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Hashtag
#TokyoNationalMuseum
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Japanese artist Kuroda Seiki (黒田清輝) painted this work in 1893 after nearly a decade studying painting in France, where he absorbed Impressionist approaches to light and color. Returning home, he traveled to Kyoto (京都), where traditional neighborhoods, geisha culture, and local customs felt newly vivid after years abroad. These impressions inspired works such as “Maiko” which depicts a young apprentice geisha sits beside an open window overlooking the softly flowing Kamo River (鴨川) in Kyoto. She wears a richly patterned kimono layered with subtle tones that catch warm backlight entering from behind her. Her elaborate hairstyle, decorated with ornaments typical of a maiko, is outlined by the glow of daylight. The sitter is turned slightly toward another unseen figure, suggesting quiet conversation rather than a posed portrait. The textures of silk, hair, and wooden interior surfaces are rendered with careful observation. Outside the window, the river reflects the afternoon light in shimmering bands, giving the scene a calm rhythm. The figure’s composed posture and attentive expression suggest a moment of listening or reflection, capturing both the elegance and discipline associated with maiko training. The painting blends Western oil techniques of naturalistic light, atmospheric perspective, and subtle tonal modeling with distinctly Japanese subject matter. At the time, Japan was rapidly modernizing during the Meiji era, and Kuroda became a key figure introducing yōga, Western-style painting, into the Japanese art world. The maiko represents a living tradition of young women trained in classical dance, music, etiquette, and conversation within Kyoto’s old entertainment districts. Kuroda, saw these traditions through the eyes of someone who had spent years immersed in Western culture. The composition reflects this dual perspective as the river outside the window becomes a quiet metaphor: flowing steadily through the ancient city while the world around it changes.
“舞妓 (Maiko / Apprentice Geisha)” by 黒田清輝 / Kuroda Seiki (Japanese) – Oil on canvas / 1893 – Tokyo National Museum (Japan) #WomenInArt #KurodaSeiki #黒田清輝 #Kuroda #SeikiKuroda #洋画 #TokyoNationalMuseum #JapaneseArt #BlueskyArt #1890s #Maiko #舞妓 #東京国立博物館 #art #artText #artwork #東博 #JapaneseArtist #鴨川
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A single woman fills a vertical scroll, her body bent forward in a tight curve against a quiet, gray-beige ground. Her face is a pale, porcelain-toned complexion with heavy-lidded eyes cast downward, and a small mouth half-hidden by her own hair. One hand rises to her lips as she bites and tugs at a thick, disheveled lock like an anxious, self-soothing gesture that reads as pain. Her very long straight black hair pours over her shoulder like ink, contrasting with the light kimono that wraps her figure. Across the garment, delicate spiderweb lines spread and snag, while wisteria blossoms bloom in clusters of dense, tangled, and uneasy beauty. The robe’s patterns and the curve of her spine echo each other, making her torment feel physical, not abstract. A white ribbon loops above her head, and the collar opens to a dark, cool inner layer of greens and blues that feel like a shadow under the white cloth. Her sleeve hangs heavy, its edge lined with gold and muted color, while a small foot peeks from beneath the hem, grounding this supernatural story in a real body. All motion is contained in the sweep of hair and the tightening spiral of her stance. This is Lady Rokujō (六条御息所 / Rokujō no Miyasudokoro), a court woman from The Tale of Genji (源氏物語), imagined at the moment jealousy overwhelms her. Kyoto-born artist Uemura Shōen (上村松園) was celebrated for bijinga within nihonga, so this subject is a departure. The museum calls Rokujō “driven mad with jealousy,” and Shōen makes it bodily with a spine that folds and hair that becomes a tether. “Flames” are emotion inside the body like envy and grief compressing into silence. Spiderwebs suggest entrapment and wisteria, refinement turned invasive. In The Tale of Genji, Rokujō’s jealousy is said to manifest as a living spirit that harms a rival and here she remains dignified even as she unravels. Painted in 1918, it is among Shōen’s most psychologically intense works asking us to witness complicated emotion without moralizing it.
“焔 (Flames)” by Uemura Shōen / 上村松園 (Japanese) - Color on silk / 1918 - Tokyo National Museum (Japan) #WomenInArt #WomensArt #WomanArtist #WomenArtists #ShoenUemura #上村松園 #Uemura #TokyoNationalMuseum #東京国立博物館 #Nihonga #日本画 #TaleOfGenji #JapaneseArt #art #artText #JapaneseArtist #WomenPaintingWomen
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Handscrolls of Buddhist Hell (Jigoku zöshi) , illustrated handscroll (emaki), ink and colors on paper; Japan, 12th century (late Heian period). Collection: Tokyo National Museum.
Unroll the #Handscroll slowly—each scene a glimpse of #JigokuZōshi, where #karma carves its lessons & torment lingers in ink & color. The #emaki carries you through suffering, a journey of consequence, brushstroke by brushstroke.
