Oya Stone, quarried in the Oya district of Utsunomiya City. Known for its fire resistance and softness, making it easy to work with, it is widely used as a building material. The Oya Stone Museum allows visitors to explore the former quarry sites. Its breathtaking, massive underground space, reaching 30 meters below ground, captivates all who see it.

Oya, the Stone Town: Where Stone and Nature Weave a Unique Landscape

About a 25-minute drive from central Utsunomiya City. The scenery of dense buildings suddenly changes, arriving in an area surrounded by greenery and mountains. Though called mountains, it’s a unique landscape resembling rocky hills. This is the major production area for Utsunomiya City’s specialty, “Oya Stone,” known as the “Stone Town of Oya.”

What is “Oya Stone”?

Oya Stone is a tuff rock formed by volcanic eruptions 20 million years ago. It is named after the Oya district in Utsunomiya City, where it is primarily quarried.

Its softness and workability have made it a long-used building material; many stone walls and old storehouses in the prefecture are built with Oya Stone. It also offers fire resistance and humidity-regulating properties, and its natural texture is highly popular. In recent years, it’s increasingly used as interior material in homes and shops. For those living in Tochigi Prefecture, “Oya Stone” is a very familiar stone, known to almost everyone.

Oya Stone Used in the Former Imperial Hotel

Full-scale quarrying of Oya Stone is said to have begun around the middle of the Edo period. At that time, without machinery, miners used pickaxes and manually extracted the heavy stones by hand. While it was primarily used for shrines, temples, Utsunomiya Castle, and private home walls within the prefecture, the quarrying industry grew significantly after the Meiji period with the development of transportation methods like railways. Shipments increased substantially to areas like Tokyo and Kanagawa.

In 1922 (Taisho 11), Frank Lloyd Wright, an American architect known as one of the “Three Great Masters of Modern Architecture,” utilized Oya Stone in the main building (the Wright Building) of the former Imperial Hotel in Hibiya.It is said that Oya Stone was chosen because sufficient quantities for the construction could be secured and because of its softness, which made it easy to carve intricate details. Shortly after the Imperial Hotel opened, the Great Kanto Earthquake struck. The hotel suffered minimal damage during the quake, demonstrating the stone’s excellent seismic and fire resistance. This led to the widespread recognition of the name “Oya Stone.”

Subsequently, the introduction of mining machinery and increased construction demand during Japan’s period of rapid economic growth combined to bring the industry to its peak in the 1960s. Annual shipments reached approximately 890,000 tons, with mining operations conducted at about 120 sites.

The Oya Stone Museum: The Core of Tourism in the Oya District

Parallel to the development of the Oya Stone industry, the Oya district also grew as a tourist destination. In 1956, a massive 27-meter-tall “Peace Kannon” statue was carved into the wall of a quarry south of Oya Temple, where Japan’s oldest stone Buddha is carved into a rock face. This attracted many visitors to Oya, leading to an increase in souvenir shops, restaurants, and drive-ins in the surrounding area.This further accelerated its transformation into a tourist destination. Meanwhile, however, demand for Oya Stone gradually declined, influenced by factors like the diversification of building materials. Amidst this, the Oya Stone Museum emerged as a privately run facility opening the former quarry site to tourists. This was back in 1978, over 45 years ago.

A breathtaking underground space created by human hands

Our guide through the Oya Stone Museum was its director, Mr. Yasutoshi Okubo.

Visitors can walk through the vast underground quarry ruins, located 30 meters below ground and spanning an area of 20,000 square meters. The interior remains cool and refreshing, even in midsummer, with an average annual temperature of around 8°C (51°F). The towering rock walls are etched with numerous fine, line-like marks, which are the traces left from cutting the stone.

The Oya Stone Museum operated as an actual quarry for approximately 70 years, from 1919 (Taisho 8) to 1986 (Showa 61) (quarrying is no longer conducted). Until around 1960 (Showa 35), workers used pickaxes to extract stone, sometimes carrying heavy stones weighing nearly 120kg out on their backs using a “shoiko” (backpack).Later, mining machinery like chainsaws was introduced, enabling more efficient extraction of larger quantities of stone. Observing the rock face from top to bottom, the upper section appears uniformly pitted and uneven, transitioning to a flatter surface with sharp, knife-like cuts in the middle to lower sections.

Looking further up, the ceiling appears sooty black. Mr. Okubo believes this is likely due to stonemasons burning fires to keep warm in the cold underground caverns.

It is not a modern, large-scale structure reflecting the latest technology. Yet it is also distinct from a natural limestone cave. The Otani Museum allows visitors to experience a unique space and history born from the fusion of natural rock and human effort.

