SundayAugust 1, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
2F-2 Buddhist Paintings
Recent Developments in Cultural Property Conservation
2F-3 Medieval Paintings
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
2F-4 Momoyama-Edo Paintings
Recently Conserved Artworks
2F-5 Chinese Paintings
Observations of Living Creatures in Chinese Painting
WednesdayAugust 2, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
2F-2 Buddhist Paintings
Recent Developments in Cultural Property Conservation
2F-3 Medieval Paintings
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
2F-4 Momoyama-Edo Paintings
Recently Conserved Artworks
2F-5 Chinese Paintings
Observations of Living Creatures in Chinese Painting
ThursdayAugust 3, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
2F-2 Buddhist Paintings
Recent Developments in Cultural Property Conservation
2F-3 Medieval Paintings
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
2F-4 Momoyama-Edo Paintings
Recently Conserved Artworks
2F-5 Chinese Paintings
Observations of Living Creatures in Chinese Painting
FridayAugust 4, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
2F-2 Buddhist Paintings
Recent Developments in Cultural Property Conservation
2F-3 Medieval Paintings
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
2F-4 Momoyama-Edo Paintings
Recently Conserved Artworks
2F-5 Chinese Paintings
Observations of Living Creatures in Chinese Painting
SaturdayAugust 5, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
2F-2 Buddhist Paintings
Recent Developments in Cultural Property Conservation
2F-3 Medieval Paintings
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
2F-4 Momoyama-Edo Paintings
Recently Conserved Artworks
2F-5 Chinese Paintings
Observations of Living Creatures in Chinese Painting
SundayAugust 6, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
2F-2 Buddhist Paintings
Recent Developments in Cultural Property Conservation
2F-3 Medieval Paintings
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
2F-4 Momoyama-Edo Paintings
Recently Conserved Artworks
2F-5 Chinese Paintings
Observations of Living Creatures in Chinese Painting
MondayAugust 7, 2023
The Museum is ClosedCalendarSee Current Exhibition Details
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
2F-2 Buddhist Paintings
Recent Developments in Cultural Property Conservation
2F-3 Medieval Paintings
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
2F-4 Momoyama-Edo Paintings
Recently Conserved Artworks
2F-5 Chinese Paintings
Observations of Living Creatures in Chinese Painting
TuesdayAugust 8, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
2F-2 Buddhist Paintings
Recent Developments in Cultural Property Conservation
2F-3 Medieval Paintings
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
2F-4 Momoyama-Edo Paintings
Recently Conserved Artworks
2F-5 Chinese Paintings
Observations of Living Creatures in Chinese Painting
- 1F
1F-1 Sculpture
Deities of Buddhist Hell: Jizō and King Enma
Galleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of CalligraphyGalleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of Calligraphy1F-4 Textiles and Costumes
Dyeing and Weaving Techniques: Embroidery
1F-5 Metalwork
The Art of Adornment: Buddhist Decoration
1F-6 Lacquerware
Imported Lacquerware: The Enduring Allure of Karamono
WednesdayAugust 9, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
2F-2 Buddhist Paintings
Recent Developments in Cultural Property Conservation
2F-3 Medieval Paintings
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
2F-4 Momoyama-Edo Paintings
Recently Conserved Artworks
2F-5 Chinese Paintings
Observations of Living Creatures in Chinese Painting
- 1F
1F-1 Sculpture
Deities of Buddhist Hell: Jizō and King Enma
Galleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of CalligraphyGalleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of Calligraphy1F-4 Textiles and Costumes
Dyeing and Weaving Techniques: Embroidery
1F-5 Metalwork
The Art of Adornment: Buddhist Decoration
1F-6 Lacquerware
Imported Lacquerware: The Enduring Allure of Karamono
ThursdayAugust 10, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
2F-2 Buddhist Paintings
Recent Developments in Cultural Property Conservation
2F-3 Medieval Paintings
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
2F-4 Momoyama-Edo Paintings
Recently Conserved Artworks
2F-5 Chinese Paintings
Observations of Living Creatures in Chinese Painting
- 1F
1F-1 Sculpture
Deities of Buddhist Hell: Jizō and King Enma
Galleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of CalligraphyGalleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of Calligraphy1F-4 Textiles and Costumes
Dyeing and Weaving Techniques: Embroidery
1F-5 Metalwork
The Art of Adornment: Buddhist Decoration
1F-6 Lacquerware
Imported Lacquerware: The Enduring Allure of Karamono
FridayAugust 11, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
2F-2 Buddhist Paintings
Recent Developments in Cultural Property Conservation
2F-3 Medieval Paintings
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
2F-4 Momoyama-Edo Paintings
Recently Conserved Artworks
2F-5 Chinese Paintings
Observations of Living Creatures in Chinese Painting
- 1F
1F-1 Sculpture
Deities of Buddhist Hell: Jizō and King Enma
Galleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of CalligraphyGalleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of Calligraphy1F-4 Textiles and Costumes
Dyeing and Weaving Techniques: Embroidery
1F-5 Metalwork
The Art of Adornment: Buddhist Decoration
1F-6 Lacquerware
Imported Lacquerware: The Enduring Allure of Karamono
SaturdayAugust 12, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
2F-2 Buddhist Paintings
Recent Developments in Cultural Property Conservation
2F-3 Medieval Paintings
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
2F-4 Momoyama-Edo Paintings
Recently Conserved Artworks
2F-5 Chinese Paintings
Observations of Living Creatures in Chinese Painting
- 1F
1F-1 Sculpture
Deities of Buddhist Hell: Jizō and King Enma
Galleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of CalligraphyGalleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of Calligraphy1F-4 Textiles and Costumes
Dyeing and Weaving Techniques: Embroidery
1F-5 Metalwork
The Art of Adornment: Buddhist Decoration
1F-6 Lacquerware
Imported Lacquerware: The Enduring Allure of Karamono
SundayAugust 13, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
2F-2 Buddhist Paintings
Recent Developments in Cultural Property Conservation
2F-3 Medieval Paintings
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
2F-4 Momoyama-Edo Paintings
Recently Conserved Artworks
2F-5 Chinese Paintings
Observations of Living Creatures in Chinese Painting
- 1F
1F-1 Sculpture
Deities of Buddhist Hell: Jizō and King Enma
Galleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of CalligraphyGalleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of Calligraphy1F-4 Textiles and Costumes
Dyeing and Weaving Techniques: Embroidery
1F-5 Metalwork
The Art of Adornment: Buddhist Decoration
1F-6 Lacquerware
Imported Lacquerware: The Enduring Allure of Karamono
MondayAugust 14, 2023
The Museum is ClosedCalendarSee Current Exhibition Details
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
2F-2 Buddhist Paintings
Recent Developments in Cultural Property Conservation
2F-3 Medieval Paintings
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
2F-4 Momoyama-Edo Paintings
Recently Conserved Artworks
2F-5 Chinese Paintings
Observations of Living Creatures in Chinese Painting
- 1F
1F-1 Sculpture
Deities of Buddhist Hell: Jizō and King Enma
Galleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of CalligraphyGalleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of Calligraphy1F-4 Textiles and Costumes
Dyeing and Weaving Techniques: Embroidery
1F-5 Metalwork
The Art of Adornment: Buddhist Decoration
1F-6 Lacquerware
Imported Lacquerware: The Enduring Allure of Karamono
TuesdayAugust 15, 2023
The Museum is ClosedCalendarSee Current Exhibition Details
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
2F-2 Buddhist Paintings
Recent Developments in Cultural Property Conservation
2F-3 Medieval Paintings
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
2F-4 Momoyama-Edo Paintings
Recently Conserved Artworks
2F-5 Chinese Paintings
Observations of Living Creatures in Chinese Painting
- 1F
1F-1 Sculpture
Deities of Buddhist Hell: Jizō and King Enma
Galleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of CalligraphyGalleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of Calligraphy1F-4 Textiles and Costumes
Dyeing and Weaving Techniques: Embroidery
1F-5 Metalwork
The Art of Adornment: Buddhist Decoration
1F-6 Lacquerware
Imported Lacquerware: The Enduring Allure of Karamono
WednesdayAugust 16, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
2F-2 Buddhist Paintings
Recent Developments in Cultural Property Conservation
2F-3 Medieval Paintings
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
2F-4 Momoyama-Edo Paintings
Recently Conserved Artworks
2F-5 Chinese Paintings
Observations of Living Creatures in Chinese Painting
- 1F
1F-1 Sculpture
Deities of Buddhist Hell: Jizō and King Enma
Galleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of CalligraphyGalleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of Calligraphy1F-4 Textiles and Costumes
Dyeing and Weaving Techniques: Embroidery
1F-5 Metalwork
The Art of Adornment: Buddhist Decoration
1F-6 Lacquerware
Imported Lacquerware: The Enduring Allure of Karamono
ThursdayAugust 17, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
2F-2 Buddhist Paintings
Recent Developments in Cultural Property Conservation
2F-3 Medieval Paintings
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
2F-4 Momoyama-Edo Paintings
Recently Conserved Artworks
2F-5 Chinese Paintings
Observations of Living Creatures in Chinese Painting
- 1F
1F-1 Sculpture
Deities of Buddhist Hell: Jizō and King Enma
Galleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of CalligraphyGalleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of Calligraphy1F-4 Textiles and Costumes
Dyeing and Weaving Techniques: Embroidery
1F-5 Metalwork
The Art of Adornment: Buddhist Decoration
1F-6 Lacquerware
Imported Lacquerware: The Enduring Allure of Karamono
FridayAugust 18, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
2F-2 Buddhist Paintings
Recent Developments in Cultural Property Conservation
2F-3 Medieval Paintings
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
2F-4 Momoyama-Edo Paintings
Recently Conserved Artworks
2F-5 Chinese Paintings
Observations of Living Creatures in Chinese Painting
- 1F
1F-1 Sculpture
Deities of Buddhist Hell: Jizō and King Enma
Galleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of CalligraphyGalleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of Calligraphy1F-4 Textiles and Costumes
Dyeing and Weaving Techniques: Embroidery
1F-5 Metalwork
The Art of Adornment: Buddhist Decoration
1F-6 Lacquerware
Imported Lacquerware: The Enduring Allure of Karamono
SaturdayAugust 19, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
2F-2 Buddhist Paintings
Recent Developments in Cultural Property Conservation
2F-3 Medieval Paintings
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
2F-4 Momoyama-Edo Paintings
Recently Conserved Artworks
2F-5 Chinese Paintings
Observations of Living Creatures in Chinese Painting
- 1F
1F-1 Sculpture
Deities of Buddhist Hell: Jizō and King Enma
Galleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of CalligraphyGalleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of Calligraphy1F-4 Textiles and Costumes
Dyeing and Weaving Techniques: Embroidery
1F-5 Metalwork
The Art of Adornment: Buddhist Decoration
1F-6 Lacquerware
Imported Lacquerware: The Enduring Allure of Karamono
SundayAugust 20, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
2F-2 Buddhist Paintings
Recent Developments in Cultural Property Conservation
2F-3 Medieval Paintings
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
2F-4 Momoyama-Edo Paintings
Recently Conserved Artworks
2F-5 Chinese Paintings
Observations of Living Creatures in Chinese Painting
- 1F
1F-1 Sculpture
Deities of Buddhist Hell: Jizō and King Enma
Galleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of CalligraphyGalleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of Calligraphy1F-4 Textiles and Costumes
Dyeing and Weaving Techniques: Embroidery
1F-5 Metalwork
The Art of Adornment: Buddhist Decoration
1F-6 Lacquerware
Imported Lacquerware: The Enduring Allure of Karamono
MondayAugust 21, 2023
The Museum is ClosedCalendarSee Current Exhibition Details
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1
2F-2
2F-3
2F-4
2F-5
- 1F
1F-1 Sculpture
Deities of Buddhist Hell: Jizō and King Enma
Galleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of CalligraphyGalleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of Calligraphy1F-4 Textiles and Costumes
Dyeing and Weaving Techniques: Embroidery
1F-5 Metalwork
The Art of Adornment: Buddhist Decoration
1F-6 Lacquerware
Imported Lacquerware: The Enduring Allure of Karamono
TuesdayAugust 22, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Buddhist Tales of Distant Lands
2F-2 Buddhist Paintings
The Bodhisattva Jizō (Kṣitigarbha) and the Ten Kings of Hell
2F-3 Medieval Paintings
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism II
2F-4 Momoyama-Edo Paintings
A Legacy of Wit and Artistry: Celebrating the 300th Anniversary of Ike no Taiga
2F-5 Chinese Paintings
Discovering the World of Chinese Landscape Painting
- 1F
1F-1 Sculpture
Deities of Buddhist Hell: Jizō and King Enma
Galleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of CalligraphyGalleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of Calligraphy1F-4 Textiles and Costumes
Dyeing and Weaving Techniques: Embroidery
1F-5 Metalwork
The Art of Adornment: Buddhist Decoration
1F-6 Lacquerware
Imported Lacquerware: The Enduring Allure of Karamono
WednesdayAugust 23, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Buddhist Tales of Distant Lands
2F-2 Buddhist Paintings
The Bodhisattva Jizō (Kṣitigarbha) and the Ten Kings of Hell
2F-3 Medieval Paintings
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism II
2F-4 Momoyama-Edo Paintings
A Legacy of Wit and Artistry: Celebrating the 300th Anniversary of Ike no Taiga
2F-5 Chinese Paintings
Discovering the World of Chinese Landscape Painting
- 1F
1F-1 Sculpture
Deities of Buddhist Hell: Jizō and King Enma
Galleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of CalligraphyGalleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of Calligraphy1F-4 Textiles and Costumes
Dyeing and Weaving Techniques: Embroidery
1F-5 Metalwork
The Art of Adornment: Buddhist Decoration
1F-6 Lacquerware
Imported Lacquerware: The Enduring Allure of Karamono
ThursdayAugust 24, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Buddhist Tales of Distant Lands
2F-2 Buddhist Paintings
The Bodhisattva Jizō (Kṣitigarbha) and the Ten Kings of Hell
2F-3 Medieval Paintings
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism II
2F-4 Momoyama-Edo Paintings
A Legacy of Wit and Artistry: Celebrating the 300th Anniversary of Ike no Taiga
2F-5 Chinese Paintings
Discovering the World of Chinese Landscape Painting
- 1F
1F-1 Sculpture
Deities of Buddhist Hell: Jizō and King Enma
Galleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of CalligraphyGalleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of Calligraphy1F-4 Textiles and Costumes
Dyeing and Weaving Techniques: Embroidery
1F-5 Metalwork
The Art of Adornment: Buddhist Decoration
1F-6 Lacquerware
Imported Lacquerware: The Enduring Allure of Karamono
FridayAugust 25, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Buddhist Tales of Distant Lands
2F-2 Buddhist Paintings
The Bodhisattva Jizō (Kṣitigarbha) and the Ten Kings of Hell
2F-3 Medieval Paintings
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism II
2F-4 Momoyama-Edo Paintings
A Legacy of Wit and Artistry: Celebrating the 300th Anniversary of Ike no Taiga
2F-5 Chinese Paintings
Discovering the World of Chinese Landscape Painting
- 1F
1F-1 Sculpture
Deities of Buddhist Hell: Jizō and King Enma
Galleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of CalligraphyGalleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of Calligraphy1F-4 Textiles and Costumes
Dyeing and Weaving Techniques: Embroidery
1F-5 Metalwork
The Art of Adornment: Buddhist Decoration
1F-6 Lacquerware
Imported Lacquerware: The Enduring Allure of Karamono
SaturdayAugust 26, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Buddhist Tales of Distant Lands
2F-2 Buddhist Paintings
The Bodhisattva Jizō (Kṣitigarbha) and the Ten Kings of Hell
2F-3 Medieval Paintings
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism II
2F-4 Momoyama-Edo Paintings
A Legacy of Wit and Artistry: Celebrating the 300th Anniversary of Ike no Taiga
2F-5 Chinese Paintings
Discovering the World of Chinese Landscape Painting
- 1F
1F-1 Sculpture
Deities of Buddhist Hell: Jizō and King Enma
Galleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of CalligraphyGalleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of Calligraphy1F-4 Textiles and Costumes
Dyeing and Weaving Techniques: Embroidery
1F-5 Metalwork
The Art of Adornment: Buddhist Decoration
1F-6 Lacquerware
Imported Lacquerware: The Enduring Allure of Karamono
SundayAugust 27, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Buddhist Tales of Distant Lands
2F-2 Buddhist Paintings
The Bodhisattva Jizō (Kṣitigarbha) and the Ten Kings of Hell
2F-3 Medieval Paintings
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism II
2F-4 Momoyama-Edo Paintings
A Legacy of Wit and Artistry: Celebrating the 300th Anniversary of Ike no Taiga
2F-5 Chinese Paintings
Discovering the World of Chinese Landscape Painting
- 1F
1F-1 Sculpture
Deities of Buddhist Hell: Jizō and King Enma
Galleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of CalligraphyGalleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of Calligraphy1F-4 Textiles and Costumes
Dyeing and Weaving Techniques: Embroidery
1F-5 Metalwork
The Art of Adornment: Buddhist Decoration
1F-6 Lacquerware
Imported Lacquerware: The Enduring Allure of Karamono
MondayAugust 28, 2023
The Museum is ClosedCalendarSee Current Exhibition Details
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Buddhist Tales of Distant Lands
2F-2 Buddhist Paintings
The Bodhisattva Jizō (Kṣitigarbha) and the Ten Kings of Hell
2F-3 Medieval Paintings
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism II
2F-4 Momoyama-Edo Paintings
A Legacy of Wit and Artistry: Celebrating the 300th Anniversary of Ike no Taiga
2F-5 Chinese Paintings
Discovering the World of Chinese Landscape Painting
- 1F
1F-1 Sculpture
Deities of Buddhist Hell: Jizō and King Enma
Galleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of CalligraphyGalleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of Calligraphy1F-4 Textiles and Costumes
Dyeing and Weaving Techniques: Embroidery
1F-5 Metalwork
The Art of Adornment: Buddhist Decoration
1F-6 Lacquerware
Imported Lacquerware: The Enduring Allure of Karamono
TuesdayAugust 29, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Buddhist Tales of Distant Lands
2F-2 Buddhist Paintings
The Bodhisattva Jizō (Kṣitigarbha) and the Ten Kings of Hell
2F-3 Medieval Paintings
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism II
2F-4 Momoyama-Edo Paintings
A Legacy of Wit and Artistry: Celebrating the 300th Anniversary of Ike no Taiga
2F-5 Chinese Paintings
Discovering the World of Chinese Landscape Painting
- 1F
1F-1 Sculpture
Deities of Buddhist Hell: Jizō and King Enma
Galleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of CalligraphyGalleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of Calligraphy1F-4 Textiles and Costumes
Dyeing and Weaving Techniques: Embroidery
1F-5 Metalwork
The Art of Adornment: Buddhist Decoration
1F-6 Lacquerware
Imported Lacquerware: The Enduring Allure of Karamono
WednesdayAugust 30, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Buddhist Tales of Distant Lands
2F-2 Buddhist Paintings
The Bodhisattva Jizō (Kṣitigarbha) and the Ten Kings of Hell
2F-3 Medieval Paintings
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism II
2F-4 Momoyama-Edo Paintings
A Legacy of Wit and Artistry: Celebrating the 300th Anniversary of Ike no Taiga
2F-5 Chinese Paintings
Discovering the World of Chinese Landscape Painting
- 1F
1F-1 Sculpture
Deities of Buddhist Hell: Jizō and King Enma
Galleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of CalligraphyGalleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of Calligraphy1F-4 Textiles and Costumes
Dyeing and Weaving Techniques: Embroidery
1F-5 Metalwork
The Art of Adornment: Buddhist Decoration
1F-6 Lacquerware
Imported Lacquerware: The Enduring Allure of Karamono
ThursdayAugust 31, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Buddhist Tales of Distant Lands
2F-2 Buddhist Paintings
The Bodhisattva Jizō (Kṣitigarbha) and the Ten Kings of Hell
2F-3 Medieval Paintings
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism II
2F-4 Momoyama-Edo Paintings
A Legacy of Wit and Artistry: Celebrating the 300th Anniversary of Ike no Taiga
2F-5 Chinese Paintings
Discovering the World of Chinese Landscape Painting
- 1F
1F-1 Sculpture
Deities of Buddhist Hell: Jizō and King Enma
Galleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of CalligraphyGalleries 1F-2,3 Feature Exhibition
Feature Exhibition
China and Japan: Masterworks of Calligraphy1F-4 Textiles and Costumes
Dyeing and Weaving Techniques: Embroidery
1F-5 Metalwork
The Art of Adornment: Buddhist Decoration
1F-6 Lacquerware
Imported Lacquerware: The Enduring Allure of Karamono
Also On View in the Collection Galleries特別展観覧料が必要
Earthenware Vessels and Dogū Figures of the Jōmon Period
June 20–September 10, 2023
Archaeological Relics|3F-2 gallery
The use of pottery in Japan can be traced back nearly 16,000 years. People living during the Jōmon period (ca. 14,000–ca. 4th c. BCE) made vessels for a variety of different purposes. These came in a multitude of forms, including deep pots for boiling and cooking, vessels for storage, shallow bowls and plates for serving or eating food, vessels with spouts for pouring alcohol or other liquids, and vessels for ritual use. Even earthenware pots with practical functions were rich in variation, featuring large, three-dimensional projections and ornate patterns. In addition to pottery for daily use, the Jōmon people made votive figures from clay called dogū. Most dogū are shaped like women and are thought to have embodied prayers for a good harvest or fertility. This exhibition explores the fascinating culture of the Jōmon period with a special focus on its earthenware vessels and dogū figures.

Spouted Vessel
Reportedly excavated in Aomori
Kyoto National Museum
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
July 19–August 20, 2023
Illustrated Handscrolls|2F-1 gallery
In Buddhist teachings, the paradisal realms of buddhas and heavenly beings are contrasted with the horrors and suffering of the Buddhist hells. People were terrified of falling into hell, and they feared demons (oni), who punished the sinful, and the mischievous, long-nosed tengu, who played tricks on Buddhist monks. Fear was instrumental in deepening people’s faith, but it also inspired creativity, leading to a rich tradition of imagery and tales. Over time, depictions of demons and tengu grew more human-like, taking on comical elements as they suffered ignoble defeat at the hands of their Buddhist adversaries. The scrolls on view in this gallery highlight the enduring appeal of recasting a terrifying subject as an object of ridicule.

Important Cultural Property
Illustrated Merits of the Mantra of Light
One of three handscrolls
Myōō-in Temple, Shiga
Recent Developments in Cultural Property Conservation
July 19–August 20, 2023
Buddhist Paintings|2F-2 gallery
The field of art conservation has become highly specialized, resulting in increased costs. While public funding may partially cover the conservation of designated national or local cultural properties, owners are still responsible for a portion of the expenses. Therefore, it is crucial for owners to fully understand the value of their objects and their conservation needs, including the associated costs.
When privately owned works are entrusted to a museum, curators collaborate with owners to undertake conservation projects. To overcome budget limitations, stakeholders are increasingly turning to donations and crowdfunding. Securing the necessary funding for conservation projects may take several years; however, this process fosters stronger connections between museums, owners, and conservation supporters.

Mandala of the Original Buddhist Forms of the Hie-Sannō Deities
Kyoto Todokai
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
July 19–August 20, 2023
Medieval Paintings|2F-3 gallery
During Japan’s medieval period, Zen Buddhists who traveled to and from China introduced new forms of Buddhist culture to Japan. These included monochrome ink painting and Buddhist images that were employed in distinctive ceremonies. The bodhisattva Kannon became an important symbol of wisdom and compassion in Zen temples, and images of Kannon were incorporated into temple rituals. Early monks created numerous paintings of the White-Robed Kannon, whose iconography played an important role in the development of Japanese ink painting.
Kannon is also associated with water and the ocean. The bodhisattva is believed to have descended to the Pure Land of Mount Potalaka in the southern seas and came to be seen as a guardian deity for merchants and monks who traveled by sea. In this exhibition, the cosmopolitan culture of medieval Japan is evident in the many depictions of Kannon that draw on iconography brought to Japan from mainland East Asia.

Important Cultural Property
White-Robed Kannon (Avalokiteśvara)
Inscription by Tettō Gikō
Shinju-an Temple, Kyoto
Recently Conserved Artworks
July 19–August 20, 2023
Momoyama-Edo Paintings|2F-4 gallery
Cultural properties have long lifespans and need to be conserved periodically to keep them in their best possible condition. Regular deterioration over time, insects, microorganisms, and physical tears and breakage are just some of the many kinds of damage artworks can experience. Conserving objects at the appropriate time is an important mission for museums to ensure works of art can be enjoyed by future generations.
This exhibition presents objects in the care of the museum that were recently conserved. These include screens by Hasegawa Tōhaku (1539–1610) and Kaihō Yūshō (1533–1615), which are being unveiled for the first time after undergoing conservation. Take a walk around the gallery to explore these cultural works as they embark on new chapters in their histories.

Important Cultural Property
Chinese Lion
Attributed to Kanō Sanraku
Honpō-ji Temple, Kyoto
Observations of Living Creatures in Chinese Painting
July 19–August 20, 2023
Chinese Paintings|2F-5 gallery
A crucial element of the painting process is the careful and thorough observation of the subject. It takes substantial practice to go beyond mere resemblance and infuse a subject with a sense of life. Only a skilled artist with a keen eye and a profound understanding of the subject can seemingly effortlessly create paintings that exude an aura of vitality. Such artworks can evoke a strong emotional response in viewers.
This gallery highlights works by Chinese artists depicting familiar plants and animals. The works are striking for their use of color and form, as well as for their brushwork and applications of ink washes. Visitors are invited to consider how the artists’ skillful observations helped them choose how to render their subjects, and how these techniques differ from other painting traditions.

Huddled Geese
By Xu Beihong
Kyoto National Museum
Deities of Buddhist Hell: Jizō and King Enma
June 13–September 18, 2023
Sculpture|1F-1 gallery
Summertime in Japan means the coming of Obon, or the Bon Festival, a tradition rooted in the Indian Ullambana Festival that marks the end of the summer retreat for the Buddhist monastic community. It is an occasion for making offerings to ancestral spirits, but it is also said to be the day when the lids are lifted from the cauldrons of Hell. In Buddhism, Hell is presided over by King Enma, who serves as the judge of the afterlife. Belief in Enma also derives from India, where he was known as Yama, the Hindu god of the underworld. In China, he came to be worshipped alongside Taoist deities, and in Japan he became the leader of the Ten Kings of Hell. In this exhibition, statues of these ten rulers from Jōnen-ji Temple in Kizugawa, who serve as judges of the dead, are featured along with images of Jizō (Skt: Kṣitigarbha), a bodhisattva who rescues souls from the suffering of Hell. These powerful depictions of the fearsome deities of Buddhist Hell may send shivers up your spine!

Important Cultural Property
Seated Jizō (Kṣitigarbha) Bodhisattva in a Portable Shrine
Hō’on-ji Temple, Kyoto
Japanese Sculpture
June 13–September 18, 2023
Sculpture|1F-1 gallery
From ancient times through the Edo period (1615–1868), almost all subjects of Japanese sculpture were religious in nature. After Buddhism was introduced to Japan and became firmly established in the seventh century, the production of Buddhist statues flourished. Buddhist deities and their images often have origins in South Asia or Central Asia, and they were usually transmitted to Japan by way of China, bringing with them a complex array of foreign influences.
One of the distinctive characteristics of Japanese sculpture is its use of wood as a primary material. Various modes of carving and other techniques—including joint-block construction (yosegi-zukuri) and inlaid crystal eyes—were developed in Japan to create these wood images.
Over time, the repeated introduction of new images from the Asian continent contributed to further stylistic transformations and innovations in Japan. The Japanese Buddhist sculptures on view here reflect various styles of different historical periods.
The Art of Adornment: Buddhist Decoration
June 13–September 10, 2023
Metalwork|1F-5 gallery
A distinct feature of Japanese art is its many modes of adornment. Throughout history, artists and craftspeople in Japan have shared the impulse to embellish objects of all types with decorations ranging from geometric patterns to motifs from nature. This décor might be boldly exaggerated or it might be so abbreviated as to require special knowledge to comprehend. This is the first installment in a series of exhibitions that will examine celebrated examples of metalwork used to embellish daily life, to bedeck warriors, and to enhance worship. In this first exhibition, visitors are invited to take a closer look at sacred Japanese decorative art works used to glorify Buddhas and other deities.

Important Cultural Property
Hanging Temple Lantern
Kyoto National Museum
Also On View in the Collection Galleries特別展観覧料が必要
Earthenware Vessels and Dogū Figures of the Jōmon Period
June 20–September 10, 2023
Archaeological Relics|3F-2 gallery
The use of pottery in Japan can be traced back nearly 16,000 years. People living during the Jōmon period (ca. 14,000–ca. 4th c. BCE) made vessels for a variety of different purposes. These came in a multitude of forms, including deep pots for boiling and cooking, vessels for storage, shallow bowls and plates for serving or eating food, vessels with spouts for pouring alcohol or other liquids, and vessels for ritual use. Even earthenware pots with practical functions were rich in variation, featuring large, three-dimensional projections and ornate patterns. In addition to pottery for daily use, the Jōmon people made votive figures from clay called dogū. Most dogū are shaped like women and are thought to have embodied prayers for a good harvest or fertility. This exhibition explores the fascinating culture of the Jōmon period with a special focus on its earthenware vessels and dogū figures.

Spouted Vessel
Reportedly excavated in Aomori
Kyoto National Museum
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
July 19–August 20, 2023
Illustrated Handscrolls|2F-1 gallery
In Buddhist teachings, the paradisal realms of buddhas and heavenly beings are contrasted with the horrors and suffering of the Buddhist hells. People were terrified of falling into hell, and they feared demons (oni), who punished the sinful, and the mischievous, long-nosed tengu, who played tricks on Buddhist monks. Fear was instrumental in deepening people’s faith, but it also inspired creativity, leading to a rich tradition of imagery and tales. Over time, depictions of demons and tengu grew more human-like, taking on comical elements as they suffered ignoble defeat at the hands of their Buddhist adversaries. The scrolls on view in this gallery highlight the enduring appeal of recasting a terrifying subject as an object of ridicule.

Important Cultural Property
Illustrated Merits of the Mantra of Light
One of three handscrolls
Myōō-in Temple, Shiga
Recent Developments in Cultural Property Conservation
July 19–August 20, 2023
Buddhist Paintings|2F-2 gallery
The field of art conservation has become highly specialized, resulting in increased costs. While public funding may partially cover the conservation of designated national or local cultural properties, owners are still responsible for a portion of the expenses. Therefore, it is crucial for owners to fully understand the value of their objects and their conservation needs, including the associated costs.
When privately owned works are entrusted to a museum, curators collaborate with owners to undertake conservation projects. To overcome budget limitations, stakeholders are increasingly turning to donations and crowdfunding. Securing the necessary funding for conservation projects may take several years; however, this process fosters stronger connections between museums, owners, and conservation supporters.

Mandala of the Original Buddhist Forms of the Hie-Sannō Deities
Kyoto Todokai
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
July 19–August 20, 2023
Medieval Paintings|2F-3 gallery
During Japan’s medieval period, Zen Buddhists who traveled to and from China introduced new forms of Buddhist culture to Japan. These included monochrome ink painting and Buddhist images that were employed in distinctive ceremonies. The bodhisattva Kannon became an important symbol of wisdom and compassion in Zen temples, and images of Kannon were incorporated into temple rituals. Early monks created numerous paintings of the White-Robed Kannon, whose iconography played an important role in the development of Japanese ink painting.
Kannon is also associated with water and the ocean. The bodhisattva is believed to have descended to the Pure Land of Mount Potalaka in the southern seas and came to be seen as a guardian deity for merchants and monks who traveled by sea. In this exhibition, the cosmopolitan culture of medieval Japan is evident in the many depictions of Kannon that draw on iconography brought to Japan from mainland East Asia.

Important Cultural Property
White-Robed Kannon (Avalokiteśvara)
Inscription by Tettō Gikō
Shinju-an Temple, Kyoto
Recently Conserved Artworks
July 19–August 20, 2023
Momoyama-Edo Paintings|2F-4 gallery
Cultural properties have long lifespans and need to be conserved periodically to keep them in their best possible condition. Regular deterioration over time, insects, microorganisms, and physical tears and breakage are just some of the many kinds of damage artworks can experience. Conserving objects at the appropriate time is an important mission for museums to ensure works of art can be enjoyed by future generations.
This exhibition presents objects in the care of the museum that were recently conserved. These include screens by Hasegawa Tōhaku (1539–1610) and Kaihō Yūshō (1533–1615), which are being unveiled for the first time after undergoing conservation. Take a walk around the gallery to explore these cultural works as they embark on new chapters in their histories.

Important Cultural Property
Chinese Lion
Attributed to Kanō Sanraku
Honpō-ji Temple, Kyoto
Observations of Living Creatures in Chinese Painting
July 19–August 20, 2023
Chinese Paintings|2F-5 gallery
A crucial element of the painting process is the careful and thorough observation of the subject. It takes substantial practice to go beyond mere resemblance and infuse a subject with a sense of life. Only a skilled artist with a keen eye and a profound understanding of the subject can seemingly effortlessly create paintings that exude an aura of vitality. Such artworks can evoke a strong emotional response in viewers.
This gallery highlights works by Chinese artists depicting familiar plants and animals. The works are striking for their use of color and form, as well as for their brushwork and applications of ink washes. Visitors are invited to consider how the artists’ skillful observations helped them choose how to render their subjects, and how these techniques differ from other painting traditions.

Huddled Geese
By Xu Beihong
Kyoto National Museum
Deities of Buddhist Hell: Jizō and King Enma
June 13–September 18, 2023
Sculpture|1F-1 gallery
Summertime in Japan means the coming of Obon, or the Bon Festival, a tradition rooted in the Indian Ullambana Festival that marks the end of the summer retreat for the Buddhist monastic community. It is an occasion for making offerings to ancestral spirits, but it is also said to be the day when the lids are lifted from the cauldrons of Hell. In Buddhism, Hell is presided over by King Enma, who serves as the judge of the afterlife. Belief in Enma also derives from India, where he was known as Yama, the Hindu god of the underworld. In China, he came to be worshipped alongside Taoist deities, and in Japan he became the leader of the Ten Kings of Hell. In this exhibition, statues of these ten rulers from Jōnen-ji Temple in Kizugawa, who serve as judges of the dead, are featured along with images of Jizō (Skt: Kṣitigarbha), a bodhisattva who rescues souls from the suffering of Hell. These powerful depictions of the fearsome deities of Buddhist Hell may send shivers up your spine!

Important Cultural Property
Seated Jizō (Kṣitigarbha) Bodhisattva in a Portable Shrine
Hō’on-ji Temple, Kyoto
Japanese Sculpture
June 13–September 18, 2023
Sculpture|1F-1 gallery
From ancient times through the Edo period (1615–1868), almost all subjects of Japanese sculpture were religious in nature. After Buddhism was introduced to Japan and became firmly established in the seventh century, the production of Buddhist statues flourished. Buddhist deities and their images often have origins in South Asia or Central Asia, and they were usually transmitted to Japan by way of China, bringing with them a complex array of foreign influences.
One of the distinctive characteristics of Japanese sculpture is its use of wood as a primary material. Various modes of carving and other techniques—including joint-block construction (yosegi-zukuri) and inlaid crystal eyes—were developed in Japan to create these wood images.
Over time, the repeated introduction of new images from the Asian continent contributed to further stylistic transformations and innovations in Japan. The Japanese Buddhist sculptures on view here reflect various styles of different historical periods.
Dyeing and Weaving Techniques: Embroidery
August 2–September 10, 2023
Textiles and Costumes|1F-4 gallery
The act of embroidering designs one stitch at a time was traditionally believed to hold special significance. The repetitive nature of the process and the patient perseverance of the embroiderer were thought to infuse a work with the prayers of the creator or the person who commissioned it. This is why embroidered textiles came to feature prominently in religion, in the performing arts, and on celebratory occasions.
Embroiderers can render free designs in multiple colors without the arduous preparation required for woven and dyed textiles. The thickness of the thread can be used to add depth, and different types of stitches can evoke light and shadow. This exhibition presents embroidered textiles made to embellish special spaces and occasions.

Furisode (Long-Sleeved Kimono) with Stripes and Chrysanthemum Sprigs
Kyoto National Museum
The Art of Adornment: Buddhist Decoration
June 13–September 10, 2023
Metalwork|1F-5 gallery
A distinct feature of Japanese art is its many modes of adornment. Throughout history, artists and craftspeople in Japan have shared the impulse to embellish objects of all types with decorations ranging from geometric patterns to motifs from nature. This décor might be boldly exaggerated or it might be so abbreviated as to require special knowledge to comprehend. This is the first installment in a series of exhibitions that will examine celebrated examples of metalwork used to embellish daily life, to bedeck warriors, and to enhance worship. In this first exhibition, visitors are invited to take a closer look at sacred Japanese decorative art works used to glorify Buddhas and other deities.

Important Cultural Property
Hanging Temple Lantern
Kyoto National Museum
Imported Lacquerware: The Enduring Allure of Karamono
August 2–September 10, 2023
Lacquerware|1F-6 gallery
During the Heian period (794–1185), the word karamono (lit. “Tang things” or “Chinese things”) referred to prestigious objects imported from Tang dynasty (618–907) China. Over time, the term came to be used more broadly for rare objects imported from various foreign regions, including Korea, Southeast Asia, and even the Middle East and Europe. Appreciation of karamono reached a peak during the Muromachi period (1392–1573), when military rulers and Buddhist priests who admired Chinese culture spent fortunes to acquire luxurious imported works. During the economic growth and urbanization of the Edo period (1615–1868), import stores called karamono shops also sold Japanese objects that imitated foreign wares. This gallery features examples of karamono from various countries of origin, which have long been admired in Japan for their exotic appeal.

