Exhibitions
2019-1 MOMAT Collection
Date
Location
Collection Gallery, from the fourth to second floors
The collection exhibition from June 4 -October 20, 2019
Welcome to the MOMAT Collection! In this exhibition, we introduce currents in Japanese modern and contemporary art from the beginning of the 20th century to the present along with a variety of works from other countries.
In the Highlights section (Room 1, 4th floor), viewers are treated to a host of masterpieces selected from the museum collection. Rooms 2 to 12, arranged in roughly chronological order, have each been assigned a theme, enabling viewers to see the relationship between art and society in each era from a wide range of perspectives.
In two rooms, Room 7 and 8 on the 3rd floor, we present design and crafts associated with a widespread passion for ancient artifacts during the 1950s and 1960s. In Room 11, on the 2nd floor, there is a special exhibit related to the exhibition Takahata Isao: A Legend in Japanese Animation, and in Gallery 4 on the 2nd floor, we present a small exhibit entitled Emancipation of Humanity: Focusing on Works by Female Artists.
The National Museum of Modern Art, Tokyo relocated to Takebashi and reopened on June 11, 1969. As we mark the 50th anniversary of relocation during this year’s MOMAT Collection exhibition, we present materials from that time in the exhibit Room to Consider the Building on the 3rd floor. Once again this year, we are pleased to present a wide range of works from the MOMAT Collection, and we hope you enjoy them to the fullest.
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 | OTAKE, Kokkan | Alarmed | 尾竹国观 | 疏忽 | 오타케 곳칸 | 방심 | 1909 | 2019/06/04 | 2019/08/18 | |
| 1 | KIKUCHI, Keigetsu | Dedicating Lanterns | 菊池契月 | 供灯 | 기쿠치 게이게쓰 | 등불 공양 | 1910 | 2019/06/04 | 2019/08/18 | |
| 1 | 0006 | SHIMOMURA, Kanzan | Autumn among Trees | 下村观山 | 树木间的秋天 | 시모무라 간잔 | 나무 사이의 가을 | 1907 | 2019/08/20 | 2019/10/20 |
| 1 | KAYAMA, Matazo | The Milky Way | 加山又造 | 银河 | 가야마 마타조 | 은하수 | 1968 | 2019/08/20 | 2019/10/20 | |
| 1 | 0001 | HARADA, Naojiro | Kannon Bodhisattva Riding the Dragon | 原田直次郎 | 骑龙观音 | 하라다 나오지로 | 기룡관음 | 1890 | 2019/06/04 | 2019/10/20 |
| 1 | 0029 | NAKAMURA, Tsune | Portrait of Vasilii Yaroshenko | 中村彝 | 爱罗先珂先生的肖像 | 나카무라 쓰네 | 예로센코의 초상 | 1920 | 2019/06/04 | 2019/10/20 |
| 1 | 0037 | FUJITA, Tsuguharu | Five Nudes | 藤田嗣治 | 五个裸妇 | 후지타 쓰구하루 | 다섯 명의 누드 | 1923 | 2019/06/04 | 2019/10/20 |
| 1 | YOROZU, Tetsugoro | Nude, Resting Her Chin on Her Hand | 万铁五郎 | 裸妇（托腮的人） | 요로즈 데쓰고로 | 나부(턱을 괸 사람) | 1926 | 2019/06/04 | 2019/10/20 | |
| 1 | HASEKAWA, Toshiyuki | Portrait of Kishida Kunio | 長谷川利行 | 岸田国士之像 | 하세카와 도시유키 | 기시다 구니오 상 | 1930 | 2019/06/04 | 2019/10/20 | |
| 1 | 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 | 2019/06/04 | 2019/10/20 | |
| 1 | YAMASHITA, Kikuji | The Tale of Akebono Village | 山下菊二 | 曙村故事 | 야마시타 기쿠지 | 아케보노 마을 이야기 | 1953 | 2019/06/04 | 2019/10/20 | |
| 1 | 0062 | AI-MITSU | Landscape with an Eye | 叆光 | 有眼睛的风景 | 아이미쓰 | 눈이 있는 풍경 | 1938 | 2019/06/04 | 2019/10/20 |
| 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 앙데팡당 전에 참가하도록 예술가들을 이끄는 자유의 여신 | 1905-06 | 2019/06/04 | 2019/10/20 |
| 1 | Paul Klee | Destroyed Village | 保罗·克利 | 被破环的村庄 | 파울 클레 | 파괴된 마을 | 1920 | 2019/06/04 | 2019/10/20 | |
| 1 | 0012 | OGIWARA, Morie | Woman | 荻原守卫 | 女子 | 오기와라 모리에 | 여자 | 1910 | 2019/06/04 | 2019/10/20 |
| 2 | KANO, Hogai | Dashing Horse under a Cherry Tree | 狩野芳崖 | 樱下勇驹图 | 가노 호가이 | 벚나무 아래 늠름한 말 | 1884 | 2019/06/04 | 2019/08/18 | |
| 2 | HASHIMOTO, Gaho | The Isle of Eternal Youth | 桥本雅邦 | 蓬莱山 | 하시모토 가호 | 봉래산 | c.1903-07 | 2019/06/04 | 2019/08/18 | |
| 2 | YOKOYAMA, Taikan | Kikujido | 横山大观 | 菊慈童 | 요코야마 다이칸 | 기쿠지도(菊慈童) | c.1897 | 2019/06/04 | 2019/08/18 | |
| 2 | TERASAKI, Kogyo | Four Scenes of Mountain Stream: Hills with Clouds, Summer Moon, Autumn Mist, After Rain | 寺崎广业 | 溪四题（云峰·夏月·秋雾·雨后） | 테라사키 고교 | 계곡의 사계 (운봉, 여름 달, 가을 안개, 비가 온 후) | 1909 | 2019/06/04 | 2019/08/18 | |
| 2 | KANO, Hogai | Lions | 狩野芳崖 | 狮子 | 가노 호가이 | 사자 | c.1886 | 2019/08/20 | 2019/10/20 | |
| 2 | KAWAI, Gyokudo | Taira Shigemori, Komatsu-no-naifu | 川合玉堂 | 小松内府图 | 가와이 교쿠도 | 고마쓰노 나이후(다이라노 시게모리) | 1899 | 2019/08/20 | 2019/10/20 | |
| 2 | SHIMOMURA, Kanzan | Diogenes | 下村观山 | 第欧根尼 | 시모무라 간잔 | 디오게네스 | 1903 | 2019/08/20 | 2019/10/20 | |
| 2 | KIKUCHI, Keigetsu | Lamenting over the Tomb of a Sage | 菊池契月 | 名士的葬礼 | 기쿠치 게이게쓰 | 명사조장(名士弔葬) | 1908 | 2019/08/20 | 2019/10/20 | |
| 2 | HARADA, Naojiro | Portrait of Gabriel Cornelius von Max | 原田直次郎 | 加布里埃尔·冯·马克斯像 | 하라다 나오지로 | 가브리엘 막스의 초상 | c.1884-86 | 2019/06/04 | 2019/10/20 | |
| 2 | KUME, Keiichiro | An Island in Bréhat | 久米桂一郎 | 布雷阿岛 | 구메 게이치로 | 브레아 섬 | 1891 | 2019/06/04 | 2019/10/20 | |
| 2 | NAKAZAWA, Hiromitsu | Portrait of Mr. Hisui Sugiura | 中泽弘光 | 非水像 | 나카자와 히로미쓰 | 히스이 스기우라의 초상 | 1901 | 2019/06/04 | 2019/10/20 | |
| 2 | ISHII, Hakutei | Rest on the Grass | 石井柏亭 | 草坪上的小憩 | 이시이 하쿠테이 | 초원에서의 휴식 | 1904 | 2019/06/04 | 2019/10/20 | |
| 2 | KUMAGAI, Morikazu | Half Naked | 熊谷守一 | 半裸妇 | 구마가이 모리카즈 | 반라의 여자 | 1904 | 2019/06/04 | 2019/10/20 | |
| 2 | AOKI, Shigeru | Destiny | 青木繁 | 命运 | 아오키 시게루 | 운명 | 1904 | 2019/06/04 | 2019/10/20 | |
| 2 | YOSHIDA, Hiroshi | Landscape in Paris | 吉田博 | 巴黎风景 | 요시다 히로시 | 파리 풍경 | 1905 | 2019/06/04 | 2019/10/20 | |
| 2 | 0004 | WADA, Sanzo | South Wind | 和田三造 | 南风 | 와다 산조 | 남풍 | 1907 | 2019/06/04 | 2019/10/20 |
| 2 | ASAI, Chu | Scene in a Mountain Village | 浅井忠 | 山村风景 | 아사이 츄 | 산촌풍경 | 1887 | 2019/06/04 | 2019/08/18 | |
| 2 | KANOKOGI, Takeshiro | Country Road | 鹿子孟太郎 | 乡间的路 | 가노코기 다케시로 | 시골길 | c.1895 | 2019/08/20 | 2019/10/20 | |
| 3 | MINAMI, Kunzo | Old Scots | 南薰造 | 苏格兰老人 | 미나미 군조 | 스코틀랜드 노인 | 1908 | 2019/06/04 | 2019/10/20 | |
| 3 | KISHIDA, Ryusei | Adam Waiting for Eve | 岸田刘生 | 等待夏娃的亚当 | 기시다 류세이 | 이브를 기다리는 아담 | 1912 | 2019/06/04 | 2019/10/20 | |
| 3 | KIMURA, Shohachi | Near Tranomon | 木村庄八 | 虎之门附近 | 기무라 쇼하치 | 도라노몬 부근 | 1912 | 2019/06/04 | 2019/10/20 | |
| 3 | KAWAKAMI, Ryoka | Scene of a Botanical Garden | 川上凉花 | 植物园风景 | 가와카미 료카 | 식물원 풍경 | 1913 | 2019/06/04 | 2019/10/20 | |
| 3 | YOROZU, Tetsugoro | Still Life with Gloves | 万铁五郎 | 手套静物 | 요로즈 데쓰고로 | 장갑이 있는 정물 | 1915 | 2019/06/04 | 2019/10/20 | |
| 3 | UMEHARA, Ryuzaburo | Still Life | 梅原龙三郎 | 静物 | 우메하라 류자부로 | 정물 | 1916 | 2019/06/04 | 2019/10/20 | |
| 3 | MASAMUNE, Tokusaburo | Winter at Moree | 正宗得三郎 | 莫里的冬天 | 마사무네 도쿠사부로 | 모레의 겨울 | 1922 | 2019/06/04 | 2019/10/20 | |
| 3 | NAKAGAWA, Kazumasa | Citrons and Bottles | 中川一政 | 柚子坛图 | 나카가와 가즈마사 | 유자와 병 | 1925 | 2019/06/04 | 2019/10/20 | |
| 3 | Paul Cézanne | Grand Bouquet of Flowers | 保罗·塞尚 | 大花束 | 폴 세잔 | 큰 꽃다발 | c.1892-95 | 2019/06/04 | 2019/10/20 | |
| 3 | Auguste Rodin | Torso | 奥古斯特·罗丹 | 胴体 | 오귀스트 로댕 | 토르소 | n.d. | 2019/06/04 | 2019/10/20 | |
| 3 | MINAMI, Kunzo | Girl | 南薰造 | 少女 | 미나미 군조 | 소녀 | 1908 | 2019/06/04 | 2019/08/18 | |
| 3 | MINAMI, Kunzo | Girl Seated by the Water | 南薰造 | 水边的少女 | 미나미 군조 | 물가의 소녀 | 1908 | 2019/08/20 | 2019/10/20 | |
| 3 | KISHIDA, Ryusei | Study for Human Will | 岸田刘生 | 《人类的意志》的草稿 | 기시다 류세이 | 「인류의 의지」를 위한 소묘 | c.1914 | 2019/06/04 | 2019/08/18 | |
| 3 | KISHIDA, Ryusei | Adam Wanting Eve | 岸田刘生 | 向夏娃求爱的亚当 | 기시다 류세이 | 이브를 원하는 아담 | c.1914 | 2019/08/20 | 2019/10/20 | |
| 3 | Paul Gauguin | NAVE NAVE FENUA (Land of Sensuous Pleasure) | 保罗·高更 | NAVE NAVE FENUA（芳香的土地） | 폴 고갱 | NAVE NAVE FENUA (향기로운 대지) | 1893-94 | 2019/06/04 | 2019/08/18 | |
| 3 | Paul Gauguin | NOA NOA (Fragrant) | 保罗·高更 | NOA NOA（芳香） | 폴 고갱 | NOA NOA (향기롭다) | 1893-94 | 2019/08/20 | 2019/10/20 | |
