"Tairiku no Hosomichi" is travel literature by Shohei Kiyama, based on his observations and memories of mainland China. Rather than relying on dramatic incidents, it quietly brings prewar and wartime memory into view through the atmosphere of places, the feel of travel, and encounters with people in unfamiliar surroundings.

Along the narrow road across the continent, memories of an era overlap with traces of human presence.

Kon Ichikawa received the 1963 Art Encouragement Prize of the Minister of Education for the films "Hakai" and "Watashi wa Nisai." The award recognized the breadth of his filmmaking through two very different works: a literary film about social discrimination and a domestic comedy shaped by a toddler's point of view.

Across two films, Ichikawa showed both grave social concern and a light, observant comic touch.

Fujiko Fujima received the 1963 Art Encouragement Prize of the Minister of Education for "Kisan no Niwa," "Sannin Sanbaso," and "Chosei." The award records her achievement in performing dignified repertory with refined command of classical Japanese dance technique and stage composition.

An award recognizing classical dignity and precise expression across several dance works.

Saburo Aso's "Hito to Kumo" is a painting recognized by the 1963 Art Encouragement Prize of the Minister of Education. As befits a leading figure in postwar Japanese figurative painting, the work is understood through its condensed treatment of the human body, space, dark tonal weight, and existential unease.

The human figure and the presence of clouds face each other within a heavy tonal field.

Tetsu Yamada received the 1963 Art Encouragement Prize of the Minister of Education for "Gakuzara Wa" and "Hakuji Hira Mizusashi." The award recognized ceramic works, especially in white porcelain, that show tension in form, quietness of glaze, and balance between use and sculptural presence.

The quietness of white porcelain and the tension of form give the ceramic works their presence.

Ko Yabusame is a classical stage work in which the ninth Tokuro Miyake brings out the physical vitality and festive quality of kyogen. Agile movement that recalls mounted archery is joined to the precise timing of a kyogen performer, turning a subject poised between ritual and performance into a vivid theatrical expression.

A stage work where the atmosphere of ritual meets the light, disciplined body of kyogen.

One Hundred Masterpieces of Japanese Ceramics was an exhibition that presented a carefully selected survey of notable Japanese ceramic works. By crossing periods and production centers, it allowed viewers to trace the forms, glazes, functions, and aesthetic range of Japanese ceramics in a systematic way.

An exhibition that connected appreciation and study through a broad view of Japanese ceramic masterpieces.