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Photography:Akio Nonaka
   This is the first retrospective of works collected by the essayist Masako Shirasu, whose rich life came to a close the year before last at the age of 88. As her life roughly paralleled the 20th century, she became concerned with a multitude of cultural expressions such as Noh drama, literature, and assorted curios, all of which constitute a particularly Japanese way of life that is rapidly fading away.Ms Shirasu's life paid tribute to these traditions and in viewing her collection, each object brings the viewer a little closer to this remarkable woman's spirit.

We feel that the time she spent among us may hold a vital message for us now living in the 21st century.
      Masako Shirasu was a noted essayist and the first woman to perform in traditional Japanese Noh plays. She often visited small villages around Kyoto and Nara. In her writings these various places became one, which she referred to as the “Secret Village”, a place where a particularly Japanese style of life continues to exist. She loved art and made it an essential part of her daily surroundings and “The World of Masako Shirasu” features art objects that she collected throughout her life.
    As autumn falls on the Shigaraki Mountains, visitors might leave this exhibition feeling as if they just had a heartfelt talk with Ms Shirasu, a dialogue that gives one the courage to live each day to its fullest and the insight to truly know the place where one stands for the first time. This is a memorial exhibition of a memorable woman and it is our hope that visitors will carry the memories of what they have seen and felt home with them.



Reflections on Our First Special Exhibition

 

  The Miho's first special exhibition, “Ko-Shigaraki-Jars from Shigaraki's Medieval Kilns” comprised 187 jars and urns. Some 47,000 visitors were captivated by the unique beauty of these objects before this popular exhibition closed. Words from prominent cultural figures concerning the great artistic value of traditional Shigaraki jars were presented on wall texts in the galleries. These texts allowed visitors to gain a familiarity with Shigaraki ware and a sense of what old Shigaraki may have been like.
It is likely that the jars and urns will never be seen together again. If the impressions that these ceramics inspired while seen together stays with those who visited the exhibition occasionally rekindles a heavenly warmth and brilliance in their hearts, these old Shigaraki jars will have achieved their finest purpose.
 
 

The most popular jars


1. Jar (cat. no. 18)
2. Large Jar with Cypress Fence Pattern
    (cat. no. 54)
3. Uzukumaru Jar (cat. no. 187)
     
*     Photography: Takeshi Fujimori
 

*The Cleveland Museum of Art, John L.Severance Foundation, 1973.18



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