{"id":126077,"date":"2023-01-12T15:51:22","date_gmt":"2023-01-12T06:51:22","guid":{"rendered":"https:\/\/www.momat.go.jp\/exhibitions\/h29-1"},"modified":"2023-06-12T09:13:47","modified_gmt":"2023-06-12T00:13:47","slug":"h29-1","status":"publish","type":"exhibition","link":"https:\/\/www.momat.go.jp\/en\/exhibitions\/h29-1","title":{"rendered":"2017-1\u3000MOMAT Collection"},"content":{"rendered":"    <div class=\"momat-anchors\" aria-label=\"Anchor link\">\n        <button id=\"button-block_d50da67449f3c65e7b96cfa057971637\"\n                aria-controls=\"nav-block_d50da67449f3c65e7b96cfa057971637\"\n                class=\"momat-anchors__sp-header\">\n            <span class=\"heading\">Table of Contents<\/span>\n            <span class=\"text open\" aria-hidden=\"false\">Open<\/span>\n            <span class=\"text close\" aria-hidden=\"true\">Close<\/span>\n            <span class=\"icon\"><\/span>\n        <\/button>\n        <div id=\"nav-block_d50da67449f3c65e7b96cfa057971637\"\n             class=\"momat-anchors__navigation\">\n            <div class=\"momat-anchors__inner\">\n                                    <a href=\"#section1-1\"\n                       title=\"Scroll to Highlights\"\n                       class=\"momat-anchors__link\">\n                        Highlights                    <\/a>\n                                    <a href=\"#section1-2\"\n                       title=\"Scroll to About the Sections\"\n                       class=\"momat-anchors__link\">\n                        About the Sections                    <\/a>\n                                    <a href=\"#section1-4\"\n                       title=\"Scroll to About the Exhibition\"\n                       class=\"momat-anchors__link\">\n                        About the Exhibition                    <\/a>\n                            <\/div>\n        <\/div>\n    <\/div>\n\n\n\n<div id=\"section1-1\" class=\"wp-block-group is-layout-flow\"><div class=\"wp-block-group__inner-container\">\n<h2 class=\"wp-block-heading\">The collection exhibition from May 27 &#8211; November 5 , 2017<\/h2>\n\n\n\n<p>&nbsp; Welcome to the MOMAT Collection! Let us start by introducing a few of the notable pieces in this edition of the exhibition. First, in the \u201cHighlights\u201d display (Room 1, 4th floor), you will be greeted by works that are perfect for the summer season, such as Kaburaki Kiyokata\u2019s&nbsp;<em>Boating Excursion on the Sumida River<\/em>&nbsp;(May 27-July 17) and Kawabata Ryushi\u2019s&nbsp;<em>Flaming Grass<\/em>&nbsp;(July 19-Sept. 10).<\/p>\n\n\n\n<p>&nbsp; In Room 5 (4th floor), we feature Western modern art from the museum\u2019s holdings. In terms of understanding the Western influence on Japan, these works are an indispensable part of the collection. And speaking of the relationship between the West and Japan, we also take a special look at Fujita Tsuguharu, who was active in Paris, in Room 6 (3rd floor), and at Kuniyoshi Yasuo, who worked in the U.S., in Room 7. We hope that you will enjoy retracing the footsteps of these artists who searched for their own identity in two different cultural spheres.<\/p>\n\n\n\n<p>&nbsp; From Sept. 12. to Nov. 5 , we present a small exhibit to Higashiyama Kaii in Room 8 and 10 (3rd floor). Though the museum contains a large number of works by Higashiyama, due to the artist\u2019s popularity, they are often on loan to other museums. This is a rare opportunity to see them all at once.<\/p>\n\n\n\n<p>&nbsp;&nbsp; Finally, in Room 11 and 12 (2nd floor), we shed light on art movements of the \u201960s and \u201970s by focusing primarily on recent acquisitions.<\/p>\n\n\n\n<p>&nbsp;&nbsp; We hope that you will enjoy this edition of the MOMAT Collection, filled as it is with many and varied works.<\/p>\n\n\n\n<p class=\"has-text-align-right\">translated by Christopher Stephens<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-flow\"><div class=\"wp-block-group__inner-container\">\n<h2 class=\"wp-block-heading\">Important Cultural Properties on display<\/h2>\n\n\n\n<p>The National Museum of Modern Art, Tokyo Collection (main building) contains 14 items that have been designated by the Japanese government as Important Cultural Properties. These include nine&nbsp;<em>Nihon-ga<\/em>&nbsp;(Japanese-style) paintings, four oil paintings, and one sculpture. (One of the&nbsp;<em>Nihon-ga<\/em>&nbsp;paintings and one of the oil paintings are on long-term loan to the museum.)<\/p>\n\n\n\n<p><strong>The following Important Cultural Properties are shown in this period:<\/strong><\/p>\n\n\n\n<ul>\n<li>Nakamura Tsune,&nbsp;<em>Portrait of Vasilii Yaroshenko<\/em>&nbsp;, 1920<\/li>\n\n\n\n<li>Kishida Ryusei,&nbsp;<em>Road Cut Through a Hill&nbsp;<\/em>, 1915<\/li>\n\n\n\n<li>Harada Naojiro ,&nbsp;<em>Kannon Bodhisattva Riding the Dragon<\/em>, 1890, Long term loan (Gokokuji Temple Collection)<\/li>\n\n\n\n<li>Tsuchida Bakusen,&nbsp;<em>Serving Girl in a Spa<\/em>,&nbsp;1918 (Exhibit Date: May 27 \u2013&nbsp; July 17, 2017\uff09&nbsp;<\/li>\n\n\n\n<li>Hishida Shunso,&nbsp;<em>Wong Zhaojun<\/em>&nbsp;[the Chinese princess],&nbsp;1902, Long term loan (Zenpoji Temple Collection)&nbsp; (Exhibit Date: September 12 \u2013&nbsp; November&nbsp; 5, 2017\uff09&nbsp;<\/li>\n\n\n\n<li>Please visit the Important Cultural Property section&nbsp;<a href=\"https:\/\/www.momat.go.jp\/en\/masterpieces\">Masterpieces<\/a> for more information about the pieces.