Incense Container in the Shape of a Buddhist Jewel
Kyoto National Museum
Also On View in the Collection Galleries特別展観覧料が必要
Earthenware Vessels and Dogū Figures of the Jōmon Period
June 20–September 10, 2023
Archaeological Relics|3F-2 gallery
The use of pottery in Japan can be traced back nearly 16,000 years. People living during the Jōmon period (ca. 14,000–ca. 4th c. BCE) made vessels for a variety of different purposes. These came in a multitude of forms, including deep pots for boiling and cooking, vessels for storage, shallow bowls and plates for serving or eating food, vessels with spouts for pouring alcohol or other liquids, and vessels for ritual use. Even earthenware pots with practical functions were rich in variation, featuring large, three-dimensional projections and ornate patterns. In addition to pottery for daily use, the Jōmon people made votive figures from clay called dogū. Most dogū are shaped like women and are thought to have embodied prayers for a good harvest or fertility. This exhibition explores the fascinating culture of the Jōmon period with a special focus on its earthenware vessels and dogū figures.

Spouted Vessel
Reportedly excavated in Aomori
Kyoto National Museum
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
July 19–August 20, 2023
Illustrated Handscrolls|2F-1 gallery
In Buddhist teachings, the paradisal realms of buddhas and heavenly beings are contrasted with the horrors and suffering of the Buddhist hells. People were terrified of falling into hell, and they feared demons (oni), who punished the sinful, and the mischievous, long-nosed tengu, who played tricks on Buddhist monks. Fear was instrumental in deepening people’s faith, but it also inspired creativity, leading to a rich tradition of imagery and tales. Over time, depictions of demons and tengu grew more human-like, taking on comical elements as they suffered ignoble defeat at the hands of their Buddhist adversaries. The scrolls on view in this gallery highlight the enduring appeal of recasting a terrifying subject as an object of ridicule.

Important Cultural Property
Illustrated Merits of the Mantra of Light
One of three handscrolls
Myōō-in Temple, Shiga
Recent Developments in Cultural Property Conservation
July 19–August 20, 2023
Buddhist Paintings|2F-2 gallery
The field of art conservation has become highly specialized, resulting in increased costs. While public funding may partially cover the conservation of designated national or local cultural properties, owners are still responsible for a portion of the expenses. Therefore, it is crucial for owners to fully understand the value of their objects and their conservation needs, including the associated costs.
When privately owned works are entrusted to a museum, curators collaborate with owners to undertake conservation projects. To overcome budget limitations, stakeholders are increasingly turning to donations and crowdfunding. Securing the necessary funding for conservation projects may take several years; however, this process fosters stronger connections between museums, owners, and conservation supporters.

Mandala of the Original Buddhist Forms of the Hie-Sannō Deities
Kyoto Todokai
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
July 19–August 20, 2023
Medieval Paintings|2F-3 gallery
During Japan’s medieval period, Zen Buddhists who traveled to and from China introduced new forms of Buddhist culture to Japan. These included monochrome ink painting and Buddhist images that were employed in distinctive ceremonies. The bodhisattva Kannon became an important symbol of wisdom and compassion in Zen temples, and images of Kannon were incorporated into temple rituals. Early monks created numerous paintings of the White-Robed Kannon, whose iconography played an important role in the development of Japanese ink painting.
Kannon is also associated with water and the ocean. The bodhisattva is believed to have descended to the Pure Land of Mount Potalaka in the southern seas and came to be seen as a guardian deity for merchants and monks who traveled by sea. In this exhibition, the cosmopolitan culture of medieval Japan is evident in the many depictions of Kannon that draw on iconography brought to Japan from mainland East Asia.

Important Cultural Property
White-Robed Kannon (Avalokiteśvara)
Inscription by Tettō Gikō
Shinju-an Temple, Kyoto
Recently Conserved Artworks
July 19–August 20, 2023
Momoyama-Edo Paintings|2F-4 gallery
Cultural properties have long lifespans and need to be conserved periodically to keep them in their best possible condition. Regular deterioration over time, insects, microorganisms, and physical tears and breakage are just some of the many kinds of damage artworks can experience. Conserving objects at the appropriate time is an important mission for museums to ensure works of art can be enjoyed by future generations.
This exhibition presents objects in the care of the museum that were recently conserved. These include screens by Hasegawa Tōhaku (1539–1610) and Kaihō Yūshō (1533–1615), which are being unveiled for the first time after undergoing conservation. Take a walk around the gallery to explore these cultural works as they embark on new chapters in their histories.

Important Cultural Property
Chinese Lion
Attributed to Kanō Sanraku
Honpō-ji Temple, Kyoto
Observations of Living Creatures in Chinese Painting
July 19–August 20, 2023
Chinese Paintings|2F-5 gallery
A crucial element of the painting process is the careful and thorough observation of the subject. It takes substantial practice to go beyond mere resemblance and infuse a subject with a sense of life. Only a skilled artist with a keen eye and a profound understanding of the subject can seemingly effortlessly create paintings that exude an aura of vitality. Such artworks can evoke a strong emotional response in viewers.
This gallery highlights works by Chinese artists depicting familiar plants and animals. The works are striking for their use of color and form, as well as for their brushwork and applications of ink washes. Visitors are invited to consider how the artists’ skillful observations helped them choose how to render their subjects, and how these techniques differ from other painting traditions.

Huddled Geese
By Xu Beihong
Kyoto National Museum
Deities of Buddhist Hell: Jizō and King Enma
June 13–September 18, 2023
Sculpture|1F-1 gallery
Summertime in Japan means the coming of Obon, or the Bon Festival, a tradition rooted in the Indian Ullambana Festival that marks the end of the summer retreat for the Buddhist monastic community. It is an occasion for making offerings to ancestral spirits, but it is also said to be the day when the lids are lifted from the cauldrons of Hell. In Buddhism, Hell is presided over by King Enma, who serves as the judge of the afterlife. Belief in Enma also derives from India, where he was known as Yama, the Hindu god of the underworld. In China, he came to be worshipped alongside Taoist deities, and in Japan he became the leader of the Ten Kings of Hell. In this exhibition, statues of these ten rulers from Jōnen-ji Temple in Kizugawa, who serve as judges of the dead, are featured along with images of Jizō (Skt: Kṣitigarbha), a bodhisattva who rescues souls from the suffering of Hell. These powerful depictions of the fearsome deities of Buddhist Hell may send shivers up your spine!

Important Cultural Property
Seated Jizō (Kṣitigarbha) Bodhisattva in a Portable Shrine
Hō’on-ji Temple, Kyoto
Japanese Sculpture
June 13–September 18, 2023
Sculpture|1F-1 gallery
From ancient times through the Edo period (1615–1868), almost all subjects of Japanese sculpture were religious in nature. After Buddhism was introduced to Japan and became firmly established in the seventh century, the production of Buddhist statues flourished. Buddhist deities and their images often have origins in South Asia or Central Asia, and they were usually transmitted to Japan by way of China, bringing with them a complex array of foreign influences.
One of the distinctive characteristics of Japanese sculpture is its use of wood as a primary material. Various modes of carving and other techniques—including joint-block construction (yosegi-zukuri) and inlaid crystal eyes—were developed in Japan to create these wood images.
Over time, the repeated introduction of new images from the Asian continent contributed to further stylistic transformations and innovations in Japan. The Japanese Buddhist sculptures on view here reflect various styles of different historical periods.
Dyeing and Weaving Techniques: Embroidery
August 2–September 10, 2023
Textiles and Costumes|1F-4 gallery
The act of embroidering designs one stitch at a time was traditionally believed to hold special significance. The repetitive nature of the process and the patient perseverance of the embroiderer were thought to infuse a work with the prayers of the creator or the person who commissioned it. This is why embroidered textiles came to feature prominently in religion, in the performing arts, and on celebratory occasions.
Embroiderers can render free designs in multiple colors without the arduous preparation required for woven and dyed textiles. The thickness of the thread can be used to add depth, and different types of stitches can evoke light and shadow. This exhibition presents embroidered textiles made to embellish special spaces and occasions.

Furisode (Long-Sleeved Kimono) with Stripes and Chrysanthemum Sprigs
Kyoto National Museum
The Art of Adornment: Buddhist Decoration
June 13–September 10, 2023
Metalwork|1F-5 gallery
A distinct feature of Japanese art is its many modes of adornment. Throughout history, artists and craftspeople in Japan have shared the impulse to embellish objects of all types with decorations ranging from geometric patterns to motifs from nature. This décor might be boldly exaggerated or it might be so abbreviated as to require special knowledge to comprehend. This is the first installment in a series of exhibitions that will examine celebrated examples of metalwork used to embellish daily life, to bedeck warriors, and to enhance worship. In this first exhibition, visitors are invited to take a closer look at sacred Japanese decorative art works used to glorify Buddhas and other deities.

Important Cultural Property
Hanging Temple Lantern
Kyoto National Museum
Imported Lacquerware: The Enduring Allure of Karamono
August 2–September 10, 2023
Lacquerware|1F-6 gallery
During the Heian period (794–1185), the word karamono (lit. “Tang things” or “Chinese things”) referred to prestigious objects imported from Tang dynasty (618–907) China. Over time, the term came to be used more broadly for rare objects imported from various foreign regions, including Korea, Southeast Asia, and even the Middle East and Europe. Appreciation of karamono reached a peak during the Muromachi period (1392–1573), when military rulers and Buddhist priests who admired Chinese culture spent fortunes to acquire luxurious imported works. During the economic growth and urbanization of the Edo period (1615–1868), import stores called karamono shops also sold Japanese objects that imitated foreign wares. This gallery features examples of karamono from various countries of origin, which have long been admired in Japan for their exotic appeal.

Incense Container in the Shape of a Buddhist Jewel
Kyoto National Museum
Also On View in the Collection Galleries特別展観覧料が必要
Earthenware Vessels and Dogū Figures of the Jōmon Period
June 20–September 10, 2023
Archaeological Relics|3F-2 gallery
The use of pottery in Japan can be traced back nearly 16,000 years. People living during the Jōmon period (ca. 14,000–ca. 4th c. BCE) made vessels for a variety of different purposes. These came in a multitude of forms, including deep pots for boiling and cooking, vessels for storage, shallow bowls and plates for serving or eating food, vessels with spouts for pouring alcohol or other liquids, and vessels for ritual use. Even earthenware pots with practical functions were rich in variation, featuring large, three-dimensional projections and ornate patterns. In addition to pottery for daily use, the Jōmon people made votive figures from clay called dogū. Most dogū are shaped like women and are thought to have embodied prayers for a good harvest or fertility. This exhibition explores the fascinating culture of the Jōmon period with a special focus on its earthenware vessels and dogū figures.

Spouted Vessel
Reportedly excavated in Aomori
Kyoto National Museum
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
July 19–August 20, 2023
Illustrated Handscrolls|2F-1 gallery
In Buddhist teachings, the paradisal realms of buddhas and heavenly beings are contrasted with the horrors and suffering of the Buddhist hells. People were terrified of falling into hell, and they feared demons (oni), who punished the sinful, and the mischievous, long-nosed tengu, who played tricks on Buddhist monks. Fear was instrumental in deepening people’s faith, but it also inspired creativity, leading to a rich tradition of imagery and tales. Over time, depictions of demons and tengu grew more human-like, taking on comical elements as they suffered ignoble defeat at the hands of their Buddhist adversaries. The scrolls on view in this gallery highlight the enduring appeal of recasting a terrifying subject as an object of ridicule.

Important Cultural Property
Illustrated Merits of the Mantra of Light
One of three handscrolls
Myōō-in Temple, Shiga
Recent Developments in Cultural Property Conservation
July 19–August 20, 2023
Buddhist Paintings|2F-2 gallery
The field of art conservation has become highly specialized, resulting in increased costs. While public funding may partially cover the conservation of designated national or local cultural properties, owners are still responsible for a portion of the expenses. Therefore, it is crucial for owners to fully understand the value of their objects and their conservation needs, including the associated costs.
When privately owned works are entrusted to a museum, curators collaborate with owners to undertake conservation projects. To overcome budget limitations, stakeholders are increasingly turning to donations and crowdfunding. Securing the necessary funding for conservation projects may take several years; however, this process fosters stronger connections between museums, owners, and conservation supporters.

Mandala of the Original Buddhist Forms of the Hie-Sannō Deities
Kyoto Todokai
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
July 19–August 20, 2023
Medieval Paintings|2F-3 gallery
During Japan’s medieval period, Zen Buddhists who traveled to and from China introduced new forms of Buddhist culture to Japan. These included monochrome ink painting and Buddhist images that were employed in distinctive ceremonies. The bodhisattva Kannon became an important symbol of wisdom and compassion in Zen temples, and images of Kannon were incorporated into temple rituals. Early monks created numerous paintings of the White-Robed Kannon, whose iconography played an important role in the development of Japanese ink painting.
Kannon is also associated with water and the ocean. The bodhisattva is believed to have descended to the Pure Land of Mount Potalaka in the southern seas and came to be seen as a guardian deity for merchants and monks who traveled by sea. In this exhibition, the cosmopolitan culture of medieval Japan is evident in the many depictions of Kannon that draw on iconography brought to Japan from mainland East Asia.

Important Cultural Property
White-Robed Kannon (Avalokiteśvara)
Inscription by Tettō Gikō
Shinju-an Temple, Kyoto
Recently Conserved Artworks
July 19–August 20, 2023
Momoyama-Edo Paintings|2F-4 gallery
Cultural properties have long lifespans and need to be conserved periodically to keep them in their best possible condition. Regular deterioration over time, insects, microorganisms, and physical tears and breakage are just some of the many kinds of damage artworks can experience. Conserving objects at the appropriate time is an important mission for museums to ensure works of art can be enjoyed by future generations.
This exhibition presents objects in the care of the museum that were recently conserved. These include screens by Hasegawa Tōhaku (1539–1610) and Kaihō Yūshō (1533–1615), which are being unveiled for the first time after undergoing conservation. Take a walk around the gallery to explore these cultural works as they embark on new chapters in their histories.

Important Cultural Property
Chinese Lion
Attributed to Kanō Sanraku
Honpō-ji Temple, Kyoto
Observations of Living Creatures in Chinese Painting
July 19–August 20, 2023
Chinese Paintings|2F-5 gallery
A crucial element of the painting process is the careful and thorough observation of the subject. It takes substantial practice to go beyond mere resemblance and infuse a subject with a sense of life. Only a skilled artist with a keen eye and a profound understanding of the subject can seemingly effortlessly create paintings that exude an aura of vitality. Such artworks can evoke a strong emotional response in viewers.
This gallery highlights works by Chinese artists depicting familiar plants and animals. The works are striking for their use of color and form, as well as for their brushwork and applications of ink washes. Visitors are invited to consider how the artists’ skillful observations helped them choose how to render their subjects, and how these techniques differ from other painting traditions.

Huddled Geese
By Xu Beihong
Kyoto National Museum
Deities of Buddhist Hell: Jizō and King Enma
June 13–September 18, 2023
Sculpture|1F-1 gallery
Summertime in Japan means the coming of Obon, or the Bon Festival, a tradition rooted in the Indian Ullambana Festival that marks the end of the summer retreat for the Buddhist monastic community. It is an occasion for making offerings to ancestral spirits, but it is also said to be the day when the lids are lifted from the cauldrons of Hell. In Buddhism, Hell is presided over by King Enma, who serves as the judge of the afterlife. Belief in Enma also derives from India, where he was known as Yama, the Hindu god of the underworld. In China, he came to be worshipped alongside Taoist deities, and in Japan he became the leader of the Ten Kings of Hell. In this exhibition, statues of these ten rulers from Jōnen-ji Temple in Kizugawa, who serve as judges of the dead, are featured along with images of Jizō (Skt: Kṣitigarbha), a bodhisattva who rescues souls from the suffering of Hell. These powerful depictions of the fearsome deities of Buddhist Hell may send shivers up your spine!

Important Cultural Property
Seated Jizō (Kṣitigarbha) Bodhisattva in a Portable Shrine
Hō’on-ji Temple, Kyoto
Japanese Sculpture
June 13–September 18, 2023
Sculpture|1F-1 gallery
From ancient times through the Edo period (1615–1868), almost all subjects of Japanese sculpture were religious in nature. After Buddhism was introduced to Japan and became firmly established in the seventh century, the production of Buddhist statues flourished. Buddhist deities and their images often have origins in South Asia or Central Asia, and they were usually transmitted to Japan by way of China, bringing with them a complex array of foreign influences.
One of the distinctive characteristics of Japanese sculpture is its use of wood as a primary material. Various modes of carving and other techniques—including joint-block construction (yosegi-zukuri) and inlaid crystal eyes—were developed in Japan to create these wood images.
Over time, the repeated introduction of new images from the Asian continent contributed to further stylistic transformations and innovations in Japan. The Japanese Buddhist sculptures on view here reflect various styles of different historical periods.
Dyeing and Weaving Techniques: Embroidery
August 2–September 10, 2023
Textiles and Costumes|1F-4 gallery
The act of embroidering designs one stitch at a time was traditionally believed to hold special significance. The repetitive nature of the process and the patient perseverance of the embroiderer were thought to infuse a work with the prayers of the creator or the person who commissioned it. This is why embroidered textiles came to feature prominently in religion, in the performing arts, and on celebratory occasions.
Embroiderers can render free designs in multiple colors without the arduous preparation required for woven and dyed textiles. The thickness of the thread can be used to add depth, and different types of stitches can evoke light and shadow. This exhibition presents embroidered textiles made to embellish special spaces and occasions.

Furisode (Long-Sleeved Kimono) with Stripes and Chrysanthemum Sprigs
Kyoto National Museum
The Art of Adornment: Buddhist Decoration
June 13–September 10, 2023
Metalwork|1F-5 gallery
A distinct feature of Japanese art is its many modes of adornment. Throughout history, artists and craftspeople in Japan have shared the impulse to embellish objects of all types with decorations ranging from geometric patterns to motifs from nature. This décor might be boldly exaggerated or it might be so abbreviated as to require special knowledge to comprehend. This is the first installment in a series of exhibitions that will examine celebrated examples of metalwork used to embellish daily life, to bedeck warriors, and to enhance worship. In this first exhibition, visitors are invited to take a closer look at sacred Japanese decorative art works used to glorify Buddhas and other deities.

Important Cultural Property
Hanging Temple Lantern
Kyoto National Museum
Imported Lacquerware: The Enduring Allure of Karamono
August 2–September 10, 2023
Lacquerware|1F-6 gallery
During the Heian period (794–1185), the word karamono (lit. “Tang things” or “Chinese things”) referred to prestigious objects imported from Tang dynasty (618–907) China. Over time, the term came to be used more broadly for rare objects imported from various foreign regions, including Korea, Southeast Asia, and even the Middle East and Europe. Appreciation of karamono reached a peak during the Muromachi period (1392–1573), when military rulers and Buddhist priests who admired Chinese culture spent fortunes to acquire luxurious imported works. During the economic growth and urbanization of the Edo period (1615–1868), import stores called karamono shops also sold Japanese objects that imitated foreign wares. This gallery features examples of karamono from various countries of origin, which have long been admired in Japan for their exotic appeal.

Incense Container in the Shape of a Buddhist Jewel
Kyoto National Museum
Also On View in the Collection Galleries特別展観覧料が必要
Earthenware Vessels and Dogū Figures of the Jōmon Period
June 20–September 10, 2023
Archaeological Relics|3F-2 gallery
The use of pottery in Japan can be traced back nearly 16,000 years. People living during the Jōmon period (ca. 14,000–ca. 4th c. BCE) made vessels for a variety of different purposes. These came in a multitude of forms, including deep pots for boiling and cooking, vessels for storage, shallow bowls and plates for serving or eating food, vessels with spouts for pouring alcohol or other liquids, and vessels for ritual use. Even earthenware pots with practical functions were rich in variation, featuring large, three-dimensional projections and ornate patterns. In addition to pottery for daily use, the Jōmon people made votive figures from clay called dogū. Most dogū are shaped like women and are thought to have embodied prayers for a good harvest or fertility. This exhibition explores the fascinating culture of the Jōmon period with a special focus on its earthenware vessels and dogū figures.

Spouted Vessel
Reportedly excavated in Aomori
Kyoto National Museum
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
July 19–August 20, 2023
Illustrated Handscrolls|2F-1 gallery
In Buddhist teachings, the paradisal realms of buddhas and heavenly beings are contrasted with the horrors and suffering of the Buddhist hells. People were terrified of falling into hell, and they feared demons (oni), who punished the sinful, and the mischievous, long-nosed tengu, who played tricks on Buddhist monks. Fear was instrumental in deepening people’s faith, but it also inspired creativity, leading to a rich tradition of imagery and tales. Over time, depictions of demons and tengu grew more human-like, taking on comical elements as they suffered ignoble defeat at the hands of their Buddhist adversaries. The scrolls on view in this gallery highlight the enduring appeal of recasting a terrifying subject as an object of ridicule.

Important Cultural Property
Illustrated Merits of the Mantra of Light
One of three handscrolls
Myōō-in Temple, Shiga
Recent Developments in Cultural Property Conservation
July 19–August 20, 2023
Buddhist Paintings|2F-2 gallery
The field of art conservation has become highly specialized, resulting in increased costs. While public funding may partially cover the conservation of designated national or local cultural properties, owners are still responsible for a portion of the expenses. Therefore, it is crucial for owners to fully understand the value of their objects and their conservation needs, including the associated costs.
When privately owned works are entrusted to a museum, curators collaborate with owners to undertake conservation projects. To overcome budget limitations, stakeholders are increasingly turning to donations and crowdfunding. Securing the necessary funding for conservation projects may take several years; however, this process fosters stronger connections between museums, owners, and conservation supporters.

Mandala of the Original Buddhist Forms of the Hie-Sannō Deities
Kyoto Todokai
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
July 19–August 20, 2023
Medieval Paintings|2F-3 gallery
During Japan’s medieval period, Zen Buddhists who traveled to and from China introduced new forms of Buddhist culture to Japan. These included monochrome ink painting and Buddhist images that were employed in distinctive ceremonies. The bodhisattva Kannon became an important symbol of wisdom and compassion in Zen temples, and images of Kannon were incorporated into temple rituals. Early monks created numerous paintings of the White-Robed Kannon, whose iconography played an important role in the development of Japanese ink painting.
Kannon is also associated with water and the ocean. The bodhisattva is believed to have descended to the Pure Land of Mount Potalaka in the southern seas and came to be seen as a guardian deity for merchants and monks who traveled by sea. In this exhibition, the cosmopolitan culture of medieval Japan is evident in the many depictions of Kannon that draw on iconography brought to Japan from mainland East Asia.

Important Cultural Property
White-Robed Kannon (Avalokiteśvara)
Inscription by Tettō Gikō
Shinju-an Temple, Kyoto
Recently Conserved Artworks
July 19–August 20, 2023
Momoyama-Edo Paintings|2F-4 gallery
Cultural properties have long lifespans and need to be conserved periodically to keep them in their best possible condition. Regular deterioration over time, insects, microorganisms, and physical tears and breakage are just some of the many kinds of damage artworks can experience. Conserving objects at the appropriate time is an important mission for museums to ensure works of art can be enjoyed by future generations.
This exhibition presents objects in the care of the museum that were recently conserved. These include screens by Hasegawa Tōhaku (1539–1610) and Kaihō Yūshō (1533–1615), which are being unveiled for the first time after undergoing conservation. Take a walk around the gallery to explore these cultural works as they embark on new chapters in their histories.

Important Cultural Property
Chinese Lion
Attributed to Kanō Sanraku
Honpō-ji Temple, Kyoto
Observations of Living Creatures in Chinese Painting
July 19–August 20, 2023
Chinese Paintings|2F-5 gallery
A crucial element of the painting process is the careful and thorough observation of the subject. It takes substantial practice to go beyond mere resemblance and infuse a subject with a sense of life. Only a skilled artist with a keen eye and a profound understanding of the subject can seemingly effortlessly create paintings that exude an aura of vitality. Such artworks can evoke a strong emotional response in viewers.
This gallery highlights works by Chinese artists depicting familiar plants and animals. The works are striking for their use of color and form, as well as for their brushwork and applications of ink washes. Visitors are invited to consider how the artists’ skillful observations helped them choose how to render their subjects, and how these techniques differ from other painting traditions.

Huddled Geese
By Xu Beihong
Kyoto National Museum
Deities of Buddhist Hell: Jizō and King Enma
June 13–September 18, 2023
Sculpture|1F-1 gallery
Summertime in Japan means the coming of Obon, or the Bon Festival, a tradition rooted in the Indian Ullambana Festival that marks the end of the summer retreat for the Buddhist monastic community. It is an occasion for making offerings to ancestral spirits, but it is also said to be the day when the lids are lifted from the cauldrons of Hell. In Buddhism, Hell is presided over by King Enma, who serves as the judge of the afterlife. Belief in Enma also derives from India, where he was known as Yama, the Hindu god of the underworld. In China, he came to be worshipped alongside Taoist deities, and in Japan he became the leader of the Ten Kings of Hell. In this exhibition, statues of these ten rulers from Jōnen-ji Temple in Kizugawa, who serve as judges of the dead, are featured along with images of Jizō (Skt: Kṣitigarbha), a bodhisattva who rescues souls from the suffering of Hell. These powerful depictions of the fearsome deities of Buddhist Hell may send shivers up your spine!

Important Cultural Property
Seated Jizō (Kṣitigarbha) Bodhisattva in a Portable Shrine
Hō’on-ji Temple, Kyoto
Japanese Sculpture
June 13–September 18, 2023
Sculpture|1F-1 gallery
From ancient times through the Edo period (1615–1868), almost all subjects of Japanese sculpture were religious in nature. After Buddhism was introduced to Japan and became firmly established in the seventh century, the production of Buddhist statues flourished. Buddhist deities and their images often have origins in South Asia or Central Asia, and they were usually transmitted to Japan by way of China, bringing with them a complex array of foreign influences.
One of the distinctive characteristics of Japanese sculpture is its use of wood as a primary material. Various modes of carving and other techniques—including joint-block construction (yosegi-zukuri) and inlaid crystal eyes—were developed in Japan to create these wood images.
Over time, the repeated introduction of new images from the Asian continent contributed to further stylistic transformations and innovations in Japan. The Japanese Buddhist sculptures on view here reflect various styles of different historical periods.
Dyeing and Weaving Techniques: Embroidery
August 2–September 10, 2023
Textiles and Costumes|1F-4 gallery
The act of embroidering designs one stitch at a time was traditionally believed to hold special significance. The repetitive nature of the process and the patient perseverance of the embroiderer were thought to infuse a work with the prayers of the creator or the person who commissioned it. This is why embroidered textiles came to feature prominently in religion, in the performing arts, and on celebratory occasions.
Embroiderers can render free designs in multiple colors without the arduous preparation required for woven and dyed textiles. The thickness of the thread can be used to add depth, and different types of stitches can evoke light and shadow. This exhibition presents embroidered textiles made to embellish special spaces and occasions.

Furisode (Long-Sleeved Kimono) with Stripes and Chrysanthemum Sprigs
Kyoto National Museum
The Art of Adornment: Buddhist Decoration
June 13–September 10, 2023
Metalwork|1F-5 gallery
A distinct feature of Japanese art is its many modes of adornment. Throughout history, artists and craftspeople in Japan have shared the impulse to embellish objects of all types with decorations ranging from geometric patterns to motifs from nature. This décor might be boldly exaggerated or it might be so abbreviated as to require special knowledge to comprehend. This is the first installment in a series of exhibitions that will examine celebrated examples of metalwork used to embellish daily life, to bedeck warriors, and to enhance worship. In this first exhibition, visitors are invited to take a closer look at sacred Japanese decorative art works used to glorify Buddhas and other deities.

Important Cultural Property
Hanging Temple Lantern
Kyoto National Museum
Imported Lacquerware: The Enduring Allure of Karamono
August 2–September 10, 2023
Lacquerware|1F-6 gallery
During the Heian period (794–1185), the word karamono (lit. “Tang things” or “Chinese things”) referred to prestigious objects imported from Tang dynasty (618–907) China. Over time, the term came to be used more broadly for rare objects imported from various foreign regions, including Korea, Southeast Asia, and even the Middle East and Europe. Appreciation of karamono reached a peak during the Muromachi period (1392–1573), when military rulers and Buddhist priests who admired Chinese culture spent fortunes to acquire luxurious imported works. During the economic growth and urbanization of the Edo period (1615–1868), import stores called karamono shops also sold Japanese objects that imitated foreign wares. This gallery features examples of karamono from various countries of origin, which have long been admired in Japan for their exotic appeal.

Incense Container in the Shape of a Buddhist Jewel
Kyoto National Museum
Also On View in the Collection Galleries特別展観覧料が必要
Earthenware Vessels and Dogū Figures of the Jōmon Period
June 20–September 10, 2023
Archaeological Relics|3F-2 gallery
The use of pottery in Japan can be traced back nearly 16,000 years. People living during the Jōmon period (ca. 14,000–ca. 4th c. BCE) made vessels for a variety of different purposes. These came in a multitude of forms, including deep pots for boiling and cooking, vessels for storage, shallow bowls and plates for serving or eating food, vessels with spouts for pouring alcohol or other liquids, and vessels for ritual use. Even earthenware pots with practical functions were rich in variation, featuring large, three-dimensional projections and ornate patterns. In addition to pottery for daily use, the Jōmon people made votive figures from clay called dogū. Most dogū are shaped like women and are thought to have embodied prayers for a good harvest or fertility. This exhibition explores the fascinating culture of the Jōmon period with a special focus on its earthenware vessels and dogū figures.

Spouted Vessel
Reportedly excavated in Aomori
Kyoto National Museum
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
July 19–August 20, 2023
Illustrated Handscrolls|2F-1 gallery
In Buddhist teachings, the paradisal realms of buddhas and heavenly beings are contrasted with the horrors and suffering of the Buddhist hells. People were terrified of falling into hell, and they feared demons (oni), who punished the sinful, and the mischievous, long-nosed tengu, who played tricks on Buddhist monks. Fear was instrumental in deepening people’s faith, but it also inspired creativity, leading to a rich tradition of imagery and tales. Over time, depictions of demons and tengu grew more human-like, taking on comical elements as they suffered ignoble defeat at the hands of their Buddhist adversaries. The scrolls on view in this gallery highlight the enduring appeal of recasting a terrifying subject as an object of ridicule.

Important Cultural Property
Illustrated Merits of the Mantra of Light
One of three handscrolls
Myōō-in Temple, Shiga
Recent Developments in Cultural Property Conservation
July 19–August 20, 2023
Buddhist Paintings|2F-2 gallery
The field of art conservation has become highly specialized, resulting in increased costs. While public funding may partially cover the conservation of designated national or local cultural properties, owners are still responsible for a portion of the expenses. Therefore, it is crucial for owners to fully understand the value of their objects and their conservation needs, including the associated costs.
When privately owned works are entrusted to a museum, curators collaborate with owners to undertake conservation projects. To overcome budget limitations, stakeholders are increasingly turning to donations and crowdfunding. Securing the necessary funding for conservation projects may take several years; however, this process fosters stronger connections between museums, owners, and conservation supporters.

Mandala of the Original Buddhist Forms of the Hie-Sannō Deities
Kyoto Todokai
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
July 19–August 20, 2023
Medieval Paintings|2F-3 gallery
During Japan’s medieval period, Zen Buddhists who traveled to and from China introduced new forms of Buddhist culture to Japan. These included monochrome ink painting and Buddhist images that were employed in distinctive ceremonies. The bodhisattva Kannon became an important symbol of wisdom and compassion in Zen temples, and images of Kannon were incorporated into temple rituals. Early monks created numerous paintings of the White-Robed Kannon, whose iconography played an important role in the development of Japanese ink painting.
Kannon is also associated with water and the ocean. The bodhisattva is believed to have descended to the Pure Land of Mount Potalaka in the southern seas and came to be seen as a guardian deity for merchants and monks who traveled by sea. In this exhibition, the cosmopolitan culture of medieval Japan is evident in the many depictions of Kannon that draw on iconography brought to Japan from mainland East Asia.

Important Cultural Property
White-Robed Kannon (Avalokiteśvara)
Inscription by Tettō Gikō
Shinju-an Temple, Kyoto
Recently Conserved Artworks
July 19–August 20, 2023
Momoyama-Edo Paintings|2F-4 gallery
Cultural properties have long lifespans and need to be conserved periodically to keep them in their best possible condition. Regular deterioration over time, insects, microorganisms, and physical tears and breakage are just some of the many kinds of damage artworks can experience. Conserving objects at the appropriate time is an important mission for museums to ensure works of art can be enjoyed by future generations.
This exhibition presents objects in the care of the museum that were recently conserved. These include screens by Hasegawa Tōhaku (1539–1610) and Kaihō Yūshō (1533–1615), which are being unveiled for the first time after undergoing conservation. Take a walk around the gallery to explore these cultural works as they embark on new chapters in their histories.

Important Cultural Property
Chinese Lion
Attributed to Kanō Sanraku
Honpō-ji Temple, Kyoto
Observations of Living Creatures in Chinese Painting
July 19–August 20, 2023
Chinese Paintings|2F-5 gallery
A crucial element of the painting process is the careful and thorough observation of the subject. It takes substantial practice to go beyond mere resemblance and infuse a subject with a sense of life. Only a skilled artist with a keen eye and a profound understanding of the subject can seemingly effortlessly create paintings that exude an aura of vitality. Such artworks can evoke a strong emotional response in viewers.
This gallery highlights works by Chinese artists depicting familiar plants and animals. The works are striking for their use of color and form, as well as for their brushwork and applications of ink washes. Visitors are invited to consider how the artists’ skillful observations helped them choose how to render their subjects, and how these techniques differ from other painting traditions.

Huddled Geese
By Xu Beihong
Kyoto National Museum
Deities of Buddhist Hell: Jizō and King Enma
June 13–September 18, 2023
Sculpture|1F-1 gallery
Summertime in Japan means the coming of Obon, or the Bon Festival, a tradition rooted in the Indian Ullambana Festival that marks the end of the summer retreat for the Buddhist monastic community. It is an occasion for making offerings to ancestral spirits, but it is also said to be the day when the lids are lifted from the cauldrons of Hell. In Buddhism, Hell is presided over by King Enma, who serves as the judge of the afterlife. Belief in Enma also derives from India, where he was known as Yama, the Hindu god of the underworld. In China, he came to be worshipped alongside Taoist deities, and in Japan he became the leader of the Ten Kings of Hell. In this exhibition, statues of these ten rulers from Jōnen-ji Temple in Kizugawa, who serve as judges of the dead, are featured along with images of Jizō (Skt: Kṣitigarbha), a bodhisattva who rescues souls from the suffering of Hell. These powerful depictions of the fearsome deities of Buddhist Hell may send shivers up your spine!

Important Cultural Property
Seated Jizō (Kṣitigarbha) Bodhisattva in a Portable Shrine
Hō’on-ji Temple, Kyoto
Japanese Sculpture
June 13–September 18, 2023
Sculpture|1F-1 gallery
From ancient times through the Edo period (1615–1868), almost all subjects of Japanese sculpture were religious in nature. After Buddhism was introduced to Japan and became firmly established in the seventh century, the production of Buddhist statues flourished. Buddhist deities and their images often have origins in South Asia or Central Asia, and they were usually transmitted to Japan by way of China, bringing with them a complex array of foreign influences.
One of the distinctive characteristics of Japanese sculpture is its use of wood as a primary material. Various modes of carving and other techniques—including joint-block construction (yosegi-zukuri) and inlaid crystal eyes—were developed in Japan to create these wood images.
Over time, the repeated introduction of new images from the Asian continent contributed to further stylistic transformations and innovations in Japan. The Japanese Buddhist sculptures on view here reflect various styles of different historical periods.
Dyeing and Weaving Techniques: Embroidery
August 2–September 10, 2023
Textiles and Costumes|1F-4 gallery
The act of embroidering designs one stitch at a time was traditionally believed to hold special significance. The repetitive nature of the process and the patient perseverance of the embroiderer were thought to infuse a work with the prayers of the creator or the person who commissioned it. This is why embroidered textiles came to feature prominently in religion, in the performing arts, and on celebratory occasions.
Embroiderers can render free designs in multiple colors without the arduous preparation required for woven and dyed textiles. The thickness of the thread can be used to add depth, and different types of stitches can evoke light and shadow. This exhibition presents embroidered textiles made to embellish special spaces and occasions.

Furisode (Long-Sleeved Kimono) with Stripes and Chrysanthemum Sprigs
Kyoto National Museum
The Art of Adornment: Buddhist Decoration
June 13–September 10, 2023
Metalwork|1F-5 gallery
A distinct feature of Japanese art is its many modes of adornment. Throughout history, artists and craftspeople in Japan have shared the impulse to embellish objects of all types with decorations ranging from geometric patterns to motifs from nature. This décor might be boldly exaggerated or it might be so abbreviated as to require special knowledge to comprehend. This is the first installment in a series of exhibitions that will examine celebrated examples of metalwork used to embellish daily life, to bedeck warriors, and to enhance worship. In this first exhibition, visitors are invited to take a closer look at sacred Japanese decorative art works used to glorify Buddhas and other deities.

