INTERACTIVE EXHIBITION PROJECT
The Samurai were medieval Japan’s military nobility caste, which essentially ruled the country until the late 19th century.
One of the most attractive phenomena of the Land of the Rising Sun are its famed “men of strength” – the hereditary warriors, poets and thinkers called the Samurai. Valiant defenders of the interests of their sovereigns, but also dreamers and pilgrims, for generations they devoted their lives to transforming war into a high art. In many ways it was the samurai who created the world-famous image of Japan, a country whose men were equally capable of indulging in the lofty contemplation of sakura blossoms and plunging into the bloody frenzy of battle.
The Art of War As part of the “Samurai: The Art of War” project we wanted to show the world through the eyes of the samurai – men for whom war was an integral part of life and peace the highest ideal, men with a nature that was mesmerisingly paradoxical, since, on one hand, a samurai was a skilful and cold-blooded soldier, and on the other a philosopher, a poet, an artist, a man with a refined sense of the beauty of the world around him.
Georgy Aistov
Project producer Samurai
The Russian government declared 2018 a year of cultural exchange between Japan and Russia, and many large events took place all over Russia. Martial arts like kendo, aikido, iaido and karate have become an integral part of Japan’s culture and traditions. There is a high demand for Japanese culture and sport in Russia, where it is enjoying unprecedented growth.
Steven Seagal
Project curator Samurai
Warriors have always been part of human history. Both those who defend good and those who stand on the side of evil have been called upon to fight. That is the nature of our world. But if for some war became a manifestation of enmity and violence, for others it schooled them in worthy character traits such as self-sacrifice, heroism, nobility, dedication and a devotion to ideals. In the history of any people and any culture lives the memory of great heroes – knights, rajpoots, samurai, who for the sake of a higher goal were able to sacrifice their lives. Legends, tales, and songs have always been composed about them. But the greatest art of war is victory without the use of violence, the preservation of peace. It is no accident that in Japan – a country where to this day the path of the warrior forms the basis of the worldview, with special respect accorded to figures like Oda Nobunaga, Toyotomi Hideyoshi and Tokugawa Ieyasu, since their life’s work was not war, but the unification of a fragmented feudal country, the preservation and strengthening of peace.
One of the aims of the Samurai: The Art of War project was to remind us that above and beyond our everyday existence are eternal values, values that deep in our hearts we all strive for.
One of the aims of the Samurai: The Art of War project was to remind us that above and beyond our everyday existence are eternal values, values that deep in our hearts we all strive for.
Show more
The Russian government declared 2018 a year of cultural exchange between Japan and Russia, and many large events took place all over Russia. Martial arts like kendo, aikido, iaido and karate have become an integral part of Japan’s culture and traditions. There is a high demand for Japanese culture and sport in Russia, where it is enjoying unprecedented growth.
Steven Seagal
Project curator Samurai
I believe that this traditional exhibition of Japanese art along with a demonstration of martial art will be a wonderful opportunity for the improvement of relations and the strengthening of the friendship between the two countries. We also believe that this will be an event of extraordinary importance, which will truly demonstrate the value of relations between Russia and Japan and will become one of the most important events of the year.
Show more
ABOUT THE PROJECT
ABOUT THE PROJECT
History; interaction; multimedia: a complete immersion into the world of medieval Japan.
The central idea of the project was to show the world through the eyes of a samurai, a courageous warrior, a refined poet and an inspired artist who was ready to lay down his life at any moment for the sake of his high ideals.
The project aimed to completely involve the visitor in the learning process, immersing them in the world of the samurai. The result was an experiential exhibition that could be visited again and again.
The exhibition presented digital panoramas of important historical events and recreated the streets and gardens of ancient cities, while special lighting brought centuries-old relics to life.
The central idea of the project was to show the world through the eyes of a samurai, a courageous warrior, a refined poet and an inspired artist who was ready to lay down his life at any moment for the sake of his high ideals.
The project aimed to completely involve the visitor in the learning process, immersing them in the world of the samurai. The result was an experiential exhibition that could be visited again and again.
