The Japan Society Review 57
Book, Stage, Film, Arts and Events Review

Issue 57 Volume 10 Number 3 (June 2015)

Inoue Yasushi (1907-1991) was one of the great postwar Japanese authors, whose prolific output comprises
some 50 novels and 150 short stories. Despite his
productivity (he only began working as a novelist at
the age of 42, following a career as a journalist) only ahandful of his works have made it into English. British
and American publishers have until recently only beendrawn to the historical fiction for which he dedicatedmost of his writing career, but his ouevre also includes
a number of works which deal with the harsh realities ofpost-war Japan. Thankfully Pushkin Press have recently
published three works (two novellas and one collectionof short stories) which fall into this latter category andthese are reviewed together here.
Also reviewed in this issue is one of our own
publications, Sophie Richard's The art lover’s guide to
Japanese museums, while Mike Sullivan covers both theRaindance Film Festival and Kobayashi Kentaro's oneman show, Mr Potsunen’s Peculiar Slice of Life.

Contents
1)

Bullfight by Inoue Yasushi

Editor2)

The Hunting Gun by Inoue Yasushi

William Upton

3)

Life of a Counterfeiter by Inoue Yasushi

Chris Corker, Lucy Kikuchi, Mike Sullivan, and Jenny White

4)

Fuku Chan of FukuFuku Flats at the Raindance Film
Festival

5)

Mr Potsunen’s Peculiar Slice of Life6)

The art lover’s guide to Japanese museums by Sophie Richard

Reviewers
Latest Reviewswww.japansociety.org.uk/resources/reviews(Image: Mochizuki Gyokusen, Black Bull, late Edo-Meiji period,
Minneapolis Institute of Arts, Clark collection)

Bullfight by Inoue
YasushiPushkin Press (2013)
ISBN: 1782270000
Review by Chris Corker

Bullfight won Inoue the
Akutagawa Prize – considered the most prestigious
Japanese literary award –in 1949. This was only his
second published work in a prolific career that saw
him go on to write fifty novels and one hundred andeighty novellas. In a personal and thoughtful afterword
included in this edition, the author tells us that, while
he wrote this book in his forties, he believes that hewas even then a green author, with much still to learn.
He does, however, say that this work was one of thefundamental pieces of his career, and left an indelible
mark on his later books.
During the aftermath of the Second World War,in a decimated Osaka, Tsugami, editor-in-chief of asmall newly-founded newspaper, agrees to sponsor
and arrange a bullfighting contest. Over the months
that follow he becomes consumed with the event and,with problems arriving in droves, he begins to question
whether or not his business partners are trustworthy,
fearing that the event will become a failure. As abackdrop to this story is Tsugami’s relationship with thewar widow, Sakiko, who, as her conflicted feelings forhim intensify, is not sure whether she would like to see
this venture succeed or destroy him. This relationshiphas more depth than the usual cruel ice-queen-athome scenario that is prevalent in some Japanese
literature. Tsugami has, as Sakiko calls it, ‘an unsavouryside’ that is stirred up by any type of challenge. She
believes that this new challenge is not only somewhat
in bad taste, but also immoral. She also knows that
Tsugami’s nature will not allow him to back away. The
narrator comments also that:‘When someone put a knife to Tsugami’s neck, it was in
his nature to press his own blade to the antagonist’s, tokeep pressing it in, watching the sharp edge; then, after
the agitation of the moment had faded, he would lookback in disbelief at what he had done.’The content and theme of the story may naturally
lead us to draw comparisons with Hemmingway, but
this is not a story about the attraction of sport, or the2

