈키 기요시 | 『유랑의 노래』 중에서, 광부, 이바라키 주나이 | 1969 | 2020/11/03 | 2021/02/23 | |
| 9 | SUZUKI, Kiyoshi | A Miner, Junai, Ibaraki from Soul and Soul | 铃木清 | 矿工 茨城，重内 出自《漂泊之歌》 | 스즈키 기요시 | 『유랑의 노래』 중에서, 광부, 이바라키 주나이 | 1969 | 2020/11/03 | 2021/02/23 | |
| 9 | SUZUKI, Kiyoshi | A Miner, Junai, Ibaraki from Soul and Soul | 铃木清 | 矿工 茨城，重内 出自《漂泊之歌》 | 스즈키 기요시 | 『유랑의 노래』 중에서, 광부, 이바라키 주나이 | 1969 | 2020/11/03 | 2021/02/23 | |
| 9 | SUZUKI, Kiyoshi | Miners, Junai, Ibaraki from Soul and Soul | 铃木清 | 矿工 茨城，重内 出自《漂泊之歌》 | 스즈키 기요시 | 『유랑의 노래』 중에서, 광부, 이바라키 주나이 | 1969 | 2020/11/03 | 2021/02/23 | |
| 9 | SUZUKI, Kiyoshi | A Scene from Slides for Instructing Accident Prevention, Katsuki, Fukuoka from Soul and Soul | 铃木清 | 预防灾害的幻灯片 福冈，香月 出自《漂泊之歌》 | 스즈키 기요시 | 『유랑의 노래』 중에서, 재해 방지 슬라이드 중, 후쿠오카 가쓰키 | 1969 | 2020/11/03 | 2021/02/23 | |
| 9 | SUZUKI, Kiyoshi | A Lorry, Katsuki, Fukuoka from Soul and Soul | 铃木清 | 矿车 福冈，香月 出自《漂泊之歌》 | 스즈키 기요시 | 『유랑의 노래』 중에서, 광차, 후쿠오카 가쓰키 | 1969 | 2020/11/03 | 2021/02/23 | |
| 9 | SUZUKI, Kiyoshi | A Dwelling of Miner Family, Iwaki, Fukushima from Soul and Soul | 铃木清 | 矿区住宅 福岛，磐城 出自《漂泊之歌》 | 스즈키 기요시 | 『유랑의 노래』 중에서, 탄광촌의 주택, 후쿠시마 이와키 | 1968 | 2020/11/03 | 2021/02/23 | |
| 9 | SUZUKI, Kiyoshi | Dwellings of Miners Takahagi, Ibaraki from Soul and Soul | 铃木清 | 矿区住宅 茨城，高荻 出自《漂泊之歌》 | 스즈키 기요시 | 『유랑의 노래』 중에서, 탄광촌의 주택, 이바라키 다카하기 | 1968 | 2020/11/03 | 2021/02/23 | |
| 9 | SUZUKI, Kiyoshi | Children in Coal Mining Town, Iwaki, Fukushima from Soul and Soul | 铃木清 | 煤矿之子 福岛，磐城 出自《漂泊之歌》 | 스즈키 기요시 | 『유랑의 노래』 중에서, 탄광의 아이, 후쿠시마 이와키 | 1968 | 2020/11/03 | 2021/02/23 | |
| 9 | SUZUKI, Kiyoshi | Summer Festival, Matsushima, Nagasaki from Soul and Soul | 铃木清 | 盂兰盆节 长崎，松岛 出自《漂泊之歌》 | 스즈키 기요시 | 『유랑의 노래』 중에서, 백중맞이, 나가사키 마쓰시마 | 1969 | 2020/11/03 | 2021/02/23 | |
| 9 | SUZUKI, Kiyoshi | A Geisha, Chikuho, Fukuoka from Soul and Soul | 铃木清 | 艺伎 福冈，筑丰 出自《漂泊之歌》 | 스즈키 기요시 | 『유랑의 노래』 중에서, 게이샤, 후쿠오카 지쿠호 | 1969 | 2020/11/03 | 2021/02/23 | |
| 9 | SUZUKI, Kiyoshi | Flags in the Festival for Wishing Safety, Katsuki, Fukuoka from Soul and Soul | 铃木清 | 祈愿祭的部队旗 福冈，香月 出自《漂泊之歌》 | 스즈키 기요시 | 『유랑의 노래』 중에서, 기원제의 부대기, 후쿠오카 가쓰키 | 1969 | 2020/11/03 | 2021/02/23 | |
| 9 | SUZUKI, Kiyoshi | An Accident, Sunagawa, Hokkaido from Soul and Soul | 铃木清 | 事故 北海道，砂川 出自《漂泊之歌》 | 스즈키 기요시 | 『유랑의 노래』 중에서, 탄광 사고, 홋카이도 스나가와 | 1971 | 2020/11/03 | 2021/02/23 | |
| 9 | SUZUKI, Kiyoshi | A Railway, Katsuki, Fukuoka from Soul and Soul | 铃木清 | 铁道 福冈，香月 出自《漂泊之歌》 | 스즈키 기요시 | 『유랑의 노래』 중에서, 선로, 후쿠오카 가쓰키 | 1969 | 2020/11/03 | 2021/02/23 | |
| 9 | SUZUKI, Kiyoshi | At Ayame-so, Yano Hot Spring, Hiroshima from Soul and Soul | 铃木清 | 在菖蒲庄 广岛，矢野温泉 出自《漂泊之歌》 | 스즈키 기요시 | 『유랑의 노래』 중에서, 아야메장에서, 히로시마 야노온천 | 1971 | 2020/11/03 | 2021/02/23 | |
| 9 | SUZUKI, Kiyoshi | Superstar, Kiyoshi Aoyama, Miyoshitoei-Theatre, Yokohama from Soul and Soul | 铃木清 | 小生，名角 青山清 横滨，三吉东映 出自《漂泊之歌》 | 스즈키 기요시 | 『유랑의 노래』 중에서, 인기 배우 아오야마 기요시, 요코하마 산키치토에이 극장 | 1972 | 2020/11/03 | 2021/02/23 | |
| 9 | SUZUKI, Kiyoshi | Tipping, Miyoshitoei-Theatre from Soul and Soul | 铃木清 | 赏钱 三吉东映 出自《漂泊之歌》 | 스즈키 기요시 | 『유랑의 노래』 중에서, 팁, 산키치토에이 극장 | 1972 | 2020/11/03 | 2021/02/23 | |
| 9 | SUZUKI, Kiyoshi | Tipping, Kaita Onsen(Hot Springs), Hiroshima from Soul and Soul | 铃木清 | 赏钱 广岛，海田温泉 出自《漂泊之歌》 | 스즈키 기요시 | 『유랑의 노래』 중에서, 팁, 히로시마 가이타온천 | 1971 | 2020/11/03 | 2021/02/23 | |
| 9 | SUZUKI, Kiyoshi | Myself in a Dressing Room, Takamatsu, Shikoku from Soul to Soul | 铃木清 | 我自己 my self 在后台 四国，高松 出自《漂泊之歌》 | 스즈키 기요시 | 『유랑의 노래』 중에서, 분장실에서의 나 자신, 시코쿠 다카마쓰 | 1971 | 2020/11/03 | 2021/02/23 | |
| 9 | SUZUKI, Kiyoshi | Night, Pusan, Korea from Soul to Soul | 铃木清 | 夜 釜山 出自《漂泊之歌》 | 스즈키 기요시 | 『유랑의 노래』 중에서, 밤, 부산 | 1971 | 2020/11/03 | 2021/02/23 | |
| 9 | SUZUKI, Kiyoshi | A Woman, Pusan from Soul to Soul | 铃木清 | 女 釜山 出自《漂泊之歌》 | 스즈키 기요시 | 『유랑의 노래』 중에서, 여자, 부산 | 1971 | 2020/11/03 | 2021/02/23 | |
| 9 | SUZUKI, Kiyoshi | A Woman, Kawasaki from Soul to Soul | 铃木清 | 女 川崎 出自《漂泊之歌》 | 스즈키 기요시 | 『유랑의 노래』 중에서, 여자, 가와사키 | 1971 | 2020/11/03 | 2021/02/23 | |