The exhibition presented digital panoramas of important historical events and recreated the streets and gardens of ancient cities, while special lighting brought centuries-old relics to life.
artists, lecturers, creative teams and craftmen (including experts from Japan, Honoured Artists of the Russian Federation, sports experts, professors from Russian and Japanese universities, historians, collectors)
square metres of exhibition space
over
up to
visitors annually, from 20 000 to 42 000
visitorsmonthly
visitorsmonthly
up to
publications and mentions in media (based on statistics from the project in Moscow)
items
of artistic and historical value
(including supplementary displays)
of artistic and historical value
(including supplementary displays)
370
450 000
1500
6000
2000
EXHIBITION
EXHIBITION
|
The exhibition occupied 1,500 square metres and presented more than 1,000 unique exhibits from the 15th-19th centuries. It was divided into thematic zones, which allowed visitors to literally follow the “path of war” and get a sense for all the phases that a samurai would pass through in life.
|
ARMOUR OF THE ARISTOCRACY
ARMOUR OF THE ARISTOCRACY
|
Armour of Oda Nobunaga
The most unusual item on display at the exhibition was the armour of the legendary warlord Oda Nobunaga (1534-1582). This inimitable military ruler of Japan was a merciless but brilliant commander but also a respected administrator. It was Nobunaga who united the country after hundreds of years of civil war and set Japan on a course towards a new era of peace.
This armour, which represents the pinnacle of the art of creating protective clothing at the time, is called the Black Demon. It was made to the highest standards and is a true work of art. Each metal part, down to the very smallest, is decorated with refined engraving in silver and gold. As far as we know, the mask for this suit of armour was made by special order of its future owner, who wanted it to bear a similarity to his face. |
Armour of Oda Nobunaga
The most unusual item on display at the exhibition was the armour of the legendary warlord Oda Nobunaga (1534-1582). This inimitable military ruler of Japan was a merciless but brilliant commander but also a respected administrator. It was Nobunaga who united the country after hundreds of years of civil war and set Japan on a course towards a new era of peace.
This armour, which represents the pinnacle of the art of creating protective clothing at the time, is called the Black Demon. It was made to the highest standards and is a true work of art. Each metal part, down to the very smallest, is decorated with refined engraving in silver and gold. As far as we know, the mask for this suit of armour was made by special order of its future owner, who wanted it to bear a similarity to his face.
The most unusual item on display at the exhibition was the armour of the legendary warlord Oda Nobunaga (1534-1582). This inimitable military ruler of Japan was a merciless but brilliant commander but also a respected administrator. It was Nobunaga who united the country after hundreds of years of civil war and set Japan on a course towards a new era of peace.
This armour, which represents the pinnacle of the art of creating protective clothing at the time, is called the Black Demon. It was made to the highest standards and is a true work of art. Each metal part, down to the very smallest, is decorated with refined engraving in silver and gold. As far as we know, the mask for this suit of armour was made by special order of its future owner, who wanted it to bear a similarity to his face.
SWORD COLLECTION
SWORD COLLECTION
|
A sword made by the swordsmith Muramasa
The blades of this master swordsmith represent the only case in history of weapons being subjected to official persecution. A whole host of mystical stories are associated with the swords made by Muramasa. According to legend, Muramasa did not agree with the politics of the ruling Tokugawa clan, which sought to establish power over all of Japan, so he put curses on his swords for the whole of the family.
We know that a series of mysterious deaths in this ruling dynasty are linked to the swords of Muramasa. A strict ban was placed on owning any blades made by the swordsmith, and they were confiscated and destroyed. Keeping one of these swords was punishable by death, but nonetheless, all the most illustrious Samurai dreamed of owning one, and later they also became the object of passionate desire for collectors. Very few of these legendary blades have survived to the present day, but one of Muramasa’s swords was displayed at the Samurai exhibition. |
A sword made by the swordsmith Muramasa
The blades of this master swordsmith represent the only case in history of weapons being subjected to official persecution. A whole host of mystical stories are associated with the swords made by Muramasa. According to legend, Muramasa did not agree with the politics of the ruling Tokugawa clan, which sought to establish power over all of Japan, so he put curses on his swords for the whole of the family. We know that a series of mysterious deaths in this ruling dynasty are linked to the swords of Muramasa. A strict ban was placed on owning any blades made by the swordsmith, and they were confiscated and destroyed. Keeping one of these swords was punishable by death, but nonetheless, all the most illustrious Samurai dreamed of owning one, and later they also became the object of passionate desire for collectors. Very few of these legendary blades have survived to the present day, but one of Muramasa’s swords was displayed at the Samurai exhibition.
