2026.05.10
今日は、左京区鹿ヶ谷にある泉屋博古館をご紹介します。
「青銅器の、なんとも言えない古い空気を感じました。」とか「不思議な感覚がしましたよ。」と行かれたことのある方達からの感想を聞いた時から泉屋博古館のことが妙に気になっていました。
ここでは中国古代の青銅器と鏡鑑を中心に、住友家収集の美術工芸品約3500件を保存、研究、公開されています。
もともと1970（昭和45）年大阪万博開幕に合わせ、住友グループの迎賓施設としてオープンされたそう。建物自体はモダン建築として評価されています。昨年リニューアルされ、敷地内全体が車いすでもとてもアクセスしやすい造りです。
鹿ケ谷通り側には綺麗に手入れされた日本庭園があります。ここに足を踏み入れ、水のせせらぎを聞くとゆったりとした気持ちへと切り替わります。泉屋博古館に入る前、出た後に過ごすにはとても贅沢で美しい森の様な場所です。
この日ラッキーな事に広報担当課長の坂井様とお話しでき、泉屋博古館について簡単にご紹介していただけました。1号館では螺旋階段を上ったフロアが第1展示室、そこから第4展示室まであります。螺旋階段を上がる前のスペースには、丸い天窓から光が差し込みます。「青銅器は『日常』からは程遠い存在。それらを見る前に、天からの光で気持ちを整え、古代へのスイッチを入れてから螺旋階段を上がります。」との素敵な説明に感動し期待が膨らみます。そして坂井様の言葉からは展示されている美術品がいかに大切に扱われ、リスペクトされているかという事が伝わってきました。
中国古代、祭祀儀礼が軍事活動と並んで重要視されていたそうです。その祭祀儀礼のための青銅器が生み出されたそう。
動物のモチーフが沢山ありました。古代青銅器の職人たちは、実在の動物をよく観察して特徴をしっかりと捉えておられる事がわかります。動物とアートの関係性を語ったビデオも上映されていて、その後に見る動物モチーフの青銅器を興味深く見る事ができました。
青銅器器種一覧を見ると、食器、酒器、水器は様々な形と文様があることがわかり、見ごたえがありました。一見よくわからない文様や動物も、細かく解説してあり、学芸員の方の研究の奥深さを感じながら展示を見ていきました。第4展示室を出ると、ガラス張りで開放感のある空間に出ます。眺めのいい部屋と呼ばれていそうで、新緑の緑が美しく素晴らしい眺めでした。
1号館と2号館は中庭で隔てられています。渡り廊下を進むとその中庭にはまるで遺跡の様な雰囲気の井戸があります。
2号館では現在『文化財よ、永遠に2026』の特別展が開催されています。住友財団は、文化財維持・修復事業の助成をされていますので、そのプロセスや成果を見る事ができました。2年の歳月をかけて掛け軸を修復するプロセスは、一瞬たりとも気の抜けない慎重さを求められる細かな作業の連続です。
展示されている仏像、襖絵、漆の箱など修復された後の作品を見ながら、国宝修理装潢師の忍耐力と高い技術に感心するばかりでした。
ゆっくりと時間をかけて全て見終わったあと、最初に寄った日本庭園に再び立ちました。敷地を見渡しながら、ここで出会ったパーキングの方、受付の方、坂井様、穏やかなスタッフの方々に感謝しながら、沢山の人にこの素晴らしい泉屋博古館に来て欲しいなと思ったのでした。
Today, I’d like to introduce the Sen-Oku Hakukokan Museum, located in Shishigatani, Sakyo Ward.
Ever since I heard comments from my friends—such as “I felt the indescribable, ancient atmosphere of the bronze artifacts” or “It gave me a strange feeling”—I’ve been strangely intrigued by this Museum.
The museum preserves, researches, and exhibits approximately 3,500 works of art and crafts collected by the Sumitomo family, with a focus on ancient Chinese bronze ware and mirrors.
It was originally opened in 1970 (Showa 45) to coincide with the opening of the Osaka Expo as a reception facility for the Sumitomo Group. The building itself is highly regarded as an example of modern architecture. It was renovated last year, and the entire grounds are now designed to be very accessible for wheelchair users.
If you enter from Shishigatani Street, you’ll find a beautifully maintained Japanese garden. Stepping into this space and listening to the gentle murmur of the water instantly puts you in a relaxed state of mind. It’s a luxurious, forest-like setting—the perfect place to spend some time before or after visiting the Sen-Oku Hakukokan Museum.
I was lucky enough to speak with Ms. Sakai, the assistant manager, Public Relations, on this day, and she gave me a brief introduction to the Sen-Oku Hakukokan Museum. In Building 1, the first exhibition room is located on the floor reached by climbing the spiral staircase, followed by exhibition rooms 2 through 4.
Light streams through a circular skylight in the space just before the staircase. I was moved by the beautiful explanation: “Bronze artifacts are far removed from ‘daily life.’ Before viewing them, visitors should use the light from above to prepare their minds, ‘switch on’ their connection to antiquity, and then ascend the spiral staircase.” This filled me with anticipation. Moreover, Ms. Sakai’s words conveyed just how carefully the exhibited artworks are handled and how deeply they are respected.
In ancient China, where the maxim “The great affairs of state lie in ritual and warfare”. Ceremonies were apparently considered just as important as military activities. It is said that bronze artifacts were created specifically for these rituals.
There were many animal motifs on display. It was clear that the ancient bronze artisans had closely observed real animals and accurately captured their characteristics. A video exploring the relationship between animals and art was also shown, which made viewing the animal-motif bronze vessels afterward all the more fascinating.
Looking at the list of bronze vessel types, I realized that tableware, wine vessels, and water vessels came in a wide variety of shapes and patterns, making for a truly engaging experience. Even patterns and animals that were difficult to identify at first glance were explained in detail, and I viewed the exhibition while appreciating the depth of the curators’ research. Upon exiting Exhibition Room 4, I stepped into a glass-enclosed space with an open, airy feel. It seemed like the kind of room that would be called the “Good viewing room,” and the view of the fresh, vibrant greenery was truly beautiful.
Buildings 1 and 2 are separated by a courtyard. As you walk along the connecting corridor, you’ll find a well in the courtyard that gives off an atmosphere reminiscent of an ancient ruin.
Building 2 is currently hosting a special exhibition titled “New life for timeless art 2026.” Since the Sumitomo Foundation provides grants for cultural property preservation and restoration projects, the exhibition offered a glimpse into those processes and their results. The process of restoring a hanging scroll over the course of two years is a continuous series of meticulous tasks that require unwavering concentration and caution at every moment.
As I viewed the restored works on display—including Buddhist statues, fusuma paintings, and lacquer boxes—I couldn’t help but be impressed by the patience and exceptional skill of the National Treasure Restoration and Conservation Specialists.
After taking my time to see everything, I found myself back at the Japanese garden where I had first stopped. As I looked over the grounds, I felt grateful to the parking attendant, the receptionist, Ms. Sakai, and all the other wonderful staff members I had met there, and I found myself hoping that many more people would come visit this magnificent Sen-Oku Hakukokan Museum.
Mikko
