The ‘Road of Light and Hope’ photography exhibition of Tōdai-ji’s National Treasures (by MIRO ITO) opened on 29 September, at the University of Salamanca in Spain. After being held at the United Nations Headquarters in New York in May 2016, this is its13th venue in 11 countries on world tour.

Spanish-Japanese Cultural Center (Palacio de San Boal), Salamanca

This exhibition promotes the all-encompassing worldview of the Huayan (Kegon in Japanese) philosophy, which holds that ‘all things are interconnected and everything is linked as one’. Around 1,300 years ago, in a time of national crisis, when Japan suffered major earthquakes and famines while smallpox was rampant, Emperor Shōmu issued an imperial edict in 743 CE ordering the construction of the Great Buddha—as a catalyst of national unity.

Over half of the nation’s estimated 5 million population heeded Shōmu’s appeal to help create the statue: ‘even with just a single stem of straw and a handful of earth’.

Brochure (‘Road of Light and Hope: National Treasures of Tōdai-ji Temple by Miro Ito)

That nothing in this world exists in isolation; that everything is infinitely interconnected and interrelated; that all things are one—this message should be embraced by all as something extremely important that we can do in our everyday lives. Even though the empathy of one individual may only be a tiny ripple, it can resonate through the whole world as through a tuning fork.

“Empress Michiko Hall”: The only venue in the world permitted to bear the name of a former Empress (with a photograph of retired emperor & empress displayed in the top left-hand corner)

Unraveling the History of East-West Exchange: From National Treasures to Important Cultural Properties, including hidden Buddhist statues

Another focus of this exhibition is to trace the history of East-West cultural exchange and highlight the commonalities between East and West as well as North and South within cultures.

Four Heavenly Kings (Kaidan-dō) and two photographs depicting Hokke-dō’s inner sanctum (back of right side)

During the golden age of the Tang Dynasty (712–765), centered on the reign of Emperor Xuanzong and known as the ‘High Tang’, the capital of Chang’an saw the blossoming of a culture of unprecedented international diversity, fueled by trade along the Silk Road. This remarkable international character and diversity were also introduced to Heijō-kyō (710–794), Japan’s imperial capital at the time. Today, Nara, along with Chang’an (Xi’an) across the sea, are known as the ‘easternmost terminus of the Silk Road

Hidden statue of Vajrapani in the Hokke-dō (left) and statue of Indra (Gakkō)

In this exhibition, we explore the points of convergence between the zeniths of Eastern and Western aesthetic traditions, as seen in a collection of 8th-century National Treasure Buddhist statues (Japanese National Treasures), which were photographed with special permission from Tōdai-ji Temple. These include the hidden statue of Vajrapani in the Hokke-dō, which has its origins in Hercules, and the Four Heavenly Kings statues in the Kaidan-dō, which follow the realistic style of classical Greek art, and the statues traditionally attributed to Nikkō and Gakkō (representing Indra and Brahma), which were originally part of the same ensemble: an impressive collection of masterpieces of Nara-period clay-sculpture

Inner Sanctum of Hokke-dō (Principle image: Fukūkensaku Kannon)/ Brochure: ‘Camino de Luz y Esperanza: Tesoros Nacionales del Templo Tōdai-ji por Miro Ito

Furthermore, an ancient Greek historian once pointed out that the statue of the Bodhisattva Fukūkensaku Kannon (Sanskrit: Amoghapāśa) in the Hokke-dō is also linked to Hercules through its association with the god Shiva.

Senju Kannon/Thousand-Armed Kannon statues: Tōdai-ji Museum and Senju-dō

In addition, the Eleven-Headed Bodhisattva statue (11~12 centuries), the principal image enshrined in the Shigatsu-dō Hall at Tōdai-ji, and the Thousand-Armed Kannon statue (13 century)—a secret statue enshrined in the Senjūdō Hall—also add a unique touch to the exhibition.

Senju Kannon/Thousand-Armed Kannon statues: Tōdai-ji Museum and Senju-dō (right side wall: from the right to middle)

(Brochure: ‘Camino de Luz y Esperanza: Tesoros Nacionales del Templo Tōdai-ji por Miro Ito)

The exhibits also include such photographs as the 8^th century Gagaku masks from Tōdai-ji—which bring together performing arts and folk traditions from along the Oasis Route—as well as the 12 century Bugaku masks—a collection of court performing arts from along the Maritime Silk Road—belonging to the Kasuga-Taisha Shrine; both sites are part of the UNESCO World Cultural Heritage Site: Historic Monuments of Ancient Nara.