#BuddhistHell #HeianPeriod #TokyoNationalMuseum #ArtHistory #Japan
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東京国立博物館
TOHAKU茶館
「ダブルローストほうじ茶ラテ」
東京国立博物館内 応挙館にあるTOHAKU茶館での昼食後、とても良い雰囲気だったのでお茶も頂きました。
濃厚なほうじ茶とミルクが2層になっています。
ほうじ茶の香ばしさとほど良い甘味が良いですね。
#東京国立博物館 #tokyonationalmuseum #運慶祈りの空間興福寺北円堂 #特別展運慶祈りの空間興福寺北円堂 #上野 #ueno #応挙館 #tohaku茶館 #ダブルローストほうじ茶ラテ #ほうじ茶ラテ
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That time at the Tokyo National Museum in Ueno Park #tokyonationalmuseum #uenopark #tokyo #jp #memories #2005 #bentsabout
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kodomoe編集部様から見本をいただきました。こちらは裏表紙。おかげさまで素敵な古代文明のずかん絵本が出来上がりました。関係各所の皆様や、東京国立博物館様、読者の皆様に感謝します。
#こだいのなぞとふしぎのずかん
#五十嵐美和子 #東京国立博物館 #kodomoe
#埴輪 #古墳 #縄文
#ピラミッド #スフィンクス #ツタンカーメン
#古代遺跡 #古代文明 #考古学 #絵本 #図鑑
#picturebook #archaeology
#TokyoNationalMuseum #tokyomuseums
#museum #art
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『こだいのなぞとふしぎのずかん』(五十嵐美和子 作/東京国立博物館 監修)7月7日発売です。ピラミッドやスフィンクス、ナスカの地上絵、ストーンヘンジ、古代文字や神話、縄文、埴輪や古墳など、世界遺跡をめぐる不思議と謎がいっぱいの旅をお楽しみください！
#こだいのなぞとふしぎのずかん
#五十嵐美和子 #東京国立博物館 #kodomoe
#埴輪 #古墳 #縄文 #ピラミッド #スフィンクス
#古代遺跡 #古代文明 #絵本 #図鑑
#picturebook #archaeology #museum #art
#TokyoNationalMuseum #tokyomuseums
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婦人肖像 isn't just a "Portrait of a Woman." It's a portrait of Kaneko Taneko (黒田清輝) who changed her name to Teruko (照子) and was the spouse of Japanese artist Kuroda Seiki (黒田清輝). Besides being the mature women looking at us from this portrait, she was also the sitter of Kuroda's most famous work, completed 15 years earlier in 1897, called 湖畔 (Lakeside). Against a reddish-brown background, Teruko is wearing a bluish-gray kimono with a subtle, light-colored swirling patterns. The kimono is meticulously detailed, showing the folds and textures of the fabric. A lighter gray obi (sash) is visible at her waist. The style of the kimono suggests a formal or semi-formal occasion. Her dark hair is styled in a traditional updo typical of Japanese hairstyles from that era. It's neatly arranged and pulled back from her face. Her skin tone is light, and her features are delicately rendered. Her expression is somewhat reserved, her gaze directed slightly away from ours. The painting was completed during his Bunten and Teiten years, 1907–1924, when Kuroda struggled to establish a form of academicism in Japan. He believed this was vital for the future of Japanese "Western-style" painting, called Yōga (洋画), while also sensing an affinity with newer forms of artistic expression. Despite the beauty of this 1912 portrait, Kuroda was quoted in November 1916, "After all, the world of Western-style painting in Japan is still amidst chaos. In twenty or thirty years time, even though it may not be fine enough to boast abroad, Japanese Western-style painting should become presentable. At present, it is still in its childhood, but, by then, it should become a proper adult. I myself have still only got as far as becoming able to sketch. I shall turn 50 this year, but am no more than a student as far as art is concerned. I am not good at painting considering my age. Various things took up my time so that I have spent relatively little time studying. I hope to study a lot more from now on."
婦人肖像 (Portrait of a Woman) by 黒田清輝 / Kuroda Seiki (Japanese) - Oil on canvas / 1912 - Kuroda Memorial Hall (Tokyo, Japan) #WomenInArt #art #ArtText #PortraitofaWoman #Oilpainting #JapaneseArtist #黒田清輝 #KurodaSeiki #SeikiKuroda #黒田記念館 #KurodaMemorialHall #東京国立博物館 #TokyoNationalMuseum #JapaneseArt
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今日はカミさんリクエスト(文学部日本文学科卒)で蔦屋重三郎展へ。いろいろ本物見れてよかった〜吉原細見はじめ思ったより小さくてびっくり。(しかし混んでた) #蔦屋重三郎コンテンツビジネスの風雲児 #東京国立博物館 #tsutayajuzaburo #tokyonationalmuseum
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Day 3 #Tokyo visiting the #TokyoNationalMuseum, a river cruise, an immersive art experience, the #SkyTreeTower and a Sushi dinner.