<\/li>\n<\/ul>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-flow\"><div class=\"wp-block-group__inner-container\">\n<h2 class=\"wp-block-heading\" id=\"section1-2\">About the Sections<\/h2>\n\n\n\n<p><em>MOMAT Collection<\/em>&nbsp;comprises twelve\uff08or thirteen\uff09rooms 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&nbsp;<em>MOMAT Collection<\/em>. The space for relaxation A Room With a View is on the fourth floor.<\/p>\n\n\n\n<p>The entrance of the collection exhibition&nbsp;<em>MOMAT Collection<\/em>&nbsp;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.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">4F (Fourth floor)<\/h3>\n\n\n\n<p><strong>Room 1 Highlights&nbsp;<\/strong>* This section presents a consolidation of splendid works from the collection, with a focus on Master Pieces.<br><strong>Room 2\u2013 5 1900s\uff0d1940s<br>\u3000From the End of the Meiji Period to the Beginning of the Showa Period<\/strong><\/p>\n\n\n\n<p class=\"has-small-font-size\">A Room With A View<br>Reference Corner<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Room 1 <small><strong>Highlights<\/strong><\/small><\/h4>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"600\" height=\"437\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/6f24d09b6821293a6c0652ca142563a6.jpeg\" alt=\"\" class=\"wp-image-2006\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/6f24d09b6821293a6c0652ca142563a6.jpeg 600w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/6f24d09b6821293a6c0652ca142563a6-200x146.jpeg 200w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/><figcaption class=\"wp-element-caption\">Hasegawa Toshiyuki,&nbsp;<em>Cafe Paulista<\/em>, 1928<\/figcaption><\/figure>\n\n\n\n<p>&nbsp; Over 200 works are lined up in this 3,000-square-meter space \u2013 these extravagant conditions are the distinguishing feature of the MOMAT Collection. In recent years, however, we have received an increasing number of comments like, \u201cThey\u2019re so many things to see, I\u2019m not sure what to look at!\u201d and \u201cAll I want to do is have a quick look at the important works in a short period of time!\u201d This prompted us to create the \u201cHighlights\u201d corner to allow you to savor the essence of the collection, with a focus on Important Cultural Properties.<\/p>\n\n\n\n<p>&nbsp; In this edition, we will change the&nbsp;<em>Nihonga<\/em>&nbsp;works on display twice during the exhibition period to present a total of seven works. Of special note are Kaburaki Kiyokata\u2019s&nbsp;<em>Boating Excursion on the Sumida River<\/em>&nbsp;(on view until July 17), a depiction of modern boating, Kawabata Ryushi\u2019s&nbsp;<em>Flaming Grass<\/em>&nbsp;(on view from July 19 to Sept. 10), which portrays summer grass in gold paint on a dark blue ground, and Hishida Shunso\u2019s&nbsp;<em>Wong Zhaojun<\/em>&nbsp;(The Chinese Princess) (on view from Sept. 12), an Important Cultural Property from Zenpo-ji Temple (Tsuruoka, Yamagata Prefecture) that is currently deposited in the museum. In addition to Important Cultural Properties by Harada Naojiro and Kishida Ryusei, both mainstays in the field of oil painting in the Highlights section, we also feature two recent additions to the museum collection: Matsumoto Shunsuke\u2019s&nbsp;<em>Black Flowers<\/em>&nbsp;and Yamashita Kikuji\u2019s&nbsp;<em>The Tale of Akebono Village<\/em>.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Room 2 <small><strong>Meiji Painting: Realistic Depictions of Nature<\/strong><\/small><\/h4>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"700\" height=\"477\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/5c6e6f2c896b3e6bd4aa82230756bdad.jpeg\" alt=\"\" class=\"wp-image-2007\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/5c6e6f2c896b3e6bd4aa82230756bdad.jpeg 700w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/5c6e6f2c896b3e6bd4aa82230756bdad-200x136.jpeg 200w\" sizes=\"(max-width: 700px) 100vw, 700px\" \/><figcaption class=\"wp-element-caption\">Minami Kunzo,&nbsp;<em>One Day in June<\/em>, 1912<\/figcaption><\/figure>\n\n\n\n<p>&nbsp; One of the top priorities for Meiji Period artists, who struggled to modernize painting, was to depict nature in the most realistic manner. This was not only the case in landscape painting, but also extended to what was broadly termed \u201cgenre painting.\u201d<\/p>\n\n\n\n<p>&nbsp; The first step was to come up with a special kind of framing. By detaching part of a forest with a bird\u2019s-eye view, Kuroda Seiki\u2019s&nbsp;<em>Dead Leaves<\/em>&nbsp;gives us the sense that we are actually roaming through it. By using framing that intentionally provides us with a fragmented view instead of describing the entire scene, the work sets out to reproduce a vivid experience.