| 9 | SUZUKI, Kiyoshi | A Woman, Kawasaki from Soul to Soul | 铃木清 | 女 川崎 出自《漂泊之歌》 | 스즈키 기요시 | 『유랑의 노래』 중에서, 여자, 가와사키 | 1971 | 2020/11/03 | 2021/02/23 | |
| 10 | KAWAI, Gyokudo | Taira Shigemori, Komatsu-no-naifu | 川合玉堂 | 小松内府（平重盛）图 | 가와이 교쿠도 | 고마쓰노 나이후(무사 다이라 시게모리) | 1899 | 2020/11/03 | 2020/12/20 | |
| 10 | SHIMOMURA, Kanzan | Emperor’s Visit to Kenreimon-in, from the Tale of Heike | 下村观山 | 大原御幸 | 시모무라 간잔 | 오하라 행차 | 1908 | 2020/11/03 | 2020/12/20 | |
| 10 | KIKUCHI, Keigetsu | Dedicating Lanterns | 菊池契月 | 供灯 | 기쿠치 게이게쓰 | 등불 공양 | 1910 | 2020/11/03 | 2020/12/20 | |
| 10 | KIKKAWA, Reika | Mountaineering Ascetic En no Ozunu | 吉川灵华 | 役小角 | 깃카와 레이카 | 주술사 엔노 오즈누 | c.1921 | 2020/11/03 | 2020/12/20 | |
| 10 | KIKKAWA, Reika | Fluttering Robes of Feathers | 吉川灵华 | 羽衣翻翻 | 깃카와 레이카 | 나부끼는 깃옷 | 1923 | 2020/11/03 | 2020/12/20 | |
| 10 | YASUDA, Yukihiko | Solar Eclipse | 安田靫彦 | 日食 | 야스다 유키히코 | 일식 | 1925 | 2020/11/03 | 2020/12/20 | |
| 10 | YASUDA, Yukihiko | Injured Yamatotakeru at the Spring | 安田靫彦 | 居醒泉 | 야스다 유키히코 | 전설의 샘 이사메노이즈미 | 1928 | 2020/11/03 | 2020/12/20 | |
| 10 | YASUDA, Yukihiko | The Six Poetic Geniuses | 安田靫彦 | 六歌仙 | 야스다 유키히코 | 육가선(6인의 저명한 시인) | 1933 | 2020/11/03 | 2020/12/20 | |
| 10 | YASUDA, Yukihiko | Meeting at Hong Men | 安田靫彦 | 鸿门会 | 야스다 유키히코 | 홍문의 회 | 1955 | 2020/11/03 | 2020/12/20 | |
| 10 | MATSUOKA, Eikyu | Minamoto Yoshitsune at Yashima | 松冈映丘 | 屋岛的源义经 | 마쓰오카 에이큐 | 야시마의 무사 미나모토 요시쓰네 | 1929 | 2020/11/03 | 2020/12/20 | |
| 10 | TOMITA, Keisen | The Nachi Fall | 富田溪仙 | 那智瀑布 | 도미타 게이센 | 나치 폭포 | 1935 | 2020/11/03 | 2020/12/20 | |
| 10 | NAKAMURA, Gakuryo | A Pretty Bank of Clouds | 中村岳陵 | 丰幡云 | 나카무라 가쿠료 | 깃발처럼 나부끼는 구름 | 1936 | 2020/11/03 | 2020/12/20 | |
| 10 | ARAI, Hirokata | Avalokitesvara and Mary | 荒井宽方 | 观音摩利耶 | 아라이 히로카타 | 관음과 마리아 | 1939 | 2020/11/03 | 2020/12/20 | |
| 10 | SHIMADA, Bokusen | Portrait of Soko Yamaga | 岛田墨仙 | 山鹿素行先生 | 시마다 보쿠센 | 유학자 야마가 소코 | 1942 | 2020/11/03 | 2020/12/20 | |
| 10 | OTA, Chou | Rai San’yo and His Mother | 太田听雨 | 赖山阳母子 | 오타 조우 | 유학자 라이 산요와 그의 어머니 | 1942 | 2020/11/03 | 2020/12/20 | |
| 10 | YOSHIMURA, Tadao | Hachiman Taro, Minamoto Yoshiie | 吉村忠夫 | 八幡太郎（源义家） | 요시무라 다다오 | 하치만 다로(무사 미나모토 요시이에) | 1942 | 2020/11/03 | 2020/12/20 | |
| 10 | 0060 | UEMURA, Shoen | Shizuka Gozen, shirabyoshi dancer | 上村松园 | 静 | 우에무라 쇼엔 | 시즈카 | 1944 | 2020/11/03 | 2020/12/20 |
| 10 | MAEDA, Seison | Pioneers at Home | 前田青村 | 乡里的先觉 | 마에다 세이손 | 고향의 선학 | 1947 | 2020/11/03 | 2020/12/20 | |
| 10 | 0074 | MAEDA, Seison | Stone Coffin | 前田青村 | 石棺 | 마에다 세이손 | 석관 | 1962 | 2020/11/03 | 2020/12/20 |
| 10 | HIRAYAMA, Ikuo | The Glorious Imperial Palace of Fujiwara-kyo | 平山郁夫 | 赫赫乎藤原京之大殿 | 히라야마 이쿠오 | 빛나는 후지와라쿄의 궁전 | 1969 | 2020/11/03 | 2020/12/20 | |
| 10 | KATAOKA, Tamako | Features of Utagawa Kunisada and Tsuruya Namboku IV | 片冈球子 | 面容（歌川国贞与第四代鹤屋南北） | 가타오카 다마코 | 얼굴(화가 우타가와 구니사다와 작가 제4대 쓰루야 난보쿠) | 1982 | 2020/11/03 | 2020/12/20 | |
| 10 | YAMAUCHI, Tamon | Winter and Spring from Four Seasons in the Nikko Mountains | 山内多门 | 日光山四季（冬·春） | 야마우치 다몬 | 닛코산의 사계(겨울·봄) | 1911 | 2020/12/22 | 2021/02/23 | |
| 10 | KOBAYASHI, Kokei | Elysian Well | 小林古径 | 极乐井 | 고바야시 고케이 | 극락의 우물 | 1912 | 2020/12/22 | 2021/02/23 | |
| 10 | KOBAYASHI, Kokei | Apples | 小林古径 | 苹果 | 고바야시 고케이 | 사과 | 1942 | 2020/12/22 | 2021/02/23 | |
| 10 | MORITA, Tsunetomo | Landscape around Yoyogi | 森田恒友 | 代代木后街风景 | 모리타 쓰네토모 | 요요기 뒷골목 풍경 | c.1920-21 | 2020/12/22 | 2021/02/23 | |
| 10 | MORITA, Tsunetomo | Rice Field in Winter | 森田恒友 | 冬田 | 모리타 쓰네토모 | 겨울 논 | 1920ｓ | 2020/12/22 | 2021/02/23 | |
| 10 | MORITA, Tsunetomo | Album of Works Made during Four Years | 森田恒友 | 后四岁帖 | 모리타 쓰네토모 | 4년 화첩 | 1929-32 | 2020/12/22 | 2021/02/23 | |
| 10 | OMODA, Seiju | The Port of Ezumi in Izumo | 小茂田青树 | 出云江角港 | 오모다 세이주 | 이즈모의 에즈미 항구 | 1921 | 2020/12/22 | 2021/02/23 | |
| 10 | TOMITORI, Fudo | Still Life | 富取风堂 | 静物 | 도미토리 후도 | 정물 | 1921 | 2020/12/22 | 2021/02/23 | |
| 10 | HAYAMI, Gyoshu | Colonnade on the Hill | 速水御舟 | 山丘上的树 | 하야미 교슈 | 언덕의 가로수 | 1922 | 2020/12/22 | 2021/02/23 | |