The blades of this master swordsmith represent the only case in history of weapons being subjected to official persecution. A whole host of mystical stories are associated with the swords made by Muramasa. According to legend, Muramasa did not agree with the politics of the ruling Tokugawa clan, which sought to establish power over all of Japan, so he put curses on his swords for the whole of the family. We know that a series of mysterious deaths in this ruling dynasty are linked to the swords of Muramasa. A strict ban was placed on owning any blades made by the swordsmith, and they were confiscated and destroyed. Keeping one of these swords was punishable by death, but nonetheless, all the most illustrious Samurai dreamed of owning one, and later they also became the object of passionate desire for collectors. Very few of these legendary blades have survived to the present day, but one of Muramasa’s swords was displayed at the Samurai exhibition.
PAINTING
PAINTING
Six-leaf screen with calligraphic inscription
Six-leaf screen depicting a landscape and bamboo on a gilded background (bamboo and landscape appear on alternating panels)
Paper, ink
Six-leaf screen depicting samurai in combat with bows and spears. Late 16th century
Paper, mineral pigments, ink, gofun.
Six-leaf screen depicting myna birds in flight under pine trees. Late 19th century
Paper, silvering, gilding, ink
Six-leaf screen depicting myna birds in flight under pine trees. Late 19th century
Paper, silvering, gilding, ink
Paper, silvering, gilding, ink
|
Art was as an essential a part of the life of the samurai as war, and the art section was an important part of the Samurai: The Art of War exhibition. It featured an extensive collection of painted scrolls and screens, as well as household items and accessories that were used to decorate interiors in the traditional Japanese style. Among the exhibits were portraits of politicians and rulers painted by the master Watanabe Kazan. The display presents the heritage of the Kano school of painters and their pupils. Besides monochrome ink paintings, the artists of this school developed a whole style of decorative and refined polychrome painting, and the screens, fans and wall panels they painted became the face of Japanese visual arts during the Azuchi-Momoyama period. For instance, Kano Eitoku (1543— 1590) was the designer of the lavish interiors of the grand Azuchi Castle and the Jurakudai palace, built as an imperial residence.
|
Art was as an essential a part of the life of the samurai as war, and the art section was an important part of the Samurai: The Art of War exhibition. It featured an extensive collection of painted scrolls and screens, as well as household items and accessories that were used to decorate interiors in the traditional Japanese style. Among the exhibits were portraits of politicians and rulers painted by the master Watanabe Kazan. The display presents the heritage of the Kano school of painters and their pupils. Besides monochrome ink paintings, the artists of this school developed a whole style of decorative and refined polychrome painting, and the screens, fans and wall panels they painted became the face of Japanese visual arts during the Azuchi-Momoyama period. For instance, Kano Eitoku (1543— 1590) was the designer of the lavish interiors of the grand Azuchi Castle and the Jurakudai palace, built as an imperial residence.
Six-leaf screen depicting a landscape and bamboo on a gilded background (bamboo and landscape appear on alternating panels)
Paper, ink
Six-leaf screen depicting samurai in combat with bows and spears. Late 16th century
Paper, mineral pigments, ink, gofun.
Six-leaf screen with calligraphic inscription
Six-leaf screen depicting myna birds in flight under pine trees. Late 19th century
Paper, silvering, gilding, ink
“Iesada, 13th Shogun of the Tokugawa Dynasty” Volcano Islands, 19th century
“Warlord Minamoto no
Yorimitsu (Raikō) in armour
with a gunsen war fan”
Meiji era (1868-1912)
Yorimitsu (Raikō) in armour
with a gunsen war fan”
Meiji era (1868-1912)
“Commander Takeda Shingen
(1521 - 1573) fully armed”
Sasaharu Masahide,
(1772-1829)
(1521 - 1573) fully armed”
Sasaharu Masahide,
(1772-1829)
“Revenge of the Soga Brothers”
GRAPHIC ART
GRAPHIC ART
|
The magnificent Edo Period, a time of the omnipotence of the samurai caste, an extended time of peace and economic prosperity, gave Japanese culture a grand new art form: the tradition of urban engraving. The growing urban merchant class, whose rapid accumulation of wealth gave them the opportunity to familiarise themselves with high culture, required their own artistic canons and techniques, accessible to the majority.