<\/p>\n\n\n\n<p>&nbsp; The second step was to establish a link between people\u2019s lives and nature. The farmers cutting wheat in Minami Kunzo\u2019s&nbsp;<em>One Day in June<\/em>, and the brawny sailors in Wada Sanzo\u2019s&nbsp;<em>South Wind<\/em>&nbsp;are depicted as part of the natural landscape. This was apparently rooted in the notion that nature was something meant to be approached and conquered. Both works show men with bare chests in the center of the pictures, suggesting that the human body and physical labor were viewed with the same aesthetic terms as this applied to nature. This perspective was perhaps indicative of city dwellers.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Room 3 <small><strong>Love and Cream Buns<\/strong><\/small><\/h4>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"356\" height=\"660\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/S0034030-e1455696066879.jpeg\" alt=\"\" class=\"wp-image-1570\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/S0034030-e1455696066879.jpeg 356w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/S0034030-e1455696066879-108x200.jpeg 108w\" sizes=\"(max-width: 356px) 100vw, 356px\" \/><figcaption class=\"wp-element-caption\">Ogiwara Morie,&nbsp;<em>Woman<\/em>, 1910<\/figcaption><\/figure>\n\n\n\n<p>&nbsp; Established in 1901, the bakery Shinjuku Nakamuraya is still headquartered in the Shinjuku district of Tokyo. Its founders, Soma Aizo and his wife Kokko, loved the arts and many young artists gathered at the bakery. These included sculptors such as Ogiwara Morie, Nakahara Teijiro, and Tobari Kogan, and painters such as Nakamura Tsune and Yanagi Keisuke. Perfectly conveying the freedom of the period, associated with so-called \u201cTaisho democracy,\u201d Nakamuraya was one of the era\u2019s most important art salons.<\/p>\n\n\n\n<p>&nbsp; The art salon concept originated in Europe, and its most significant feature was an attractive proprietress who discovered talented people. At Nakamuraya, Soma Kokko fulfilled this role. Ogiwara Morie was in love with Kokko and his work&nbsp;<em>Woman<\/em>&nbsp;is said to be based on her appearance. For his part, Nakamura Tsune fell first for Kokko and then later for the Somas\u2019 oldest daughter, Toshiko. In both cases, however, his love went unrequited. As these examples suggest, in art salons during the Taisho democracy era, love was an important source of nourishment for art. So what about cream buns? In 1904, Nakamuraya became the first shop in Japan to make the baked delicacy.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Room 4 <small><strong>Artists\u2019 sketched records of travels to India and Asia<\/strong><\/small><\/h3>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"700\" height=\"527\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/2f01f15a36efdf1f70d055092e16af2c.jpeg\" alt=\"\" class=\"wp-image-2009\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/2f01f15a36efdf1f70d055092e16af2c.jpeg 700w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/2f01f15a36efdf1f70d055092e16af2c-200x151.jpeg 200w\" sizes=\"(max-width: 700px) 100vw, 700px\" \/><figcaption class=\"wp-element-caption\">Imamura Shiko,&nbsp;<em>A Scene in Rangoon from<\/em>&nbsp;Sketches from the Trip to India, 1914\u3000(Exhibit Date: July 19 &#8211; September 10, 2017\uff09<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full is-resized\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/A2-2a2mini.jpeg\" alt=\"\" class=\"wp-image-2010\" width=\"758\" height=\"563\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/A2-2a2mini.jpeg 1010w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/A2-2a2mini-200x149.jpeg 200w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/A2-2a2mini-768x570.jpeg 768w\" sizes=\"(max-width: 758px) 100vw, 758px\" \/><figcaption class=\"wp-element-caption\">Kawabata Ryushi,&nbsp;<em>An Island of Coconut Palms, Sketch in Yap Island<\/em>, 1934 (Exhibit Date: May 27 &#8211; July 17, 2017\uff09<\/figcaption><\/figure>\n\n\n\n<p>&nbsp; In this room we present sketches by Japanese-style painters Imamura Shiko (1880-1916) and Kawabata Ryushi (1886-1966) made while traveling abroad, with the featured works changed twice so the show has three sessions.<\/p>\n\n\n\n<p>&nbsp; Imamura boarded a cargo ship to India in 1914. The ship stopped in China, Singapore and elsewhere before berthing in Kolkata for 15 days. Imamura is thought to have obtained information in advance about China, and depicted well-known sights. Meanwhile, from his sketches of India and Southeast Asia, it is evident that the foreign visitor took an interest in the everyday lives of people in other countries.<\/p>\n\n\n\n<p>&nbsp; Kawabata traveled to the South Seas and China to make a series of drawings to be shown at the Seiryusha exhibition. At the time, territories such as Saipan and Palau were controlled by Japan. Also, as it was during the Second Sino-Japanese War, the artist was embedded with the former Japanese Army and Navy.<\/p>\n\n\n\n<p>&nbsp; These sketches show an admiration and passion for other countries. They are visually appealing and serve as historical materials convey the conditions of the time. On the other hand, it should not be forgotten that the creation of these sketches was inseparable from some element of oppression of foreign peoples.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Room 5 <small><strong>Is There an Absolute West?