More than just sightseeing: Utilization as a wedding and event venue

Since opening in 1978, the Oya Stone Museum has remained a core tourist attraction in the Oya district. Its convenient location along the route to Nikko made it a popular stop for field trips and school excursions for students both within and outside the prefecture.

Its fame also grew through being used as a filming location for movies, TV shows, and music videos. Oya Stone’s fire resistance has made it suitable for filming scenes involving fire. Numerous photos documenting these productions are displayed inside the quarry, often drawing curious visitors who exclaim, “So that movie was filmed here?”

Many companies also seek to utilize this mysterious underground space for product promotions and events. It has been used for receptions for cars, watches, and global luxury liquor brands.

Furthermore, it is possible to hold weddings by specially opening non-public areas. Natural light streaming through an opening above and candlelight alone create a fantastical and solemn atmosphere, making for unforgettable memories. By responding to diverse needs beyond just sightseeing, it has become a representative spot of Oya.

Declining Tourist Numbers, Closure Due to the Earthquake. The Decline of the Ōtani District

The “Oya Stone Museum” established its unique presence as a tourist facility. However, this success was limited to the museum itself. For the Oya district as a whole, a rapid decline began in the early Heisei era.

One cause was the ground collapse accident in 1989. Shocking footage of the large sinkhole left people with the impression that “Oya is dangerous,” tarnishing the entire region’s unique beauty—where one could normally enjoy abundant nature and mountains revealing Oya stone rock faces. Furthermore, demand for Oya stone as a building material declined year by year due to cheaper foreign alternatives, and the number of quarry operators steadily decreased.Surrounding restaurants and lodging facilities also withdrew, and it was inevitable that tourists would stay away from an area with fewer attractions and activities. The sight of numerous tour buses and people walking the streets diminished, making the former bustle seem like a distant memory.

Even so, the Otani Museum managed to continue operating as a tourist facility, thanks to its uniqueness and the impact of being able to tour the vast underground spaces.

Amidst this situation, the Great East Japan Earthquake struck in 2011.

Utsunomiya City, where the Oya Museum is located, recorded a seismic intensity of 6 upper, and the damage to the area was extensive. This unprecedented disaster led to the decision to close the Oya Museum.

Many people misunderstood the reason for this closure, assuming it was due to physical damage from the earthquake. However, that was not the case. The interior of the Otani Museum was exceptionally sturdy, having been used as an underground military aircraft factory during the war, and suffered no physical damage from the quake. The then-director decided to close the museum to prevent visitors from being startled by aftershocks, potentially causing injuries or anxiety.

Regardless of the reason, the closure of this representative tourist facility in the Oya district accelerated the area’s decline. With no prospect of reopening and the owner at the time considering selling the business, it was Mr. Okubo’s father, Keiichi, who took over management to reopen the museum and preserve it for future generations.

The Path to Revival as a Tourist Spot

Keichi, who had previously run a civil engineering and stone business in the Oya district, took on this unfamiliar venture in a visibly declining area. It seemed a reckless move. Yet, Keichi was driven by a strong desire: “I want to bring back the Oya of the past, bustling with people.” He was spurred on by his own earnest wish to see once again the vibrant scene of the area where he grew up.

Mr. Okubo, who was working outside the prefecture at the time, also resonated with his father’s vision. To help his increasingly busy father, he decided to return to Ōtani, the place where he was born and raised.

Thus began days of trial and error for father and son. They explored various initiatives. Among them, an exhibition of works by flower arrangement artist Shogo Kariyazaki drew significant attention. Combined with events like collaborations with popular anime, these efforts increased awareness of the museum. Furthermore, allowing photography—previously prohibited—made the museum a popular photogenic spot. (※Photography exceeding two hours without permission, and the use of tripods, selfie sticks, or other photography equipment is prohibited.)

Parallel to these efforts, the entire Otani area saw a gradual recovery in visitor numbers. Driven by people wanting to “bring back the old bustle,” events were held and new shops opened. Today, annual attendance exceeds 450,000, and the area has regained its vibrancy, with buses carrying overseas tourists visiting daily.

To ensure visitors feel safe exploring this unique underground environment

Mr. Okubo explains that managing this unique underground environment presents many challenges.

Humidity inside is extremely high, consistently around 80%. Electrical systems are prone to corrosion, requiring meticulous attention to prevent leaks. During typhoons or heavy rains, massive amounts of water flood in, sometimes requiring three full days of pumping to remove it.

Additionally, when bringing vehicles in for events, they must be vigilant about carbon monoxide poisoning.

In recent years, to alleviate concerns about crowding underground, they introduced a machine at the entrance that counts the number of visitors. They also installed infection control equipment that displays the number of people inside in real time.