psychology of a sportsman. It is not the bullfight itself
that drives Tsugami – very few of the central characterstake any interest in the matches once they begin – buta need for distraction and a means to push on andaway from the defeat that is apparent all around them,even if it is through further, third-party aggression.
There is a strong feeling of a reluctance to ‘pass
the torch’ to the younger generation throughout. An
old and shrewd business man, Okabe, is treated withsuspicion by Tsugami, but he is dismissive of anotherbusinessman, Miura, representative of an even younger
generation. Tsugami is stuck in an unfortunate twilight,
unwilling to trust the older generation that guided
them to their current predicament, or believe in the
new generation, personified by Miura, who he seesas brash and reckless. This tension is representative ofJapan after the Second World War, where the younger
generation were becoming disillusioned with theirelders. For Japan, who had for so long relied on astrict code of filial piety, this was a marked evolution,and one with which everyone was comfortable. Thistension and anger did, however, create some of thecountry’s best recognised authors.
Just as it is now impossible to read The Great
Gatsby as anything but a metaphor for the start of
the Great Depression, it is difficult to view Bullfight asanything other than a metaphor for the Second World
War, and the clues are frequent throughout the novella.
While the higher-ups manipulate common opinion
and generate enthusiasm for the bullfight, no-one isthinking about the economy or their unmet daily needs.
In all of this fervour, the characters also completely
forget about the bulls, the perfect representation of
the soldier, who are being made to fight for everyone
else’s peace-of-mind. This is summed up brilliantly as,
when two bulls fight to a vicious stalemate, the crowd
is asked to clap if they wish them to continue until one
is defeated or killed. As soon as the bulls have finishedfighting and they have fulfilled their purpose, Okabe
is already to be found choosing those that would besuitable for food.
Echoes of the war are inescapable for thecharacters. On New Year’s Eve, Sakiko and Tsugami
take time to listen to the temple bells, in a scene that
resembles an air raid:‘They heard the bells being struck at regular intervals,
nearby and far away, their countless reverberations alllayering and colliding, echoing into each other, flowing
like a hundred streams through the crisp midnight air.’Issue 57 Volume 10 Number 3 (June 2015)

These dual-layered moments of normality andconcealed peril are a constant in the book, acting as ahaunting echo that haunt the protagonists.
The translation is very clear and easy to read. A lotof the dialogue is quite casual, possibly an attempt torepresent the Kansai dialect, which is often consideredmore direct than its Tokyo counterpart (the relationshipis actually very comparable to the traditional English
north and south divide – Osaka traditionally being seen
as friendly but uncouth by Tokyo citizens). This Pushkin
Collection edition, intended to feel comfortable in the

The Hunting Gun by
Inoue Yasushi
Pushkin Press (2014)
ISBN: 9781782270010
Review by Lucy Kikuchi

The
HuntingGun,publishedin1949,
marked the start ofInoue Yasushi’s career infiction after many yearsof working in journalism
and publishing. And whata fine start it was. Although Inoue comments in theafterword that his breakthrough novellas The Hunting
Gun and Bullfight 'carry within them... [a] youthfulungainliness', this seems an incredibly modest
appraisal. The novella is beautifully written and credit
must be given to Michael Emmerich who has done fulljustice to Inoue’s work with an elegant translation.
The story revolves around three characters: ahusband (Misugi), his wife, his lover, and his lover’s
daughter. Letters written by each of the women to
Misugi offer three different perspectives on his affair,each in turn (mis)interpreting events, conversations
and characters. A word of warning here, though: thesynopsis written on the inside sleeve of the Pushkin
Press edition reveals what is, perhaps, a little too muchplot detail; avoid this and you may further enjoy thehigh level of intrigue Inoue weaves into the plot.
Perhaps one of the main themes of The Hunting
Gun is the disappointment of love. This is not only
true for a husband or wife, but lovers, mothersand daughters, and young people who are yet toexperience 'love'. Shoko, the daughter of Misugi’s
lover, is at a young age devastated to learn thatromantic love is flawed, and Inoue suggests at certain
points throughout the story an air of disappointment
Issue 57 Volume 10 Number 3 (June 2015)

hand, is of a fine quality, with a textured cover andthick, high quality paper.
Overall, this novella is good way to spend a few
hours. It is rich with imagery and meaning that few
novels can manage. You may not relate to the rather
selfish characters, but you will find some of themamusing and others pitiable, while the story flows very
nicely to the open ending that is somewhat inevitable– in no small way due to the uncertainty of the times –from the first page. All in all, a good read.§surrounding the relationship between herself and hermother.
Inoue writes most of the novella through thevoice of women who comment on a 'woman’s
suffering' or who claim to be 'reaping the punishment...
due as a woman incapable of enduring the pain ofloving'. Inoue examines the complexities of love fromthe female perspective (especially for women of thisera) and although Misugi is given a voice, he is always
aloof, and his emotional state mostly inscrutable.
As a story set in early postwar Japan, the language
between characters is more formal than we would
expect today, but in a way that properly reflects thecustoms of the day. At times, the prose feels almost
archaically poetic: 'Oh, what humility! The modestyof a new wife of twenty, so pristine only the curvinglines of a work of pure art could express it', but Inoue’s
words are a joy to read. A tanka (a form of Japanesepoem), which Emmerich translates masterfully, offers amoment of bitter poignancy as Misugi’s wife describes
her feelings of rejection. The use of language is attimes breathtaking.
As the story unfolds and the component parts
slip into place, you may be left wanting to reread The
Hunting Gun. Since it is only one-hundred and twelve
pages, this is easy to do, and there is enough depth tothe story and expressiveness to the writing to make asecond read equally as satisfying as the first.§