<\/strong><\/small><\/h4>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"562\" height=\"300\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/f27b002ffab60cf3b1eab6c77a3c9f16-e1495424849800.jpeg\" alt=\"\" class=\"wp-image-2013\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/f27b002ffab60cf3b1eab6c77a3c9f16-e1495424849800.jpeg 562w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/f27b002ffab60cf3b1eab6c77a3c9f16-e1495424849800-200x107.jpeg 200w\" sizes=\"(max-width: 562px) 100vw, 562px\" \/><figcaption class=\"wp-element-caption\">Georgia O&#8217;keeffe,&nbsp;<em>Hollyhock White and Green with Pedernal<\/em>, 1937<\/figcaption><\/figure>\n\n\n\n<p>\u3000 We are pleased to present a selection of works by non-Japanese artists produced between the 1890s and 1960s. At MOMAT, we have been long sought to position Japanese art (especially Western-style painting) in terms of its distance from the West, going back to the exhibition&nbsp;<em>Development of Modern Western-Style (Oil) Painting: Europe and Japan<\/em>, which was held in 1953 shortly after the museum opened. This process is similar to that of Japanese artists in the early 20th century, who looked at black-and-white reproductions of Western art in magazines and traveled overseas to see them in person, thereby establishing their own relative positions. At the time the West was seen as an absolute pole, a North Star by which to navigate. For this reason, the \u201cnon-Japanese artists\u201d featured here are almost entirely Western in origin.<\/p>\n\n\n\n<p>\u3000 It was not until the mid-1970s that the museum was able to purchase oil paintings by non-Japanese artists. Since then, we have been collecting works by these artists, from the standpoint of their influence on modern Japanese art.<\/p>\n\n\n\n<p>\u3000Today, the paradigm of \u201cthe West \/ Japan\u201d has become more relativistic, and much work by artists who are neither Japanese nor Western has been added to the collection, but \u201cthe West\u201d continues to be a crucial point of reference. As you view this section, take a moment to imagine what kind of inspiration Japanese artists may once have derived from these works.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">3F (Third floor)<\/h3>\n\n\n\n<p><strong>Room 6-8 1940s-1960s<br>\u3000From the End of the Meiji Period to the Beginning of the Showa Period<br>Room 9 Photography and Video<br>Room 10&nbsp;<em>Nihon-ga<\/em>&nbsp;(Japanese-style Painting)<\/strong><\/p>\n\n\n\n<p>Room to Consider the Building<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Room 6 <small><strong>Fujita, Foujita a.k.a. L\u00e9onard<\/strong><\/small><\/h4>\n\n\n\n<p>&nbsp;&nbsp; Fujita Tsuguharu was born in 1886 to the army doctor Fujita Tsuguakira and his wife Masa. In 1913, at the age of 26, Foujita moved to France after studying oil painting at the Tokyo School of Fine Arts. In Paris, Foujita developed friendships with Pablo Picasso and Amedeo Modigliani, and searched for his own means of expressing himself. In the 1920s, Foujita became the darling of the \u00c9cole de Paris for his paintings of women, which were described as \u201cle grand fond blanc\u201d (milky white ground). With his bobbed hair and round glasses, Foujita, or FouFou (French for \u201cfrivolous person\u201d), as he came to be known, even became a topic of conversation in fashionable circles.<\/p>\n\n\n\n<p>&nbsp;&nbsp; After traveling around Central and South America from 1931 to 1933, Fujita returned to Japan. In the late \u201930s, he became involved in making paintings that documented the war, but after the war ended, he came under fire for cooperating with the military government. In 1949, Foujita returned to Paris by way of the United States, and in 1955, he became a French citizen. In 1959, he was baptized Catholic and assumed the name L\u00e9onard Foujita. The artist died in Z\u00fcrich in 1969. We hope you will enjoy looking at Fujita, Foujita or L\u00e9onard\u2019s works, a reflection of his multifaceted way of life, which was both national and international.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Room 7 <small><strong>Kuniyoshi Yasuo: Somebody Tore Something of Mine<\/strong><\/small><\/h4>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"700\" height=\"485\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/31042683c62b44e6807a8374f40ea1a3.jpeg\" alt=\"\" class=\"wp-image-2016\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/31042683c62b44e6807a8374f40ea1a3.jpeg 700w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/31042683c62b44e6807a8374f40ea1a3-200x139.jpeg 200w\" sizes=\"(max-width: 700px) 100vw, 700px\" \/><figcaption class=\"wp-element-caption\">Kuniyoshi Yasuo,&nbsp;<em>Dusk in Autumn<\/em>, 1929<\/figcaption><\/figure>\n\n\n\n<p>&nbsp; Where on earth are these women going as they head into this desolate area? Who is the woman standing in front of the ripped posters staring at?<\/p>\n\n\n\n<p>&nbsp; In 1906, Kuniyoshi Yasuo (1889\u20131953) moved by himself to the U.S. at the age of 17. He continued to work there most of his life, only rarely returning to Japan. Kuniyoshi lived through a turbulent period in which his motherland and his adopted homeland fought each other, and in his later years he was recognized as a prominent painter in the U.S.