| 3 | Georges Rouault | Miserere No.1: Have mercy upon me, O God, according to thy loving-kindness. | 乔治·鲁奥 | Miserere No.1: 神啊，求你按你的慈爱怜悯我 | 조르주 루오 | 미제레레 No. 1(하느님, 크신 자비로 저희를 불쌍히 여기소서) | 1923 | 2019/06/04 | 2019/08/18 | |
| 3 | Georges Rouault | Miserere No.57: “Obedient unto death, even the death of the cross.” | 乔治·鲁奥 | Miserere No.57: “顺从至死，并且被钉在十字架上” | 조르주 루오 | 미제레레 No. 57(죽음에 이르기까지, 십자가에서 죽음에 이르기까지 순종하시는) | 1926 | 2019/06/04 | 2019/08/18 | |
| 3 | Georges Rouault | Miserere No.20: Beneath a forgotten crucifix. | 乔治·鲁奥 | Miserere No.20: 在被遗忘的耶稣受难像下 | 조르주 루오 | 미제레레 No. 20(잊혀진 십자가의 예수 아래에서) | 1926 | 2019/08/20 | 2019/10/20 | |
| 3 | Georges Rouault | Miserere No.52: The law is law, hard though it be. | 乔治·鲁奥 | Miserere No.52: 法律就是法律，虽然苛酷 | 조르주 루오 | 미제레레 No. 52(악법도 법이다) | 1926 | 2019/08/20 | 2019/10/20 | |
| 3 | Shirakaba, vol. 9, no. 3, March 1918 [cover: Bernard Leach] | 《白桦》第9卷第3号 （1918年3月） | 『시라카바(白樺)』 제9권 제3호 (1918년 3월) | 2019/06/04 | 2019/08/18 | |||||
| 3 | “Member recruitment for Shirakaba Museum,” Shirakaba, vol. 9, no. 7, July 1918 | 《白桦》第9卷第7号 （1918年7月） | 『시라카바(白樺)』제9권 제7호 (1918년 7월) | 2019/06/04 | 2019/08/18 | |||||
| 3 | Shirakaba, vol.9, no.7, July 1918 [plate: Paul Cézanne, The Luncheon on the Grass] | 《白桦》第9卷第7号 （1918年7月） | 『시라카바(白樺)』 제9권 제7호 (1918년 7월) | 2019/06/04 | 2019/08/18 | |||||
| 3 | Shirakaba, vol. 12, no. 2, February 1921 [plate: Vincent van Gogh, Sunflowers (Yamamoto Koyata’s old possession, destroyed by fire in the World War II)] | 《白桦》第12卷第2号 （1921年2月） | 『시라카바(白樺)』 제12권 제2호 (1921년 2월) | 2019/06/04 | 2019/08/18 | |||||
| 3 | Shirakaba, vol. 9, no. 7, July 1918 [cover: Kishida Ryusei] | 《白桦》第9卷第7号 （1918年7月） | 『시라카바(白樺)』제9권 제7호 (1918년 7월) | 2019/08/20 | 2019/10/20 | |||||
| 3 | “Member recruitment for Shirakaba Museum,” Shirakaba, vol. 10, no. 3, March1919 | 《白桦》第10卷第3号 （1919年3月） | 『시라카바(白樺)』 제10권 제3호 (1919년 3월) | 2019/08/20 | 2019/10/20 | |||||
| 3 | “Editor’s note,” Shirakaba, vol. 12, no. 1, January 1921 | 《白桦》第12卷第1号 （1921年1月） | 『시라카바(白樺)』제12권 제1호 (1921년 1월) | 2019/08/20 | 2019/10/20 | |||||
| 3 | Shirakaba, vol. 12, no. 2, February 1921 [plate: Paul Cézanne, Landscape (collection of Ohara Museum of Art [permanent deposition from Shirakaba Art Museum])] | 《白桦》第12卷第2号 （1921年2月） | 『시라카바(白樺)』제12권 제2호 (1921년 2월) | 2019/08/20 | 2019/10/20 | |||||
| 4 | KIMURA, Shohachi | Illustration no.1 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画1 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 1 | 1937 | 2019/06/04 | 2019/08/18 | |
| 4 | KIMURA, Shohachi | Illustration no.2 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画2 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 2 | 1937 | 2019/06/04 | 2019/08/18 | |
| 4 | KIMURA, Shohachi | Illustration no.3 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画3 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 3 | 1937 | 2019/06/04 | 2019/08/18 | |
| 4 | KIMURA, Shohachi | Illustration no.4 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画4 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 4 | 1937 | 2019/06/04 | 2019/08/18 | |
| 4 | KIMURA, Shohachi | Illustration no.5 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画5 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 5 | 1937 | 2019/06/04 | 2019/08/18 | |
| 4 | KIMURA, Shohachi | Illustration no.6 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画6 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 6 | 1937 | 2019/06/04 | 2019/08/18 | |
| 4 | KIMURA, Shohachi | Illustration no.7 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画7 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 7 | 1937 | 2019/06/04 | 2019/08/18 | |
| 4 | KIMURA, Shohachi | Illustration no.8 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画8 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 8 | 1937 | 2019/06/04 | 2019/08/18 | |
| 4 | KIMURA, Shohachi | Illustration no.9 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画9 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 9 | 1937 | 2019/06/04 | 2019/08/18 | |
| 4 | KIMURA, Shohachi | Illustration no.10 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画10 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 10 | 1937 | 2019/06/04 | 2019/08/18 | |
| 4 | KIMURA, Shohachi | Illustration no.11 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画11 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 11 | 1937 | 2019/06/04 | 2019/08/18 | |
| 4 | KIMURA, Shohachi | Illustration no.12 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画12 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 12 | 1937 | 2019/06/04 | 2019/08/18 | |
| 4 | KIMURA, Shohachi | Illustration no.13 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画13 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 13 | 1937 | 2019/06/04 | 2019/08/18 | |
| 4 | KIMURA, Shohachi | Illustration no.14 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画14 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 14 | 1937 | 2019/06/04 | 2019/08/18 | |
| 4 | KIMURA, Shohachi | Illustration no.15 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画15 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 15 | 1937 | 2019/06/04 | 2019/08/18 | |
| 4 | KIMURA, Shohachi | Illustration no.16 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画16 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 16 | 1937 | 2019/06/04 | 2019/08/18 | |
| 4 | KIMURA, Shohachi | Illustration no.18 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画18 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 18 | 1937 | 2019/06/04 | 2019/08/18 | |
| 4 | KIMURA, Shohachi | Illustration no.19 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画19 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 19 | 1937 | 2019/08/20 | 2019/10/20 | |
| 4 | KIMURA, Shohachi | Illustration no.20 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画20 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 20 | 1937 | 2019/08/20 | 2019/10/20 | |
| 4 | KIMURA, Shohachi | Illustration no.21 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画21 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 21 | 1937 | 2019/08/20 | 2019/10/20 | |
| 4 | KIMURA, Shohachi | Illustration no.22 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画22 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 22 | 1937 | 2019/08/20 | 2019/10/20 | |
| 4 | KIMURA, Shohachi | Illustration no.23 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画23 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 23 | 1937 | 2019/08/20 | 2019/10/20 | |
| 4 | KIMURA, Shohachi | Illustration no.24 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画24 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 24 | 1937 | 2019/08/20 | 2019/10/20 | |
| 4 | KIMURA, Shohachi | Illustration no.25 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画25 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 25 | 1937 | 2019/08/20 | 2019/10/20 | |
| 4 | KIMURA, Shohachi | Illustration no.26 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画26 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 26 | 1937 | 2019/08/20 | 2019/10/20 | |
| 4 | KIMURA, Shohachi | Illustration no.27 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画27 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 27 | 1937 | 2019/08/20 | 2019/10/20 | |
| 4 | KIMURA, Shohachi | Illustration no.28 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画28 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 28 | 1937 | 2019/08/20 | 2019/10/20 | |
