Iwami Art Museum
The Iwami Art Museum is located in the Iwami region of western Shimane Prefecture. It opened in 2005 as part of a complex with a theater housed within the Shimane Arts Center. Affectionately known as "Grand Toit," which means "large roof" in French, the center serves as a hub for arts and culture in western Shimane Prefecture. The museum collects, researches, and exhibits works with a focus on artists related to Mori Ogai, fashion, and Iwami art while also hosting special exhibitions on a variety of themes. Additionally, taking advantage of its unique status as a combined facility with a theater, the museum offers a diverse range of educational and outreach programs to create a space where people of all ages can enjoy and connect through art.
The museum was designed by globally renowned architect Hiroshi Naito. Utilizing 280,000 Sekishu-gawara (Sekishu roof tiles), a local specialty, not only for the roof but also for the walls, the building presents an impressive appearance that harmonizes beautifully with the surrounding nature and residential area, making it a landmark of the region. The courtyard square, designed to connect the museum and the theater, is cherished as a place of relaxation for visitors.
When you think of Shimane Prefecture, most people likely think of Izumo. Known as the setting of the Kojiki, Japan's oldest historical record, and where deities from across Japan gather in autumn, Izumo is located in the eastern part of Shimane Prefecture. However, the Iwami Art Museum is situated in the western part of Shimane, in the Iwami region —a unique area with a special charm distinct from Izumo.
Even in a country as naturally beautiful as Japan, the Iwami region stands out for the purity of its natural environment. Takatsu River, known for having the clearest waters in Japan, is home to sweetfish, which can only survive in pure waters. The area's rocky soil was suitable for cultivating paper mulberry, which led to the development of papermaking. During the Edo period, many households combined farming with papermaking, producing Sekishu Washi, also known as Sekishu Banshi, which became a key material for clothing and everyday items and was even exported, supporting businesses in Osaka. In 2009, Sekishu Banshi was recognized as a UNESCO Intangible Cultural Heritage. The region where fashion designer Hanae Mori spent her childhood is also known for producing organic vegetables and preserving home-roasted tea traditions. Even today, the Iwami region, where pre-Edo practices coexist with the modern world, offers insights into Japanese beauty and a wholesome lifestyle, inspiring contemporary people.
The Iwami Art Museum operates in this rich environment, focusing on three themes: "Artists Related to Mori Ogai," "Fashion," and "Iwami Art." The works of fashion designer Hanae Mori, a native of this region, highlight the museum's collection. Mori drew inspiration from her homeland's natural colors and landscapes, which is why the museum is currently planning workshops on making and using washi, making tea, dyeing fabrics with natural plant dyes, and a special exhibition showcasing over 70 years of Mori's work. We invite you to spend a memorable time here in Iwami, where you can view the works surrounded by the sea, sky, mountains, water, and light that nurtured the artist.
Courtesy of SHOKUNIN -Japan traditional crafts-
Courtesy of Minako Uehara (Shiratani Seicha-do)
Main works
In 1965, Hanae Mori (1926–2022) presented her work at the Hotel Delmonico in New York. This show marked the beginning of her dresses being sold across the United States, especially in major department stores in New York. At that time in America, there was a demand not only for evening dresses worn on formal occasions but also for casual, elegant hostess gowns worn by women when entertaining guests at home. Mori's dresses met this demand and became popular. This particular dress was also created as a hostess gown. It features a traditional Japanese autumn grass pattern printed on vibrant pink silk. The caftan worn over the jumpsuit incorporates kimono elements, such as details around the collar. While the design emphasizes a Japanese aesthetic, the overall structure follows a Western dress style. This dress was also photographed by Richard Avedon and featured in American Vogue (November 1966), making it one of Mori's iconic works.
Mori's creations, embodying the "meeting of East and West," were first embraced in America and later in Europe. In 1977, she became the first Japanese designer to be admitted as a member of the Paris Haute Couture Association. Her achievements paved the way for other Japanese designers to make their mark on the international stage.
This is a portrait of Masuda Motoyoshi (1558–1640), the 20th head of the Masuda clan. In 1568, Motoyoshi received the character "Moto" from Mori Motonari, a powerful daimyo (warlord) in the Chugoku region. In 1570, he succeeded his father, Fujikane, as the head of the family. He served Mori Terumoto and achieved many military successes. However, after the Battle of Sekigahara, following Terumoto's defeat by Tokugawa Ieyasu, Motoyoshi moved to Susa in Nagato Province along with Terumoto, making him the last head to rule the Masuda region.
In this painting, Motoyoshi is depicted in armor, riding a horse. The robe-like garment (kara) draped over his chest is usually worn by Zen monks, making it a unique feature for a warrior on horseback and highlighting Motoyoshi's devotion to Zen Buddhism. Furthermore, the tiger skin depicted beneath the saddle is an imported item from China or Korea, indicating the Masuda family's engagement in overseas trade. Historical documents passed down in the Masuda family also mention that Motoyoshi and his father, Fujikane, gifted "tiger skins" to Mori Motonari.
The artist of this painting is Kano Shoei, a prominent painter of the Momoyama period. The Kano school was the most influential painting school during the Momoyama period, and Shoei was its leader. He also worked on wall paintings for notable temples in Kyoto, such as the Jukō-in of Daitoku-ji.
The inscription (Chinese poetry) at the top of the painting was written by Joten Genkun, the fourth head of Dōshun-ji Temple, after Motoyoshi's death, extolling his fame from his wartime exploits and his mastery of the essence of Rinzai Zen Buddhism.
- Oshita Tojiro, Autumn at Hibara Lake, 1907
- Tomiharu, Turtle on Lotus Leaf, 1792
- Enomoto Chikatoshi, Spring by a pond, 1932
- Yves Sant-Laurant, Coctail Dress and Cape, 1967-1968
- Kusama Yayoi, Genesis, 1992-1993
- Morimura Yasumasa, Self-portrait (Actress) Red Marilyn, 1996
- Matsue Taiji, JP-32, 2018
- Hasegawa School, Screen depicting Musashino Plaines, Momoyama-early Edo period (16-17c)