<\/p>\n\n\n\n<p>&nbsp; In 2004, 50 years after a posthumous exhibition of Kuniyoshi\u2019s work (held in 1954, the year after his death), MOMAT presented a retrospective of the artist\u2019s career. In this exhibit, centering on a group of works that are deposited the museum (which also led to the retrospective), we focus on Kuniyoshi\u2019s post-World War II work.<\/p>\n\n\n\n<p>&nbsp; Depicting women and children, Kuniyoshi\u2019s motifs are by no means unfamiliar. It is difficult, however, to decipher exactly what these figures are doing in a given situation and what these seeming absent-minded people might be thinking. Suggesting that the complex thoughts of those at the mercy of history should not simply be revealed to others, the truth in these works seems to be hidden behind multiple layers of a mysterious curtain.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Room 8<small><strong> The Shadow of America<\/strong><\/small><\/h4>\n\n\n\n<p>\u3000Postwar Japanese society was permeated by America. This was constantly reflected by a host of contradictory emotions, such as the aversion to the continued U.S. military presence following the signing of the Japan-U.S. Security Treaty and at the same time a fondness for American culture such as art, movies, music, and fashion. This complex relationship can also be seen as central to the creation of postwar Japanese war images.<\/p>\n\n\n\n<p>\u3000Depicting a U.S. base in a critical manner as a foreign presence that threatens everyday life, Nakamura Hiroshi\u2019s&nbsp;<em>The Base<\/em>&nbsp;reflects the sense of elation that surrounded anti-military protests in the 1950s. But with the period of rapid economic growth that began in the 1960s, military bases were no longer a popular subject. While on the one hand memories of the war were receding, a series of war stories in boys\u2019 comics amazingly attracted dedicated readers, and plastic models of tanks and fighter planes made by the Tamiya corporation suddenly began to enjoy great popularity. During the Vietnam War, works such as Kojima Nobuaki\u2019s&nbsp;<em>Boxer<\/em>, influenced by the downfall of the American hero, and&nbsp;<em>Sphinx<\/em>, Okamoto Shinjiro\u2019s parody of American-style illustrations, provided a cool view of the \u201cinner America.\u201d<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Room 9 <small><strong>Suda Issei,&nbsp;<em>Fushi kaden<\/em><\/strong><\/small><\/h4>\n\n\n\n<p>\u3000<em>Fushi kaden<\/em>&nbsp;is a series that was irregularly serialized in eight parts in&nbsp;<em>Camera Mainichi<\/em>&nbsp;magazine between December 1975 and December 1977. In 1978, it was compiled in a photo book. It is known as the work that established Suda Issei\u2019s reputation, including his receiving the Photographic Society of Japan Nippon Photography Association Award Newcomer Award in 1976 while the series was in progress.<\/p>\n\n\n\n<p>\u3000The scenes of traditional festivals that appear prominently throughout the works were shot in various parts of Japan, including the Kanto, Hokuriku, and Tohoku regions. In other words, this is also a photographic record of Suda\u2019s journey. Both journeys and festivals lie outside the usual bounds of time and space. Does this mean the world depicted in&nbsp;<em>Fushi kaden<\/em>&nbsp;is an extraordinary realm of space-time? In fact, the photographer stated that from his earliest years, his subject was consistently \u201cthe ordinary.\u201d He wrote in the photo book&nbsp;<em>Ningen no kioku<\/em>&nbsp;(Human Memories), \u201cThe most humdrum scenes of everyday life are, for me, brimming over with tensions.\u201d Whether traveling or at home in his own neighborhood, he sought out and responded to the same kinds of scenes and captured them on film.<\/p>\n\n\n\n<p>\u3000The title is drawn from&nbsp;<em>Fushi kaden<\/em>&nbsp;(which has a range of translations including \u201cTransmission of the Flower of Performance\u201d), an early 15th-century treatise on Noh theater by the actor and theorist Zeami.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Room 10 <small><strong>Kokuga Sosaku Kyokai: Before and After<\/strong><\/small><\/h4>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"589\" height=\"300\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2023\/04\/35e5c742bb7589b92b35668c392b6a88-e1495442357506.jpg\" alt=\"\" class=\"wp-image-126090\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2023\/04\/35e5c742bb7589b92b35668c392b6a88-e1495442357506.jpg 589w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2023\/04\/35e5c742bb7589b92b35668c392b6a88-e1495442357506-200x102.jpg 200w\" sizes=\"(max-width: 589px) 100vw, 589px\" \/><figcaption class=\"wp-element-caption\">Tsuchida Bakusen,&nbsp;<em>Serving Girl in a Spa<\/em>, 1918, Important Cultural Property<\/figcaption><\/figure>\n\n\n\n<p>&nbsp;&nbsp;<em>Nihon-ga<\/em>&nbsp;(Japanese-style painting) in Kyoto is said to have undergone a significant change as a result of Kokuga Sosaku Kyokai (the Society for the Creation of National Painting), established in 1918. Kokuga Sosaku Kyokai was an art group organized by five students in the first class at Kyoto-shiritsu Kaiga Senmon Gakko (Kyoto City Vocational School of Painting) \u2015 Tsuchida Bakusen, Ono Chikkyo, Nonagase Banka, Murakami Kagaku, Sakakibara Shiho \u2015 who were joined by Irie Hako the following year and held a total of seven exhibitions through 1928.