Permanent Collection 3rd term 2025
PERMANENT
Gallery 1:Setouchi Triennale 2025 Artists in the Collection
KaneujiTeppei《Day Tripper (Sculpture of Photograph of Paint ♯4) 》2010
The Setouchi Triennale is held every three years, with 2025 marking the sixth iteration of the event since its inception in 2010. It seeks to convey the appeal of the Setouchi area’s seasons through sessions held in three seasons: spring, summer, and fall. For 2025, the area’s range has been expanded eastward to include the Shido, Tuda, and Hiketa areas, and the event remains as lively as ever. Our own Collection Exhibition 3, scheduled to coincide with the autumn session (period: October 3 – November 9, 2025), features works by artists participating in the Setouchi Triennale 2025 from our museum’s collection.
Takamatsu City also has three islands: Megijima, Ogijima, and Oshima. Megijima is 20 minutes by ferry from Takamatsu Port, and is home to Ohtake Shinro’s “MECON,” Yoda Yoichiro’s “ISLAND THEATRE MEGI,” and Odani Motohiko’s “KOMBO-YA.” Ogijima is a further 20 minutes from Megijima, and allows the sites of other regular contributors to be enjoyed, including Matsui Erina’s “Daydream, Future Me,” Oiwa Oscar, and Kawashima Takeshi + Dream Friends. Finally, on Oshima, you can walk the path of Konoike Tomoko’s “Ringwanderung,” which provides reflections on the island’s history.
The work of other artists with pieces in our collection can be seen across different islands in the region. On the Seto Ohashi area islands of Seijima and Shamijima, Konishi Noriyuki and Nanjo Yoshitaka have pieces exclusive to the spring session (period:April 18-May 25, 2025); in Western Kagawa Prefecture, and exclusive to the fall session, new Hashimoto Masaya and Asai Yusuke pieces can be seen on Takamijima; and on Awashima, Hibino Katsuhiko’s “Project for the Museum of Seabed inquiry Ship in Setouchi” is active for the first time since 2013.
This exhibition showcases 23 pieces from 17 artists participating in the Setouchi Triennale 2025, offering a diverse range of works that complement their site-specific pieces on each island, each with its own unique appeal.
Gallery 2: Abstraction in Sanuki Lacquerware Art: Focusing on Kinma Technique
Isoi Masami《Box with Stone Pavement Design, Kinma》1987 Photo by TAKAHASHI Akira
Tamakaji Zokoku (1806-1869) is considered the grandfather of Sanuki Lacquerware, and the techniques he proposed—Kinma, Choshitsu, and Zonsei—are known as the three core techniques of the discipline. Kagawa Prefecture has produced no less than five Holders of Important Intangible Cultural Property (Living National Treasures), responsible for their own unique depictions of the Kinma technique, one of whom is Yamashita Yoshito (b.1951). Our special fall exhibition, the “Kinma Yamashita Yoshito” (period: October 11 – November 24, 2025), will introduce the unique works and transitions of Yamashita, who combines Kinma and Makie techniques to create an abstract yet poetic depiction of the subtle dynamics at play in the natural world.
Our Collection Exhibition 3, meanwhile, is centered around pieces from four Living National Treasures: Isoi Masami (1926-2023) who taught Yoshito, Isoi Joshin (1883-1964), Ota Hitoshi (1931-2019), and Otani Hayato (b.1954), mixed with comparative pieces from the masters who built the early period of Sanuki Lacquerware, Tamakaji Zokoku, and Ishii Keido (1877-1944). We have focused on the Kinma technique and forms of abstract and stylized expression in Sanuki Lacquerware for the exhibition.
Isoi Masami draws inspiration from familiar aspects of nature, attempting to create bold and abstract designs. This approach is evident in pieces such as “Tray with Heat Haze Design, Kinma” (1972), which represents the amorphous background of heat haze wavering over grass, and “Box with Stone Pavement Design, Kinma” (1987), featuring motifs of boldly expressed, artificially processed stones. Isoi Masami’s father, Isoi Joshin, created “Vase, Kanshitsu” (1937), featuring a dynamic repeating design that combines lacquer plates of yellow and black stripes; Ota Hitoshi, who studied under Joshin, created “Box with Wave Design, Rantai” (1990), featuring a red-to-black gradation of woven lacquered bamboo strips, representing the calm waves of the Seto Inland Sea at dusk; and Otani Hayato, who in turn was taught by Hitoshi, created “Letter Box, Kinma, Rantai” (1989), featuring overlapping stripes of dye to express the flickering of early autumn as darkness approaches.
This exhibition showcases 26 pieces from these 7 lacquerware artists, allowing you to appreciate the diverse abstract expressions of the Sanuki Lacquerware art form, with a particular focus on the technique of Kinma.
Information
Period：
October 1.(Wed),2025-December 27(Sat.),2025
Venue：
Permanent Collection Gallery
Closed：
Monday (the following weekday if Monday is a holiday)
Hours：
Monday-Saturday & Holidays: 9:30-17:00 (Entry until 16:30)
*Until 19:00 during special exhibitions on Friday and Saturday.
*Last entry is 30 minutes prior to closing.
Organized by:
TAKAMATSU ART MUSEUM
Admission：
【General 】200yen（160yen)
【University students】150yen (120yen)
【High school age or younger/Seniors 65+】Admission free
※Advance Purchase and Groups of 20 or More Get Discounts (pricing in parenthesis)
※Free admission for those with a physical disability certificate, rehabilitation certificate, or mental disability certificate.
Telephone Inquiry
TAKAMATSU ART MUSEUM
TEL +81-87-823-1711
高松市美術館SNS
美術館の裏側やワークショップなど関連イベントのレポートなど、高松市美術館情報を配信しています。