Gigaku masks of Tōdai-ji (right wall) and Bugaku masks of Kasuga-Taisha Shrine

Gigaku masks of Tōdai-ji (right wall) and Bugaku masks of Kasuga-Taisha Shrine (middle wall) and Buddhist statues of Daianji (left) and Shorin-ji (middle in left wall)

The masterpieces of the Buddhist sculpture art of the 8th century of Daian-ji and Shōrin-ji will be also added in the coming venue in Salamanca. Furthermore, a new short film by Miro Ito will be screened on site (in Spanish): The Vairocana Buddha of Tōdai-ji Temple: Formation of Cosmic Life-Force and Light of Wisdom.

Buddhist statues of Daianji (left), Shōrin-ji (middle) and Tōdai-ji Temples

Opening Ceremony

The National Treasures featured in this exhibition are represented by two life-size statues of Prince Shōtoku—both considered to be ‘hidden Buddha’ statues: a Kannon of Salvation from the Asuka period (early to mid-7th century) and a statue of Prince Shōtoku (Regent Statue, 1122) created 500 years after his death in 622 CE.

The Kudara Kannon statue, exhibited at the Louvre in 1997, and the Yumechigai Kannon (lit. Dream Changer) statue, exhibited at the British Museum in 2019, also add to the exhibition’s appeal. Two more important statues—the two-year-old and the sixteen-year-old Prince Shōtoku—which were created as Prince Shōtoku’s beliefs spread, are Important Cultural Property from Gangō-ji (formerly Hōkō-ji), Japan’s first Buddhist temple.

From left to right: Mr. Takeda, Mr. Flores, Ms. Martinez and Miro Ito

Inauguration speech by Miro Ito (translated into Spanish by Ms. Sugiyama)

Dates: 29th September to 18th December 2026

Opening hours: Monday to Friday (11:00 AM to 1:45 PM, 5:30 PM to 8:45 PM)

Address: Pl. de San Boal, 13, 37002 Salamanca, Spain

Tel: +34 923 29 45 60

Organised by: Spanish-Japanese Cultural Center, University of Salamanca（Centro Cultural Hispano Japonés, Universidad de Salamanca)

Co-organised by: Media Art League + Japan Camera Industry Institute

Concept and Production: Media Art League

Photo permits by: Tōdai-ji, Daian-ji, Shōrin-j Temples; Kasuga-Taisha Shrine, Nara National Museum

Photography, text and video by: Miro Ito

English editing by: Andreas Boettcher

Spanish editing by: Spanish-Japanese Cultural Center, University of Salamanca

Endorsed by: Embassy of Japan in Spain; Japan Foundation, Madrid

More Information

FUNDACIÓN JAPÓN MADRID

Quest for the wisdom of our forebears seeking global harmony

In a world fraught with uncertainty, one way to continue to inspire a yearning for peace is by learning from the wisdom and achievements of those who came before us. After personally experiencing the 9/11 terrorist attacks in New York, I sought such wisdom from my forebears in Japan. The achievements of Prince Shōtoku (aka Prince Umayado, 574–622)—a sage synonymous with the origins of Japanese culture—soon emerged as a central theme.

First overseas photography exhibition featuring Horyu-ji’s National Treasures

The photographic exhibition ‘Historical Significance of Hōryū-ji Temple and Prince Shōtoku’ (by MIRO ITO/Japan Authentic Heritage Initiative & Media Art League) is ongoing at the Spanish-Japanese Cultural Center, University of Salamanca in Spain until 19 June 2026. This exhibition, the first overseas exhibition featuring Hōryū-ji’s National Treasures (in a luxurious hanging-scroll photography format, opened on 17 March to mark the 25th Salamanca Japanese Culture Week.

Prince Shōtoku: Scene from “Historical Significance of Hōryū-ji Temple and Prince Shōtoku” (short film by Miro Ito, English version)

Hōryū-ji: the Cradle of Japanese art

The Hōryū-ji is renowned for having the world’s oldest surviving ensemble of wooden buildings and is the first site in Japan to be designated as a UNESCO World Cultural Heritage. This invaluable collection of Buddhist art, that includes numerous National Treasures and designated cultural property that epitomise the cultural zenith of East Asia during the 7th century (the Asuka period). Drawing on Buddhist art from China and the Korean Peninsula, thes artistic masterpieces—which underwent uniquely Japanese refinements—are regarded as the cradle of Japanese art and artisanship.

