MIHO MUSEUM
The Beginnings of the MihoMrs. Mihoko Koyama (known as Kaishusama, the first President and spiritualleader of Shinji Shumeikai, or Shumei) grew up in a household where art was deeply
appreciated and her love of artistic expression was nurtured. Later, as a young woman
she attended the Freedom School in Tokyo, an innovative institution where the spiritof Christianity guided the approach to teaching. There, a sense of independence andcooperation were fostered in the students, qualities essential to being able to make agenuine contribution to society. In 1941, Mrs. Koyama met the spiritual philosopher,
Mokichi Okada, known as Meishusama, and chose to devote her life to implementing
his teachings. Through him she found the avenue that she had so long sought, one bywhich she could both contribute to society and express her passion for art. Mr. Okada
wrote, “The role of art is surely to heighten people's emotions, to enrich their lives
and to give meaning and enjoyment to their existence.” He also believed, “Peopleshould advance beauty in the environment and increase their appreciation of beautyfor it is sure to have the effect of beautifying the hearts of people who live in it.”
Mrs. Koyama began collecting Japanese tea ceremony objects about
forty years ago, choosing not only exceptional examples of their kind, butalso objects that seemed to have that rare ability to touch and warm people'shearts.
In 1970, she started a new fellowship organization and named it Shinji
Shumeikai, (meaning Divine Light Organization), or informally known asShumei. Respect for creation and nature are of its most important values. Outof this thought follows that beauty inspires the heart and soul.
In the 1980s, Mrs. Koyama and her daughter decided to make theholdings available to the public, and in 1993, they donated the holdings to
the non-profit Shumei Cultural Foundation which was chaired by herdaughter Ms. Hiroko Koyama.
“We originally wanted to build a memorial
gallery to share our Japanese collection withthe public”, commented Ms. Koyama. “Wewere fortunate in having had Dr. I. M. Pei,
the world-famous architect design the BellTower at the Shinji Shumeikai International
Center in Misono, Japan. …we were sodelighted with his work that we asked him todesign the memorial gallery. He had onereservation. He told us, “The museum as ashell is important, but the contents should beinternational.”
It was then that Shumei began to expand the collection to include Western antiquities. Almost
immediately, they had the good fortune of acquiring the larger-than-life-size standing Gandhara Buddha andthe Garden Scene fresco from Pompeii. These two acquisitions became the cornerstone of their international
collection. Following were pieces collected from ancient China through the Tang dynasty, the ancientMiddle East and Egypt. Ms. Koyama states, “Just as in the tea ceremony, each object that we acquired for its
beauty and brilliance of execution edified the daily lives of people… It is our hope that your visit to ourmuseum will be one that delights and inspires you. Everything has been done to ensure this – from thechoice of the site in the majestic Shigaraki Mountains, the approach by way of tunnel and bridge, thestunning architectural design and the gracious welcome you will receive, to the choice of art objects andtheir presentation.

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300 Tashiro Momodani, Shigaraki, Shiga 529-1814 JapanMIHO MUSEUM
Main Objects
Standing Buddha
Pakistan, Gandhara
Second half of the 2nd century A.DHeight: 250.0cm
Although many works of this type are known, thissculpture is, together with one currently in the Peshawar Museum,the largest known to have survived. Although lacking its original
nimbus, the piece is carved in a realist style typical of Gandhara.
The right hand, now missing, was most probably raised in theabhayamudra sign, an indication to the faithful that they need nothave fear. The left arm is slightly bent and the hand holds the garment in a posture undoubtedly
derived from Greco-Roman tradition. With large shoulders and a comparatively small head, thisrepresentation of Buddha has an imposing presence, especially when viewed from the front. Theside view shows less bulk, another feature which is frequent in Gandhara sculptures. The carvingof the hair and the clothing, together with the lack of severity in the facial expression, identify thiswork as dating from a period slightly after the reign of Kaniska I, which is to say the apogee of theart of Gandhara. Beyond art historical considerations, this remarkable sculpture dominates all
those who come into its presence. It is imbued with a spiritual presence which is evident to all
those who take the time to look carefully at it. The specifically Buddhist connotations of thissculpture become secondary as compared to its intemporal human significance.

