News Index

Funds sought to save ‘Hiroshima Panels’ paintings from insects
 ―Apr 17, 2017 Asahi Shimbun

Famed Saitama art gallery kicks of fundraising campaign to preserve Hiroshima Panels
 ―Apr 30, 2017 The Japan Times

To the Fund for Conservation of the “Hiroshima Panels”

The “Hiroshima Panels” have gained historical and social importance in recent years and are highly valued both in Japan and throughout the world.
They may someday be designated as an Important Cultural Property in Japan or as a World Cultural Heritage property, recognized as a universal legacy of humankind.
However, the paintings have suffered serious damage, because the Gallery’s exhibition halls and storage facilities are not equipped with adequate temperature and humidity controls, or protection from ultraviolet light, insects and dust.
Hence, we will launch a fund for the conservation of the “Hiroshima Panels” in May 2017, on the 50th anniversary of the opening of the Gallery.

To construct a new building to properly conserve the works.

One of the purposes of this fund is to construct a new building for the conservation and exhibition of the “Hiroshima Panels.” It will be located on the east side of the Gallery, with a 100-sq.m. exhibition space and underground storage, which will enable us to maintain the panels in good condition. After completion of the building, the panels will be exhibited in a selection that rotates four times a year. In the existing space, full-scale copies of all fourteen “Hiroshima Panels” will be shown as a permanent exhibition.

To reorganize the archive.

Another purpose of the fund is to create a well-organized archive. Though the Gallery collects and houses documents relating to Iri and Toshi Maruki, they are not organized in such a way that the public has access to the materials. These documents are essential to a deep understanding of the artwork. We aim to set up a digital archive, to create a multi-lingual website, and to strength overseas outreach.

To hand down the history to future generation.

Our funding goal is 500,000,000 yen. This is the largest project in the history of our Gallery. The Gallery has never relied on corporate or government funding, and it has been supported by the efforts of citizens. With a standing focus on the “Hiroshima Panels,” we aim to continue our efforts to pass history on to posterity as an independent museum that operates with autonomy and freedom.
We ask for your support in this campaign.

     –The Maruki Gallery for the Hiroshima Panels

・The amount of donation is optional. For donations of more than ten thousand yen, we will send a commemorative publication to the donor.
・For donations of more than one hundred thousand yen, the name of the donor will be displayed in the new building (at the option of the donor).
・All donations are tax-deductible.
・We will also accept donations in the form of a bequest or an inherited property.
・If you have any questions, please send an e-mail to The Maruki Gallery for the Hiroshima Panels (marukimsn@aya.or.jp)




Intermediary Bank

Deutsche Bank Trust Company Americas NY

Deutsche Bank AG Frankfurt

Intermediary Bank BIC

(SWIFT Code)



Beneficiary Bank

Japan Post Bank


Head Office

Beneficiary Bank Address

3-2, Kasumigaseki 1-chome, Chiyoda-Ku, Tokyo 100-8798, Japan

Beneficiary Bank BIC

(SWIFT Code)


Beneficiary Bank CHIPS UID


Payee Account Number


Name of Payee Account Holder

Genbaku no zu Hozon Kikin

Payee Address

1401 Shimo-Garako, Higashi-Matsuyama City, Saitama 355-0076, Japan

Payee Telephone Number



Eisaku Ando Sculptor

There are not many things where "love and compassion" are being materialized, especially, in the world full of greed, ego and maneuvers exist. The Hiroshima Panels is the rare example of such a thing. Those who stand in front of the Panels are emotionally moved by agony, sorrow, resentment and sadness. Then, they find unconditional love deep in their minds. Last 50 years, the Hiroshima Panels has brought "love and compassion" into millions of people's mind in such way. Now, what we can do is creating fund for the Hiroshima Panels for the next 50 years.