The exhibition hall—the only one in the world allowed to bear the name of Empress Michiko—is adorned with photographs of her and retired Emperor Emeritus Akihito (Photo: Japan Authentic Heritage Initiative)

National Treasure Masterpieces of the 7th century

The National Treasures featured in this exhibition are represented by two life-size statues of Prince Shōtoku—both considered to be ‘hidden Buddha’ statues: a Kannon of Salvation from the Asuka period (early to mid-7th century) and a statue of Prince Shōtoku (Regent Statue, 1122) created 500 years after his death in 622 CE.

A view of the exhibition “La importancia histórica del templo Hōryū-ji y el príncipe Shōtoku”: Hidden Statue of Kuse Kannon (left) and Hidden Statue of Prince Shotoku (right)

Kuse Kannon: Scene from “Historical Significance of Hōryū-ji Temple and Prince Shōtoku” (short film by Miro Ito, English version)

Kudara Kannon: Scene from: ‘Historical Significance of Hōryū-ji Temple and Prince Shōtoku’ (short film by Miro Ito)

The Kudara Kannon statue, exhibited at the Louvre in 1997, and the Yumechigai Kannon (lit. Dream Changer) statue, exhibited at the British Museum in 2019, also add to the exhibition’s appeal. Two more important statues—the two-year-old and the sixteen-year-old Prince Shōtoku—which were created as Prince Shōtoku’s beliefs spread, are Important Cultural Property from Gangō-ji (formerly Hōkō-ji), Japan’s first Buddhist temple.

Prospectus: La importancia histórica del templo Hōryū-ji y el príncipe Shōtoku

A view of the exhibition “La importancia histórica del templo Hōryū-ji y el príncipe Shōtoku”: Prince Shōtoku statues of Hōrryū-ji and Gangōr-ji Temples (far right and third from right) (Photo: Japan Authentic Heritage Initiative)

Prince Shōtoku’s aspirations for peace

Having created the basis of Japan as a nation in terms of social system, religion, philosophy, education and fine arts; Prince Shōtoku embodies the origins of Japan’s culture. This exhibition offers a rare opportunity to view global treasures that showcase the finest examples of 7th-century East Asian art—not only from Japan but from across the region—in the context of Prince Shōtoku’s aspirations for peace, dating back more than 1,400 years.

Artist/creator MIRO ITO, obtained special permission from the Hōryū-ji and invested 20 years to take these photographs and videos.The exhibition will be open until 19th June 2026, and the public is welcome to view it in the Hall of Her Empress Michiko (Palace of San Boal) at the University of Salamanca—Europe’s fourth-oldest university—at the heart of the World Cultural Heritage city of Salamanca.

La importancia histórica del templo Hōryū-ji y el príncipe Shōtoku (The Historical Significance of Hōryū-ji and Prince Shōtoku)

Centro Cultural Hispano Japonés (Universidad de Salamanca)

Dates: 16th March to 19th June 2026

Opening hours: Monday to Friday (11:00 AM to 1:45 PM, 5:30 PM to 8:45 PM)

Address: Pl. de San Boal, 13, 37002 Salamanca, Spain

Tel: +34 923 29 45 60

URL: https://www.centrojapones.es/exposicion-templo-horyuji-2026/

More Information

JAPAN AUTHENTIC HERITAGE (previous blog)

MEDIA ART LEAGUE (previous blog No.15)

https://mediaartleague.org/en/blog/media-art-message-no-15/

TRIBUNA SALAMANCA

https://www.tribunasalamanca.com/noticias/438030/japon-desembarca-en-salamanca-una-semana-de-arte-gastronomia-y-tradicion-en-la-universidad

FUNDACIÓN JAPÓN MADRID

https://md.jpf.go.jp/es/Actividades/Eventos-organizados-por-otras-instituciones/evento/351/exposicion-fotografica-miro-ito-salamanca

SALAMANCA.COM

https://www.salamanca.com/evento/la-importancia-historica-del-templo-horyu-ji-y-el-principe-shotoku-en-el-cchj-exposicion-en-salamanca-2026/

Prospectus: La importancia histórica del templo Hōryū-ji y el príncipe Shōtoku

A World Premiere: the first photographic exhibition of the Hōryū-ji’s historical relics, to be shown outside Japan

A photographic exhibition entitled ‘The Historical Significance of Hōryū-ji and Prince Shōtoku  (La importancia histórica del templo Hōryū-ji y el príncipe Shōtoku)’ opened at the Spanish-Japanese Cultural Center (University of Salamanca) in Spain on 16th March 2026. Amid growing global turmoil, this project aims to promote the spirit of ‘harmony’—that underpins the ‘Seventeen-Article Constitution’ promulgated by Crown Prince Shōtoku in 604—to the wider world. The required photography/filming work—for which exceptional permission was granted by the Hōryū-ji Temple—took 20 years to complete. This is the first exhibition of its kind to showcase the National Treasures of the Hōryū-ji, outside of Japan.