| 4 | KIMURA, Shohachi | Illustration no.29 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画29 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 29 | 1937 | 2019/08/20 | 2019/10/20 | |
| 4 | KIMURA, Shohachi | Illustration no.30 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画30 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 30 | 1937 | 2019/08/20 | 2019/10/20 | |
| 4 | KIMURA, Shohachi | Illustration no.31 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画31 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 31 | 1937 | 2019/08/20 | 2019/10/20 | |
| 4 | KIMURA, Shohachi | Illustration no.32 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画32 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 32 | 1937 | 2019/08/20 | 2019/10/20 | |
| 4 | KIMURA, Shohachi | Illustration no.33 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画33 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 33 | 1937 | 2019/08/20 | 2019/10/20 | |
| 4 | KIMURA, Shohachi | Illustration no.34 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画34 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 34 | 1937 | 2019/08/20 | 2019/10/20 | |
| 4 | KIMURA, Shohachi | Study for illustration no.35 to the Novel Bokuto Kidan by Nagai Kafu | 木村庄八 | 永井荷风著《濹东绮谭》插画35的画稿 | 기무라 쇼하치 | 나가이 가후 저, 『묵동기담』 삽화 35를 위한 밑그림 | 1937 | 2019/08/20 | 2019/10/20 | |
| 4 | ODA, Kazuma | Tamanoi in Snow from Eight Scene Around Tokyo | 织田一磨 | “画集东京近郊八景”之 玉之井雪景 | 오다 가즈마 | 「화집 도쿄 근교 팔경」 중, 다마노이의 설경 | 1932 | 2019/06/04 | 2019/08/18 | |
| 4 | KAWASE, Hasui | The Village of Terashima on a Snowy Evening from Twelve Tokyo Scenes | 川濑巴水 | 《东京十二题》 之 雪中日暮的寺岛村 | 가와세 하스이 | 「도쿄 12제」 중, 눈 덥힌 저녁의 데라시마 마을 | 1920 | 2019/08/20 | 2019/10/20 | |
| 5 | KUNIYOSHI, Yasuo | Village | 国吉康雄 | 村落 | 구니요시 야스오 | 촌락 | 1921 | 2019/06/04 | 2019/10/20 | |
| 5 | MURAYAMA, Tomoyoshi | Portrait of a Jewish Girl | 村山知义 | 一个犹太少女像 | 무라야마 도모요시 | 어떤 유대인 소녀의 상 | 1922 | 2019/06/04 | 2019/10/20 | |
| 5 | KAMBARA, Tai | Subject from The Poem of Ecstasy by Skryabin | 神原泰 | 以斯克里亚宾的《狂喜之诗》为题 | 간바라 다이 | 스크랴빈 「법열의 시」에서 자극을 받아 명함 | 1922 | 2019/06/04 | 2019/10/20 | |
| 5 | MAETA, Kanji | Labourer | 前田宽治 | 劳动者 | 마에타 간지 | 노동자 | c.1925 | 2019/06/04 | 2019/10/20 | |
| 5 | 0039 | SAEKI, Yuzo | Gas Lamp and Advertisements | 佐伯祐三 | 煤气灯和广告 | 사에키 유조 | 가스등과 광고 | 1927 | 2019/06/04 | 2019/10/20 |
| 5 | KAWAGUCHI, Kigai | Still Life, Mandolin | 川口轨外 | 静物（曼陀林） | 가와구치 기가이 | 정물(만돌린) | 1927-31 | 2019/06/04 | 2019/10/20 | |
| 5 | MIGISHI, Kotaro | Boy Clown | 三岸好太郎 | 少年道化 | 미기시 고타로 | 소년 광대 | 1929 | 2019/06/04 | 2019/10/20 | |
| 5 | YAMAGUCHI, Takeo | Two Figures | 山口长男 | 二人像 | 야마구치 다케오 | 두 인물 | 1930 | 2019/06/04 | 2019/10/20 | |
| 5 | YAMAGUCHI, Takeo | Pond | 山口长男 | 池 | 야마구치 다케오 | 연못 | 1936 | 2019/06/04 | 2019/10/20 | |
| 5 | SABURI, Makoto | Afternoon | 佐分真 | 下午 | 사부리 마코토 | 오후 | 1932 | 2019/06/04 | 2019/10/20 | |
| 5 | NODA, Hideo | City | 野田英夫 | 都会 | 노다 히데오 | 도시 | 1934 | 2019/06/04 | 2019/10/20 | |
| 5 | NODA, Hideo | Circus | 野田英夫 | 马戏团 | 노다 히데오 | 서커스 | 1937 | 2019/06/04 | 2019/10/20 | |
| 5 | MURAI, Masanari | Urban | 村井正诚 | Urban | 무라이 마사나리 | Urban | 1937 | 2019/06/04 | 2019/10/20 | |
| 5 | IMANISHI, Chutsu | Still Life | 今西中通 | 静物 | 이마니시 주쓰 | 정물 | 1940 | 2019/06/04 | 2019/10/20 | |
| 5 | Hans Richter | Orchestration of Color | 汉斯·李希特 | 色彩的编排 | 한스 리히터 | 색의 오케스트레이션 | 1923 | 2019/06/04 | 2019/10/20 | |
| 5 | Kurt Schwitters | From E.+E. Schwitters | 库尔特·施威特斯 | 来自《E.+E.施威特斯》 | 쿠르트 슈비터스 | E. +E. 슈비터스로부터 | 1947 | 2019/06/04 | 2019/10/20 | |
| 5 | NAKADA, Sadanosuke | Head of Woman | 仲田定之助 | 女人的头 | 나카다 사다노스케 | 여자의 머리 | 1924 | 2019/06/04 | 2019/10/20 | |
| 5 | YO, Kanji | Head of a Certain Retired General | 阳咸二 | 某位停职将军的脸 | 요 간지 | 어느 휴직 장군의 얼굴 | 1929 | 2019/06/04 | 2019/10/20 | |
| 5 | Walker Evans | Untitled (1st Avenue below 14th Street, New York City) | 沃克·埃文斯 | 无题（纽约市第一大道第14街） | 워커 에반스 | 무제(1st Avenue 14th Street, 뉴욕) | 1931 | 2019/06/04 | 2019/08/18 | |
| 5 | Walker Evans | Side Walk Scne, Selma | 沃克·埃文斯 | 路边的景象、塞尔玛 | 워커 에반스 | 거리의 광경, 셀마 | 1936 | 2019/06/04 | 2019/08/18 | |
| 5 | Walker Evans | New Orleans Street Corner | 沃克·埃文斯 | 新奥尔良的街角 | 워커 에반스 | 뉴올리언스 길모퉁이 | 1935 | 2019/08/20 | 2019/10/20 | |
| 5 | Walker Evans | Untitled (Shoe Shine) | 沃克·埃文斯 | 无题（擦鞋） | 워커 에반스 | 무제(구두닦기) | c.1936 | 2019/08/20 | 2019/10/20 | |
| 6 | 0059 | UMEHARA, Ryuzaburo | Autumn in Beijing | 梅原龙三郎 | 北京的秋天 | 우메하라 류자부로 | 베이징의 가을 하늘 | 1942 | 2019/06/04 | 2019/10/20 |
| 6 | YOSHIHARA, Jiro | Volcanoes | 吉原治良 | 火山 | 요시하라 지로 | 화산 | 1943 | 2019/06/04 | 2019/10/20 | |
| 6 | KUNIYOSHI, Yasuo | Somebody Tore My Poster | 国吉康雄 | 谁撕破了我的海报 | 구니요시 야스오 | 누군가가 내 포스터를 찢었다 | 1943 | 2019/06/04 | 2019/10/20 | |
| 6 | MATSUMOTO, Shunsuke | Bridge in Y-City | 松本竣介 | Y市的桥 | 마쓰모토 슌스케 | Y시의 다리 | 1943 | 2019/06/04 | 2019/10/20 | |
| 6 | YASUI, Sotaro | Portrait of Mr. Abe Yoshishige | 安井曾太郎 | 安倍能成之像 | 야스이 소타로 | 아베 요시시게의 초상 | 1944 | 2019/06/04 | 2019/10/20 | |
| 6 | MATSUMOTO, Shunsuke | Self-Portrait | 松本竣介 | 自画像 | 마쓰모토 슌스케 | 자화상 | 1942 | 2019/06/04 | 2019/08/18 | |
| 6 | MATSUMOTO, Shunsuke | Boy with a Fruit | 松本竣介 | 拿着水果的少年 | 마쓰모토 슌스케 | 과일을 든 소년 | c.1942 | 2019/08/20 | 2019/10/20 | |
| 6 | MIWA, Chosei | Night Attack at the Strait of Turagi | 三轮晁势 | 图拉吉夜袭战 | 미와 조세이 | 툴라기 야습 | 1943 | 2019/06/04 | 2019/10/20 | |
| 6 | IWATA, Sentaro | Timeout on the Battlefield | 岩田专太郎 | 小憩 | 이와타 센타로 | 잠깐 멈춤 | 1944 | 2019/06/04 | 2019/10/20 | |
| 6 | FUJITA, Tsuguharu | Fierce Fighting on Guadalcanal | 藤田嗣治 | 血战瓜达尔卡纳尔岛 | 후지타 쓰구하루 | 과달카날에서의 혈전 | 1944 | 2019/06/04 | 2019/10/20 | |
| 6 | OGAWARA, Shu | Bombing Chengdu | 小川原修 | 空袭成都 | 오가와라 슈 | 청두 폭격 | 1945 | 2019/06/04 | 2019/10/20 | |
| 6 | NAKAMURA, Ken’ichi | Sergeant Nobe’s Suicide Attack on Two B-29’s Over Kitakyushu | 中村研一 | 野边军曹机在北九州上空自杀式撞落两架B29机 | 나카무라 겐이치 | 기타큐슈 상공에서 노베 중사가 자살 공격으로 B29기 2대를 격추하다 | 1945 | 2019/06/04 | 2019/10/20 | |
| 7 | Pablo Picasso | Beach at La Garoupe | 巴勃罗·毕加索 | 戈若普的海水浴场 | 파블로 피카소 | 가룹의 해수욕장 | 1955 | 2019/06/04 | 2019/10/20 | |
| 7 | OKAMOTO, Taro | Decoration | 冈本太郎 | 装饰 | 오카모토 다로 | 장식 | 1954 | 2019/06/04 | 2019/10/20 | |
| 7 | UEKI, Shigeru | Work | 植木茂 | 作品 | 우에키 시게루 | 작품 | 1954 | 2019/06/04 | 2019/10/20 | |
| 7 | TATEHATA, Kakuzo | Figure | 建畠觉造 | 貌 | 다테하타 가쿠조 | 얼굴 | 1955 | 2019/06/04 | 2019/10/20 | |
| 7 | TSUJI, Shindo | Tree | 辻晋堂 | 树 | 쓰지 신도 | 나무 | 1956 | 2019/06/04 | 2019/10/20 | |
| 7 | MURAI, Masanari | Singing | 村井正诚 | 歌者 | 무라이 마사나리 | 노래하는 사람 | 1956 | 2019/06/04 | 2019/08/18 | |
| 7 | MURAI, Masanari | Girl | 村井正诚 | 乡村姑娘 | 무라이 마사나리 | 시골 처녀 | 1957 | 2019/08/20 | 2019/10/20 | |
| 7 | KITADAI, Shozo / OHTSUJI, Kiyoji | From APN portfolio (7) | 北代省三 / 大辻清司 | 《APN》作品集之（7） | 기타다이 쇼조, 오쓰지 기요시 | 『APN』 포트폴리오 (7) | 1953-54 | 2019/06/04 | 2019/08/18 | |
| 7 | KITADAI, Shozo / OHTSUJI, Kiyoji | From APN portfolio (6) | 北代省三 / 大辻清司 | 《APN》作品集之（6） | 기타다이 쇼조, 오쓰지 기요시 | 『APN』 포트폴리오 (6) | 1953-54 | 2019/08/20 | 2019/10/20 | |
| 7 | SUZUKI, Osamu | Vase with two openings | 铃木治 | 双头壶 | 스즈키 오사무 | 쌍두항아리 | 1951 | 2019/06/04 | 2019/10/20 | |
| 7 | SUZUKI, Osamu | Going Away | 铃木治 | 泥像 离别 | 스즈키 오사무 | 泥像 행인 | 1964 | 2019/06/04 | 2019/10/20 | |
| 7 | OKABE, Mineo | Vase, wooven cord pattern | 冈部岭男 | 捏塑志野绳纹花器 | 오카베 미네오 | 시노 도자기 꽃병, 새끼줄 무늬, 네리코미 기법 | 1956 | 2019/06/04 | 2019/10/20 | |
| 7 | YASUHARA, Kimei | Vase, Harbor, stoneware | 安原喜明 | 烧结花器 海港 | 야스하라 기메이 | 도자기 꽃병 ‘항구’, 야키시메 기법 | 1954 | 2019/06/04 | 2019/10/20 | |
| 7 | HARA, Hiromu | Today’s focus : on the history of Japanese art | 原弘 | 现代之眼：论日本美术史 | 하라 히로무 | 현대의 눈 : 일본미술사에서 | 1954 | 2019/06/04 | 2019/08/18 | |