<\/p>\n\n\n\n<p>&nbsp; In establishing the society, they declared that they would place the greatest emphasis on respect for freedom of creation. This marked the arrival of Taisho Democracy in the ancient capital, where the world of&nbsp;<em>Nihon-ga<\/em>&nbsp;painting was still dominated by long-held traditions. Moreover, after Tsuchida and the other members presented major works that reflected their own unique personalities at the first Kokuga Sosaku Kyokai exhibition, it grew into a public open-call exhibition attracting young artists not only from Kyoto but from all over the country.<\/p>\n\n\n\n<p>&nbsp; The flip side of the pursuit of individuality is surely departure from tradition. The increasingly influential activities of Kokuga Sosaku Kyokai spelled the end of the Shijo School, which originated centuries earlier in Kyoto and held sway until the Meiji Period (1868-1912).<\/p>\n\n\n\n<p>&nbsp; This room showcases works by Kyoto&nbsp;<em>Nihon-ga<\/em>&nbsp;painters involved in Kokuga Sosaku Kyokai, as well as by artists of the preceding and ensuing generations.<\/p>\n\n\n\n<p><strong>Room 11-12 1970s-2010s<br>\u3000From the End of the Showa Period to the Present<\/strong><\/p>\n\n\n\n<p><strong>Gallery 4<\/strong><\/p>\n\n\n\n<p>* 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.<\/p>\n\n\n\n<p><em><strong><a href=\"https:\/\/www.momat.go.jp\/en\/exhibitions\/h29-1-g4\">Producing \/ Discussing \/ Looking at \/ Hearing, Sculptures<br>Primarily from the Museum Collection<\/a><\/strong><\/em><\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Room 11, 12 <small><strong>Art of the 1960s and 1970s: New Additions to the Collection<\/strong><\/small><\/h4>\n\n\n\n<p>&nbsp; Around 1970, artists revisited a practical approach to the question, \u201cWhat is art?\u201d Reconsidering basic modes of production and presentation, and criticizing the art museum as representing the authority of the establishment, they explored both rejection and expansion of the very concept of art. A key feature of this era is the idea or concept comprising a major part of the work. This tendency, which took various forms such as the recording of time (Kawaguchi Tatsuo, Kawara On, Nakahira Takuma), the exploration of exteriors (Akasegawa Gempei, Robert Smithson) and the use of new media (Idemitsu Mako), resulted in both works made with plain everyday materials and those that were entirely non-materiall, vexing people who had come to museums in search of \u201cbeauty.\u201d<\/p>\n\n\n\n<p>&nbsp; If works that deconstruct art and criticize the museum as a system become part of a museum\u2019s collection, does that deprive the works of their innate power and relegate them to the dustbin of history? Or does exhibiting these pieces present a valuable opportunity to re-examine and revitalize the museum\u2019s entire collection? In this way, we hope that these works from the 1960s and 1970s will prompt people to \u201cre-deconstruct\u201d art in the 2010s.<\/p>\n<\/div><\/div>\n\n\n\n<div id=\"section1-4\" class=\"wp-block-group is-layout-flow\"><div class=\"wp-block-group__inner-container\">\n<h2 class=\"wp-block-heading\">About the Exhibition<\/h2>\n\n\n<dl class=\"momat-dl\">\n    \n<div class=\"momat-dl__item\">\n    <dt class=\"momat-dl__heading\">Location<\/dt>\n    <dd class=\"momat-dl__content\">\n        \n\n<p>Collection Gallery, from the fourth to second floors<\/p>\n\n\n    <\/dd>\n<\/div>\n\n\n<div class=\"momat-dl__item\">\n    <dt class=\"momat-dl__heading\">Date<\/dt>\n    <dd class=\"momat-dl__content\">\n        \n\n<p>May 27 &#8211; November 5 , 2017<\/p>\n\n\n    <\/dd>\n<\/div>\n\n\n<div class=\"momat-dl__item\">\n    <dt class=\"momat-dl__heading\">Time<\/dt>\n    <dd class=\"momat-dl__content\">\n        \n\n<p>10:00-17:00 (10:00 &#8211; 20:00 on Fridays and Saturdays)<br>MOMAT Collection and Gallery 4 open until 21:00 on Fridays and Saturdays during&nbsp;<em>The Japanese House : Architecture and Life after 1945<\/em>&nbsp;(July 19-October 29)<br>*Last admission is 30 minutes before closing.<\/p>\n\n\n    <\/dd>\n<\/div>\n\n\n<div class=\"momat-dl__item\">\n    <dt class=\"momat-dl__heading\">Closed<\/dt>\n    <dd class=\"momat-dl__content\">\n        \n\n<p>\u203bClosed on Mondays (except July 17, September 18, October 9) and July 18, September 19, October 10<\/p>\n\n\n    <\/dd>\n<\/div>\n\n\n<div class=\"momat-dl__item\">\n    <dt class=\"momat-dl__heading\">Admission<\/dt>\n    <dd class=\"momat-dl__content\">\n        \n\n<p>Adults \u00a5500 (400)<br>College and university students \u00a5250 (200)<\/p>\n\n\n\n<p>*Including the admission fee for&nbsp;<em>Producing \/ Discussing \/ Looking at \/ Hearing, Sculptures<\/em>.<br>*The price in brackets is for the group of 20 persons or more.<br>*All prices include tax.<br>*Free for high school students, under 18, seniors\uff08 65 and over \uff09, Campus Members, MOMAT passport holder.<br>* Show your Membership Card of the MOMAT Supporters or the MOMAT Members to get free admission \uff08 a MOMAT Members Card admits two persons free \uff09.