New Perspectives on the Presentation of Japanese Art II

The Seminar

Art is about expression and communication, and museums and exhibition venues are channels for communication. The IIAS/HKF seminar thus focuses on objects, contexts, and processes, as well as on presentation. The immense changes currently taking place in the attitudes and outlooks of scholars, curators, critics, policymakers, and those involved in the art market, reverberate within the study of Japanese art and have repercussions for the way in which Japanese art is displayed. The New Perspectives series shows that new narratives and challenges abound.

Programme

Abstracts

Staging the Samurai,
Dr Rosina Buckland, British Museum

Within Japan’s history, the figure of the samurai is unique in its global intelligibility, reading as both symbol of Japan and a universal icon of the virtuous and fearless warrior, ripe for appropriation. Although the term is now commonly used in English and other languages, among the general public there is little understanding of the historical reality of the people called samurai, or of the wide variety of ways in which the stereotype has been used over time, both in Japan and elsewhere. An exploration of the centuries-long trajectory of this icon fits perfectly with the British Museum’s mission to explore themes of identity, material culture and global interchange. In my presentation I will describe the thinking behind the exhibition and a sampling of the exhibits, and will explain the broader scope of the associated research project behind the exhibition, which will open in February 2026.

To Facilitate Encounters and Inspire Questions: Arts of Japan at the Asian Art Museum in Berlin
Dr Alexander Hofmann, Asian Art Museum, Humboldt Forum Berlin

Notions such as Japan, Art, History, and Representation have long been questioned as informed by essentializing discourses shaped by formations of nation-states, in the case of Japan since Meiji, among others by Satō Dōshin and more recently by the trans-cultural turn in art histories and visual culture studies. In this highly subjective review of the making-of the space for the display of a collection of arts of Japan in Berlin opened in 2021, I will reflect on my attempts and failure to establish a non-representational, subjective and temporary approach to curation instead of an authoritative display of Japanese Art. At the core will be questions about the roles of collections, institutional framings and potential meanings of displays of works of art from Japan or by artists who engage with arts of Japan in the trans-national context of a museum in Central Europe.

Zen and Sustainability: MUJI’s Approach to Minimalist Living and Design
Dr Mari Nakamura, Tunghai University, Taiwan

MUJI, a globally renowned Japanese lifestyle brand, is celebrated for its minimalist design, functional products, and commitment to sustainability. Rooted in Zen philosophy and Japanese aesthetics – such as simplicity, mitate, and the rejection of dualism – MUJI offers a compelling framework for sustainable living. Its “no-brand” philosophy challenges conventional consumerism by promoting mindful consumption, emphasizing sufficiency over excess, and fostering a deeper appreciation for everyday essentials. This talk examines the transformative potential of Japanese aesthetics in addressing global sustainability challenges, showcasing how MUJI’s design practices bridge traditional values and contemporary needs. It places MUJI within the broader context of environmental sustainability discussions, highlighting the relevance of indigenous intellectual traditions in addressing global sustainability issues. MUJI’s approach encourages reassessing our relationships with consumption and design, showing how traditional aesthetic frameworks can guide contemporary strategies for a balanced and sustainable living.

Shells and Shamans: Japanese Archaeology and the Sea
Dr Ilona Bausch, Institute for East Asian Art History, Heidelberg University

Having to do without written sources, prehistoric archaeology provides an approach to material culture which is quite different from that of the art historian, and relies on other infrastructures of information for interpretation. This presentation focuses on prehistoric shell objects, from the Jōmon hunter-gatherers to the early Kofun state, as a case study to illustrate this. Artefacts made of shells (local or exotic) – for personal adornment, as talismans, or as ceremonial objects – tell a compelling story of prehistoric society through its trade networks, social structures, and ideologies. Japanese archaeology, with its enormous number of excavated sites, yields a treasure trove of data: from very specific information about the artefacts' social context and function(s), to broader knowledge about multiple uses and meanings within prehistoric societies. Comparisons with contemporaneous sites in neighbouring regions, and ethnographic analogies provide additional support for interpretation. The long perspective shows important changes in technology, economy, society, and religious practices through time.

Rethinking Challenges: Evaluating the Japanese Display at the Rijksmuseum Amsterdam 
Menno Fitski, Rijksmuseum Amsterdam

In 2013, the Rijksmuseum reopened with a chronological, multidisciplinary display of Dutch history and art, under the motto Awareness of time and a sense of beauty. Japanese objects figure in narratives related to their function within that Dutch context and consist mainly of lacquer, porcelain and historical objects that illustrate the Dutch presence at Deshima. Additionally, an Asian Pavilion was added, giving space for other Japanese artforms, such as paintings, tea ceremony wares and sculpture. Twelve years have now passed, and the museum has embarked upon a journey to rethink the entire display. Are dichotomies such as export/domestic still useful? Can we add new layers of narrative to these displays? How do we make collections more relevant to our audiences? The lecture will explore the challenges and considerations of this ongoing process.

Organisation

This seminar is jointly organised by The Heinz Kaempfer Fund (HKF) and the International Institute for Asian Studies (IIAS).

The Heinz M. Kaempfer Fund was founded in 1989 to promote the study of the Japanese arts through, among other means, the provision of financial support for young scholars.
For more information, please see www.societyforjapaneseart.org/hkf.
 

Registration (required)

Everyone is welcome to attend. We kindly ask you to register, as seating is limited.

If we reach the maximum capacity, we will create a waiting list. Should you be placed on a waiting list, we will let you know.

Registration will close on Monday, 1 December 2025, 23:59 hrs. Amsterdam Time (CET).

Participation is free of charge. Coffee and tea will be provided during the day. Participants will have to organise their own lunch.

Please note that this is an in-person event on location only. It will not be streamed or recorded.