teamLab Ruins and Heritage: Rinkan Spa & Tea Ceremony - GC | teamLab

2020.11.10(Tue) - 常设Mifuneyama Rakuen, Takeo Hot Springs, Kyushu
2020.11.10(Tue) - 常设Mifuneyama Rakuen, Takeo Hot Springs, Kyushu

A New Experience of Art and Sauna
within History and the Forest

This is a new art and sauna experience by teamLab and the Mifuneyama Rakuen Hotel Rakan Bath, the winner of SAUNACHELIN in 2019, 2020 and 2021.

Combo tickets for a day trip to the Mifuneyama Rakuen Hotel Rakan Bath and teamLab’s art in the ruins are available, allowing visitors not staying at the Mifuneyama Rakuen Hotel or Onyado Chikurintei to enjoy a new experience of art and sauna. (*1) There are also tickets available that allow visitors to experience the artworks without entry into the sauna.

(*1) The annual exhibition in the forest teamLab: A Forest Where Gods Live is not currently on view. The exhibition runs annually from July to November.

Exhibition Concept
In the forest where the 3,000-year-old sacred Okusu tree resides, is a cave of five hundred Arhats carved 1,300 years ago by the Buddhist monk Gyoki. (* See Gyoki and the Origins of Japanese Baths (Saunas)) The sauna (alternating hot and cold baths) stands nearby this cave within the historic forest. Visitors can clear their minds, feel the ever-expanding space through their bodies, and immerse themselves in the art and the forest dotted with ruins. As we realize that the mind, body, and environment are the wholeness of our being, we become a part of nature and history, and reconnect with the long continuity of time and the world.

Concept behind Artworks in the Ruins: A Place where Varying Space-Times Intersect
The 500,000 square meter Mifuneyama Rakuen Park was created in 1845, during the end of the Edo period. Sitting on the borderline of the park is the 3,000-year-old sacred Okusu tree of Takeo Shrine, which is Japan’s 7th largest. Also in the heart of the garden is another 300-year-old sacred tree. Knowing the significance of this, our forebears turned a portion of this forest into a garden, utilizing the trees of the natural forest. The border between the garden and the wild forest is ambiguous, and when wandering through the garden, before they know it, people will find themselves entering the woods and animal trails.

Within the forest, there is an enormous megalith, almost supernatural in its formation, known as an iwakura (a dwelling place of a god in ancient Japanese nature worship, or “animism”) that has been preserved as a small shrine. Around the 7th century, a sorcerer named En-no-gyouza-ozunu carved a 23-meter-tall figure over the entire surface of a sheer cliff on Mount Mifuneyama. And 1,300 years ago, the priest Gyoki, who created the Great Buddha in Nara, came to Mifuneyama, carved 500 Arhats and Buddha figures directly onto the rock face of the caves within the forest, which remain to this day. On the edge of the forest, the stone gate of Tsuzaki Castle and other ruins remain within and along the borderline of the forest.

We exist as a part of an eternal continuity of life and death, a process which has been continuing for an overwhelmingly long time. It is hard for us, however, to sense this in our everyday lives, perhaps because humans can not recognize time longer than their own lives. There is a boundary in our understanding of the continuity of time.

The forest is home to a 3,000-year-old tree, and it changes daily with the imperceptible, slow flow of time, repeating every year, as a space where the endlessly long time accumulates. The ruins from ages past scattered in the forest and the Edo-period garden which remains today each have their own respective space-times. The bath house in the garden was constructed in modern times, but after just a short period, it was abandoned, becoming a space where time had stopped completely.

Within the space of the ruins of Mifuneyama Rakuen, we make artworks with their own, separate space-times, thereby creating a place where these varying spaces intersect and overlap, allowing us to transcend the boundary in our understanding of the continuity of time.

Gyoki and the Origins of Japanese Baths (Saunas)
Gyoki (668 - 749), who carved the five hundred Arhats in Mifuneyama, was a monk during the Nara Period. Later, he became the first Buddhist priest of the highest order in Japan and built the Great Buddha in Nara. In Todaiji Temple, where the Great Buddha is housed, there was a bathhouse called Oyuya, which had a steam room (sauna) and a washroom where common people could bathe. It is said to be the first kudokuyu or “hot water alms” (a pious act to provide common people with a bath), and the beginning of bathing in the city. Baths in that era were steam baths (saunas).

Japan at the time sought to stabilize its national government through the teachings of Buddhism and built temples throughout the country. For temples that were responsible for spreading Buddhism throughout Japan, the kudokuyu became an important means of gaining support from the people, and before long, many temples other than Todaiji came to offer it as well.