| 7 | HARA, Hiromu | Exhibition of Japanese sculpture : contemporary sculpture versus Haniwa, bronze buddhist statues, and masks of the Asuka and the Nara periods | 原弘 | 日本雕刻：古代（埴轮/金铜佛/伎乐面）与现代 | 하라 히로무 | 일본의 조각 : 上代(하니와 토우, 금동 불상, 기가쿠 가면극 탈)와 現代 | 1956 | 2019/06/04 | 2019/08/18 | |
| 7 | HARA, Hiromu | Today’s focus : on the history of Japanese art | 原弘 | 现代之眼：论日本美术史 | 하라 히로무 | 현대의 눈 : 일본미술사에서 | 1954 | 2019/08/20 | 2019/10/20 | |
| 7 | HARA, Hiromu | Today’s focus : primitive art seen through eyes of the present | 原弘 | 现代之眼：论原始美术 | 하라 히로무 | 현대의 눈 : 원시미술에서 | 1960 | 2019/08/20 | 2019/10/20 | |
| 7 | Isamu Noguchi | Akari 1A | 野口勇 | Akari 1A | 이사무 노구치 | Akari 1A | 1952 | 2019/06/04 | 2019/10/20 | |
| 7 | Haniwa Research, a feature article. Zokei Geijutsu vol. 3, no. 6, June 1941. | “特集埴轮研究” 《造型艺术》第3卷第6号 （1941年6月） | 『조형예술』 제3권 제6호 중 「특집 하니와 연구」 (1941년 6월) | 2019/06/04 | 2019/10/20 | |||||
| 7 | Noma Seiroku, text; Sakamoto Manshichi, photographs. Hainiwa’s Beauty. Juraku-sha, 1942. | 《埴轮美》 野间清六（著）/坂本万七（摄影） 聚乐社 （1942年） | 『하니와의 미』 노마 세이로쿠(저), 사카모토 만시치(촬영), 주라쿠샤 출판(1942년) | 2019/06/04 | 2019/10/20 | |||||
| 7 | Seikatsu BijutuSeikatsu Bijutsu Vol.3 , no.10, Oct. 1943 | 《生活艺术》3卷第10号（1943年10月） | 『생활미술』3 권 10 호（1943년10 월） | 2019/06/04 | 2019/10/20 | |||||
| 7 | Kuno Takeshi. Earthenware and Haniwa, Mizue Library. Bijutsu Shuppansha, 1951. | 《水画文库 土器与埴轮》 久野健（著） 美术出版社 （1951年） | 『미즈에 분코-토기와 하니와』 구노 다케시(저), 미술출판사(1951년) | 2019/06/04 | 2019/10/20 | |||||
| 7 | Haniwa, a feature article, MUSEUM no. 2, Kokuritsu Hakubutsukan, May 1951. | “埴轮特集” 《MUSEUM》2号 国立博物馆 （1951年5月） | 『MUSEUM』 2호 중 「하니와 특집」 국립박물관(1951년 5월) | 2019/06/04 | 2019/10/20 | |||||
| 7 | Gendai No Me, Newsletter of The National Museum of Modern Art, no. 1, Dec. 1954 | 《国立近代美术馆新闻 现代之眼》1号 （1954年12月） | 『국립근대미술관 뉴스 현대의 눈』 1호 (1954년 12월) | 2019/06/04 | 2019/10/20 | |||||
| 7 | Gendai No Me, Newsletter of The National Museum of Modern Art, no. 2, Jan. 1955 | 《国立近代美术馆新闻 现代之眼》2号 （1955年1月） | 『국립근대미술관 뉴스 현대의 눈』 2호 (1955년 1월) | 2019/06/04 | 2019/10/20 | |||||
| 7 | Gendai No Me, Newsletter of The National Museum of Modern Art, no. 3, Feb. 1955 | 《国立近代美术馆新闻 现代之眼》3号 （1955年2月） | 『국립근대미술관 뉴스 현대의 눈』 3호 (1955년 2월) | 2019/06/04 | 2019/10/20 | |||||
| 7 | National Museum of Modern Art, supervision; Taniguchi Yoshiro, ed. Modern Eyes: From Japanese Art History. Toto Bunka Shuppan, 1955. | 《现代之眼 论日本美术史》 国立近代美术馆（监修）/谷口吉郎（编辑） 东都文化出版株式会社 （1955年） | 『현대의 눈-일본미술사에서』 국립근대미술관(감수), 다니구치 요시로(편집), 도토문화출판주식회사(1955년) | 2019/06/04 | 2019/10/20 | |||||
| 7 | Miki Fumio, ed. Beauty of Haniwa, Asahi Photography Book no. 28. Asahi Shimbun, 1956. | 《朝日写真集28 埴轮之美》 三木文雄（编辑） 朝日新闻社 （1956年） | 『아사히 사진 북 28 하니와의 아름다움』 미키 후미오(편집), 아사히신문사(1956년) | 2019/06/04 | 2019/10/20 | |||||
| 7 | National Museum Newsletter no. 53, Oct. 1951. (National Museum Newsletter, compact edition. Tokyo Bijutsu, 1970.) | 《国立博物馆新闻》第53号 （1951年10月） [《国立博物馆新闻缩印版》 东京美术 （1970年）] | 『국립박물관 뉴스』 제53호(1951년 10월) [『국립박물관 뉴스 축쇄판』 도쿄미술 출판(1970년)] | 2019/06/04 | 2019/10/20 | |||||
| 8 | 0066 | FUKUDA, Heihachiro | Rain | 福田平八郎 | 雨 | 후쿠다 헤이하치로 | 비 | 1953 | 2019/06/04 | 2019/08/18 |
| 8 | 0074 | MAEDA, Seison | Stone Coffin | 前田青村 | 石棺 | 마에다 세이손 | 석관 | 1962 | 2019/06/04 | 2019/10/20 |
| 8 | UDA, Tekison | “Shoiken”, the Katsura Detached Palace | 宇田荻邨 | 桂离宫笑意轩 | 우다 데키손 | 가쓰라리큐 다실 ‘쇼이켄’ | 1964 | 2019/08/20 | 2019/10/20 | |
| 8 | CHOKAI, Seiji | Fields | 鸟海青儿 | 农田 | 초카이 세이지 | 밭 | 1953 | 2019/06/04 | 2019/10/20 | |
| 8 | MADOKORO, Saori | Myth―Birth of Gods | 间所纱织 | 神话 诸神的诞生 | 마도코로 사오리 | 신화-신들의 탄생 | 1956 | 2019/06/04 | 2019/10/20 | |
| 8 | NAKATANI, Tai | Potter’s Clay | 中谷泰 | 陶土 | 나카타니 다이 | 도토 | 1958 | 2019/06/04 | 2019/10/20 | |
| 8 | TONEYAMA, Kojin | Stone Monument | 利根山光人 | 石碑 | 도네야마 고진 | 비석 | 1961 | 2019/06/04 | 2019/10/20 | |
| 8 | ENOKIDO, Shoe | Nara | 榎户庄卫 | 奈良 | 에노키도 쇼에 | 나라(奈良) | 1967 | 2019/06/04 | 2019/10/20 | |
| 8 | INOKUMA, Gen’ichiro | An Amazing Landscape (B) | 猪熊弦一郎 | 令人惊讶的风景（B） | 이노쿠마 겐이치로 | 놀랄 만한 풍경 (B) | 1969 | 2019/06/04 | 2019/10/20 | |
| 8 | MIYAWAKI, Aiko | Work | 宫胁爱子 | 作品 | 미야와키 아이코 | 작품 | 1968 | 2019/06/04 | 2019/10/20 | |
| 8 | SAITO, Kiyoshi | Gate | 齐藤清 | 门 | 사이토 기요시 | 문 | 1955 | 2019/06/04 | 2019/08/18 | |
| 8 | SAITO, Kiyoshi | Toshodaiji Temple | 齐藤清 | 唐招提寺 | 사이토 기요시 | 도쇼다이지 절 | 1959 | 2019/08/20 | 2019/10/20 | |
| 8 | SEKINO, Jun’ichiro | Roofs | 关野准一郎 | 甍 | 세키노 준이치로 | 기와지붕 | 1957 | 2019/08/20 | 2019/10/20 | |
| 8 | HIRATSUKA, Un’ichi | Corridor, Katsura Detached Palace, Kyoto | 平塚运一 | 长廊、桂离宫、京都 | 히라쓰카 운이치 | 낭하, 가쓰라리큐, 교토 | 1966 | 2019/06/04 | 2019/08/18 | |
| 8 | HIRATSUKA, Un’ichi | Gangi-Bridge in Hasso Hermitage, Nara | 平塚运一 | 八窗庵雁木桥、奈良 | 히라쓰카 운이치 | 나라 핫소안 간기 다리 | 1961 | 2019/08/20 | 2019/10/20 | |
| 8 | ISHIMOTO, Yasuhiro | 8. Formal Stone Pavement in Front of the Waiting Bench from Katsura | 石元泰博 | 作品集“桂” 之 八、长椅前的规则石板路/从南望北方 | 이시모토 야스히로 | 포트폴리오 「가쓰라」 중, 8. 휴게소 앞 돌길, 남쪽에서 북향을 보다 | 1954(1989 print) | 2019/06/04 | 2019/08/18 | |
| 8 | ISHIMOTO, Yasuhiro | 10. Tea Room of the Shokintei Pavilion from Katsura | 石元泰博 | 作品集“桂”之 十、松琴亭茶室内部东面 | 이시모토 야스히로 | 포트폴리오 「가쓰라」 중, 10. 쇼킨테이 다실 내부 동쪽 면 | 1954(1989 print) | 2019/06/04 | 2019/08/18 | |
| 8 | ISHIMOTO, Yasuhiro | 1. Underside of the Roof of the Gepparo Pavilion from Katsura | 石元泰博 | 作品集“桂”之 一、月波楼的阁楼 | 이시모토 야스히로 | 포트폴리오 「가쓰라」 중, 1. 겟파로 다실의 노출 지붕 아래면 | 1954(1989 print) | 2019/08/20 | 2019/10/20 | |
| 8 | ISHIMOTO, Yasuhiro | 9. Stepping Stones Leading from the Cycad Hill to the Waiting Bench from Katsura | 石元泰博 | 作品集“桂”之 九、从苏铁山通向长椅的踏脚石 | 이시모토 야스히로 | 포트폴리오 「가쓰라」 중, 9. 소철 동산에서 휴게소로 이어지는 징검돌 | 1954(1989 print) | 2019/08/20 | 2019/10/20 | |
| 8 | HAMADA, Shoji | Square dish, lattice pattern in black, opaque glaze | 滨田庄司 | 失透釉格纹方盘子 | 하마다 쇼지 | 사각 접시, 실투유, 격자 무늬 | 1958 | 2019/06/04 | 2019/10/20 | |
| 8 | HAMADA, Shoji | Square dish, rope impressed inlay pattern, brown ash glaze | 滨田庄司 | 饴釉绳纹方盘子 | 하마다 쇼지 | 사각 접시, 이유, 새끼줄 무늬 | 1958 | 2019/06/04 | 2019/10/20 | |
| 8 | KANESHIGE, Toyo | Water container with fire marks, Bizen ware | 金重陶阳 | 备前绯襷筒型水指 | 가네시게 도요 | 비젠 도자기 물통, 불줄기 무늬 | 1959 | 2019/06/04 | 2019/10/20 | |
| 8 | MIURA, Koheiji | Large dish, Zebra Crossing | 三浦小平二 | 铁绘大盘 人行横道 | 미우라 고헤이지 | 철화 장식 큰 접시 ‘횡단보도’ | 1967 | 2019/06/04 | 2019/10/20 | |
| 8 | KAMEKURA, Yusaku | The 18th Olympic Games | 龟仓雄策 | 东京奥运会 | 가메쿠라 유사쿠 | 도쿄 올림픽 | 1961 (1990 reprint) | 2019/06/04 | 2019/08/18 | |
| 8 | KAMEKURA, Yusaku | The 18th Olympic Games | 龟仓雄策 | 东京奥运会 | 가메쿠라 유사쿠 | 도쿄 올림픽 | 1962 (1990 reprint) | 2019/08/20 | 2019/10/20 | |
| 8 | Isamu Noguchi. From My Camera. Bijutsu Techo no. 34, Sept. 1950. | 野口勇“论我的相机” 《美术手帖》第34号 （1950年9月） | 이사무 노구치 『미술수첩』 제34호 중 「나의 카메라에서」 (1950년 9월) | 2019/06/04 | 2019/10/20 | |||||
| 8 | Noma Seiroku, text; Sakamoto Manshichi and Fujimoto Shihachi, photographs; Saito Kiyoshi, book design. Clay Art—Dogu, Earthenware and Haniwa. Bijutsu Shuppansha, 1954. | 《土之艺术 土偶/土器/埴轮》 野间清六（著）/坂本万七、藤本四八（摄影）/齐藤清（封面装帧） 美术出版社 （1954年） | 『흙의 예술-토우∙토기∙하니와』 노마 세이로쿠(저), 사카모토 만시치∙후지모토 시하치(촬영), 사이토 기요시(표지 장정), 미술출판사(1954년) | 2019/06/04 | 2019/10/20 | |||||
| 8 | This is Japan, no. 2. The Asahi Shimbun Newspaper publishing.co, Nov. 1954. | 《This is Japan》第2号 朝日新闻社 （1954年11月） | 『This is Japan』 제2호, 아사히신문사(1954년 11월) | 2019/06/04 | 2019/10/20 | |||||
| 8 | This is Japan, no. 6. The Asahi Shimbun Newspaper publishing.co, Sept. 1958. | 《This is Japan》第6号 朝日新闻社 （1958年9月） | 『This is Japan』 제6호, 아사히신문사(1958년 9월) | 2019/06/04 | 2019/10/20 | |||||
| 8 | Okamoto Taro. Japanese Tradition. Kobunsha, 1956. | 《日本传统》 冈本太郎（著） 光文社 （1956年） | 『일본의 전통』 오카모토 다로(저), 고분샤 출판(1956년) | 2019/06/04 | 2019/10/20 | |||||