Poster: La importancia histórica del templo Hōryū-ji y el príncipe Shōtoku (Historical Significance of Hōryū-ji Temple and Prince Shōtoku)

Prospectus: La importancia histórica del templo Hōryū-ji y el príncipe Shōtoku

Objectives

Through photographs and documentary footage showcasing the Hōryū-ji’s treasures and events, this exhibition explores the temple’s history at the eastern terminus of the Silk Road. Moreover, it places the achievements of Prince Shōtoku (Prince Umayato)—who laid the foundations for Japan’s politics and culture that continue to this day—within the context of East Asian history from the 7th century onwards..

A view of the exhibition in the “Empress Michiko Hall” (Photo: Japan Authentic Heritage Initiative)

A view of the exhibition “La importancia histórica del templo Hōryū-ji y el príncipe Shōtoku”
“Empress Michiko Hall” (Photo: Japan Authentic Heritage Initiative)

Exhibited Work

The exhibition features photographic work and a video poem (15 minutes in Spanish) showcasing artefacts—that convey the grandeur of ancient East Asian Buddhism—which reached Nara via the Silk Roads. At the collection’s core are outstanding National Treasures from the Asuka period, including the Shakyamuni Triad, the Standing Statue of the Hidden Buddha, the Kuse Kannon, the Kudara Kannon, the Yumemichi Kannon, the Yakushi Nyorai, and the Four Heavenly Kings.

Prospectus: La importancia histórica del templo Hōryū-ji y el príncipe Shōtoku

A portion of the exhibition “La importancia histórica del templo Hōryū-ji y el príncipe Shōtoku”
“Empress Michiko Hall” (Photo: Japan Authentic Heritage Initiative)

A view of the exhibition “La importancia histórica del templo Hōryū-ji y el príncipe Shōtoku”
“Empress Michiko Hall” (Photo: Japan Authentic Heritage Initiative)

Salamanca Japanese Culture Week

In 1999 the “Spanish-Japanese Cultural Center” (which includes the Empress Michiko Hall) was established at the Palace of Saint-Boire

The entire city of Salamanca was designated a UNESCO World Heritage Site in 1988. The Spanish-Japanese Cultural Centre was established there in 1999 as an annex to the University of Salamanca, which was founded in 1208 and is the fourth oldest still-existing university in the world. The centre’s ‘Empress Michiko Hall’ (formerly the Palais San Boileau), is the only cultural facility in the world permitted to bear the name of the former Empress of Japan. The annual ‘Salamanca Japanese Culture Week’, held here every year, serves as a focus for cultural exchange between Spain and Japan through exhibitions, lectures and concerts marking its 25th anniversary this year.

At the opening ceremony of the 25th Salamanca Japanese Cultural Week on 16 March, Professor Jose Abel Vilarejo of the University of Salamanca, Director of the Spanisch-Japanese Cultural Center, and Shinichi Sato, Charge d’Affaires at the Japanese Embassy in Spain, and Mr. Yasutaka Takeda, Director of the Japan Foundation, Madrid, delivered opening remarks. Following these, Miro Ito (Initiator of the Japan Authentic Heritage Initiative/Media Art League), photo-artist and producer of the Hōryū-ji exhibition, gave a speech.

At the opening of the 25th Salamanca Japanese Culture Week, 16 March 2026.
L to R: Ms. Ito; Director Floreso, the Spanish-Japanese Cultural Centre; Ms. Martinez, Vice-Rector for Cultural Assets, Heritage and Conservation at the University of Salamanca;
Mr. Sato, Chargé d’Affaires, Japanese Embassy and Director Takeda, Japan Foundation, Madrid (Photo: Centro Cultural Hispano Japonés, Universidad de Salamanca)

At the opening event of “La importancia histórica del templo Hōryū-ji y el príncipe Shōtoku”
(Photo: Centro Cultural Hispano Japonés, Universidad de Salamanca)

The next day, Ms. Ito gave a 50-minute lecture, “Two Sages of Japan: Prince Shōtoku and Emperor Shōmu”, to students of Japanese / East-Asian art and history, at the University of Salamanca. Her emphasis on Prince Shōtoku’s core value of “Harmony”, as the first and foremost of the 17-Articles in his Constitution, resonated well and garnered many remarks like “That is precisely the message the world needs today”.