Empress Komyo (701 - 760) is said to have been the originator of the practice of bathing, and Gyoki, who was born 33 years earlier, is said to have handed down the same bathing legends as Empress Komyo. The Tsukahara no Karafuro, one of the oldest existing saunas in Japan, is said to have been built by Gyoki, an ascetic who traveled all over Japan before building the Great Buddha in Nara, hoping to cure people of their illnesses. From this, it can be inferred that Gyoki was the first person to introduce baths (saunas) to the people. And it could be said that baths (saunas) drew people to the temples, helping to spread Buddhism and establishing the nation of Japan.

Historical Background of Art and Sauna: Rinkan-Chanoyu
The Japanese custom of seyoku (the practice of providing temple baths for the poor, the sick, and prisoners) began during the Nara Period, when Gyoki was active, and reached peak popularity in the Kamakura Period. Even during the Muromachi Period, the practice of seyoku was continued by the shogunate and various temples.
Seyoku also became popular among individuals. Starting at this time, inviting people over and providing baths became known as furo (bathing), and bathing (at the time in steam baths, or saunas) was done in a variety of ways, with tea ceremonies or food and drink served afterward. This was the so-called furo-furumai (bath hospitality).

In the middle of the Muromachi Period (1336 - 1573), a type of tea ceremony in which tea was served to guests after their baths was called rinkan-chanoyu (rinkan sauna and tea ceremony). Much like with shoin-cha (decorative tea time), paintings, incense burners, vases, and hanging scrolls were displayed in the bathing rooms, and it is said that many spectators came to watch toucha (tea-tasting games) after bathing.
Rinkan-chanoyu was a widely-practiced basara (eccentric hobby) in Japan, particularly at the Kofukuji Temple in Nara.

In those days, a bath was a steam bath, or what we would today call a sauna, in which water is poured over heated sauna stones. People in Japan have long enjoyed the acts of viewing art in a sauna and drinking tea as a cultural pastime.

The term basara refers to the social and cultural trends in the middle ages in Japan, mainly during the early Muromachi Period (the Nanboku-cho Period). It was an aesthetic of meritocracy, one that disregarded the status quo, belittled, ridiculed, and rebelled against the authority of those noble in name alone, and instead favored extravagance, flamboyant behavior, and chic clothing. This culture was also the seed of the later revolutions in the Warring States Period.

It is said that Murata Juko (1422 - 1502), the teacher’s teacher of Sen no Rikyu (1522 - 1591) and the inventor of wabi-cha (tea ceremony), was also enamored with rinkan-chanoyu when he was young. He later studied under the Japanese monk Sosun Ikkyu at Daitokuji Temple, reached a state of chazenichimi (the realization that tea ceremony and Zen are one), and created wabi-cha. Then, the brothers Furuichi Tanehide and Furuichi Choin, who were main figures of rinkan-chanoyu, became disciples of Murata Juko, and rinkan-chanoyu became wabi-cha.


Megaliths in the Bath House Ruins

Masses (Megaliths) of different space-times are clustered in the bath house ruins.
The forest surrounding the bath house ruins is home to 3,000-year-old trees, and it changes daily with the imperceptible, slow flow of time, repeating every year, as a space where the endlessly long time accumulates. The ruins from ages past scattered in the forest and the Edo-period garden which remains today each have their own respective space-times. The bath house was made in modern times, but after just a short period, it was abandoned, becoming a space-time where time had stopped completely. And this group of megaliths is also a mass made up of compressed space-times where the flow of time varies. Here, various space-times intersect and overlap.

Each megalith is surrounded by similarly standing megaliths, the space-times of which are all connected.

The artwork is continuously rendered in real time by a computer program. It is neither prerecorded, nor on loop. As a whole, previous states never recur, and the artwork is continuously changing due to the movement of people. Every moment is unique and can never be seen again.

The following artworks exist in the artwork space of the three-dimensional objects grouped in these bath house ruins.

・Flowers and People
This artwork is in a state of continuous change. Over a period of one hour, a year’s worth of seasonal flowers blossoms and scatters. The flowers bud, grow, and blossom before their petals begin to wither and eventually fade away. The cycle of growth and decay repeats itself in perpetuity. If a person stays still, the flowers surrounding them grow and bloom more abundantly.

・Universe of Water Particles
When people approach the artwork, the flow of the water changes. The movement of people influences the artwork, causing it to evolve continuously, while the artwork influences other works. For instance, the water causes the flowers in the work Flowers and People to scatter.

Water is represented by a continuum of numerous water particles. The interaction between the particles is calculated and then lines are drawn in relation to the behavior of the water particles. The lines are “flattened” using what teamLab considers to be ultrasubjective space.