Amidst these efforts, the utmost focus remains on ensuring safety. Oya stone is lightweight and prone to cracking, so skilled craftsmen conduct monthly inspections to check for any new cracks. They also regularly monitor the width of existing cracks in the non-public underground areas to ensure visitors can enjoy their tour with peace of mind.

Today, not only have tourist numbers increased, but companies and organizations nationwide are continuously proposing events and projects. “We allow the use of fire, but we ask them to refrain from explosions,” says Mr. Okubo with a slightly troubled smile. Yet, he clearly takes pleasure in seeing the museum bustling with visitors once more.

Moving forward with Oya

“I believe this place is truly unique, even on a global scale,” says Mr. Okubo. While many visitors come to see locations from their favorite films, he adds, “I’d be happy if children also learned about the history of how people used their minds and hands to mine here in the past.”

In the past, many visitors to the Oya district would leave after seeing the Oya Stone Museum. Over the last decade or so, stylish restaurants and shops have opened up around the area, revitalizing the entire Oya district into an enjoyable destination. This transformation was driven by people like Mr. Okubo and his son – individuals who remembered Oya’s former vibrancy, believed in its potential for revival, and dedicated themselves to making it happen.

Mr. Okubo’s life in tourism began when his father raised his hand. It was something he never expected, but now he finds daily joy in meeting all kinds of people.

“I’d like to expand the tour routes, but safety considerations make it difficult. Still, the scenery above ground is beautiful in every season, not just underground. After visiting the museum, I hope people will explore the entire Oya area,” says Mr. Okubo.

It’s not just about the “Oya Museum”; it’s about many people visiting the Oya district and the entire area thriving. That is surely the wish of the people who have witnessed the rise and fall of this land.

The post A massive underground space, 30 meters below ground, created by human hands throughout history. The Oya Stone Quarry Site “Oya Stone Museum” / Utsunomiya City, Tochigi Prefecture first appeared on NIHONMONO.

A world-class art museum in Atami

The large 4-meter-high door that greets visitors at the main entrance is already a work of art. The work was done by Kazumi Murose, a lacquer artist well known to Nakada and a living national treasure in the makie lacquer technique. The work was created using the Negoro technique, in which red lacquer is applied on top of a black lacquer undercoat, and the unique colors and luster of the lacquer work can be seen on a giant scale, reminding us of the beauty and potential of this representative Japanese material.

The MOA Museum of Art, located on a hill in Atami City, is a popular spot for its panoramic view of the Pacific Ocean. The museum opened in 1982, following the wishes of Mokichi Okada, founder of the Hakone Art Museum and the man who laid the foundation for the MOA Art Museum, who wished to build another world-class art museum in Atami and introduce Japan’s outstanding traditional culture to people around the world. The museum was renovated in 2017 by the New Materials Research Institute, led by contemporary artist Hiroshi Sugimoto and architect Michiyuki Sakakida. Despite its name, Shinsozai Kenkyusho is an architectural firm that works on modern reinterpretations and revivals of materials and techniques used in ancient, medieval, and early modern times. The new MOA Museum of Art also uses traditional Japanese materials and techniques such as Yaku cedar, gyosha cedar, black plaster, and tatami mats.

“The MOA Museum of Art” exhibition

Of course, the main attraction of the exhibition is the wealth of works on display. The collection of approximately 3,500 Japanese and Chinese works collected by Mokichi Okada ranges from national treasures such as Korin Ogata’s “Red and White Plum Blossoms,” “Hanbokjo” by Tegami, and Ninsei Nonomura’s “Tea Jar with Iroe and Fuji Flower Design,” to Buddhist statues, pottery, ancient documents, ancient Chinese and Korean ceramics, and paintings. The museum also houses many works designated as Important Cultural Properties and Important Art Objects for the purpose of protecting valuable Japanese cultural assets. The “Golden Tea Room” is based on the historical fact that Toyotomi Hideyoshi brought an assembled golden tea room to the Kyoto Imperial Palace to offer tea to Emperor Shojincho, and the restored house where Ogata Korin is said to have spent his last years and painted the “Red and White Plum Folding Screen.

The attention to detail in the display of the works is also excellent. The large exhibition space is divided by black plaster walls to prevent the works from being reflected in other exhibits, and the lighting is a little dimmer than in other museums, based on the concept of “viewing artworks in the light of the Muromachi period. The display cases are made of low-reflective, high-transparency glass, which prevents light and one’s own face from being reflected in the glass, giving the illusion that the works are right in front of you. It is said that many visitors often hit their heads against the glass as they become immersed in the work. Enjoying hot springs and gourmet food in Atami is fine, but it is also a good idea to sharpen your senses by experiencing the many works of art at the MOA Art Museum.