<br>*Persons with disability and one person accompanying them are admitted free of charge.<br>*Members of the MOMAT Corporate Partners are admitted free with their staff ID.<br>*Free for students after 5:00 PM on Fridays and Saturdays between Friday, July 21 and Saturday, August 26, 2017.<\/p>\n\n\n    <\/dd>\n<\/div>\n\n\n<div class=\"momat-dl__item\">\n    <dt class=\"momat-dl__heading\">Discounts<\/dt>\n    <dd class=\"momat-dl__content\">\n        \n\n<p>*Evening Discount (From 5:00 pm on Fridays and Saturdays) Adults \u00a5300<br>College and university students \u00a5150<\/p>\n\n\n    <\/dd>\n<\/div>\n\n\n<div class=\"momat-dl__item\">\n    <dt class=\"momat-dl__heading\">Free Admission Days<\/dt>\n    <dd class=\"momat-dl__content\">\n        \n\n<p>Collection Gallery and Gallery 4<br>Free on June 4, July 2, August 6, September 3, October 1, November 3, November 5, 2017<\/p>\n\n\n    <\/dd>\n<\/div>\n\n\n<div class=\"momat-dl__item\">\n    <dt class=\"momat-dl__heading\">Organized by<\/dt>\n    <dd class=\"momat-dl__content\">\n        \n\n<p>The National Museum of Modern Art, Tokyo<\/p>\n\n\n    <\/dd>\n<\/div>\n\n\n<\/dl>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-group is-layout-flow\"><div class=\"wp-block-group__inner-container\"><div class=\"wp-block-buttons\">\n    <div class=\"momat-button-arrow\">\n        <a class=\"wp-block-button__link\" href=\"15153\">\n            Introduction to the Collection        <\/a>\n    <\/div>\n<\/div>\n<\/div><\/div>\n","protected":false},"featured_media":0,"template":"","exhibition_type":[255],"exhibition_year":[369],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>2017-1\u3000MOMAT Collection \uff08\u5c55\u89a7\u4f1a\uff09- \u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.momat.go.jp\/en\/exhibitions\/h29-1\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"2017-1\u3000MOMAT Collection \uff08\u5c55\u89a7\u4f1a\uff09- \u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928\" \/>\n<meta property=\"og:description\" content=\"The collection exhibition from May 27 &#8211; November 5 , 2017 &nbsp; Welcome to the MOMAT Collection! Let us start by introducing a few of the notable pieces in this edition of the exhibition. First, in the \u201cHighlights\u201d display (Room 1, 4th floor), you will be greeted by works that are perfect for the summer season, such as Kaburaki Kiyokata\u2019s&nbsp;Boating Excursion on the Sumida River&nbsp;(May 27-July 17) and Kawabata Ryushi\u2019s&nbsp;Flaming Grass&nbsp;(July 19-Sept. 10). &nbsp; In Room 5 (4th floor), we feature Western modern art from the museum\u2019s holdings. In terms of understanding the Western influence on Japan, these works are an indispensable part of the collection. And speaking of the [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.momat.go.jp\/en\/exhibitions\/h29-1\" \/>\n<meta property=\"og:site_name\" content=\"\u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/momat.pr\" \/>\n<meta property=\"article:modified_time\" content=\"2023-06-12T00:13:47+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/6f24d09b6821293a6c0652ca142563a6.jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:site\" content=\"@MOMAT_museum\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"49 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.momat.go.jp\/en\/exhibitions\/h29-1\",\"url\":\"https:\/\/www.momat.go.jp\/en\/exhibitions\/h29-1\",\"name\":\"2017-1\u3000MOMAT Collection \uff08\u5c55\u89a7\u4f1a\uff09- \u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928\",\"isPartOf\":{\"@id\":\"https:\/\/www.momat.go.jp\/#website\"},\"datePublished\":\"2023-01-12T06:51:22+00:00\",\"dateModified\":\"2023-06-12T00:13:47+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/www.momat.go.jp\/en\/exhibitions\/h29-1#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.momat.go.jp\/en\/exhibitions\/h29-1\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.momat.go.jp\/en\/exhibitions\/h29-1#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.momat.go.jp\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"\u5c55\u89a7\u4f1a\",\"item\":\"https:\/\/www.momat.go.jp\/exhibitions\"},{\"@type\":\"ListItem\",\"position\":3,\"name\":\"2017-1\u3000MOMAT Collection\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.momat.go.jp\/#website\",\"url\":\"https:\/\/www.momat.go.jp\/\",\"name\":\"\u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928\",\"description\":\"\u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928\u306f\u3001\u6771\u4eac\u306e\u4e2d\u5fc3\u90e8\u3001\u7687\u5c45\u3001\u5317\u306e\u4e38\u516c\u5712\u3001\u5343\u9ce5\u30f6\u6df5\u306a\u3069\u3001\u65e5\u672c\u6587\u5316\u3084\u81ea\u7136\u8c4a\u304b\u306a\u74b0\u5883\u306b\u4f4d\u7f6e\u3059\u308b\u65e5\u672c\u3067\u6700\u521d\u306e\u56fd\u7acb\u7f8e\u8853\u9928\u3067\u3059\u3002\",\"publisher\":{\"@id\":\"https:\/\/www.momat.go.jp\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.momat.go.jp\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.momat.go.jp\/#organization\",\"name\":\"\u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928\",\"url\":\"https:\/\/www.momat.go.jp\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.momat.go.jp\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/12\/og-ag.png\",\"contentUrl\":\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/12\/og-ag.png\",\"width\":1200,\"height\":630,\"caption\":\"\u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928\"},\"image\":{\"@id\":\"https:\/\/www.momat.go.jp\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/momat.pr\",\"https:\/\/twitter.com\/MOMAT_museum\"]}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"2017-1\u3000MOMAT