Important Cultural Property
Hanging Temple Lantern
Kyoto National Museum
Imported Lacquerware: The Enduring Allure of Karamono
August 2–September 10, 2023
Lacquerware|1F-6 gallery
During the Heian period (794–1185), the word karamono (lit. “Tang things” or “Chinese things”) referred to prestigious objects imported from Tang dynasty (618–907) China. Over time, the term came to be used more broadly for rare objects imported from various foreign regions, including Korea, Southeast Asia, and even the Middle East and Europe. Appreciation of karamono reached a peak during the Muromachi period (1392–1573), when military rulers and Buddhist priests who admired Chinese culture spent fortunes to acquire luxurious imported works. During the economic growth and urbanization of the Edo period (1615–1868), import stores called karamono shops also sold Japanese objects that imitated foreign wares. This gallery features examples of karamono from various countries of origin, which have long been admired in Japan for their exotic appeal.

Incense Container in the Shape of a Buddhist Jewel
Kyoto National Museum
Also On View in the Collection Galleries特別展観覧料が必要
Earthenware Vessels and Dogū Figures of the Jōmon Period
June 20–September 10, 2023
Archaeological Relics|3F-2 gallery
The use of pottery in Japan can be traced back nearly 16,000 years. People living during the Jōmon period (ca. 14,000–ca. 4th c. BCE) made vessels for a variety of different purposes. These came in a multitude of forms, including deep pots for boiling and cooking, vessels for storage, shallow bowls and plates for serving or eating food, vessels with spouts for pouring alcohol or other liquids, and vessels for ritual use. Even earthenware pots with practical functions were rich in variation, featuring large, three-dimensional projections and ornate patterns. In addition to pottery for daily use, the Jōmon people made votive figures from clay called dogū. Most dogū are shaped like women and are thought to have embodied prayers for a good harvest or fertility. This exhibition explores the fascinating culture of the Jōmon period with a special focus on its earthenware vessels and dogū figures.

Spouted Vessel
Reportedly excavated in Aomori
Kyoto National Museum
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
July 19–August 20, 2023
Illustrated Handscrolls|2F-1 gallery
In Buddhist teachings, the paradisal realms of buddhas and heavenly beings are contrasted with the horrors and suffering of the Buddhist hells. People were terrified of falling into hell, and they feared demons (oni), who punished the sinful, and the mischievous, long-nosed tengu, who played tricks on Buddhist monks. Fear was instrumental in deepening people’s faith, but it also inspired creativity, leading to a rich tradition of imagery and tales. Over time, depictions of demons and tengu grew more human-like, taking on comical elements as they suffered ignoble defeat at the hands of their Buddhist adversaries. The scrolls on view in this gallery highlight the enduring appeal of recasting a terrifying subject as an object of ridicule.

Important Cultural Property
Illustrated Merits of the Mantra of Light
One of three handscrolls
Myōō-in Temple, Shiga
Recent Developments in Cultural Property Conservation
July 19–August 20, 2023
Buddhist Paintings|2F-2 gallery
The field of art conservation has become highly specialized, resulting in increased costs. While public funding may partially cover the conservation of designated national or local cultural properties, owners are still responsible for a portion of the expenses. Therefore, it is crucial for owners to fully understand the value of their objects and their conservation needs, including the associated costs.
When privately owned works are entrusted to a museum, curators collaborate with owners to undertake conservation projects. To overcome budget limitations, stakeholders are increasingly turning to donations and crowdfunding. Securing the necessary funding for conservation projects may take several years; however, this process fosters stronger connections between museums, owners, and conservation supporters.

Mandala of the Original Buddhist Forms of the Hie-Sannō Deities
Kyoto Todokai
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
July 19–August 20, 2023
Medieval Paintings|2F-3 gallery
During Japan’s medieval period, Zen Buddhists who traveled to and from China introduced new forms of Buddhist culture to Japan. These included monochrome ink painting and Buddhist images that were employed in distinctive ceremonies. The bodhisattva Kannon became an important symbol of wisdom and compassion in Zen temples, and images of Kannon were incorporated into temple rituals. Early monks created numerous paintings of the White-Robed Kannon, whose iconography played an important role in the development of Japanese ink painting.
Kannon is also associated with water and the ocean. The bodhisattva is believed to have descended to the Pure Land of Mount Potalaka in the southern seas and came to be seen as a guardian deity for merchants and monks who traveled by sea. In this exhibition, the cosmopolitan culture of medieval Japan is evident in the many depictions of Kannon that draw on iconography brought to Japan from mainland East Asia.

Important Cultural Property
White-Robed Kannon (Avalokiteśvara)
Inscription by Tettō Gikō
Shinju-an Temple, Kyoto
Recently Conserved Artworks
July 19–August 20, 2023
Momoyama-Edo Paintings|2F-4 gallery
Cultural properties have long lifespans and need to be conserved periodically to keep them in their best possible condition. Regular deterioration over time, insects, microorganisms, and physical tears and breakage are just some of the many kinds of damage artworks can experience. Conserving objects at the appropriate time is an important mission for museums to ensure works of art can be enjoyed by future generations.
This exhibition presents objects in the care of the museum that were recently conserved. These include screens by Hasegawa Tōhaku (1539–1610) and Kaihō Yūshō (1533–1615), which are being unveiled for the first time after undergoing conservation. Take a walk around the gallery to explore these cultural works as they embark on new chapters in their histories.

Important Cultural Property
Chinese Lion
Attributed to Kanō Sanraku
Honpō-ji Temple, Kyoto
Observations of Living Creatures in Chinese Painting
July 19–August 20, 2023
Chinese Paintings|2F-5 gallery
A crucial element of the painting process is the careful and thorough observation of the subject. It takes substantial practice to go beyond mere resemblance and infuse a subject with a sense of life. Only a skilled artist with a keen eye and a profound understanding of the subject can seemingly effortlessly create paintings that exude an aura of vitality. Such artworks can evoke a strong emotional response in viewers.
This gallery highlights works by Chinese artists depicting familiar plants and animals. The works are striking for their use of color and form, as well as for their brushwork and applications of ink washes. Visitors are invited to consider how the artists’ skillful observations helped them choose how to render their subjects, and how these techniques differ from other painting traditions.

Huddled Geese
By Xu Beihong
Kyoto National Museum
Deities of Buddhist Hell: Jizō and King Enma
June 13–September 18, 2023
Sculpture|1F-1 gallery
Summertime in Japan means the coming of Obon, or the Bon Festival, a tradition rooted in the Indian Ullambana Festival that marks the end of the summer retreat for the Buddhist monastic community. It is an occasion for making offerings to ancestral spirits, but it is also said to be the day when the lids are lifted from the cauldrons of Hell. In Buddhism, Hell is presided over by King Enma, who serves as the judge of the afterlife. Belief in Enma also derives from India, where he was known as Yama, the Hindu god of the underworld. In China, he came to be worshipped alongside Taoist deities, and in Japan he became the leader of the Ten Kings of Hell. In this exhibition, statues of these ten rulers from Jōnen-ji Temple in Kizugawa, who serve as judges of the dead, are featured along with images of Jizō (Skt: Kṣitigarbha), a bodhisattva who rescues souls from the suffering of Hell. These powerful depictions of the fearsome deities of Buddhist Hell may send shivers up your spine!

Important Cultural Property
Seated Jizō (Kṣitigarbha) Bodhisattva in a Portable Shrine
Hō’on-ji Temple, Kyoto
Japanese Sculpture
June 13–September 18, 2023
Sculpture|1F-1 gallery
From ancient times through the Edo period (1615–1868), almost all subjects of Japanese sculpture were religious in nature. After Buddhism was introduced to Japan and became firmly established in the seventh century, the production of Buddhist statues flourished. Buddhist deities and their images often have origins in South Asia or Central Asia, and they were usually transmitted to Japan by way of China, bringing with them a complex array of foreign influences.
One of the distinctive characteristics of Japanese sculpture is its use of wood as a primary material. Various modes of carving and other techniques—including joint-block construction (yosegi-zukuri) and inlaid crystal eyes—were developed in Japan to create these wood images.
Over time, the repeated introduction of new images from the Asian continent contributed to further stylistic transformations and innovations in Japan. The Japanese Buddhist sculptures on view here reflect various styles of different historical periods.
Dyeing and Weaving Techniques: Embroidery
August 2–September 10, 2023
Textiles and Costumes|1F-4 gallery
The act of embroidering designs one stitch at a time was traditionally believed to hold special significance. The repetitive nature of the process and the patient perseverance of the embroiderer were thought to infuse a work with the prayers of the creator or the person who commissioned it. This is why embroidered textiles came to feature prominently in religion, in the performing arts, and on celebratory occasions.
Embroiderers can render free designs in multiple colors without the arduous preparation required for woven and dyed textiles. The thickness of the thread can be used to add depth, and different types of stitches can evoke light and shadow. This exhibition presents embroidered textiles made to embellish special spaces and occasions.

Furisode (Long-Sleeved Kimono) with Stripes and Chrysanthemum Sprigs
Kyoto National Museum
The Art of Adornment: Buddhist Decoration
June 13–September 10, 2023
Metalwork|1F-5 gallery
A distinct feature of Japanese art is its many modes of adornment. Throughout history, artists and craftspeople in Japan have shared the impulse to embellish objects of all types with decorations ranging from geometric patterns to motifs from nature. This décor might be boldly exaggerated or it might be so abbreviated as to require special knowledge to comprehend. This is the first installment in a series of exhibitions that will examine celebrated examples of metalwork used to embellish daily life, to bedeck warriors, and to enhance worship. In this first exhibition, visitors are invited to take a closer look at sacred Japanese decorative art works used to glorify Buddhas and other deities.

Important Cultural Property
Hanging Temple Lantern
Kyoto National Museum
Imported Lacquerware: The Enduring Allure of Karamono
August 2–September 10, 2023
Lacquerware|1F-6 gallery
During the Heian period (794–1185), the word karamono (lit. “Tang things” or “Chinese things”) referred to prestigious objects imported from Tang dynasty (618–907) China. Over time, the term came to be used more broadly for rare objects imported from various foreign regions, including Korea, Southeast Asia, and even the Middle East and Europe. Appreciation of karamono reached a peak during the Muromachi period (1392–1573), when military rulers and Buddhist priests who admired Chinese culture spent fortunes to acquire luxurious imported works. During the economic growth and urbanization of the Edo period (1615–1868), import stores called karamono shops also sold Japanese objects that imitated foreign wares. This gallery features examples of karamono from various countries of origin, which have long been admired in Japan for their exotic appeal.

Incense Container in the Shape of a Buddhist Jewel
Kyoto National Museum
Also On View in the Collection Galleries特別展観覧料が必要
Earthenware Vessels and Dogū Figures of the Jōmon Period
June 20–September 10, 2023
Archaeological Relics|3F-2 gallery
The use of pottery in Japan can be traced back nearly 16,000 years. People living during the Jōmon period (ca. 14,000–ca. 4th c. BCE) made vessels for a variety of different purposes. These came in a multitude of forms, including deep pots for boiling and cooking, vessels for storage, shallow bowls and plates for serving or eating food, vessels with spouts for pouring alcohol or other liquids, and vessels for ritual use. Even earthenware pots with practical functions were rich in variation, featuring large, three-dimensional projections and ornate patterns. In addition to pottery for daily use, the Jōmon people made votive figures from clay called dogū. Most dogū are shaped like women and are thought to have embodied prayers for a good harvest or fertility. This exhibition explores the fascinating culture of the Jōmon period with a special focus on its earthenware vessels and dogū figures.

Spouted Vessel
Reportedly excavated in Aomori
Kyoto National Museum
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
July 19–August 20, 2023
Illustrated Handscrolls|2F-1 gallery
In Buddhist teachings, the paradisal realms of buddhas and heavenly beings are contrasted with the horrors and suffering of the Buddhist hells. People were terrified of falling into hell, and they feared demons (oni), who punished the sinful, and the mischievous, long-nosed tengu, who played tricks on Buddhist monks. Fear was instrumental in deepening people’s faith, but it also inspired creativity, leading to a rich tradition of imagery and tales. Over time, depictions of demons and tengu grew more human-like, taking on comical elements as they suffered ignoble defeat at the hands of their Buddhist adversaries. The scrolls on view in this gallery highlight the enduring appeal of recasting a terrifying subject as an object of ridicule.

Important Cultural Property
Illustrated Merits of the Mantra of Light
One of three handscrolls
Myōō-in Temple, Shiga
Recent Developments in Cultural Property Conservation
July 19–August 20, 2023
Buddhist Paintings|2F-2 gallery
The field of art conservation has become highly specialized, resulting in increased costs. While public funding may partially cover the conservation of designated national or local cultural properties, owners are still responsible for a portion of the expenses. Therefore, it is crucial for owners to fully understand the value of their objects and their conservation needs, including the associated costs.
When privately owned works are entrusted to a museum, curators collaborate with owners to undertake conservation projects. To overcome budget limitations, stakeholders are increasingly turning to donations and crowdfunding. Securing the necessary funding for conservation projects may take several years; however, this process fosters stronger connections between museums, owners, and conservation supporters.

Mandala of the Original Buddhist Forms of the Hie-Sannō Deities
Kyoto Todokai
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
July 19–August 20, 2023
Medieval Paintings|2F-3 gallery
During Japan’s medieval period, Zen Buddhists who traveled to and from China introduced new forms of Buddhist culture to Japan. These included monochrome ink painting and Buddhist images that were employed in distinctive ceremonies. The bodhisattva Kannon became an important symbol of wisdom and compassion in Zen temples, and images of Kannon were incorporated into temple rituals. Early monks created numerous paintings of the White-Robed Kannon, whose iconography played an important role in the development of Japanese ink painting.
Kannon is also associated with water and the ocean. The bodhisattva is believed to have descended to the Pure Land of Mount Potalaka in the southern seas and came to be seen as a guardian deity for merchants and monks who traveled by sea. In this exhibition, the cosmopolitan culture of medieval Japan is evident in the many depictions of Kannon that draw on iconography brought to Japan from mainland East Asia.

Important Cultural Property
White-Robed Kannon (Avalokiteśvara)
Inscription by Tettō Gikō
Shinju-an Temple, Kyoto
Recently Conserved Artworks
July 19–August 20, 2023
Momoyama-Edo Paintings|2F-4 gallery
Cultural properties have long lifespans and need to be conserved periodically to keep them in their best possible condition. Regular deterioration over time, insects, microorganisms, and physical tears and breakage are just some of the many kinds of damage artworks can experience. Conserving objects at the appropriate time is an important mission for museums to ensure works of art can be enjoyed by future generations.
This exhibition presents objects in the care of the museum that were recently conserved. These include screens by Hasegawa Tōhaku (1539–1610) and Kaihō Yūshō (1533–1615), which are being unveiled for the first time after undergoing conservation. Take a walk around the gallery to explore these cultural works as they embark on new chapters in their histories.

Important Cultural Property
Chinese Lion
Attributed to Kanō Sanraku
Honpō-ji Temple, Kyoto
Observations of Living Creatures in Chinese Painting
July 19–August 20, 2023
Chinese Paintings|2F-5 gallery
A crucial element of the painting process is the careful and thorough observation of the subject. It takes substantial practice to go beyond mere resemblance and infuse a subject with a sense of life. Only a skilled artist with a keen eye and a profound understanding of the subject can seemingly effortlessly create paintings that exude an aura of vitality. Such artworks can evoke a strong emotional response in viewers.
This gallery highlights works by Chinese artists depicting familiar plants and animals. The works are striking for their use of color and form, as well as for their brushwork and applications of ink washes. Visitors are invited to consider how the artists’ skillful observations helped them choose how to render their subjects, and how these techniques differ from other painting traditions.

Huddled Geese
By Xu Beihong
Kyoto National Museum
Deities of Buddhist Hell: Jizō and King Enma
June 13–September 18, 2023
Sculpture|1F-1 gallery
Summertime in Japan means the coming of Obon, or the Bon Festival, a tradition rooted in the Indian Ullambana Festival that marks the end of the summer retreat for the Buddhist monastic community. It is an occasion for making offerings to ancestral spirits, but it is also said to be the day when the lids are lifted from the cauldrons of Hell. In Buddhism, Hell is presided over by King Enma, who serves as the judge of the afterlife. Belief in Enma also derives from India, where he was known as Yama, the Hindu god of the underworld. In China, he came to be worshipped alongside Taoist deities, and in Japan he became the leader of the Ten Kings of Hell. In this exhibition, statues of these ten rulers from Jōnen-ji Temple in Kizugawa, who serve as judges of the dead, are featured along with images of Jizō (Skt: Kṣitigarbha), a bodhisattva who rescues souls from the suffering of Hell. These powerful depictions of the fearsome deities of Buddhist Hell may send shivers up your spine!

Important Cultural Property
Seated Jizō (Kṣitigarbha) Bodhisattva in a Portable Shrine
Hō’on-ji Temple, Kyoto
Japanese Sculpture
June 13–September 18, 2023
Sculpture|1F-1 gallery
From ancient times through the Edo period (1615–1868), almost all subjects of Japanese sculpture were religious in nature. After Buddhism was introduced to Japan and became firmly established in the seventh century, the production of Buddhist statues flourished. Buddhist deities and their images often have origins in South Asia or Central Asia, and they were usually transmitted to Japan by way of China, bringing with them a complex array of foreign influences.
One of the distinctive characteristics of Japanese sculpture is its use of wood as a primary material. Various modes of carving and other techniques—including joint-block construction (yosegi-zukuri) and inlaid crystal eyes—were developed in Japan to create these wood images.
Over time, the repeated introduction of new images from the Asian continent contributed to further stylistic transformations and innovations in Japan. The Japanese Buddhist sculptures on view here reflect various styles of different historical periods.
Dyeing and Weaving Techniques: Embroidery
August 2–September 10, 2023
Textiles and Costumes|1F-4 gallery
The act of embroidering designs one stitch at a time was traditionally believed to hold special significance. The repetitive nature of the process and the patient perseverance of the embroiderer were thought to infuse a work with the prayers of the creator or the person who commissioned it. This is why embroidered textiles came to feature prominently in religion, in the performing arts, and on celebratory occasions.
Embroiderers can render free designs in multiple colors without the arduous preparation required for woven and dyed textiles. The thickness of the thread can be used to add depth, and different types of stitches can evoke light and shadow. This exhibition presents embroidered textiles made to embellish special spaces and occasions.

Furisode (Long-Sleeved Kimono) with Stripes and Chrysanthemum Sprigs
Kyoto National Museum
The Art of Adornment: Buddhist Decoration
June 13–September 10, 2023
Metalwork|1F-5 gallery
A distinct feature of Japanese art is its many modes of adornment. Throughout history, artists and craftspeople in Japan have shared the impulse to embellish objects of all types with decorations ranging from geometric patterns to motifs from nature. This décor might be boldly exaggerated or it might be so abbreviated as to require special knowledge to comprehend. This is the first installment in a series of exhibitions that will examine celebrated examples of metalwork used to embellish daily life, to bedeck warriors, and to enhance worship. In this first exhibition, visitors are invited to take a closer look at sacred Japanese decorative art works used to glorify Buddhas and other deities.

Important Cultural Property
Hanging Temple Lantern
Kyoto National Museum
Imported Lacquerware: The Enduring Allure of Karamono
August 2–September 10, 2023
Lacquerware|1F-6 gallery
During the Heian period (794–1185), the word karamono (lit. “Tang things” or “Chinese things”) referred to prestigious objects imported from Tang dynasty (618–907) China. Over time, the term came to be used more broadly for rare objects imported from various foreign regions, including Korea, Southeast Asia, and even the Middle East and Europe. Appreciation of karamono reached a peak during the Muromachi period (1392–1573), when military rulers and Buddhist priests who admired Chinese culture spent fortunes to acquire luxurious imported works. During the economic growth and urbanization of the Edo period (1615–1868), import stores called karamono shops also sold Japanese objects that imitated foreign wares. This gallery features examples of karamono from various countries of origin, which have long been admired in Japan for their exotic appeal.

Incense Container in the Shape of a Buddhist Jewel
Kyoto National Museum
Also On View in the Collection Galleries特別展観覧料が必要
Earthenware Vessels and Dogū Figures of the Jōmon Period
June 20–September 10, 2023
Archaeological Relics|3F-2 gallery
The use of pottery in Japan can be traced back nearly 16,000 years. People living during the Jōmon period (ca. 14,000–ca. 4th c. BCE) made vessels for a variety of different purposes. These came in a multitude of forms, including deep pots for boiling and cooking, vessels for storage, shallow bowls and plates for serving or eating food, vessels with spouts for pouring alcohol or other liquids, and vessels for ritual use. Even earthenware pots with practical functions were rich in variation, featuring large, three-dimensional projections and ornate patterns. In addition to pottery for daily use, the Jōmon people made votive figures from clay called dogū. Most dogū are shaped like women and are thought to have embodied prayers for a good harvest or fertility. This exhibition explores the fascinating culture of the Jōmon period with a special focus on its earthenware vessels and dogū figures.

Spouted Vessel
Reportedly excavated in Aomori
Kyoto National Museum
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
July 19–August 20, 2023
Illustrated Handscrolls|2F-1 gallery
In Buddhist teachings, the paradisal realms of buddhas and heavenly beings are contrasted with the horrors and suffering of the Buddhist hells. People were terrified of falling into hell, and they feared demons (oni), who punished the sinful, and the mischievous, long-nosed tengu, who played tricks on Buddhist monks. Fear was instrumental in deepening people’s faith, but it also inspired creativity, leading to a rich tradition of imagery and tales. Over time, depictions of demons and tengu grew more human-like, taking on comical elements as they suffered ignoble defeat at the hands of their Buddhist adversaries. The scrolls on view in this gallery highlight the enduring appeal of recasting a terrifying subject as an object of ridicule.

Important Cultural Property
Illustrated Merits of the Mantra of Light
One of three handscrolls
Myōō-in Temple, Shiga
Recent Developments in Cultural Property Conservation
July 19–August 20, 2023
Buddhist Paintings|2F-2 gallery
The field of art conservation has become highly specialized, resulting in increased costs. While public funding may partially cover the conservation of designated national or local cultural properties, owners are still responsible for a portion of the expenses. Therefore, it is crucial for owners to fully understand the value of their objects and their conservation needs, including the associated costs.
When privately owned works are entrusted to a museum, curators collaborate with owners to undertake conservation projects. To overcome budget limitations, stakeholders are increasingly turning to donations and crowdfunding. Securing the necessary funding for conservation projects may take several years; however, this process fosters stronger connections between museums, owners, and conservation supporters.

Mandala of the Original Buddhist Forms of the Hie-Sannō Deities
Kyoto Todokai
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
July 19–August 20, 2023
Medieval Paintings|2F-3 gallery
During Japan’s medieval period, Zen Buddhists who traveled to and from China introduced new forms of Buddhist culture to Japan. These included monochrome ink painting and Buddhist images that were employed in distinctive ceremonies. The bodhisattva Kannon became an important symbol of wisdom and compassion in Zen temples, and images of Kannon were incorporated into temple rituals. Early monks created numerous paintings of the White-Robed Kannon, whose iconography played an important role in the development of Japanese ink painting.
Kannon is also associated with water and the ocean. The bodhisattva is believed to have descended to the Pure Land of Mount Potalaka in the southern seas and came to be seen as a guardian deity for merchants and monks who traveled by sea. In this exhibition, the cosmopolitan culture of medieval Japan is evident in the many depictions of Kannon that draw on iconography brought to Japan from mainland East Asia.

Important Cultural Property
White-Robed Kannon (Avalokiteśvara)
Inscription by Tettō Gikō
Shinju-an Temple, Kyoto
Recently Conserved Artworks
July 19–August 20, 2023
Momoyama-Edo Paintings|2F-4 gallery
Cultural properties have long lifespans and need to be conserved periodically to keep them in their best possible condition. Regular deterioration over time, insects, microorganisms, and physical tears and breakage are just some of the many kinds of damage artworks can experience. Conserving objects at the appropriate time is an important mission for museums to ensure works of art can be enjoyed by future generations.
This exhibition presents objects in the care of the museum that were recently conserved. These include screens by Hasegawa Tōhaku (1539–1610) and Kaihō Yūshō (1533–1615), which are being unveiled for the first time after undergoing conservation. Take a walk around the gallery to explore these cultural works as they embark on new chapters in their histories.

Important Cultural Property
Chinese Lion
Attributed to Kanō Sanraku
Honpō-ji Temple, Kyoto
Observations of Living Creatures in Chinese Painting
July 19–August 20, 2023
Chinese Paintings|2F-5 gallery
A crucial element of the painting process is the careful and thorough observation of the subject. It takes substantial practice to go beyond mere resemblance and infuse a subject with a sense of life. Only a skilled artist with a keen eye and a profound understanding of the subject can seemingly effortlessly create paintings that exude an aura of vitality. Such artworks can evoke a strong emotional response in viewers.
This gallery highlights works by Chinese artists depicting familiar plants and animals. The works are striking for their use of color and form, as well as for their brushwork and applications of ink washes. Visitors are invited to consider how the artists’ skillful observations helped them choose how to render their subjects, and how these techniques differ from other painting traditions.

Huddled Geese
By Xu Beihong
Kyoto National Museum
Deities of Buddhist Hell: Jizō and King Enma
June 13–September 18, 2023
Sculpture|1F-1 gallery
Summertime in Japan means the coming of Obon, or the Bon Festival, a tradition rooted in the Indian Ullambana Festival that marks the end of the summer retreat for the Buddhist monastic community. It is an occasion for making offerings to ancestral spirits, but it is also said to be the day when the lids are lifted from the cauldrons of Hell. In Buddhism, Hell is presided over by King Enma, who serves as the judge of the afterlife. Belief in Enma also derives from India, where he was known as Yama, the Hindu god of the underworld. In China, he came to be worshipped alongside Taoist deities, and in Japan he became the leader of the Ten Kings of Hell. In this exhibition, statues of these ten rulers from Jōnen-ji Temple in Kizugawa, who serve as judges of the dead, are featured along with images of Jizō (Skt: Kṣitigarbha), a bodhisattva who rescues souls from the suffering of Hell. These powerful depictions of the fearsome deities of Buddhist Hell may send shivers up your spine!

Important Cultural Property
Seated Jizō (Kṣitigarbha) Bodhisattva in a Portable Shrine
Hō’on-ji Temple, Kyoto
Japanese Sculpture
June 13–September 18, 2023
Sculpture|1F-1 gallery
From ancient times through the Edo period (1615–1868), almost all subjects of Japanese sculpture were religious in nature. After Buddhism was introduced to Japan and became firmly established in the seventh century, the production of Buddhist statues flourished. Buddhist deities and their images often have origins in South Asia or Central Asia, and they were usually transmitted to Japan by way of China, bringing with them a complex array of foreign influences.
One of the distinctive characteristics of Japanese sculpture is its use of wood as a primary material. Various modes of carving and other techniques—including joint-block construction (yosegi-zukuri) and inlaid crystal eyes—were developed in Japan to create these wood images.
Over time, the repeated introduction of new images from the Asian continent contributed to further stylistic transformations and innovations in Japan. The Japanese Buddhist sculptures on view here reflect various styles of different historical periods.
Dyeing and Weaving Techniques: Embroidery
August 2–September 10, 2023
Textiles and Costumes|1F-4 gallery
The act of embroidering designs one stitch at a time was traditionally believed to hold special significance. The repetitive nature of the process and the patient perseverance of the embroiderer were thought to infuse a work with the prayers of the creator or the person who commissioned it. This is why embroidered textiles came to feature prominently in religion, in the performing arts, and on celebratory occasions.
Embroiderers can render free designs in multiple colors without the arduous preparation required for woven and dyed textiles. The thickness of the thread can be used to add depth, and different types of stitches can evoke light and shadow. This exhibition presents embroidered textiles made to embellish special spaces and occasions.

Furisode (Long-Sleeved Kimono) with Stripes and Chrysanthemum Sprigs
Kyoto National Museum
The Art of Adornment: Buddhist Decoration
June 13–September 10, 2023
Metalwork|1F-5 gallery
A distinct feature of Japanese art is its many modes of adornment. Throughout history, artists and craftspeople in Japan have shared the impulse to embellish objects of all types with decorations ranging from geometric patterns to motifs from nature. This décor might be boldly exaggerated or it might be so abbreviated as to require special knowledge to comprehend. This is the first installment in a series of exhibitions that will examine celebrated examples of metalwork used to embellish daily life, to bedeck warriors, and to enhance worship. In this first exhibition, visitors are invited to take a closer look at sacred Japanese decorative art works used to glorify Buddhas and other deities.

Important Cultural Property
Hanging Temple Lantern
Kyoto National Museum
Imported Lacquerware: The Enduring Allure of Karamono
August 2–September 10, 2023
Lacquerware|1F-6 gallery
During the Heian period (794–1185), the word karamono (lit. “Tang things” or “Chinese things”) referred to prestigious objects imported from Tang dynasty (618–907) China. Over time, the term came to be used more broadly for rare objects imported from various foreign regions, including Korea, Southeast Asia, and even the Middle East and Europe. Appreciation of karamono reached a peak during the Muromachi period (1392–1573), when military rulers and Buddhist priests who admired Chinese culture spent fortunes to acquire luxurious imported works. During the economic growth and urbanization of the Edo period (1615–1868), import stores called karamono shops also sold Japanese objects that imitated foreign wares. This gallery features examples of karamono from various countries of origin, which have long been admired in Japan for their exotic appeal.

Incense Container in the Shape of a Buddhist Jewel
Kyoto National Museum
Also On View in the Collection Galleries特別展観覧料が必要
Earthenware Vessels and Dogū Figures of the Jōmon Period
June 20–September 10, 2023
Archaeological Relics|3F-2 gallery
The use of pottery in Japan can be traced back nearly 16,000 years. People living during the Jōmon period (ca. 14,000–ca. 4th c. BCE) made vessels for a variety of different purposes. These came in a multitude of forms, including deep pots for boiling and cooking, vessels for storage, shallow bowls and plates for serving or eating food, vessels with spouts for pouring alcohol or other liquids, and vessels for ritual use. Even earthenware pots with practical functions were rich in variation, featuring large, three-dimensional projections and ornate patterns. In addition to pottery for daily use, the Jōmon people made votive figures from clay called dogū. Most dogū are shaped like women and are thought to have embodied prayers for a good harvest or fertility. This exhibition explores the fascinating culture of the Jōmon period with a special focus on its earthenware vessels and dogū figures.

Spouted Vessel
Reportedly excavated in Aomori
Kyoto National Museum
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
July 19–August 20, 2023
Illustrated Handscrolls|2F-1 gallery
In Buddhist teachings, the paradisal realms of buddhas and heavenly beings are contrasted with the horrors and suffering of the Buddhist hells. People were terrified of falling into hell, and they feared demons (oni), who punished the sinful, and the mischievous, long-nosed tengu, who played tricks on Buddhist monks. Fear was instrumental in deepening people’s faith, but it also inspired creativity, leading to a rich tradition of imagery and tales. Over time, depictions of demons and tengu grew more human-like, taking on comical elements as they suffered ignoble defeat at the hands of their Buddhist adversaries. The scrolls on view in this gallery highlight the enduring appeal of recasting a terrifying subject as an object of ridicule.

Important Cultural Property
Illustrated Merits of the Mantra of Light
One of three handscrolls
Myōō-in Temple, Shiga
Recent Developments in Cultural Property Conservation
July 19–August 20, 2023
Buddhist Paintings|2F-2 gallery
The field of art conservation has become highly specialized, resulting in increased costs. While public funding may partially cover the conservation of designated national or local cultural properties, owners are still responsible for a portion of the expenses. Therefore, it is crucial for owners to fully understand the value of their objects and their conservation needs, including the associated costs.
When privately owned works are entrusted to a museum, curators collaborate with owners to undertake conservation projects. To overcome budget limitations, stakeholders are increasingly turning to donations and crowdfunding. Securing the necessary funding for conservation projects may take several years; however, this process fosters stronger connections between museums, owners, and conservation supporters.

Mandala of the Original Buddhist Forms of the Hie-Sannō Deities
Kyoto Todokai
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
July 19–August 20, 2023
Medieval Paintings|2F-3 gallery
During Japan’s medieval period, Zen Buddhists who traveled to and from China introduced new forms of Buddhist culture to Japan. These included monochrome ink painting and Buddhist images that were employed in distinctive ceremonies. The bodhisattva Kannon became an important symbol of wisdom and compassion in Zen temples, and images of Kannon were incorporated into temple rituals. Early monks created numerous paintings of the White-Robed Kannon, whose iconography played an important role in the development of Japanese ink painting.
Kannon is also associated with water and the ocean. The bodhisattva is believed to have descended to the Pure Land of Mount Potalaka in the southern seas and came to be seen as a guardian deity for merchants and monks who traveled by sea. In this exhibition, the cosmopolitan culture of medieval Japan is evident in the many depictions of Kannon that draw on iconography brought to Japan from mainland East Asia.

Important Cultural Property
White-Robed Kannon (Avalokiteśvara)
Inscription by Tettō Gikō
Shinju-an Temple, Kyoto
Recently Conserved Artworks
July 19–August 20, 2023
Momoyama-Edo Paintings|2F-4 gallery
Cultural properties have long lifespans and need to be conserved periodically to keep them in their best possible condition. Regular deterioration over time, insects, microorganisms, and physical tears and breakage are just some of the many kinds of damage artworks can experience. Conserving objects at the appropriate time is an important mission for museums to ensure works of art can be enjoyed by future generations.
This exhibition presents objects in the care of the museum that were recently conserved. These include screens by Hasegawa Tōhaku (1539–1610) and Kaihō Yūshō (1533–1615), which are being unveiled for the first time after undergoing conservation. Take a walk around the gallery to explore these cultural works as they embark on new chapters in their histories.

Important Cultural Property
Chinese Lion
Attributed to Kanō Sanraku
Honpō-ji Temple, Kyoto
Observations of Living Creatures in Chinese Painting
July 19–August 20, 2023
Chinese Paintings|2F-5 gallery
A crucial element of the painting process is the careful and thorough observation of the subject. It takes substantial practice to go beyond mere resemblance and infuse a subject with a sense of life. Only a skilled artist with a keen eye and a profound understanding of the subject can seemingly effortlessly create paintings that exude an aura of vitality. Such artworks can evoke a strong emotional response in viewers.
This gallery highlights works by Chinese artists depicting familiar plants and animals. The works are striking for their use of color and form, as well as for their brushwork and applications of ink washes. Visitors are invited to consider how the artists’ skillful observations helped them choose how to render their subjects, and how these techniques differ from other painting traditions.

Huddled Geese
By Xu Beihong
Kyoto National Museum
Deities of Buddhist Hell: Jizō and King Enma
June 13–September 18, 2023
Sculpture|1F-1 gallery
Summertime in Japan means the coming of Obon, or the Bon Festival, a tradition rooted in the Indian Ullambana Festival that marks the end of the summer retreat for the Buddhist monastic community. It is an occasion for making offerings to ancestral spirits, but it is also said to be the day when the lids are lifted from the cauldrons of Hell. In Buddhism, Hell is presided over by King Enma, who serves as the judge of the afterlife. Belief in Enma also derives from India, where he was known as Yama, the Hindu god of the underworld. In China, he came to be worshipped alongside Taoist deities, and in Japan he became the leader of the Ten Kings of Hell. In this exhibition, statues of these ten rulers from Jōnen-ji Temple in Kizugawa, who serve as judges of the dead, are featured along with images of Jizō (Skt: Kṣitigarbha), a bodhisattva who rescues souls from the suffering of Hell. These powerful depictions of the fearsome deities of Buddhist Hell may send shivers up your spine!

Important Cultural Property
Seated Jizō (Kṣitigarbha) Bodhisattva in a Portable Shrine
Hō’on-ji Temple, Kyoto
Japanese Sculpture
June 13–September 18, 2023
Sculpture|1F-1 gallery
From ancient times through the Edo period (1615–1868), almost all subjects of Japanese sculpture were religious in nature. After Buddhism was introduced to Japan and became firmly established in the seventh century, the production of Buddhist statues flourished. Buddhist deities and their images often have origins in South Asia or Central Asia, and they were usually transmitted to Japan by way of China, bringing with them a complex array of foreign influences.
One of the distinctive characteristics of Japanese sculpture is its use of wood as a primary material. Various modes of carving and other techniques—including joint-block construction (yosegi-zukuri) and inlaid crystal eyes—were developed in Japan to create these wood images.
Over time, the repeated introduction of new images from the Asian continent contributed to further stylistic transformations and innovations in Japan. The Japanese Buddhist sculptures on view here reflect various styles of different historical periods.
Dyeing and Weaving Techniques: Embroidery
August 2–September 10, 2023
Textiles and Costumes|1F-4 gallery
The act of embroidering designs one stitch at a time was traditionally believed to hold special significance. The repetitive nature of the process and the patient perseverance of the embroiderer were thought to infuse a work with the prayers of the creator or the person who commissioned it. This is why embroidered textiles came to feature prominently in religion, in the performing arts, and on celebratory occasions.
Embroiderers can render free designs in multiple colors without the arduous preparation required for woven and dyed textiles. The thickness of the thread can be used to add depth, and different types of stitches can evoke light and shadow. This exhibition presents embroidered textiles made to embellish special spaces and occasions.

Furisode (Long-Sleeved Kimono) with Stripes and Chrysanthemum Sprigs
Kyoto National Museum
The Art of Adornment: Buddhist Decoration
June 13–September 10, 2023
Metalwork|1F-5 gallery
A distinct feature of Japanese art is its many modes of adornment. Throughout history, artists and craftspeople in Japan have shared the impulse to embellish objects of all types with decorations ranging from geometric patterns to motifs from nature. This décor might be boldly exaggerated or it might be so abbreviated as to require special knowledge to comprehend. This is the first installment in a series of exhibitions that will examine celebrated examples of metalwork used to embellish daily life, to bedeck warriors, and to enhance worship. In this first exhibition, visitors are invited to take a closer look at sacred Japanese decorative art works used to glorify Buddhas and other deities.