| 10 | ISHIYAMA, Taihaku | The Suburbs of Tokyo: Igusano, Ogikubo | 石山太柏 | 近郊二景（井草野、荻洼） | 이시야마 다이하쿠 | 도쿄 근교의 두 풍경(이구사노, 오기쿠보) | 1930 | 2020/12/22 | 2021/02/23 | |
| 10 | MURAKAMI, Kagaku | Spring Thaw | 村上华岳 | 春泥 | 무라카미 가가쿠 | 눈 녹은 봄 | 1936 | 2020/12/22 | 2021/02/23 | |
| 10 | OKUMURA, Togyu | Ducks | 奥村土牛 | 鸭 | 오쿠무라 도규 | 오리 | 1936 | 2020/12/22 | 2021/02/23 | |
| 10 | KAWAI, Gyokudo | Morning Mist | 川合玉堂 | 朝霭 | 가와이 교쿠도 | 아침 안개 | 1938 | 2020/12/22 | 2021/02/23 | |
| 10 | YOSHIOKA, Kenji | Ice Field | 吉冈坚二 | 冰原 | 요시오카 겐지 | 빙원 | 1940 | 2020/12/22 | 2021/02/23 | |
| 10 | FUKUDA, Toyoshiro | Landscape | 福田丰四郎 | 山河 | 후쿠다 도요시로 | 산하 | 1951 | 2020/12/22 | 2021/02/23 | |
| 10 | 0077 | TOKUOKA, Shinsen | Harvested Rice Field | 德冈神泉 | 刈田 | 도쿠오카 신센 | 벼를 베낸 논 | 1960 | 2020/12/22 | 2021/02/23 |
| 10 | ASADA, Benji | Mandarin Ducks | 麻田辨自 | 鸳 | 아사다 벤지 | 원앙 | 1962 | 2020/12/22 | 2021/02/23 | |
| 10 | TAKAYAMA, Tatsuo | Northern Country | 高山辰雄 | 北国 | 다카야마 다쓰오 | 북쪽 지방 | 1966 | 2020/12/22 | 2021/02/23 | |
| 10 | UEDA, Gagyu | Winter Tree | 上田卧牛 | 冬树 | 우에다 가규 | 겨울 나무 | 1967 | 2020/12/22 | 2021/02/23 | |
| 10 | NISHIUCHI, Toshio | Birds among the Plum Blossoms | 西内利夫 | 梅花游禽 | 니시우치 도시오 | 매화와 새 | 1976 | 2020/12/22 | 2021/02/23 | |
| 10 | HIGASHIYAMA, Kaii | White Morning | 东山魁夷 | 白色的早晨 | 히가시야마 가이이 | 하얀 아침 | 1980 | 2020/12/22 | 2021/02/23 | |
| 10 | KAYAMA, Matazo | Tokyo 1984 | 加山又造 | 一九八四·东京 | 가야마 마타조 | 1984 도쿄 | 1984 | 2020/12/22 | 2021/02/23 | |
| 3F | David Smith | Circle IV | 大卫·史密斯 | 圆 IV | 데이비드 스미스 | 서클 IV | 1962 | 2020/11/03 | 2021/02/23 | |
| 11 | Jan Schoonhoven | R70-47 | 扬·斯洪霍芬 | R70-47 | 얀 스혼호펜 | R70-47 | 1970 | 2020/11/03 | 2021/02/23 | |
| 11 | KOMAI, Tetsuro | Two Trees | 驹井哲郎 | 两棵树 | 고마이 데쓰로 | 나무 두 그루 | 1970 | 2020/11/03 | 2021/02/23 | |
| 11 | KOMAI, Tetsuro | Interior | 驹井哲郎 | 室内 | 고마이 데쓰로 | 실내 | 1970 | 2020/11/03 | 2021/02/23 | |
| 11 | KOMAI, Tetsuro | Trees | 驹井哲郎 | 树 | 고마이 데쓰로 | 나무 | 1971 | 2020/11/03 | 2021/02/23 | |
| 11 | KOMAI, Tetsuro | Landscape | 驹井哲郎 | 风景 | 고마이 데쓰로 | 풍경 | 1971 | 2020/11/03 | 2021/02/23 | |
| 11 | SEIMIYA, Naobumi | At Twilight | 清宫质文 | 傍晚 | 세이미야 나오부미 | 황혼 | 1972 | 2020/11/03 | 2021/02/23 | |
| 11 | SEIMIYA, Naobumi | Back Gate at Dusk | 清宫质文 | 傍晚的后门 | 세이미야 나오부미 | 황혼의 후문 | 1975 | 2020/11/03 | 2021/02/23 | |
| 11 | YUHARA, Kazuo | Untitled No.3-71 | 汤原和夫 | 无题 No.3-71 | 유하라 가즈오 | 무제 No.3-71 | 1971 | 2020/11/03 | 2021/02/23 | |
| 11 | YUHARA, Kazuo | Work No.3-77 | 汤原和夫 | 作品 No.3-77 | 유하라 가즈오 | 작품 No.3-77 | 1977 | 2020/11/03 | 2021/02/23 | |
| 11 | TAKIGUCHI, Shuzo | Liberty Passport for Ashikawa Yoko | 泷口修造 | 自由护照（芦川羊子收） | 다키구치 슈조 | 리버티 패스포트(아시카와 요코 앞) | 1978 | 2020/11/03 | 2020/12/20 | |
| 11 | Joel Shapiro | Untitled | 乔尔·夏皮洛 | 无题 | 조엘 샤피로 | 무제 | 1979 | 2020/11/03 | 2021/02/23 | |
| 11 | SAKAGAMI, Chiyuki | Untitled | 坂上Chiyuki | 无题 | 사카가미 지유키 | 무제 | c.1980 | 2020/11/03 | 2020/12/20 | |
| 11 | SAKAGAMI, Chiyuki | Untitled | 坂上Chiyuki | 无题 | 사카가미 지유키 | 무제 | c.1980 | 2020/12/22 | 2021/02/23 | |
| 11 | SUGA, Kishio | Sai-ku | 菅木志雄 | 细空 | 스가 기시오 | 사이쿠(細空) | 1983 | 2020/11/03 | 2021/02/23 | |
| 11 | SUGA, Kishio | Bun-kan-shu-ritsu | 菅木志雄 | 分间集立 | 스가 기시오 | 분칸슈리쓰(分間集立) | 1989 | 2020/11/03 | 2021/02/23 | |
| 11 | Erwin Heerich | Untitled | 埃尔温·黑里希 | 无题 | 에르빈 헤리히 | 무제 | 1984 | 2020/11/03 | 2021/02/23 | |
| 11 | Erwin Heerich | Untitled | 埃尔温·黑里希 | 无题 | 에르빈 헤리히 | 무제 | 1984 | 2020/11/03 | 2021/02/23 | |
| 11 | ASO, Saburo | Clouds | 麻生三郎 | 云 | 아소 사부로 | 구름 | 1985 | 2020/11/03 | 2021/02/23 | |
| 11 | ASO, Saburo | Sky A | 麻生三郎 | 空A | 아소 사부로 | 하늘 A | 1986 | 2020/11/03 | 2021/02/23 | |
| 11 | Abraham David Christian | Hayama | 亚伯拉罕·大卫·克里斯蒂安 | Hayama | 아브라함 다비드 크리스티안 | Hayama | 1988 | 2020/11/03 | 2021/02/23 | |
| 11 | Abraham David Christian | Hayama | 亚伯拉罕·大卫·克里斯蒂安 | Hayama | 아브라함 다비드 크리스티안 | Hayama | 1988 | 2020/11/03 | 2021/02/23 | |
| 11 | Abraham David Christian | Hayama | 亚伯拉罕·大卫·克里斯蒂安 | Hayama | 아브라함 다비드 크리스티안 | Hayama | 1988 | 2020/11/03 | 2021/02/23 | |
| 11 | Abraham David Christian | Hayama Seven | 亚伯拉罕·大卫·克里斯蒂安 | Hayama Seven | 아브라함 다비드 크리스티안 | Hayama Seven | 2006 | 2020/11/03 | 2021/02/23 | |