The technology for producing an imprint on paper of an image pre-engraved on a wooden board permitted relatively large numbers of prints to be produced at relatively cheap cost, making them accessible to all segments of the population. This technique was quickly appreciated by artists who worked in the style of Ukiyo-e (“Pictures of the Floating World”). The greatest masters of Ukiyo-e are considered to be Tōshūsai Sharaku (worked 1794-1795), the great landscape artist Katsushika Hokusai (1760-1849) and, of course, Utagawa Kuniyoshi (1798—1861), who essentially became the chief avatar of the samurai caste. Some of the most prolific Ukiyo-e masters, who produced their work in the twilight of the brilliant Edo Period, were representatives of the Utagawa school. Around half of the engravings that have survived to the present day were created by them. |
Colour woodcut. Triptych
“Sea battle near Yashima: Yoshitume’s bow falls into the water”
Ichiyusai Kuniyoshi, (1797-1861)
“Sea battle near Yashima: Yoshitume’s bow falls into the water”
Ichiyusai Kuniyoshi, (1797-1861)
Colour woodcut. Triptych
“Nocturnal attack on the palace of Horikawa: Attack on Minamoto no Yoshitsune”
Itiyuosay Yositora (worked 1842-1880)
“Nocturnal attack on the palace of Horikawa: Attack on Minamoto no Yoshitsune”
Itiyuosay Yositora (worked 1842-1880)
The magnificent Edo Period, a time of the omnipotence of the samurai caste, an extended time of peace and economic prosperity, gave Japanese culture a grand new art form: the tradition of urban engraving. The growing urban merchant class, whose rapid accumulation of wealth gave them the opportunity to familiarise themselves with high culture, required their own artistic canons and techniques, accessible to the majority.
The technology for producing an imprint on paper of an image pre-engraved on a wooden board permitted relatively large numbers of prints to be produced at relatively cheap cost, making them accessible to all segments of the population. This technique was quickly appreciated by artists who worked in the style of Ukiyo-e (“Pictures of the Floating World”). The greatest masters of Ukiyo-e are considered to be Tōshūsai Sharaku (worked 1794-1795), the great landscape artist Katsushika Hokusai (1760-1849) and, of course, Utagawa Kuniyoshi (1798—1861), who essentially became the chief avatar of the samurai caste. Some of the most prolific Ukiyo-e masters, who produced their work in the twilight of the brilliant Edo Period, were representatives of the Utagawa school. Around half of the engravings that have survived to the present day were created by them.
The technology for producing an imprint on paper of an image pre-engraved on a wooden board permitted relatively large numbers of prints to be produced at relatively cheap cost, making them accessible to all segments of the population. This technique was quickly appreciated by artists who worked in the style of Ukiyo-e (“Pictures of the Floating World”). The greatest masters of Ukiyo-e are considered to be Tōshūsai Sharaku (worked 1794-1795), the great landscape artist Katsushika Hokusai (1760-1849) and, of course, Utagawa Kuniyoshi (1798—1861), who essentially became the chief avatar of the samurai caste. Some of the most prolific Ukiyo-e masters, who produced their work in the twilight of the brilliant Edo Period, were representatives of the Utagawa school. Around half of the engravings that have survived to the present day were created by them.
Colour woodcut. Triptych
“Nocturnal attack on the palace of Horikawa: Attack on Minamoto no Yoshitsune”
Itiyuosay Yositora (worked 1842-1880)
“Nocturnal attack on the palace of Horikawa: Attack on Minamoto no Yoshitsune”
Itiyuosay Yositora (worked 1842-1880)
Colour woodcut. Triptych
“Sea battle near Yashima: Yoshitume’s bow falls into the water”
Ichiyusai Kuniyoshi, (1797-1861)
“Sea battle near Yashima: Yoshitume’s bow falls into the water”
Ichiyusai Kuniyoshi, (1797-1861)
Kimura Matazon.
Engraving by Utagawa Yoshiiku, (1833-1904)
Engraving by Utagawa Yoshiiku, (1833-1904)
Shibata Katsune.
Engraving by Utagawa Yoshiiku, (1833-1904)
Engraving by Utagawa Yoshiiku, (1833-1904)
Takeda Katsuyori.