| 8 | Okamoto Taro, Takiguchi Shuzo et al. Modern People’s Eyes—Criticism on Traditional Art. Gendai-sha, 1956. | 《现代人之眼 传统美术的批判》 冈本太郎、泷口修造他（著） 现代社 （1956年） | 『현대인의 눈-전통미술 비판』 오카모토 다로∙다키구치 슈조 외(저), 겐다이샤 출판(1956년) | 2019/06/04 | 2019/10/20 | |||||
| 8 | Japan. Sankei International, 1956. | 《Japan》 产经国际 （1956年） | 『Japan』 산케이인터내셔널(1956년) | 2019/06/04 | 2019/10/20 | |||||
| 8 | Futagawa Yukio. “Yamashiro, Kyoto” from Private Japanese Houses. Bijutsu Shuppansha, 1959. | “京/山城” 出自二川幸夫《日本的民房》 美术出版社 （1959年） | 후타가와 유키오 『일본의 민가』 중 「교∙야마시로」, 미술출판사(1959년) | 2019/06/04 | 2019/10/20 | |||||
| 8 | Futagawa Yukio. “Kawachi, Yamato” from Private Japanese Houses. Bijutsu Shuppansha, 1957. | “大和/河内”出自二川幸夫《日本的民房》 美术出版社 （1957年） | 후타가와 유키오 『일본의 민가』 중 「야마토∙가와치」, 미술출판사(1957년) | 2019/06/04 | 2019/10/20 | |||||
| Room to Consider the Building | The National Museum of Modern Art, Tokyo 1969 6.11 | 《东京国立近代美术馆1969》（新馆开馆纪念册） | 『도쿄 국립근대미술관 1969』 (신관 개관 기념 책자) | 2019/06/04 | 2019/10/20 | |||||
| Room to Consider the Building | The National Museum of Modern Art, Tokyo 1969 | 《东京国立近代美术馆1969》（新馆开馆纪念册） | 『도쿄 국립근대미술관 1969』 (신관 개관 기념 책자) | 2019/06/04 | 2019/10/20 | |||||
| Room to Consider the Building | Gendai No Me, Newsletter of The National Museum of Modern Art, Tokyo, no. 175, Jun. 1969 | 《现代之眼》175期 东京国立近代美术馆时事通讯 1969年6月（新馆开馆纪念刊） | 『현대의 눈』 175호 도쿄 국립근대미술관 뉴스 1969년 6월 (신관 개관 기념호) | 2019/06/04 | 2019/10/20 | |||||
| Room to Consider the Building | Shinkenchiku, Aug. 1969, Shinkenchiku-sha | 《新建筑》1969年8月刊 新建筑社 | 『신건축』 1969년 8월호, 신건축사 | 2019/06/04 | 2019/10/20 | |||||
| Room to Consider the Building | Stamps commemorating the new building of The National Museum of Modern Art, Tokyo | 东京国立近代美术馆开馆纪念邮票 | 도쿄 국립근대미술관 개관 기념 우표 | 2019/06/04 | 2019/10/20 | |||||
| 9 | ITO, Yoshihiko | imagery72 82012 | 伊藤义彦 | imagery72 82012 | 이토 요시히코 | imagery72 82012 | 1982（1991 print） | 2019/06/04 | 2019/08/18 | |
| 9 | ITO, Yoshihiko | imagery72 83011 | 伊藤义彦 | imagery72 83011 | 이토 요시히코 | imagery72 83011 | 1983（1991 print） | 2019/06/04 | 2019/08/18 | |
| 9 | ITO, Yoshihiko | imagery72 84016 | 伊藤义彦 | imagery72 84016 | 이토 요시히코 | imagery72 84016 | 1984（1993 print） | 2019/06/04 | 2019/08/18 | |
| 9 | ITO, Yoshihiko | imagery72 850007 | 伊藤义彦 | imagery72 850007 | 이토 요시히코 | imagery72 850007 | 1985（1991 print） | 2019/06/04 | 2019/08/18 | |
| 9 | ITO, Yoshihiko | imagery72 850008 | 伊藤义彦 | imagery72 850008 | 이토 요시히코 | imagery72 850008 | 1985（1991 print） | 2019/06/04 | 2019/08/18 | |
| 9 | ITO, Yoshihiko | imagery72 850020 | 伊藤义彦 | imagery72 850020 | 이토 요시히코 | imagery72 850020 | 1985（1993 print） | 2019/06/04 | 2019/08/18 | |
| 9 | ITO, Yoshihiko | KAGE 8614 | 伊藤义彦 | KAGE 8614 | 이토 요시히코 | KAGE 8614 | 1986（1993 print） | 2019/06/04 | 2019/08/18 | |
| 9 | ITO, Yoshihiko | KAGE 8615 | 伊藤义彦 | KAGE 8615 | 이토 요시히코 | KAGE 8615 | 1986（1993 print） | 2019/06/04 | 2019/08/18 | |
| 9 | ITO, Yoshihiko | KAGE 8616 | 伊藤义彦 | KAGE 8616 | 이토 요시히코 | KAGE 8616 | 1986（1993 print） | 2019/06/04 | 2019/08/18 | |
| 9 | ITO, Yoshihiko | KAGE 8717 | 伊藤义彦 | KAGE 8717 | 이토 요시히코 | KAGE 8717 | 1987（1991 print） | 2019/06/04 | 2019/08/18 | |
| 9 | ITO, Yoshihiko | KAGE 8718 | 伊藤义彦 | KAGE 8718 | 이토 요시히코 | KAGE 8718 | 1987（1991 print） | 2019/06/04 | 2019/08/18 | |
| 9 | ITO, Yoshihiko | KAGE 8719 | 伊藤义彦 | KAGE 8719 | 이토 요시히코 | KAGE 8719 | 1987（1991 print） | 2019/06/04 | 2019/08/18 | |
| 9 | ITO, Yoshihiko | KAGE 8721 | 伊藤义彦 | KAGE 8721 | 이토 요시히코 | KAGE 8721 | 1987（1993 print） | 2019/06/04 | 2019/08/18 | |
| 9 | ITO, Yoshihiko | KAGE 8723 | 伊藤义彦 | KAGE 8723 | 이토 요시히코 | KAGE 8723 | 1987（1993 print） | 2019/06/04 | 2019/08/18 | |
| 9 | ITO, Yoshihiko | KAGE 8724 | 伊藤义彦 | KAGE 8724 | 이토 요시히코 | KAGE 8724 | 1987（1993 print） | 2019/06/04 | 2019/08/18 | |
| 9 | ITO, Yoshihiko | KAGE 88001 | 伊藤义彦 | KAGE 88001 | 이토 요시히코 | KAGE 88001 | 1988（1991 print） | 2019/06/04 | 2019/08/18 | |
| 9 | ITO, Yoshihiko | SHIKAKU SKK 89003W | 伊藤义彦 | SHIKAKU SKK 89003W | 이토 요시히코 | SHIKAKU SKK 89003W | 1989（1993 print） | 2019/06/04 | 2019/08/18 | |
| 9 | ITO, Yoshihiko | SHIKAKU SKK 89007W | 伊藤义彦 | SHIKAKU SKK 89007W | 이토 요시히코 | SHIKAKU SKK 89007W | 1989（1990 print） | 2019/06/04 | 2019/08/18 | |
| 9 | ITO, Yoshihiko | SHIKAKU SKK 89009W | 伊藤义彦 | SHIKAKU SKK 89009W | 이토 요시히코 | SHIKAKU SKK 89009W | 1989（1990 print） | 2019/06/04 | 2019/08/18 | |
| 9 | ITO, Yoshihiko | SHIKAKU SKK 91010W | 伊藤义彦 | SHIKAKU SKK 91010W | 이토 요시히코 | SHIKAKU SKK 91010W | 1991（1993 print） | 2019/06/04 | 2019/08/18 | |
| 9 | ITO, Yoshihiko | SHIKAKU SKK 91012W | 伊藤义彦 | SHIKAKU SKK 91012W | 이토 요시히코 | SHIKAKU SKK 91012W | 1991（1993 print） | 2019/06/04 | 2019/08/18 | |
| 9 | ITO, Yoshihiko | SHIKAKU SKK 91037W | 伊藤义彦 | SHIKAKU SKK 91037W | 이토 요시히코 | SHIKAKU SKK 91037W | 1991（1993 print） | 2019/06/04 | 2019/08/18 | |
| 9 | FURUYA, Seiichi | Suruga Bay 1978 from Portrait of Christine | 古屋诚一 | “克里斯蒂娜的肖像”之 骏河湾 1978 | 후루야 세이이치 | 「크리스티네의 초상」 중, 스루가만 1978 | 1978（1997 print） | 2019/08/20 | 2019/10/20 | |
| 9 | FURUYA, Seiichi | Ugusu 1978 from Portrait of Christine | 古屋诚一 | “克里斯蒂娜的肖像”之 宇久须 1978 | 후루야 세이이치 | 「크리스티네의 초상」 중, 우구스 1978 | 1978（1997 print） | 2019/08/20 | 2019/10/20 | |
| 9 | FURUYA, Seiichi | Graz 1978 from Portrait of Christine | 古屋诚一 | “克里斯蒂娜的肖像”之 格拉茨 1978 | 후루야 세이이치 | 「크리스티네의 초상」 중, 그라츠 1978 | 1978（1997 print） | 2019/08/20 | 2019/10/20 | |
| 9 | FURUYA, Seiichi | Boblingen 1978 from Portrait of Christine | 古屋诚一 | “克里斯蒂娜的肖像”之 伯布林根 1978 | 후루야 세이이치 | 「크리스티네의 초상」 중, 뵈블링엔 1978 | 1978（1997 print） | 2019/08/20 | 2019/10/20 | |
| 9 | FURUYA, Seiichi | Graz 1978 from Portrait of Christine | 古屋诚一 | “克里斯蒂娜的肖像”之 格拉茨 1978 | 후루야 세이이치 | 「크리스티네의 초상」 중, 그라츠 1978 | 1978（1997 print） | 2019/08/20 | 2019/10/20 | |
| 9 | FURUYA, Seiichi | Graz 1978 from Portrait of Christine | 古屋诚一 | “克里斯蒂娜的肖像”之 格拉茨 1978 | 후루야 세이이치 | 「크리스티네의 초상」 중, 그라츠 1978 | 1978（1997 print） | 2019/08/20 | 2019/10/20 | |
| 9 | FURUYA, Seiichi | Gussing 1979 from Portrait of Christine | 古屋诚一 | “克里斯蒂娜的肖像”之 古辛 1979 | 후루야 세이이치 | 「크리스티네의 초상」 중, 귀싱 1979 | 1979（1997 print） | 2019/08/20 | 2019/10/20 | |
| 9 | FURUYA, Seiichi | Graz 1979 from Portrait of Christine | 古屋诚一 | “克里斯蒂娜的肖像”之 格拉茨 1979 | 후루야 세이이치 | 「크리스티네의 초상」 중, 그라츠 1979 | 1979（1997 print） | 2019/08/20 | 2019/10/20 | |
| 9 | FURUYA, Seiichi | Graz 1980 from Portrait of Christine | 古屋诚一 | “克里斯蒂娜的肖像”之 格拉茨 1980 | 후루야 세이이치 | 「크리스티네의 초상」 중, 그라츠 1980 | 1980（1997 print） | 2019/08/20 | 2019/10/20 | |
| 9 | FURUYA, Seiichi | Wien 1980 from Portrait of Christine | 古屋诚一 | “克里斯蒂娜的肖像”之 维也纳 1980 | 후루야 세이이치 | 「크리스티네의 초상」 중, 빈 1980 | 1980（1997 print） | 2019/08/20 | 2019/10/20 | |
| 9 | FURUYA, Seiichi | Mitterlassnitz 1980 from Portrait of Christine | 古屋诚一 | “克里斯蒂娜的肖像”之 米特拉斯尼 1980 | 후루야 세이이치 | 「크리스티네의 초상」 중, 미타라스니츠 1980 | 1980（1997 print） | 2019/08/20 | 2019/10/20 | |
| 9 | FURUYA, Seiichi | Graz 1981 from Portrait of Christine | 古屋诚一 | “克里斯蒂娜的肖像”之 格拉茨 1981 | 후루야 세이이치 | 「크리스티네의 초상」 중, 그라츠 1981 | 1981（1997 print） | 2019/08/20 | 2019/10/20 | |
| 9 | FURUYA, Seiichi | Schattendorf 1981 from Portrait of Christine | 古屋诚一 | “克里斯蒂娜的肖像”之 沙滕多夫 1981 | 후루야 세이이치 | 「크리스티네의 초상」 중, 샤텐도르프 1981 | 1981（1997 print） | 2019/08/20 | 2019/10/20 | |
| 9 | FURUYA, Seiichi | Graz 1982 from Portrait of Christine | 古屋诚一 | “克里斯蒂娜的肖像”之 格拉茨 1982 | 후루야 세이이치 | 「크리스티네의 초상」 중, 그라츠 1982 | 1981（1997 print） | 2019/08/20 | 2019/10/20 | |
| 9 | FURUYA, Seiichi | Wien 1982 from Portrait of Christine | 古屋诚一 | “克里斯蒂娜的肖像”之 维也纳 1982 | 후루야 세이이치 | 「크리스티네의 초상」 중, 빈 1982 | 1982（1997 print） | 2019/08/20 | 2019/10/20 | |