| 11 | Abraham David Christian | Hayama Seven | 亚伯拉罕·大卫·克里斯蒂安 | Hayama Seven | 아브라함 다비드 크리스티안 | Hayama Seven | 2006 | 2020/11/03 | 2021/02/23 | |
| 11 | Abraham David Christian | Hayama Seven | 亚伯拉罕·大卫·克里斯蒂安 | Hayama Seven | 아브라함 다비드 크리스티안 | Hayama Seven | 2006 | 2020/11/03 | 2021/02/23 | |
| 11 | Abraham David Christian | Hayama Seven | 亚伯拉罕·大卫·克里斯蒂安 | Hayama Seven | 아브라함 다비드 크리스티안 | Hayama Seven | 2006 | 2020/11/03 | 2021/02/23 | |
| 11 | Abraham David Christian | Hayama Seven | 亚伯拉罕·大卫·克里斯蒂安 | Hayama Seven | 아브라함 다비드 크리스티안 | Hayama Seven | 2006 | 2020/11/03 | 2021/02/23 | |
| 11 | Abraham David Christian | Hayama Seven | 亚伯拉罕·大卫·克里斯蒂安 | Hayama Seven | 아브라함 다비드 크리스티안 | Hayama Seven | 2006 | 2020/11/03 | 2021/02/23 | |
| 11 | Abraham David Christian | Hayama Seven | 亚伯拉罕·大卫·克里斯蒂安 | Hayama Seven | 아브라함 다비드 크리스티안 | Hayama Seven | 2006 | 2020/11/03 | 2021/02/23 | |
| 11 | KAWARA, On | I AM STILL ALIVE [To Sasanuma Toshiki, December 22, 1989] | 河原温 | I AM STILL ALIVE [笹沼俊树收 1989年12月22日] | 가와라 온 | I AM STILL ALIVE [사사누마 도시키 앞, 1989년 12월 22일] | 1989 | 2020/12/22 | 2021/02/23 | |
| 11 | INUMAKI, Kenji | Untitled | 狗卷贤二 | 无题 | 이누마키 겐지 | 무제 | 1990 | 2020/11/03 | 2021/02/23 | |
| 11 | INUMAKI, Kenji | Untitled | 狗卷贤二 | 无题 | 이누마키 겐지 | 무제 | 1990 | 2020/11/03 | 2021/02/23 | |
| 11 | INUMAKI, Kenji | Untitled | 狗卷贤二 | 无题 | 이누마키 겐지 | 무제 | 1990 | 2020/11/03 | 2021/02/23 | |
| 11 | KIMURA, Kentaro | Prayer 7 | 木村贤太郎 | 祈祷 7 | 기무라 겐타로 | 기도 7 | 1993 | 2020/11/03 | 2021/02/23 | |
| 11 | KIMURA, Kentaro | Prayer 6 | 木村贤太郎 | 祈祷 6 | 기무라 겐타로 | 기도 6 | 1993 | 2020/11/03 | 2021/02/23 | |
| 11 | OKAZAKI, Kazuo | HISASHI | 冈崎和郎 | HISASHI | 오카자키 가즈오 | HISASHI | 1994/2017(cast) | 2020/11/03 | 2021/02/23 | |
| 11 | NAKAGAWA, Yoshinobu | seed on the table 94009 | 中川佳宣 | seed on the table 94009 | 나카가와 요시노부 | seed on the table 94009 | 1994 | 2020/11/03 | 2021/02/23 | |
| 11 | NAKAGAWA, Yoshinobu | seed on the table 94027 | 中川佳宣 | seed on the table 94027 | 나카가와 요시노부 | seed on the table 94027 | 1994 | 2020/11/03 | 2021/02/23 | |
| 11 | NAKAGAWA, Yoshinobu | seed on the table 97001 | 中川佳宣 | seed on the table 97001 | 나카가와 요시노부 | seed on the table 97001 | 1997 | 2020/11/03 | 2021/02/23 | |
| 11 | TAKAYANAGI, Eri | Pocket-gauze | 高柳惠里 | 纱布手帕 | 다카야나기 에리 | 휴대용 가제 손수건 | 1998 | 2020/11/03 | 2021/02/23 | |
| 11 | Magdalena Abakanowicz | Anonymous Portrait No.5 | 玛格达莱娜·阿巴卡诺维奇 | 匿名的肖像 No.5 | 막달레나 아바카노비치 | 익명의 초상 No.5 | 2004 | 2020/11/03 | 2020/12/20 | |
| 11 | Magdalena Abakanowich | Anonymous Portrait No.8 | 玛格达莱娜·阿巴卡诺维奇 | 匿名的肖像 No.8 | 막달레나 아바카노비치 | 익명의 초상 No.8 | 2004 | 2020/12/22 | 2021/02/23 | |
| 11 | Shooshie Sulaiman | Let’s learn propaganda: SINGA PURA: registered 1 | 苏西·苏莱曼 | 学习政治宣传吧：SINGA PURA：已登记 1 | 슈시 술라이만 | 프로파간다를 배우자: 싱가푸라: 등록 완료 1 | 2012 | 2020/11/03 | 2021/02/23 | |
| 12 | Thomas Ruff | Interior | 托马斯·鲁夫 | 室内 | 토마스 루프 | 실내 | 1979 | 2020/11/03 | 2020/12/20 | |
| 12 | Thomas Ruff | Interior | 托马斯·鲁夫 | 室内 | 토마스 루프 | 실내 | 1980 | 2020/11/03 | 2020/12/20 | |
| 12 | Thomas Ruff | Interior | 托马斯·鲁夫 | 室内 | 토마스 루프 | 실내 | 1981 | 2020/12/22 | 2021/02/23 | |
| 12 | Thomas Ruff | Interior | 托马斯·鲁夫 | 室内 | 토마스 루프 | 실내 | 1983 | 2020/12/22 | 2021/02/23 | |
| 12 | MIWA, Mitsuko | Interior | 三轮美津子 | 室内 | 미와 미쓰코 | 실내 | 2001 | 2020/11/03 | 2021/02/23 | |
| 12 | KARASAWA, Hitoshi | 1.Ceaselessly the River Flows from The Ten Foot Square Hut | 柄泽齐 | 1. 逝川流水不绝 出自版画集《方丈记》 | 가라사와 히토시 | 판화집 『호조키』 중에서, 1. 강의 흐름은 멈추는 일이 없다 | 1993/94 | 2020/11/03 | 2020/12/20 | |
| 12 | KARASAWA, Hitoshi | 2.Like the Dew on the Morning Glory are Man and His House, Who Knows Which Will Survive the Other? from The Ten Foot Square Hut | 柄泽齐 | 2. 互争无常的样子，说起来无异于喇叭花上的露珠 出自版画集《方丈记》 | 가라사와 히토시 | 판화집 『호조키』 중에서, 2. 사람도 집도 무상하여, 나팔꽃에 내린 이슬과 다름 없다 | 1993/94 | 2020/11/03 | 2020/12/20 | |
| 12 | KARASAWA, Hitoshi | 3.The Flames Driven by the Wind Went Leaping on from The Ten Foot Square Hut | 柄泽齐 | 3. 劲风助炎，飞驰般延烧 出自版画集《方丈记》 | 가라사와 히토시 | 판화집 『호조키』 중에서, 3. 바람이 불어 불꽃도 날아가듯 꺼져간다 | 1993/94 | 2020/11/03 | 2020/12/20 | |