Interested in writing for theJapan Society Review?
Please write to:
info@japansociety.org.uk with examplesof your work and information about yourknowledge of and interest in Japan.
3

Life of aCounterfeiter by
Inoue Yasushi
Pushkin Press (2014)
140 Pages
ISBN-10: 1782270027
Review by Chris Corker
The
three
storiescollected in Life of aCounterfeiter take place,like Inoue’s celebrated
Bullfight and The Hunting Gun, shortly after the war;
defeat is still an open wound, and the future a grimprospect, although again like Bullfight the war rarely
appears as more than an unspoken backdrop, alluded
to implicitly in the social climate and sometimes in
subtle but striking imagery such as a firework display.
The titular ‘Life of a Counterfeiter’ is the longestof the three pieces, with both ‘Reeds’ and ‘Mr Goodall’s
Gloves’ being brief meditations on memory and theseemingly insignificant moments that affect lives.
Running through these stories is a nostalgic yearning
for more prosperous times. Inoue does incredibly
well to infuse these seemingly event-less stories withmeaning, lent extra weight by his refreshing sense of
economy.
‘Life of a Counterfeiter’ sees a journalist tasked
with completing an autobiography of the late, lauded
artist Onuki Keigaku. The journalist struggles withstarting the work and, aside from assembling a slapdash
timeline, cannot muster the energy to continue. When,after 13 years, an invitation to the anniversary of thepainter’s death arrives and the journalist is forced into
action, he finds that it is instead Hara Hōsen, a friend
and notorious counterfeiter of Keigaku’s, that captures
his interest.
As the journalist stumbles upon more of Hōsen’s
forgeries, he finds an equal, if not greater, beauty. Whenhe then uncovers a rare original, he is mesmerised.
What begins as a simple tale of hagiography becomesan ode to the under appreciated artist.
In ‘Reeds’, another (or perhaps the same)journalist reads a story in the newspaper of a man who
discovered his lost son, only to find the boy has norecollection of him. This leads the journalist to doubt
his own memories and to seek to confirm them withhis parents, but his efforts are in vain. This story is richwith philosophy on the subjective nature of memory4and man’s need to create a shared history in order togive life significance.
‘Each of us holds one or two cards that have been in ourhands for years, who knows why, while the cards thatshould have been paired with them have disappeared.’

The protagonist, unable to verify his hazychildhood memories, is left to doubt his own version of
the truth (‘I hold one card in my hand but my parents
have lost its pair’). Recalling a particularly old memory,featuring a kindly, beautiful girl, the protagonist learns
that it is his Aunt Mitsu, who died when still young.
Having known her as a woman of ill-repute, he inquires
with his family and re-analyses his own memories.
Over time, his opinion of his aunt evolves and he is left
with the belief that, although Mitsu died young, shecreated many ripples in the world that will ensure she
is remembered.
‘Mr Goodall’s Gloves’, set during the Meiji
restoration, is the only story in this collection tofeature a Westerner. A tale where small actions have
deeper significances, it tells the story of a young boy
living with his grandmother – another woman ofquestionable repute – who enjoys telling him stories
about his grandfather and the man he idolised. As
the grandmother ages and ails, her stories take on atone of nostalgia. What begins, however, as anotherportrayal of the ordinary citizen’s awe for the great,slips beautifully into an intimate portrayal of an isolated
woman bringing up a child alone. When, one day, thechild finds a pair of gloves that are too big to fit thehands of anyone in the village, the grandmother tells
him the story of her encounter with Mr Goodall.
Sometimes meandering to and fro so that it is hard
to believe there could be a common theme amongst
the author’s whimsical strokes, Life of a Counterfeiteralways manages to reassemble its wayward partsand create an instinctual poignancy, a feat that only
goes to illustrate Inoue’s skill. Still a relative unknown
outside of Japan, many critics consider him to be
woefully underappreciated. On this showing it’s hardto disagree.
A note on the edition: The Pushkin Press series
is incredibly well-presented and impeccably designed.
At just the right size to be held comfortably, and withhigh-quality paper and a pleasantly textured cover,they really are a joy to read. The translation here is also
near faultless and is in line with Inoue’s economy.§

