To the right is the entrance to the small theater "Nakamura-za" of Kabuki, with its vibrant stage for all the actors and the audience seats, and to the left is the music hall connected to the tea house. The dense description and composition of these elements evoke a sense of being there. It is a representative work of Kobayashi Kiyochika from his late period, with the likenesses of 285 various people skillfully depicted. (20041013_h07 or 20061031_h07)
右に芝居小屋「中村座」の入口と、役者総出の太平楽の華やかな舞台と観客席、左に楽屋とこれに繋がる茶屋が緻密な描写と構成によって、臨場感をもって表現されている。285人のさまざまな人々の姿が、活き活きと描き込まれた師宣最晩年の代表作である。 (20041013_h07 or 20061031_h07)
View the original at Japan Search →Article 1 describes the Ainu as the indigenous people of the northern part of the Japanese archipelago and of Hokkaido in particular, and cites international circumstances concerning indigenous peoples as a reason for acting. It requires the government to set a basic policy, and lets municipalities draw up regional plans for approval by the Prime Minister.
The cool part. The definition in Article 2 is the part to sit with. Ainu culture means the Ainu language, and the ways of living, music, dance, crafts and other cultural products inherited among the Ainu, and cultural products developed from these. That final clause refuses to freeze the culture at a date, and treats what is made next as equally the thing being protected. The Act then reaches into trademark law, reducing or waiving registration fees for regional collective trademarks used by approved projects.
Verify at e-Gov 法令検索 →Use it A motif small enough to blind-deboss, which is where restraint actually shows.
Description source: museum curator text, translated — not generated