Cult Figure of a Falcon-headed Deity
Egypt
Probably early 19th dynasty, ca. 1295~1213 BC
Silver, gold, lapis lazuli, rock crystal and Egyptian blue
Height: 41.9cm
Weight: 16.5kg

This cult figure of a falcon-headed deity is one of Egypt's mostfascinating and well-documented antiquities. Probably dating from theearly 19th dynasty, ca. 1295-1213 BC, it was cast in solid silver andoriginally overlaid with gold, the latter still being visible in places. Thefacial features and wig are accentuated by inlaid rock crystal and lapis
lazuli. The delicately modeled musculature creates a powerful and austere image clearly intended to convey
the divine presence of the god Horus. As a cult figure, the statue would have been placed in the inner
sanctum of a temple.
The work was first documented after being found in Egypt during World War I and was subsequently
displayed in the Cairo shop of Greek art dealer Nicolas Tano. During that time, it was examined by experts
from the Metropolitan Museum of Art, New York, and the Museum of Fine Arts, Boston. Howard Carter,
the celebrated archaeologist who led the discovery of the tomb of Tutankhamen, noted it in his diary in April
1922. Carter too recognized the importance of the piece. Despite the heavy encrustation, the quality of thesilver was evident.

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300 Tashiro Momodani, Shigaraki, Shiga 529-1814 JapanMIHO MUSEUM
Fresco panels depicting a garden
1st Century AD
FrescoGarden scenes were among the most enchanting
subjects depicted in Roman wall paintings. These fresco arethought to have been produced by leading campanian
workshop active in the Vesvian area and all three panels
probably came from the same room or from the back wall ofa peristyle enclosing a garden. Narrow bands of reddish
brown, white, and golden yellow enclose the scene of eachpanel, which are drawn in perspective to suggest the framesof windows through which a blossoming garden is viewed.
The ides was to visually extend the space that the walls enclose.

※Fragment of the [Frolicking Animals and Figures] Scroll

This fragment comes from first scroll of the four scrolls of theFrolicking Animals and Figure Scrolls in the collection of Kozanji, Kyoto.
The various activities of animals – primarily rabbits, monkeys and drawn
in nimble black lines, and the humorous forms of these animals are widely
known and loved. The subtle rendering of expression n touch, and thissuperb work is characterized by a design power based on a keen
understanding of animal behavior and mature brush skills.

※Yohen Tenmoku Tea Bowl
ChinaSong dynasty, 11th to 12th centuries
Jian ware, black glaze
Height: 6.5~6.6cm Foot diameter : 3.9cm
Mouth diameter : 11.8~12.1cm
There are only four great yohen, or spotted, tenmoku tea bowls. The
present work’s existence was not widely known until recently and is anexample of a rare class of yohen tenmoku. This bowl was produced at
the Jian Kilns in China’s Fujien province and is named for theunusually beautiful crystalline patterns that appeared spontaneously on
its surface during firing, which differ from the so-called “oil spot” patterns of Jian Ware. Here,distinctive star-bursts of color, unique to yohen tenmoku pottery, appear mainly inside the bowl. Like acrystal, each star-burst displays a prism of color.

※Some Japanese art works may not be on display. It depends on the special exhibitions.

