『Eisui・Yosihiro Tanamachi Exhibition』
日程 October 28~December 17, 2023
会場 Nezu Memorial Hall (Registered National Tangible Cultural Property, Yamanashi-city / Yamanashi)
An Exhibition That Brings Prayer into Everyday Life
The Ei-sui & Yoshihiro Tanamachi Exhibition, which opened on October 28, offers a rare and moving glimpse into a life infused with prayer.
What makes this exhibition truly special is the powerful collaboration between a painter, a Buddhist sculptor, and a floral artist—each a master in their own field. And to top it off, the venue itself, the Nezu Memorial Museum, is an architectural treasure designated as a cultural property. It’s hard to imagine a more beautiful or fitting setting.
This time, we were given the rare opportunity to exhibit not only in the traditional tatami rooms often used in such shows, but also in spaces that evoke everyday life—such as the bath, toilet, kitchen, and Buddhist altar room.
For me, there could be no better venue to express the theme of “a life with prayer,” which I have explored in my work since 2019. The exhibition allows visitors to feel how art and spiritual presence can quietly coexist within the rhythm of daily living.
Beside the small paintings I joyfully created for the first time in years, sculptures and flowers have been placed—together forming a scene that feels like a cherished moment from a life once shared with someone dear.
In the kitchen area, some of my favorite small sculptures are arranged, accompanied by flowers delicately positioned with just the right angle of the leaves to gently guide the viewer’s gaze toward the painting.
It’s a subtle display, but this quiet corner is my personal favorite in the entire exhibition.
In the kitchen, an old traditional stove still remains—one that must have once been used to cook many meals over the years.
When I first visited the venue, I came across a sacred horse figurine dedicated to Sanbō-Kōjin, the deity of the hearth. Inspired by this, I created a new work titled “Kamado-gami” featuring Okitsu-hiko-no-mikoto and Okitsu-hime-no-mikoto, and placed it there for this exhibition.
Beside the painting, a vessel inspired by the cosmos and a floral arrangement reminiscent of an autumn garden quietly complete the scene.
I’ve long explored the idea of using sculpture and flowers to connect a painting to its surroundings—so that the entire setting becomes a single, unified artwork.
But this is the first time I’ve had the opportunity to present such a large-scale installation so deeply integrated into the rhythms of daily life.
Until now, most of my exhibitions have taken place in extraordinary spaces like museums or temples—places somewhat removed from everyday experience. That’s why this exhibition, where the artworks blend gently into a lived-in environment, feels especially heartwarming.
There’s a softness, a naturalness to the way the pieces sit in the space—revealing something of their true, unguarded selves.
Some Works Will Change During the Exhibition!
Among the highlights of this exhibition are two newly unveiled hanging scrolls:
“Seikanzeon Bosatsu (Sacred Avalokiteśvara)” and “The Birth of the Buddha”, both from the Hōshōin Temple collection (Chūō City, Yamanashi).
They are displayed in the modern tokonoma alcove next to the Western-style room at the entrance of Aoyamansō.
Adorning the scroll is a simple yet striking arrangement of burst sanshō (Japanese pepper) berries—the natural contrast of red and black is truly beautiful.
These two scrolls will be shown in rotation:
In the first half of the exhibition, “Seikanzeon Bosatsu” will be on display, and in December, it will be replaced by “The Birth of the Buddha.”
From the lingering greens of early autumn, to the vibrant reds of peak foliage, and finally to the quiet stillness as winter approaches—visitors can enjoy the changing seasons through the garden and courtyard.
This exhibition offers a unique experience that reveals different moments of beauty to those who visit more than once.
Another piece that will be changed mid-exhibition is the new work “Baby Ususama Myōō-chan.”
At present, the line drawing version of the fierce yet charming deity Ususama Myōō is on display. It will be replaced with a version created using earth pigments as soon as the piece is completed.
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