| 9 | FURUYA, Seiichi | Wien 1982 from Portrait of Christine | 古屋诚一 | “克里斯蒂娜的肖像”之 维也纳 1982 | 후루야 세이이치 | 「크리스티네의 초상」 중, 빈 1982 | 1982（1997 print） | 2019/08/20 | 2019/10/20 | |
| 9 | FURUYA, Seiichi | Graz 1983 from Portrait of Christine | 古屋诚一 | “克里斯蒂娜的肖像”之 格拉茨 1983 | 후루야 세이이치 | 「크리스티네의 초상」 중, 그라츠 1983 | 1983（1997 print） | 2019/08/20 | 2019/10/20 | |
| 9 | FURUYA, Seiichi | Wien 1983 from Portrait of Christine | 古屋诚一 | “克里斯蒂娜的肖像”之 维也纳 1983 | 후루야 세이이치 | 「크리스티네의 초상」 중, 빈 1983 | 1983（1997 print） | 2019/08/20 | 2019/10/20 | |
| 9 | FURUYA, Seiichi | Wien 1983 from Portrait of Christine | 古屋诚一 | “克里斯蒂娜的肖像”之 维也纳 1983 | 후루야 세이이치 | 「크리스티네의 초상」 중, 빈 1983 | 1983（1997 print） | 2019/08/20 | 2019/10/20 | |
| 9 | FURUYA, Seiichi | Berlin-Ost 1985 from Portrait of Christine | 古屋诚一 | “克里斯蒂娜的肖像”之 东柏林 1985 | 후루야 세이이치 | 「크리스티네의 초상」 중, 동베를린 1985 | 1985（1997 print） | 2019/08/20 | 2019/10/20 | |
| 9 | FURUYA, Seiichi | Venezia 1985 from Portrait of Christine | 古屋诚一 | “克里斯蒂娜的肖像”之 威尼斯 1985 | 후루야 세이이치 | 「크리스티네의 초상」 중, 베네치아 1985 | 1985（1997 print） | 2019/08/20 | 2019/10/20 | |
| 10 | SHIMOMURA, Kanzan | Pumpkin Patch | 下村观山 | 南瓜田 | 시모무라 간잔 | 호박밭 | c.1910 | 2019/06/04 | 2019/08/18 | |
| 10 | 0026 | TSUCHIDA, Bakusen | Serving Girl in a Spa | 土田麦僊 | 澡堂侍女 | 쓰치다 바쿠센 | 온천에서 일하는 여자 | 1918 | 2019/06/04 | 2019/08/18 |
| 10 | KONDO, Koichiro | Cormorants Bathing, Fishing with Cormorants | 近藤浩一路 | 鸬鹚捕鱼六题（浴泉） | 곤도 고이치로 | 가마우지 낚시 六題(멱 감기) | 1923 | 2019/06/04 | 2019/08/18 | |
| 10 | KONDO, Koichiro | Bonfires, Fishing with Cormorants | 近藤浩一路 | 鸬鹚捕鱼六题（黄昏） | 곤도 고이치로 | 가마우지 낚시 六題(황혼 불) | 1923 | 2019/06/04 | 2019/08/18 | |
| 10 | KONDO, Koichiro | Evening Cool, Fishing with Cormorants | 近藤浩一路 | 鸬鹚捕鱼六题（夜凉） | 곤도 고이치로 | 가마우지 낚시 六題(식은 밤) | 1923 | 2019/06/04 | 2019/08/18 | |
| 10 | KONDO, Koichiro | Swift Current, Fishing with Cormorants | 近藤浩一路 | 鸬鹚捕鱼六题（飞汀） | 곤도 고이치로 | 가마우지 낚시 六題(거친 물) | 1923 | 2019/06/04 | 2019/08/18 | |
| 10 | KONDO, Koichiro | Slack Water, Fishing with Cormorants | 近藤浩一路 | 鸬鹚捕鱼六题（深潭） | 곤도 고이치로 | 가마우지 낚시 六題(깊은 못) | 1923 | 2019/06/04 | 2019/08/18 | |
| 10 | KONDO, Koichiro | Fire after Fishing, Fishing with Cormorants | 近藤浩一路 | 鸬鹚捕鱼六题（残燋） | 곤도 고이치로 | 가마우지 낚시 六題(타는 재) | 1923 | 2019/06/04 | 2019/08/18 | |
| 10 | HAYAMI, Gyoshu | Houses in Kyoto, Houses in Nara | 速水御舟 | 京都房子·奈良房子 | 하야미 교슈 | 교토의 집, 나라의 집 | 1927 | 2019/06/04 | 2019/08/18 | |
| 10 | YASUDA, Yukihiko | Injured Yamatotakeru at the Spring | 安田靫彦 | 居醒泉 | 야스다 유키히코 | 거성천 | 1928 | 2019/06/04 | 2019/08/18 | |
| 10 | KITANO, Tsunetomi | For Fun | 北野恒富 | 嬉戏 | 기타노 쓰네토미 | 장난 | 1929 | 2019/06/04 | 2019/08/18 | |
| 10 | MITANI, Toshiko | Evening | 三谷十糸子 | 傍晚 | 미타니 도시코 | 저녁 | 1934 | 2019/06/04 | 2019/08/18 | |
| 10 | NAKAMURA, Gakuryo | A Pretty Bank of Clouds | 中村岳陵 | 丰幡云 | 나카무라 가쿠료 | 아름다운 깃발 구름 | 1936 | 2019/06/04 | 2019/08/18 | |
| 10 | KIKUCHI, Keigetsu | Winnowing Wheat | 菊池契月 | 筛麦 | 기쿠치 게이게쓰 | 보리 키 | 1937 | 2019/06/04 | 2019/08/18 | |
| 10 | KAWAI, Kenji | Misty Rain | 河合健二 | 雾雨 | 가와이 겐지 | 안개비 | 1947 | 2019/06/04 | 2019/08/18 | |
| 10 | NAKAMURA, Teii | Cool and Refreshing | 中村贞以 | 爽凉 | 나카무라 데이이 | 상량(爽凉) | 1956 | 2019/06/04 | 2019/08/18 | |
| 10 | 0073 | TOKUOKA, Shinsen | Fawn | 德冈神泉 | 小鹿 | 도쿠오카 신센 | 아기 사슴 | 1961 | 2019/06/04 | 2019/08/18 |
| 10 | 0018 | TSUCHIDA, Bakusen | Island Women | 土田麦僊 | 岛上的女子 | 쓰치다 바쿠센 | 섬 여인 | 1912 | 2019/08/20 | 2019/10/20 |
| 10 | KAWABATA, Ryushi | Stealing | 川端龙子 | 盗心 | 가와바타 류시 | 도심(盜心) | 1923 | 2019/08/20 | 2019/10/20 | |
| 10 | 0047 | KAWABATA, Ryushi | Flaming Grass | 川端龙子 | 草炎 | 가와바타 류시 | 초염(草炎) | 1930 | 2019/08/20 | 2019/10/20 |
| 10 | YOKOYAMA, Taikan | White-Flowered Gourd | 横山大观 | 夕颜 | 요코야마 다이칸 | 박꽃 | 1929 | 2019/08/20 | 2019/10/20 | |
| 10 | HAYAMI, Gyoshu | White Lily | 速水御舟 | 白百合 | 하야미 교슈 | 흰 백합 | 1931 | 2019/08/20 | 2019/10/20 | |
| 10 | HAYAMI, Gyoshu | Japanese Morning Glories | 速水御舟 | 拂晓花开 | 하야미 교슈 | 동틀 녘 피는 꽃 | 1934 | 2019/08/20 | 2019/10/20 | |
| 10 | ITO, Shinsui | Dewdrops | 伊东深水 | 露水 | 이토 신스이 | 이슬 | 1931 | 2019/08/20 | 2019/10/20 | |
| 10 | KOBAYASHI, Kokei | Indian Corn Plants | 小林古径 | 玉米 | 고바야시 고케이 | 옥수수 | 1939 | 2019/08/20 | 2019/10/20 | |
| 10 | YOSHIOKA, Kenji | Persimmon | 吉冈坚二 | 柿 | 요시오카 겐지 | 감 | 1948 | 2019/08/20 | 2019/10/20 | |
| 10 | YAMAGUCHI, Hoshun | Autumn | 山口蓬春 | 秋 | 야마구치 호슌 | 가을 | 1961 | 2019/08/20 | 2019/10/20 | |
| 10 | SUGIYAMA, Yasushi | Heaven | 杉山宁 | 穹 | 스기야마 야스시 | 궁창 | 1964 | 2019/08/20 | 2019/10/20 | |
| 10 | TAKAYAMA, Tatsuo | Heaven | 高山辰雄 | 穹 | 다카야마 다쓰오 | 궁창 | 1964 | 2019/08/20 | 2019/10/20 | |
| 10 | YAMAGUCHI, Kayo | Deer in Tobihino | 山口华杨 | 奈良飞火野 | 야마구치 가요 | 도비히노 | 1965 | 2019/08/20 | 2019/10/20 | |
| 10 | MORITA, Kohei | Cricket’s Song | 森田旷平 | 虫鸣比赛 | 모리타 고헤이 | 벌레 놀이 | 1966 | 2019/08/20 | 2019/10/20 | |
| 10 | HIGASHIYAMA, Kaii | Bamboo Grove in Moonlight | 东山魁夷 | 月篁 | 히가시야마 가이이 | 달빛 대숲 | 1967 | 2019/08/20 | 2019/10/20 | |
| 10 | NAKAMURA, Teii | Incense Ceremony | 中村贞以 | 闻香 | 나카무라 데이이 | 향을 맡다 | 1968 | 2019/08/20 | 2019/10/20 | |
| 10 | SHOJI, Fuku | Earth | 荘司福 | 土 | 쇼지 후쿠 | 흙 | 1982 | 2019/08/20 | 2019/10/20 | |
| 3F | MORI, Bushiro | Work | 毛利武士郎 | 作品 | 모리 부시로 | 작품 | 1956 | 2019/06/04 | 2019/10/20 | |
| 3F | YANAGIHARA, Yoshitatsu | Crow in the Wind | 柳原义达 | 风中之鸦 | 야나기하라 요시타쓰 | 바람 속 까마귀 | 1982 | 2019/06/04 | 2019/10/20 | |
| 11 | IMAMURA, Shiko | Copy after Ban Dainagon Ekotoba (1) | 今村紫红 | 绘卷物临摹 伴大纳言绘卷（其一） | 이마무라 시코 | 두루마리 그림 모사, 반다이나곤 1 | c.1899 | 2019/06/04 | 2019/08/18 | |
| 11 | IMAMURA, Shiko | Copy after Ban Dainagon Ekotoba (2) | 今村紫红 | 绘卷物临摹 伴大纳言绘卷（其二） | 이마무라 시코 | 두루마리 그림 모사, 반다이나곤 2 | c.1899 | 2019/06/04 | 2019/08/18 | |
| 11 | MAEDA, Seison | Scroll of the Myth Umisachi-Yamasachi | 前田青村 | 神代之卷 | 마에다 세이손 | 신화 두루마리 그림 | 1924 | 2019/06/04 | 2019/08/18 | |
| 11 | IMAMURA, Shiko | Copy after Kasuga Gongen Genki E (1) | 今村紫红 | 绘卷物临摹 春日权现记（其一） | 이마무라 시코 | 두루마리 그림 모사, 가스가곤겐 이야기 1 | n.d. | 2019/08/20 | 2019/10/20 | |
| 11 | 0011 | HISHIDA, Shunso | Landscape of the Four Seasons | 菱田春草 | 四季山水 | 히시다 슌소 | 사계산수 | 1910 | 2019/08/20 | 2019/10/20 |
| 11 | 0045 | KAWABATA, Ryushi | Scroll of Bullfight | 川端龙子 | 斗牛之卷（越后二十村活动） | 가와바타 류시 | 뿔싸움 두루마리 그림(에치고 니주무라 지역 행사) | 1922 | 2019/08/20 | 2019/10/20 |
| 11 | OKAZAKI, Kazuo | Dokuro | 冈崎和郎 | 骷髅 | 오카자키 가즈오 | 해골 | 1962 | 2019/06/04 | 2019/10/20 | |
| 11 | OKAZAKI, Kazuo | Topological Gloves | 冈崎和郎 | 拓扑手套 | 오카자키 가즈오 | 위상적 장갑 | 1965 | 2019/06/04 | 2019/10/20 | |
| 11 | OKAZAKI, Kazuo | Tabi | 冈崎和郎 | 足袋 | 오카자키 가즈오 | 다비(足袋) | 1965 | 2019/06/04 | 2019/10/20 | |
| 11 | YOKOYAMA, Yuichi | Outdoor | 横山裕一 | 户外 | 요코야마 유이치 | 아웃도어 | 2008-09 | 2019/06/04 | 2019/10/20 | |
| 11 | ITO, Yoshihiko | Funeral 77 | 伊藤义彦 | 送殡行列77 | 이토 요시히코 | 장례 77 | 2002 | 2019/06/04 | 2019/08/18 | |
| 11 | ITO, Yoshihiko | Park-III | 伊藤义彦 | 公园-III | 이토 요시히코 | 공원−III | 1999-2000 | 2019/06/04 | 2019/08/18 | |
| 11 | ITO, Yoshihiko | Corridor | 伊藤义彦 | 回廊 | 이토 요시히코 | 회랑 | 2000 | 2019/08/20 | 2019/10/20 | |
| 11 | ITO, Yoshihiko | Trot-II | 伊藤义彦 | 步趋−II | 이토 요시히코 | 속보-II | 1999 | 2019/08/20 | 2019/10/20 | |
| 12 | YOSHIKAWA, Shizuko | color shadow | 吉川静子 | 色影 | 요시카와 시즈코 | 색영(色影) | 1979 | 2019/06/04 | 2019/10/20 | |
| 12 | OHTAKE, Shinro | Retina (Wire Horizon, Tangier) | 大竹伸朗 | 网膜（钢丝水平线、丹吉儿） | 오타케 신로 | 망막(철조망 지평선, 탕헤르) | 1990-93 | 2019/06/04 | 2019/10/20 | |
| 12 | KOBAYASHI, Masato | Unnamed #7 | 小林正人 | Unnamed #7 | 고바야시 마사토 | Unnamed #7 | 1997 | 2019/06/04 | 2019/10/20 | |
| 12 | SUGITO, Hiroshi | the secret tower | 杉户洋 | the secret tower | 스기토 히로시 | the secret tower | 1998 | 2019/06/04 | 2019/10/20 | |
