SPECIAL EXHIBITIONS 2025–2026

It is said that “white” of the face powder, “red” of the rouge on lips, and “black” of hair and teeth-blackening (ohaguro) are the three colors that symbolize Edo period makeup. We have selected some 148 cosmetic utensils and related items from the Museum collection for this exhibition.

The Yuasa Museum opened in 1982 to commemorate the contribution made by late Dr. Hachirō Yuasa to ICU. Dr. Yuasa had collected and donated a wide range of mingei items to the Museum which included cosmetic utensils. Many were made during the Edo period—small jars used as hair oil containers, round bronze mirrors with handles often with auspicious designs on the back, and combs and hair ornaments with delicate designs.

In addition to the items collected by Dr. Yuasa, we have also displayed items that were acquired by the Museum over the past years: teeth-blackening utensils we rarely see today, portable barber’s chest, small rouge plates and palettes, and sets of cosmetic boxes and chests for storing utensils and brushes for makeup. Both simple black lacquered items used by commoners, as well as richly makie-decorated ones that comprise the bridal trousseau of upper-class family are shown in this exhibition, hoping to give a glimpse of cosmetic items used for the Edo period makeup.

* We released a video recording of the 121st Open Lecture, "The Transformation of Clothing in the Edo Period," on ICU OpenCourseWare. [DETAILS]

During the Meiji period (1868–1912) which followed the long Edo period (1603–1868), Japan embarked upon a period of rapid change, much of it derived from the introduction of new culture, technology and values from the West. After the opening of Japan (1854) and Meiji Restoration (1868), Japan sought to establish an equal diplomatic relationship with western countries. This led to the proactive adoption of things Western: in other words, the promotion of “civilization and enlightenment” (bunmei kaika). Politically, this meant the construction of a centralized nation committed to industrialization and military build-up; culturally, western elements were adopted in the lifestyle of the people, high and low.

How did people respond to this rapid array of political, social, industrial, and cultural changes? This exhibition focuses on Meiji period ukiyo-e woodblock prints, an artistic but also information media created in the Edo period that retained its popularity in the Meiji period. The Meiji ukiyo-e help us to understand how and why people were astounded by and attracted to new culture from the West. In addition, on display are some Meiji period daily use items from the Museum collection. We hope to show the many surprises encountered by people one after another during the Meiji period—the changes that led to the birth of modern Japan. At the same time, we introduce interesting features of Meiji period ukiyo-e that so vividly express the atmosphere of those days.

Katagami are stencils used for dyeing made from Japanese paper on which patterns are carved, the paper having been waterproofed with persimmon tannin. When dyeing using Katagami, the stencil is first placed on the fabric and a dye-resist paste made of rice is applied over it. After the fabric is dyed and the paste washed off, the areas covered by paste remain undyed forming white patterns. Katagami are used in the application of small figure designs on cloth (edokomon), printed silk (kata yūzen), as well as on light cotton cloth for yukata. The history of Katagami is long. Stencil dyeing employing the same techniques as today was already in practice during the Kamakura period (1185–1333).

Usually, one stencil is moved across a piece of material to produce a continuous design. Elaborate patterns can be made by using two or three stencils, which is called “double stenciling” or “triple stenciling.” Pattern-carving methods include push-carving, awl-carving, pull-carving, and tool-carving, with appropriate techniques used for different designs. Thread insertion, requiring supreme delicacy and high level of technique, is necessary to hold patterns in place. Most of the stencils are from the Shiroko and Jike areas of Suzuka city along the Ise Bay, and they are generally known as “Ise paper stencils” (Ise Katagami). They became popular during the Edo period (1603–1868) due to the patronage of the Ki Domain. There are stencils from areas other than Ise, such as Kyoto, Edo and Aizu as well.

This exhibition highlights the great variety of Katagami patterns and the sophistication and precision of carving techniques employed.

* We will be hosting an online open lecture related to the special exhibition. [FOR DETAILS]