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Standing on the rooftop garden of Fumio Asakura’s Tokyo studio, built in 1935, one can easily appreciate his decision to spend the rest of his life here. The serene Yanaka neighborhood stretches in all directions, and from one ledge, I catch a glimpse of the neighboring traditional Japanese home, a wooden structure with a peaceful courtyard adorned with rocks, plants, and a fish pond. It’s an idyllic oasis amidst the bustling city of 14 million people. I can’t help but imagine hiding away in a closet and spending the night in this tranquil haven.
Asakura meticulously designed every aspect of this beautiful compound, which he shared with his wife, two artist daughters, maids, and pupils. Taiko Tobari, the chief curator of the Asakura Museum of Sculpture, describes it as Asakura’s greatest masterpiece. The museum was established by the artist’s family in 1967, three years after his passing at the age of 81.
Originally from Oita prefecture in southern Kyushu island, Asakura moved to this studio in 1907 after graduating from Tokyo University of the Arts. He gained recognition as the “Rodin of Japan” for his vibrant Western-style sculptures depicting everyday people, notable figures like former Prime Minister Okuma Shigenobu, and his favorite subject, cats (he owned up to 14 at a time).
Amid a collection of statues in the studio stands Asakura’s bronze sculpture “The Grave Keeper” (1910), depicting an old man who worked in the nearby Tennoji Cemetery, where the artist himself was eventually laid to rest. The studio boasts 8.5-meter ceilings and even features an electric lift that descends into the floor, enabling Asakura to work on towering sculptures without the need for a ladder.
This studio also served as a venue for Asakura’s sculpture courses, where students would study gardening on the rooftop. Asakura believed that nature was the true master and emphasized the importance of carefully observing it for creative individuals.
Every room in the compound offers its own unique delight. The space once dedicated to growing orchids now serves as a gallery for rotating exhibitions, while the “sunrise room” boasts walls adorned with crushed red agate. Calligraphy, ink paintings, and ceramics collected by Asakura punctuate various areas. The study houses floor-to-ceiling bookshelves built to withstand earthquakes, a lesson learned from experiencing the Great Kanto earthquake of 1923. The shelves hold around 10,000 volumes, many of which belonged to Asakura’s teacher, the art historian Toru Iwamura. Asakura took out a loan against his house to preserve the collection after Iwamura’s passing.
During World War II, many of Asakura’s metal sculptures were seized by officials and melted down for military purposes. This must have been a painful experience for him. I like to imagine that he found solace by the pond, watching the fish swim and perhaps petting one of his beloved cats.
When visiting the museum, Tobari expresses the desire for visitors to truly experience the essence of each season: the air, the wind, the fragrances, the ever-changing light, and the sounds of water.
taitocity.net/zaidan/english/asakura/
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