| 12 | ISHIKAWA, Yukie | Impermanence: Ｓｅｉｊｙｏ | 石川顺惠 | Impermanence 青女 | 이시카와 유키에 | Impermanence 青女 | 2014 | 2019/06/04 | 2019/10/20 | |
| 12 | Daniel Buren | A Frame in a Frame in a Frame No.43 Midori | 丹尼尔·布伦 | 框中框中框 No.43 Midori | 다니엘 뷔랑 | 프레임 속 프레임 속 프레임 No. 43 미도리 | 1988 | 2019/06/04 | 2019/10/20 | |
| 12 | David Smith | Circle IV | 大卫·史密斯 | 圆 IV | 데이비드 스미스 | 서클 IV | 1962 | 2019/06/04 | 2019/10/20 | |
| 12 | Anthony Caro | Lap | 安东尼·卡罗 | Lap | 앤서니 카로 | Lap | 1969 | 2019/06/04 | 2019/10/20 | |
| 12 | TAKAYANAGI, Eri | Pocket-gauze | 高柳惠里 | 袖珍纱布 | 다카야나기 에리 | 포켓의 가제 수건 | 1998 | 2019/06/04 | 2019/10/20 | |
| 12 | TAKAYANAGI, Eri | How to Fold a T-shirt | 高柳惠里 | T恤的叠法 | 다카야나기 에리 | T셔츠 개는 법 | 2000 | 2019/06/04 | 2019/10/20 | |
| 12 | TAKAYANAGI, Eri | Book Holder (Hardcover Size) | 高柳惠里 | 读书架（单行本大小） | 다카야나기 에리 | 북홀더(단행본 사이즈) | 2000 | 2019/06/04 | 2019/10/20 | |
| 12 | MATSUTANI, Takesada | Object K | 松谷武判 | 物体K | 마쓰타니 다케사다 | 오브제 K | 1976 | 2019/06/04 | 2019/10/20 | |
| 12 | TAKAYANAGI, Eri | Side or Front (Mt. Tateshina) | 高柳惠里 | 侧面或正面（蓼科山） | 다카야나기 에리 | 측면 혹은 정면(다테시나 산) | 2011 | 2019/06/04 | 2019/10/20 | |
| 12 | HARUKI, Maiko | outer portrait (1) | 春木麻衣子 | outer portrait (1) | 하루키 마이코 | outer portrait (1) | 2009 | 2019/06/04 | 2019/10/20 | |
| 12 | HARUKI, Maiko | outer portrait (2) | 春木麻衣子 | outer portrait (2) | 하루키 마이코 | outer portrait (2) | 2009 | 2019/06/04 | 2019/10/20 | |
| 12 | HARUKI, Maiko | outer portrait (3) | 春木麻衣子 | outer portrait (3) | 하루키 마이코 | outer portrait (3) | 2009 | 2019/06/04 | 2019/10/20 | |
| 12 | HARUKI, Maiko | outer portrait (4) | 春木麻衣子 | outer portrait (4) | 하루키 마이코 | outer portrait (4) | 2009 | 2019/06/04 | 2019/10/20 | |
| 2F | TANAKA, Koki | A Project, Seven Boxes and Movements at the Museum | 田中功起 | 一个项目、七个盒子和行为、在美术馆 | 다나카 고키 | 하나의 프로젝트, 일곱 개의 상자와 행위, 미술관에서 | 2012 | 2019/06/04 | 2019/10/20 | |
| 2F | 0090 | Antony Gormley | Reflection | 安东尼·戈姆雷 | 反映/思索 | 안토니 곰리 | 반영/사색 | 2001 | 2019/06/04 | 2019/10/20 |
| 2F | Julian Opie | Matsuzaki Bay in the Rain from Route 136. From Eight Views of Japan. | 朱利安·奥培 | 《日本八景》之 从国道一百三十六号线看雨中的松崎港 | 줄리언 오피 | 《일본 팔경》 중, 국도 136호선에서 본 비오는 마쓰자키 항구 | 2007 | 2019/06/04 | 2019/10/20 | |
| 2F | Julian Opie | Moon Over Manazuru Peninsula. From Eight Views of Japan. | 朱利安·奥培 | 《日本八景》之 真鹤半岛上的月亮 | 줄리언 오피 | 《일본 팔경》 중, 마나즈루반도 위에 뜬 달 | 2007 | 2019/06/04 | 2019/10/20 | |
| 2F | Julian Opie | View of Lake Motosu and Mount Fuji from Route 300. From Eight Views of Japan. | 朱利安·奥培 | 《日本八景》之 从国道三百号线看本栖湖的富士山 | 줄리언 오피 | 《일본 팔경》 중, 국도 300호선에서 본 모토스 호수와 후지산 | 2007 | 2019/06/04 | 2019/10/20 | |
| terrace | 0084 | Isamu Noguchi | Gate | 野口勇 | 门 | 이사무 노구치 | 문 | 1969 | 2019/06/04 | 2019/10/20 |
| outside | TADA, Minami | Chiaroscuro | 多田美波 | Chiaroscuro | 다다 미나미 | Chiaroscuro | 1979 | 2019/06/04 | 2019/10/20 | |
| 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 | 2019/06/04 | 2019/10/20 | |
| outside | KIMURA, Kentaro | Seven Prayers | 木村贤太郎 | 七个祈祷 | 기무라 겐타로 | 일곱 개의 기원 | 1969 | 2019/06/04 | 2019/10/20 |
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)
- Wada Sanzo, South Wind , 1907
- Tsuchida, Bakusen, Serving Girl in a Spa , 1918 (Exhibit Date: June 4 – August 18, 2019）
- Nakamura Tsune, Portrait of Vasilii Yaroshenko, 1920
- 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
Room 1 Highlights
The MOMAT Collection, drawn from the museum’s holdings, consists of over 200 works displayed over a 3,000-square meter area. To start off the exhibition, we present the “Highlights” section, consisting of some of the collection’s most essential works, including Important Cultural Properties. For the walls of this newly established space (part of a 2012 effort to renovate the collection galleries), we have selected navy blue to create a more beautiful contrast with the works. And to eliminate the glare of glass cases, we have chosen matte black for the floor.
This time, during the first term of the collection exhibition (June 4–August 18), we present Nihon-ga (modern Japanese-style painting) including Kikuchi Keigetsu’s Dedicating Lanterns, which depicts a scene from The Tale of the Heike. In the second term (August 20–October 20), the changing seasons will be conveyed by Shimomura Kanzan’s Autumn Among Trees and Kayama Matazo’s The Milky Way.
Yo-ga (Japanese Western-style painting) on view includes Harada Naojiro’s Kannon Bodhisattva Riding the Dragon and Nakamura Tsune’s Portrait of Vasilii Yaroshenko, both Important Cultural Properties, as well as works that have returned to the museum after being on loan to other museums or overseas, such as Five Nudes by Fujita Tsuguharu and Portrait of Kishida Kunio by Hasekawa Toshiyuki. Also, please enjoy the works of European artists who influenced Japanese art, including Henri Rousseau and Paul Klee.
Room 2 Before the Beginning
Following the inauguration of the Meiji government in 1868, Japan established a variety of cultural concepts and systems that were based on a Western model. It was during this period that painting also came to be divided into two categories. The term “yo-ga” (Western-style painting) was used to refer to oil painting, which had its roots in the West, while “Nihon-ga” (Japanese-style painting) denoted any painting that made use of time-honored and traditional Japanese techniques. This genre division was further reinforced at a government level with the opening in 1907 of the Bunten exhibition, an annual event sponsored by the Ministry of Education that consisted of three divisions: Western-style painting, Japanese-style painting, and sculpture. Some view the inception of the Bunten exhibition as the dawn of modern art in Japan, but of course painting and sculpture from before that time exist, and are in the museum’s collection. This room presents works that, with the exception of one yo-ga and one Nihon-ga shown in the exhibition, were made before the exhibition was launched. Starting with this glimpse of what came before “the beginning,” we hope you enjoy these works from the MOMAT Collection (incidentally, it was not until 1927 that a Crafts category was added to the Bunten. This MOMAT Collection exhibition features crafts as well, and the relationship between fine art and crafts is something to think about as you view the works.)
Room 3 Shirakaba
Enormously influential in the Japanese art world during the Taisho era (1912–1926), Shirakaba [white birch] was a literary magazine established in 1910 by Mushanokoji Saneatsu, Shiga Naoya, Arishima Ikuma, Yanagi Muneyoshi and others (releasing 160 issues before it ceased publication due to the Great Kanto Earthquake of 1923). It dealt not only with literature but also with various fields such as art, music, theater, and philosophy, based on values like individualism and veneration of life that thrived in the environment of “Taisho democracy.” Each issue of Shirakaba included reproductions of works by overseas artists, such as Paul Cézanne, Auguste Rodin and Vincent van Gogh, which had a great impact on young Japanese artists. The group that published the magazine was also active in arranging exhibitions of European art and solo shows of such young artists as Kishida Ryusei and Umehara Ryuzaburo. The group also had the never-realized dream of opening their ideal museum, the Shirakaba Museum, and in pursuit of this ground-breaking effort, actually assembled a collection of works (including Vincent van Gogh’s Sunflowers, one of his best-known paintings, which was purchased by businessman Yamamoto Koyata for the Shirakaba Museum but tragically destroyed during World War II.)