Important Cultural Property
Hanging Temple Lantern
Kyoto National Museum
Imported Lacquerware: The Enduring Allure of Karamono
August 2–September 10, 2023
Lacquerware|1F-6 gallery
During the Heian period (794–1185), the word karamono (lit. “Tang things” or “Chinese things”) referred to prestigious objects imported from Tang dynasty (618–907) China. Over time, the term came to be used more broadly for rare objects imported from various foreign regions, including Korea, Southeast Asia, and even the Middle East and Europe. Appreciation of karamono reached a peak during the Muromachi period (1392–1573), when military rulers and Buddhist priests who admired Chinese culture spent fortunes to acquire luxurious imported works. During the economic growth and urbanization of the Edo period (1615–1868), import stores called karamono shops also sold Japanese objects that imitated foreign wares. This gallery features examples of karamono from various countries of origin, which have long been admired in Japan for their exotic appeal.

Incense Container in the Shape of a Buddhist Jewel
Kyoto National Museum
Also On View in the Collection Galleries特別展観覧料が必要
Earthenware Vessels and Dogū Figures of the Jōmon Period
June 20–September 10, 2023
Archaeological Relics|3F-2 gallery
The use of pottery in Japan can be traced back nearly 16,000 years. People living during the Jōmon period (ca. 14,000–ca. 4th c. BCE) made vessels for a variety of different purposes. These came in a multitude of forms, including deep pots for boiling and cooking, vessels for storage, shallow bowls and plates for serving or eating food, vessels with spouts for pouring alcohol or other liquids, and vessels for ritual use. Even earthenware pots with practical functions were rich in variation, featuring large, three-dimensional projections and ornate patterns. In addition to pottery for daily use, the Jōmon people made votive figures from clay called dogū. Most dogū are shaped like women and are thought to have embodied prayers for a good harvest or fertility. This exhibition explores the fascinating culture of the Jōmon period with a special focus on its earthenware vessels and dogū figures.

Spouted Vessel
Reportedly excavated in Aomori
Kyoto National Museum
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
July 19–August 20, 2023
Illustrated Handscrolls|2F-1 gallery
In Buddhist teachings, the paradisal realms of buddhas and heavenly beings are contrasted with the horrors and suffering of the Buddhist hells. People were terrified of falling into hell, and they feared demons (oni), who punished the sinful, and the mischievous, long-nosed tengu, who played tricks on Buddhist monks. Fear was instrumental in deepening people’s faith, but it also inspired creativity, leading to a rich tradition of imagery and tales. Over time, depictions of demons and tengu grew more human-like, taking on comical elements as they suffered ignoble defeat at the hands of their Buddhist adversaries. The scrolls on view in this gallery highlight the enduring appeal of recasting a terrifying subject as an object of ridicule.

Important Cultural Property
Illustrated Merits of the Mantra of Light
One of three handscrolls
Myōō-in Temple, Shiga
Recent Developments in Cultural Property Conservation
July 19–August 20, 2023
Buddhist Paintings|2F-2 gallery
The field of art conservation has become highly specialized, resulting in increased costs. While public funding may partially cover the conservation of designated national or local cultural properties, owners are still responsible for a portion of the expenses. Therefore, it is crucial for owners to fully understand the value of their objects and their conservation needs, including the associated costs.
When privately owned works are entrusted to a museum, curators collaborate with owners to undertake conservation projects. To overcome budget limitations, stakeholders are increasingly turning to donations and crowdfunding. Securing the necessary funding for conservation projects may take several years; however, this process fosters stronger connections between museums, owners, and conservation supporters.

Mandala of the Original Buddhist Forms of the Hie-Sannō Deities
Kyoto Todokai
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
July 19–August 20, 2023
Medieval Paintings|2F-3 gallery
During Japan’s medieval period, Zen Buddhists who traveled to and from China introduced new forms of Buddhist culture to Japan. These included monochrome ink painting and Buddhist images that were employed in distinctive ceremonies. The bodhisattva Kannon became an important symbol of wisdom and compassion in Zen temples, and images of Kannon were incorporated into temple rituals. Early monks created numerous paintings of the White-Robed Kannon, whose iconography played an important role in the development of Japanese ink painting.
Kannon is also associated with water and the ocean. The bodhisattva is believed to have descended to the Pure Land of Mount Potalaka in the southern seas and came to be seen as a guardian deity for merchants and monks who traveled by sea. In this exhibition, the cosmopolitan culture of medieval Japan is evident in the many depictions of Kannon that draw on iconography brought to Japan from mainland East Asia.

Important Cultural Property
White-Robed Kannon (Avalokiteśvara)
Inscription by Tettō Gikō
Shinju-an Temple, Kyoto
Recently Conserved Artworks
July 19–August 20, 2023
Momoyama-Edo Paintings|2F-4 gallery
Cultural properties have long lifespans and need to be conserved periodically to keep them in their best possible condition. Regular deterioration over time, insects, microorganisms, and physical tears and breakage are just some of the many kinds of damage artworks can experience. Conserving objects at the appropriate time is an important mission for museums to ensure works of art can be enjoyed by future generations.
This exhibition presents objects in the care of the museum that were recently conserved. These include screens by Hasegawa Tōhaku (1539–1610) and Kaihō Yūshō (1533–1615), which are being unveiled for the first time after undergoing conservation. Take a walk around the gallery to explore these cultural works as they embark on new chapters in their histories.

Important Cultural Property
Chinese Lion
Attributed to Kanō Sanraku
Honpō-ji Temple, Kyoto
Observations of Living Creatures in Chinese Painting
July 19–August 20, 2023
Chinese Paintings|2F-5 gallery
A crucial element of the painting process is the careful and thorough observation of the subject. It takes substantial practice to go beyond mere resemblance and infuse a subject with a sense of life. Only a skilled artist with a keen eye and a profound understanding of the subject can seemingly effortlessly create paintings that exude an aura of vitality. Such artworks can evoke a strong emotional response in viewers.
This gallery highlights works by Chinese artists depicting familiar plants and animals. The works are striking for their use of color and form, as well as for their brushwork and applications of ink washes. Visitors are invited to consider how the artists’ skillful observations helped them choose how to render their subjects, and how these techniques differ from other painting traditions.

Huddled Geese
By Xu Beihong
Kyoto National Museum
Deities of Buddhist Hell: Jizō and King Enma
June 13–September 18, 2023
Sculpture|1F-1 gallery
Summertime in Japan means the coming of Obon, or the Bon Festival, a tradition rooted in the Indian Ullambana Festival that marks the end of the summer retreat for the Buddhist monastic community. It is an occasion for making offerings to ancestral spirits, but it is also said to be the day when the lids are lifted from the cauldrons of Hell. In Buddhism, Hell is presided over by King Enma, who serves as the judge of the afterlife. Belief in Enma also derives from India, where he was known as Yama, the Hindu god of the underworld. In China, he came to be worshipped alongside Taoist deities, and in Japan he became the leader of the Ten Kings of Hell. In this exhibition, statues of these ten rulers from Jōnen-ji Temple in Kizugawa, who serve as judges of the dead, are featured along with images of Jizō (Skt: Kṣitigarbha), a bodhisattva who rescues souls from the suffering of Hell. These powerful depictions of the fearsome deities of Buddhist Hell may send shivers up your spine!

Important Cultural Property
Seated Jizō (Kṣitigarbha) Bodhisattva in a Portable Shrine
Hō’on-ji Temple, Kyoto
Japanese Sculpture
June 13–September 18, 2023
Sculpture|1F-1 gallery
From ancient times through the Edo period (1615–1868), almost all subjects of Japanese sculpture were religious in nature. After Buddhism was introduced to Japan and became firmly established in the seventh century, the production of Buddhist statues flourished. Buddhist deities and their images often have origins in South Asia or Central Asia, and they were usually transmitted to Japan by way of China, bringing with them a complex array of foreign influences.
One of the distinctive characteristics of Japanese sculpture is its use of wood as a primary material. Various modes of carving and other techniques—including joint-block construction (yosegi-zukuri) and inlaid crystal eyes—were developed in Japan to create these wood images.
Over time, the repeated introduction of new images from the Asian continent contributed to further stylistic transformations and innovations in Japan. The Japanese Buddhist sculptures on view here reflect various styles of different historical periods.
Dyeing and Weaving Techniques: Embroidery
August 2–September 10, 2023
Textiles and Costumes|1F-4 gallery
The act of embroidering designs one stitch at a time was traditionally believed to hold special significance. The repetitive nature of the process and the patient perseverance of the embroiderer were thought to infuse a work with the prayers of the creator or the person who commissioned it. This is why embroidered textiles came to feature prominently in religion, in the performing arts, and on celebratory occasions.
Embroiderers can render free designs in multiple colors without the arduous preparation required for woven and dyed textiles. The thickness of the thread can be used to add depth, and different types of stitches can evoke light and shadow. This exhibition presents embroidered textiles made to embellish special spaces and occasions.

Furisode (Long-Sleeved Kimono) with Stripes and Chrysanthemum Sprigs
Kyoto National Museum
The Art of Adornment: Buddhist Decoration
June 13–September 10, 2023
Metalwork|1F-5 gallery
A distinct feature of Japanese art is its many modes of adornment. Throughout history, artists and craftspeople in Japan have shared the impulse to embellish objects of all types with decorations ranging from geometric patterns to motifs from nature. This décor might be boldly exaggerated or it might be so abbreviated as to require special knowledge to comprehend. This is the first installment in a series of exhibitions that will examine celebrated examples of metalwork used to embellish daily life, to bedeck warriors, and to enhance worship. In this first exhibition, visitors are invited to take a closer look at sacred Japanese decorative art works used to glorify Buddhas and other deities.

Important Cultural Property
Hanging Temple Lantern
Kyoto National Museum
Imported Lacquerware: The Enduring Allure of Karamono
August 2–September 10, 2023
Lacquerware|1F-6 gallery
During the Heian period (794–1185), the word karamono (lit. “Tang things” or “Chinese things”) referred to prestigious objects imported from Tang dynasty (618–907) China. Over time, the term came to be used more broadly for rare objects imported from various foreign regions, including Korea, Southeast Asia, and even the Middle East and Europe. Appreciation of karamono reached a peak during the Muromachi period (1392–1573), when military rulers and Buddhist priests who admired Chinese culture spent fortunes to acquire luxurious imported works. During the economic growth and urbanization of the Edo period (1615–1868), import stores called karamono shops also sold Japanese objects that imitated foreign wares. This gallery features examples of karamono from various countries of origin, which have long been admired in Japan for their exotic appeal.

Incense Container in the Shape of a Buddhist Jewel
Kyoto National Museum
Also On View in the Collection Galleries特別展観覧料が必要
Earthenware Vessels and Dogū Figures of the Jōmon Period
June 20–September 10, 2023
Archaeological Relics|3F-2 gallery
The use of pottery in Japan can be traced back nearly 16,000 years. People living during the Jōmon period (ca. 14,000–ca. 4th c. BCE) made vessels for a variety of different purposes. These came in a multitude of forms, including deep pots for boiling and cooking, vessels for storage, shallow bowls and plates for serving or eating food, vessels with spouts for pouring alcohol or other liquids, and vessels for ritual use. Even earthenware pots with practical functions were rich in variation, featuring large, three-dimensional projections and ornate patterns. In addition to pottery for daily use, the Jōmon people made votive figures from clay called dogū. Most dogū are shaped like women and are thought to have embodied prayers for a good harvest or fertility. This exhibition explores the fascinating culture of the Jōmon period with a special focus on its earthenware vessels and dogū figures.

Spouted Vessel
Reportedly excavated in Aomori
Kyoto National Museum
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
July 19–August 20, 2023
Illustrated Handscrolls|2F-1 gallery
In Buddhist teachings, the paradisal realms of buddhas and heavenly beings are contrasted with the horrors and suffering of the Buddhist hells. People were terrified of falling into hell, and they feared demons (oni), who punished the sinful, and the mischievous, long-nosed tengu, who played tricks on Buddhist monks. Fear was instrumental in deepening people’s faith, but it also inspired creativity, leading to a rich tradition of imagery and tales. Over time, depictions of demons and tengu grew more human-like, taking on comical elements as they suffered ignoble defeat at the hands of their Buddhist adversaries. The scrolls on view in this gallery highlight the enduring appeal of recasting a terrifying subject as an object of ridicule.

Important Cultural Property
Illustrated Merits of the Mantra of Light
One of three handscrolls
Myōō-in Temple, Shiga
Recent Developments in Cultural Property Conservation
July 19–August 20, 2023
Buddhist Paintings|2F-2 gallery
The field of art conservation has become highly specialized, resulting in increased costs. While public funding may partially cover the conservation of designated national or local cultural properties, owners are still responsible for a portion of the expenses. Therefore, it is crucial for owners to fully understand the value of their objects and their conservation needs, including the associated costs.
When privately owned works are entrusted to a museum, curators collaborate with owners to undertake conservation projects. To overcome budget limitations, stakeholders are increasingly turning to donations and crowdfunding. Securing the necessary funding for conservation projects may take several years; however, this process fosters stronger connections between museums, owners, and conservation supporters.

Mandala of the Original Buddhist Forms of the Hie-Sannō Deities
Kyoto Todokai
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
July 19–August 20, 2023
Medieval Paintings|2F-3 gallery
During Japan’s medieval period, Zen Buddhists who traveled to and from China introduced new forms of Buddhist culture to Japan. These included monochrome ink painting and Buddhist images that were employed in distinctive ceremonies. The bodhisattva Kannon became an important symbol of wisdom and compassion in Zen temples, and images of Kannon were incorporated into temple rituals. Early monks created numerous paintings of the White-Robed Kannon, whose iconography played an important role in the development of Japanese ink painting.
Kannon is also associated with water and the ocean. The bodhisattva is believed to have descended to the Pure Land of Mount Potalaka in the southern seas and came to be seen as a guardian deity for merchants and monks who traveled by sea. In this exhibition, the cosmopolitan culture of medieval Japan is evident in the many depictions of Kannon that draw on iconography brought to Japan from mainland East Asia.

Important Cultural Property
White-Robed Kannon (Avalokiteśvara)
Inscription by Tettō Gikō
Shinju-an Temple, Kyoto
Recently Conserved Artworks
July 19–August 20, 2023
Momoyama-Edo Paintings|2F-4 gallery
Cultural properties have long lifespans and need to be conserved periodically to keep them in their best possible condition. Regular deterioration over time, insects, microorganisms, and physical tears and breakage are just some of the many kinds of damage artworks can experience. Conserving objects at the appropriate time is an important mission for museums to ensure works of art can be enjoyed by future generations.
This exhibition presents objects in the care of the museum that were recently conserved. These include screens by Hasegawa Tōhaku (1539–1610) and Kaihō Yūshō (1533–1615), which are being unveiled for the first time after undergoing conservation. Take a walk around the gallery to explore these cultural works as they embark on new chapters in their histories.

Important Cultural Property
Chinese Lion
Attributed to Kanō Sanraku
Honpō-ji Temple, Kyoto
Observations of Living Creatures in Chinese Painting
July 19–August 20, 2023
Chinese Paintings|2F-5 gallery
A crucial element of the painting process is the careful and thorough observation of the subject. It takes substantial practice to go beyond mere resemblance and infuse a subject with a sense of life. Only a skilled artist with a keen eye and a profound understanding of the subject can seemingly effortlessly create paintings that exude an aura of vitality. Such artworks can evoke a strong emotional response in viewers.
This gallery highlights works by Chinese artists depicting familiar plants and animals. The works are striking for their use of color and form, as well as for their brushwork and applications of ink washes. Visitors are invited to consider how the artists’ skillful observations helped them choose how to render their subjects, and how these techniques differ from other painting traditions.

Huddled Geese
By Xu Beihong
Kyoto National Museum
Deities of Buddhist Hell: Jizō and King Enma
June 13–September 18, 2023
Sculpture|1F-1 gallery
Summertime in Japan means the coming of Obon, or the Bon Festival, a tradition rooted in the Indian Ullambana Festival that marks the end of the summer retreat for the Buddhist monastic community. It is an occasion for making offerings to ancestral spirits, but it is also said to be the day when the lids are lifted from the cauldrons of Hell. In Buddhism, Hell is presided over by King Enma, who serves as the judge of the afterlife. Belief in Enma also derives from India, where he was known as Yama, the Hindu god of the underworld. In China, he came to be worshipped alongside Taoist deities, and in Japan he became the leader of the Ten Kings of Hell. In this exhibition, statues of these ten rulers from Jōnen-ji Temple in Kizugawa, who serve as judges of the dead, are featured along with images of Jizō (Skt: Kṣitigarbha), a bodhisattva who rescues souls from the suffering of Hell. These powerful depictions of the fearsome deities of Buddhist Hell may send shivers up your spine!

Important Cultural Property
Seated Jizō (Kṣitigarbha) Bodhisattva in a Portable Shrine
Hō’on-ji Temple, Kyoto
Japanese Sculpture
June 13–September 18, 2023
Sculpture|1F-1 gallery
From ancient times through the Edo period (1615–1868), almost all subjects of Japanese sculpture were religious in nature. After Buddhism was introduced to Japan and became firmly established in the seventh century, the production of Buddhist statues flourished. Buddhist deities and their images often have origins in South Asia or Central Asia, and they were usually transmitted to Japan by way of China, bringing with them a complex array of foreign influences.
One of the distinctive characteristics of Japanese sculpture is its use of wood as a primary material. Various modes of carving and other techniques—including joint-block construction (yosegi-zukuri) and inlaid crystal eyes—were developed in Japan to create these wood images.
Over time, the repeated introduction of new images from the Asian continent contributed to further stylistic transformations and innovations in Japan. The Japanese Buddhist sculptures on view here reflect various styles of different historical periods.
Dyeing and Weaving Techniques: Embroidery
August 2–September 10, 2023
Textiles and Costumes|1F-4 gallery
The act of embroidering designs one stitch at a time was traditionally believed to hold special significance. The repetitive nature of the process and the patient perseverance of the embroiderer were thought to infuse a work with the prayers of the creator or the person who commissioned it. This is why embroidered textiles came to feature prominently in religion, in the performing arts, and on celebratory occasions.
Embroiderers can render free designs in multiple colors without the arduous preparation required for woven and dyed textiles. The thickness of the thread can be used to add depth, and different types of stitches can evoke light and shadow. This exhibition presents embroidered textiles made to embellish special spaces and occasions.

Furisode (Long-Sleeved Kimono) with Stripes and Chrysanthemum Sprigs
Kyoto National Museum
The Art of Adornment: Buddhist Decoration
June 13–September 10, 2023
Metalwork|1F-5 gallery
A distinct feature of Japanese art is its many modes of adornment. Throughout history, artists and craftspeople in Japan have shared the impulse to embellish objects of all types with decorations ranging from geometric patterns to motifs from nature. This décor might be boldly exaggerated or it might be so abbreviated as to require special knowledge to comprehend. This is the first installment in a series of exhibitions that will examine celebrated examples of metalwork used to embellish daily life, to bedeck warriors, and to enhance worship. In this first exhibition, visitors are invited to take a closer look at sacred Japanese decorative art works used to glorify Buddhas and other deities.

Important Cultural Property
Hanging Temple Lantern
Kyoto National Museum
Imported Lacquerware: The Enduring Allure of Karamono
August 2–September 10, 2023
Lacquerware|1F-6 gallery
During the Heian period (794–1185), the word karamono (lit. “Tang things” or “Chinese things”) referred to prestigious objects imported from Tang dynasty (618–907) China. Over time, the term came to be used more broadly for rare objects imported from various foreign regions, including Korea, Southeast Asia, and even the Middle East and Europe. Appreciation of karamono reached a peak during the Muromachi period (1392–1573), when military rulers and Buddhist priests who admired Chinese culture spent fortunes to acquire luxurious imported works. During the economic growth and urbanization of the Edo period (1615–1868), import stores called karamono shops also sold Japanese objects that imitated foreign wares. This gallery features examples of karamono from various countries of origin, which have long been admired in Japan for their exotic appeal.

Incense Container in the Shape of a Buddhist Jewel
Kyoto National Museum
Also On View in the Collection Galleries特別展観覧料が必要
Earthenware Vessels and Dogū Figures of the Jōmon Period
June 20–September 10, 2023
Archaeological Relics|3F-2 gallery
The use of pottery in Japan can be traced back nearly 16,000 years. People living during the Jōmon period (ca. 14,000–ca. 4th c. BCE) made vessels for a variety of different purposes. These came in a multitude of forms, including deep pots for boiling and cooking, vessels for storage, shallow bowls and plates for serving or eating food, vessels with spouts for pouring alcohol or other liquids, and vessels for ritual use. Even earthenware pots with practical functions were rich in variation, featuring large, three-dimensional projections and ornate patterns. In addition to pottery for daily use, the Jōmon people made votive figures from clay called dogū. Most dogū are shaped like women and are thought to have embodied prayers for a good harvest or fertility. This exhibition explores the fascinating culture of the Jōmon period with a special focus on its earthenware vessels and dogū figures.

Spouted Vessel
Reportedly excavated in Aomori
Kyoto National Museum
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
July 19–August 20, 2023
Illustrated Handscrolls|2F-1 gallery
In Buddhist teachings, the paradisal realms of buddhas and heavenly beings are contrasted with the horrors and suffering of the Buddhist hells. People were terrified of falling into hell, and they feared demons (oni), who punished the sinful, and the mischievous, long-nosed tengu, who played tricks on Buddhist monks. Fear was instrumental in deepening people’s faith, but it also inspired creativity, leading to a rich tradition of imagery and tales. Over time, depictions of demons and tengu grew more human-like, taking on comical elements as they suffered ignoble defeat at the hands of their Buddhist adversaries. The scrolls on view in this gallery highlight the enduring appeal of recasting a terrifying subject as an object of ridicule.

Important Cultural Property
Illustrated Merits of the Mantra of Light
One of three handscrolls
Myōō-in Temple, Shiga
Recent Developments in Cultural Property Conservation
July 19–August 20, 2023
Buddhist Paintings|2F-2 gallery
The field of art conservation has become highly specialized, resulting in increased costs. While public funding may partially cover the conservation of designated national or local cultural properties, owners are still responsible for a portion of the expenses. Therefore, it is crucial for owners to fully understand the value of their objects and their conservation needs, including the associated costs.
When privately owned works are entrusted to a museum, curators collaborate with owners to undertake conservation projects. To overcome budget limitations, stakeholders are increasingly turning to donations and crowdfunding. Securing the necessary funding for conservation projects may take several years; however, this process fosters stronger connections between museums, owners, and conservation supporters.

Mandala of the Original Buddhist Forms of the Hie-Sannō Deities
Kyoto Todokai
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
July 19–August 20, 2023
Medieval Paintings|2F-3 gallery
During Japan’s medieval period, Zen Buddhists who traveled to and from China introduced new forms of Buddhist culture to Japan. These included monochrome ink painting and Buddhist images that were employed in distinctive ceremonies. The bodhisattva Kannon became an important symbol of wisdom and compassion in Zen temples, and images of Kannon were incorporated into temple rituals. Early monks created numerous paintings of the White-Robed Kannon, whose iconography played an important role in the development of Japanese ink painting.
Kannon is also associated with water and the ocean. The bodhisattva is believed to have descended to the Pure Land of Mount Potalaka in the southern seas and came to be seen as a guardian deity for merchants and monks who traveled by sea. In this exhibition, the cosmopolitan culture of medieval Japan is evident in the many depictions of Kannon that draw on iconography brought to Japan from mainland East Asia.

Important Cultural Property
White-Robed Kannon (Avalokiteśvara)
Inscription by Tettō Gikō
Shinju-an Temple, Kyoto
Recently Conserved Artworks
July 19–August 20, 2023
Momoyama-Edo Paintings|2F-4 gallery
Cultural properties have long lifespans and need to be conserved periodically to keep them in their best possible condition. Regular deterioration over time, insects, microorganisms, and physical tears and breakage are just some of the many kinds of damage artworks can experience. Conserving objects at the appropriate time is an important mission for museums to ensure works of art can be enjoyed by future generations.
This exhibition presents objects in the care of the museum that were recently conserved. These include screens by Hasegawa Tōhaku (1539–1610) and Kaihō Yūshō (1533–1615), which are being unveiled for the first time after undergoing conservation. Take a walk around the gallery to explore these cultural works as they embark on new chapters in their histories.

Important Cultural Property
Chinese Lion
Attributed to Kanō Sanraku
Honpō-ji Temple, Kyoto
Observations of Living Creatures in Chinese Painting
July 19–August 20, 2023
Chinese Paintings|2F-5 gallery
A crucial element of the painting process is the careful and thorough observation of the subject. It takes substantial practice to go beyond mere resemblance and infuse a subject with a sense of life. Only a skilled artist with a keen eye and a profound understanding of the subject can seemingly effortlessly create paintings that exude an aura of vitality. Such artworks can evoke a strong emotional response in viewers.
This gallery highlights works by Chinese artists depicting familiar plants and animals. The works are striking for their use of color and form, as well as for their brushwork and applications of ink washes. Visitors are invited to consider how the artists’ skillful observations helped them choose how to render their subjects, and how these techniques differ from other painting traditions.

Huddled Geese
By Xu Beihong
Kyoto National Museum
Deities of Buddhist Hell: Jizō and King Enma
June 13–September 18, 2023
Sculpture|1F-1 gallery
Summertime in Japan means the coming of Obon, or the Bon Festival, a tradition rooted in the Indian Ullambana Festival that marks the end of the summer retreat for the Buddhist monastic community. It is an occasion for making offerings to ancestral spirits, but it is also said to be the day when the lids are lifted from the cauldrons of Hell. In Buddhism, Hell is presided over by King Enma, who serves as the judge of the afterlife. Belief in Enma also derives from India, where he was known as Yama, the Hindu god of the underworld. In China, he came to be worshipped alongside Taoist deities, and in Japan he became the leader of the Ten Kings of Hell. In this exhibition, statues of these ten rulers from Jōnen-ji Temple in Kizugawa, who serve as judges of the dead, are featured along with images of Jizō (Skt: Kṣitigarbha), a bodhisattva who rescues souls from the suffering of Hell. These powerful depictions of the fearsome deities of Buddhist Hell may send shivers up your spine!

Important Cultural Property
Seated Jizō (Kṣitigarbha) Bodhisattva in a Portable Shrine
Hō’on-ji Temple, Kyoto
Japanese Sculpture
June 13–September 18, 2023
Sculpture|1F-1 gallery
From ancient times through the Edo period (1615–1868), almost all subjects of Japanese sculpture were religious in nature. After Buddhism was introduced to Japan and became firmly established in the seventh century, the production of Buddhist statues flourished. Buddhist deities and their images often have origins in South Asia or Central Asia, and they were usually transmitted to Japan by way of China, bringing with them a complex array of foreign influences.
One of the distinctive characteristics of Japanese sculpture is its use of wood as a primary material. Various modes of carving and other techniques—including joint-block construction (yosegi-zukuri) and inlaid crystal eyes—were developed in Japan to create these wood images.
Over time, the repeated introduction of new images from the Asian continent contributed to further stylistic transformations and innovations in Japan. The Japanese Buddhist sculptures on view here reflect various styles of different historical periods.
Dyeing and Weaving Techniques: Embroidery
August 2–September 10, 2023
Textiles and Costumes|1F-4 gallery
The act of embroidering designs one stitch at a time was traditionally believed to hold special significance. The repetitive nature of the process and the patient perseverance of the embroiderer were thought to infuse a work with the prayers of the creator or the person who commissioned it. This is why embroidered textiles came to feature prominently in religion, in the performing arts, and on celebratory occasions.
Embroiderers can render free designs in multiple colors without the arduous preparation required for woven and dyed textiles. The thickness of the thread can be used to add depth, and different types of stitches can evoke light and shadow. This exhibition presents embroidered textiles made to embellish special spaces and occasions.

Furisode (Long-Sleeved Kimono) with Stripes and Chrysanthemum Sprigs
Kyoto National Museum
The Art of Adornment: Buddhist Decoration
June 13–September 10, 2023
Metalwork|1F-5 gallery
A distinct feature of Japanese art is its many modes of adornment. Throughout history, artists and craftspeople in Japan have shared the impulse to embellish objects of all types with decorations ranging from geometric patterns to motifs from nature. This décor might be boldly exaggerated or it might be so abbreviated as to require special knowledge to comprehend. This is the first installment in a series of exhibitions that will examine celebrated examples of metalwork used to embellish daily life, to bedeck warriors, and to enhance worship. In this first exhibition, visitors are invited to take a closer look at sacred Japanese decorative art works used to glorify Buddhas and other deities.

Important Cultural Property
Hanging Temple Lantern
Kyoto National Museum
Imported Lacquerware: The Enduring Allure of Karamono
August 2–September 10, 2023
Lacquerware|1F-6 gallery
During the Heian period (794–1185), the word karamono (lit. “Tang things” or “Chinese things”) referred to prestigious objects imported from Tang dynasty (618–907) China. Over time, the term came to be used more broadly for rare objects imported from various foreign regions, including Korea, Southeast Asia, and even the Middle East and Europe. Appreciation of karamono reached a peak during the Muromachi period (1392–1573), when military rulers and Buddhist priests who admired Chinese culture spent fortunes to acquire luxurious imported works. During the economic growth and urbanization of the Edo period (1615–1868), import stores called karamono shops also sold Japanese objects that imitated foreign wares. This gallery features examples of karamono from various countries of origin, which have long been admired in Japan for their exotic appeal.

Incense Container in the Shape of a Buddhist Jewel
Kyoto National Museum
Also On View in the Collection Galleries特別展観覧料が必要
Earthenware Vessels and Dogū Figures of the Jōmon Period
June 20–September 10, 2023
Archaeological Relics|3F-2 gallery
The use of pottery in Japan can be traced back nearly 16,000 years. People living during the Jōmon period (ca. 14,000–ca. 4th c. BCE) made vessels for a variety of different purposes. These came in a multitude of forms, including deep pots for boiling and cooking, vessels for storage, shallow bowls and plates for serving or eating food, vessels with spouts for pouring alcohol or other liquids, and vessels for ritual use. Even earthenware pots with practical functions were rich in variation, featuring large, three-dimensional projections and ornate patterns. In addition to pottery for daily use, the Jōmon people made votive figures from clay called dogū. Most dogū are shaped like women and are thought to have embodied prayers for a good harvest or fertility. This exhibition explores the fascinating culture of the Jōmon period with a special focus on its earthenware vessels and dogū figures.

Spouted Vessel
Reportedly excavated in Aomori
Kyoto National Museum
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
July 19–August 20, 2023
Illustrated Handscrolls|2F-1 gallery
In Buddhist teachings, the paradisal realms of buddhas and heavenly beings are contrasted with the horrors and suffering of the Buddhist hells. People were terrified of falling into hell, and they feared demons (oni), who punished the sinful, and the mischievous, long-nosed tengu, who played tricks on Buddhist monks. Fear was instrumental in deepening people’s faith, but it also inspired creativity, leading to a rich tradition of imagery and tales. Over time, depictions of demons and tengu grew more human-like, taking on comical elements as they suffered ignoble defeat at the hands of their Buddhist adversaries. The scrolls on view in this gallery highlight the enduring appeal of recasting a terrifying subject as an object of ridicule.

Important Cultural Property
Illustrated Merits of the Mantra of Light
One of three handscrolls
Myōō-in Temple, Shiga
Recent Developments in Cultural Property Conservation
July 19–August 20, 2023
Buddhist Paintings|2F-2 gallery
The field of art conservation has become highly specialized, resulting in increased costs. While public funding may partially cover the conservation of designated national or local cultural properties, owners are still responsible for a portion of the expenses. Therefore, it is crucial for owners to fully understand the value of their objects and their conservation needs, including the associated costs.
When privately owned works are entrusted to a museum, curators collaborate with owners to undertake conservation projects. To overcome budget limitations, stakeholders are increasingly turning to donations and crowdfunding. Securing the necessary funding for conservation projects may take several years; however, this process fosters stronger connections between museums, owners, and conservation supporters.

Mandala of the Original Buddhist Forms of the Hie-Sannō Deities
Kyoto Todokai
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
July 19–August 20, 2023
Medieval Paintings|2F-3 gallery
During Japan’s medieval period, Zen Buddhists who traveled to and from China introduced new forms of Buddhist culture to Japan. These included monochrome ink painting and Buddhist images that were employed in distinctive ceremonies. The bodhisattva Kannon became an important symbol of wisdom and compassion in Zen temples, and images of Kannon were incorporated into temple rituals. Early monks created numerous paintings of the White-Robed Kannon, whose iconography played an important role in the development of Japanese ink painting.
Kannon is also associated with water and the ocean. The bodhisattva is believed to have descended to the Pure Land of Mount Potalaka in the southern seas and came to be seen as a guardian deity for merchants and monks who traveled by sea. In this exhibition, the cosmopolitan culture of medieval Japan is evident in the many depictions of Kannon that draw on iconography brought to Japan from mainland East Asia.

Important Cultural Property
White-Robed Kannon (Avalokiteśvara)
Inscription by Tettō Gikō
Shinju-an Temple, Kyoto
Recently Conserved Artworks
July 19–August 20, 2023
Momoyama-Edo Paintings|2F-4 gallery
Cultural properties have long lifespans and need to be conserved periodically to keep them in their best possible condition. Regular deterioration over time, insects, microorganisms, and physical tears and breakage are just some of the many kinds of damage artworks can experience. Conserving objects at the appropriate time is an important mission for museums to ensure works of art can be enjoyed by future generations.
This exhibition presents objects in the care of the museum that were recently conserved. These include screens by Hasegawa Tōhaku (1539–1610) and Kaihō Yūshō (1533–1615), which are being unveiled for the first time after undergoing conservation. Take a walk around the gallery to explore these cultural works as they embark on new chapters in their histories.

Important Cultural Property
Chinese Lion
Attributed to Kanō Sanraku
Honpō-ji Temple, Kyoto
Observations of Living Creatures in Chinese Painting
July 19–August 20, 2023
Chinese Paintings|2F-5 gallery
A crucial element of the painting process is the careful and thorough observation of the subject. It takes substantial practice to go beyond mere resemblance and infuse a subject with a sense of life. Only a skilled artist with a keen eye and a profound understanding of the subject can seemingly effortlessly create paintings that exude an aura of vitality. Such artworks can evoke a strong emotional response in viewers.
This gallery highlights works by Chinese artists depicting familiar plants and animals. The works are striking for their use of color and form, as well as for their brushwork and applications of ink washes. Visitors are invited to consider how the artists’ skillful observations helped them choose how to render their subjects, and how these techniques differ from other painting traditions.

Huddled Geese
By Xu Beihong
Kyoto National Museum
Deities of Buddhist Hell: Jizō and King Enma
June 13–September 18, 2023
Sculpture|1F-1 gallery
Summertime in Japan means the coming of Obon, or the Bon Festival, a tradition rooted in the Indian Ullambana Festival that marks the end of the summer retreat for the Buddhist monastic community. It is an occasion for making offerings to ancestral spirits, but it is also said to be the day when the lids are lifted from the cauldrons of Hell. In Buddhism, Hell is presided over by King Enma, who serves as the judge of the afterlife. Belief in Enma also derives from India, where he was known as Yama, the Hindu god of the underworld. In China, he came to be worshipped alongside Taoist deities, and in Japan he became the leader of the Ten Kings of Hell. In this exhibition, statues of these ten rulers from Jōnen-ji Temple in Kizugawa, who serve as judges of the dead, are featured along with images of Jizō (Skt: Kṣitigarbha), a bodhisattva who rescues souls from the suffering of Hell. These powerful depictions of the fearsome deities of Buddhist Hell may send shivers up your spine!

Important Cultural Property
Seated Jizō (Kṣitigarbha) Bodhisattva in a Portable Shrine
Hō’on-ji Temple, Kyoto
Japanese Sculpture
June 13–September 18, 2023
Sculpture|1F-1 gallery
From ancient times through the Edo period (1615–1868), almost all subjects of Japanese sculpture were religious in nature. After Buddhism was introduced to Japan and became firmly established in the seventh century, the production of Buddhist statues flourished. Buddhist deities and their images often have origins in South Asia or Central Asia, and they were usually transmitted to Japan by way of China, bringing with them a complex array of foreign influences.
One of the distinctive characteristics of Japanese sculpture is its use of wood as a primary material. Various modes of carving and other techniques—including joint-block construction (yosegi-zukuri) and inlaid crystal eyes—were developed in Japan to create these wood images.
Over time, the repeated introduction of new images from the Asian continent contributed to further stylistic transformations and innovations in Japan. The Japanese Buddhist sculptures on view here reflect various styles of different historical periods.
Dyeing and Weaving Techniques: Embroidery
August 2–September 10, 2023
Textiles and Costumes|1F-4 gallery
The act of embroidering designs one stitch at a time was traditionally believed to hold special significance. The repetitive nature of the process and the patient perseverance of the embroiderer were thought to infuse a work with the prayers of the creator or the person who commissioned it. This is why embroidered textiles came to feature prominently in religion, in the performing arts, and on celebratory occasions.
Embroiderers can render free designs in multiple colors without the arduous preparation required for woven and dyed textiles. The thickness of the thread can be used to add depth, and different types of stitches can evoke light and shadow. This exhibition presents embroidered textiles made to embellish special spaces and occasions.