We started our day with a visit to Ueno Park and the Tokyo National Museum which is made up of 6 buildings covering art from all over Asia. 1/6
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A woman visits a shrine on a rainy night—elegant, poised, and luminous beneath her paper lantern.
Suzuki Harunobu captures the quiet grace of Edo-era beauty in motion.
#Ukiyoe #TokyoNationalMuseum #Harunobu #EdoArt #JapaneseArt #tokyo #japan #photography
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This 19th century oil painting by Japanese artist Seiki Kuroda (黒田清輝筆) depicts a beautiful young woman in a striped light blue yukata (浴衣 or informal cotton kimono) sitting by a lakeside holding an uchiwa (団扇 or うちわ round paper fan) with a faint floral pattern in her right hand. This woman is Taneko Kaneko (金子種子) who later her name was changed to Teruko (照子), who would later marry Kuroda. According to Mrs. Kuroda's recollection, when they visited Hakone (箱根), Kuroda asked Teruko to sit for him as he saw her sitting on a rock by Lake Ashi (芦ノ湖). Near Mt Fuji, Lake Ashi was a popular summer destination and this painting was initially titled "避暑” (Summer Resort). Kuroda is regarded as an early maestro of “Western style” Japanese oil painting following his time studying painting in France. After he came back to Japan, he made a significant long-lasting splash in Japan's art circles. The bright representation created by changing light and air, which appears in Kuroda's works, was called "Shinpa" or "Murasakiha" and very popular with many people. Kuroda also influenced an art style based on the traditions of Western art and a focus on the study of human body which created much controversy in the country over nude paintings. Today, Kuroda has come to be remembered in Japan as "the father of Western-style painting." As a teacher, he taught many young artists the lessons that he himself had learned in Paris; among his students were painters like Wada Eisaku (和田英作), who were to become among the preeminent Japanese painters of their generation. In particular, the "Academic Impressionism" style that Kuroda promoted, as exemplified in iconic paintings such as “Lakeside,” achieved a long-lasting predominance within Japanese art society, forming the bedrock of modern, Western-style art training and practice in Japan. Perhaps Kuroda's greatest contribution to Japanese culture; however, was the broader acceptance of Western-style painting he fostered with the Japanese public.
湖畔 (Lakeside) by 黒田清輝筆 Seiki Kuroda (Japanese) - Oil on canvas /1897 - Tokyo National Museum (Japan) #womeninart #art #oilpainting #洋画 #realism #JapaneseArt #JapaneseArtist #浴衣 #fineart #Hakone #箱根 #womensart #portraitofawoman #黒田清輝筆 #kuroda #SeikiKuroda #KurodaSeiki #東京国立博物館 #TokyoNationalMuseum
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Dogū Figurine Tokyo National Museum
It reminds me of Anatolia.
#japan #tokyo #dogū #oldcivilazations #weneedprogress #art #asianculture #sculpture #figurine #sketch #artoftheday #arte #iwanttogobacktojapan #oldgoddesses #humanoid #jōmon #asia #statue #taito #tokyonationalmuseum #museumaddicted
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kodomoe編集部様から、付録絵本『こだいのなぞとふしぎのずかん』の読者アンケートをいただきました。たくさんのご感想を送ってくださり、本当にありがとうございます。楽しんでいただけて、とても嬉しく思います。
#こだいのなぞとふしぎのずかん #五十嵐美和子 #東京国立博物館
#kodomoe #埴輪 #古墳 #縄文 #ピラミッド #スフィンクス
#古代遺跡 #古代文明 #考古学 #絵本 #図鑑
#picturebook #archaeology
#TokyoNationalMuseum #tokyomuseums #museum
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A fearsome dragon in gold, blue and re the lower back of the armor; the inner sleeves are also visible. Armor (Gusoku) with a Two-Piece Cuirass and Black Lacing early 17th century (Edo Period) owned by Sakakibara Yasumasa (Important Cultural Property), helmet14.5 cm high, body 39 cm high, tassets 24.5 cm high (Tokyo National Museum)
New samurai armor video made in partnership with the Tokyo National Museum
We are very excited about this video and our new partnership
youtu.be/tl3ujjgPFbM
#EdoPeriod #ImportantCulturalProperty #art #arthistory #arms #warfare #Japan #samurai #TokyoNationalMuseum
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If you're visiting the Tokyo National Museum, I know this area often gets overlooked but so visit the Garden at the back of the museum. They put a lot of effort into making it feel like you're wandering through the countryside of old Japan.
#TokyoNationalMuseum #Ueno #Japan #travel #photography
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kodomoe2月号付録絵本『こだいのなぞとふしぎのずかん』には不思議な古代の土偶や遺跡がたくさん登場します。何かお気に入りは見つかりましたでしょうか？写真は縄文のページの色校正です。
#こだいのなぞとふしぎのずかん #五十嵐美和子 #東京国立博物館
#kodomoe #絵本 #縄文 #土偶 #古代遺跡 #古代文明 #考古学
#picturebook #archaeology #TokyoNationalMuseum
#tokyomuseums #museum #art
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