Collection \uff08\u5c55\u89a7\u4f1a\uff09- \u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.momat.go.jp\/en\/exhibitions\/h29-1","og_locale":"en_US","og_type":"article","og_title":"2017-1\u3000MOMAT Collection \uff08\u5c55\u89a7\u4f1a\uff09- \u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928","og_description":"The collection exhibition from May 27 &#8211; November 5 , 2017 &nbsp; Welcome to the MOMAT Collection! Let us start by introducing a few of the notable pieces in this edition of the exhibition. First, in the \u201cHighlights\u201d display (Room 1, 4th floor), you will be greeted by works that are perfect for the summer season, such as Kaburaki Kiyokata\u2019s&nbsp;Boating Excursion on the Sumida River&nbsp;(May 27-July 17) and Kawabata Ryushi\u2019s&nbsp;Flaming Grass&nbsp;(July 19-Sept. 10). &nbsp; In Room 5 (4th floor), we feature Western modern art from the museum\u2019s holdings. In terms of understanding the Western influence on Japan, these works are an indispensable part of the collection. And speaking of the [&hellip;]","og_url":"https:\/\/www.momat.go.jp\/en\/exhibitions\/h29-1","og_site_name":"\u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928","article_publisher":"https:\/\/www.facebook.com\/momat.pr","article_modified_time":"2023-06-12T00:13:47+00:00","og_image":[{"url":"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/09\/6f24d09b6821293a6c0652ca142563a6.jpeg"}],"twitter_card":"summary_large_image","twitter_site":"@MOMAT_museum","twitter_misc":{"Est. reading time":"49 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/www.momat.go.jp\/en\/exhibitions\/h29-1","url":"https:\/\/www.momat.go.jp\/en\/exhibitions\/h29-1","name":"2017-1\u3000MOMAT Collection \uff08\u5c55\u89a7\u4f1a\uff09- \u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928","isPartOf":{"@id":"https:\/\/www.momat.go.jp\/#website"},"datePublished":"2023-01-12T06:51:22+00:00","dateModified":"2023-06-12T00:13:47+00:00","breadcrumb":{"@id":"https:\/\/www.momat.go.jp\/en\/exhibitions\/h29-1#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.momat.go.jp\/en\/exhibitions\/h29-1"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/www.momat.go.jp\/en\/exhibitions\/h29-1#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.momat.go.jp\/"},{"@type":"ListItem","position":2,"name":"\u5c55\u89a7\u4f1a","item":"https:\/\/www.momat.go.jp\/exhibitions"},{"@type":"ListItem","position":3,"name":"2017-1\u3000MOMAT Collection"}]},{"@type":"WebSite","@id":"https:\/\/www.momat.go.jp\/#website","url":"https:\/\/www.momat.go.jp\/","name":"\u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928","description":"\u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928\u306f\u3001\u6771\u4eac\u306e\u4e2d\u5fc3\u90e8\u3001\u7687\u5c45\u3001\u5317\u306e\u4e38\u516c\u5712\u3001\u5343\u9ce5\u30f6\u6df5\u306a\u3069\u3001\u65e5\u672c\u6587\u5316\u3084\u81ea\u7136\u8c4a\u304b\u306a\u74b0\u5883\u306b\u4f4d\u7f6e\u3059\u308b\u65e5\u672c\u3067\u6700\u521d\u306e\u56fd\u7acb\u7f8e\u8853\u9928\u3067\u3059\u3002","publisher":{"@id":"https:\/\/www.momat.go.jp\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.momat.go.jp\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.momat.go.jp\/#organization","name":"\u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928","url":"https:\/\/www.momat.go.jp\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.momat.go.jp\/#\/schema\/logo\/image\/","url":"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/12\/og-ag.png","contentUrl":"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2022\/12\/og-ag.png","width":1200,"height":630,"caption":"\u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928"},"image":{"@id":"https:\/\/www.momat.go.jp\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/momat.pr","https:\/\/twitter.com\/MOMAT_museum"]}]}},"_links":{"self":[{"href":"https:\/\/www.momat.go.jp\/en\/wp-json\/wp\/v2\/exhibition\/126077"}],"collection":[{"href":"https:\/\/www.momat.go.jp\/en\/wp-json\/wp\/v2\/exhibition"}],"about":[{"href":"https:\/\/www.momat.go.jp\/en\/wp-json\/wp\/v2\/types\/exhibition"}],"version-history":[{"count":21,"href":"https:\/\/www.momat.go.jp\/en\/wp-json\/wp\/v2\/exhibition\/126077\/revisions"}],"predecessor-version":[{"id":144253,"href":"https:\/\/www.momat.go.jp\/en\/wp-json\/wp\/v2\/exhibition\/126077\/revisions\/144253"}],"wp:attachment":[{"href":"https:\/\/www.momat.go.jp\/en\/wp-json\/wp\/v2\/media?parent=126077"}],"wp:term":[{"taxonomy":"exhibition_type","embeddable":true,"href":"https:\/\/www.momat.go.jp\/en\/wp-json\/wp\/v2\/exhibition_type?post=126077"},{"taxonomy":"exhibition_year","embeddable":true,"href":"https:\/\/www.momat.go.jp\/en\/wp-json\/wp\/v2\/exhibition_year?post=126077"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}