Universe of Fire Particles in a Decaying Underground Passage

A long-forgotten underground passage has recently been discovered, and the depths of the passage are decaying. In this space that is crumbling and losing its original structure, a fire burns eternally.

The forest above the underground passage is home to 3,000-year-old trees, and it changes daily with the imperceptible, slow flow of time and with each year passing year, as a space where the endlessly long time accumulates. The ruins from ages past scattered in the forest and the Edo-period garden which remains today each have their own respective space-times. The forgotten underground tunnel is a space where time seems to have stopped, and the depths of the passage are a decaying space and time that will not exist for much longer. The fire that eternally burns there also has its own space and time.
Here, various space-times intersect and overlap.

The fire changes shape due to a transparent absolute presence.
Lines are drawn in relation to the flow of combusting gas, and the flames are created by the accumulation of those lines in three-dimensions. The lines are then “flattened” using what teamLab considers to be Ultrasubjective Space to represent the flames.

teamLab is exploring the concept of Distributed Art.
If you launch the Distributed Fire smartphone application and approach this artwork, the flame will ignite and you can take the artwork home with you. When you bring that flame close to another person's smartphone, a flame will alight. As you connect the flame, and they connect that flame with someone else, the flame will spread all over the world. The flames that are spread are displayed on the Map of The Flame.

Distributed Art duplicates itself, or a part of an artwork is distributed among people. Then, once in the hands of the people, the artwork is further actively distributed, and also makes copies of itself. The artworks will be distributed and exist on people's networks and become decentralized. When the artwork exists on the network, it continues to exist even if the original disappears.

Life Survives by the Power of Life II

用镜头和透视呈现出的作品空间出现在显示面的另一侧。 换句话说,显示面成为了一个边界,将观赏者存在的空间与作品的空间分割开来。 然而,"超主体空间 "的特点之一便是在通过 "超主体空间 "所呈现的作品空间中,显示面并不会成为空间的边界。 这种作品空间能够超越显示面,仿佛以三维形态存在于观赏者所处的空间中。作品的空间与观赏者身体所处的空间因此得以连接并延续。



呼应灯森林与螺旋 ── 一笔, 夏之森 / Forest and Spiral of Resonating Lamps - One Stroke, Summer Forest


Ruins and Heritage

Mifuneyama Rakuen Communal Bath "Rakan Bath"
Reservation required / fixed capacity

The large communal baths at Mifuneyama Rakuen Hotel have been completely renovated (both men's and women's). The men's bath now has a dry sauna where guests can enjoy löyly (pouring hot water on sauna stones to produce steam, uses natural water from Mt. Mifune and roasted tea from Ureshino, Saga). The men's bath also has a cold water bath with hot spring water cooled to 16 degrees Celcius, and a large open-air bath/bathing space surrounded by the nature of Mt. Mifune.
The women's bath is also now equipped with a dry sauna, allowing guests to enjoy löyly (uses natural water from Mt. Mifune) and Kugel (aroma balls that produce a scent when on top a sauna stove). It also has a cold water bath with hot spring water cooled to 17 degrees Celcius, a steam sauna, a cafe (has homemade pudding, detox water, etc.), and an open-air bath/bathing space surrounded by the nature of Mt. Mifune. We hope you will enjoy a relaxing time in our baths while gazing at Mt. Mifune's beautiful nature.




teamLab App






Distributed Fire


当您启动此应用程序、并接近作品《Universe of Fire Particles in a Decaying Underground Passage》时,您的火焰将被会点燃,您就可以将艺术品带回家。







teamLab Ruins and Heritage: Rinkan Spa & Tea Ceremony - GC


2020.11.10(Tue) - 常设


teamLab Ruins and Heritage: Rinkan Spa & Tea Ceremony
* 最后入场时间为21:30
* 《废墟浴场里的Flowers Bombing》日落后开始可以体验。

预约制 / 定员制

第1批: 8:00 - 10:30 (最多 15名男性/10名女性)
第2批: 15:00 - 17:30 (最多 15名男性/10名女性)
第3批: 17:30 - 20:00 (最多 15名男性/10名女性)
第4批: 19:30 - 22:00 (最多 15名男性/10名女性)
第5批: 21:30 - 24:00 (最多 15名男性/10名女性)
* 不可过夜。
* 11:00-22:00期间可随时入场。
* 16岁以下儿童不可使用本套票。
* 谢绝同性别4人以上的团队顾客。
* 请通过电话或官方售票网站进行预订。

因季节而异,具体请查看 御船山乐园网站


2024. 7.11 (周四)