| 12 | KARASAWA, Hitoshi | 4.Household Treasures Were Blosn up into the Air from The Ten Foot Square Hut | 柄泽齐 | 4. 家中资财悉数被刮上了天 出自版画集《方丈记》 | 가라사와 히토시 | 판화집 『호조키』 중에서, 4. 가재도구도 남김없이 전부 사라졌다 | 1993/94 | 2020/11/03 | 2020/12/20 | |
| 12 | KARASAWA, Hitoshi | 5.The Old Capital Was Already a Waste and the New One not Yet Made from The Ten Foot Square Hut | 柄泽齐 | 5. 古都业已荒废，新都还未成型 出自版画集《方丈记》 | 가라사와 히토시 | 판화집 『호조키』 중에서, 5. 옛 도읍은 황폐해지고 새 도읍은 지어지지 않았다 | 1993/94 | 2020/11/03 | 2020/12/20 | |
| 12 | KARASAWA, Hitoshi | 6.By the Walls and in the Highways You Could See Everywhere the Bodies of Those Who Had Died of Starvation from The Ten Foot Square Hut | 柄泽齐 | 6. 道路旁，饿死者多得数不过来 出自版画集《方丈记》 | 가라사와 히토시 | 판화집 『호조키』 중에서, 6. 길거리에는 아사한 시신이 수없이 많다 | 1993/94 | 2020/11/03 | 2020/12/20 | |
| 12 | KARASAWA, Hitoshi | 7.The Hills Crumbled Down and Filled the Rivers, and the Sea Surged up and Overwhelmed the Land from The Ten Foot Square Hut | 柄泽齐 | 7. 山崩河埋，海水倾斜浸漫陆地 出自版画集《方丈记》 | 가라사와 히토시 | 판화집 『호조키』 중에서, 7. 산은 산사태로 강을 막고 바다는 해일로 육지를 잠기게 한다 | 1993/94 | 2020/11/03 | 2020/12/20 | |
| 12 | KARASAWA, Hitoshi | 8.If you Follow the Fashions Around You, You will Have Little Comfort, and if you do not You Will be Called Crazy from The Ten Foot Square Hut | 柄泽齐 | 8. 不随波逐流，会被视为狂人 出自版画集《方丈记》 | 가라사와 히토시 | 판화집 『호조키』 중에서, 8. 세간에 맞추자니 자신이 괴롭고 맞추지 않으려니 미칠 듯 하다 | 1993/94 | 2020/11/03 | 2020/12/20 | |
| 12 | KARASAWA, Hitoshi | 9.Is Only Ten Feet Square and less than Seven Feet High… from The Ten Foot Square Hut | 柄泽齐 | 9. 大小仅方丈，高不足七尺 出自版画集《方丈记》 | 가라사와 히토시 | 판화집 『호조키』 중에서, 9. 넓이는 약 3평, 높이는 약 7척에 불과하다 | 1993/94 | 2020/12/22 | 2021/02/23 | |
| 12 | KARASAWA, Hitoshi | 10.On the Southwest if a Bamboo Shelf On the Which Stand Three or Four Boack Leather Cases from The Ten Foot Square Hut | 柄泽齐 | 10. 西南吊着竹棚，上面放着三只皮面的竹笼 出自版画集《方丈记》 | 가라사와 히토시 | 판화집 『호조키』 중에서, 10. 서남쪽에는 대나무 선반을 걸고, 검은 가죽 바구니를 3개 두었다 | 1993/94 | 2020/12/22 | 2021/02/23 | |
| 12 | KARASAWA, Hitoshi | 11.In the Winter the Snow ad it Piles up and Melts Seems Like an Allegory of Our Evil Karma. from The Ten Foot Square Hut | 柄泽齐 | 11. 冬时雪动人，积雪消雪可比人世罪障 出自版画集《方丈记》 | 가라사와 히토시 | 판화집 『호조키』 중에서, 11. 겨울에는 눈을 즐긴다. 눈이 쌓였다 사라지는 모습은 업보에 비유할 수 있으리라 | 1993/94 | 2020/12/22 | 2021/02/23 | |
| 12 | KARASAWA, Hitoshi | 12.And The Keeper of the Hills Has a Boy Who Sometimes Comes to Bear Me Company from The Ten Foot Square Hut | 柄泽齐 | 12 那里有位小童时常来访 出自版画集《方丈记》 | 가라사와 히토시 | 판화집 『호조키』 중에서, 12. 그곳에 어린아이가 있어 가끔 왕래한다 | 1993/94 | 2020/12/22 | 2021/02/23 | |
| 12 | KARASAWA, Hitoshi | 13.I Have Built Mine For my Own Needs and Not for Other People from The Ten Foot Square Hut | 柄泽齐 | 13. 我如今是为一身结庐，非为他人 出自版画集《方丈记》 | 가라사와 히토시 | 판화집 『호조키』 중에서, 13. 나는 타인이 아닌 나만을 위해 이 암자를 지었다 | 1993/94 | 2020/12/22 | 2021/02/23 | |
| 12 | KARASAWA, Hitoshi | 14.Fish do not Get Tired of the Water; But if you are not a Fish You cannot Understand Their Feelings from The Ten Foot Square Hut | 柄泽齐 | 14. 鱼不厌水，鱼外之物哪知鱼之心 出自版画集《方丈记》 | 가라사와 히토시 | 판화집 『호조키』 중에서, 14. 물고기는 물을 싫증내지 않는다. 물고기가 아니면 그 마음을 알 수 없다 | 1993/94 | 2020/12/22 | 2021/02/23 | |
| 12 | KARASAWA, Hitoshi | 15.Now the Moon of my Life has Reached its last Phase and my Remaining Years Draw Nearer to THeir Close from The Ten Foot Square Hut | 柄泽齐 | 15. 生涯如月影西倾，眼看就将入山 出自版画集《方丈记》 | 가라사와 히토시 | 판화집 『호조키』 중에서, 15. 달이 기울어 산마루에 걸린 것처럼 나의 남은 삶도 길지 않다 | 1993/94 | 2020/12/22 | 2021/02/23 | |
| 12 | KARASAWA, Hitoshi | 16.Have I Put on the Form of a Recluse While Yet My Heart Has Remained Impure? from The Ten Foot Square Hut | 柄泽齐 | 16. 你形似圣人，心染浊秽 出自版画集《方丈记》 | 가라사와 히토시 | 판화집 『호조키』 중에서, 16. 너의 겉모습은 성자이지만 마음은 탁해져 있다 | 1993/94 | 2020/12/22 | 2021/02/23 | |
| 12 | MURAOKA, Saburo | Bent Oxygen | 村冈三郎 | 弯折的氧气 | 무라오카 사부로 | 꺾인 산소 | 1985 | 2020/11/03 | 2021/02/23 | |
| 12 | MURAOKA, Saburo | A Torch Cutting–1380°C×11000mm | 村冈三郎 | 熔断——1380°C×11000mm | 무라오카 사부로 | 가스 절단—1380°C×11000mm | 1986 | 2020/11/03 | 2021/02/23 | |
| 12 | MURAOKA, Saburo | Negative Table: Joint (Crater) | 村冈三郎 | 负的桌子−关节（坑） | 무라오카 사부로 | 음의 테이블 관절(크레이터) | 1998 | 2020/11/03 | 2020/12/20 | |
