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Time Out
a day ago
- Entertainment
- Time Out
This display of traditional erotic art is one of Tokyo's most stimulating summer exhibitions
Traditional Japanese erotic art – shunga – flourished during the Edo period (1603–1867), along with the rise of ukiyo-e woodblock printing. Some of the greatest artists of the time, including Kitagawa Utamaro and Katsushika Hokusai, employed ukiyo-e to depict Edo's hedonistic 'floating world' of geisha, kabuki, sumo – and sex. Shunga was in great demand and widely available, despite an official ban, and developed into a highly sophisticated genre in which artists incorporated references to waka poetry and the Chinese classics while tiptoeing around taboos and government censorship. But once Japan opened itself up to the Western world after centuries of isolation, Shunga was deemed 'obscene' and purged from the culture – for nearly 150 years, it turned out. The first major contemporary display of Shunga wasn't held in Tokyo until 2013, but that landmark show cleared the way for similar exhibitions. And now, perhaps the most rousing (sorry) Shunga show to date has opened right here in the capital. On display until September 30, the Kabukicho Shunga Exhibition features around 150 pieces by the likes of Hokusai, Utamaro and Hishikawa Moronobu. Curated from the collection of Mitsuru Uragami, one of Japan's foremost Shunga connoisseurs, the exhibition takes place across two venues: the Shinjuku Kabukicho Noh Stage and a disused 'host club' nearby. The hallowed atmosphere of the Noh stage makes a curious setting for the works, which though undoubtedly erotic also contain a strong element of humour. In fact, Shunga were sometimes referred to as warai-e, or 'laughing pictures'. Making your way through the exhibition, you're bound to notice another unique Shunga element. Both partners are usually fully (well, almost fully) clothed. Unlike in the West, where bare flesh was seen as simultaneously tantalising and taboo, the men and women of Edo-era Japan saw each other in the nude regularly at mixed baths and the like. If anything, it was more appealing to see men and women in Shunga clothed, as it helped to identify the characters' walk of life – and to emphasise the parts that were exposed. In the host-club section of the show, floor-level neon lights lead visitors from one intricate and dainty artwork to the next. The understated decor and layout successfully evokes an era where attitudes about sex were freer and erotica was widely accepted as a prominent art form. A corner of the host club has been converted into a gift shop, where you can pick up Shunga-tastic merch like totes, socks, cushions, cookies and collectible cards, all at reasonable prices. All in all, there's a distinct Kabukicho flair to the Shunga Exhibition, as you'd expect from a show organised by the Smappa!Group. Running an array of bars, clubs and other businesses in the neighbourhood, Smappa is the brainchild of Maki Tezuka, a former top host who's taken it upon himself to combine his core business of after-dark entertainment with cultural initiatives. 'Kabukicho still has a shady reputation, and Shunga is treated as porn,' Tezuka says. 'But both with the neighbourhood and the art form, just scratching the surface reveals a different picture: humanity, humour, soul. I hope this exhibition will inspire people to discover both Kabukicho and Shunga with new eyes.' So keep an open mind, leave your prejudices at home, and make your way to Kabukicho by September 30. Provided you're over 18, that is. Tokyo is getting a Pokémon theme park in spring 2026
Metropolis Japan
15-07-2025
- Entertainment
- Metropolis Japan
Wow, Hokusai! Interactive Encounter with Japan's Most Iconic Artist
This summer, step into the brilliant world of Katsushika Hokusai like never before. Through August 31, the Sumida Hokusai Museum in Tokyo invites you to experience 'Wow, Hokusai! See, Examine, and Discover Ukiyo-e.' Known worldwide for the ever-iconic The Great Wave, Hokusai was a master of surprise. This exhibition encourages you to slow down, look closer and uncover the hidden genius behind his brushstrokes. Through simple, engaging descriptions and a carefully curated lineup of works by Hokusai and his students, you'll be led on a path of discovery— one 'Wow!' moment at a time. In addition to the main gallery, visitors can enjoy the 'Education Room – Discover Hokusai' —a space designed to illuminate Hokusai's techniques and artistic tricks with accessible insights for all ages. Whether you're a long-time ukiyo-e fan (a genre of Japanese woodblock prints and paintings that flourished during the Edo period (1603–1868) or new to the genre, this exhibit offers a chance to not just see Hokusai's art—but to truly experience it. The museum is located in Hokusai's hometown of Sumida, making it the perfect destination to connect with Tokyo's cultural roots. Don't miss this immersive and eye-opening celebration of Japan's most iconic artist.
