When thinking of various activities related to the transmission of Japanese antiques, we must first recognize the unique nature of Japanese art history. While it goes without saying that art history is the history of its creators, Japanese art history places particular emphasis on patron, and the history of patron occupies a significant role in the broader sense of art history.
The existence of the “Doboshu” (artistic circles) during the Higashiyama period is a striking example of this.
It is through the existence of the patrons that the next generation of artists emerges.
What are the characteristics of individual artworks, and under what circumstances were they produced?
After clarifying the context within the era in which they were created, recognizing the criticism received in the following era serves as a driving force for the creation of subsequent works—such consideration must extend to the history of patrons as well.

Since ancient times, while constantly receiving influences from continental cultures albeit with varying degrees of intensity and depth depending on the era, Japanese art has blossomed with its own unique character, much like yeast fermenting naturally.
The fundamental purpose of our institute is to conduct research on each and every work within this splendid history and to ensure passing these masterpieces on to future generations.
To achieve this purpose, we must foster close collaboration with researchers based on the perspectives outlined above.
Accordingly, our institute plans to carry out the following activities.
These activities are designed to help the emergence of a healthy community of art enthusiasts.
We will provide historical materials to researchers and support their research.
When a sufficient number of research papers are gathered, we will publish a journal.
We will provide opportunities for researchers to give oral presentations and, when appropriate, organize symposia featuring several researchers.
At the same time, we will plan lectures by researchers and hold research conferences.
Furthermore, with a view to fostering the appreciation of antiques among the next generation, we intend to establish study courses on antiques for young people, as well as provide opportunities to handle antique ceramics and enjoy drinking from antique tea bowls.

We earnestly hope that, through academic research into the historical context of when and how these works were created, and by using original materials this institute will inspire a new appreciation of Japanese antiques beyond monetary value and contribute to developing meaningful understanding of these works of art.