从JR博多站: 乘坐火车70分钟到JR武雄温泉站。 乘出租车(5分钟)或公共汽车(8分钟)。 从 JR 新大村站: 乘坐JR西九州新干线15分钟,在JR武雄温泉站下车。从JR武雄温泉站,乘坐出租车(5分钟)或JR巴士(8分钟)。 从JR武雄温泉站: 乘坐出租车5分钟,或者乘坐JR巴士“武雄温泉站 - 嬉野温泉方向”8分钟到御船山乐园站。
从长崎机场 到御船山乐园:40分钟车程。 到新大村站:乘坐共享出租车“Omura City Kamome Liner”15 分钟。 或乘坐长崎县营巴士11 分钟,在植松东站下车。 从福冈机场 到御船山乐园:乘车1小时10分钟。 到 JR 博多站:乘坐福冈市地铁机场线6 分钟。 或乘坐快速西铁巴士10 分钟。 从佐贺机场 到御船山乐园:驾车50分钟。 或搭乘佐贺机场的共享豪华出租车1 小时。


Inquiry on tickets


Mifuneyama Rakuen Hotel
+81 (954) 23-3131



可以通过电话或在线进行预订。 电话预订:御船山乐园酒店 +81 (954) 23-3131 (11:00 - 21:00) * 价格中包括:"teamLab Ruins and Heritage: Rinkan Spa & Tea Ceremony" 艺术展的门票, 大浴场入浴(桑拿), EN TEA House应灯楼(一杯软饮), 毛巾 * 此票不能进入御船山乐园花园。进入花园需在现场支付入场费。 * 御船山乐园的入场时间和开放时间因季节而异。具体请查看御船山乐园网站
You must be 16 years old or older to access

JPY 4,450

展览车票"teamLab Ruins and Heritage: Rinkan Spa & Tea Ceremony"
门票可在现场购买。 * 價格中包括:"teamLab Ruins and Heritage: Rinkan Spa & Tea Ceremony"藝術展的門票 * 此票不能进入御船山乐园花园。进入花园需在现场支付入场费。 * 御船山乐园的入场时间和开放时间因季节而异。具体请查看御船山乐园网站
Adults (13 and older)

JPY 700

Ages 6 - 12

JPY 400

Ages 5 and younger








呼应灯之森林与螺旋 - 一笔"

















* 同性4人以上的团队
* 中学生以下当天往返入浴
* 被认为是黑社会相关人员、反社会团体或组织的相关人员
* 有纹身的人
* 酒醉的人(过度饮酒的人)
* 大声喧哗的人
* 有皮肤病或可能有其他传染病的人、医生要求禁止入浴的人
* 发热、严重体虚、咳嗽、呼吸困难等患有呼吸道疾病的人、或其他身体不适的人
* 有打扰其他客人的行为、被认为危险的行为、不卫生的行为的人
* 被认为不符合使用本馆条件的人
teamLab是自2001年起开始活动的艺术团队。通过团队创作来探索艺术、科学、技术和自然界交汇点的国际性跨域艺术团队。由艺术家、程序员、工程师、CG动画师、数学家和建筑师等各个领域的专家组成。 teamLab想通过艺术,摸索人与世界的关系和新的认知。人类为了更好地认知世界,习惯性地把世界分割,并将其视为具有边界的事物。我们探索认知的边界,并试图超越人类对世界、对时间连续性的边界的认知。世间万物都是奇迹般地存在于积年累月且没有边界的连续性上的。 teamLab在纽约、伦敦、巴黎、新加坡、硅谷、北京、墨尔本等世界各地举办了艺术展。teamLab所开设的大型常设美术馆有位于东京台场的“teamLab Borderless”、位于东京丰洲的“teamLab Planets”、位于上海黄浦滨江的“teamLab 无界上海”、位于澳门的“澳门 teamLab 超自然空间”,位于北京的“teamLab无相艺术空间”等等。今后还将有更多的美术馆落地在汉堡、乌得勒支、吉达等地。 teamLab的作品被世界各大艺术机构收藏,如墨尔本维多利亚国家美术馆(墨尔本)、悉尼新南威尔士州美术馆(悉尼)、阿德莱德南澳大利亚艺术画廊(阿德莱德)、赫尔辛基阿莫斯·雷克斯美术馆(赫尔辛基)、旧金山亚洲艺术博物馆(旧金山)、洛杉矶现代美术馆(洛杉矶)、伊斯坦布尔Borusan当代艺术收藏馆(伊斯坦布尔)、纽约亚洲协会博物馆(纽约)。 Biographical Documents teamLab is represented by Pace Gallery, Martin Browne Contemporary and Ikkan Art.