Real Talent Oriented

There are still many talents and apties in japanese culture and academia.
However, both the public and private sectors have become difficult to function in order to discover and develop such talents, and are becoming cloistered and vested interests.

Nippon Art & Culture Salon raises the “real talentism” in culture.

Revival of patron culture

Until the middle of the Showa era, there was a structure of wealthy people who supported art and culture, that is, patron culture. There is no shadow to see now, and cultural people cannot even look for sponsors. It exhausts many talented cultural people, is busy with life, and many people are not able to even engage in cultural activities. The Japanese culture salon provides a place for cultural and wealthy people to meet, cultural figures will provide a place for presentations to wealthy people, and wealthy people will be able to revive patron culture by providing talented cultural people.

Support for cultural people

We support activities such as entertainment, solo exhibitions, and publications of cultural people, and provide investors with a place for excellent investment and sponsorship. This stabilizes the lives and activities of cultural people, and investors can earn cultural status and income.



[Nippon Art & Culture Salon’s 1st Support First Project]
Toshikatsu Ishimura’s collection of poems “Sonata/Sonatine” (Gentosha)

Founding motivation

Japan is in the turbulent both at home and abroad, but the community of cultural figures and intellectuals who should respond to it continues to collapse rapidly in the latter half of the 1998 period, and the situation lacks intellectual mind and cultural networks continues.
The efforts of individual intellectuals, cultural people, and artists, and the efforts of each field are repeated, but through human exchanges across fields, the place as a cultural community is mourned, and the talents and efforts of various fields with a sense of respect are seen as being forced to become isolated, divided, and struggling without having a rich water flow.
Since the beginning of the Jomon period and the Baki Manba marked the brilliance of abuse, Japan’s cultural and intellectual water veins have been transformed in various ways and have shown a common coexistance of consistency and diversity, which is rare in world history. It is also a history of a close dialogue of acceptance and self-establishment, as evidenced simply by the acceptance of ancient continental civilizations and modern Western civilizations.
Inheriting these fertile assets, our current intellectual and cultural activities exist, and we must inherit and develop while being responsible trustees of this asset.
Unfortunately, in recent years, globalism, commercialism, ideological beams, and Japan’s own self-loss have made existing cultural soils a ruin. In addition, the vivid cultural will that was expressed in the literary world and the art world until the 1960s has declined, and the idea of discovering and cultivating living culture that is being generated in the political, financial, government, and academia media world is scarce, and the fact of the Japanese leadership layer is the fact. In addition, in recent years, the entire culture has been swallowed up by the rapid and fragmentary torrent of short-circuited thought formation and hasty and fragmentary judgment by television, internet information, SNS, etc. instead of the educational formation centered on books.
The era of open-minded and tolerant cultural axes that transcended fields, such as Soseki Sanbo, Shirakaba, Iwanami Shigeo, Ando Iwanami,Bungei Shunju during the Reign of Hiroshi Kikuchi, Hideo Kobayashi, Jiro Aoyama’s “Sogen”, Fukuda Ying, Mishima Yukio’s “Kikuri”, Eto Atsushi, Ando Kazuyuki’s “Quarterly Art”, connected the tradition and the present across fields, and there was a vigorous and tolerant cultural axis of interest, vanity, and imaginary.
The sincere efforts of individual intellectuals and artists to silence, reflection, creation, and dialogue are also empty, and it may be said that the whole cultural process is being swallowed up in the bustle.
What is needed for the younger generation to turn this way into their own flesh and blood and fly to higher new possibilities: the old and high mountain ranges of Japanese culture, while the flexibility of acceptance, the tolerance of diversity, freedom and boldness?
We will establish a “Japanese Culture Salon” as a “place” where such possibilities can be filled.
It is essential to have a virtuous cycle of quality in which an authoritative base of expression, backed by true talent, skill, and education nurtures artists and cultural people, and raises the quality of the recipient layer. The “Japanese Culture Salon” aims to provide such a “virtuous cycle of quality” to the cultural situation of modern Japan by becoming a “place” to connect talented human resources in the cultural world with people in various fields who understand the value of culture and nurture it together. I would like to ask for your understanding, support, and support.

Representative: Eitaro Ogawa

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