Although parts of this lecture had been presented during Ito’s commemorative lecture in 2021 at Nara Prefecture’s Great Chrysanthemum Doll Exhibition, the current global tensions, gave the topic a particular relevance, as this appeal for harmony and understanding –transcending time and space– resonated well with the young Spaniards in attendance. Consequently, Miro Ito is determined to deliver similar messages at subsequent exhibitions in many countries around the world. She vowed “I will gladly travel anywhere in the world to spread this appeal for harmony and peace—should I be invited …”

A Commemorative lecture: “Two Sages of Japan: Prince Shōtoku and Emperor Shōmu (as part of a course at the University of Salamanca)
(Photo: Centro Cultural Hispano Japonés, Universidad de Salamanca)

The exhibition will run for three months until 19 June 2026.

Please do make a trip to Salamanca or Nara in Japan.

Organised by: The Spanish-Japanese Cultural Center, University of Salamanca（Centro Cultural Hispano Japonés, Universidad de Salamanca)

Co-organised by: Japan Camera Industry Institute, Japan Authentic Heritage Initiative

Concept and Production: Media Art League

Photo permits by: Hōryū-ji Temple

Photography, text and video by: Miro Ito

English editing by: Andreas Boettcher

Spanish editing by: The Spanish-Japanese Cultural Center, University of Salamanca

Endorsed by: Embassy of Japan in Spain; Japan Foundation, Madrid

Production of cine-poetry: Nara Prefecture

Funded by: The Tokyo Club

The Historical Significance of Hōryū-ji and Prince Shōtoku

(La importancia histórica del templo Hōryū-ji y el príncipe Shōtoku)

Centro Cultural Hispano Japonés (Universidad de Salamanca)

Dates: 16th March to 19th June 2026

Opening hours: Monday to Friday (11:00 AM to 1:45 PM, 5:30 PM to 8:45 PM)

Address: Pl. de San Boal, 13, 37002 Salamanca, Spain
Tel: +34 923 29 45 60
URL: https://www.centrojapones.es/exposicion-templo-horyuji-2026/

Prospectus: La importancia histórica del templo Hōryū-ji y el príncipe Shōtoku

Prospectus: La importancia histórica del templo Hōryū-ji y el príncipe Shōtoku

On 25th February 2024, a lecture and film-screening event, in commemoration of 45 years China-Japan Peace and Friendship Treaty, was held in Tokyo’s Hibiya Library and Museum. Entitled “Co-existing & Co-creating across Time and Space”, it was successfully hosted by the JACCCO (Japan Asian Community Culture Cooperation Organization) with the able support of a diverse roster of participants.

After an opening greeting from former Prime Minister Yasuo Fukuda (Chair of JACCCO), the main theme of Kegon (Huayan) Buddhist philosophy was discussed by Zen Master Nanrei Yokota (Engaku-ji Temple in Kamakura), followed by my lecture and short-film about Todai-ji Temple’s Great Buddha (Nara) and Kegon Thought—I was able to summarise the past 20 years of my involvement with these themes.

Lecture & screening event: Co-existing & Co-creating across Time and Space (Hibiya Library & Museum, 25th Feb 2024/Photo: JACCCO)

Iconography of cosmic light as enlightenment

All things in the cosmos are inextricably interrelated—pratitya-samuputpada（immense knowledge of dependence of originating）—the essence of Kegon philosophy lies in the unity and cohesion of everyone and everything in the universe.

The flora and fauna; pebbles and planets; from the atom to the solar system; humankind and the world; the universe and the individual：indeed all is one and one is all.

Image: NASA

A dandelion spore—enlarged model showing its interconnected molecules
Image: Anna Chesnokova/iStock by Getty Images

The Buddha (literally: the enlightened one) is the Great Buddha itself; each of the lotus petals of its pedestal is engraved with a magnificent cosmic image of Buddha conceived 2500 years ago.

World of Lotus Sanctuary (Pedestal of Great Buddha Statue)
National Treasure of Japan, Mid 8th century
Hall of Great Buddha/ Tōdai-ji Temple, Nara

My presentation illustrated the drama of self-transformation through meditation and the wisdom that leads to a veritable cosmology embodied by the Great Buddha statue of Tōdai-ji Temple.