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300 Tashiro Momodani, Shigaraki, Shiga 529-1814 JapanMIHO MUSEUM
Architecture
The Miho Museum was a joint Japanese and American
project completed by architect I. M. Pei and Kibowkan
International, Inc. in August of 1996 on a scenic
mountainside in a nature preserve near the town of Shigaraki,
Shiga prefecture, Japan.
The museum's details reflect the designer's innovative
endeavor to break new ground, as with the novel appearanceof sloped glass walls composed of space frames, the warmthof the materials used, especially the Magny Doré limestone
and colored concrete, and the systems for exhibiting andhousing works of art under the optimum conditions.
Upon visiting the site on which the museum now stands for the first time, he was moved to declare,"This is Shangri-La." He expressed his own idea by using the Chinese tale “Peach Blossom Valley”
to Ms. Mihoko Koyama, the founder of the Miho Museum, and she was immediately inconsonance with his idea.
There once lived a fisherman in Eastern China. One day, as he was rowing up a mountain stream,
he came across a peach orchard in full bloom. At the end of the orchard, he noticed a ray of lightcoming from a small cave at the foot of a mountain. Once inside, he found himself on a narrow
road, but traveling deeper, a splendid view suddenly opened before him. There was theShangri-La.
Only after climbing a gently sloping path lined with verdant trees, passing through a tunnel, andcrossing a bridge can the Miho Museum be found. The museum is the expression of that moment,
the moment that the museum suddenly comes into your eyes. It is just like a script.
“I strongly believe that the place or the area have their own history and spirituality.”"Japan's architects in the distant past strove to bring their buildings into harmony with their environment
and the surrounding view. Of course, I don't want to be a copycat but I do want to respect the thinking of
the Japanese people and their culture and traditions.""I am certain that those who come here will understand that I consciously designed the museum to be
assimilated into nature."Principal Works:

John Hancock Tower (1976)
National Gallery of Art / East Building Washington, DC (1978)
West Wing of Boston Museum of Fine Arts (1980)
Morton H. Meyerson Symphony Center (1989)
Carillon Tower, Shiga (1990)
Bank of China, Hong Kong (1991)
Grand Louvre (1993)
Rock and Roll Hall of Fame (1995)
Suzhou Art museum (2006)
Museums of Islamic Art(2008)
MIHO Institute of Aesthetics(2012)

A book of definitive photographs of the Miho Museum building titled, "MIHO MUSEUM - I.M.Pei
Architecture," is now available at the museum gift shop.
Price: ￥26,250. The book consists of 238 pages of beautiful photos.
Photography by: Mr. Higashide Kiyohiko〒529-1814 滋賀県甲賀市信楽町田代桃谷 300 Tel:+81(0)748 82 3411 Fax:+81(0)748 82 3414

300 Tashiro Momodani, Shigaraki, Shiga 529-1814 JapanMIHO MUSEUMAwardsArchitecture and general design:
1997
Ten Best Designs of 1997, Time Magazine
1998
HIROBA Architectural Award, Kink.
Federation of Architect & Building Engineers
Lighting design:
1997
Award of Excellence, 15th IALD Lighting DesignCompetition
1997
Good Lighting Design Award, Illumination Promoting
Association, Japan
Structural Design (Bridge):
1999
Engineering Excellence Honor Award, American
Consulting Engineers Council
1999
The Diamond Award for Excellence in Bridge Engineering, the New York Association ofConsulting Engineers, INC
1999
Most Innovative Structure Award of 1999, Structure Engineers Association of Illinois
2002
Outstanding Structure Award, the International Association for Bridge and StructuralEngineering

General Information
Museum Schedule 2017 :Autumn 2017:
September 16 through December 17"Special Exhibition Commemorating the Museum's 20th Anniversary
Shangri-La - Tracing the footsteps of I.M. Pei and Miho Museum"

Hours:

Days:

10 a.m. – 5 p.m.

(Admission until 4 p.m.)

Closed Mondays (If a holiday falls on a Monday, the museum will beclosed the following regular work day.)

Admission:

Parking :group discounts (20+ people)
Adults￥1,100￥900
Students￥800￥600
Children￥300￥100
Parking is free of charge (20 buses and 150 cars)

General Inquiries

Miho Museum Public Relations
Tel : +81 (0)748- 82- 3411

Fax : +81 (0)748- 82- 3414

Address : 300, Tahiro Momodani, Shigaraki
Shiga, Japan 529-1814
Web site：http://miho.jp
E-mail: information@miho. jp

