At whatever point Koreans conscious on the profoundly delicate issue of social legacy things that are kept abroad - frequently plundered by remote nations amid intrusion or war in the past - the name Takenosuke Ogura (1870-1964) is quite often specified.
All things considered, Ogura, an affluent agent in Korea amid the Japanese frontier period (1910-45), was a standout amongst the most ardent - and famous - gatherers of antiquated Korean workmanship. The Art Collection of Takenosuke Ogura contains 1,030 social properties from Korea. The gathering incorporates probably the most critical fortunes of Korea from old and cutting edge times, with 39 pieces assigned as Japanese state treasures.
In 1981, Ogura's relatives gave the accumulation to the Tokyo National Museum. Today, more than half of the shows in the exhibition hall's Korean display - or 125 of the 241 things in plain view - are from the Ogura collection.The Korean ancient rarities in the accumulation range from earthenware production and artworks to specialties and garments.
They incorporate a gold cap from the Gaya alliance in southern Korea (42-532) and a plated bronze situated statue of the Buddha from the Unified Silla Period (676-935).
Be that as it may, how did Ogura wind up in Korea, and how was he ready to gather such critical fortunes? What's more, after Japan was vanquished in World War II, how was Ogura ready to take his accumulation back home? The responses to these inquiries have been for the most part indistinct - as of not long ago.
The Overseas Korean Cultural Heritage Foundation led exploration somewhere around 2013 and 2014, alluding to the current 10 arrangements of the Ogura gathering - stand out of which was made by Koreans - and also news articles, uncovering reports and closeout indexes from the period. The consequence of the two-year examination is a book titled "Ogura Collection: Our Cultural Heritage in Japan," which the establishment declared on July 29.
All things considered, Ogura, an affluent agent in Korea amid the Japanese frontier period (1910-45), was a standout amongst the most ardent - and famous - gatherers of antiquated Korean workmanship. The Art Collection of Takenosuke Ogura contains 1,030 social properties from Korea. The gathering incorporates probably the most critical fortunes of Korea from old and cutting edge times, with 39 pieces assigned as Japanese state treasures.
In 1981, Ogura's relatives gave the accumulation to the Tokyo National Museum. Today, more than half of the shows in the exhibition hall's Korean display - or 125 of the 241 things in plain view - are from the Ogura collection.The Korean ancient rarities in the accumulation range from earthenware production and artworks to specialties and garments.
They incorporate a gold cap from the Gaya alliance in southern Korea (42-532) and a plated bronze situated statue of the Buddha from the Unified Silla Period (676-935).
Be that as it may, how did Ogura wind up in Korea, and how was he ready to gather such critical fortunes? What's more, after Japan was vanquished in World War II, how was Ogura ready to take his accumulation back home? The responses to these inquiries have been for the most part indistinct - as of not long ago.
The Overseas Korean Cultural Heritage Foundation led exploration somewhere around 2013 and 2014, alluding to the current 10 arrangements of the Ogura gathering - stand out of which was made by Koreans - and also news articles, uncovering reports and closeout indexes from the period. The consequence of the two-year examination is a book titled "Ogura Collection: Our Cultural Heritage in Japan," which the establishment declared on July 29.
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