Five events to keep an eye on at the Japan Cultural Expo – with Jun Aoki

Taking on the history of Japanese architecture from antiquity to the present, this ambitious Tokyo exhibition provides a comprehensive introduction to its field. Intricate architectural models are employed to highlight the characteristics of various building styles, particularly Japan’s traditional wooden architecture, and visitors are treated to in-depth explanations of building techniques and materials.

‘Traditionally, most Japanese buildings were made of wood, and the techniques involved in their construction are really interesting,’ says Jun Aoki. ‘Each type of tree is different: hinoki cypress is soft and easy to manipulate, while zelkova is hard and sturdy. The former is often used for beams and the latter for columns – every tree has its own role. Procuring enough wood to construct something takes effort, too, especially if you’re sourcing precious types to build a teahouse or something.’

‘The intricacy of Japanese architecture is another point of interest. Take the soriyane roof, which has a slight concave curve. You need to combine special rafters cut up into parallelogram shapes cross-sectionally with a beam prepared exclusively for this purpose to make the structure work. This kind of time-consuming labor, in which a lot of attention is paid to small details, is characteristic of architecture in this country and something I hope the exhibition will highlight.’ 



Note: This exhibition ended its run on February 21.

Kyoto’s Kyocera Museum of Art spotlights the ancient capital’s artistic heritage from the Edo period (1603-1868) to the present with this exhibition. Works by the likes of Soga Shohaku (whose “Immortals” unfortunately ended its display period on November 15), Asai Chu, Kazuo Yagi and Miwa Yanagi can now be admired all at once, as the display – originally planned as a three-part event – was converted into a single large showcase due to the Covid-19 pandemic.

‘Kyoto is a city of museums, each with its own mission. The Kyoto National Museum focuses on everything up to the 18th century, whereas the Kyoto City Kyocera Museum of Art highlights art created from the 19th century onward. This exhibition is a great example of that focus.

‘Nihonga (traditional Japanese) painting as it’s understood in Kyoto is slightly different from the Nihonga of Tokyo. The genre itself was invented in Tokyo to distinguish Japanese painting from its Western equivalent and to establish the former’s artistic value, but in Kyoto traditional painting was always more connected to daily life. Keeping that in mind should make the exhibition appear more interesting.’

Note: This exhibition ended its run on December 6.

This multi-pronged programme aims to provide a point of entry to art, culture and history for as diverse an audience as possible, regardless of physical or mental abilities, and encourage interaction among participants. ‘Connect’ takes over several venues in Kyoto, including the Kyoto City Kyocera Museum of Art and facilities in Okazaki Park, and is set to feature everything from traditional exhibitions to interactive and online events.

‘This event is a new version of the Kokokara exhibition, which was held at the National Art Center, Tokyo until last year. It’s now moved to Kyoto and coincides with the nationwide Disabilities Week.

‘Rather than at any single venue, it takes place throughout the Okazaki area in Kyoto. Participating institutions include the National Museum of Modern Art, the Kyocera Museum of Art, Miyako Messe, the zoo, libraries and more. At the Kyocera Museum, we are planning a show of artworks covered with glass-ribbon (a long horizontal slot filled with glass).’

Note: This exhibition ended its run on December 20.

Traditional Japanese crafts, or kogei, are explored from every angle at the Tokyo National Museum, where the exhibits focus especially on nature and natural beauty. On display are a total of 82 works by artists practicing a wide range of techniques, along with multilingual explanations of the artistic media represented, including pottery, dyed textiles, lacquerware and bamboo crafts.

‘In Japan, crafts aren’t really “art” in the Western sense of something mainly for abstract appreciation, but items created to serve a purpose in daily life. I think we should be proud of our crafts, which were unfortunately relegated to a lower level after the introduction of Western ideas of art in the Meiji era (1868-1912).

‘For me, Japanese artistry is revealed in daily life, in actions such as the tea ceremony. Exhibiting kogei is great because looking at crafts helps people understand art in a different context and leads to new discoveries.’

Note: This exhibition ended its run on November 15.

The Azuchi-Momoyama period (1573–1603) was a turbulent time, one that saw warlord-led clans battle for supremacy throughout Japan, but it was also an era of great artistic flourishing. This exhibition highlights some of the most important masterpieces of the period, including the folding screen paintings ‘Chinese Lions’ by Kano Eitoku, ‘Scenes in and around the Capital (Funaki Version)’ by Iwasa Matabei and ‘Maple Trees’ by Hasegawa Tohaku. Note that tickets are available only in advance and for specific time slots, and may sell out.

‘“Scenes in and around the Capital” is a masterpiece of the Kano school, created in a time that for many marked one of the greatest periods of achievement in Japanese art history. Being able to view some of the finest work from that era is notable in itself.

‘The basis of modern-day Japanese aesthetics was formed during the Edo period, so the understanding of beauty that existed in the earlier Momoyama period is, in a way, a thing of the past. It’s interesting being able to view art from that period through the lens of our modern-day sensibilities.’

Note: This exhibition ended its run on November 29.