Also hidden away amongst the summer foliage is the statue of Prince Arisugawa Taruhito (1835-95), created in 1903 by Ōkuma Ujihiro and originally located in front of Army General Staff buildings. In 1962 it was relocated to the Arisugawa no miya Memorial Park. The name of the park marks the Arisugawa no miya branch of the imperial household, which ended with the death of Prince Arisugawa no miya Takehito in 1913. The site had been donated to the Tokyo metropolitan authorities for use as a public park in 1934 by a younger half-brother, Prince Terunomiya Nobuhito who had an interest in children’s recreation and education. The park was handed over to the Minato ward municipal authorities in 1975.
I suspect I may have now exhausted the surviving equestrian statues of Meiji imperial military leaders in the city centre, but will keep you posted!
Sven Saaler, a historian based in Tokyo, suggests that Japan’s first commemorative bronze depiction of a person seated on horseback is the 1898 statue of Lord Mouri Tadamasi in a park in Yamaguchi (in western Japan). Saaler’s personal website includes fascinating images documenting the drawings and prospectus soliciting funds for the Yamaguchi commission, the regulations of the organizing committee, local reporting of the event and subsequent postcards.
More generally, Saaler offers a fantastic resource for historical and contemporary research (or browsing) with an online collection of images of pre- and post-war Japanese statues drawn from photographs, postcards, and lithographs.
I believe that an independent organisation, the Japan Institute for the Survey and Conservation of Outdoor Sculpture may have undertaken, or at least proposed, a comprehensive survey of outdoor sculpture in Japan, but am yet to track down any details. The Institute was founded in June 1997 “by sculptors, conservators, conservation scientists, staff of local government organizations, and art historians… to prompt local government and other organizations that own outdoor sculptures throughout Japan to appropriately manage these works that are often neglected in their current conditions” (Tanaka Shuji).
If undertaken, the survey would provide an interesting complement to the 1999-2001 national survey of memorial monuments by Japan’s National Museum of Ethnology (partly reported on by Hirochika Nakamaki in 2005 in the English language book chapter Memorial Monuments of Interrupted Lives in Modern Japan: From Ex Post Facto Treatment to Intensification Devices).
I’ll spare you further listing of the other prewar men in bronze around Tokyo I’ve discovered (for now at least) but suffice to say there are more!
And I think I’ll also have to leave you wondering for now about the abundant evidence of postwar taste in smaller scale, mainly female, neo-classical nude figures in stone and bronze that seems to have largely replaced commemorative statuary in the urban landscape. (See a discussion of this in the 1993 article by Aoi Shimizu, Sexism in Tokyo’s New Public Art: Preliminary Results from Field Research, Middle States Geographer vol 26.) While this trend overlaps the arrival of outdoor abstract sculptures in city streets and building foyers, not to mention landmark urban development projects incorporating “signature”, site-specific artwork, and everything else in between, the continuing preponderance of figurative, especially nude, sculpture always strikes me as remarkable – its a feature that Julian Worrall, an academic at Waseda University suggests is related to the importance of the Nitten art organization, its annual exhibitions, and influential reach and patronage.
[PS I’ve updated the lost date/sculptor in my earlier post Men in Bronze (2).]