NIHONMONO – 「にほん」の「ほんも…

色彩と文様の天才·芹沢銈介に触れられる「静岡市立芹沢銈介美術館」／静岡県静岡市 – NIHONMONO 「静岡市立芹沢銈介美術館」 静岡市の登呂公園にある「静岡市立芹沢銈介美術館」は、染色工芸家で人間国宝の芹沢銈介

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Osaka Japanese Folk Crafts Museum: Beauty from Everyday Life

Located in the Expo Park in Suita City, the Osaka Japan Folk Crafts Museum took over the building originally constructed as a pavilion to showcase the appeal of Japanese folk crafts at the 1970 Osaka Expo. The first director of the museum was Shoji Hamada, the first person in Japan to be designated as a “Living National Treasure” in the field of ceramic folk craft ceramics.
Mingei (folk craft)” refers to daily utensils produced by the hands of nameless craftsmen, and is distinct from ornately decorated ornamental works of art. The words “folk art” and “beauty of use” were coined by the lifestyle and culture movement advocated by Yanagi Muneyoshi, the “father of the folk art movement,” Hamada Shoji, and Kawai Katojiro, and their values became widely known. The concept of “mingei” or “beauty of use” was born out of the lifestyle culture movement advocated by Kawai Tomojiro and others, and its value has become widely known. Many people may recognize the brand SORI YANAGI, popular for its cutlery and kitchenware, designed by Sori Yanagi, one of Japan’s leading industrial designers of the 20th century and the second director of the Osaka Nippon Folk Crafts Museum, which pursues the beauty of utility.

Learn about the history connected to our lives.

In a typical art museum or museum, visitors would enjoy learning about the artists’ advanced techniques, philosophies behind their works, and historical backgrounds while viewing the exhibits, but what one feels while touring this folk art museum is a certain nostalgia. This is understandable, since the exhibits include ceramics, dyed textiles, woodwork, paintings, and other items that have been cultivated through daily life.
It is not art, but folk art. That is why it has its own merits. Even those who are not interested in ceramics are attracted by the many old Imari buckwheat porcelain cups on display. If you go to the corner where knitted and dyed goods from all over the country are displayed, you may be surprised at the differences between regions and the techniques of unknown makers. These are not things that existed “in the past” or “somewhere else,” but are connected to our own lives today, and that is why they are so enjoyable to see.
It is not only the exhibits that are enjoyable. The relaxed atmosphere is perfect for strolling around the museum, and the museum store is a great place to buy ceramics and glassware from different regions of the world that are connected to our daily lives.

In Komaba, Tokyo, there is the Japan Folk Art Museum, built in 1936 by Muneyoshi Yanagi and others, which is not large in scale but is full of the simple charm of folk art. It is interesting to note that the director of this museum is Naoto Fukasawa, who is involved in product design closely related to modern life, such as “MUJI” and “±0. It would be interesting to visit the Mingei museums in the East and the West and feel the difference between them.

NIHONMONO – 「にほん」の「ほんも…

歴史とモダンが織りなす異空間「狭山池博物館」／大阪府大阪狭山市 – NIHONMONO 「水の都」大阪平野の歴史 日本最古のダム形式ため池「狭山池」 大阪は言わずと知れた治水の町だ。約6000～70

NIHONMONO – 「にほん」の「ほんも…

無限の造形美「四代田辺竹雲斎」／大阪府堺市 – NIHONMONO 竹工芸作家・四代田辺竹雲斎さんの作品は、大阪府堺市にある小さな工房で生まれている。格子戸を抜けると小さな中庭。敷石が並ぶ通路の左にあるガラス張りの部屋が工房だ。…

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History of the Osaka Plain, the “City of Water”

Osaka is known for flood control and about 6000 to 7000 years ago during the Jomon period, Osaka was under water with the Kami-machi area jutting out like an island. As soil built up with the repeated flooding of Yodo River and Yamato River, the current form of Osaka came to be in the fifth century.
The flatland of Osaka is blessed with rivers and other water sources, giving it the name “Water Capital”.

On the other hand, the landscape makes it prone to flooding, requiring flood control. The history of Sayamaike, located in the southeast portion of Osaka and a 10-minute walk from Osaka Sayama station, is quite long. The reservoir was made in 616, making it the oldest dam reservoir, and is listed in many historical documents.
The area around the reservoir is a park where locals enjoy leisurely strolls. “It was originally created to address the lack of water needed for rice farming. Many improvements and repairs have been made, and its main purpose is to protect the lives and property of the citizens living downstream.” (Katsunobu Yoshii, Sayamaike Museum assistant curator)
The museum opened in 2001 after the 16 year construction to update the dam and now houses the historical portions of the original dam.