Cinepoetry: Great Buddha Lives! presented at the commemorative event of the 1300th anniversary of Heijō-kyō, Nara (Great Buddha statue of Tōdai-ji Temple Photo by Miro Ito)

Living in an age of tremendous turmoil

There was also a panel discussion with Zen Master Nanrei and myself, as well as Yuji Miyamoto, former Japanese Ambassador to China and Director of JACCCO, and Kiyoyuki Seguchi, Board Member of JACCCO—about our collective need to seek a guiding light based on Kegon philosophy—amidst the ongoing tremendous turmoil in the world today. All participants unanimously agreed on the importance of not straying from the path.

It was a meaningful forum for exchanging opinions from a variety of viewpoints such as religions, philosophy, politics and diplomacy.

Spring board to the next 20 years

To date, exhibitions and screenings of my work related to Todai-ji and the Great Buddha have been held around the world, including at United Nations Headquarters in New York, the Council of Europe in Strasbourg, the National Museum of World Cultures in Mexico City as well as the Byzantine & Christian Museum in Athens. Continuing this trajectory, the event last Sunday in Tokyo marked a new starting point for me for the next 20 years.

Speaking engagement at “Road of Light and Hope” exhibition by Miro Ito, the Council of Europe, Strasbourg, 2016 (from L to R) Miro Ito, Japanese Ambassador Shinsuke Shimizu and Mr. Thorbjørn Jagland (Secretary General, Council of Europe [at the time])

We thank you for your interest and look forward to working with you.

Miro Ito

Media Art League/Japanese Authentic Heritage Initiative

Text and Images (C) Miro Ito/Media Art League. All Rights Reserved.

Cover: Signs of the Intangible (by MIRO ITO）published by Media Art League

Media Art League/Japan Authentic Heritage Initiative published its first photo art book edition in early 2023: Signs of the Intangible collects a series of photographs by photo-artist Miro Ito—presenting a visual history of Japan’s 1400-year mind-and-body-unity culture from a unique perspective.

The 106 photographs include new and unpublished works together with newly-written art essays by the author herself: it also serves as the catalogue for the eponymous international exhibition series.

Gigaku Mask: Suiko-ju, Important Cultural Property of Japan, 8th century (Collection of Tōdai-ji Temple/Photo by Miro Ito)

Never-seen-before perspectives

The uniqueness of this presentation accentuates this unprecedented perspective on how these outstanding tangible or intangible arts and traditions interact: 8th century sculptures influenced by Hellenistic culture such as  Gigaku and Bugaku masks that came to Japan in the 6th-7th centuries via the ancient Silk Roads, Noh performance and Kobudo martial arts with their 600 year tradition as well as contemporary dance performances like Butoh.

Nurtured in a nature-worshipping environment (Shintōism) where everything is seen as a manifestation of kami, and influenced by Buddhism, the key element here is the continuity of the dedicatory tradition distinctly evident within the uniquely Japanese form of Shintō-Buddhist syncretism existing since the 7th century.

Quick Silver (Butoh Dancer: Ko Murobushi) Photo by Miro Ito

Seeking a path to enlightenment

From the 12th century, Zen Buddhist influences advanced an ideal of mind-body unity (shinjin ichinyo) that was cultivated, for example, by Dōgen Zenji as the path to enlightenment—not only in religious contexts but also—in performing arts like Noh and in martial arts such as Kobudo under the patronage of the samurai clans that dominated the shōgunate.

As another Zen Buddhist teacher, Hakuin put it “our soul has a physical dimension and our body has a spiritual dimension”, so the body is the ba (topos or place) for such transformation toward its ultimate goal of gedatsu (liberation: vimokṣa in Sanskrit) intrinsic to Oriental ascetic tradition and meditation.

It is our hope that the Signs of the Intangible may provide glimpses of evidence for East-West exchange—going back centuries—and the long history of Japanese performing arts while pursuing a road to enlightenment embedded in the deep layers of Japanese culture.

Perhaps this work will give an impetus to the reader to direct their gaze to the horizon of unknown possibilities that the body opens up.

Noh play Atsumori (Noh Actor: Fumiyuki Takeda) Photo by Miro Ito

Inspirations that the body can unlock

This book presents mind-and- body-scapes woven by “distant yet close body expression”(1), for which 1400 years of Japanese performing arts serve as an example—ranging from Gigaku/Bugaku to Nogaku, to Butoh, to modern dance, and even to mixed media performing arts.