Furisode (Long-Sleeved Kimono) with Stripes and Chrysanthemum Sprigs
Kyoto National Museum
The Art of Adornment: Buddhist Decoration
June 13–September 10, 2023
Metalwork|1F-5 gallery
A distinct feature of Japanese art is its many modes of adornment. Throughout history, artists and craftspeople in Japan have shared the impulse to embellish objects of all types with decorations ranging from geometric patterns to motifs from nature. This décor might be boldly exaggerated or it might be so abbreviated as to require special knowledge to comprehend. This is the first installment in a series of exhibitions that will examine celebrated examples of metalwork used to embellish daily life, to bedeck warriors, and to enhance worship. In this first exhibition, visitors are invited to take a closer look at sacred Japanese decorative art works used to glorify Buddhas and other deities.

Important Cultural Property
Hanging Temple Lantern
Kyoto National Museum
Imported Lacquerware: The Enduring Allure of Karamono
August 2–September 10, 2023
Lacquerware|1F-6 gallery
During the Heian period (794–1185), the word karamono (lit. “Tang things” or “Chinese things”) referred to prestigious objects imported from Tang dynasty (618–907) China. Over time, the term came to be used more broadly for rare objects imported from various foreign regions, including Korea, Southeast Asia, and even the Middle East and Europe. Appreciation of karamono reached a peak during the Muromachi period (1392–1573), when military rulers and Buddhist priests who admired Chinese culture spent fortunes to acquire luxurious imported works. During the economic growth and urbanization of the Edo period (1615–1868), import stores called karamono shops also sold Japanese objects that imitated foreign wares. This gallery features examples of karamono from various countries of origin, which have long been admired in Japan for their exotic appeal.

Incense Container in the Shape of a Buddhist Jewel
Kyoto National Museum
Also On View in the Collection Galleries特別展観覧料が必要
Earthenware Vessels and Dogū Figures of the Jōmon Period
June 20–September 10, 2023
Archaeological Relics|3F-2 gallery
The use of pottery in Japan can be traced back nearly 16,000 years. People living during the Jōmon period (ca. 14,000–ca. 4th c. BCE) made vessels for a variety of different purposes. These came in a multitude of forms, including deep pots for boiling and cooking, vessels for storage, shallow bowls and plates for serving or eating food, vessels with spouts for pouring alcohol or other liquids, and vessels for ritual use. Even earthenware pots with practical functions were rich in variation, featuring large, three-dimensional projections and ornate patterns. In addition to pottery for daily use, the Jōmon people made votive figures from clay called dogū. Most dogū are shaped like women and are thought to have embodied prayers for a good harvest or fertility. This exhibition explores the fascinating culture of the Jōmon period with a special focus on its earthenware vessels and dogū figures.

Spouted Vessel
Reportedly excavated in Aomori
Kyoto National Museum
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
July 19–August 20, 2023
Illustrated Handscrolls|2F-1 gallery
In Buddhist teachings, the paradisal realms of buddhas and heavenly beings are contrasted with the horrors and suffering of the Buddhist hells. People were terrified of falling into hell, and they feared demons (oni), who punished the sinful, and the mischievous, long-nosed tengu, who played tricks on Buddhist monks. Fear was instrumental in deepening people’s faith, but it also inspired creativity, leading to a rich tradition of imagery and tales. Over time, depictions of demons and tengu grew more human-like, taking on comical elements as they suffered ignoble defeat at the hands of their Buddhist adversaries. The scrolls on view in this gallery highlight the enduring appeal of recasting a terrifying subject as an object of ridicule.

Important Cultural Property
Illustrated Merits of the Mantra of Light
One of three handscrolls
Myōō-in Temple, Shiga
Recent Developments in Cultural Property Conservation
July 19–August 20, 2023
Buddhist Paintings|2F-2 gallery
The field of art conservation has become highly specialized, resulting in increased costs. While public funding may partially cover the conservation of designated national or local cultural properties, owners are still responsible for a portion of the expenses. Therefore, it is crucial for owners to fully understand the value of their objects and their conservation needs, including the associated costs.
When privately owned works are entrusted to a museum, curators collaborate with owners to undertake conservation projects. To overcome budget limitations, stakeholders are increasingly turning to donations and crowdfunding. Securing the necessary funding for conservation projects may take several years; however, this process fosters stronger connections between museums, owners, and conservation supporters.

Mandala of the Original Buddhist Forms of the Hie-Sannō Deities
Kyoto Todokai
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
July 19–August 20, 2023
Medieval Paintings|2F-3 gallery
During Japan’s medieval period, Zen Buddhists who traveled to and from China introduced new forms of Buddhist culture to Japan. These included monochrome ink painting and Buddhist images that were employed in distinctive ceremonies. The bodhisattva Kannon became an important symbol of wisdom and compassion in Zen temples, and images of Kannon were incorporated into temple rituals. Early monks created numerous paintings of the White-Robed Kannon, whose iconography played an important role in the development of Japanese ink painting.
Kannon is also associated with water and the ocean. The bodhisattva is believed to have descended to the Pure Land of Mount Potalaka in the southern seas and came to be seen as a guardian deity for merchants and monks who traveled by sea. In this exhibition, the cosmopolitan culture of medieval Japan is evident in the many depictions of Kannon that draw on iconography brought to Japan from mainland East Asia.

Important Cultural Property
White-Robed Kannon (Avalokiteśvara)
Inscription by Tettō Gikō
Shinju-an Temple, Kyoto
Recently Conserved Artworks
July 19–August 20, 2023
Momoyama-Edo Paintings|2F-4 gallery
Cultural properties have long lifespans and need to be conserved periodically to keep them in their best possible condition. Regular deterioration over time, insects, microorganisms, and physical tears and breakage are just some of the many kinds of damage artworks can experience. Conserving objects at the appropriate time is an important mission for museums to ensure works of art can be enjoyed by future generations.
This exhibition presents objects in the care of the museum that were recently conserved. These include screens by Hasegawa Tōhaku (1539–1610) and Kaihō Yūshō (1533–1615), which are being unveiled for the first time after undergoing conservation. Take a walk around the gallery to explore these cultural works as they embark on new chapters in their histories.

Important Cultural Property
Chinese Lion
Attributed to Kanō Sanraku
Honpō-ji Temple, Kyoto
Observations of Living Creatures in Chinese Painting
July 19–August 20, 2023
Chinese Paintings|2F-5 gallery
A crucial element of the painting process is the careful and thorough observation of the subject. It takes substantial practice to go beyond mere resemblance and infuse a subject with a sense of life. Only a skilled artist with a keen eye and a profound understanding of the subject can seemingly effortlessly create paintings that exude an aura of vitality. Such artworks can evoke a strong emotional response in viewers.
This gallery highlights works by Chinese artists depicting familiar plants and animals. The works are striking for their use of color and form, as well as for their brushwork and applications of ink washes. Visitors are invited to consider how the artists’ skillful observations helped them choose how to render their subjects, and how these techniques differ from other painting traditions.

Huddled Geese
By Xu Beihong
Kyoto National Museum
Deities of Buddhist Hell: Jizō and King Enma
June 13–September 18, 2023
Sculpture|1F-1 gallery
Summertime in Japan means the coming of Obon, or the Bon Festival, a tradition rooted in the Indian Ullambana Festival that marks the end of the summer retreat for the Buddhist monastic community. It is an occasion for making offerings to ancestral spirits, but it is also said to be the day when the lids are lifted from the cauldrons of Hell. In Buddhism, Hell is presided over by King Enma, who serves as the judge of the afterlife. Belief in Enma also derives from India, where he was known as Yama, the Hindu god of the underworld. In China, he came to be worshipped alongside Taoist deities, and in Japan he became the leader of the Ten Kings of Hell. In this exhibition, statues of these ten rulers from Jōnen-ji Temple in Kizugawa, who serve as judges of the dead, are featured along with images of Jizō (Skt: Kṣitigarbha), a bodhisattva who rescues souls from the suffering of Hell. These powerful depictions of the fearsome deities of Buddhist Hell may send shivers up your spine!

Important Cultural Property
Seated Jizō (Kṣitigarbha) Bodhisattva in a Portable Shrine
Hō’on-ji Temple, Kyoto
Japanese Sculpture
June 13–September 18, 2023
Sculpture|1F-1 gallery
From ancient times through the Edo period (1615–1868), almost all subjects of Japanese sculpture were religious in nature. After Buddhism was introduced to Japan and became firmly established in the seventh century, the production of Buddhist statues flourished. Buddhist deities and their images often have origins in South Asia or Central Asia, and they were usually transmitted to Japan by way of China, bringing with them a complex array of foreign influences.
One of the distinctive characteristics of Japanese sculpture is its use of wood as a primary material. Various modes of carving and other techniques—including joint-block construction (yosegi-zukuri) and inlaid crystal eyes—were developed in Japan to create these wood images.
Over time, the repeated introduction of new images from the Asian continent contributed to further stylistic transformations and innovations in Japan. The Japanese Buddhist sculptures on view here reflect various styles of different historical periods.
Dyeing and Weaving Techniques: Embroidery
August 2–September 10, 2023
Textiles and Costumes|1F-4 gallery
The act of embroidering designs one stitch at a time was traditionally believed to hold special significance. The repetitive nature of the process and the patient perseverance of the embroiderer were thought to infuse a work with the prayers of the creator or the person who commissioned it. This is why embroidered textiles came to feature prominently in religion, in the performing arts, and on celebratory occasions.
Embroiderers can render free designs in multiple colors without the arduous preparation required for woven and dyed textiles. The thickness of the thread can be used to add depth, and different types of stitches can evoke light and shadow. This exhibition presents embroidered textiles made to embellish special spaces and occasions.

Furisode (Long-Sleeved Kimono) with Stripes and Chrysanthemum Sprigs
Kyoto National Museum
The Art of Adornment: Buddhist Decoration
June 13–September 10, 2023
Metalwork|1F-5 gallery
A distinct feature of Japanese art is its many modes of adornment. Throughout history, artists and craftspeople in Japan have shared the impulse to embellish objects of all types with decorations ranging from geometric patterns to motifs from nature. This décor might be boldly exaggerated or it might be so abbreviated as to require special knowledge to comprehend. This is the first installment in a series of exhibitions that will examine celebrated examples of metalwork used to embellish daily life, to bedeck warriors, and to enhance worship. In this first exhibition, visitors are invited to take a closer look at sacred Japanese decorative art works used to glorify Buddhas and other deities.

Important Cultural Property
Hanging Temple Lantern
Kyoto National Museum
Imported Lacquerware: The Enduring Allure of Karamono
August 2–September 10, 2023
Lacquerware|1F-6 gallery
During the Heian period (794–1185), the word karamono (lit. “Tang things” or “Chinese things”) referred to prestigious objects imported from Tang dynasty (618–907) China. Over time, the term came to be used more broadly for rare objects imported from various foreign regions, including Korea, Southeast Asia, and even the Middle East and Europe. Appreciation of karamono reached a peak during the Muromachi period (1392–1573), when military rulers and Buddhist priests who admired Chinese culture spent fortunes to acquire luxurious imported works. During the economic growth and urbanization of the Edo period (1615–1868), import stores called karamono shops also sold Japanese objects that imitated foreign wares. This gallery features examples of karamono from various countries of origin, which have long been admired in Japan for their exotic appeal.

Incense Container in the Shape of a Buddhist Jewel
Kyoto National Museum
Also On View in the Collection Galleries特別展観覧料が必要
Earthenware Vessels and Dogū Figures of the Jōmon Period
June 20–September 10, 2023
Archaeological Relics|3F-2 gallery
The use of pottery in Japan can be traced back nearly 16,000 years. People living during the Jōmon period (ca. 14,000–ca. 4th c. BCE) made vessels for a variety of different purposes. These came in a multitude of forms, including deep pots for boiling and cooking, vessels for storage, shallow bowls and plates for serving or eating food, vessels with spouts for pouring alcohol or other liquids, and vessels for ritual use. Even earthenware pots with practical functions were rich in variation, featuring large, three-dimensional projections and ornate patterns. In addition to pottery for daily use, the Jōmon people made votive figures from clay called dogū. Most dogū are shaped like women and are thought to have embodied prayers for a good harvest or fertility. This exhibition explores the fascinating culture of the Jōmon period with a special focus on its earthenware vessels and dogū figures.

Spouted Vessel
Reportedly excavated in Aomori
Kyoto National Museum
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
July 19–August 20, 2023
Illustrated Handscrolls|2F-1 gallery
In Buddhist teachings, the paradisal realms of buddhas and heavenly beings are contrasted with the horrors and suffering of the Buddhist hells. People were terrified of falling into hell, and they feared demons (oni), who punished the sinful, and the mischievous, long-nosed tengu, who played tricks on Buddhist monks. Fear was instrumental in deepening people’s faith, but it also inspired creativity, leading to a rich tradition of imagery and tales. Over time, depictions of demons and tengu grew more human-like, taking on comical elements as they suffered ignoble defeat at the hands of their Buddhist adversaries. The scrolls on view in this gallery highlight the enduring appeal of recasting a terrifying subject as an object of ridicule.

Important Cultural Property
Illustrated Merits of the Mantra of Light
One of three handscrolls
Myōō-in Temple, Shiga
Recent Developments in Cultural Property Conservation
July 19–August 20, 2023
Buddhist Paintings|2F-2 gallery
The field of art conservation has become highly specialized, resulting in increased costs. While public funding may partially cover the conservation of designated national or local cultural properties, owners are still responsible for a portion of the expenses. Therefore, it is crucial for owners to fully understand the value of their objects and their conservation needs, including the associated costs.
When privately owned works are entrusted to a museum, curators collaborate with owners to undertake conservation projects. To overcome budget limitations, stakeholders are increasingly turning to donations and crowdfunding. Securing the necessary funding for conservation projects may take several years; however, this process fosters stronger connections between museums, owners, and conservation supporters.

Mandala of the Original Buddhist Forms of the Hie-Sannō Deities
Kyoto Todokai
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
July 19–August 20, 2023
Medieval Paintings|2F-3 gallery
During Japan’s medieval period, Zen Buddhists who traveled to and from China introduced new forms of Buddhist culture to Japan. These included monochrome ink painting and Buddhist images that were employed in distinctive ceremonies. The bodhisattva Kannon became an important symbol of wisdom and compassion in Zen temples, and images of Kannon were incorporated into temple rituals. Early monks created numerous paintings of the White-Robed Kannon, whose iconography played an important role in the development of Japanese ink painting.
Kannon is also associated with water and the ocean. The bodhisattva is believed to have descended to the Pure Land of Mount Potalaka in the southern seas and came to be seen as a guardian deity for merchants and monks who traveled by sea. In this exhibition, the cosmopolitan culture of medieval Japan is evident in the many depictions of Kannon that draw on iconography brought to Japan from mainland East Asia.

Important Cultural Property
White-Robed Kannon (Avalokiteśvara)
Inscription by Tettō Gikō
Shinju-an Temple, Kyoto
Recently Conserved Artworks
July 19–August 20, 2023
Momoyama-Edo Paintings|2F-4 gallery
Cultural properties have long lifespans and need to be conserved periodically to keep them in their best possible condition. Regular deterioration over time, insects, microorganisms, and physical tears and breakage are just some of the many kinds of damage artworks can experience. Conserving objects at the appropriate time is an important mission for museums to ensure works of art can be enjoyed by future generations.
This exhibition presents objects in the care of the museum that were recently conserved. These include screens by Hasegawa Tōhaku (1539–1610) and Kaihō Yūshō (1533–1615), which are being unveiled for the first time after undergoing conservation. Take a walk around the gallery to explore these cultural works as they embark on new chapters in their histories.

Important Cultural Property
Chinese Lion
Attributed to Kanō Sanraku
Honpō-ji Temple, Kyoto
Observations of Living Creatures in Chinese Painting
July 19–August 20, 2023
Chinese Paintings|2F-5 gallery
A crucial element of the painting process is the careful and thorough observation of the subject. It takes substantial practice to go beyond mere resemblance and infuse a subject with a sense of life. Only a skilled artist with a keen eye and a profound understanding of the subject can seemingly effortlessly create paintings that exude an aura of vitality. Such artworks can evoke a strong emotional response in viewers.
This gallery highlights works by Chinese artists depicting familiar plants and animals. The works are striking for their use of color and form, as well as for their brushwork and applications of ink washes. Visitors are invited to consider how the artists’ skillful observations helped them choose how to render their subjects, and how these techniques differ from other painting traditions.

Huddled Geese
By Xu Beihong
Kyoto National Museum
Deities of Buddhist Hell: Jizō and King Enma
June 13–September 18, 2023
Sculpture|1F-1 gallery
Summertime in Japan means the coming of Obon, or the Bon Festival, a tradition rooted in the Indian Ullambana Festival that marks the end of the summer retreat for the Buddhist monastic community. It is an occasion for making offerings to ancestral spirits, but it is also said to be the day when the lids are lifted from the cauldrons of Hell. In Buddhism, Hell is presided over by King Enma, who serves as the judge of the afterlife. Belief in Enma also derives from India, where he was known as Yama, the Hindu god of the underworld. In China, he came to be worshipped alongside Taoist deities, and in Japan he became the leader of the Ten Kings of Hell. In this exhibition, statues of these ten rulers from Jōnen-ji Temple in Kizugawa, who serve as judges of the dead, are featured along with images of Jizō (Skt: Kṣitigarbha), a bodhisattva who rescues souls from the suffering of Hell. These powerful depictions of the fearsome deities of Buddhist Hell may send shivers up your spine!

Important Cultural Property
Seated Jizō (Kṣitigarbha) Bodhisattva in a Portable Shrine
Hō’on-ji Temple, Kyoto
Japanese Sculpture
June 13–September 18, 2023
Sculpture|1F-1 gallery
From ancient times through the Edo period (1615–1868), almost all subjects of Japanese sculpture were religious in nature. After Buddhism was introduced to Japan and became firmly established in the seventh century, the production of Buddhist statues flourished. Buddhist deities and their images often have origins in South Asia or Central Asia, and they were usually transmitted to Japan by way of China, bringing with them a complex array of foreign influences.
One of the distinctive characteristics of Japanese sculpture is its use of wood as a primary material. Various modes of carving and other techniques—including joint-block construction (yosegi-zukuri) and inlaid crystal eyes—were developed in Japan to create these wood images.
Over time, the repeated introduction of new images from the Asian continent contributed to further stylistic transformations and innovations in Japan. The Japanese Buddhist sculptures on view here reflect various styles of different historical periods.
Dyeing and Weaving Techniques: Embroidery
August 2–September 10, 2023
Textiles and Costumes|1F-4 gallery
The act of embroidering designs one stitch at a time was traditionally believed to hold special significance. The repetitive nature of the process and the patient perseverance of the embroiderer were thought to infuse a work with the prayers of the creator or the person who commissioned it. This is why embroidered textiles came to feature prominently in religion, in the performing arts, and on celebratory occasions.
Embroiderers can render free designs in multiple colors without the arduous preparation required for woven and dyed textiles. The thickness of the thread can be used to add depth, and different types of stitches can evoke light and shadow. This exhibition presents embroidered textiles made to embellish special spaces and occasions.

Furisode (Long-Sleeved Kimono) with Stripes and Chrysanthemum Sprigs
Kyoto National Museum
The Art of Adornment: Buddhist Decoration
June 13–September 10, 2023
Metalwork|1F-5 gallery
A distinct feature of Japanese art is its many modes of adornment. Throughout history, artists and craftspeople in Japan have shared the impulse to embellish objects of all types with decorations ranging from geometric patterns to motifs from nature. This décor might be boldly exaggerated or it might be so abbreviated as to require special knowledge to comprehend. This is the first installment in a series of exhibitions that will examine celebrated examples of metalwork used to embellish daily life, to bedeck warriors, and to enhance worship. In this first exhibition, visitors are invited to take a closer look at sacred Japanese decorative art works used to glorify Buddhas and other deities.

Important Cultural Property
Hanging Temple Lantern
Kyoto National Museum
Imported Lacquerware: The Enduring Allure of Karamono
August 2–September 10, 2023
Lacquerware|1F-6 gallery
During the Heian period (794–1185), the word karamono (lit. “Tang things” or “Chinese things”) referred to prestigious objects imported from Tang dynasty (618–907) China. Over time, the term came to be used more broadly for rare objects imported from various foreign regions, including Korea, Southeast Asia, and even the Middle East and Europe. Appreciation of karamono reached a peak during the Muromachi period (1392–1573), when military rulers and Buddhist priests who admired Chinese culture spent fortunes to acquire luxurious imported works. During the economic growth and urbanization of the Edo period (1615–1868), import stores called karamono shops also sold Japanese objects that imitated foreign wares. This gallery features examples of karamono from various countries of origin, which have long been admired in Japan for their exotic appeal.

Incense Container in the Shape of a Buddhist Jewel
Kyoto National Museum
Also On View in the Collection Galleries特別展観覧料が必要
Earthenware Vessels and Dogū Figures of the Jōmon Period
June 20–September 10, 2023
Archaeological Relics|3F-2 gallery
The use of pottery in Japan can be traced back nearly 16,000 years. People living during the Jōmon period (ca. 14,000–ca. 4th c. BCE) made vessels for a variety of different purposes. These came in a multitude of forms, including deep pots for boiling and cooking, vessels for storage, shallow bowls and plates for serving or eating food, vessels with spouts for pouring alcohol or other liquids, and vessels for ritual use. Even earthenware pots with practical functions were rich in variation, featuring large, three-dimensional projections and ornate patterns. In addition to pottery for daily use, the Jōmon people made votive figures from clay called dogū. Most dogū are shaped like women and are thought to have embodied prayers for a good harvest or fertility. This exhibition explores the fascinating culture of the Jōmon period with a special focus on its earthenware vessels and dogū figures.

Spouted Vessel
Reportedly excavated in Aomori
Kyoto National Museum
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
July 19–August 20, 2023
Illustrated Handscrolls|2F-1 gallery
In Buddhist teachings, the paradisal realms of buddhas and heavenly beings are contrasted with the horrors and suffering of the Buddhist hells. People were terrified of falling into hell, and they feared demons (oni), who punished the sinful, and the mischievous, long-nosed tengu, who played tricks on Buddhist monks. Fear was instrumental in deepening people’s faith, but it also inspired creativity, leading to a rich tradition of imagery and tales. Over time, depictions of demons and tengu grew more human-like, taking on comical elements as they suffered ignoble defeat at the hands of their Buddhist adversaries. The scrolls on view in this gallery highlight the enduring appeal of recasting a terrifying subject as an object of ridicule.

Important Cultural Property
Illustrated Merits of the Mantra of Light
One of three handscrolls
Myōō-in Temple, Shiga
Recent Developments in Cultural Property Conservation
July 19–August 20, 2023
Buddhist Paintings|2F-2 gallery
The field of art conservation has become highly specialized, resulting in increased costs. While public funding may partially cover the conservation of designated national or local cultural properties, owners are still responsible for a portion of the expenses. Therefore, it is crucial for owners to fully understand the value of their objects and their conservation needs, including the associated costs.
When privately owned works are entrusted to a museum, curators collaborate with owners to undertake conservation projects. To overcome budget limitations, stakeholders are increasingly turning to donations and crowdfunding. Securing the necessary funding for conservation projects may take several years; however, this process fosters stronger connections between museums, owners, and conservation supporters.

Mandala of the Original Buddhist Forms of the Hie-Sannō Deities
Kyoto Todokai
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
July 19–August 20, 2023
Medieval Paintings|2F-3 gallery
During Japan’s medieval period, Zen Buddhists who traveled to and from China introduced new forms of Buddhist culture to Japan. These included monochrome ink painting and Buddhist images that were employed in distinctive ceremonies. The bodhisattva Kannon became an important symbol of wisdom and compassion in Zen temples, and images of Kannon were incorporated into temple rituals. Early monks created numerous paintings of the White-Robed Kannon, whose iconography played an important role in the development of Japanese ink painting.
Kannon is also associated with water and the ocean. The bodhisattva is believed to have descended to the Pure Land of Mount Potalaka in the southern seas and came to be seen as a guardian deity for merchants and monks who traveled by sea. In this exhibition, the cosmopolitan culture of medieval Japan is evident in the many depictions of Kannon that draw on iconography brought to Japan from mainland East Asia.

Important Cultural Property
White-Robed Kannon (Avalokiteśvara)
Inscription by Tettō Gikō
Shinju-an Temple, Kyoto
Recently Conserved Artworks
July 19–August 20, 2023
Momoyama-Edo Paintings|2F-4 gallery
Cultural properties have long lifespans and need to be conserved periodically to keep them in their best possible condition. Regular deterioration over time, insects, microorganisms, and physical tears and breakage are just some of the many kinds of damage artworks can experience. Conserving objects at the appropriate time is an important mission for museums to ensure works of art can be enjoyed by future generations.
This exhibition presents objects in the care of the museum that were recently conserved. These include screens by Hasegawa Tōhaku (1539–1610) and Kaihō Yūshō (1533–1615), which are being unveiled for the first time after undergoing conservation. Take a walk around the gallery to explore these cultural works as they embark on new chapters in their histories.

Important Cultural Property
Chinese Lion
Attributed to Kanō Sanraku
Honpō-ji Temple, Kyoto
Observations of Living Creatures in Chinese Painting
July 19–August 20, 2023
Chinese Paintings|2F-5 gallery
A crucial element of the painting process is the careful and thorough observation of the subject. It takes substantial practice to go beyond mere resemblance and infuse a subject with a sense of life. Only a skilled artist with a keen eye and a profound understanding of the subject can seemingly effortlessly create paintings that exude an aura of vitality. Such artworks can evoke a strong emotional response in viewers.
This gallery highlights works by Chinese artists depicting familiar plants and animals. The works are striking for their use of color and form, as well as for their brushwork and applications of ink washes. Visitors are invited to consider how the artists’ skillful observations helped them choose how to render their subjects, and how these techniques differ from other painting traditions.

Huddled Geese
By Xu Beihong
Kyoto National Museum
Deities of Buddhist Hell: Jizō and King Enma
June 13–September 18, 2023
Sculpture|1F-1 gallery
Summertime in Japan means the coming of Obon, or the Bon Festival, a tradition rooted in the Indian Ullambana Festival that marks the end of the summer retreat for the Buddhist monastic community. It is an occasion for making offerings to ancestral spirits, but it is also said to be the day when the lids are lifted from the cauldrons of Hell. In Buddhism, Hell is presided over by King Enma, who serves as the judge of the afterlife. Belief in Enma also derives from India, where he was known as Yama, the Hindu god of the underworld. In China, he came to be worshipped alongside Taoist deities, and in Japan he became the leader of the Ten Kings of Hell. In this exhibition, statues of these ten rulers from Jōnen-ji Temple in Kizugawa, who serve as judges of the dead, are featured along with images of Jizō (Skt: Kṣitigarbha), a bodhisattva who rescues souls from the suffering of Hell. These powerful depictions of the fearsome deities of Buddhist Hell may send shivers up your spine!

Important Cultural Property
Seated Jizō (Kṣitigarbha) Bodhisattva in a Portable Shrine
Hō’on-ji Temple, Kyoto
Japanese Sculpture
June 13–September 18, 2023
Sculpture|1F-1 gallery
From ancient times through the Edo period (1615–1868), almost all subjects of Japanese sculpture were religious in nature. After Buddhism was introduced to Japan and became firmly established in the seventh century, the production of Buddhist statues flourished. Buddhist deities and their images often have origins in South Asia or Central Asia, and they were usually transmitted to Japan by way of China, bringing with them a complex array of foreign influences.
One of the distinctive characteristics of Japanese sculpture is its use of wood as a primary material. Various modes of carving and other techniques—including joint-block construction (yosegi-zukuri) and inlaid crystal eyes—were developed in Japan to create these wood images.
Over time, the repeated introduction of new images from the Asian continent contributed to further stylistic transformations and innovations in Japan. The Japanese Buddhist sculptures on view here reflect various styles of different historical periods.
Dyeing and Weaving Techniques: Embroidery
August 2–September 10, 2023
Textiles and Costumes|1F-4 gallery
The act of embroidering designs one stitch at a time was traditionally believed to hold special significance. The repetitive nature of the process and the patient perseverance of the embroiderer were thought to infuse a work with the prayers of the creator or the person who commissioned it. This is why embroidered textiles came to feature prominently in religion, in the performing arts, and on celebratory occasions.
Embroiderers can render free designs in multiple colors without the arduous preparation required for woven and dyed textiles. The thickness of the thread can be used to add depth, and different types of stitches can evoke light and shadow. This exhibition presents embroidered textiles made to embellish special spaces and occasions.

Furisode (Long-Sleeved Kimono) with Stripes and Chrysanthemum Sprigs
Kyoto National Museum
The Art of Adornment: Buddhist Decoration
June 13–September 10, 2023
Metalwork|1F-5 gallery
A distinct feature of Japanese art is its many modes of adornment. Throughout history, artists and craftspeople in Japan have shared the impulse to embellish objects of all types with decorations ranging from geometric patterns to motifs from nature. This décor might be boldly exaggerated or it might be so abbreviated as to require special knowledge to comprehend. This is the first installment in a series of exhibitions that will examine celebrated examples of metalwork used to embellish daily life, to bedeck warriors, and to enhance worship. In this first exhibition, visitors are invited to take a closer look at sacred Japanese decorative art works used to glorify Buddhas and other deities.

Important Cultural Property
Hanging Temple Lantern
Kyoto National Museum
Imported Lacquerware: The Enduring Allure of Karamono
August 2–September 10, 2023
Lacquerware|1F-6 gallery
During the Heian period (794–1185), the word karamono (lit. “Tang things” or “Chinese things”) referred to prestigious objects imported from Tang dynasty (618–907) China. Over time, the term came to be used more broadly for rare objects imported from various foreign regions, including Korea, Southeast Asia, and even the Middle East and Europe. Appreciation of karamono reached a peak during the Muromachi period (1392–1573), when military rulers and Buddhist priests who admired Chinese culture spent fortunes to acquire luxurious imported works. During the economic growth and urbanization of the Edo period (1615–1868), import stores called karamono shops also sold Japanese objects that imitated foreign wares. This gallery features examples of karamono from various countries of origin, which have long been admired in Japan for their exotic appeal.

Incense Container in the Shape of a Buddhist Jewel
Kyoto National Museum
Also On View in the Collection Galleries特別展観覧料が必要
Earthenware Vessels and Dogū Figures of the Jōmon Period
June 20–September 10, 2023
Archaeological Relics|3F-2 gallery
The use of pottery in Japan can be traced back nearly 16,000 years. People living during the Jōmon period (ca. 14,000–ca. 4th c. BCE) made vessels for a variety of different purposes. These came in a multitude of forms, including deep pots for boiling and cooking, vessels for storage, shallow bowls and plates for serving or eating food, vessels with spouts for pouring alcohol or other liquids, and vessels for ritual use. Even earthenware pots with practical functions were rich in variation, featuring large, three-dimensional projections and ornate patterns. In addition to pottery for daily use, the Jōmon people made votive figures from clay called dogū. Most dogū are shaped like women and are thought to have embodied prayers for a good harvest or fertility. This exhibition explores the fascinating culture of the Jōmon period with a special focus on its earthenware vessels and dogū figures.

Spouted Vessel
Reportedly excavated in Aomori
Kyoto National Museum
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
July 19–August 20, 2023
Illustrated Handscrolls|2F-1 gallery
In Buddhist teachings, the paradisal realms of buddhas and heavenly beings are contrasted with the horrors and suffering of the Buddhist hells. People were terrified of falling into hell, and they feared demons (oni), who punished the sinful, and the mischievous, long-nosed tengu, who played tricks on Buddhist monks. Fear was instrumental in deepening people’s faith, but it also inspired creativity, leading to a rich tradition of imagery and tales. Over time, depictions of demons and tengu grew more human-like, taking on comical elements as they suffered ignoble defeat at the hands of their Buddhist adversaries. The scrolls on view in this gallery highlight the enduring appeal of recasting a terrifying subject as an object of ridicule.

Important Cultural Property
Illustrated Merits of the Mantra of Light
One of three handscrolls
Myōō-in Temple, Shiga
Recent Developments in Cultural Property Conservation
July 19–August 20, 2023
Buddhist Paintings|2F-2 gallery
The field of art conservation has become highly specialized, resulting in increased costs. While public funding may partially cover the conservation of designated national or local cultural properties, owners are still responsible for a portion of the expenses. Therefore, it is crucial for owners to fully understand the value of their objects and their conservation needs, including the associated costs.
When privately owned works are entrusted to a museum, curators collaborate with owners to undertake conservation projects. To overcome budget limitations, stakeholders are increasingly turning to donations and crowdfunding. Securing the necessary funding for conservation projects may take several years; however, this process fosters stronger connections between museums, owners, and conservation supporters.

Mandala of the Original Buddhist Forms of the Hie-Sannō Deities
Kyoto Todokai
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
July 19–August 20, 2023
Medieval Paintings|2F-3 gallery
During Japan’s medieval period, Zen Buddhists who traveled to and from China introduced new forms of Buddhist culture to Japan. These included monochrome ink painting and Buddhist images that were employed in distinctive ceremonies. The bodhisattva Kannon became an important symbol of wisdom and compassion in Zen temples, and images of Kannon were incorporated into temple rituals. Early monks created numerous paintings of the White-Robed Kannon, whose iconography played an important role in the development of Japanese ink painting.
Kannon is also associated with water and the ocean. The bodhisattva is believed to have descended to the Pure Land of Mount Potalaka in the southern seas and came to be seen as a guardian deity for merchants and monks who traveled by sea. In this exhibition, the cosmopolitan culture of medieval Japan is evident in the many depictions of Kannon that draw on iconography brought to Japan from mainland East Asia.

Important Cultural Property
White-Robed Kannon (Avalokiteśvara)
Inscription by Tettō Gikō
Shinju-an Temple, Kyoto
Recently Conserved Artworks
July 19–August 20, 2023
Momoyama-Edo Paintings|2F-4 gallery
Cultural properties have long lifespans and need to be conserved periodically to keep them in their best possible condition. Regular deterioration over time, insects, microorganisms, and physical tears and breakage are just some of the many kinds of damage artworks can experience. Conserving objects at the appropriate time is an important mission for museums to ensure works of art can be enjoyed by future generations.
This exhibition presents objects in the care of the museum that were recently conserved. These include screens by Hasegawa Tōhaku (1539–1610) and Kaihō Yūshō (1533–1615), which are being unveiled for the first time after undergoing conservation. Take a walk around the gallery to explore these cultural works as they embark on new chapters in their histories.

Important Cultural Property
Chinese Lion
Attributed to Kanō Sanraku
Honpō-ji Temple, Kyoto
Observations of Living Creatures in Chinese Painting
July 19–August 20, 2023
Chinese Paintings|2F-5 gallery
A crucial element of the painting process is the careful and thorough observation of the subject. It takes substantial practice to go beyond mere resemblance and infuse a subject with a sense of life. Only a skilled artist with a keen eye and a profound understanding of the subject can seemingly effortlessly create paintings that exude an aura of vitality. Such artworks can evoke a strong emotional response in viewers.
This gallery highlights works by Chinese artists depicting familiar plants and animals. The works are striking for their use of color and form, as well as for their brushwork and applications of ink washes. Visitors are invited to consider how the artists’ skillful observations helped them choose how to render their subjects, and how these techniques differ from other painting traditions.

Huddled Geese
By Xu Beihong
Kyoto National Museum
Deities of Buddhist Hell: Jizō and King Enma
June 13–September 18, 2023
Sculpture|1F-1 gallery
Summertime in Japan means the coming of Obon, or the Bon Festival, a tradition rooted in the Indian Ullambana Festival that marks the end of the summer retreat for the Buddhist monastic community. It is an occasion for making offerings to ancestral spirits, but it is also said to be the day when the lids are lifted from the cauldrons of Hell. In Buddhism, Hell is presided over by King Enma, who serves as the judge of the afterlife. Belief in Enma also derives from India, where he was known as Yama, the Hindu god of the underworld. In China, he came to be worshipped alongside Taoist deities, and in Japan he became the leader of the Ten Kings of Hell. In this exhibition, statues of these ten rulers from Jōnen-ji Temple in Kizugawa, who serve as judges of the dead, are featured along with images of Jizō (Skt: Kṣitigarbha), a bodhisattva who rescues souls from the suffering of Hell. These powerful depictions of the fearsome deities of Buddhist Hell may send shivers up your spine!

Important Cultural Property
Seated Jizō (Kṣitigarbha) Bodhisattva in a Portable Shrine
Hō’on-ji Temple, Kyoto
Japanese Sculpture
June 13–September 18, 2023
Sculpture|1F-1 gallery
From ancient times through the Edo period (1615–1868), almost all subjects of Japanese sculpture were religious in nature. After Buddhism was introduced to Japan and became firmly established in the seventh century, the production of Buddhist statues flourished. Buddhist deities and their images often have origins in South Asia or Central Asia, and they were usually transmitted to Japan by way of China, bringing with them a complex array of foreign influences.
One of the distinctive characteristics of Japanese sculpture is its use of wood as a primary material. Various modes of carving and other techniques—including joint-block construction (yosegi-zukuri) and inlaid crystal eyes—were developed in Japan to create these wood images.
Over time, the repeated introduction of new images from the Asian continent contributed to further stylistic transformations and innovations in Japan. The Japanese Buddhist sculptures on view here reflect various styles of different historical periods.
Dyeing and Weaving Techniques: Embroidery
August 2–September 10, 2023
Textiles and Costumes|1F-4 gallery
The act of embroidering designs one stitch at a time was traditionally believed to hold special significance. The repetitive nature of the process and the patient perseverance of the embroiderer were thought to infuse a work with the prayers of the creator or the person who commissioned it. This is why embroidered textiles came to feature prominently in religion, in the performing arts, and on celebratory occasions.
Embroiderers can render free designs in multiple colors without the arduous preparation required for woven and dyed textiles. The thickness of the thread can be used to add depth, and different types of stitches can evoke light and shadow. This exhibition presents embroidered textiles made to embellish special spaces and occasions.