The impressive concrete building was designed by architect Tadao Ando, who is originally from Osaka. It is now considered an icon. “It certainly represents Mr. Ando, but I couldn’t tell what it was from the exterior.” (Nakata)

A powerful stratum sample in the museum

Stepping into the building escorted by the curator, we were welcomed by a large waterfall running down a concrete wall. The sound of water was pleasant, but it was a surprising sight. Visitors walk under the waterfall to enter the main portion of the museum.
Displayed here is a stratum sample from the original dam measuring an impressive 15 meters by 60 meters. The large scale display relays the 1400 history. “People wonder how we were able to get this huge piece into the museum. We broke it up into 101 pieces and spent 3 years to treat the pieces, putting them back together when the museum was completed.” (Mr. Yoshii)

An architectural museum brings images of a very dull setting, but this strata sample with 1400 years of history is a sight to behold. It symbolizes the relationship Japan as a country has with water and nature, and is housed in an ultra-modern building. We recommend a leisurely stroll to the museum after you’ve filled up on the local cuisine.

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Lake Biwa is the largest lake in Japan. Located on the shore of the lake is the “Sagawa Art Museum,” which is called a “floating museum. The site is boldly lined with water, and the three modern buildings built to float on the water create a unique and mysterious space. This exceptional museum, where visitors can view the works of three of Japan’s greatest masters all at once, creates new encounters between visitors, art, and nature.

Art Museum Surrounded by Nature on the Shore of Lake Biwa

The Sagawa Art Museum is located in Moriyama City in the southwestern part of Shiga Prefecture, a region rich in nature with Mount Hiei in the distance to the west. The museum consists of two buildings: the main building, which seems to float in the water garden that occupies most of the site, and an annex that has exhibition rooms under the water. The monotone-toned building has a large, straight roof with supporting pillars lined up in a regular pattern, reminiscent of a solemn temple. The architecture, which blends well with the beautiful natural environment along the shores of Lake Biwa, has been highly acclaimed and has received numerous awards, including the Good Design Award.

Opened based on the collection of the founder of Sagawa Express

The Sagawa Art Museum opened in 1998. Sagawa Express, known for its “flying legs” logo, began as part of its 40th anniversary project, aiming to contribute to the promotion and development of art and culture. The founder of Sagawa Express had always had a deep knowledge of art, and it was his long-cherished wish to open an art museum with his own collection. After the founder passed away, Eiichi Kuriwada, the current director of the museum, followed his wishes and opened the museum, which houses the world’s finest works of art.

Museum Floating on Water

From the entrance to the main building, visitors walk through a corridor along the water garden. As you gaze at the water bobbing around your feet and think of Lake Biwa, you will feel as if you are walking on the surface of the lake. The wind from Lake Biwa caresses the surface of the water in the water garden, and the shimmering shadows of the water are reflected on the walls and ceiling, which explains why this place is called a “floating museum. The ” Ezo Deer ” in the water garden was created by sculptor Tadayoshi Sato in 1971 to commemorate the Winter Olympics held in Sapporo.

A Luxurious Collection of Japan’s Finest Art

The most significant feature of the Sagawa Art Museum is its permanent collection of works by three leading Japanese artists : painter Ikuo Hirayama, sculptor Tadayoshi Sato, and ceramicist Raku Kichizaemon XV.

Initially, the museum was intended to focus mainly on the founder’s collection, but if it were only a collection of items collected by one individual’s taste, it would resemble a museum of hidden treasures. When the museum opened in 1998, Ikuo Hirayama was considered the best in the world of Japanese painting, and Tadayoshi Sato was the best in the world of sculpture. In 2007, the Raku Kichizaemon Museum was opened to exhibit the ceramic works of Raku Kichizaemon XV, who has been making Raku ware in the same way for over 400 years in Kyoto, the birthplace of Sagawa Express Co. Thus was born the current Sagawa Art Museum, which focuses on three leading contemporary artists.

Ikuo Hirayama, a Japanese painter who prayed for peace

Ikuo Hirayama is a Japanese-style painter from Hiroshima Prefecture. Considered by many to be the greatest of postwar Japanese-style painters, he served as president of Tokyo National University of Fine Arts and Music and as chairman of the Japan Art Academy.

The caravan teams that led camels across the desert were a symbol of peace for Hirayama, and “The Morning of Ouran,” “The Evening of Ouran,” and “The Moon of Ouran,” which depict morning, evening, and night scenes with caravan teams as motifs, are representative works of the artist’s. Many of his works are richly colored, especially the mysterious blue color called ” Hirayama blue,” which is expressed by rock paints made from lapis lazuli, azurite, and other gemstones.