Makoto Aida Artist

The Hiroshima Panels is one of the representative works of Japanese paintings after the WWII not only as an art work but also for the particularity of messages of the painting. During that period, there were not many paintings which had such clear intention to appeal the specific message to the world. Enormous size of each painting and continuation of their work depict to me their artistic pride and uniqueness which contain both mission as human being and personal ambition as artists. Also, it is very interesting for me that Marukis, particularly Iri Maruki, created works beyond the typical Japanese painting motifs, such as flowers, birds and natural beauties.

Takashi Arai Visual artist

Despite GHQ's strict censorship in 1950's, Iri and Toshi Maruki themselves shouldered the Hiroshima Panels and traveled all parts of Japan to convey the aftermath of the atomic bombing of Hiroshima.
Why, and for whom the art exist? This is the fundamental question that the Hiroshima Panels repeatedly casts. Not merely because of its extraordinary style beyond beauty or ugliness, but because of its significance as the origin of Japanese contemporary art, we are responsible to protect and pass the legacy from generation to generation.

John W. Dower Historian

Future generations will learn about Hiroshima and Nagasaki mostly through powerful, unforgettable images. The collaborative murals of Maruki Iri and Maruki Toshi stand in a category by themselves. There is nothing comparable to this monumental project in portraying the nuclear tragedy from multiple perspectives. I am particularly struck by how presciently the Marukis’ work anticipates the enormous perils that threaten our existence today. One of these threats, of course, is war and the ubiquitous threats of new wars. The second is the destruction of the natural environment, seen most conspicuously in the drastic climate change that the U.S. government now chooses to ignore and even deny. And the third existential threat is nuclear destruction—a possibility now intensified by the U.S. government’s insane policy of “nuclear modernization,” an agenda the Japanese government endorses. The great artwork of Maruki Iri and Maruki Toshi thus speaks not just to terrible events of the past, but to the present and future as well. It cries out to be shared with the widest possible audiences.

Okwui Enwezor Poet/Curator

The Hiroshima Panels played a central role in the exhibition Postwar: Art Between the Pacific & the Atlantic, 1945-1965 and should be preserved and shared with future generations in order to receive the input that artists and their work can have on understanding history.

John Junkerman “Hellfire: A Journey from Hiroshima” Film Director

I was stunned by the "Hiroshima Panels" when I first visited the Maruki Gallery for the Hiroshima Panels more than 40 years ago. I was concerned about nuclear war and had previously visited both Hiroshima and Nagasaki, but it was only when I saw the "Hiroshima Panels" that I understood the reality of the atomic bomb victims. The human suffering of each and every victim - I never forgot the figures in the paintings, which were etched in my mind. The experience changed my life. The "Hiroshima Panels" need to be preserved and exhibited so that they can have a similar life-changing impact on future generations of young people from the country responsible for dropping the atomic bombs.

Hitoshi Komuro Singer

Unthinkable collaboration was made between the two painters, Iri Maruki and Toshi Maruki, both of whom had such strong personality and talent. They might have had very intensely accepted, denied, and criticized each other on their expression. And that intensity created the firm expression in the paintings. We cannot meet Iri and Toshi Maruki, both strict and kind personalities, any more, but we can meet them any time through their paintings.

Setsuko Kozawa Researcher (Modern History)

The "Hiroshima Panels" are paintings of victims of atomic bomb as well as "paintings of witnesses of the war" from 1950 till now. Therefore, it opened the path to new place and brought opportunities to encounter various people in the world. The "Hiroshima Panels" have been viewed in between politics and arts, and have suffered a lot as paintings. I believe that the meaning of the "Hiroshima Panels" as paintings will be understood by future generation. For that long voyage, we will build an ark for the "Hiroshima Panels".

Tsutomu Mizusawa Museum Curator/Art Historian

It was in 1950 when the "Ghost", the first part of the "Hiroshima Panels" by Iri and Toshi Maruki, was completed and exhibited before the public. At that time, 5 years had already passed from the time when two atomic bombs were dropped at Hiroshima and Nagasaki. Since then, more than half century has passed. Now it is our responsibility to preserve the "Hiroshima Panels" for the future generation.