Room 4 Bokuto Kidan
(Exhibit Date: June 4 – August 18, 2019）
The aging novelist Oe Tadasu has gone to Tamanoi, a red-light district in the suburbs of Tokyo, in search of a good time. Rain begins to fall, and an unlicensed prostitute named Oyuki crashes into Oe’s umbrella. A relationship gradually develops between the two, but then Oe suddenly disappears. This is the basic plot of Nagai Kafu’s novel Bokuto Kidan (A Strange Tale from East of the River). The book was originally serialized in both the Tokyo and Osaka editions of the Asahi Shimbun newspaper from April to June 1937, with the illustrations by Kimura Shohachi exhibited here. It was thanks in part to Kimura’s illustrations that the book became one of Kafu’s most popular.
“Bokuto” refers to the area on the east bank of the Sumida River, today part of Tokyo’s Sumida Ward. Tamanoi (formerly known as Terajima-machi) was a district home to so-called meishuya (sake houses), which were ostensibly drinking establishments serving high-quality sake, but covertly functioned as brothels where unlicensed prostitutes worked. They were originally clustered in Asakusa, but from 1918 through the period following the 1923 Great Kanto Earthquake, they progressively moved to the vicinity of Tamanoi Station (present-day Higashi-Mukojima Station on the Tobu Isesaki Line). The meishuya of Tamanoi flourished during the years leading up to and during World War II, but they were virtually wiped out by the 1945 air raids on Tokyo, and no trace of them remains today.
Room 5 Art of the 1920 and 1930s: Light and Dark Sides of Modernism and Urbanization
In Europe during the period between the two world wars, roughly coinciding with the 1920s and 1930s, there was a flourishing of various artistic styles in which freedom of thought and the artist’s individuality took center stage, transcending the bounds of, and at times dramatically shattering, the traditions of naturalistic and realistic painting and sculpture so as to create something new. Movements of the day such as abstraction, revealing the dismantling and reconstruction of objects reduced to formal elements such as lines and planes, were progressively introduced to Japan and were hugely influential. Also, after the end of World War I in 1918, many Japanese artists have traveled to Europe and had the opportunity to engage with European artistic trends, which encouraged the rapid diversification of Japanese art.
However, this was also a time when urbanization and industrialization were causing widening financial and class inequality, and social disparities between urban and rural areas were expanding. Artists turned a critical gaze on the paradoxes and problems of society, and depicted subjects such as desolate street corners and people living in poverty. The works of Kuniyoshi Yasuo and Noda Hideo, who traveled to the United States in order to make a living, reflect the state of American society around the dawn of the Great Depression (1929).
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 / War: 1941-1945
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, leading exhibitions to be banned and art groups dissolved.
The works assembled in this room were created between 1941 (the year of the attack on Pearl Harbor) and 1945 (the end of World War II), a period in which war conditions were becoming increasingly severe. The war-record paintings express a direct link between war and art in an easily understandable manner. Other works, which remained firmly grounded in a given style, seem to have largely escaped the influence of the war. Still other works seem to indirectly convey a sense of discomfort regarding the war. It would be inappropriate to divide works of the era into those that represent art and those that represent the war, or those that express support or opposition to the conflict. All of them contain aspects of war and art, and the fact that we are confronted with both of these elements is what makes them so difficult to look at.
Room 7 The 1950s and 1960s: The Essence of Japan Unearthed?
Art of the 1950s featured many forms reminiscent of archaeological artifacts such as haniwa clay images and dogu figurines. After World War II, direct interactions with the West resumed, including Isamu Noguchi’s visit to Japan in 1950 and a Picasso exhibition the following year. Today’s Focus: On the History of Japanese Art (1954) sought to connect East and West, ancient and modern, drawing hints from morphological similarities between Western modernism and Japanese ancient art. Many artists noted that the bold, simple and concise forms of artifacts excavated in Japan had similarities with abstract art. Isamu Noguchi and Okamoto Taro saw in them “primal beauty,” and around this time artifacts that had been regarded as mere archaeological “materials” came to be discussed in terms of their aesthetic qualities.
This also relates to the state of Japan in defeat, much of its urban landscape having been decimated, and excavation sites appearing everywhere during widespread reconstruction. While the Imperial, mythological view of history described in the nation’s creation myths was censored under Allied occupation, the unearthing of artifacts that told the true story of Japan’s origins drew new attention and acclaim.
Room 8 The 1950s and 1960s: Unearthing the Past, Constructing the Future
The postwar craze for all things ancient was related to rapid, widespread construction of roads and residential areas. Ahead of the Tokyo Olympics in 1964, there was massive demand for urban infrastructure development, such as the Shinkansen (bullet train) and the Shuto Expressway in Tokyo, leading to excavation of many archaeological sites throughout Japan. Passion for ancient times and modern economic growth, excavation and destruction: these seemingly contradictory phenomena were inextricably linked.
In the late 1950s and 1960s, people actively sought the essence of Japanese things and traditions, but there were complex motives that cannot be reduced to an innate drive to revitalize national identity. Comprehensive National Land Development Law, enacted in 1950, promoted the use of land and resources to build a self-sustaining economy, and the development of tourist-oriented roads was an important pillar of this strategy. The Japanese economy, which had to support a large population occupying a small land area with few resources, had depleted its reserves over long years of war. Ruins in various parts of Japan were maintained, restored and turned into tourist attractions partly because they were a crucial means of attracting foreign spending.
During these years, when dirt roads all over Japan were being paved with asphalt, artists frequently expressed in their works a simultaneous mourning for the lost Japan of the past and amazement at the new landscape emerging around them.
Room 9 – 1 Temporal Arrays: The Works of Ito Yoshihiko (Exhibit Date: June 4 – August 18, 2019）
When film negatives are placed on photo paper and printed at actual size, the result is called a “contact sheet.” When large-format film is used, the contact sheet can be appreciated as a work of art in its own right, but with small 35mm film, contact sheets are generally only used as a reference to decide which frames to enlarge. However, Ito Yoshihiko exhibited contact sheets, each containing a roll of 35mm film frames in the order they were shot, as finished works of art.
When the images, in the order they were shot, are arranged in a grid on a single picture plane, new vertical, horizontal, and diagonal relationships among frames emerge. While moving pictures replicate temporal sequences through continuous playback of continuously shot frames, Ito’s work can be seen as a completely different approach to conveying the passage of time.
What happens when an artist closely observes something happening over the course of time, and arranges the sequence on a single picture plane? In Room 11 on the 2nd floor are exhibited works that also address this issue, using a different approach from that of contact sheets.
Room 9 – 2 Furuya Seiichi Portrait of Christine (Exhibit Date: August 20 – October 20, 2019）
Furuya Seiichi’s Portrait of Christine portrays a woman, the artist’s wife. He began the photo series in 1978, when the two met and married, and continued shooting from time to time. However, the series was cut short when his wife Christine took her own life in East Berlin in 1985.
Perhaps because she had studied theater, Christine’s facial expressions in these photographs are astonishingly varied. However, she began suffering from mental illness around 1982, and this cast a deep shadow over her presence and seems to forecast tragedy to come.
Several years after his wife’s death, Furuya turned to the photographs he had taken, and started work on a series of photo books entitled Memoirs. The first volume was published in 1989. The fifth volume, regarded as the culmination of the series, was published in 2010.Compiling these collections of photos in different forms over the course of two decades was, as the title indicates, a process of remembering. Just as memories are always recalled from the perspective of the present and change accordingly, the meanings of photographs change with the passage of time. Furuya’s work seems to have been both a tracing and retracing of his wife’s memory, and a new encounter with an unknown person with each foray into the past.
Room 10 Nature, the Seasons, and Nihon-ga
(Exhibit Date: June 4 – August 18, 2019）
In this room we present a selection of works that convey the seasons progressing from early summer to autumn, in two parts, the first from June 4 to August 18 and the second from August 20 to October 20.
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.
Room to Consider the Building June 11, 1969
The National Museum of Modern Art, Tokyo opened in 1952 at a site in Kyobashi, Chuo-ku, where the National Film Archive of Japan stands today. The original building had been the headquarters of Nikkatsu Corporation before the war and was refurbished as a museum, but there was insufficient space for exhibition and storage, and the absence of a gallery for the permanent collection was a particularly significant issue. These challenges were overcome in 1969 when the museum relocated to a building newly constructed in Kitanomaru Park, Takebashi. The new building, designed by Taniguchi Yoshiro, was a gift from Ishibashi Shojiro, then the Chairman of Bridgestone Tire Co., Ltd.
The museum opened at its Takebashi location on June 11, 1969. As we mark its 50th anniversary during this year’s MOMAT Collection exhibition, we are pleased to present materials from that time. The building, completed in 1969, was expanded and its seismic resistance strengthened during two years of construction starting in 1999, but otherwise remains as it was 50 years ago.
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.
Emancipation of Humanity: Focusing on Works by Female Artists
Room 11 Still? Moving?
(Exhibit Date: August 20 – October 20, 2019）
Moving pictures are sequences of still pictures projected continuously. With more still images (frames) per second the image moves smoothly, and with fewer it moves jerkily. However, even when there are so few that the subject appears and disappears, the viewer’s mind connects the images and interprets them as movement. Iji dozu (lit. “different time, same image,” a technique of showing multiple images of the same figure on the same page), used in some picture scrolls, utilizes this human cognitive tendency to show action (although it is no longer in the realm of moving pictures.)
In some picture scrolls, the scene itself appears to move. If you view it in the manner originally intended, unrolling it with your left hand and rolling it up with your right, you can enjoy it like a film, and the higher the quality of the picture scroll, the more brilliant the “camerawork” appears to be. Such techniques of making still images appear to move were later developed further in manga.
In this room, we present works that can be viewed in this way. This special exhibit draws its title from the book 12th-Century Animation: Cinematic and Animation Effects in National Treasure Picture Scrolls by the late, great animation director Takahata Isao, whose retrospective exhibition will be held from July 2 to October 6 on the first floor of the museum.
Room 12 What is This?
In contemporary art it is important to question conventions and think outside the box, and a similar mentality has been taking root in the business world. However, in Japan there is a deeply entrenched attachment to “the way” (the -do in such traditions as judo and sado, the tea ceremony), and a tendency to encourage the asking of questions like “What is painting?” and “Who am I?” This seems to be one reason so many people in Japan call contemporary art “difficult to understand.” But of course, not all of contemporary art is rigid philosophical exploration. Here, we present works that take open, flexible thinking as a starting point, asking questions like “What happens if I mix painting and sculpture?” or “What if I apply aspects of Nihon-ga(Japanese-style painting) to oil painting?” The results of these explorations may prompt the viewer to ask, “Umm, what is this?” However, because these works are free from the usual constraints of art, they may actually be more accessible, resembling things we see in daily life.
Event
Let’s Talk Art!
Enjoy a cross-cultural conversation in English while exploring modern Japanese art.
pre-registration necessary
- Date
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Every Friday
- Time
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6:30PM–7:30PM (meeting time 6:15PM)
- Admission
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Fee (including museum admission)
Adult (18–64) 1,500 yen
Discount with ID below (Show your ID)
College student 1,250 yen
Senior (65+) or Minor (11–17) 1,000 yenTickets on the day
If there are any vacancies, tickets are available at the museum ticket office from 10:00 AM to 6:15 PM on the day. - Pre-registration
- This is an English conversation gallery program.
- For international visitors
- For people aged 11 or over
- Late comers can neither participate in the session nor get refunds.
About the Exhibition
- Location
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Collection Gallery, from the fourth to second floors
- Date
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June 4 -October 20, 2019
- Time
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10:00 – 17:00 (10:00 – 20:00 on Fridays and Saturdays)
open until 21:00 on Fridays and Saturdays during July 2 – October 6
*Last admission is 30 minutes before closing. - Closed
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※Closed on Mondays (except July 15, August 12, September 16, September 23, October 14), July 16, August 13, September 17, September 24, October 15, 2019
- 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
*Admission free for college and university students from 17:00 on Fridays and Saturdays between July 19 and October 6. - Free Admission Days
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Collection Gallery and Gallery 4
Free on the first Sunday of each month (July 7, August 4, September 1, October 6, 2019) - Organized by
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The National Museum of Modern Art, Tokyo