Although Hirayama had avoided using war as a subject matter due to his own war experiences, he was moved by the eyes of children he met in Sarajevo during the civil war and painted “Prayer for Peace – Sarajevo War Scar”, which is a very rare work depicting the war itself.

Sculptor Tadayoshi Sato pursues the beauty of humanity

Sculptor Tadayoshi Sato’ s most notable feature is that he has continued to create Japanese people. When Sato began sculpting in the early postwar period, most of his models were deeply sculpted Westerners, but he dared to pursue the ordinary “human beauty” seen in everyday life, and this is what drew his attention. At first, he was ridiculed as “Sato’s filth,” but in 1952, his head sculpture “Gunma no Hito” was highly acclaimed as ” the first work by a Japanese hand to express a Japanese face,” and he became the first Asian to hold a solo exhibition at the Rodin Museum in Paris, and became one of Japan’s leading sculptors. He became the first Asian to hold a solo exhibition at the Rodin Museum in Paris.

The Sagawa Art Museum has more than 180 works in its collection, including his representative ” Hat Series,” as well as statues of children and heads, and constantly exhibits sculptures and drawings that match the theme of the day.

Sato is known for his realism and excellent drawing skills, and his works allow viewers to feel the breath of the models and their inner lives.

Raku Kichizaemon XV, a potter of Raku ware for 450 years

The Raku Kichizaemon Museum exhibits the works of Raku Kichizaemon XV, a ceramic artist. Raku Kichizaemon is the head of the Raku family, which has been in existence for 450 years since he created Raku tea bowls under the inspiration of Sen no Rikyu in the Azuchi-Momoyama period. The works on display here are those of Raku Kichizaemon XV, who succeeded to the Raku name in 1981.

Surprisingly, the exhibition space itself was also Raku’s own idea. Based on the concept of ” Shuhari,” which means to follow the teachings of one’s master, to develop and create new works by following his techniques, the museum has an underground exhibition room buried in a water garden, which is rare for an art museum.

Since its opening in 2007, the museum has held the “Raku Kichizaemon X” series of exhibitions in collaboration with places and things that are dear to Raku Kichizaemon XV, including native Indonesian art and works influenced by the French climate. The challenging new works created with each collaboration continue to surprise and inspire viewers.

Sitting at the same level as the water surface

Another must-see exhibit at the Raku Kichizaemon Museum is the “Teahouse” attached to the exhibition room. The teahouse, also designed by Raku, is located on the first basement level, and visitors can enjoy the view of the water surface as they walk from the entrance, through the water and the booths to the ground level, and finally to the hall.

Raku Kichizaemon XV placed great importance on the line of sight. By lowering the floor to a level as close to the surface of the water as possible, Raku Kichizaemon wanted visitors to sit at the same eye level as nature and feel the sensation of being one with nature on an equal footing.

Feel the relationship with nature through all five senses.

Normally, the hall is separated from the outside by glass, but these glass doors can be opened wide. The glass doors can be opened wide to create an extraordinary space away from the hustle and bustle of daily life. If you feel the breeze on the surface of the water on your skin and listen to the rustling sound of swaying plants and trees, you may experience a sense of becoming one with nature that you would normally overlook.

A series of fascinating special exhibitions are being held one after another.

The Sagawa Art Museum also holds a wide variety of special exhibitions, including “Banksy & Street Artists” and “Picasso – The Origin of Inspiration” in 2022, and the popular “Design Ah Exhibition in SHIGA” attracted 140,000 visitors. The museum as a whole offers a variety of exhibitions throughout the year. The entire museum strives to offer a variety of genres of art throughout the year.

Experiences that hone the senses

The Sagawa Art Museum delves into the worlds of three of Japan’s finest artists from a variety of perspectives, and presents different expressions with the passage of time and the changing of the four seasons. The mysterious space created by the combination of nature, the building, and the artwork is truly one-of-a-kind. Visitors can feel their senses being refined as they lose themselves in the extraordinary atmosphere of floating on the surface of the water. This museum will bring you such an experience.

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Jomon pottery loved by Taro Okamoto

Located in Suwa Gun is the Idojiri Ruins of the Jomon era, which is representative of all Japanese Jomon ruins. At Idojiri Archaeology Museum, excavated precious earthenware and stoneware from 5000 years ago are displayed. Not only that, they also introduce the world view and religious beliefs of that time that has become apparent from decoding motifs.
Seiji Higuchi, the director of the museum, showed us around. ”Shiso Ominagami” statue, which is said to be the model of Taro Okamoto’s famous ”Tower of the Sun”, and ”Suien Uzumaki Mon Fukabachi” which is designated as treasure of the prefecture, are must-see pieces. ”Suien Uzumaki Mon Fukabachi” became well-known after it was exhibited in art exhibitions in Paris and at Osaka Expo. ”Despite its ornate decoration, it has traces of burns inside, so we know it was used for cooking.”