Access to the Miho

〒529-1814 滋賀県甲賀市信楽町田代桃谷 300 Tel:+81(0)748 82 3411 Fax:+81(0)748 82 3414

300 Tashiro Momodani, Shigaraki, Shiga 529-1814 JapanMIHO MUSEUM
by train and bus

Teisan Bus ScheduleDepartsIshiyama

Arrives
MIHO

9:10
9:50
10:10
11:10
12:10
13:10
14:10

10:00
10:40
11:00
12:00
13:00
14:00
15:00

For additional information about getting to the MIHO…

http://www.miho.or.jp/english/inform/inform.htm

Departs
MIHO

ArrivesIshiyama

Italic
11:00
12:00
13:00
14:00
15:00
16:07
17:14

= Saturdays, Sundays and National holidays ONLY
11:50
Transportation / Tour Option
12:50
13:50
JTB Sunrise Tours. http://www.jtb.co.jp/shop/itdw/info/e/
14:50
JTB MIHO MUSEUM Transfer Plan
Tel:075-341-1413
15:50
16:57
18:04

by auto and taxi
Ishiyama Train
Stationhas a taxi stand justoutside of thestation
exit.
The fare to theMIHO Museum is
About 6,000 yen(or US$60).
Signs directing cars
tothe MIHO areposted
throughout theroute.
From the MIHO, aTaxi can be calledto pick up
passengers.

〒529-1814 滋賀県甲賀市信楽町田代桃谷 300 Tel:+81(0)748 82 3411 Fax:+81(0)748 82 3414

300 Tashiro Momodani, Shigaraki, Shiga 529-1814 JapanMIHO MUSEUM
Restaurant and Café

Peach Valley Restaurant

Pine View Café (Tea Room)

Located inside the Reception Pavilion

Located inside the Museum building

10am-4pm (Lunch is served from 11:30-2:30pm)

10:30am-5pm

The Restaurant serves an assortment oflunches, snacks, baked bread and finedesserts.

The Café offers sandwiches, freshly bakedbreads, as well as, western and traditional
Japanese cakes and desserts.

About Natural Agriculture
Those who come to the Miho to view the exhibits and innovative architecture canalso experience delectable meals prepared entirely with natural agriculture foods andbeverages.
Natural Agriculture draws upon the use of pure soil without the use of fertilizers,
pesticides, and any chemicals. Farmers practice this method of growing food not only toreproduce the genuine, original taste of food, but also to foster the health and ofwell-being for all elements in nature. With their emphasis on love, gratitude, and respect
for nature, this is not only a method of food production; it is also a spiritual discipline thatbrings forth a profound reverence and trust in Nature.

〒529-1814 滋賀県甲賀市信楽町田代桃谷 300 Tel:+81(0)748 82 3411 Fax:+81(0)748 82 3414

300 Tashiro Momodani, Shigaraki, Shiga 529-1814 JapanMIHO MUSEUM

Restaurant Menu Samples
For the entire menu, please visit http://www.miho.or.jp/english/inform/inform.htm

Onigiri-zen – Three different Rice balls servedwith seasonal vegetables and miso soup ¥1,800

Hot Udon noodles – served in broth with vegetable
tempura¥1,200Café Menu Samples

Assorted Sandwiches¥1,200

Other Menu Items
Cake (Seasonal cake, Bavarian cream cake etc.)........... ¥500～** We offer a 100 yen set discount for coffee or tea ordered together with the cake. **Ice cream (Cow’s milk is not used.)……....... ¥600～
Juice (Plum/Sudachi citrus/Others)………………….¥600～
Black tea, Coffee………………………………………¥500～
Shiratama Azuki(Mochi rice flour dumplings with sweet red beans)......¥700

Vegetarian Options

Onigiri-zen: Miso soup can be prepared without any fish added.
Cold udon noodles: A regular dipping sauce can be replaced with a kombu (seaweed) dipping sauce.

〒529-1814 滋賀県甲賀市信楽町田代桃谷 300 Tel:+81(0)748 82 3411 Fax:+81(0)748 82 3414

300 Tashiro Momodani, Shigaraki, Shiga 529-1814 Japan