Furisode (Long-Sleeved Kimono) with Stripes and Chrysanthemum Sprigs
Kyoto National Museum
The Art of Adornment: Buddhist Decoration
June 13–September 10, 2023
Metalwork|1F-5 gallery
A distinct feature of Japanese art is its many modes of adornment. Throughout history, artists and craftspeople in Japan have shared the impulse to embellish objects of all types with decorations ranging from geometric patterns to motifs from nature. This décor might be boldly exaggerated or it might be so abbreviated as to require special knowledge to comprehend. This is the first installment in a series of exhibitions that will examine celebrated examples of metalwork used to embellish daily life, to bedeck warriors, and to enhance worship. In this first exhibition, visitors are invited to take a closer look at sacred Japanese decorative art works used to glorify Buddhas and other deities.

Important Cultural Property
Hanging Temple Lantern
Kyoto National Museum
Imported Lacquerware: The Enduring Allure of Karamono
August 2–September 10, 2023
Lacquerware|1F-6 gallery
During the Heian period (794–1185), the word karamono (lit. “Tang things” or “Chinese things”) referred to prestigious objects imported from Tang dynasty (618–907) China. Over time, the term came to be used more broadly for rare objects imported from various foreign regions, including Korea, Southeast Asia, and even the Middle East and Europe. Appreciation of karamono reached a peak during the Muromachi period (1392–1573), when military rulers and Buddhist priests who admired Chinese culture spent fortunes to acquire luxurious imported works. During the economic growth and urbanization of the Edo period (1615–1868), import stores called karamono shops also sold Japanese objects that imitated foreign wares. This gallery features examples of karamono from various countries of origin, which have long been admired in Japan for their exotic appeal.

Incense Container in the Shape of a Buddhist Jewel
Kyoto National Museum
Also On View in the Collection Galleries特別展観覧料が必要
Earthenware Vessels and Dogū Figures of the Jōmon Period
June 20–September 10, 2023
Archaeological Relics|3F-2 gallery
The use of pottery in Japan can be traced back nearly 16,000 years. People living during the Jōmon period (ca. 14,000–ca. 4th c. BCE) made vessels for a variety of different purposes. These came in a multitude of forms, including deep pots for boiling and cooking, vessels for storage, shallow bowls and plates for serving or eating food, vessels with spouts for pouring alcohol or other liquids, and vessels for ritual use. Even earthenware pots with practical functions were rich in variation, featuring large, three-dimensional projections and ornate patterns. In addition to pottery for daily use, the Jōmon people made votive figures from clay called dogū. Most dogū are shaped like women and are thought to have embodied prayers for a good harvest or fertility. This exhibition explores the fascinating culture of the Jōmon period with a special focus on its earthenware vessels and dogū figures.

Spouted Vessel
Reportedly excavated in Aomori
Kyoto National Museum
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
July 19–August 20, 2023
Illustrated Handscrolls|2F-1 gallery
In Buddhist teachings, the paradisal realms of buddhas and heavenly beings are contrasted with the horrors and suffering of the Buddhist hells. People were terrified of falling into hell, and they feared demons (oni), who punished the sinful, and the mischievous, long-nosed tengu, who played tricks on Buddhist monks. Fear was instrumental in deepening people’s faith, but it also inspired creativity, leading to a rich tradition of imagery and tales. Over time, depictions of demons and tengu grew more human-like, taking on comical elements as they suffered ignoble defeat at the hands of their Buddhist adversaries. The scrolls on view in this gallery highlight the enduring appeal of recasting a terrifying subject as an object of ridicule.

Important Cultural Property
Illustrated Merits of the Mantra of Light
One of three handscrolls
Myōō-in Temple, Shiga
Recent Developments in Cultural Property Conservation
July 19–August 20, 2023
Buddhist Paintings|2F-2 gallery
The field of art conservation has become highly specialized, resulting in increased costs. While public funding may partially cover the conservation of designated national or local cultural properties, owners are still responsible for a portion of the expenses. Therefore, it is crucial for owners to fully understand the value of their objects and their conservation needs, including the associated costs.
When privately owned works are entrusted to a museum, curators collaborate with owners to undertake conservation projects. To overcome budget limitations, stakeholders are increasingly turning to donations and crowdfunding. Securing the necessary funding for conservation projects may take several years; however, this process fosters stronger connections between museums, owners, and conservation supporters.

Mandala of the Original Buddhist Forms of the Hie-Sannō Deities
Kyoto Todokai
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
July 19–August 20, 2023
Medieval Paintings|2F-3 gallery
During Japan’s medieval period, Zen Buddhists who traveled to and from China introduced new forms of Buddhist culture to Japan. These included monochrome ink painting and Buddhist images that were employed in distinctive ceremonies. The bodhisattva Kannon became an important symbol of wisdom and compassion in Zen temples, and images of Kannon were incorporated into temple rituals. Early monks created numerous paintings of the White-Robed Kannon, whose iconography played an important role in the development of Japanese ink painting.
Kannon is also associated with water and the ocean. The bodhisattva is believed to have descended to the Pure Land of Mount Potalaka in the southern seas and came to be seen as a guardian deity for merchants and monks who traveled by sea. In this exhibition, the cosmopolitan culture of medieval Japan is evident in the many depictions of Kannon that draw on iconography brought to Japan from mainland East Asia.

Important Cultural Property
White-Robed Kannon (Avalokiteśvara)
Inscription by Tettō Gikō
Shinju-an Temple, Kyoto
Recently Conserved Artworks
July 19–August 20, 2023
Momoyama-Edo Paintings|2F-4 gallery
Cultural properties have long lifespans and need to be conserved periodically to keep them in their best possible condition. Regular deterioration over time, insects, microorganisms, and physical tears and breakage are just some of the many kinds of damage artworks can experience. Conserving objects at the appropriate time is an important mission for museums to ensure works of art can be enjoyed by future generations.
This exhibition presents objects in the care of the museum that were recently conserved. These include screens by Hasegawa Tōhaku (1539–1610) and Kaihō Yūshō (1533–1615), which are being unveiled for the first time after undergoing conservation. Take a walk around the gallery to explore these cultural works as they embark on new chapters in their histories.

Important Cultural Property
Chinese Lion
Attributed to Kanō Sanraku
Honpō-ji Temple, Kyoto
Observations of Living Creatures in Chinese Painting
July 19–August 20, 2023
Chinese Paintings|2F-5 gallery
A crucial element of the painting process is the careful and thorough observation of the subject. It takes substantial practice to go beyond mere resemblance and infuse a subject with a sense of life. Only a skilled artist with a keen eye and a profound understanding of the subject can seemingly effortlessly create paintings that exude an aura of vitality. Such artworks can evoke a strong emotional response in viewers.
This gallery highlights works by Chinese artists depicting familiar plants and animals. The works are striking for their use of color and form, as well as for their brushwork and applications of ink washes. Visitors are invited to consider how the artists’ skillful observations helped them choose how to render their subjects, and how these techniques differ from other painting traditions.

Huddled Geese
By Xu Beihong
Kyoto National Museum
Deities of Buddhist Hell: Jizō and King Enma
June 13–September 18, 2023
Sculpture|1F-1 gallery
Summertime in Japan means the coming of Obon, or the Bon Festival, a tradition rooted in the Indian Ullambana Festival that marks the end of the summer retreat for the Buddhist monastic community. It is an occasion for making offerings to ancestral spirits, but it is also said to be the day when the lids are lifted from the cauldrons of Hell. In Buddhism, Hell is presided over by King Enma, who serves as the judge of the afterlife. Belief in Enma also derives from India, where he was known as Yama, the Hindu god of the underworld. In China, he came to be worshipped alongside Taoist deities, and in Japan he became the leader of the Ten Kings of Hell. In this exhibition, statues of these ten rulers from Jōnen-ji Temple in Kizugawa, who serve as judges of the dead, are featured along with images of Jizō (Skt: Kṣitigarbha), a bodhisattva who rescues souls from the suffering of Hell. These powerful depictions of the fearsome deities of Buddhist Hell may send shivers up your spine!

Important Cultural Property
Seated Jizō (Kṣitigarbha) Bodhisattva in a Portable Shrine
Hō’on-ji Temple, Kyoto
Japanese Sculpture
June 13–September 18, 2023
Sculpture|1F-1 gallery
From ancient times through the Edo period (1615–1868), almost all subjects of Japanese sculpture were religious in nature. After Buddhism was introduced to Japan and became firmly established in the seventh century, the production of Buddhist statues flourished. Buddhist deities and their images often have origins in South Asia or Central Asia, and they were usually transmitted to Japan by way of China, bringing with them a complex array of foreign influences.
One of the distinctive characteristics of Japanese sculpture is its use of wood as a primary material. Various modes of carving and other techniques—including joint-block construction (yosegi-zukuri) and inlaid crystal eyes—were developed in Japan to create these wood images.
Over time, the repeated introduction of new images from the Asian continent contributed to further stylistic transformations and innovations in Japan. The Japanese Buddhist sculptures on view here reflect various styles of different historical periods.
Dyeing and Weaving Techniques: Embroidery
August 2–September 10, 2023
Textiles and Costumes|1F-4 gallery
The act of embroidering designs one stitch at a time was traditionally believed to hold special significance. The repetitive nature of the process and the patient perseverance of the embroiderer were thought to infuse a work with the prayers of the creator or the person who commissioned it. This is why embroidered textiles came to feature prominently in religion, in the performing arts, and on celebratory occasions.
Embroiderers can render free designs in multiple colors without the arduous preparation required for woven and dyed textiles. The thickness of the thread can be used to add depth, and different types of stitches can evoke light and shadow. This exhibition presents embroidered textiles made to embellish special spaces and occasions.

Furisode (Long-Sleeved Kimono) with Stripes and Chrysanthemum Sprigs
Kyoto National Museum
The Art of Adornment: Buddhist Decoration
June 13–September 10, 2023
Metalwork|1F-5 gallery
A distinct feature of Japanese art is its many modes of adornment. Throughout history, artists and craftspeople in Japan have shared the impulse to embellish objects of all types with decorations ranging from geometric patterns to motifs from nature. This décor might be boldly exaggerated or it might be so abbreviated as to require special knowledge to comprehend. This is the first installment in a series of exhibitions that will examine celebrated examples of metalwork used to embellish daily life, to bedeck warriors, and to enhance worship. In this first exhibition, visitors are invited to take a closer look at sacred Japanese decorative art works used to glorify Buddhas and other deities.

Important Cultural Property
Hanging Temple Lantern
Kyoto National Museum
Imported Lacquerware: The Enduring Allure of Karamono
August 2–September 10, 2023
Lacquerware|1F-6 gallery
During the Heian period (794–1185), the word karamono (lit. “Tang things” or “Chinese things”) referred to prestigious objects imported from Tang dynasty (618–907) China. Over time, the term came to be used more broadly for rare objects imported from various foreign regions, including Korea, Southeast Asia, and even the Middle East and Europe. Appreciation of karamono reached a peak during the Muromachi period (1392–1573), when military rulers and Buddhist priests who admired Chinese culture spent fortunes to acquire luxurious imported works. During the economic growth and urbanization of the Edo period (1615–1868), import stores called karamono shops also sold Japanese objects that imitated foreign wares. This gallery features examples of karamono from various countries of origin, which have long been admired in Japan for their exotic appeal.

Incense Container in the Shape of a Buddhist Jewel
Kyoto National Museum
Also On View in the Collection Galleries特別展観覧料が必要
Earthenware Vessels and Dogū Figures of the Jōmon Period
June 20–September 10, 2023
Archaeological Relics|3F-2 gallery
The use of pottery in Japan can be traced back nearly 16,000 years. People living during the Jōmon period (ca. 14,000–ca. 4th c. BCE) made vessels for a variety of different purposes. These came in a multitude of forms, including deep pots for boiling and cooking, vessels for storage, shallow bowls and plates for serving or eating food, vessels with spouts for pouring alcohol or other liquids, and vessels for ritual use. Even earthenware pots with practical functions were rich in variation, featuring large, three-dimensional projections and ornate patterns. In addition to pottery for daily use, the Jōmon people made votive figures from clay called dogū. Most dogū are shaped like women and are thought to have embodied prayers for a good harvest or fertility. This exhibition explores the fascinating culture of the Jōmon period with a special focus on its earthenware vessels and dogū figures.

Spouted Vessel
Reportedly excavated in Aomori
Kyoto National Museum
Tales of Damnation and Bedevilment: Demons, Tengu, and the Buddhist Hells
July 19–August 20, 2023
Illustrated Handscrolls|2F-1 gallery
In Buddhist teachings, the paradisal realms of buddhas and heavenly beings are contrasted with the horrors and suffering of the Buddhist hells. People were terrified of falling into hell, and they feared demons (oni), who punished the sinful, and the mischievous, long-nosed tengu, who played tricks on Buddhist monks. Fear was instrumental in deepening people’s faith, but it also inspired creativity, leading to a rich tradition of imagery and tales. Over time, depictions of demons and tengu grew more human-like, taking on comical elements as they suffered ignoble defeat at the hands of their Buddhist adversaries. The scrolls on view in this gallery highlight the enduring appeal of recasting a terrifying subject as an object of ridicule.

Important Cultural Property
Illustrated Merits of the Mantra of Light
One of three handscrolls
Myōō-in Temple, Shiga
Recent Developments in Cultural Property Conservation
July 19–August 20, 2023
Buddhist Paintings|2F-2 gallery
The field of art conservation has become highly specialized, resulting in increased costs. While public funding may partially cover the conservation of designated national or local cultural properties, owners are still responsible for a portion of the expenses. Therefore, it is crucial for owners to fully understand the value of their objects and their conservation needs, including the associated costs.
When privately owned works are entrusted to a museum, curators collaborate with owners to undertake conservation projects. To overcome budget limitations, stakeholders are increasingly turning to donations and crowdfunding. Securing the necessary funding for conservation projects may take several years; however, this process fosters stronger connections between museums, owners, and conservation supporters.

Mandala of the Original Buddhist Forms of the Hie-Sannō Deities
Kyoto Todokai
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism I
July 19–August 20, 2023
Medieval Paintings|2F-3 gallery
During Japan’s medieval period, Zen Buddhists who traveled to and from China introduced new forms of Buddhist culture to Japan. These included monochrome ink painting and Buddhist images that were employed in distinctive ceremonies. The bodhisattva Kannon became an important symbol of wisdom and compassion in Zen temples, and images of Kannon were incorporated into temple rituals. Early monks created numerous paintings of the White-Robed Kannon, whose iconography played an important role in the development of Japanese ink painting.
Kannon is also associated with water and the ocean. The bodhisattva is believed to have descended to the Pure Land of Mount Potalaka in the southern seas and came to be seen as a guardian deity for merchants and monks who traveled by sea. In this exhibition, the cosmopolitan culture of medieval Japan is evident in the many depictions of Kannon that draw on iconography brought to Japan from mainland East Asia.

Important Cultural Property
White-Robed Kannon (Avalokiteśvara)
Inscription by Tettō Gikō
Shinju-an Temple, Kyoto
Recently Conserved Artworks
July 19–August 20, 2023
Momoyama-Edo Paintings|2F-4 gallery
Cultural properties have long lifespans and need to be conserved periodically to keep them in their best possible condition. Regular deterioration over time, insects, microorganisms, and physical tears and breakage are just some of the many kinds of damage artworks can experience. Conserving objects at the appropriate time is an important mission for museums to ensure works of art can be enjoyed by future generations.
This exhibition presents objects in the care of the museum that were recently conserved. These include screens by Hasegawa Tōhaku (1539–1610) and Kaihō Yūshō (1533–1615), which are being unveiled for the first time after undergoing conservation. Take a walk around the gallery to explore these cultural works as they embark on new chapters in their histories.

Important Cultural Property
Chinese Lion
Attributed to Kanō Sanraku
Honpō-ji Temple, Kyoto
Observations of Living Creatures in Chinese Painting
July 19–August 20, 2023
Chinese Paintings|2F-5 gallery
A crucial element of the painting process is the careful and thorough observation of the subject. It takes substantial practice to go beyond mere resemblance and infuse a subject with a sense of life. Only a skilled artist with a keen eye and a profound understanding of the subject can seemingly effortlessly create paintings that exude an aura of vitality. Such artworks can evoke a strong emotional response in viewers.
This gallery highlights works by Chinese artists depicting familiar plants and animals. The works are striking for their use of color and form, as well as for their brushwork and applications of ink washes. Visitors are invited to consider how the artists’ skillful observations helped them choose how to render their subjects, and how these techniques differ from other painting traditions.

Huddled Geese
By Xu Beihong
Kyoto National Museum
Deities of Buddhist Hell: Jizō and King Enma
June 13–September 18, 2023
Sculpture|1F-1 gallery
Summertime in Japan means the coming of Obon, or the Bon Festival, a tradition rooted in the Indian Ullambana Festival that marks the end of the summer retreat for the Buddhist monastic community. It is an occasion for making offerings to ancestral spirits, but it is also said to be the day when the lids are lifted from the cauldrons of Hell. In Buddhism, Hell is presided over by King Enma, who serves as the judge of the afterlife. Belief in Enma also derives from India, where he was known as Yama, the Hindu god of the underworld. In China, he came to be worshipped alongside Taoist deities, and in Japan he became the leader of the Ten Kings of Hell. In this exhibition, statues of these ten rulers from Jōnen-ji Temple in Kizugawa, who serve as judges of the dead, are featured along with images of Jizō (Skt: Kṣitigarbha), a bodhisattva who rescues souls from the suffering of Hell. These powerful depictions of the fearsome deities of Buddhist Hell may send shivers up your spine!

Important Cultural Property
Seated Jizō (Kṣitigarbha) Bodhisattva in a Portable Shrine
Hō’on-ji Temple, Kyoto
Japanese Sculpture
June 13–September 18, 2023
Sculpture|1F-1 gallery
From ancient times through the Edo period (1615–1868), almost all subjects of Japanese sculpture were religious in nature. After Buddhism was introduced to Japan and became firmly established in the seventh century, the production of Buddhist statues flourished. Buddhist deities and their images often have origins in South Asia or Central Asia, and they were usually transmitted to Japan by way of China, bringing with them a complex array of foreign influences.
One of the distinctive characteristics of Japanese sculpture is its use of wood as a primary material. Various modes of carving and other techniques—including joint-block construction (yosegi-zukuri) and inlaid crystal eyes—were developed in Japan to create these wood images.
Over time, the repeated introduction of new images from the Asian continent contributed to further stylistic transformations and innovations in Japan. The Japanese Buddhist sculptures on view here reflect various styles of different historical periods.
Dyeing and Weaving Techniques: Embroidery
August 2–September 10, 2023
Textiles and Costumes|1F-4 gallery
The act of embroidering designs one stitch at a time was traditionally believed to hold special significance. The repetitive nature of the process and the patient perseverance of the embroiderer were thought to infuse a work with the prayers of the creator or the person who commissioned it. This is why embroidered textiles came to feature prominently in religion, in the performing arts, and on celebratory occasions.
Embroiderers can render free designs in multiple colors without the arduous preparation required for woven and dyed textiles. The thickness of the thread can be used to add depth, and different types of stitches can evoke light and shadow. This exhibition presents embroidered textiles made to embellish special spaces and occasions.

Furisode (Long-Sleeved Kimono) with Stripes and Chrysanthemum Sprigs
Kyoto National Museum
The Art of Adornment: Buddhist Decoration
June 13–September 10, 2023
Metalwork|1F-5 gallery
A distinct feature of Japanese art is its many modes of adornment. Throughout history, artists and craftspeople in Japan have shared the impulse to embellish objects of all types with decorations ranging from geometric patterns to motifs from nature. This décor might be boldly exaggerated or it might be so abbreviated as to require special knowledge to comprehend. This is the first installment in a series of exhibitions that will examine celebrated examples of metalwork used to embellish daily life, to bedeck warriors, and to enhance worship. In this first exhibition, visitors are invited to take a closer look at sacred Japanese decorative art works used to glorify Buddhas and other deities.

Important Cultural Property
Hanging Temple Lantern
Kyoto National Museum
Imported Lacquerware: The Enduring Allure of Karamono
August 2–September 10, 2023
Lacquerware|1F-6 gallery
During the Heian period (794–1185), the word karamono (lit. “Tang things” or “Chinese things”) referred to prestigious objects imported from Tang dynasty (618–907) China. Over time, the term came to be used more broadly for rare objects imported from various foreign regions, including Korea, Southeast Asia, and even the Middle East and Europe. Appreciation of karamono reached a peak during the Muromachi period (1392–1573), when military rulers and Buddhist priests who admired Chinese culture spent fortunes to acquire luxurious imported works. During the economic growth and urbanization of the Edo period (1615–1868), import stores called karamono shops also sold Japanese objects that imitated foreign wares. This gallery features examples of karamono from various countries of origin, which have long been admired in Japan for their exotic appeal.

Incense Container in the Shape of a Buddhist Jewel
Kyoto National Museum
Also On View in the Collection Galleries特別展観覧料が必要
Earthenware Vessels and Dogū Figures of the Jōmon Period
June 20–September 10, 2023
Archaeological Relics|3F-2 gallery
The use of pottery in Japan can be traced back nearly 16,000 years. People living during the Jōmon period (ca. 14,000–ca. 4th c. BCE) made vessels for a variety of different purposes. These came in a multitude of forms, including deep pots for boiling and cooking, vessels for storage, shallow bowls and plates for serving or eating food, vessels with spouts for pouring alcohol or other liquids, and vessels for ritual use. Even earthenware pots with practical functions were rich in variation, featuring large, three-dimensional projections and ornate patterns. In addition to pottery for daily use, the Jōmon people made votive figures from clay called dogū. Most dogū are shaped like women and are thought to have embodied prayers for a good harvest or fertility. This exhibition explores the fascinating culture of the Jōmon period with a special focus on its earthenware vessels and dogū figures.

Spouted Vessel
Reportedly excavated in Aomori
Kyoto National Museum
Deities of Buddhist Hell: Jizō and King Enma
June 13–September 18, 2023
Sculpture|1F-1 gallery
Summertime in Japan means the coming of Obon, or the Bon Festival, a tradition rooted in the Indian Ullambana Festival that marks the end of the summer retreat for the Buddhist monastic community. It is an occasion for making offerings to ancestral spirits, but it is also said to be the day when the lids are lifted from the cauldrons of Hell. In Buddhism, Hell is presided over by King Enma, who serves as the judge of the afterlife. Belief in Enma also derives from India, where he was known as Yama, the Hindu god of the underworld. In China, he came to be worshipped alongside Taoist deities, and in Japan he became the leader of the Ten Kings of Hell. In this exhibition, statues of these ten rulers from Jōnen-ji Temple in Kizugawa, who serve as judges of the dead, are featured along with images of Jizō (Skt: Kṣitigarbha), a bodhisattva who rescues souls from the suffering of Hell. These powerful depictions of the fearsome deities of Buddhist Hell may send shivers up your spine!

Important Cultural Property
Seated Jizō (Kṣitigarbha) Bodhisattva in a Portable Shrine
Hō’on-ji Temple, Kyoto
Japanese Sculpture
June 13–September 18, 2023
Sculpture|1F-1 gallery
From ancient times through the Edo period (1615–1868), almost all subjects of Japanese sculpture were religious in nature. After Buddhism was introduced to Japan and became firmly established in the seventh century, the production of Buddhist statues flourished. Buddhist deities and their images often have origins in South Asia or Central Asia, and they were usually transmitted to Japan by way of China, bringing with them a complex array of foreign influences.
One of the distinctive characteristics of Japanese sculpture is its use of wood as a primary material. Various modes of carving and other techniques—including joint-block construction (yosegi-zukuri) and inlaid crystal eyes—were developed in Japan to create these wood images.
Over time, the repeated introduction of new images from the Asian continent contributed to further stylistic transformations and innovations in Japan. The Japanese Buddhist sculptures on view here reflect various styles of different historical periods.
Dyeing and Weaving Techniques: Embroidery
August 2–September 10, 2023
Textiles and Costumes|1F-4 gallery
The act of embroidering designs one stitch at a time was traditionally believed to hold special significance. The repetitive nature of the process and the patient perseverance of the embroiderer were thought to infuse a work with the prayers of the creator or the person who commissioned it. This is why embroidered textiles came to feature prominently in religion, in the performing arts, and on celebratory occasions.
Embroiderers can render free designs in multiple colors without the arduous preparation required for woven and dyed textiles. The thickness of the thread can be used to add depth, and different types of stitches can evoke light and shadow. This exhibition presents embroidered textiles made to embellish special spaces and occasions.

Furisode (Long-Sleeved Kimono) with Stripes and Chrysanthemum Sprigs
Kyoto National Museum
The Art of Adornment: Buddhist Decoration
June 13–September 10, 2023
Metalwork|1F-5 gallery
A distinct feature of Japanese art is its many modes of adornment. Throughout history, artists and craftspeople in Japan have shared the impulse to embellish objects of all types with decorations ranging from geometric patterns to motifs from nature. This décor might be boldly exaggerated or it might be so abbreviated as to require special knowledge to comprehend. This is the first installment in a series of exhibitions that will examine celebrated examples of metalwork used to embellish daily life, to bedeck warriors, and to enhance worship. In this first exhibition, visitors are invited to take a closer look at sacred Japanese decorative art works used to glorify Buddhas and other deities.

Important Cultural Property
Hanging Temple Lantern
Kyoto National Museum
Imported Lacquerware: The Enduring Allure of Karamono
August 2–September 10, 2023
Lacquerware|1F-6 gallery
During the Heian period (794–1185), the word karamono (lit. “Tang things” or “Chinese things”) referred to prestigious objects imported from Tang dynasty (618–907) China. Over time, the term came to be used more broadly for rare objects imported from various foreign regions, including Korea, Southeast Asia, and even the Middle East and Europe. Appreciation of karamono reached a peak during the Muromachi period (1392–1573), when military rulers and Buddhist priests who admired Chinese culture spent fortunes to acquire luxurious imported works. During the economic growth and urbanization of the Edo period (1615–1868), import stores called karamono shops also sold Japanese objects that imitated foreign wares. This gallery features examples of karamono from various countries of origin, which have long been admired in Japan for their exotic appeal.

Incense Container in the Shape of a Buddhist Jewel
Kyoto National Museum
Also On View in the Collection Galleries特別展観覧料が必要
Earthenware Vessels and Dogū Figures of the Jōmon Period
June 20–September 10, 2023
Archaeological Relics|3F-2 gallery
The use of pottery in Japan can be traced back nearly 16,000 years. People living during the Jōmon period (ca. 14,000–ca. 4th c. BCE) made vessels for a variety of different purposes. These came in a multitude of forms, including deep pots for boiling and cooking, vessels for storage, shallow bowls and plates for serving or eating food, vessels with spouts for pouring alcohol or other liquids, and vessels for ritual use. Even earthenware pots with practical functions were rich in variation, featuring large, three-dimensional projections and ornate patterns. In addition to pottery for daily use, the Jōmon people made votive figures from clay called dogū. Most dogū are shaped like women and are thought to have embodied prayers for a good harvest or fertility. This exhibition explores the fascinating culture of the Jōmon period with a special focus on its earthenware vessels and dogū figures.

Spouted Vessel
Reportedly excavated in Aomori
Kyoto National Museum
Buddhist Tales of Distant Lands
August 22–September 18, 2023
Illustrated Handscrolls|2F-1 gallery
Though Buddhism eventually became an integral part of Japanese culture, in many ways it continued to be perceived as a religion from a far-off land. Japanese priests were drawn to India and China, and dreamed of retracing the journeys of the Historical Buddha and famous priests. Yet only a handful of people were actually able to travel to other parts of Asia; most had to be satisfied with journeys of imagination based on written texts. The use of illustrated handscrolls allowed them to “see” foreign lands and the activities of revered figures that they had previously only imagined. This gallery presents works by artists who challenged themselves to illustrate tales of distant lands and give Buddhists the visual imagery they craved.

National Treasure
“Tales of Uisang” from Illustrated Legends of the Founders of the Flower Garland School
Kōsan-ji Temple, Kyoto
The Bodhisattva Jizō (Kṣitigarbha) and the Ten Kings of Hell
August 22–September 18, 2023
Buddhist Paintings|2F-2 gallery
The contrasting depictions of the bodhisattva Jizō and the Ten Kings of Hell belie their close relationship. Jizō is shown with a gentle countenance, reflecting his compassion, while the Ten Kings have fierce expressions befitting their roles as agents of karmic retribution. These ten judges decide the fates of the deceased in hell. They were added to the Buddhist pantheon in China, where Confucian funerary rituals and Daoist beliefs about the afterlife were fused with Buddhist practice.
Japanese Buddhists retained the Ten Kings and further localized the concept in the late Heian period (794–1185). They connected Jizō, the savior of those reborn in hell, to King Enma (the ruler of the Ten Kings), and recast Enma as an incarnation of Jizō. Though Enma hates sin and imposes harsh sentences, Jizō does not hate humanity and descends to hell to offer salvation.

Jizō (Kṣitigarbha) Bodhisattva, known as Mibu Jizō
Kyoto National Museum
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism II
August 22–September 18, 2023
Medieval Paintings|2F-3 gallery
During Japan’s medieval period, Zen Buddhists who traveled to and from China introduced new forms of Buddhist culture to Japan. These included monochrome ink painting and Buddhist images that were employed in distinctive ceremonies. The bodhisattva Kannon became an important symbol of wisdom and compassion in Zen temples, and images of Kannon were incorporated into temple rituals. Early monks created numerous paintings of the White-Robed Kannon, whose iconography played an important role in the development of Japanese ink painting.
Kannon is also associated with water and the ocean. The bodhisattva is believed to have descended to the Pure Land of Mount Potalaka in the southern seas and came to be seen as a guardian deity for merchants and monks who traveled by sea. In this exhibition, the cosmopolitan culture of medieval Japan is evident in the many depictions of Kannon that draw on iconography brought to Japan from mainland East Asia.

Kannon (Avalokiteśvara) with a Willow Branch
Kyoto National Museum
A Legacy of Wit and Artistry: Celebrating the 300th Anniversary of Ike no Taiga
August 22–September 18, 2023
Momoyama-Edo Paintings|2F-4 gallery
Ike no Taiga (1723–1776) was the son of a low-ranking official at Kyoto’s silver mint. He lost his father at a young age and turned to painting and calligraphy to support himself and his mother. Taiga’s exceptional talent bloomed with the patronage of intellectuals interested in the newly imported Chinese culture, propelling him to become one of the most popular painters and calligraphers of his time. His works are imbued with innovation and unassuming brilliance, reflecting Taiga’s reputation as an exceptionally humble human being.
The Kyoto National Museum held a large-scale exhibition of Taiga’s works in 2018. In this smaller exhibition, we revisit the artistry of Ike no Taiga in celebration of the 300th anniversary of his birth.

Important Cultural Property
Dongting Lake and the Red Cliffs
By Ike no Taiga
Kyoto National Museum
Discovering the World of Chinese Landscape Painting
August 22–September 18, 2023
Chinese Paintings|2F-5 gallery
Landscapes perhaps exhibit the most significant developments of all Chinese painting genres. Rather than simply sketching scenery as it appeared to the eye, Chinese painters attempted to produce almost mystical representations imbued with Asian worldviews and concepts of the natural world. They found inspiration in the shifting faces of mountains in different seasons and weather, towering peaks that erupted from the ground like manifestations of the earth’s energy, and rivulets from wellsprings deep in the mountains that merged to form colossal rivers.
This exhibition presents landscape paintings from the Ming (1368–1644) through the twentieth century. Featured works include diverse representations of Chinese landscapes, with some following traditional styles and others breaking new ground by incorporating European techniques.

Misty River and Layered Peaks
By Gao Jianfu
Kyoto National Museum
Deities of Buddhist Hell: Jizō and King Enma
June 13–September 18, 2023
Sculpture|1F-1 gallery
Summertime in Japan means the coming of Obon, or the Bon Festival, a tradition rooted in the Indian Ullambana Festival that marks the end of the summer retreat for the Buddhist monastic community. It is an occasion for making offerings to ancestral spirits, but it is also said to be the day when the lids are lifted from the cauldrons of Hell. In Buddhism, Hell is presided over by King Enma, who serves as the judge of the afterlife. Belief in Enma also derives from India, where he was known as Yama, the Hindu god of the underworld. In China, he came to be worshipped alongside Taoist deities, and in Japan he became the leader of the Ten Kings of Hell. In this exhibition, statues of these ten rulers from Jōnen-ji Temple in Kizugawa, who serve as judges of the dead, are featured along with images of Jizō (Skt: Kṣitigarbha), a bodhisattva who rescues souls from the suffering of Hell. These powerful depictions of the fearsome deities of Buddhist Hell may send shivers up your spine!

Important Cultural Property
Seated Jizō (Kṣitigarbha) Bodhisattva in a Portable Shrine
Hō’on-ji Temple, Kyoto
Japanese Sculpture
June 13–September 18, 2023
Sculpture|1F-1 gallery
From ancient times through the Edo period (1615–1868), almost all subjects of Japanese sculpture were religious in nature. After Buddhism was introduced to Japan and became firmly established in the seventh century, the production of Buddhist statues flourished. Buddhist deities and their images often have origins in South Asia or Central Asia, and they were usually transmitted to Japan by way of China, bringing with them a complex array of foreign influences.
One of the distinctive characteristics of Japanese sculpture is its use of wood as a primary material. Various modes of carving and other techniques—including joint-block construction (yosegi-zukuri) and inlaid crystal eyes—were developed in Japan to create these wood images.
Over time, the repeated introduction of new images from the Asian continent contributed to further stylistic transformations and innovations in Japan. The Japanese Buddhist sculptures on view here reflect various styles of different historical periods.
Dyeing and Weaving Techniques: Embroidery
August 2–September 10, 2023
Textiles and Costumes|1F-4 gallery
The act of embroidering designs one stitch at a time was traditionally believed to hold special significance. The repetitive nature of the process and the patient perseverance of the embroiderer were thought to infuse a work with the prayers of the creator or the person who commissioned it. This is why embroidered textiles came to feature prominently in religion, in the performing arts, and on celebratory occasions.
Embroiderers can render free designs in multiple colors without the arduous preparation required for woven and dyed textiles. The thickness of the thread can be used to add depth, and different types of stitches can evoke light and shadow. This exhibition presents embroidered textiles made to embellish special spaces and occasions.

Furisode (Long-Sleeved Kimono) with Stripes and Chrysanthemum Sprigs
Kyoto National Museum
The Art of Adornment: Buddhist Decoration
June 13–September 10, 2023
Metalwork|1F-5 gallery
A distinct feature of Japanese art is its many modes of adornment. Throughout history, artists and craftspeople in Japan have shared the impulse to embellish objects of all types with decorations ranging from geometric patterns to motifs from nature. This décor might be boldly exaggerated or it might be so abbreviated as to require special knowledge to comprehend. This is the first installment in a series of exhibitions that will examine celebrated examples of metalwork used to embellish daily life, to bedeck warriors, and to enhance worship. In this first exhibition, visitors are invited to take a closer look at sacred Japanese decorative art works used to glorify Buddhas and other deities.

Important Cultural Property
Hanging Temple Lantern
Kyoto National Museum
Imported Lacquerware: The Enduring Allure of Karamono
August 2–September 10, 2023
Lacquerware|1F-6 gallery
During the Heian period (794–1185), the word karamono (lit. “Tang things” or “Chinese things”) referred to prestigious objects imported from Tang dynasty (618–907) China. Over time, the term came to be used more broadly for rare objects imported from various foreign regions, including Korea, Southeast Asia, and even the Middle East and Europe. Appreciation of karamono reached a peak during the Muromachi period (1392–1573), when military rulers and Buddhist priests who admired Chinese culture spent fortunes to acquire luxurious imported works. During the economic growth and urbanization of the Edo period (1615–1868), import stores called karamono shops also sold Japanese objects that imitated foreign wares. This gallery features examples of karamono from various countries of origin, which have long been admired in Japan for their exotic appeal.

Incense Container in the Shape of a Buddhist Jewel
Kyoto National Museum
Also On View in the Collection Galleries特別展観覧料が必要
Earthenware Vessels and Dogū Figures of the Jōmon Period
June 20–September 10, 2023
Archaeological Relics|3F-2 gallery
The use of pottery in Japan can be traced back nearly 16,000 years. People living during the Jōmon period (ca. 14,000–ca. 4th c. BCE) made vessels for a variety of different purposes. These came in a multitude of forms, including deep pots for boiling and cooking, vessels for storage, shallow bowls and plates for serving or eating food, vessels with spouts for pouring alcohol or other liquids, and vessels for ritual use. Even earthenware pots with practical functions were rich in variation, featuring large, three-dimensional projections and ornate patterns. In addition to pottery for daily use, the Jōmon people made votive figures from clay called dogū. Most dogū are shaped like women and are thought to have embodied prayers for a good harvest or fertility. This exhibition explores the fascinating culture of the Jōmon period with a special focus on its earthenware vessels and dogū figures.

Spouted Vessel
Reportedly excavated in Aomori
Kyoto National Museum
Buddhist Tales of Distant Lands
August 22–September 18, 2023
Illustrated Handscrolls|2F-1 gallery
Though Buddhism eventually became an integral part of Japanese culture, in many ways it continued to be perceived as a religion from a far-off land. Japanese priests were drawn to India and China, and dreamed of retracing the journeys of the Historical Buddha and famous priests. Yet only a handful of people were actually able to travel to other parts of Asia; most had to be satisfied with journeys of imagination based on written texts. The use of illustrated handscrolls allowed them to “see” foreign lands and the activities of revered figures that they had previously only imagined. This gallery presents works by artists who challenged themselves to illustrate tales of distant lands and give Buddhists the visual imagery they craved.