Touching the ancient world

The top part of ”Shinzo Tsutsugata Doki” has fluid and dynamic decoration, which look like octopus legs. Nakata wondered, ”I guess if we were to express the modeling of Greek mythology the Japanese way, maybe it would look like this?” Higuchi replied, ”There were myths in the Jomon era, too. These types of earthenware express religious beliefs and the world view of the time.” Frogs and snakes were regarded as those sent from the moon, and like the moon which changes shapes, as well as disappearing only to reappear again, people wished for long life by eating food cooked in the earthenware with motifs of such moon-blessed animals. Back then, most people didn’t live longer than 40 years, and these outstanding earthenware were born from people’s thoughts and fear of death.

Universal beauty, Venus of Jomon Era

We then visited Togariishi Museum of Jomon Archaeology. It holds over 2000 pieces of precious items which were excavated from the Togariishi ruins and the foot of Yatsugatake. What draws attention are two bodies of national treasure clay figures. ”National Treasure Dogu Jomon No Venus (Venus of Jomon)” has a soft round shape like a heart. There are only 6 Jomon artworks that became National Treasures. Masafumi Moriya, the director of museum, told us ”The beauty of this artwork is universal and needs no explanation.” What caught Nakata’s eye was its sparkling brilliance. Moriya explained that mica was added to the clay. Another National Treasure, ”National Treasure Dogu Jomon No Kamen (Mask of Jomon)” was made 1000 years after the Venus. ”Its figure is round, but dignified,” Nakata commented. The form is more sophisticated and refined than the Venus, and it lets you realize the flow of time even in ancient times.

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Releasing your mind and contemplating

D T Suzuki Museum is a museum that was built to convey the thoughts and achievements of Kanazawa born Buddhist philosopher Daisetsu Suzuki to people around the globe. Daisetsu is renowned for his works regarding Zen written in English, and is responsible of spreading Zen culture to the world. The museum was built so visitors can enjoy contemplating with an open mind. In this museum, Nakata encountered the philosophy of Zen. ”There are no explanations about the displayed pieces. This is because explanation will restrict the mind. We want people to rely on their own impressions.” the deputy director, Kiyoaki Miyashita told us. There are references to the works and visitors may write and leave comments about how they felt.

Zen in creating the space within the museum

From the entrance to the annex, you cross a long corridor lit up only with footlights. You feel as though you are invited into a different void of calmness. The facility itself is one of the features of the museum, being built by the world known architect Yoshio Taniguchi. It is a sophisticated structure, which represents the simplicity of Zen philosophy. It consists of the entrance hall, the exhibition hall and the ”Contemplative Space”, with corridors connecting the halls, and gardens on both sides – ”Water Mirror Garden” and the ”Entrance Garden”. ”Water Mirror Garden” is a shallow pool of water extending to the ”Contemplative Space”, making it look as though it is floating in the water.

Standing in the Water Mirror Garden

After looking at the displays, we walked down the corridor overlooking the Water Mirror Garden. The garden looks as though it extends to the greenery in the background. Nakata said it is one of his favorite spots where he sometimes visits on his own. ”It is indeed beautiful using the ”shakkei” (borrowed landscape) technique,” he commented. Due to the rain on the day we visited, we were able to enjoy a special ambience created by the sound of the rain and the ripples the rain drops made in the pool of water.

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World renowned woodblock print artist, Shiko Munakata

Shiko Munakata is a woodblock print artist who represents Japan. He was born to a swordsmith craftsman in Aomori in 1903, showed interest in painting since he was little, and moved to Tokyo to study painting when he was 21. He received his first award at the Imperial Academy art exhibition during his fifth year in Tokyo, in 1928. It was around this time that he started woodblock prints. He created woodblock prints while he continued to also paint, and soon began winning prizes at exhibitions.
　Later in 1952, he was awarded the ”Prize of Excellence” at the Second International Print Exhibition in Lugano, Switzerland. In 1955, he exhibited works such as ”Ten Great Disciples of the Buddha” which is considered to be his greatest masterpiece, in San Paulo Biennale, and received the highest award within the woodblock printing category. In 1956 at Venice Biennale, his exhibit ”Ryuryokukako” won the International Print Award, which made him a woodblock artist not only representative of Japan but of the world as well.