Issue 57 Volume 10 Number 3 (June 2015)

Fuku Chan of
FukuFuku Flats
directed by
Yōsuke Fujita
2014, UK premiere at theRaindance Film Festival.
110 minutes
Review by Mike Sullivan
Fujita Yosuke is a director
who was first introduced
to British audiences via
his first feature film Fine, Totally Fine (全然大丈夫), a
2008 comedy hit. It has become representative of a
new kind of quirky Japanese comedy, which in someways is personified by actor Arakawa Yoshiyoshi, whofeatures in a supporting role in Fujita's Fuku-chan of
FukuFuku Flats. Fujita worked in theatre for a long time
before his first movie, and has since followed it up with
Saba and Quirky Guys and Gals, films which he both
wrote and directed.
Fuku-chan of FukuFuku Flats, again both
written and directed by Fujita, has quite an unusual
background. There were four production companies
involved, one of which was the UK’s Third Window
Films – a film distributor famous for bringing thebest, and the latest, Asian cinema to our screens.
The involvement of Third Window Films along withother international companies means that this film
is guaranteed an international distribution once it isreleased on DVD.
Arakawa brings his usual comedic performance
to Fuku-Chan, but full credit has to go to the mainstar, Oshima Miyuki. For most Japanese people she isfamous as a comedian from the Morisanchū trio, but for
those outside Japan she remains relatively unknown.
Oshima plays the eponymous Fuku-chan, a man in his
30s, and her performance is such that unless you knew
who she is, you would never know the actor were awoman. During the Raindance Film Festival Fujita tookgreat pleasure in the success of this deception.
Fujita apparently had Oshima in mind when hewrote this story, and if she hadn’t agreed to do themovie then he wouldn’t have gone ahead. The makingof the film was presaged by a public event in which
Oshima – with the help of of Mizukawa and Arakawa –had her head shaved.
The movie itself is a compelling offbeat comedy.
We are introduced to Fuku-chan via his interactions
with his colleagues and friends, and we can see he is justIssue 57 Volume 10 Number 3 (June 2015)

a nice guy. His best friend attempts to set him on theroad to meeting the right woman, but unfortunately
Fuku-chan suffers from acute shyness, and comedy
ensues. Meanwhile Chiho (Mizukawa) wins an awardin photography and is aiming to go professional. Theirlives appear to be completely unrelated but they arebrought together as the film develops into a nuanced
exposition on childhood bullying and its long-term
effects.
At nearly two hours long, the film is sometimes
tedious, although the story itself is simply captivating.
You can’t help but root for Fuku-chan, laugh at the
comedy that ensues from what should be perfectly
normal events, and feel genuine sorrow for a traumatic
event in his past which has clearly hobbled his future.
This movie makes us smile at its moments of silliness,but is undercut by a dark statement about how
the carelessness of children can pierce deep into
someone’s soul. It is a movie about the sheer joy of asmile, and about atoning for your past mistakes, andthe ending leaves us with questions worth thinking
about.§Mr Potsunen’s
Peculiar Slice of Life
Kobayashi Kentaro
Leicester Square Theatre,
3-4 February 2015
Review by Mike Sullivan
Kobayashi Kentaro (小林 賢太郎) is a famous Japanese
comedian and performer
who first came to theattention of the world in a series called The JapaneseTradition seven years ago. In these videos Japaneseculture and tradition were amusingly reinterpreted forthe benefit of foreigners. Kobayashi is well known forbeing a talented mime performer, manga artist andmore. In 2012 he had a tour in France with his character
Mr Potsunen which was documented by NHK in The
Art of Laughter and this year he has returned to tour
not just in France but also for two exclusive nights in
London with Mr Potsunen’s Peculiar Slice of Life.
He has realized the entire show by himself,
which includes writing the story and performing all of
the parts in it, and it is unhindered by any language
barriers; Mr Potsunen himself rarely speaks, whilesome lines of text in Japanese are accompanied by an
5English translation. It is a credit to Kentaro that he hascreated a show which can be understood by anyone
without the need for descriptive dialogue or text.
Leicester Square Theatre recently hosted theamazing SIRO-A, and this intimate stage allowed theaudience to really see Mr Potsunen him up close.
Unsurprisingly it was a packed house and it was withbaited breath that the audience waited for the show
to start. As Kobayashi came on stage it was possible tosee a touch of nerves, his hands shook a little, but hequickly took us into his world.
The stage itself just consisted of a projection
screen with a space in front; the screen was used forvideos, pictures and text, while Kentaro mimed a lot ofactions in front of the screen. For this show there wasalso a kuroko (person in black) dressed in traditional
clothing from kabuki theatre who moved some props
and performed as some props, most amusingly as acamera.
It is hard to imagine the immense pressuresof doing a solo show with so few props, but asa consummate artist he handles it well and thiscombines well with the fascinating character of
Mr Potsunen. In his lonely life he is surrounded bycreativeness and marvels, and this story begins with
his interest in insects. Using a projection screen, which
is an important component for Kentaro’s shows, theinsects evade his net and ultimately start flying at him.
One of the central aspects of the story is of a firefly
like insect which Mr Potsunen does capture and look