Could it not then be, then, that by dedicating oneself via the corporeal body to the truly great and sacred, one could become one with the universe?

In the end, as a common aspiration of all humankind—regardless of religion or ethnicity—may a true awareness that we all are one spread and take root in the hearts of everyone so that it may be shared throughout this world of seemingly never-ending strife.

26th May 2023

Miro Ito & Media Art League

(*1—quote from Ko Murobushi)

Time Theatre, Gunkanjima Island (Butoh Dancer: KiK_7) Photo by Miro Ito

inter/action (Dancers: Sal Vanilla) Photo by Miro Ito

Proceeds from the sales of photo books help fund public relations activities for Japanese culture and the creation of supporting media such as books and films, to promote awareness for Japanese culture around the world. These will also be available for collaborations with museums and educational/research institutions worldwide.

See more in details and how to order books on our Website and Flyer: Japan Authentic Heritage Initiative

Download Flyer: sings_of_the_intangible_by_miroito_230519_compressed

For Inquiries: info@japan-authentic-heritage-initiative.org

Media = Art + Message #5 —Dreams of a Gigaku Mask:

Extensively, Leisurely Observing to the Farthest Horizon.

Celebrating Lunar New Year  2018!

After 2017 ended as a year where the fragmentation of the humankind became ever more evident, there can be no hope of a brighter future ahead unless people all over the globe, truly become one.

Amidst the seemingly never ending conflicts whose seeds lie in prejudice, hate and fear, we can share the aspirations and ideals of contributing to the unity of the world in every possible way, as currently demonstrated by the Olympic ideals we are witnessing in Korea.

On the occasion of this Lunar New Year, the words of the late Kyōgen Master and fellow artist, Mannojo Nomura V. come to mind:  “extensively, leisurely observing to the farthest horizon”.

Whether it be on ecological issues or on the various ongoing conflicts around the globe, a sound conscience and consciousness for solutions can be fostered by having a broad perspective that encompasses both past and future.

As part of this initiative of mine, I have had opportunities to speak about what I call “the road of wisdom transcending East and West” at the University of Chicago last November. My main theme was the universalism in art form found in the Hellenistic sculptures of the Tōdai-ji Temple from the 8th century, photographs of which were presented in my concurrent exhibition in Chicago.

In a religious sense, universalism is the teaching of universal salvation. In its broadest sense, it represents an ideal to affirm and respect each other’s differences based on the universal idea that: all is one.

Vestiges of these ideals can be recognized in such performing arts as Gigaku that came to Japan more than 1400 years ago via the Silk Road. The remarkable co-existence of heterogeneous cultures is reflected in their masks as the embodiment of the essence of universalism in the form of art.

Like a Miniature Pantheon…

My globally touring exhibition, “Road of Light and Hope” that launched at UN headquarters in New York in 2016, was subsequently shown at the Academy of Arts of Uzbekistan, the Council of Europe and the Lieu d’Europe in Strasbourg, the Japan Foundation in Toronto, the Japanese Consulate General in Chicago, with the gracious support of co-organizers: the Japanese Ministry of Foreign Affairs and Japan Camera Industry Institute.

Gigaku masks were enthusiastically welcomed at various venues and fascinated visitors with their magnificent and vibrant artistic expressions.

Incidentally, an inebriated Sogdian King (Suikou), one of the representative Gigaku characters is believed to be modeled after Dionȳsos in Greek mythology. (The Sogdians once inhabited an area that roughly corresponds to today’s Uzbekistan).

In fact, Central Asian countries were crossroads of civilization where a panoply of ethnicities and nationalities intermingled. Uzbekistan itself is a veritable “racial melting pot” which is reflected in the facial features of many of its inhabitants today. Since the historic Greek immigration after the eastward incursions of Alexander the Great, a human tapestry of myriad ethnicities co-existed for over 2300 years, allowing the spirit of Gigaku to thrive.

Gigaku —considered to be the oldest form of mask theater on the Eurasian continent—  is derived from that of ancient Greece. Although it long fell into disuse as an actual performing art, around 552 AD when Buddhism was first introduced to Japan, Gigaku also arrived. Then Gigaku came to be performed as dedicatory dances for religious rituals at major temples in Japan’s first capital, ancient Nara.