Japan Forward
11-07-2025
- Entertainment
- Japan Forward
Wow, Hokusai! See, Examine, and Discover Ukiyo-e
The Sumida Hokusai Museum is a prolific presenter of thematic exhibitions that draw on the work of acclaimed woodblock print artist Katsushika Hokusai. Previous recent exhibitions have focused on the subject matter of samurai, theater, and the Yoshiwara pleasure quarter. Others have highlighted the woodblock printing process. The current exhibition, Wow, Hokusai! See, Examine, and Discover Ukiyo-e, is something of a departure. As the title suggests, it identifies the "wow moments," the multitude of devices that Hokusai employed, that make the viewer gasp with astonishment. The exhibition's explanatory panels are divided into two, with the top section identifying the artwork and the lower portion explaining the wow factor. The exhibition therefore serves as an excellent introduction to the skills and techniques of the woodblock artist. It will be held in two terms, the first until July 27 and the second from July 29 until the end of the summer holiday period on August 31. Hidden Subtleties In truth, many of the highlighted techniques are subtle, and so the gasps are likely to be of the delayed and restrained variety. This is particularly true when figures within the prints point at objects to which the viewer's eye is not naturally directed. The best example is The Sazaido of the Gohyaku Rakamji Temple, in which the eyes of a single elderly character gaze towards birds perched under a temple roof, rather than the more obvious focus of Mt Fuji. Realization of the existence of the birds is one that is reserved for those who truly take time to examine the print. Visual Redirection The technique employed in The Sazaido of the Gohyaku Rakamji Temple is also evident in Sarumaru Dayū, from the series One Hundred Poems Explained by a Nurse. When viewing the print, one's eye is drawn in the direction in which a group of women is moving — to the right. Two of the women, however, look and point back towards a hill on the far left, where perceptive viewers of the print will notice a pair of deer. Two deer standing in an area to which the eye is not naturally drawn. | Katsushika Hokusai, Sarumaru Dayū, from the series One Hundred Poems Explained by a Nurse, The Sumida Hokusai Museum (all terms) Advertisement The Creation of Scale Creating a sense of scale is another technique in which Katsushika Hokusai was skilled. In his classic print Rainstorm Beneath the Summit, lightning appears at the base of Mt Fuji while a blue sky and fluffy white clouds can be seen overhead. The dual weather patterns within the vicinity of the mountain make it clear that Mt Fuji is massive enough to create its own weather. Thunder, lightning, and fluffy white clouds. An even more compelling example of scale creation occurs in Honganji Temple at Asakusa in Edo, from the series Thirty-six Views of Mount Fuji. The height of the roof is symbolically suggested by low-lying clouds, a kite soaring high, and a sizable scaffold for the digging of a well. These references create a gross exaggeration of the actual size of the temple, but imply that it is a particularly venerable object. Symbolic Shapes The status of the temple is further enhanced via an appropriation of the spirituality of Mt Fuji through repeated shape. The temple roof facing, and Mt Fuji, are both triangular — suggesting parallels between the temple and one of Japan's most sacred mountains. The creation of scale and repeated triangles. | Katsushika Hokusai, Honganji Temple at Asakusa in Edo, from the series Thirty-six Views of Mount Fuji, The Sumida Hokusai Museum (1st term) Repeated triangles can also be seen in Hokusai's most famous work, Under the Wave off Kanagawa. The wave in the foreground (in front of the more striking cresting wave) resembles Mt Fuji in both shape and color. The tranquility and stability of Mt Fuji contrast dramatically with the temporary nature and destructive energy of the wave. Dual triangles of blue and white: Mt Fuji and the wave in the foreground. Advertisement Wear and Tear A visit to the Sumida Hokusai Museum is never complete without an increased appreciation of the trials and demands of the print-making process. An initial print run during Hokusai's time always turned out woodblock prints most in line with what the artist intended. It was supervised by the artist himself, and the woodblocks were in their best condition. The natural wear on woodblocks over time, however, inevitably led to broader lines in subsequent printings. The absence of supervision by the artist in the additional print runs could also result in mistakes or unwanted interpretations. Missing Details Below are two images of Snowy Morning at Koishikawa, from the series Thirty-six Views of Mount Fuji, created from different print runs. In the upper print, a woman in a tea house is pointing at three birds in the sky, which were most likely included by Hokusai to create a sense of height and depth. In the second print, the outlines are thicker. Moreover, the birds are missing. According to the exhibition curator, the birds may not have survived upon the block face over time due to their small size, or they may have been on a woodblock that the printer simply forgot to print. A woman points to birds in the sky. | Katsushika Hokusai, Snowy Morning at Koishikawa, from the series Thirty-six Views of Mount Fuji, Yoshino Gypsum Collection, deposited in The Sumida Hokusai Museum (1st term) In a later edition of the print above, the birds are no longer there! | Snowy Morning at Koishikawa, from the series Thirty-six Views of Mount Fuji, The Sumida Hokusai Museum (1st term) Katsushika Hokusai was an immensely talented and deeply influential artist. His catalog work is also an invaluable pictorial record of the Edo era, prior to the advent of photography. A visit to Wow, Hokusai! See, Examine, and Discover Ukiyo-e is guaranteed to increase one's appreciation of how Hokusai keeps the life and times of the Edo alive, for us of the current day. Advertisement RELATED: Author: Paul de Vries