The art lover’s guide to
Japanese museums
By Sophie Richard
The Japan Society (2014)176 pages
ISBN: 978-0-9559977-1-6
Review by Jenny White
Sophie Richard’s The art
lover’s guide to Japanesemuseums is a seductive
and accessible introduction to Japanese art, from its
ancient beginnings to its current shape, and the spaces
in which it is displayed. Hitherto, the sheer number ofthese museums has proved a daunting and somewhat
intimidating challenge for the visitor with no priorknowledge of Japanese culture and limited time on
their hands. So, where does the art lover begin?
6

after. Taking it back to his home it shows a penchantfor drinking sake before falling asleep. Throughout
the show it gradually gets bigger and bigger, while
Mr Potsunen goes through peculiar events whichshowcase each of his talents.
He mimes putting together an incomprehensible
mechanism with the instructions shown on the screen,at other times elaborate art created by Kentaro on thescreen represent the world that Mr Potsunen lives inwhile towards the end we see a video of the famous
finger walking that often appears in Kentaro’s shows.
As an ingenious device to show journeys which cango over bridges, up mountains, down into the depths
of oceans and more, Kentaro uses his hand to ‘walk,’‘jump’ and ‘swim.’ This is accompanied by the rather
addictive music which is a staple of all his shows.
It is hard to provide an example with whichto compare his show. Some of the animation on
the screen is reminiscent of Monty Python and his
interaction with the animation is along the same vein
as SIRO-A, but the story itself is all its own. At times it isalmost dreamlike with a slightly sinister figure wearing
a noh mask of an old man, but at nearly all times it iscomedic.
At just over an hour it feels a little short, but
considering that it is a solo performance it is enoughtime for him to take us into Mr Potsunen’s world andexperience his amazing adventures. One can only
hope that he will be back again soon and for morethan two nights.§

Sophie encourages us to leave our preconceptions
at the museum entrance, along with, in some cases, ourshoes, as she takes us by the hand on a personal journey
to over fifty national, local, public, and occasionallyprivate, art museums and houses. She strikes a finebalance between imparting enough information for us
to understand why this work of art or that building issignificant, and leaving us with sufficient space to feel
our own response. The overseas visitor may not strayfar from the main Honshu Island, where most of thesemuseums are based, however visitors to the Isamu
Noguchi Garden Museum on the island of Shikoku
are rewarded with ‘A place of harmony between the
traditional Japanese buildings where [Isamu Noguchi]
lived and worked, and the gardens and surrounding
mountains’. Interviews enhance our understandingof the aims of this museum: ‘in the curator’s view, thefeeling of the place is the most important’.