Engraving by Utagawa Yoshiiku, (1833-1904)
Engraving by Utagawa Yoshiiku, (1833-1904)
Matsushito Yukitsune.
Engraving by Utagawa Yoshiiku, (1833-1904)
Engraving by Utagawa Yoshiiku, (1833-1904)
Suzuki Magoichi.
Engraving by Utagawa Yoshiku, (1833-1904)
Engraving by Utagawa Yoshiku, (1833-1904)
Menju Yeteri.
Engraving by Utagawa Yoshiku, (1833-1904)
Engraving by Utagawa Yoshiku, (1833-1904)
DECORATIVE SWORD MOUNTINGS
DECORATIVE SWORD MOUNTINGS
|
In Japan a thousand-year custom forbade the wearing of jewellery by men. But from the 15th century onwards, samurai satisfied their vanity – and simultaneously demonstrated their wealth – by decorating the hilts, or tsuba, of their swords and daggers. Blacksmiths achieved such mastery in their metalwork that their alloys were no inferior to gems in their brightness and beauty: mixed in various proportions, they produced a diverse range of colours and shades, including the blue-black shakudo alloy and the blue gold ao-kin.
Literary works, nature, scenes from urban life – nothing escaped the attention of the tsubako masters. The art of tsuba decoration became a truly national artistic phenomenon that has survived centuries. Today samurai sword tsuba are highly sought after by collectors around the world. The Samurai: The Art of War exhibition presented various specimens from private collections, including precious metal mounts produced by famous jewellery schools such as Kanto, Kyoto Sukashi and Nara. |
In Japan a thousand-year custom forbade the wearing of jewellery by men. But from the 15th century onwards, samurai satisfied their vanity – and simultaneously demonstrated their wealth – by decorating the hilts, or tsuba, of their swords and daggers. Blacksmiths achieved such mastery in their metalwork that their alloys were no inferior to gems in their brightness and beauty: mixed in various proportions, they produced a diverse range of colours and shades, including the blue-black shakudo alloy and the blue gold ao-kin.
Literary works, nature, scenes from urban life – nothing escaped the attention of the tsubako masters. The art of tsuba decoration became a truly national artistic phenomenon that has survived centuries.
Today samurai sword tsuba are highly sought after by collectors around the world. The Samurai: The Art of War exhibition presented various specimens from private collections, including precious metal mounts produced by famous jewellery schools such as Kanto, Kyoto Sukashi and Nara.
Literary works, nature, scenes from urban life – nothing escaped the attention of the tsubako masters. The art of tsuba decoration became a truly national artistic phenomenon that has survived centuries.
Today samurai sword tsuba are highly sought after by collectors around the world. The Samurai: The Art of War exhibition presented various specimens from private collections, including precious metal mounts produced by famous jewellery schools such as Kanto, Kyoto Sukashi and Nara.
PALACE LIFE
PALACE LIFE
|
Traditional Japanese arts such as calligraphy and painting were always an integral part of the education of a true samurai. With the coming of the Edo Period in 1603, samurai were no longer constantly participating in battles and many warriors revealed talents as artists, poets and calligraphers.
The part of the exhibition devoted to palace life contained a display of the material treasures that surrounded these refined military aristocrats during peacetime. Besides paintings, the exhibits included furniture, clothing, lacquered goods, accessories, miniature sculptures and items of interior decor. The Japanese approach to interior decoration was distinguished by its avoidance of symmetry and repetition. Additionally, artists were valued for their ability to convey an idea in an extremely minimal form. Each piece of art seems simple at first glance, but then reveals itself in all its perfection and completeness. |
Traditional Japanese arts such as calligraphy and painting were always an integral part of the education of a true samurai. With the coming of the Edo Period in 1603, samurai were no longer constantly participating in battles and many warriors revealed talents as artists, poets and calligraphers.
The part of the exhibition devoted to palace life contained a display of the material treasures that surrounded these refined military aristocrats during peacetime. Besides paintings, the exhibits included furniture, clothing, lacquered goods, accessories, miniature sculptures and items of interior decor.
The Japanese approach to interior decoration was distinguished by its avoidance of symmetry and repetition. Additionally, artists were valued for their ability to convey an idea in an extremely minimal form. Each piece of art seems simple at first glance, but then reveals itself in all its perfection and completeness.