National Treasure
“Tales of Uisang” from Illustrated Legends of the Founders of the Flower Garland School
Kōsan-ji Temple, Kyoto
The Bodhisattva Jizō (Kṣitigarbha) and the Ten Kings of Hell
August 22–September 18, 2023
Buddhist Paintings|2F-2 gallery
The contrasting depictions of the bodhisattva Jizō and the Ten Kings of Hell belie their close relationship. Jizō is shown with a gentle countenance, reflecting his compassion, while the Ten Kings have fierce expressions befitting their roles as agents of karmic retribution. These ten judges decide the fates of the deceased in hell. They were added to the Buddhist pantheon in China, where Confucian funerary rituals and Daoist beliefs about the afterlife were fused with Buddhist practice.
Japanese Buddhists retained the Ten Kings and further localized the concept in the late Heian period (794–1185). They connected Jizō, the savior of those reborn in hell, to King Enma (the ruler of the Ten Kings), and recast Enma as an incarnation of Jizō. Though Enma hates sin and imposes harsh sentences, Jizō does not hate humanity and descends to hell to offer salvation.

Jizō (Kṣitigarbha) Bodhisattva, known as Mibu Jizō
Kyoto National Museum
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism II
August 22–September 18, 2023
Medieval Paintings|2F-3 gallery
During Japan’s medieval period, Zen Buddhists who traveled to and from China introduced new forms of Buddhist culture to Japan. These included monochrome ink painting and Buddhist images that were employed in distinctive ceremonies. The bodhisattva Kannon became an important symbol of wisdom and compassion in Zen temples, and images of Kannon were incorporated into temple rituals. Early monks created numerous paintings of the White-Robed Kannon, whose iconography played an important role in the development of Japanese ink painting.
Kannon is also associated with water and the ocean. The bodhisattva is believed to have descended to the Pure Land of Mount Potalaka in the southern seas and came to be seen as a guardian deity for merchants and monks who traveled by sea. In this exhibition, the cosmopolitan culture of medieval Japan is evident in the many depictions of Kannon that draw on iconography brought to Japan from mainland East Asia.

Kannon (Avalokiteśvara) with a Willow Branch
Kyoto National Museum
A Legacy of Wit and Artistry: Celebrating the 300th Anniversary of Ike no Taiga
August 22–September 18, 2023
Momoyama-Edo Paintings|2F-4 gallery
Ike no Taiga (1723–1776) was the son of a low-ranking official at Kyoto’s silver mint. He lost his father at a young age and turned to painting and calligraphy to support himself and his mother. Taiga’s exceptional talent bloomed with the patronage of intellectuals interested in the newly imported Chinese culture, propelling him to become one of the most popular painters and calligraphers of his time. His works are imbued with innovation and unassuming brilliance, reflecting Taiga’s reputation as an exceptionally humble human being.
The Kyoto National Museum held a large-scale exhibition of Taiga’s works in 2018. In this smaller exhibition, we revisit the artistry of Ike no Taiga in celebration of the 300th anniversary of his birth.

Important Cultural Property
Dongting Lake and the Red Cliffs
By Ike no Taiga
Kyoto National Museum
Discovering the World of Chinese Landscape Painting
August 22–September 18, 2023
Chinese Paintings|2F-5 gallery
Landscapes perhaps exhibit the most significant developments of all Chinese painting genres. Rather than simply sketching scenery as it appeared to the eye, Chinese painters attempted to produce almost mystical representations imbued with Asian worldviews and concepts of the natural world. They found inspiration in the shifting faces of mountains in different seasons and weather, towering peaks that erupted from the ground like manifestations of the earth’s energy, and rivulets from wellsprings deep in the mountains that merged to form colossal rivers.
This exhibition presents landscape paintings from the Ming (1368–1644) through the twentieth century. Featured works include diverse representations of Chinese landscapes, with some following traditional styles and others breaking new ground by incorporating European techniques.

Misty River and Layered Peaks
By Gao Jianfu
Kyoto National Museum
Deities of Buddhist Hell: Jizō and King Enma
June 13–September 18, 2023
Sculpture|1F-1 gallery
Summertime in Japan means the coming of Obon, or the Bon Festival, a tradition rooted in the Indian Ullambana Festival that marks the end of the summer retreat for the Buddhist monastic community. It is an occasion for making offerings to ancestral spirits, but it is also said to be the day when the lids are lifted from the cauldrons of Hell. In Buddhism, Hell is presided over by King Enma, who serves as the judge of the afterlife. Belief in Enma also derives from India, where he was known as Yama, the Hindu god of the underworld. In China, he came to be worshipped alongside Taoist deities, and in Japan he became the leader of the Ten Kings of Hell. In this exhibition, statues of these ten rulers from Jōnen-ji Temple in Kizugawa, who serve as judges of the dead, are featured along with images of Jizō (Skt: Kṣitigarbha), a bodhisattva who rescues souls from the suffering of Hell. These powerful depictions of the fearsome deities of Buddhist Hell may send shivers up your spine!

Important Cultural Property
Seated Jizō (Kṣitigarbha) Bodhisattva in a Portable Shrine
Hō’on-ji Temple, Kyoto
Japanese Sculpture
June 13–September 18, 2023
Sculpture|1F-1 gallery
From ancient times through the Edo period (1615–1868), almost all subjects of Japanese sculpture were religious in nature. After Buddhism was introduced to Japan and became firmly established in the seventh century, the production of Buddhist statues flourished. Buddhist deities and their images often have origins in South Asia or Central Asia, and they were usually transmitted to Japan by way of China, bringing with them a complex array of foreign influences.
One of the distinctive characteristics of Japanese sculpture is its use of wood as a primary material. Various modes of carving and other techniques—including joint-block construction (yosegi-zukuri) and inlaid crystal eyes—were developed in Japan to create these wood images.
Over time, the repeated introduction of new images from the Asian continent contributed to further stylistic transformations and innovations in Japan. The Japanese Buddhist sculptures on view here reflect various styles of different historical periods.
Dyeing and Weaving Techniques: Embroidery
August 2–September 10, 2023
Textiles and Costumes|1F-4 gallery
The act of embroidering designs one stitch at a time was traditionally believed to hold special significance. The repetitive nature of the process and the patient perseverance of the embroiderer were thought to infuse a work with the prayers of the creator or the person who commissioned it. This is why embroidered textiles came to feature prominently in religion, in the performing arts, and on celebratory occasions.
Embroiderers can render free designs in multiple colors without the arduous preparation required for woven and dyed textiles. The thickness of the thread can be used to add depth, and different types of stitches can evoke light and shadow. This exhibition presents embroidered textiles made to embellish special spaces and occasions.

Furisode (Long-Sleeved Kimono) with Stripes and Chrysanthemum Sprigs
Kyoto National Museum
The Art of Adornment: Buddhist Decoration
June 13–September 10, 2023
Metalwork|1F-5 gallery
A distinct feature of Japanese art is its many modes of adornment. Throughout history, artists and craftspeople in Japan have shared the impulse to embellish objects of all types with decorations ranging from geometric patterns to motifs from nature. This décor might be boldly exaggerated or it might be so abbreviated as to require special knowledge to comprehend. This is the first installment in a series of exhibitions that will examine celebrated examples of metalwork used to embellish daily life, to bedeck warriors, and to enhance worship. In this first exhibition, visitors are invited to take a closer look at sacred Japanese decorative art works used to glorify Buddhas and other deities.

Important Cultural Property
Hanging Temple Lantern
Kyoto National Museum
Imported Lacquerware: The Enduring Allure of Karamono
August 2–September 10, 2023
Lacquerware|1F-6 gallery
During the Heian period (794–1185), the word karamono (lit. “Tang things” or “Chinese things”) referred to prestigious objects imported from Tang dynasty (618–907) China. Over time, the term came to be used more broadly for rare objects imported from various foreign regions, including Korea, Southeast Asia, and even the Middle East and Europe. Appreciation of karamono reached a peak during the Muromachi period (1392–1573), when military rulers and Buddhist priests who admired Chinese culture spent fortunes to acquire luxurious imported works. During the economic growth and urbanization of the Edo period (1615–1868), import stores called karamono shops also sold Japanese objects that imitated foreign wares. This gallery features examples of karamono from various countries of origin, which have long been admired in Japan for their exotic appeal.

Incense Container in the Shape of a Buddhist Jewel
Kyoto National Museum
Also On View in the Collection Galleries特別展観覧料が必要
Earthenware Vessels and Dogū Figures of the Jōmon Period
June 20–September 10, 2023
Archaeological Relics|3F-2 gallery
The use of pottery in Japan can be traced back nearly 16,000 years. People living during the Jōmon period (ca. 14,000–ca. 4th c. BCE) made vessels for a variety of different purposes. These came in a multitude of forms, including deep pots for boiling and cooking, vessels for storage, shallow bowls and plates for serving or eating food, vessels with spouts for pouring alcohol or other liquids, and vessels for ritual use. Even earthenware pots with practical functions were rich in variation, featuring large, three-dimensional projections and ornate patterns. In addition to pottery for daily use, the Jōmon people made votive figures from clay called dogū. Most dogū are shaped like women and are thought to have embodied prayers for a good harvest or fertility. This exhibition explores the fascinating culture of the Jōmon period with a special focus on its earthenware vessels and dogū figures.

Spouted Vessel
Reportedly excavated in Aomori
Kyoto National Museum
Buddhist Tales of Distant Lands
August 22–September 18, 2023
Illustrated Handscrolls|2F-1 gallery
Though Buddhism eventually became an integral part of Japanese culture, in many ways it continued to be perceived as a religion from a far-off land. Japanese priests were drawn to India and China, and dreamed of retracing the journeys of the Historical Buddha and famous priests. Yet only a handful of people were actually able to travel to other parts of Asia; most had to be satisfied with journeys of imagination based on written texts. The use of illustrated handscrolls allowed them to “see” foreign lands and the activities of revered figures that they had previously only imagined. This gallery presents works by artists who challenged themselves to illustrate tales of distant lands and give Buddhists the visual imagery they craved.

National Treasure
“Tales of Uisang” from Illustrated Legends of the Founders of the Flower Garland School
Kōsan-ji Temple, Kyoto
The Bodhisattva Jizō (Kṣitigarbha) and the Ten Kings of Hell
August 22–September 18, 2023
Buddhist Paintings|2F-2 gallery
The contrasting depictions of the bodhisattva Jizō and the Ten Kings of Hell belie their close relationship. Jizō is shown with a gentle countenance, reflecting his compassion, while the Ten Kings have fierce expressions befitting their roles as agents of karmic retribution. These ten judges decide the fates of the deceased in hell. They were added to the Buddhist pantheon in China, where Confucian funerary rituals and Daoist beliefs about the afterlife were fused with Buddhist practice.
Japanese Buddhists retained the Ten Kings and further localized the concept in the late Heian period (794–1185). They connected Jizō, the savior of those reborn in hell, to King Enma (the ruler of the Ten Kings), and recast Enma as an incarnation of Jizō. Though Enma hates sin and imposes harsh sentences, Jizō does not hate humanity and descends to hell to offer salvation.

Jizō (Kṣitigarbha) Bodhisattva, known as Mibu Jizō
Kyoto National Museum
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism II
August 22–September 18, 2023
Medieval Paintings|2F-3 gallery
During Japan’s medieval period, Zen Buddhists who traveled to and from China introduced new forms of Buddhist culture to Japan. These included monochrome ink painting and Buddhist images that were employed in distinctive ceremonies. The bodhisattva Kannon became an important symbol of wisdom and compassion in Zen temples, and images of Kannon were incorporated into temple rituals. Early monks created numerous paintings of the White-Robed Kannon, whose iconography played an important role in the development of Japanese ink painting.
Kannon is also associated with water and the ocean. The bodhisattva is believed to have descended to the Pure Land of Mount Potalaka in the southern seas and came to be seen as a guardian deity for merchants and monks who traveled by sea. In this exhibition, the cosmopolitan culture of medieval Japan is evident in the many depictions of Kannon that draw on iconography brought to Japan from mainland East Asia.

Kannon (Avalokiteśvara) with a Willow Branch
Kyoto National Museum
A Legacy of Wit and Artistry: Celebrating the 300th Anniversary of Ike no Taiga
August 22–September 18, 2023
Momoyama-Edo Paintings|2F-4 gallery
Ike no Taiga (1723–1776) was the son of a low-ranking official at Kyoto’s silver mint. He lost his father at a young age and turned to painting and calligraphy to support himself and his mother. Taiga’s exceptional talent bloomed with the patronage of intellectuals interested in the newly imported Chinese culture, propelling him to become one of the most popular painters and calligraphers of his time. His works are imbued with innovation and unassuming brilliance, reflecting Taiga’s reputation as an exceptionally humble human being.
The Kyoto National Museum held a large-scale exhibition of Taiga’s works in 2018. In this smaller exhibition, we revisit the artistry of Ike no Taiga in celebration of the 300th anniversary of his birth.

Important Cultural Property
Dongting Lake and the Red Cliffs
By Ike no Taiga
Kyoto National Museum
Discovering the World of Chinese Landscape Painting
August 22–September 18, 2023
Chinese Paintings|2F-5 gallery
Landscapes perhaps exhibit the most significant developments of all Chinese painting genres. Rather than simply sketching scenery as it appeared to the eye, Chinese painters attempted to produce almost mystical representations imbued with Asian worldviews and concepts of the natural world. They found inspiration in the shifting faces of mountains in different seasons and weather, towering peaks that erupted from the ground like manifestations of the earth’s energy, and rivulets from wellsprings deep in the mountains that merged to form colossal rivers.
This exhibition presents landscape paintings from the Ming (1368–1644) through the twentieth century. Featured works include diverse representations of Chinese landscapes, with some following traditional styles and others breaking new ground by incorporating European techniques.

Misty River and Layered Peaks
By Gao Jianfu
Kyoto National Museum
Deities of Buddhist Hell: Jizō and King Enma
June 13–September 18, 2023
Sculpture|1F-1 gallery
Summertime in Japan means the coming of Obon, or the Bon Festival, a tradition rooted in the Indian Ullambana Festival that marks the end of the summer retreat for the Buddhist monastic community. It is an occasion for making offerings to ancestral spirits, but it is also said to be the day when the lids are lifted from the cauldrons of Hell. In Buddhism, Hell is presided over by King Enma, who serves as the judge of the afterlife. Belief in Enma also derives from India, where he was known as Yama, the Hindu god of the underworld. In China, he came to be worshipped alongside Taoist deities, and in Japan he became the leader of the Ten Kings of Hell. In this exhibition, statues of these ten rulers from Jōnen-ji Temple in Kizugawa, who serve as judges of the dead, are featured along with images of Jizō (Skt: Kṣitigarbha), a bodhisattva who rescues souls from the suffering of Hell. These powerful depictions of the fearsome deities of Buddhist Hell may send shivers up your spine!

Important Cultural Property
Seated Jizō (Kṣitigarbha) Bodhisattva in a Portable Shrine
Hō’on-ji Temple, Kyoto
Japanese Sculpture
June 13–September 18, 2023
Sculpture|1F-1 gallery
From ancient times through the Edo period (1615–1868), almost all subjects of Japanese sculpture were religious in nature. After Buddhism was introduced to Japan and became firmly established in the seventh century, the production of Buddhist statues flourished. Buddhist deities and their images often have origins in South Asia or Central Asia, and they were usually transmitted to Japan by way of China, bringing with them a complex array of foreign influences.
One of the distinctive characteristics of Japanese sculpture is its use of wood as a primary material. Various modes of carving and other techniques—including joint-block construction (yosegi-zukuri) and inlaid crystal eyes—were developed in Japan to create these wood images.
Over time, the repeated introduction of new images from the Asian continent contributed to further stylistic transformations and innovations in Japan. The Japanese Buddhist sculptures on view here reflect various styles of different historical periods.
Dyeing and Weaving Techniques: Embroidery
August 2–September 10, 2023
Textiles and Costumes|1F-4 gallery
The act of embroidering designs one stitch at a time was traditionally believed to hold special significance. The repetitive nature of the process and the patient perseverance of the embroiderer were thought to infuse a work with the prayers of the creator or the person who commissioned it. This is why embroidered textiles came to feature prominently in religion, in the performing arts, and on celebratory occasions.
Embroiderers can render free designs in multiple colors without the arduous preparation required for woven and dyed textiles. The thickness of the thread can be used to add depth, and different types of stitches can evoke light and shadow. This exhibition presents embroidered textiles made to embellish special spaces and occasions.

Furisode (Long-Sleeved Kimono) with Stripes and Chrysanthemum Sprigs
Kyoto National Museum
The Art of Adornment: Buddhist Decoration
June 13–September 10, 2023
Metalwork|1F-5 gallery
A distinct feature of Japanese art is its many modes of adornment. Throughout history, artists and craftspeople in Japan have shared the impulse to embellish objects of all types with decorations ranging from geometric patterns to motifs from nature. This décor might be boldly exaggerated or it might be so abbreviated as to require special knowledge to comprehend. This is the first installment in a series of exhibitions that will examine celebrated examples of metalwork used to embellish daily life, to bedeck warriors, and to enhance worship. In this first exhibition, visitors are invited to take a closer look at sacred Japanese decorative art works used to glorify Buddhas and other deities.

Important Cultural Property
Hanging Temple Lantern
Kyoto National Museum
Imported Lacquerware: The Enduring Allure of Karamono
August 2–September 10, 2023
Lacquerware|1F-6 gallery
During the Heian period (794–1185), the word karamono (lit. “Tang things” or “Chinese things”) referred to prestigious objects imported from Tang dynasty (618–907) China. Over time, the term came to be used more broadly for rare objects imported from various foreign regions, including Korea, Southeast Asia, and even the Middle East and Europe. Appreciation of karamono reached a peak during the Muromachi period (1392–1573), when military rulers and Buddhist priests who admired Chinese culture spent fortunes to acquire luxurious imported works. During the economic growth and urbanization of the Edo period (1615–1868), import stores called karamono shops also sold Japanese objects that imitated foreign wares. This gallery features examples of karamono from various countries of origin, which have long been admired in Japan for their exotic appeal.

Incense Container in the Shape of a Buddhist Jewel
Kyoto National Museum
Also On View in the Collection Galleries特別展観覧料が必要
Earthenware Vessels and Dogū Figures of the Jōmon Period
June 20–September 10, 2023
Archaeological Relics|3F-2 gallery
The use of pottery in Japan can be traced back nearly 16,000 years. People living during the Jōmon period (ca. 14,000–ca. 4th c. BCE) made vessels for a variety of different purposes. These came in a multitude of forms, including deep pots for boiling and cooking, vessels for storage, shallow bowls and plates for serving or eating food, vessels with spouts for pouring alcohol or other liquids, and vessels for ritual use. Even earthenware pots with practical functions were rich in variation, featuring large, three-dimensional projections and ornate patterns. In addition to pottery for daily use, the Jōmon people made votive figures from clay called dogū. Most dogū are shaped like women and are thought to have embodied prayers for a good harvest or fertility. This exhibition explores the fascinating culture of the Jōmon period with a special focus on its earthenware vessels and dogū figures.

Spouted Vessel
Reportedly excavated in Aomori
Kyoto National Museum
Buddhist Tales of Distant Lands
August 22–September 18, 2023
Illustrated Handscrolls|2F-1 gallery
Though Buddhism eventually became an integral part of Japanese culture, in many ways it continued to be perceived as a religion from a far-off land. Japanese priests were drawn to India and China, and dreamed of retracing the journeys of the Historical Buddha and famous priests. Yet only a handful of people were actually able to travel to other parts of Asia; most had to be satisfied with journeys of imagination based on written texts. The use of illustrated handscrolls allowed them to “see” foreign lands and the activities of revered figures that they had previously only imagined. This gallery presents works by artists who challenged themselves to illustrate tales of distant lands and give Buddhists the visual imagery they craved.

National Treasure
“Tales of Uisang” from Illustrated Legends of the Founders of the Flower Garland School
Kōsan-ji Temple, Kyoto
The Bodhisattva Jizō (Kṣitigarbha) and the Ten Kings of Hell
August 22–September 18, 2023
Buddhist Paintings|2F-2 gallery
The contrasting depictions of the bodhisattva Jizō and the Ten Kings of Hell belie their close relationship. Jizō is shown with a gentle countenance, reflecting his compassion, while the Ten Kings have fierce expressions befitting their roles as agents of karmic retribution. These ten judges decide the fates of the deceased in hell. They were added to the Buddhist pantheon in China, where Confucian funerary rituals and Daoist beliefs about the afterlife were fused with Buddhist practice.
Japanese Buddhists retained the Ten Kings and further localized the concept in the late Heian period (794–1185). They connected Jizō, the savior of those reborn in hell, to King Enma (the ruler of the Ten Kings), and recast Enma as an incarnation of Jizō. Though Enma hates sin and imposes harsh sentences, Jizō does not hate humanity and descends to hell to offer salvation.

Jizō (Kṣitigarbha) Bodhisattva, known as Mibu Jizō
Kyoto National Museum
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism II
August 22–September 18, 2023
Medieval Paintings|2F-3 gallery
During Japan’s medieval period, Zen Buddhists who traveled to and from China introduced new forms of Buddhist culture to Japan. These included monochrome ink painting and Buddhist images that were employed in distinctive ceremonies. The bodhisattva Kannon became an important symbol of wisdom and compassion in Zen temples, and images of Kannon were incorporated into temple rituals. Early monks created numerous paintings of the White-Robed Kannon, whose iconography played an important role in the development of Japanese ink painting.
Kannon is also associated with water and the ocean. The bodhisattva is believed to have descended to the Pure Land of Mount Potalaka in the southern seas and came to be seen as a guardian deity for merchants and monks who traveled by sea. In this exhibition, the cosmopolitan culture of medieval Japan is evident in the many depictions of Kannon that draw on iconography brought to Japan from mainland East Asia.

Kannon (Avalokiteśvara) with a Willow Branch
Kyoto National Museum
A Legacy of Wit and Artistry: Celebrating the 300th Anniversary of Ike no Taiga
August 22–September 18, 2023
Momoyama-Edo Paintings|2F-4 gallery
Ike no Taiga (1723–1776) was the son of a low-ranking official at Kyoto’s silver mint. He lost his father at a young age and turned to painting and calligraphy to support himself and his mother. Taiga’s exceptional talent bloomed with the patronage of intellectuals interested in the newly imported Chinese culture, propelling him to become one of the most popular painters and calligraphers of his time. His works are imbued with innovation and unassuming brilliance, reflecting Taiga’s reputation as an exceptionally humble human being.
The Kyoto National Museum held a large-scale exhibition of Taiga’s works in 2018. In this smaller exhibition, we revisit the artistry of Ike no Taiga in celebration of the 300th anniversary of his birth.

Important Cultural Property
Dongting Lake and the Red Cliffs
By Ike no Taiga
Kyoto National Museum
Discovering the World of Chinese Landscape Painting
August 22–September 18, 2023
Chinese Paintings|2F-5 gallery
Landscapes perhaps exhibit the most significant developments of all Chinese painting genres. Rather than simply sketching scenery as it appeared to the eye, Chinese painters attempted to produce almost mystical representations imbued with Asian worldviews and concepts of the natural world. They found inspiration in the shifting faces of mountains in different seasons and weather, towering peaks that erupted from the ground like manifestations of the earth’s energy, and rivulets from wellsprings deep in the mountains that merged to form colossal rivers.
This exhibition presents landscape paintings from the Ming (1368–1644) through the twentieth century. Featured works include diverse representations of Chinese landscapes, with some following traditional styles and others breaking new ground by incorporating European techniques.

Misty River and Layered Peaks
By Gao Jianfu
Kyoto National Museum
Deities of Buddhist Hell: Jizō and King Enma
June 13–September 18, 2023
Sculpture|1F-1 gallery
Summertime in Japan means the coming of Obon, or the Bon Festival, a tradition rooted in the Indian Ullambana Festival that marks the end of the summer retreat for the Buddhist monastic community. It is an occasion for making offerings to ancestral spirits, but it is also said to be the day when the lids are lifted from the cauldrons of Hell. In Buddhism, Hell is presided over by King Enma, who serves as the judge of the afterlife. Belief in Enma also derives from India, where he was known as Yama, the Hindu god of the underworld. In China, he came to be worshipped alongside Taoist deities, and in Japan he became the leader of the Ten Kings of Hell. In this exhibition, statues of these ten rulers from Jōnen-ji Temple in Kizugawa, who serve as judges of the dead, are featured along with images of Jizō (Skt: Kṣitigarbha), a bodhisattva who rescues souls from the suffering of Hell. These powerful depictions of the fearsome deities of Buddhist Hell may send shivers up your spine!

Important Cultural Property
Seated Jizō (Kṣitigarbha) Bodhisattva in a Portable Shrine
Hō’on-ji Temple, Kyoto
Japanese Sculpture
June 13–September 18, 2023
Sculpture|1F-1 gallery
From ancient times through the Edo period (1615–1868), almost all subjects of Japanese sculpture were religious in nature. After Buddhism was introduced to Japan and became firmly established in the seventh century, the production of Buddhist statues flourished. Buddhist deities and their images often have origins in South Asia or Central Asia, and they were usually transmitted to Japan by way of China, bringing with them a complex array of foreign influences.
One of the distinctive characteristics of Japanese sculpture is its use of wood as a primary material. Various modes of carving and other techniques—including joint-block construction (yosegi-zukuri) and inlaid crystal eyes—were developed in Japan to create these wood images.
Over time, the repeated introduction of new images from the Asian continent contributed to further stylistic transformations and innovations in Japan. The Japanese Buddhist sculptures on view here reflect various styles of different historical periods.
Dyeing and Weaving Techniques: Embroidery
August 2–September 10, 2023
Textiles and Costumes|1F-4 gallery
The act of embroidering designs one stitch at a time was traditionally believed to hold special significance. The repetitive nature of the process and the patient perseverance of the embroiderer were thought to infuse a work with the prayers of the creator or the person who commissioned it. This is why embroidered textiles came to feature prominently in religion, in the performing arts, and on celebratory occasions.
Embroiderers can render free designs in multiple colors without the arduous preparation required for woven and dyed textiles. The thickness of the thread can be used to add depth, and different types of stitches can evoke light and shadow. This exhibition presents embroidered textiles made to embellish special spaces and occasions.

Furisode (Long-Sleeved Kimono) with Stripes and Chrysanthemum Sprigs
Kyoto National Museum
The Art of Adornment: Buddhist Decoration
June 13–September 10, 2023
Metalwork|1F-5 gallery
A distinct feature of Japanese art is its many modes of adornment. Throughout history, artists and craftspeople in Japan have shared the impulse to embellish objects of all types with decorations ranging from geometric patterns to motifs from nature. This décor might be boldly exaggerated or it might be so abbreviated as to require special knowledge to comprehend. This is the first installment in a series of exhibitions that will examine celebrated examples of metalwork used to embellish daily life, to bedeck warriors, and to enhance worship. In this first exhibition, visitors are invited to take a closer look at sacred Japanese decorative art works used to glorify Buddhas and other deities.

Important Cultural Property
Hanging Temple Lantern
Kyoto National Museum
Imported Lacquerware: The Enduring Allure of Karamono
August 2–September 10, 2023
Lacquerware|1F-6 gallery
During the Heian period (794–1185), the word karamono (lit. “Tang things” or “Chinese things”) referred to prestigious objects imported from Tang dynasty (618–907) China. Over time, the term came to be used more broadly for rare objects imported from various foreign regions, including Korea, Southeast Asia, and even the Middle East and Europe. Appreciation of karamono reached a peak during the Muromachi period (1392–1573), when military rulers and Buddhist priests who admired Chinese culture spent fortunes to acquire luxurious imported works. During the economic growth and urbanization of the Edo period (1615–1868), import stores called karamono shops also sold Japanese objects that imitated foreign wares. This gallery features examples of karamono from various countries of origin, which have long been admired in Japan for their exotic appeal.

Incense Container in the Shape of a Buddhist Jewel
Kyoto National Museum
Also On View in the Collection Galleries特別展観覧料が必要
Earthenware Vessels and Dogū Figures of the Jōmon Period
June 20–September 10, 2023
Archaeological Relics|3F-2 gallery
The use of pottery in Japan can be traced back nearly 16,000 years. People living during the Jōmon period (ca. 14,000–ca. 4th c. BCE) made vessels for a variety of different purposes. These came in a multitude of forms, including deep pots for boiling and cooking, vessels for storage, shallow bowls and plates for serving or eating food, vessels with spouts for pouring alcohol or other liquids, and vessels for ritual use. Even earthenware pots with practical functions were rich in variation, featuring large, three-dimensional projections and ornate patterns. In addition to pottery for daily use, the Jōmon people made votive figures from clay called dogū. Most dogū are shaped like women and are thought to have embodied prayers for a good harvest or fertility. This exhibition explores the fascinating culture of the Jōmon period with a special focus on its earthenware vessels and dogū figures.

Spouted Vessel
Reportedly excavated in Aomori
Kyoto National Museum
Buddhist Tales of Distant Lands
August 22–September 18, 2023
Illustrated Handscrolls|2F-1 gallery
Though Buddhism eventually became an integral part of Japanese culture, in many ways it continued to be perceived as a religion from a far-off land. Japanese priests were drawn to India and China, and dreamed of retracing the journeys of the Historical Buddha and famous priests. Yet only a handful of people were actually able to travel to other parts of Asia; most had to be satisfied with journeys of imagination based on written texts. The use of illustrated handscrolls allowed them to “see” foreign lands and the activities of revered figures that they had previously only imagined. This gallery presents works by artists who challenged themselves to illustrate tales of distant lands and give Buddhists the visual imagery they craved.

National Treasure
“Tales of Uisang” from Illustrated Legends of the Founders of the Flower Garland School
Kōsan-ji Temple, Kyoto
The Bodhisattva Jizō (Kṣitigarbha) and the Ten Kings of Hell
August 22–September 18, 2023
Buddhist Paintings|2F-2 gallery
The contrasting depictions of the bodhisattva Jizō and the Ten Kings of Hell belie their close relationship. Jizō is shown with a gentle countenance, reflecting his compassion, while the Ten Kings have fierce expressions befitting their roles as agents of karmic retribution. These ten judges decide the fates of the deceased in hell. They were added to the Buddhist pantheon in China, where Confucian funerary rituals and Daoist beliefs about the afterlife were fused with Buddhist practice.
Japanese Buddhists retained the Ten Kings and further localized the concept in the late Heian period (794–1185). They connected Jizō, the savior of those reborn in hell, to King Enma (the ruler of the Ten Kings), and recast Enma as an incarnation of Jizō. Though Enma hates sin and imposes harsh sentences, Jizō does not hate humanity and descends to hell to offer salvation.

Jizō (Kṣitigarbha) Bodhisattva, known as Mibu Jizō
Kyoto National Museum
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism II
August 22–September 18, 2023
Medieval Paintings|2F-3 gallery
During Japan’s medieval period, Zen Buddhists who traveled to and from China introduced new forms of Buddhist culture to Japan. These included monochrome ink painting and Buddhist images that were employed in distinctive ceremonies. The bodhisattva Kannon became an important symbol of wisdom and compassion in Zen temples, and images of Kannon were incorporated into temple rituals. Early monks created numerous paintings of the White-Robed Kannon, whose iconography played an important role in the development of Japanese ink painting.
Kannon is also associated with water and the ocean. The bodhisattva is believed to have descended to the Pure Land of Mount Potalaka in the southern seas and came to be seen as a guardian deity for merchants and monks who traveled by sea. In this exhibition, the cosmopolitan culture of medieval Japan is evident in the many depictions of Kannon that draw on iconography brought to Japan from mainland East Asia.

Kannon (Avalokiteśvara) with a Willow Branch
Kyoto National Museum
A Legacy of Wit and Artistry: Celebrating the 300th Anniversary of Ike no Taiga
August 22–September 18, 2023
Momoyama-Edo Paintings|2F-4 gallery
Ike no Taiga (1723–1776) was the son of a low-ranking official at Kyoto’s silver mint. He lost his father at a young age and turned to painting and calligraphy to support himself and his mother. Taiga’s exceptional talent bloomed with the patronage of intellectuals interested in the newly imported Chinese culture, propelling him to become one of the most popular painters and calligraphers of his time. His works are imbued with innovation and unassuming brilliance, reflecting Taiga’s reputation as an exceptionally humble human being.
The Kyoto National Museum held a large-scale exhibition of Taiga’s works in 2018. In this smaller exhibition, we revisit the artistry of Ike no Taiga in celebration of the 300th anniversary of his birth.

Important Cultural Property
Dongting Lake and the Red Cliffs
By Ike no Taiga
Kyoto National Museum
Discovering the World of Chinese Landscape Painting
August 22–September 18, 2023
Chinese Paintings|2F-5 gallery
Landscapes perhaps exhibit the most significant developments of all Chinese painting genres. Rather than simply sketching scenery as it appeared to the eye, Chinese painters attempted to produce almost mystical representations imbued with Asian worldviews and concepts of the natural world. They found inspiration in the shifting faces of mountains in different seasons and weather, towering peaks that erupted from the ground like manifestations of the earth’s energy, and rivulets from wellsprings deep in the mountains that merged to form colossal rivers.
This exhibition presents landscape paintings from the Ming (1368–1644) through the twentieth century. Featured works include diverse representations of Chinese landscapes, with some following traditional styles and others breaking new ground by incorporating European techniques.

Misty River and Layered Peaks
By Gao Jianfu
Kyoto National Museum
Deities of Buddhist Hell: Jizō and King Enma
June 13–September 18, 2023
Sculpture|1F-1 gallery
Summertime in Japan means the coming of Obon, or the Bon Festival, a tradition rooted in the Indian Ullambana Festival that marks the end of the summer retreat for the Buddhist monastic community. It is an occasion for making offerings to ancestral spirits, but it is also said to be the day when the lids are lifted from the cauldrons of Hell. In Buddhism, Hell is presided over by King Enma, who serves as the judge of the afterlife. Belief in Enma also derives from India, where he was known as Yama, the Hindu god of the underworld. In China, he came to be worshipped alongside Taoist deities, and in Japan he became the leader of the Ten Kings of Hell. In this exhibition, statues of these ten rulers from Jōnen-ji Temple in Kizugawa, who serve as judges of the dead, are featured along with images of Jizō (Skt: Kṣitigarbha), a bodhisattva who rescues souls from the suffering of Hell. These powerful depictions of the fearsome deities of Buddhist Hell may send shivers up your spine!

Important Cultural Property
Seated Jizō (Kṣitigarbha) Bodhisattva in a Portable Shrine
Hō’on-ji Temple, Kyoto
Japanese Sculpture
June 13–September 18, 2023
Sculpture|1F-1 gallery
From ancient times through the Edo period (1615–1868), almost all subjects of Japanese sculpture were religious in nature. After Buddhism was introduced to Japan and became firmly established in the seventh century, the production of Buddhist statues flourished. Buddhist deities and their images often have origins in South Asia or Central Asia, and they were usually transmitted to Japan by way of China, bringing with them a complex array of foreign influences.
One of the distinctive characteristics of Japanese sculpture is its use of wood as a primary material. Various modes of carving and other techniques—including joint-block construction (yosegi-zukuri) and inlaid crystal eyes—were developed in Japan to create these wood images.
Over time, the repeated introduction of new images from the Asian continent contributed to further stylistic transformations and innovations in Japan. The Japanese Buddhist sculptures on view here reflect various styles of different historical periods.
Dyeing and Weaving Techniques: Embroidery
August 2–September 10, 2023
Textiles and Costumes|1F-4 gallery
The act of embroidering designs one stitch at a time was traditionally believed to hold special significance. The repetitive nature of the process and the patient perseverance of the embroiderer were thought to infuse a work with the prayers of the creator or the person who commissioned it. This is why embroidered textiles came to feature prominently in religion, in the performing arts, and on celebratory occasions.
Embroiderers can render free designs in multiple colors without the arduous preparation required for woven and dyed textiles. The thickness of the thread can be used to add depth, and different types of stitches can evoke light and shadow. This exhibition presents embroidered textiles made to embellish special spaces and occasions.

Furisode (Long-Sleeved Kimono) with Stripes and Chrysanthemum Sprigs
Kyoto National Museum
The Art of Adornment: Buddhist Decoration
June 13–September 10, 2023
Metalwork|1F-5 gallery
A distinct feature of Japanese art is its many modes of adornment. Throughout history, artists and craftspeople in Japan have shared the impulse to embellish objects of all types with decorations ranging from geometric patterns to motifs from nature. This décor might be boldly exaggerated or it might be so abbreviated as to require special knowledge to comprehend. This is the first installment in a series of exhibitions that will examine celebrated examples of metalwork used to embellish daily life, to bedeck warriors, and to enhance worship. In this first exhibition, visitors are invited to take a closer look at sacred Japanese decorative art works used to glorify Buddhas and other deities.

Important Cultural Property
Hanging Temple Lantern
Kyoto National Museum
Imported Lacquerware: The Enduring Allure of Karamono
August 2–September 10, 2023
Lacquerware|1F-6 gallery
During the Heian period (794–1185), the word karamono (lit. “Tang things” or “Chinese things”) referred to prestigious objects imported from Tang dynasty (618–907) China. Over time, the term came to be used more broadly for rare objects imported from various foreign regions, including Korea, Southeast Asia, and even the Middle East and Europe. Appreciation of karamono reached a peak during the Muromachi period (1392–1573), when military rulers and Buddhist priests who admired Chinese culture spent fortunes to acquire luxurious imported works. During the economic growth and urbanization of the Edo period (1615–1868), import stores called karamono shops also sold Japanese objects that imitated foreign wares. This gallery features examples of karamono from various countries of origin, which have long been admired in Japan for their exotic appeal.

