January 25 th (Sat.), to March 16th (Sun.), 2014
Porcelain was first produced in the Arita region of what is now Saga Prefecture in the early seventeenth century. It was referred to as Imari because it was shipped from the port of Imari for distribution throughout Japan. The Dutch East India company exported Imari porcelain to Europe from the mid seventeenth century on. There these porcelains became not only luxurious functional products also status symbols enjoyed by royalty and aristocrats in their palaces and manor houses. This exhibition presents about 190 examples of Imari porcelains, principally export Imari from the collection of the Museum of Oriental Ceramics, Osaka.
March 29ｔｈ (Sat.) to May 11th (Sun.), 2014
A Visual Revolution in Edo (TBC)
During the latter half of the Edo period, microscopes, telescopes, and other optical devices imported from abroad overturned the conventional thinking about vision in Japan. Interest in images reflected in mirrors and shadow pictures soared, and artists created many works that focused on those intriguing visual effects. Knowledge of Western-style linear perspective and of bird’s-eye view images set off their own revolution in Edo painting. This exhibition introduces the new visual culture that flourished in eighteenth and nineteenth century Japan through the work of Katsushika Hokusai, Utagawa Hiroshige, Shiba Kōkan, and other artists.
June 11th (Wed.) to July 21st (Mon.), 2014
Essays in Idleness:
Enjoying Classical Literature Through Art (TBC)
Essays in Idleness (Tsurezuregusa), written by Yoshida Kenko; in the latter half of the Kamakura period, is regarded, with The Pillow Book (Makura no soshi) and An Account of My Hut (Hojoki), as one of the three great collections of essays in Japanese literature. Essays in Idleness, which begins with the phrase tsurezure naru mama ni, “with nothing better to do,” is one of the most familiar classics of Japanese literature. This exhibition presents famous scenes from those essays through the twenty Essays in Idleness Handscrolls by Kaiho Yusetsu, which were recently added to the museum’s collection, together with folding screens, illustrated books, and other depictions of them.
August 2nd (Sat.) to September 28th (Sun.), 2014
Radiance, Still and in Motion:
Bohemian Glass (TBC)
Glass production began in Bohemia (an area corresponding roughly to the Czech Republic today) in the thirteenth century. Bohemian crystal developed in the latter half of the seventeenth century. Its shapes, which suggested carved rock crystal, became highly popular, even dislodging Venetian glass from its once-dominant position. In the early nineteenth century, research on ways to add colors and painted decorations led to the development of increasingly colorful glass. In contemporary glass art, Bohemian glass is the world leader in glass sculpture. This exhibition includes about 150 examples from 600 years of Bohemian glass from the collection of the Museum of Decorative Arts in Prague.
October 11th (Sat.) to December 7th (Sun.), 2014
Koyasan 1200th Anniversary
Treasures of the Sacred Mountain (TBC)
The monk Kuai founded a Shingon esoteric Buddhist monastic training center on Mt. Koya in 816. Over 1200 years, Mt. Koya has remained sacred ground for Buddhism in Japan while one of the most remarkable collections of treasures of Buddhist art has been assembled atop the mountain. This exhibition offers an opportunity to see rare works from that mountaintop, including implements for rituals and script associated with Kukai , Buddhist paintings based on the doctrines of Shingon esoteric Buddhism, and Keiha school Buddhist sculptures, including the Standing Statues of Eight Attendants of Fudo Myoo. This exhibition is a not-to-be-missed opportunity to experience the essence of this aspect of Japanese culture, nurtured spirit of Kukai and over the centuries at Mt. Koya.
December 20th (Sat.), 2014, to March 1st (Sun.), 2015
Master of Kyoto Ceramics (TBC)
In the period from about 1804 to 1844, Kyoto produced many highly skilled potters. Among them, Nin’ami Dohachi (1783-1855) is particularly admired as a master of Japanese-style Kyoyaki, or Kyoto ceramics, partaking of a tradition that includes Ninsei and Kenzan. This exhibition introduces Nin’ami Dohachi’s oeuvre through a large number of his works, including matcha teawares, sencha teawares, and tableware for serving kaiseki cuisine.