The part of the exhibition devoted to palace life contained a display of the material treasures that surrounded these refined military aristocrats during peacetime. Besides paintings, the exhibits included furniture, clothing, lacquered goods, accessories, miniature sculptures and items of interior decor.
The Japanese approach to interior decoration was distinguished by its avoidance of symmetry and repetition. Additionally, artists were valued for their ability to convey an idea in an extremely minimal form. Each piece of art seems simple at first glance, but then reveals itself in all its perfection and completeness.
Jikokuten – one of the “Four Heavenly Kings”
Wood. 16th century.
Bishamonten – the god of war
Wooden statue, 80 cm high. 18th century.
KIMONO COLLECTION
KIMONO COLLECTION
A special section of the exhibition was devoted to kimonos, including uchikake wedding robes, ceremonial samurai kimonos and even seppuku kimonos for ritual suicide. Visitors could also admire outfits used in the film Memoirs of a Geisha, which became part of private collections after filming ended.
Viewers will see rare handmade kimonos embroidered in gold and silver, ritual samurai hakama and haori, capes worn by jinbaori warlords, and costumes used by kabuki theatre actors. It was this exquisite style of Japanese kimonos that inspired such designers and artists as Yves Saint Laurent, Van Gogh, Pablo Picasso, and Coco Chanel.
Separate tours focusing on the historical and aesthetic significance of the kimono helped visitors to understand the finer points of Japanese dress.
Viewers will see rare handmade kimonos embroidered in gold and silver, ritual samurai hakama and haori, capes worn by jinbaori warlords, and costumes used by kabuki theatre actors. It was this exquisite style of Japanese kimonos that inspired such designers and artists as Yves Saint Laurent, Van Gogh, Pablo Picasso, and Coco Chanel.
Separate tours focusing on the historical and aesthetic significance of the kimono helped visitors to understand the finer points of Japanese dress.
|
A special section of the exhibition was devoted to kimonos, including uchikake wedding robes, ceremonial samurai kimonos and even seppuku kimonos for ritual suicide. Visitors could also admire outfits used in the film Memoirs of a Geisha, which became part of private collections after filming ended.
Viewers will see rare handmade kimonos embroidered in gold and silver, ritual samurai hakama and haori, capes worn by jinbaori warlords, and costumes used by kabuki theatre actors. It was this exquisite style of Japanese kimonos that inspired such designers and artists as Yves Saint Laurent, Van Gogh, Pablo Picasso, and Coco Chanel. Separate tours focusing on the historical and aesthetic significance of the kimono helped visitors to understand the finer points of Japanese dress. |
SPECIAL DISPLAYS
SPECIAL DISPLAYS
NETSUKE / OKIMONO
NETSUKE / OKIMONO
|
The small okimono and netsuke sculptures reflected legends and popular stories connected to the samurai culture. They depicted deities and mythical animals, demons and great saints, with each embodying vast power, both physical and spiritual. The sculptures on display in this room bore testimony to that part of a samurai’s life, which, it would seem, is impossible to express objectively. The things that adorned the daily lives of these warriors serve as an eternal record of their ideals and beliefs.
The most valuable items were made of ivory, sometimes tinted with a tea solution and decorated with engraved ornamentation. This display featured objects from parts of the collection created in the 17th-19th centuries. |
The small okimono and netsuke sculptures reflected legends and popular stories connected to the samurai culture. They depicted deities and mythical animals, demons and great saints, with each embodying vast power, both physical and spiritual. The sculptures on display in this room bore testimony to that part of a samurai’s life, which, it would seem, is impossible to express objectively. The things that adorned the daily lives of these warriors serve as an eternal record of their ideals and beliefs.
The most valuable items were made of ivory, sometimes tinted with a tea solution and decorated with engraved ornamentation. This display featured objects from parts of the collection created in the 17th-19th centuries.
The most valuable items were made of ivory, sometimes tinted with a tea solution and decorated with engraved ornamentation. This display featured objects from parts of the collection created in the 17th-19th centuries.
THE 47 RONIN
THE 47 RONIN
|
In the late 1840s Utagawa Kuniyoshi, the renowned master of the heroic genre, created a magnificent series of engravings called Seichu Gishi Den, devoted to the feats of the 47 Ronin, a band of samurai who avenged the death of their lord. The engravings depicted real historical characters, with informative biographical texts accompanying each engraving.