Muscat Daily
05-07-2025
- Entertainment
- Muscat Daily
Manga exhibition open at OSFA till July 22
Muscat – A travelling Japanese art exhibition, titled Hokusai Manga: Approaching the Master's Compendium from the Perspective of Contemporary Comics , is running in Muscat till July 22 at Omani Society for Arts (OSFA). Organised by the Embassy of Japan in cooperation with the Ministry of Culture, Sports and Youth, and supported by OSFA, the exhibition traces the evolution of manga by connecting the historical works of 19th century Japanese artist Katsushika Hokusai to modern manga. The exhibition, which arrived in Oman from Jordan, will later travel to Armenia. Speaking at the opening ceremony on Wednesday, H E Kiyoshi Serizawa, Ambassador of Japan to Oman, said the event aims to foster dialogue and cultural exchange between the two nations. He referenced the recent visit of H H Sayyid Theyazin bin Haitham al Said, Minister of Culture, Sports and Youth, to Japan in April, when he visited the pavilion of Oman at Expo 2025 Osaka and met Emperor Naruhito. Serizawa noted the growing interest in manga among Omanis, calling it a 'powerful bridge between nations and a vibrant medium of cultural expression'. The exhibition was inaugurated in the presence of H E Khalid Hashil al Muslahi, Undersecretary for Administrative and Financial Affairs at Foreign Ministry. Historically, the term manga referred to a broad collection of drawings. Today, it denotes Japanese comics and animation widely recognised across the globe. The exhibition features reinterpretations of Hokusai's work by several contemporary manga artists, including Ichikawa Haruko, Igarashi Daisuke, Kyō Machiko, Nishijima Daisuke, Okadaya Tetuzoh, Shiriagari Kotobuki and Yokoyama Yūichi.
Japan Forward
26-06-2025
- Business
- Japan Forward
Hokusai Inspires a New Form of Cardboard Recycling at Osaka Expo
このページを 日本語 で読む A small company in Sakai City, Osaka Prefecture, has turned ordinary packaging into a canvas for art, including woodblock prints by Katsushika Hokusai. Yamamoto Sadao Shoten, a packaging materials firm based in Kita Ward, has developed "art cardboard" printed with vivid reproductions of famous works. The Osaka-Kansai Expo selected their creation for a virtual exhibition. By combining their uniquely designed, easy-to-dispose-of cardboard with striking artwork, they've transformed a utilitarian product into something visually and emotionally engaging. Despite having only three employees, including third-generation president Kazuhiro Yamamoto (44), the company is driven by a bold ambition to leave behind a lasting legacy. Founded in 1946 by Yamamoto's grandfather, Sadao, the business continues to supply cardboard and cushioning materials to e-commerce firms and other clients. When Kazuhiro Yamamoto took over as president seven years ago, he set out to solve a common annoyance. That is, how to neatly dispose of collapsed cardboard boxes without having to tie them up with string. His solution was a cleverly engineered design. When one folds this box a certain way, it stands upright on its own. This allows it to serve as a container for other discarded cardboard. An art cardboard box printed with one of Hokusai's masterpieces. (Provided by Yamamoto Sadao Shoten) One version of this innovative box features a print of a Hokusai masterpiece. What looks like a standard cardboard box transforms into a self-standing unit that doubles as storage. Light enough to carry with one hand, the product, named Smapoi, received both a patent and a trademark. Sakai City officially certified it under its 2022 venture procurement accreditation program. While preparing for Expo 2025, the team had a flash of inspiration: to feature the iconic works of Katsushika Hokusai, whose art appeared at the 1867 Paris Expo and left a profound impact on painters like Van Gogh. They chose to print pieces like The Great Wave off Kanagawa on the Smapoi units, framing it as "a message to the world." Expo organizers selected it for inclusion in the virtual Healthcare Pavilion, which showcases outstanding technologies from small and medium-sized enterprises across Japan. Despite its ingenuity, Smapoi has yet to reach the general market. One of the main hurdles is regulatory. Many municipalities still require cardboard waste to be bundled with string, making Smapoi's string-free design incompatible with current disposal guidelines. Kazuhiro Yamamoto holding an art cardboard box. Kita Ward, Sakai City (©Sankei by Kenji Nakano) Even so, the company continues to promote it as an eco-conscious alternative, one that reduces reliance on plastic string and contributes to cutting down plastic waste. Looking ahead, the team also hopes to register their "art cardboard" as a return gift under Sakai City's furusato nozei (hometown tax donation) program. "I want people to remember this as something that made its debut at the Expo," Yamamoto says. "Something that lives on as a legacy." Author: Kenji Nakano, The Sankei Shimbun このページを 日本語 で読む