The nation’s largest collection of Munakata’s work

Shiko Munakata Memorial Museum opened in Aomori in 1975 to tell Shiko Munekata’s art to posterity.
The road towards the main building is part of a circuit style Japanese garden which calms the mind. In his work, trees changes the hue for each season, and the stroke make one feel the superb atmosphere of the four seasons.
　In 2012, Munekata Hanga (print) museum in Kamakura City was merged and acquired, making this museum having largest collection of his work in Japan. In addition to the printing work, which includes the ”Buddha’s Ten Principal Disciples”, there is a delicate, hand drawn painting called ”Yamatoga”, oil paintings and calligraphy are exhibited. In addition, valuable materials including the woodblocks are also displayed.

Take time to look at each piece, one at a time

”Rather than displaying a large number of pieces and having visitors become bored, or taking away from the impact of each piece, I would like viewers to take their time to look at each piece, one by one.”” was Shiko Menakata’s own wishes. For this reason, the rooms are not very big, and there aren’t many pieces to be distracting. Nakata also walks about slowly, stopping often to take in each piece. There are however, many pieces in the entire collection. So the exhibit is changed four times a year in order to give as many people a chance to view the pieces as possible.
　Shiko Munakata, a world master born in Aomori. Overwhelming impact with gentle delicacy. The museum allows visitors to immerse themselves in his world.

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The city itself is art

The ”Arts Towada” project was launched to make ”Kancho Gai Dori” new and attractive after the area was rezoned leaving empty spaces. Using the entire outdoor areas of the street as a museum, various works of art were developed. In addition to the artwork, the goal was to develop Towada City into a unique ”City of Art” and ”A city that creates excitement” by incorporating the history and beautiful nature around the city.
　The core facility, Towada Art Center opened in 2008, and a large scale outdoor piece was later installed across from the Center. Arts Towada was completed in the spring of 2010.

Art space that blends into the city

Work by 33 active artists, such as Yayoi Kusama and Ron Meuck are on display as permanent exhibitions. In addition, gallery space, a cafe, and civic activity space are available to support and promote exchange of cultural and artistic activities.
Another characteristic of the venue is that each exhibition room is an independent building called ”house for art”. The houses are connected by glass hallways. This makes it possible to create a space that best suits the various pieces of art, while the entire space becomes a work of art as well.

World famous artists

In the entrance, there is a piece called ”Zobop” by Jim Lambie. The piece has various bright colored vinyl tape applied to the floor in concentric lines. Unlike a painting, the whole space is a piece of art. In addition, there are various other art pieces on display. A finely detailed statue of a woman more than 4 meters tall (”Standing Woman” by Ron Mueck), or a tunnel depicting a spinal column (”Bridge of Light” by Ana Laura Araezu). These pieces are not crammed together, but can be enjoyed leisurely. We were told, ”The exhibition rooms have large windows making the space open, and have been created so the art can be seen from outside.” This museum where you can observe the work of world renowned artists, is itself a museum that blends into the city.

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Opened in 2013

Akita Museum of Art was opened in 2013 close to the center of Akita -City in the renovated area ”Area Nakaichi” as a symbol of the city. It opened in 2013 after collections were transferred from the former Akita Museum (Hirano Masayoshi Museum) which was adjacent to Chiaki Park, and also after a new building had been built.
Their main collections are from Akita businessman Masayoshi Hirano with focus on Tsuguharu Fujita (Leonard Foujita). Foujita is one of the most famous Japanese painters. Because Foujita and Masayoshi Hirano were friends, many of his paintings such as ”the Sleeping Woman” and ”5 Women” are displayed here.

Exhibition of Foujita’s Large Mural

There is a Foujita painting which is very specific to the Akita Museum of Art – ”Akita no Gyouji” (the events of Akita). It was painted after Foujita spent half a year researching ideas throughout Akita and thinking about the layout. The size is overwhelming, being 3.65 meters in height and 20.5 meters in width. It was completed in his client Masakichi Hirano’s rice warehouse, which he had set up as his private studio. This gigantic painting is displayed in the large Mural Gallery of the museum’s foyer.
Along with the Mural Gallery, there are other aspects of the museum to be enjoyed. The entrance hall has a spiral staircase with no pillars, and with a triangular wellhole, adding a totally different ambience to the building.

The Building itself is Art

The museum building was designed by Tadao Ando. And there are many unique features that symbolize his taste, one of them being the garden. It is on the second floor by the lounge where you have a full view of Chiaki Park. Beyond, you can see Kubota Castle of the Akita Satake clan. You can also see the former museum’s cute triangular roof. The panoramic view is spectacular, and will make you forget that you are looking through a window.
Since this is a museum, the star of the museum are of course the collections and exhibitions. However, you could also say that the building plays an important role. That is how much art you can feel by just ”visiting the museum” and ”enjoying the space the museum offers”.

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