| 12 | MURAOKA, Saburo | Negative Corner | 村冈三郎 | 负的角落 | 무라오카 사부로 | 음의 코너 | 1998 | 2020/12/22 | 2021/02/23 | |
| 12 | MORI, Bushiro | The Letter / to the Earth / He Left Behind I | 毛利武士郎 | 他/给地球的/留信 其一 | 모리 부시로 | 그가/지구에 남기는/편지 그 첫 번째 | 1998 | 2020/11/03 | 2021/02/23 | |
| 12 | YOSHIDA, Katsuro | Touch “Body-47″ | 吉田克朗 | 触“体-47” | 요시다 가쓰로 | 닿다 “신체-47″ | 1989 | 2020/11/03 | 2021/02/23 | |
| 12 | YOSHIDA, Katsuro | Touch: “On the Table” from Touch: “On the Table” | 吉田克朗 | 触“桌上” 出自版画集《触“桌上”》 | 요시다 가쓰로 | 판화집 『닿다 “테이블 위에서”』 중에서, 닿다 “테이블 위에서” | 1995 | 2020/11/03 | 2020/12/20 | |
| 12 | YOSHIDA, Katsuro | Touch: “On the Table” I from Touch: “On the Table” | 吉田克朗 | 触“桌上” I 出自版画集《触“桌上”》 | 요시다 가쓰로 | 판화집 『닿다 “테이블 위에서”』 중에서, 닿다 “테이블 위에서” I | 1994 | 2020/12/22 | 2021/02/23 | |
| 12 | TAKAMIZAWA, Fumio | River on a Wall, or For the Left Hand That Is Considerate to the Right Hand | 高见泽文雄 | 墙上的河流，或者为了挂念右手的左手 | 다카미자와 후미오 | 벽 위의 강 혹은 오른손을 배려하는 왼손을 위해 | 1991-92 | 2020/11/03 | 2021/02/23 | |
| 12 | TSUCHITANI, Takeshi | Inner and Outer Air B-b | 土谷武 | 内气与外气 B-b | 쓰치타니 다케시 | 내부의 공기와 외부의 공기 B-b | 1993 | 2020/11/03 | 2021/02/23 | |
| 12 | 0088 | Gerhard Richter | Abstract Picture (Red) | 格哈德·里希特 | 抽象绘画（红） | 게르하르트 리히터 | 추상 회화(붉은색) | 1994 | 2020/11/03 | 2021/02/23 |
| 12 | Gerhard Richter | Sils Maria | 格哈德·里希特 | 锡尔斯玛利亚 | 게르하르트 리히터 | 실스 마리아 | 2003 | 2020/11/03 | 2021/02/23 | |
| 12 | USAMI, Keiji | Dome, The Outside Opening in the Inside | 宇佐美圭司 | 半球形，内在的外 | 우사미 게이지 | 돔: 안으로 열린 밖 | 1997 | 2020/11/03 | 2021/02/23 | |
| 12 | MARUYAMA, Naofumi | Garden 1 | 丸山直文 | Garden 1 | 마루야마 나오후미 | Garden 1 | 2003 | 2020/11/03 | 2021/02/23 | |
| 12 | ISHIKAWA, Yukie | Impermanence Seijyo | 石川顺惠 | Impermanence 青女 | 이시카와 유키에 | Impermanence 청녀(서리의 신) | 2014 | 2020/11/03 | 2021/02/23 | |
| 12 | OKAZAKI, Kenjiro | TOPICA PICTUS | 冈崎乾二郎 | TOPICA PICTUS | 오카자키 겐지로 | TOPICA PICTUS | 2020 | 2020/11/03 | 2021/02/23 | |
| 12 | Bruce Nauman | Bouncing in the Corner No.1 | 布鲁斯·瑙曼 | 角落跳跃No.1 | 브루스 나우먼 | 코너에서 튀다 No.1 | 1968 | 2020/11/03 | 2021/02/23 | |
| 2F | 0090 | Antony Gormley | Reflection | 安东尼·戈姆雷 | 反映/思索 | 안토니 곰리 | 반영/사색 | 2001 | 2020/11/03 | 2021/02/23 |
| terrace | 0084 | Isamu Noguchi | Gate | 野口勇 | 门 | 이사무 노구치 | 문 | 1969 | 2020/11/03 | 2021/02/23 |
| outside | TADA, Minami | Chiaroscuro | 多田美波 | Chiaroscuro | 다다 미나미 | Chiaroscuro | 1979 | 2020/11/03 | 2021/02/23 | |
| outside | Marino Marini | The Idea of an Image | 马里诺·马里尼 | 某个形象的构想 | 마리노 마리니 | 어떤 이미지의 구상 | 1969-70 | 2020/11/03 | 2021/02/23 | |
| outside | KIMURA, Kentaro | Seven Prayers | 木村贤太郎 | 七个祈祷 | 기무라 겐타로 | 일곱 개의 기원 | 1969 | 2020/11/03 | 2021/02/23 |
Important Cultural Properties on display
The National Museum of Modern Art, Tokyo Collection (main building) contains 15 items that have been designated by the Japanese government as Important Cultural Properties. These include nine Nihon-ga (Japanese-style) paintings, five oil paintings, and one sculpture. (One of the Nihon-ga paintings and one of the oil paintings are on long-term loan to the museum.)
The following Important Cultural Properties are shown in this period:
- Harada Naojiro, Kannon Bodhisattva Riding the Dragon, 1890, Long term loan (Gokokuji Temple Collection)
- Yorozu Tetsugoro, Nude Beauty, 1912
- Kishida Ryusei, Road Cut through a Hill, 1915
- Nakamura Tsune, Portrait of Vasilii Yaroshenko, 1920
- Wada Sanzo, South Wind, 1907 (on display at Gallery 4)
- Please visit the Important Cultural Property section Masterpieces for more information about the pieces.
About the Sections
MOMAT Collection comprises twelve（or thirteen）rooms and two spaces for relaxation on three floors. In addition, sculptures are shown near the terrace on the second floor and in the front yard. The light blue areas in the cross section above make up MOMAT Collection. The space for relaxation “A Room With a View” is on the fourth floor.
The entrance of the collection exhibition MOMAT Collection is on the fourth floor. Please take the elevator or walk up stairs to the fourth floor from the entrance hall on the first floor.