In addition to the collection of engravings by Utagawa Kuniyoshi, this display included armour and swords belonging to the Asano family, and household items and personal effects belonging to the Asano family and the ronin. |
In the late 1840s Utagawa Kuniyoshi, the renowned master of the heroic genre, created a magnificent series of engravings called Seichu Gishi Den, devoted to the feats of the 47 Ronin, a band of samurai who avenged the death of their lord. The engravings depicted real historical characters, with informative biographical texts accompanying each engraving.
In addition to the collection of engravings by Utagawa Kuniyoshi, this display included armour and swords belonging to the Asano family, and household items and personal effects belonging to the Asano family and the ronin.
In addition to the collection of engravings by Utagawa Kuniyoshi, this display included armour and swords belonging to the Asano family, and household items and personal effects belonging to the Asano family and the ronin.
SHUNGA
SHUNGA
|
Translated literally, shunga means “spring pictures” and is now used as a generic label for Japanese erotic art. Works in the shunga genre are very distinctive and, in addition to their erotic context, contain a wealth of information about the traditional culture of Japan.
More than 100 artworks from the 17th-19th centuries were on display at the exhibition, including painted scrolls by recognized artists and rare “bridal scrolls”. |
Translated literally, shunga means “spring pictures” and is now used as a generic label for Japanese erotic art. Works in the shunga genre are very distinctive and, in addition to their erotic context, contain a wealth of information about the traditional culture of Japan.
More than 100 artworks from the 17th-19th centuries were on display at the exhibition, including painted scrolls by recognized artists and rare “bridal scrolls”.
More than 100 artworks from the 17th-19th centuries were on display at the exhibition, including painted scrolls by recognized artists and rare “bridal scrolls”.
MASTERPIECES OF THE MEIJI PERIOD
MASTERPIECES OF THE MEIJI PERIOD
|
This special display presented examples of jewellery from the most lavish period in Japanese history (1868 - 1912). The jewellers of the time used incredibly sophisticated techniques for working with metals, varnishes and precious materials in order to create these luxury items. More than 300 masterpieces of the highest calibre formed a supplementary display accompanying the Samurai: The Art of War exhibition.
|
This special display presented examples of jewellery from the most lavish period in Japanese history (1868 - 1912). The jewellers of the time used incredibly sophisticated techniques for working with metals, varnishes and precious materials in order to create these luxury items. More than 300 masterpieces of the highest calibre formed a supplementary display accompanying the Samurai: The Art of War exhibition.
MULTIMEDIA EXHIBITION
MULTIMEDIA EXHIBITION
|
A special part of the project involved the use of state-of-the-art technology to plunge visitors into the world of old Japan. Large-scale multimedia projections allowed visitors to find themselves in the midst of historical battles or in the streets of a medieval city. Different halls featured interactive panoramas and video installations about the history of the production of weapons and armour, Japanese culture and the Bushido code of honour. Unique 3D projection and video mapping brought objects to life and created a unique show based not on a screen, but on real exhibits.
|
SHOW PROGRAMME
SHOW PROGRAMME
|
One of the distinctive features of the project was its daily entertainment programme, which brought people back to the exhibition again and again, both discerning admirers of Japan and those who simply have an interest in oriental culture. Each visitor was able to find something to their taste, whether it was taking part in a tea ceremony or calligraphy lessons, visiting a theatrical performance or attending lectures on samurai philosophy, history, and the culture and traditions of Japan. Large festival events, concerts and presentations regularly took place as part of the exhibition.
|
PR / ADVERTISING
PR / ADVERTISING
artists, lecturers, creative teams and craftmen (including experts from Japan, Honoured Artists of the Russian Federation, sports experts, professors from Russian and Japanese universities, historians, collectors)
square metres of exhibition space
over
up to
from 20 000 to 42 000 visitors
monthly
monthly
up to
publications and mentions in media (based on statistics from the project in Moscow)
of artistic and historical value (including supplementary displays)
370
visitors annually
450 000
items
1500
6000
2000
Georgy Aistov
Project producer
Steven Seagal
Project curator
Vitaly Tsvetkov
Curator & representative
Maxim Yurov
Curator & representative
CONTACTS
|
v@isamurai.ru
WhatsApp +79166114522 |
CONTACTS
v@isamurai.ru
WhatsApp +79166114522
WhatsApp +79166114522