Issue 57 Volume 10 Number 3 (June 2015)

In Japan, the art museum (bijutsukan) as a place
for art is a relatively new (post-war) concept. Before
the economic bubble of the 1980s the home ofJapanese art was mainly in the shōsōin (treasure
houses) of shrines and temples. The 1980s saw anational boom with ninety new museums founded in1988 alone. Museum construction was a symbol ofcivic pride; huge amounts of public money wereallocated, world famous architects were commissioned
and museum building provided jobs, competition andmoreover, a local identity. ‘Nagi MOCA is a cuttingedge municipal museum founded in 1994 to put theisolated town of Nagi on the map [...T]he building itself
is a work of art’, Sophie explains. In Europe we saw
something similar in the ‘Bilbao effect’, as the northern
Spanish industrial town was transformed by architectFrank Gehry’s Guggenheim Museum. Nowadays,
Japan is home to over a thousand art museums, withfine examples in every prefecture, ward and metropolis.

the world and a radical shift has taken place; curators
have realised it’s not enough to be a scholar – one also
has to reach out to the local community – and thatpublicly or privately funded, the museum is a public
space. The last – and previously elusive – piece of thatjigsaw is to extend that accessibility to the overseas
visitor.

Ryūkoku Museum, Kyoto

Arakawa Shūsaku and Madeline Gins, Sun RoomIn the rush to build these museums, curators andlocal communities weren’t always consulted: ‘Mayors
and prefecture governors are more interested in thesize of the building than its content’, complains Isozaki
Arata, architect of museums in Japan and around theworld. ‘In Europe, a museum is primarily a collection
with curators. In Japan, it’s first and foremost a building.’
However, in the last twenty years, Japanese art
museums have quietly built up and refined theircollections and modified their construction to allow
art, people, and buildings to more readily co-exist.
Their curatorial displays are now some of the best in
Issue 57 Volume 10 Number 3 (June 2015)

Sophie’s book is unique in achieving this,with her description of both the collections andtheir interaction with the museum spaces, whichthemselves are often significant examples within theoeuvres of international and Japanese architects. The
design of the book is clean, uncluttered and subtly
colour-coded by area, with museum and thematic
indexes, sections on the Imperial family, mingei folk art
and the tea ceremony, and a useful timeline. Sophie
warns us that displays are often rotated with theseasons, so you may not see the ‘signature’ art workof any one museum on your visit but even so, youwill be treated instead to a delightful and unexpecteddiscovery in its place. Museums are often ‘destinations’off the beaten track, and so Sophie’s commentary isbalanced with helpful hints on the extent of English
spoken in the area, other museums easily overlooked
nearby, and museums’ names in Japanese script – thelatter a gentle aid to the reader who is beginning to7

decipher this ‘Empire of Signs’, and useful for showing
a local if you are lost along the way!
In her fluid summary ‘Looking at Japanese art’ welearn of the aesthetic significance of the tea ceremony,and that art and craft, unlike in the West, are on thesame aesthetic and spiritual continuum. Indeed, thisthread runs throughout Japanese art and architecturefrom its earliest religious beginnings to the workof contemporary artists such as Sugimoto Hiroshi,
Miyajima Tatsuo and architect Aoki Jun, who was keen
to reflect the nearby ancient Jōmon archaeological site
in his contemporary design for the Aomori Museum ofArt.
Sophie’s commentary considers the holistic
cultural experience of the area as essential to theenjoyment of the visit. For example, a visit to theHara Museum, built in 1938 by Watanabe Jin as a rareexample of Bauhaus influence, includes an account of
its unusual architectural heritage. She encourages us tovisit the museum’s annex in Shibukawa, built by Isozaki
Arata; describes the quality of installation of the workby artists Tabaimo, Kusama Yayoi, and Olafur Eliaasson;and concludes by suggesting a dip in the outdoor hot
spring at Ikaho Onsen and a dinner comprising thedelicious udon noodles available nearby. Sounds likea perfect day!
This is essentially a book of stories, written in theuniversal language of art, and one that will do muchto increase your understanding and enjoyment of
the artworks, the space, and the local environment
on your visit to any museum. It will make a significant
contribution to the Japanese art world by introducing
new audiences to the county’s museums, and thestories that lie within. Furthermore, the intrepid art
lover, now emboldened and inspired, can venturenorth and south of the Japanese archipelago anddiscover new art, galleries, and museums outside
conventional guidebooks. If that art lover is you, do notkeep the secret to yourself. Let Sophie know of yourdiscoveries, and the aim of this elegant and fascinatingbook will have then been achieved.§

Entrance of The Japan Folk Crafts Museum