4F (Fourth floor)
Room 1 Highlights * This section presents a consolidation of splendid works from the collection, with a focus on Master Pieces.
Room 2– 5 1900s－1940s
From the End of the Meiji Period to the Beginning of the Showa Period
A Room With A View
Reference Corner is currently out of service.
Room 1 Highlights
The MOMAT Collection exhibition, drawn from the museum’s holdings, consists of over 200 works displayed over a 3,000-square meter area. The exhibition starts with the “Highlights” section, consisting of some of the collection’s most essential works.
In the Nihon-ga (modern Japanese-style painting) genre, during the first term of the exhibition (November 3 – December 20) Yamamoto Shunkyo’s Snow and Pine Trees will be on view, and during the second term (December 22 – February 23) we present the hanging scroll Divine Light of Love: Morning, Evening by Kawabata Ryushi, who had transitioned from Western-style painting to Nihon-ga, as well as Kosugi Hoan(Misei)’s folding screen and other works. Outside the display cases, some of the most important works in the MOMAT collection will be exhibited, including Harada Naojiro’s Kannon Bodhisattva Riding the Dragon and Kishida Ryusei’s Road Cut through a Hill (both Important Cultural Properties of Japan), Koga Harue’s Sea, Henri Rousseau’s Liberty Inviting Artists to Take Part in the 22nd Exhibition of the Société des Artistes, and Takamura Kotaro’s Hand, as well as Cats by Fujita Tsuguharu, on which restoration work has recently been completed.
Room 2 #MuseumBouquet
This spring, when many museums were forced to close as a countermeasure against the spread of COVID-19, the hashtag #MuseumBouquet was spreading on social media. Many museums around the world selected images of flowers from their collections and uploaded them to content-sharing platforms, with the goal of bringing some small measure of hope and comfort to people stuck at home. At the time we were among the museums posting images, such as Cézanne’s Grand Bouquet of Flowers. In this exhibit, we are pleased to present flower paintings from Japan, dating from the 1910s through the 1940s, along with the work of Cézanne.
However, we are not simply trying to soothe viewers with flower paintings. As is widely known, Cézanne had an enormous influence on Japanese painters in the early 20th century, in terms of his approach to apprehending the natural world and his principles of composition. At the same time, Japan has a tradition of bird and flower painting going back to ancient times. Even when depicting the same subject (flowers), painters focus on a widely varying range of aspects. As you enjoy these paintings, please note the similarities and differences in their depictions.
Room 3 Art and Life
The sculptor and poet Takamura Kotaro wrote in a review of the 1913 Bunten (official exhibition sponsored by the Ministry of Education): “I can look at a work, see whether it has ‘life,’ and by extension know directly whether the artist has la vie [French for ‘life’]. At the same time, when I see an artist and whether or not he has la vie, I can immediately imagine whether or not his work has value.” When Takamura speaks of a work having “life,” he does not mean that the rendered or sculpted object looks alive, but rather that some invisible aspect of the artist’s inner life is expressed.
Art movements in the Taisho Era (1912-1926) revolved around the expression of “life.” Examples include the work of Yorozu Tetsugoro, which seemingly states that the artist’s touch connects directly to life’s essence, and that of Sekine Shoji, which expresses powerful emotion even at the cost of leaving the work looking unfinished. Meanwhile, Kishida Ryusei said that when precise, detailed rendering produced realistic beauty, it was because the painter’s “inner beauty” was aligned with the tangible phenomena of nature.
During these years when “life” was central to art, in real life artists were afflicted with all manner of illnesses. All of the works presented in this room are by artists who died younger than we might imagine.
Room 4 Sunny Homes
Throughout the modern era, tuberculosis was the most common life-threatening disease. The only effective treatment was nourishment, rest, sunlight, and fresh air to breathe. For this reason, sanatoriums for recuperating patients needed to enable them to sunbathe and be exposed to outdoor air. It has been pointed out that Le Corbusier (1887-1965) and Alvar Aalto (1898-1976), who later became titans of modernist architecture, drew on their experience designing sanatoriums to create a new architectural vocabulary with elements such as flat roofs, balconies, and large windows.
In Japan, houses with large windows blending Japanese and Western architectural styles become popular among middle- and upper-class families in the 1920s. This was in part a reflection the promotion of “sunny homes” on a national scale, as a preventive measure against various diseases including tuberculosis. Works such as Makino Torao’s Sunny Room and Kobayashi Tokusaburo’s Reading convey the new lifestyles of those times. In this room, we present artworks and historical materials related to the theme of “sunny homes.”
Room 5 Art and the State: The Federal Art Project
In the 1930s, United States President Franklin D. Roosevelt enacted a group of programs known as the New Deal, aimed at rebuilding the nation’s economy after the onset of the Great Depression in 1929. Part of it was the Works Progress Administration (WPA), which implemented Federal Project Number One to support people in creative fields, in part through the Federal Art Project (1935-43) for visual artists. The WPA commissioned murals and sculptures in public buildings such as train stations, government offices, and libraries, and launched an art education program and art survey and documentation program, hiring many artists for important positions. Leading figures in postwar art such as Jackson Pollock and Willem de Kooning (November 3 – December 20), as well as Japanese artists working and exhibiting in the US such as Kuniyoshi Yasuo and Ishigaki Eitaro, participated in the program, which not only enabled artists to continue their careers but also resulted in many precious documents of American life and culture at the time.
In this room, we are pleased to present art that grew out of the Federal Art Project of the 1930s, which offers opportunities to consider the nature of relationships between art (artists) and the state.
3F (Third floor)
Room 6-8 1940s-1960s
From the Beginning to the Middle of the Showa Period
Room 9 Photography and Video
Room 10 Nihon-ga (Japanese-style Painting)
Room to Consider the Building
Room 6 Art and the State: War
The Sino-Japanese War began in 1937. The National Mobilization Law was enacted the following year, forcing Japanese citizens to cooperate with the war effort. Artists were no exception. Many were sent to the front and made pictures documenting the war. There was also a crackdown on free and avant-garde expression, and the national government imposed increasingly draconian controls, leading exhibitions to be banned and art groups dissolved.
Federal Project Number One, implemented by the American WPA (Works Progress Administration), introduced in the previous room, was certainly a federal economic initiative to support artists, but the murals, public sculptures, and photographs produced through the program were also a testimony to the success of the New Deal and in a way played the role of national propaganda.
Whether in Japan or the United States, it is valid to say that the relationship between art and the state is not monolithic, and perhaps there is always an inherent danger of “support” for the arts metamorphosing into “control.”
In this room, we present artists’ works produced during World War II and those produced before (or after) this time. We invite you to view the effects war had on artists, and consider in greater depth the nature of relationships between art and the state.
Room 7 Wounds Healing
In this room, during the previous term we presented images of people that conveyed prevailing feelings of unease and anxiety when memories of World War II were still fresh, under the title “Restless Bodies.” By contrast, the current exhibit focuses on works that communicate a sense of hope, the will to move forward even while faced with adversity due to the war and societal changes.
From 1945 to 1952, Japan was occupied by the Allied Powers, and among the restrictions imposed were those applying to creative activities. Half of the works on display in this room were produced during this period. Nothing here directly conveys a critical message, but the works are imbued with a sense of artists’ drive to move forward, expressed in various ways.
In terms of art from after the Occupation, we present works by artists such as Nambata Tatsuoki and Ei-Kyu that evoke anticipation of new beginnings. Another highlight is Yanagihara Yoshitatsu’s statue of a woman standing determinedly with her fist firmly clenched.