Seiichi Motohashi Photographer/Film Director

It has been more than 40 years since I met Iri and Toshi Maruki at the Maruki Gallery. I recall that their lively daily lives and interaction with the people surrounding them at this place were the inspiration for creating the Hiroshima Panels. In other words, without this particular place, the Hiroshima Panels couldn't be painted. I feel I can hear their messages put in their works. We should carry and hand over those messages conveyed by them.

Ken Oshidori Comedian/Journalist

I am fully supporting the fundraising campaign to preserve Hiroshima Panels. Since the accident of Fukushima Nuclear Power Plant in 2011, I have been collecting related news materials of the incident with support of my partner, Mako Oshidori. Before Fukushima, I thought someone else would take responsibility of our society if something happened. Therefore, I was not aware how ignorant I was on various social issues. I felt very much ashamed to myself after recognizing my ignorance. Huge amount of money is spent for the purpose of killing innocent people even now. It is not acceptable for me to stay ignorant and I will make decision on future direction of our society. Let's work together for preservation of Hiroshima Panels!

Mako Oshidori Comedian/Journalist

"It would be very effective if Japan announces to the world that the accident of Fukushima nuclear power plant has no serious exposure to radiation on humans because Japan experienced nuclear bomb explosion in Hiroshima and Nagasaki and has enough understanding of the horrors of radiation exposure. Fukushima incident will be good sales promotion for nuclear power plants." I was terribly shocked when I heard such comments while I was collecting news materials at International symposium for promoting nuclear energy. I recognized victims need to raise their voice so that others are not being made victims again. Otherwise, the victims may become perpetrators of nuclear accident someday in future. I want to do whatever possible from my side for making a bright future! Thank you for the Maruki Gallery for the Hiroshima Panels for giving the opportunity to participate in this important project!

Noi Sawaragi Art Critic

It is wonderful news that "Maruki galley for the Hiroshima Panels" is going to celebrate its 50 years' anniversary of establishment. On the other hand, it is quite astonishing that the paintings with such values on human history as well as civilization have been preserved under limited facilities for both exhibition and storage comparing to the national/public museums. However, it will be difficult to conserve the paintings for another 50 years under these circumstances. Now is the time for starting proper conservation of the "Hiroshima Panels" being exhibited on the land loved both by Iri and Toshi Maruki.

Taeko Tomiyama Peinter

The Hiroshima Panels by Iri and Toshi Maruki created after WWII is cultural heritage in the world which depicts the sorrows of war and atomic bombs, the threat of nuclear power. Therefore, I am supporting this fundraising campaign. However, from the view point of both self-examination of the past war responsibility by Japan as well as for future direction, I am suggesting that National Maruki Gallery be established.

Peter van den Dungen General Coordinator, International Network of Museums for Peace

The anguished plea of the Hibakusha – abolition of nuclear weapons, and of war – remains unfulfilled. It is important that the brutal reality of war, first and foremost atomic war, is kept uppermost in people’s mind and will motivate people to raise their voices in protest and join the global campaign for nuclear disarmament and a world without war. The Hiroshima Panels have a vital role to play in this process of awareness, education, and action. For many visitors, these works, like all great art, are life-transforming.

Kayoko Yamasaki Poet

The Hiroshima Panels by Iri and Toshi Maruki is the Japanese version of Guernica by Picasso, a painting of prayer. ”Rescue” describes the line of people fled from the red space to the white tranquil bright space. On the border of the red and the white spaces, a father is standing with his baby in his arm and, in the back of the line, a mother and a daughter are sitting and holding their both hands together in prayer. The Maruki Gallery is the place for pilgrimage beyond country, language and believes in today's world where war has not been diminished and people are escaping as refugees. It is our task to preserve the Panels expressing pure spirits of the victims.

Sayuri Yoshinaga Actress

It was November 2015 when my wish came true and I could visit the Maruki Gallery of the Hiroshima Panels. I was very much emotionally moved more than what I had imagined prior to my visit. I heard the screams and felt the sorrows of the victims who passed away on that particular day. Let's work together so that more people can see the Hiroshima Panels! What we can do now is to take responsibility of conserving and carrying over the Panels to the next generation.