When observing Gigaku masks, it is almost like encountering the spirits of our ancestors. Like a miniature Greek Pantheon, the masks represent various deities and tribal rulers, hermits as well as historical heroes inspiring us to find the way to a harmonious future…

With a heartfelt prayer for peace

Miro Ito

Media Art League

East Meets West through “Media = Art + Message”

http://mediaartleague.org/en

(C) Text and Photo by Miro Ito / Media Art League. All Rights Reserved.

Photo by Miro Ito (Replica of  an original Gigaku mask owned by the Todai-ji Temple: Karura; carved in the early 17th century)

Road of Light and Hope: National Treasures of Todai-ji Temple, Nara

Photographs by Miro Ito

The photo exhibition “Road of Light and Hope: National Treasures of Todai-ji Temple, Nara” opened 15^th March at the Japan Foundation Toronto where it will be on display until 28^th June 2017. This exhibition collects representative photographic images of artifacts of the Todai-ji —collected throughout its eventful 1300 year history— especially those that are evidence of cultural cross-pollination between east and west.

This evidence can be seen from two perspectives:

One is against the background of the construction of the Todai-ji’s Great Buddha (Vairocana) that symbolizes all the interconnectedness. The other is the cosmopolitanism of the Tenpyo era (729-749) sculptures with their traces of Hellenistic influences —conveyed to Japan via the Silk Road— evident in their features.

With the special permission and cooperation of Todai-ji Temple, and the kind offices of Japan Camera Industry Institute (JCII), Media Art League and the Japan Foundation Toronto are co-presenting this exhibition, comprising 41 photographic hanging scrolls of national treasures and important cultural assets, and 30 framed photographs. Since 2004, I have been photographically documenting these cultural testaments seeking to build bridges between east and west, adopting the ideals that I have learned from the history of the Todai-ji and its founder, Emperor Shomu.

Light of reconstruction and hope

About thirteen centuries ago during the Nara era, the great Vairocana Buddha statue of Todaiji Temple was erected at a time that frequently saw unprecedented natural disasters like huge earthquakes, droughts, famines and epidemics. Some 4.5 million citizens came together to help fund this undertaking. Under the slogan, “every single blade of straw or handful of soil helps”, Emperor Shomu called for everyone from all corners of the land to contribute to the best of their ability. Tens of thousands of people provided their labour enabling the huge statue to be completed in the year 752. 

The project provided encouragement, stability and employment to the people at a time when they were disheartened and burdened by repeated heavy disasters.

From its completion to modern times, the giant Buddha statue faced numerous earthquakes and wars during which it was twice destroyed. Each time, the citizens performed miraculous reconstruction work. Consequently, the giant Buddha has become a powerful symbol of Japan’s hope and resilience.

Concurrently, it is also a symbol of solidarity and interdependence in keeping with the Hua-yen Buddhist tenet that governs the universe: “all is one and one is all”.

In fact, while the traditions embraced by the Todai-ji are considered by many to be the quintessence of the Japanese psyche, I am endeavouring to share and convey these, through my photographs, across borders and cultures.

The road to world peace goes ever on…

Now, in March 2017, it has been six years since Japan’s triple disaster (earthquake, tsunami, and nuclear reactor catastrophe), yet ever more mega-disasters as well as regional conflicts and religious strife appear to be threatening the world order.  Against this background, it is ever more important for us to seek to restore a semblance of peace by genuinely attempting to empathize and share with the growing multitudes of disadvantaged and vulnerable people around the globe.

It is thus a great honour and pleasure for me to send my humble appeal for solidarity among all living beings to the people of Canada, in the spirit of the emperor Shomu, who prayed that all flora and fauna would prosper with the completion of Japan’s first great Buddha statue.

The world traveling exhibition “Road of Light and Hope: The Eurasian Trail of Wisdom (Σοφια) — between East and West—“ began at the United Nations HQ in New York last May, and was followed up by exhibitions at the Academy of Arts of Uzbekistan in Tashkent and at the Council of Europe HQ as well as le Lieu d’ Europe in Strasbourg in 2016 has now reached Canada, where it will be presented in Toronto at the gallery of the Japan Foundation (albeit, with a different sub-title: “National Treasures of Todai-ji Temple, Nara”) from 15^th March to 28^th June.

On the 26th of May, I will go to Toronto to hold a lecture accompanied by a screening of short movies on the topic. 

For details of the exhibition, please refer to the Japan Foundation [Toronto] website: http://jftor.org/event/national-treasures-of-todai-ji-temple/2017-03-15/ 

20th March 2017

Miro Ito

artist/author, producer (art & culture)

Media Art League