Room 8 Distance
Currently, we are strongly advised to maintain distance from others to halt the spread of the coronavirus. “Social distancing” means staying about far enough apart that we cannot touch one another even if we reach out our arms. We have become more aware than ever before of spaces between us and alienation from society, which is exacerbated by advisories to “Stay Home.”
In this room, we present works produced in the 1960s and 70s with the theme of “distance.” In an era when society was evolving at a rapid pace, with lifestyles changing drastically due to rapid economic growth, conflict over the 1960 US-Japan Security Treaty, student protests, and the spectacle of Expo ’70 Osaka, artists sought through their work to gauge “distance” from the world and others.
When we form relationships with people and things around us, some distance is a prerequisite––otherwise “I” will become “you.” It is only possible for “me” to be myself when there is a degree of separation from society and others. Vito Acconci’s work creates, through the action of pointing, an inescapable relationship between the artist and the viewer in front of the screen, and at the same time reminds us that there remains a gap there that can never be bridged.
Room 9 Suzuki Kiyoshi, Soul and Soul
Suzuki Kiyoshi is known for a series of unique photo books. Soul and Soul, self-published by Suzuki in 1972, was the first of eight photo books, which he also structured and designed himself. Raised in a coal-mining town in Fukushima Prefecture, Suzuki developed an interest in photography after coming across Domon Ken’s The Children of Chikuho, a photo book dealing with coal mining in Chikuho, Fukuoka Prefecture. While attending a photography school, Suzuki began taking pictures of the Joban Coal Mine in his hometown. This debut work, which was serialized in a photography magazine as part of a series on coal mining, later formed the first half of Soul and Soul.
In light of this background, Suzuki’s photo book might be seen as having an autobiographical quality. Moreover, his utterly personal approach to the social theme of coal mining is consistent with the kompora (short for “contemporary”) trend that was championed by young photographers of the era.
The most notable point, however, is the multilayered world expressed in the work, which is interwoven out of a chain of images. This aspect reflects the young photographer’s ambitious attempt to explore the potential of the photo-book medium.
Room 10 (First half: November 3–December 20) Depicting History
Many Nihon-ga (modern Japanese-style) paintings depict figures and scenes from the mythology and history of Japan and East Asia. Because such works served to make people aware of the nation’s history or to convey various teachings, they were particularly prevalent during the Meiji Era (1868-1912) and the early years of the Showa Era (1926-1945) when Japan was approaching the brink of war.
Of course, to depict myth and history requires knowledge of the customs of the past. For this reason Yasuda Yukihiko’s bookshelf was full of archaeological materials, and Kikkawa Reika and Matsuoka Eikyu actually put on historical costumes and armor, which they then sketched or photographed. Their enthusiasm for studying past customs certainly seems to have far exceeded the call of national duty or reverence for their country.
Here we present Nihon-ga works related to myth and history. We hope you will enjoy these varied perspectives on history, starting with works from the Meiji Era and ranging from the work of Kataoka Tamako, who was interested in the physiognomy of people of old times, to that of Hirayama Ikuo, who focused on regions with deeply layered history and rendered them in a fantastical style.
Room 10 (Second half: December 22, 2020–February 23, 2021) Waiting for Spring
In this room we present a selection of works that convey the seasons progressing from winter to early spring.
Yokoyama Taikan, one of Japan’s most widely known Nihon-ga (modern Japanese-style painting) painters, said in 1931: “The subjects of all works of art are the natural world and human life, and there is nothing to depict besides these things––the seasons, natural phenomena, human emotions. This is a truth that will never change.” The seasonal patterns of kimono in paintings of people, and the flowers, trees, or seasonal events in landscapes and genre paintings, give us a sense of the season. In this sense, Taikan perhaps spoke for all Nihon-ga painters with this statement.
However, it is important to note that many works of modern art, not included in this exhibit, do not fit this definition. Taikan himself dealt with various unconventional Nihon-ga subjects in his younger days, and after World War II young painters abandoned traditional values and broadened the scope of Nihon-ga. The seasons are not necessarily a constant presence in Nihon-ga, and these works can be viewed in a different light if we consider that their subject matter reflects individual choices or the prevailing expectations of their era.
2F (Second floor)
Room 11-12 1970s-2010s
From the End of the Showa Period to the Present
Gallery 4
* A space of about 250 square meters. This gallery offers cutting-edge thematic exhibitions from the Museum Collection, and special exhibitions featuring photographs or design.
Male Sculpture (November 25, 2020-February 23, 2021)
Room 11 Now Is the Time for Small Art
When we were being told to “Stay Home” to curb the spread of the pandemic, many of us decided it would be a good time to make something. Museums tend to exhibit large-scale works that would be hard to produce in a typical house, but for this section of the collection exhibition, we have deliberately brought together small-scale works from the 1970s and later. Of course, artists do not make only large pieces, and it is not true that larger is simply better. A large work requires a particular sort of compositional sense, but that does not mean small works are any easier to create. When art is to be shown in a spacious venue, like a museum, it may actually be more difficult to make small works that manage to hold their own in a large space. One might describe an art museum’s role as exhibiting what can only be seen here, in a museum. Moving forward, however, museums may need to more actively present small but superb works, which can give a direct idea of how the creative process plays out at home.
Room 12 On Contemporaneity and Time Lag: Art From the 1980s to Today
The works in this room were selected based on several themes loosely connected to the present situation. From our current vantage point in the midst of this situation, we are unable to step back and see the challenges we face from a distance. As a result, viewers may feel there is something arbitrary or ambiguous in the selection of themes and works.
Getting distance from things leads to seeing the big picture, viewing things objectively and in historical context. It has been said that for museums to select works, conserve them, and pass them on to posterity, this distance is a crucial factor. Unfortunately, this inevitably results in a time lag. It will be a little while before we are able to add to our collection (and show in collection exhibitions) various works of art created in 2020 in reaction to the present situation (the challenges we currently face are severe, potentially affecting our future possibilities and museums’ very reasons for being.)
At the same time, we must not overlook the actuality of artists who are highly sensitively attuned to the world and continue producing art even now. In the current exhibition, we are pleased to present the latest work by Okazaki Kenjiro, one of our leading contemporary artists, who has been staying in his studio and working intensively since March 2020.
About the Exhibition
- Location
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Collection Gallery, from the fourth to second floors
- Date
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November 3, 2020–February 23, 2021
- Time
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10:00 – 17:00
*Last admission is 30 minutes before closing. - Closed
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Closed on Mondays (except November 23 and January 11, 2021), November 24, December 28, 2020-January 1, 2021 and January 12, 2021
- Ticket
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Advance ticket is recommended to avoid lines forming at the entrance.
Online purchase: 【Tiqets】【e-tix】
Tickets can be purchased on site at the ticket counters, subject to their availability. - Admission
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Adults ¥500 (400)
College and university students ¥250 (200)
*The price in brackets is for the group of 20 persons or more. All prices include tax.
Free for high school students, under 18, seniors (65 and over), Campus Members, MOMAT passport holder.
*Show your Membership Card of the MOMAT Supporters or the MOMAT Members to get free admission (a MOMAT Members Card admits two persons free).
*Persons with disability and one person accompanying them are admitted free of charge.
*Members of the MOMAT Corporate Partners are admitted free with their staff ID. - Discounts
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Evening Discount (From 17:00 on Fridays and Saturdays)
Adults ¥300
College and university students ¥150 - Organized by
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The National Museum of Modern Art, Tokyo