Incense Container in the Shape of a Buddhist Jewel
Kyoto National Museum
Also On View in the Collection Galleries特別展観覧料が必要
Earthenware Vessels and Dogū Figures of the Jōmon Period
June 20–September 10, 2023
Archaeological Relics|3F-2 gallery
The use of pottery in Japan can be traced back nearly 16,000 years. People living during the Jōmon period (ca. 14,000–ca. 4th c. BCE) made vessels for a variety of different purposes. These came in a multitude of forms, including deep pots for boiling and cooking, vessels for storage, shallow bowls and plates for serving or eating food, vessels with spouts for pouring alcohol or other liquids, and vessels for ritual use. Even earthenware pots with practical functions were rich in variation, featuring large, three-dimensional projections and ornate patterns. In addition to pottery for daily use, the Jōmon people made votive figures from clay called dogū. Most dogū are shaped like women and are thought to have embodied prayers for a good harvest or fertility. This exhibition explores the fascinating culture of the Jōmon period with a special focus on its earthenware vessels and dogū figures.

Spouted Vessel
Reportedly excavated in Aomori
Kyoto National Museum
Buddhist Tales of Distant Lands
August 22–September 18, 2023
Illustrated Handscrolls|2F-1 gallery
Though Buddhism eventually became an integral part of Japanese culture, in many ways it continued to be perceived as a religion from a far-off land. Japanese priests were drawn to India and China, and dreamed of retracing the journeys of the Historical Buddha and famous priests. Yet only a handful of people were actually able to travel to other parts of Asia; most had to be satisfied with journeys of imagination based on written texts. The use of illustrated handscrolls allowed them to “see” foreign lands and the activities of revered figures that they had previously only imagined. This gallery presents works by artists who challenged themselves to illustrate tales of distant lands and give Buddhists the visual imagery they craved.

National Treasure
“Tales of Uisang” from Illustrated Legends of the Founders of the Flower Garland School
Kōsan-ji Temple, Kyoto
The Bodhisattva Jizō (Kṣitigarbha) and the Ten Kings of Hell
August 22–September 18, 2023
Buddhist Paintings|2F-2 gallery
The contrasting depictions of the bodhisattva Jizō and the Ten Kings of Hell belie their close relationship. Jizō is shown with a gentle countenance, reflecting his compassion, while the Ten Kings have fierce expressions befitting their roles as agents of karmic retribution. These ten judges decide the fates of the deceased in hell. They were added to the Buddhist pantheon in China, where Confucian funerary rituals and Daoist beliefs about the afterlife were fused with Buddhist practice.
Japanese Buddhists retained the Ten Kings and further localized the concept in the late Heian period (794–1185). They connected Jizō, the savior of those reborn in hell, to King Enma (the ruler of the Ten Kings), and recast Enma as an incarnation of Jizō. Though Enma hates sin and imposes harsh sentences, Jizō does not hate humanity and descends to hell to offer salvation.

Jizō (Kṣitigarbha) Bodhisattva, known as Mibu Jizō
Kyoto National Museum
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism II
August 22–September 18, 2023
Medieval Paintings|2F-3 gallery
During Japan’s medieval period, Zen Buddhists who traveled to and from China introduced new forms of Buddhist culture to Japan. These included monochrome ink painting and Buddhist images that were employed in distinctive ceremonies. The bodhisattva Kannon became an important symbol of wisdom and compassion in Zen temples, and images of Kannon were incorporated into temple rituals. Early monks created numerous paintings of the White-Robed Kannon, whose iconography played an important role in the development of Japanese ink painting.
Kannon is also associated with water and the ocean. The bodhisattva is believed to have descended to the Pure Land of Mount Potalaka in the southern seas and came to be seen as a guardian deity for merchants and monks who traveled by sea. In this exhibition, the cosmopolitan culture of medieval Japan is evident in the many depictions of Kannon that draw on iconography brought to Japan from mainland East Asia.

Kannon (Avalokiteśvara) with a Willow Branch
Kyoto National Museum
A Legacy of Wit and Artistry: Celebrating the 300th Anniversary of Ike no Taiga
August 22–September 18, 2023
Momoyama-Edo Paintings|2F-4 gallery
Ike no Taiga (1723–1776) was the son of a low-ranking official at Kyoto’s silver mint. He lost his father at a young age and turned to painting and calligraphy to support himself and his mother. Taiga’s exceptional talent bloomed with the patronage of intellectuals interested in the newly imported Chinese culture, propelling him to become one of the most popular painters and calligraphers of his time. His works are imbued with innovation and unassuming brilliance, reflecting Taiga’s reputation as an exceptionally humble human being.
The Kyoto National Museum held a large-scale exhibition of Taiga’s works in 2018. In this smaller exhibition, we revisit the artistry of Ike no Taiga in celebration of the 300th anniversary of his birth.

Important Cultural Property
Dongting Lake and the Red Cliffs
By Ike no Taiga
Kyoto National Museum
Discovering the World of Chinese Landscape Painting
August 22–September 18, 2023
Chinese Paintings|2F-5 gallery
Landscapes perhaps exhibit the most significant developments of all Chinese painting genres. Rather than simply sketching scenery as it appeared to the eye, Chinese painters attempted to produce almost mystical representations imbued with Asian worldviews and concepts of the natural world. They found inspiration in the shifting faces of mountains in different seasons and weather, towering peaks that erupted from the ground like manifestations of the earth’s energy, and rivulets from wellsprings deep in the mountains that merged to form colossal rivers.
This exhibition presents landscape paintings from the Ming (1368–1644) through the twentieth century. Featured works include diverse representations of Chinese landscapes, with some following traditional styles and others breaking new ground by incorporating European techniques.

Misty River and Layered Peaks
By Gao Jianfu
Kyoto National Museum
Deities of Buddhist Hell: Jizō and King Enma
June 13–September 18, 2023
Sculpture|1F-1 gallery
Summertime in Japan means the coming of Obon, or the Bon Festival, a tradition rooted in the Indian Ullambana Festival that marks the end of the summer retreat for the Buddhist monastic community. It is an occasion for making offerings to ancestral spirits, but it is also said to be the day when the lids are lifted from the cauldrons of Hell. In Buddhism, Hell is presided over by King Enma, who serves as the judge of the afterlife. Belief in Enma also derives from India, where he was known as Yama, the Hindu god of the underworld. In China, he came to be worshipped alongside Taoist deities, and in Japan he became the leader of the Ten Kings of Hell. In this exhibition, statues of these ten rulers from Jōnen-ji Temple in Kizugawa, who serve as judges of the dead, are featured along with images of Jizō (Skt: Kṣitigarbha), a bodhisattva who rescues souls from the suffering of Hell. These powerful depictions of the fearsome deities of Buddhist Hell may send shivers up your spine!

Important Cultural Property
Seated Jizō (Kṣitigarbha) Bodhisattva in a Portable Shrine
Hō’on-ji Temple, Kyoto
Japanese Sculpture
June 13–September 18, 2023
Sculpture|1F-1 gallery
From ancient times through the Edo period (1615–1868), almost all subjects of Japanese sculpture were religious in nature. After Buddhism was introduced to Japan and became firmly established in the seventh century, the production of Buddhist statues flourished. Buddhist deities and their images often have origins in South Asia or Central Asia, and they were usually transmitted to Japan by way of China, bringing with them a complex array of foreign influences.
One of the distinctive characteristics of Japanese sculpture is its use of wood as a primary material. Various modes of carving and other techniques—including joint-block construction (yosegi-zukuri) and inlaid crystal eyes—were developed in Japan to create these wood images.
Over time, the repeated introduction of new images from the Asian continent contributed to further stylistic transformations and innovations in Japan. The Japanese Buddhist sculptures on view here reflect various styles of different historical periods.
Dyeing and Weaving Techniques: Embroidery
August 2–September 10, 2023
Textiles and Costumes|1F-4 gallery
The act of embroidering designs one stitch at a time was traditionally believed to hold special significance. The repetitive nature of the process and the patient perseverance of the embroiderer were thought to infuse a work with the prayers of the creator or the person who commissioned it. This is why embroidered textiles came to feature prominently in religion, in the performing arts, and on celebratory occasions.
Embroiderers can render free designs in multiple colors without the arduous preparation required for woven and dyed textiles. The thickness of the thread can be used to add depth, and different types of stitches can evoke light and shadow. This exhibition presents embroidered textiles made to embellish special spaces and occasions.

Furisode (Long-Sleeved Kimono) with Stripes and Chrysanthemum Sprigs
Kyoto National Museum
The Art of Adornment: Buddhist Decoration
June 13–September 10, 2023
Metalwork|1F-5 gallery
A distinct feature of Japanese art is its many modes of adornment. Throughout history, artists and craftspeople in Japan have shared the impulse to embellish objects of all types with decorations ranging from geometric patterns to motifs from nature. This décor might be boldly exaggerated or it might be so abbreviated as to require special knowledge to comprehend. This is the first installment in a series of exhibitions that will examine celebrated examples of metalwork used to embellish daily life, to bedeck warriors, and to enhance worship. In this first exhibition, visitors are invited to take a closer look at sacred Japanese decorative art works used to glorify Buddhas and other deities.

Important Cultural Property
Hanging Temple Lantern
Kyoto National Museum
Imported Lacquerware: The Enduring Allure of Karamono
August 2–September 10, 2023
Lacquerware|1F-6 gallery
During the Heian period (794–1185), the word karamono (lit. “Tang things” or “Chinese things”) referred to prestigious objects imported from Tang dynasty (618–907) China. Over time, the term came to be used more broadly for rare objects imported from various foreign regions, including Korea, Southeast Asia, and even the Middle East and Europe. Appreciation of karamono reached a peak during the Muromachi period (1392–1573), when military rulers and Buddhist priests who admired Chinese culture spent fortunes to acquire luxurious imported works. During the economic growth and urbanization of the Edo period (1615–1868), import stores called karamono shops also sold Japanese objects that imitated foreign wares. This gallery features examples of karamono from various countries of origin, which have long been admired in Japan for their exotic appeal.

Incense Container in the Shape of a Buddhist Jewel
Kyoto National Museum
Also On View in the Collection Galleries特別展観覧料が必要
Earthenware Vessels and Dogū Figures of the Jōmon Period
June 20–September 10, 2023
Archaeological Relics|3F-2 gallery
The use of pottery in Japan can be traced back nearly 16,000 years. People living during the Jōmon period (ca. 14,000–ca. 4th c. BCE) made vessels for a variety of different purposes. These came in a multitude of forms, including deep pots for boiling and cooking, vessels for storage, shallow bowls and plates for serving or eating food, vessels with spouts for pouring alcohol or other liquids, and vessels for ritual use. Even earthenware pots with practical functions were rich in variation, featuring large, three-dimensional projections and ornate patterns. In addition to pottery for daily use, the Jōmon people made votive figures from clay called dogū. Most dogū are shaped like women and are thought to have embodied prayers for a good harvest or fertility. This exhibition explores the fascinating culture of the Jōmon period with a special focus on its earthenware vessels and dogū figures.

Spouted Vessel
Reportedly excavated in Aomori
Kyoto National Museum
Buddhist Tales of Distant Lands
August 22–September 18, 2023
Illustrated Handscrolls|2F-1 gallery
Though Buddhism eventually became an integral part of Japanese culture, in many ways it continued to be perceived as a religion from a far-off land. Japanese priests were drawn to India and China, and dreamed of retracing the journeys of the Historical Buddha and famous priests. Yet only a handful of people were actually able to travel to other parts of Asia; most had to be satisfied with journeys of imagination based on written texts. The use of illustrated handscrolls allowed them to “see” foreign lands and the activities of revered figures that they had previously only imagined. This gallery presents works by artists who challenged themselves to illustrate tales of distant lands and give Buddhists the visual imagery they craved.

National Treasure
“Tales of Uisang” from Illustrated Legends of the Founders of the Flower Garland School
Kōsan-ji Temple, Kyoto
The Bodhisattva Jizō (Kṣitigarbha) and the Ten Kings of Hell
August 22–September 18, 2023
Buddhist Paintings|2F-2 gallery
The contrasting depictions of the bodhisattva Jizō and the Ten Kings of Hell belie their close relationship. Jizō is shown with a gentle countenance, reflecting his compassion, while the Ten Kings have fierce expressions befitting their roles as agents of karmic retribution. These ten judges decide the fates of the deceased in hell. They were added to the Buddhist pantheon in China, where Confucian funerary rituals and Daoist beliefs about the afterlife were fused with Buddhist practice.
Japanese Buddhists retained the Ten Kings and further localized the concept in the late Heian period (794–1185). They connected Jizō, the savior of those reborn in hell, to King Enma (the ruler of the Ten Kings), and recast Enma as an incarnation of Jizō. Though Enma hates sin and imposes harsh sentences, Jizō does not hate humanity and descends to hell to offer salvation.

Jizō (Kṣitigarbha) Bodhisattva, known as Mibu Jizō
Kyoto National Museum
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism II
August 22–September 18, 2023
Medieval Paintings|2F-3 gallery
During Japan’s medieval period, Zen Buddhists who traveled to and from China introduced new forms of Buddhist culture to Japan. These included monochrome ink painting and Buddhist images that were employed in distinctive ceremonies. The bodhisattva Kannon became an important symbol of wisdom and compassion in Zen temples, and images of Kannon were incorporated into temple rituals. Early monks created numerous paintings of the White-Robed Kannon, whose iconography played an important role in the development of Japanese ink painting.
Kannon is also associated with water and the ocean. The bodhisattva is believed to have descended to the Pure Land of Mount Potalaka in the southern seas and came to be seen as a guardian deity for merchants and monks who traveled by sea. In this exhibition, the cosmopolitan culture of medieval Japan is evident in the many depictions of Kannon that draw on iconography brought to Japan from mainland East Asia.

Kannon (Avalokiteśvara) with a Willow Branch
Kyoto National Museum
A Legacy of Wit and Artistry: Celebrating the 300th Anniversary of Ike no Taiga
August 22–September 18, 2023
Momoyama-Edo Paintings|2F-4 gallery
Ike no Taiga (1723–1776) was the son of a low-ranking official at Kyoto’s silver mint. He lost his father at a young age and turned to painting and calligraphy to support himself and his mother. Taiga’s exceptional talent bloomed with the patronage of intellectuals interested in the newly imported Chinese culture, propelling him to become one of the most popular painters and calligraphers of his time. His works are imbued with innovation and unassuming brilliance, reflecting Taiga’s reputation as an exceptionally humble human being.
The Kyoto National Museum held a large-scale exhibition of Taiga’s works in 2018. In this smaller exhibition, we revisit the artistry of Ike no Taiga in celebration of the 300th anniversary of his birth.

Important Cultural Property
Dongting Lake and the Red Cliffs
By Ike no Taiga
Kyoto National Museum
Discovering the World of Chinese Landscape Painting
August 22–September 18, 2023
Chinese Paintings|2F-5 gallery
Landscapes perhaps exhibit the most significant developments of all Chinese painting genres. Rather than simply sketching scenery as it appeared to the eye, Chinese painters attempted to produce almost mystical representations imbued with Asian worldviews and concepts of the natural world. They found inspiration in the shifting faces of mountains in different seasons and weather, towering peaks that erupted from the ground like manifestations of the earth’s energy, and rivulets from wellsprings deep in the mountains that merged to form colossal rivers.
This exhibition presents landscape paintings from the Ming (1368–1644) through the twentieth century. Featured works include diverse representations of Chinese landscapes, with some following traditional styles and others breaking new ground by incorporating European techniques.

Misty River and Layered Peaks
By Gao Jianfu
Kyoto National Museum
Deities of Buddhist Hell: Jizō and King Enma
June 13–September 18, 2023
Sculpture|1F-1 gallery
Summertime in Japan means the coming of Obon, or the Bon Festival, a tradition rooted in the Indian Ullambana Festival that marks the end of the summer retreat for the Buddhist monastic community. It is an occasion for making offerings to ancestral spirits, but it is also said to be the day when the lids are lifted from the cauldrons of Hell. In Buddhism, Hell is presided over by King Enma, who serves as the judge of the afterlife. Belief in Enma also derives from India, where he was known as Yama, the Hindu god of the underworld. In China, he came to be worshipped alongside Taoist deities, and in Japan he became the leader of the Ten Kings of Hell. In this exhibition, statues of these ten rulers from Jōnen-ji Temple in Kizugawa, who serve as judges of the dead, are featured along with images of Jizō (Skt: Kṣitigarbha), a bodhisattva who rescues souls from the suffering of Hell. These powerful depictions of the fearsome deities of Buddhist Hell may send shivers up your spine!

Important Cultural Property
Seated Jizō (Kṣitigarbha) Bodhisattva in a Portable Shrine
Hō’on-ji Temple, Kyoto
Japanese Sculpture
June 13–September 18, 2023
Sculpture|1F-1 gallery
From ancient times through the Edo period (1615–1868), almost all subjects of Japanese sculpture were religious in nature. After Buddhism was introduced to Japan and became firmly established in the seventh century, the production of Buddhist statues flourished. Buddhist deities and their images often have origins in South Asia or Central Asia, and they were usually transmitted to Japan by way of China, bringing with them a complex array of foreign influences.
One of the distinctive characteristics of Japanese sculpture is its use of wood as a primary material. Various modes of carving and other techniques—including joint-block construction (yosegi-zukuri) and inlaid crystal eyes—were developed in Japan to create these wood images.
Over time, the repeated introduction of new images from the Asian continent contributed to further stylistic transformations and innovations in Japan. The Japanese Buddhist sculptures on view here reflect various styles of different historical periods.
Dyeing and Weaving Techniques: Embroidery
August 2–September 10, 2023
Textiles and Costumes|1F-4 gallery
The act of embroidering designs one stitch at a time was traditionally believed to hold special significance. The repetitive nature of the process and the patient perseverance of the embroiderer were thought to infuse a work with the prayers of the creator or the person who commissioned it. This is why embroidered textiles came to feature prominently in religion, in the performing arts, and on celebratory occasions.
Embroiderers can render free designs in multiple colors without the arduous preparation required for woven and dyed textiles. The thickness of the thread can be used to add depth, and different types of stitches can evoke light and shadow. This exhibition presents embroidered textiles made to embellish special spaces and occasions.

Furisode (Long-Sleeved Kimono) with Stripes and Chrysanthemum Sprigs
Kyoto National Museum
The Art of Adornment: Buddhist Decoration
June 13–September 10, 2023
Metalwork|1F-5 gallery
A distinct feature of Japanese art is its many modes of adornment. Throughout history, artists and craftspeople in Japan have shared the impulse to embellish objects of all types with decorations ranging from geometric patterns to motifs from nature. This décor might be boldly exaggerated or it might be so abbreviated as to require special knowledge to comprehend. This is the first installment in a series of exhibitions that will examine celebrated examples of metalwork used to embellish daily life, to bedeck warriors, and to enhance worship. In this first exhibition, visitors are invited to take a closer look at sacred Japanese decorative art works used to glorify Buddhas and other deities.

Important Cultural Property
Hanging Temple Lantern
Kyoto National Museum
Imported Lacquerware: The Enduring Allure of Karamono
August 2–September 10, 2023
Lacquerware|1F-6 gallery
During the Heian period (794–1185), the word karamono (lit. “Tang things” or “Chinese things”) referred to prestigious objects imported from Tang dynasty (618–907) China. Over time, the term came to be used more broadly for rare objects imported from various foreign regions, including Korea, Southeast Asia, and even the Middle East and Europe. Appreciation of karamono reached a peak during the Muromachi period (1392–1573), when military rulers and Buddhist priests who admired Chinese culture spent fortunes to acquire luxurious imported works. During the economic growth and urbanization of the Edo period (1615–1868), import stores called karamono shops also sold Japanese objects that imitated foreign wares. This gallery features examples of karamono from various countries of origin, which have long been admired in Japan for their exotic appeal.

Incense Container in the Shape of a Buddhist Jewel
Kyoto National Museum
Also On View in the Collection Galleries特別展観覧料が必要
Earthenware Vessels and Dogū Figures of the Jōmon Period
June 20–September 10, 2023
Archaeological Relics|3F-2 gallery
The use of pottery in Japan can be traced back nearly 16,000 years. People living during the Jōmon period (ca. 14,000–ca. 4th c. BCE) made vessels for a variety of different purposes. These came in a multitude of forms, including deep pots for boiling and cooking, vessels for storage, shallow bowls and plates for serving or eating food, vessels with spouts for pouring alcohol or other liquids, and vessels for ritual use. Even earthenware pots with practical functions were rich in variation, featuring large, three-dimensional projections and ornate patterns. In addition to pottery for daily use, the Jōmon people made votive figures from clay called dogū. Most dogū are shaped like women and are thought to have embodied prayers for a good harvest or fertility. This exhibition explores the fascinating culture of the Jōmon period with a special focus on its earthenware vessels and dogū figures.

Spouted Vessel
Reportedly excavated in Aomori
Kyoto National Museum
Buddhist Tales of Distant Lands
August 22–September 18, 2023
Illustrated Handscrolls|2F-1 gallery
Though Buddhism eventually became an integral part of Japanese culture, in many ways it continued to be perceived as a religion from a far-off land. Japanese priests were drawn to India and China, and dreamed of retracing the journeys of the Historical Buddha and famous priests. Yet only a handful of people were actually able to travel to other parts of Asia; most had to be satisfied with journeys of imagination based on written texts. The use of illustrated handscrolls allowed them to “see” foreign lands and the activities of revered figures that they had previously only imagined. This gallery presents works by artists who challenged themselves to illustrate tales of distant lands and give Buddhists the visual imagery they craved.

National Treasure
“Tales of Uisang” from Illustrated Legends of the Founders of the Flower Garland School
Kōsan-ji Temple, Kyoto
The Bodhisattva Jizō (Kṣitigarbha) and the Ten Kings of Hell
August 22–September 18, 2023
Buddhist Paintings|2F-2 gallery
The contrasting depictions of the bodhisattva Jizō and the Ten Kings of Hell belie their close relationship. Jizō is shown with a gentle countenance, reflecting his compassion, while the Ten Kings have fierce expressions befitting their roles as agents of karmic retribution. These ten judges decide the fates of the deceased in hell. They were added to the Buddhist pantheon in China, where Confucian funerary rituals and Daoist beliefs about the afterlife were fused with Buddhist practice.
Japanese Buddhists retained the Ten Kings and further localized the concept in the late Heian period (794–1185). They connected Jizō, the savior of those reborn in hell, to King Enma (the ruler of the Ten Kings), and recast Enma as an incarnation of Jizō. Though Enma hates sin and imposes harsh sentences, Jizō does not hate humanity and descends to hell to offer salvation.

Jizō (Kṣitigarbha) Bodhisattva, known as Mibu Jizō
Kyoto National Museum
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism II
August 22–September 18, 2023
Medieval Paintings|2F-3 gallery
During Japan’s medieval period, Zen Buddhists who traveled to and from China introduced new forms of Buddhist culture to Japan. These included monochrome ink painting and Buddhist images that were employed in distinctive ceremonies. The bodhisattva Kannon became an important symbol of wisdom and compassion in Zen temples, and images of Kannon were incorporated into temple rituals. Early monks created numerous paintings of the White-Robed Kannon, whose iconography played an important role in the development of Japanese ink painting.
Kannon is also associated with water and the ocean. The bodhisattva is believed to have descended to the Pure Land of Mount Potalaka in the southern seas and came to be seen as a guardian deity for merchants and monks who traveled by sea. In this exhibition, the cosmopolitan culture of medieval Japan is evident in the many depictions of Kannon that draw on iconography brought to Japan from mainland East Asia.

Kannon (Avalokiteśvara) with a Willow Branch
Kyoto National Museum
A Legacy of Wit and Artistry: Celebrating the 300th Anniversary of Ike no Taiga
August 22–September 18, 2023
Momoyama-Edo Paintings|2F-4 gallery
Ike no Taiga (1723–1776) was the son of a low-ranking official at Kyoto’s silver mint. He lost his father at a young age and turned to painting and calligraphy to support himself and his mother. Taiga’s exceptional talent bloomed with the patronage of intellectuals interested in the newly imported Chinese culture, propelling him to become one of the most popular painters and calligraphers of his time. His works are imbued with innovation and unassuming brilliance, reflecting Taiga’s reputation as an exceptionally humble human being.
The Kyoto National Museum held a large-scale exhibition of Taiga’s works in 2018. In this smaller exhibition, we revisit the artistry of Ike no Taiga in celebration of the 300th anniversary of his birth.

Important Cultural Property
Dongting Lake and the Red Cliffs
By Ike no Taiga
Kyoto National Museum
Discovering the World of Chinese Landscape Painting
August 22–September 18, 2023
Chinese Paintings|2F-5 gallery
Landscapes perhaps exhibit the most significant developments of all Chinese painting genres. Rather than simply sketching scenery as it appeared to the eye, Chinese painters attempted to produce almost mystical representations imbued with Asian worldviews and concepts of the natural world. They found inspiration in the shifting faces of mountains in different seasons and weather, towering peaks that erupted from the ground like manifestations of the earth’s energy, and rivulets from wellsprings deep in the mountains that merged to form colossal rivers.
This exhibition presents landscape paintings from the Ming (1368–1644) through the twentieth century. Featured works include diverse representations of Chinese landscapes, with some following traditional styles and others breaking new ground by incorporating European techniques.

Misty River and Layered Peaks
By Gao Jianfu
Kyoto National Museum
Deities of Buddhist Hell: Jizō and King Enma
June 13–September 18, 2023
Sculpture|1F-1 gallery
Summertime in Japan means the coming of Obon, or the Bon Festival, a tradition rooted in the Indian Ullambana Festival that marks the end of the summer retreat for the Buddhist monastic community. It is an occasion for making offerings to ancestral spirits, but it is also said to be the day when the lids are lifted from the cauldrons of Hell. In Buddhism, Hell is presided over by King Enma, who serves as the judge of the afterlife. Belief in Enma also derives from India, where he was known as Yama, the Hindu god of the underworld. In China, he came to be worshipped alongside Taoist deities, and in Japan he became the leader of the Ten Kings of Hell. In this exhibition, statues of these ten rulers from Jōnen-ji Temple in Kizugawa, who serve as judges of the dead, are featured along with images of Jizō (Skt: Kṣitigarbha), a bodhisattva who rescues souls from the suffering of Hell. These powerful depictions of the fearsome deities of Buddhist Hell may send shivers up your spine!

Important Cultural Property
Seated Jizō (Kṣitigarbha) Bodhisattva in a Portable Shrine
Hō’on-ji Temple, Kyoto
Japanese Sculpture
June 13–September 18, 2023
Sculpture|1F-1 gallery
From ancient times through the Edo period (1615–1868), almost all subjects of Japanese sculpture were religious in nature. After Buddhism was introduced to Japan and became firmly established in the seventh century, the production of Buddhist statues flourished. Buddhist deities and their images often have origins in South Asia or Central Asia, and they were usually transmitted to Japan by way of China, bringing with them a complex array of foreign influences.
One of the distinctive characteristics of Japanese sculpture is its use of wood as a primary material. Various modes of carving and other techniques—including joint-block construction (yosegi-zukuri) and inlaid crystal eyes—were developed in Japan to create these wood images.
Over time, the repeated introduction of new images from the Asian continent contributed to further stylistic transformations and innovations in Japan. The Japanese Buddhist sculptures on view here reflect various styles of different historical periods.
Dyeing and Weaving Techniques: Embroidery
August 2–September 10, 2023
Textiles and Costumes|1F-4 gallery
The act of embroidering designs one stitch at a time was traditionally believed to hold special significance. The repetitive nature of the process and the patient perseverance of the embroiderer were thought to infuse a work with the prayers of the creator or the person who commissioned it. This is why embroidered textiles came to feature prominently in religion, in the performing arts, and on celebratory occasions.
Embroiderers can render free designs in multiple colors without the arduous preparation required for woven and dyed textiles. The thickness of the thread can be used to add depth, and different types of stitches can evoke light and shadow. This exhibition presents embroidered textiles made to embellish special spaces and occasions.

Furisode (Long-Sleeved Kimono) with Stripes and Chrysanthemum Sprigs
Kyoto National Museum
The Art of Adornment: Buddhist Decoration
June 13–September 10, 2023
Metalwork|1F-5 gallery
A distinct feature of Japanese art is its many modes of adornment. Throughout history, artists and craftspeople in Japan have shared the impulse to embellish objects of all types with decorations ranging from geometric patterns to motifs from nature. This décor might be boldly exaggerated or it might be so abbreviated as to require special knowledge to comprehend. This is the first installment in a series of exhibitions that will examine celebrated examples of metalwork used to embellish daily life, to bedeck warriors, and to enhance worship. In this first exhibition, visitors are invited to take a closer look at sacred Japanese decorative art works used to glorify Buddhas and other deities.

Important Cultural Property
Hanging Temple Lantern
Kyoto National Museum
Imported Lacquerware: The Enduring Allure of Karamono
August 2–September 10, 2023
Lacquerware|1F-6 gallery
During the Heian period (794–1185), the word karamono (lit. “Tang things” or “Chinese things”) referred to prestigious objects imported from Tang dynasty (618–907) China. Over time, the term came to be used more broadly for rare objects imported from various foreign regions, including Korea, Southeast Asia, and even the Middle East and Europe. Appreciation of karamono reached a peak during the Muromachi period (1392–1573), when military rulers and Buddhist priests who admired Chinese culture spent fortunes to acquire luxurious imported works. During the economic growth and urbanization of the Edo period (1615–1868), import stores called karamono shops also sold Japanese objects that imitated foreign wares. This gallery features examples of karamono from various countries of origin, which have long been admired in Japan for their exotic appeal.

Incense Container in the Shape of a Buddhist Jewel
Kyoto National Museum
Also On View in the Collection Galleries特別展観覧料が必要
Earthenware Vessels and Dogū Figures of the Jōmon Period
June 20–September 10, 2023
Archaeological Relics|3F-2 gallery
The use of pottery in Japan can be traced back nearly 16,000 years. People living during the Jōmon period (ca. 14,000–ca. 4th c. BCE) made vessels for a variety of different purposes. These came in a multitude of forms, including deep pots for boiling and cooking, vessels for storage, shallow bowls and plates for serving or eating food, vessels with spouts for pouring alcohol or other liquids, and vessels for ritual use. Even earthenware pots with practical functions were rich in variation, featuring large, three-dimensional projections and ornate patterns. In addition to pottery for daily use, the Jōmon people made votive figures from clay called dogū. Most dogū are shaped like women and are thought to have embodied prayers for a good harvest or fertility. This exhibition explores the fascinating culture of the Jōmon period with a special focus on its earthenware vessels and dogū figures.

Spouted Vessel
Reportedly excavated in Aomori
Kyoto National Museum
Buddhist Tales of Distant Lands
August 22–September 18, 2023
Illustrated Handscrolls|2F-1 gallery
Though Buddhism eventually became an integral part of Japanese culture, in many ways it continued to be perceived as a religion from a far-off land. Japanese priests were drawn to India and China, and dreamed of retracing the journeys of the Historical Buddha and famous priests. Yet only a handful of people were actually able to travel to other parts of Asia; most had to be satisfied with journeys of imagination based on written texts. The use of illustrated handscrolls allowed them to “see” foreign lands and the activities of revered figures that they had previously only imagined. This gallery presents works by artists who challenged themselves to illustrate tales of distant lands and give Buddhists the visual imagery they craved.

National Treasure
“Tales of Uisang” from Illustrated Legends of the Founders of the Flower Garland School
Kōsan-ji Temple, Kyoto
The Bodhisattva Jizō (Kṣitigarbha) and the Ten Kings of Hell
August 22–September 18, 2023
Buddhist Paintings|2F-2 gallery
The contrasting depictions of the bodhisattva Jizō and the Ten Kings of Hell belie their close relationship. Jizō is shown with a gentle countenance, reflecting his compassion, while the Ten Kings have fierce expressions befitting their roles as agents of karmic retribution. These ten judges decide the fates of the deceased in hell. They were added to the Buddhist pantheon in China, where Confucian funerary rituals and Daoist beliefs about the afterlife were fused with Buddhist practice.
Japanese Buddhists retained the Ten Kings and further localized the concept in the late Heian period (794–1185). They connected Jizō, the savior of those reborn in hell, to King Enma (the ruler of the Ten Kings), and recast Enma as an incarnation of Jizō. Though Enma hates sin and imposes harsh sentences, Jizō does not hate humanity and descends to hell to offer salvation.

Jizō (Kṣitigarbha) Bodhisattva, known as Mibu Jizō
Kyoto National Museum
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism II
August 22–September 18, 2023
Medieval Paintings|2F-3 gallery
During Japan’s medieval period, Zen Buddhists who traveled to and from China introduced new forms of Buddhist culture to Japan. These included monochrome ink painting and Buddhist images that were employed in distinctive ceremonies. The bodhisattva Kannon became an important symbol of wisdom and compassion in Zen temples, and images of Kannon were incorporated into temple rituals. Early monks created numerous paintings of the White-Robed Kannon, whose iconography played an important role in the development of Japanese ink painting.
Kannon is also associated with water and the ocean. The bodhisattva is believed to have descended to the Pure Land of Mount Potalaka in the southern seas and came to be seen as a guardian deity for merchants and monks who traveled by sea. In this exhibition, the cosmopolitan culture of medieval Japan is evident in the many depictions of Kannon that draw on iconography brought to Japan from mainland East Asia.

Kannon (Avalokiteśvara) with a Willow Branch
Kyoto National Museum
A Legacy of Wit and Artistry: Celebrating the 300th Anniversary of Ike no Taiga
August 22–September 18, 2023
Momoyama-Edo Paintings|2F-4 gallery
Ike no Taiga (1723–1776) was the son of a low-ranking official at Kyoto’s silver mint. He lost his father at a young age and turned to painting and calligraphy to support himself and his mother. Taiga’s exceptional talent bloomed with the patronage of intellectuals interested in the newly imported Chinese culture, propelling him to become one of the most popular painters and calligraphers of his time. His works are imbued with innovation and unassuming brilliance, reflecting Taiga’s reputation as an exceptionally humble human being.
The Kyoto National Museum held a large-scale exhibition of Taiga’s works in 2018. In this smaller exhibition, we revisit the artistry of Ike no Taiga in celebration of the 300th anniversary of his birth.

Important Cultural Property
Dongting Lake and the Red Cliffs
By Ike no Taiga
Kyoto National Museum
Discovering the World of Chinese Landscape Painting
August 22–September 18, 2023
Chinese Paintings|2F-5 gallery
Landscapes perhaps exhibit the most significant developments of all Chinese painting genres. Rather than simply sketching scenery as it appeared to the eye, Chinese painters attempted to produce almost mystical representations imbued with Asian worldviews and concepts of the natural world. They found inspiration in the shifting faces of mountains in different seasons and weather, towering peaks that erupted from the ground like manifestations of the earth’s energy, and rivulets from wellsprings deep in the mountains that merged to form colossal rivers.
This exhibition presents landscape paintings from the Ming (1368–1644) through the twentieth century. Featured works include diverse representations of Chinese landscapes, with some following traditional styles and others breaking new ground by incorporating European techniques.

Misty River and Layered Peaks
By Gao Jianfu
Kyoto National Museum
Deities of Buddhist Hell: Jizō and King Enma
June 13–September 18, 2023
Sculpture|1F-1 gallery
Summertime in Japan means the coming of Obon, or the Bon Festival, a tradition rooted in the Indian Ullambana Festival that marks the end of the summer retreat for the Buddhist monastic community. It is an occasion for making offerings to ancestral spirits, but it is also said to be the day when the lids are lifted from the cauldrons of Hell. In Buddhism, Hell is presided over by King Enma, who serves as the judge of the afterlife. Belief in Enma also derives from India, where he was known as Yama, the Hindu god of the underworld. In China, he came to be worshipped alongside Taoist deities, and in Japan he became the leader of the Ten Kings of Hell. In this exhibition, statues of these ten rulers from Jōnen-ji Temple in Kizugawa, who serve as judges of the dead, are featured along with images of Jizō (Skt: Kṣitigarbha), a bodhisattva who rescues souls from the suffering of Hell. These powerful depictions of the fearsome deities of Buddhist Hell may send shivers up your spine!

Important Cultural Property
Seated Jizō (Kṣitigarbha) Bodhisattva in a Portable Shrine
Hō’on-ji Temple, Kyoto
Japanese Sculpture
June 13–September 18, 2023
Sculpture|1F-1 gallery
From ancient times through the Edo period (1615–1868), almost all subjects of Japanese sculpture were religious in nature. After Buddhism was introduced to Japan and became firmly established in the seventh century, the production of Buddhist statues flourished. Buddhist deities and their images often have origins in South Asia or Central Asia, and they were usually transmitted to Japan by way of China, bringing with them a complex array of foreign influences.
One of the distinctive characteristics of Japanese sculpture is its use of wood as a primary material. Various modes of carving and other techniques—including joint-block construction (yosegi-zukuri) and inlaid crystal eyes—were developed in Japan to create these wood images.
Over time, the repeated introduction of new images from the Asian continent contributed to further stylistic transformations and innovations in Japan. The Japanese Buddhist sculptures on view here reflect various styles of different historical periods.
Dyeing and Weaving Techniques: Embroidery
August 2–September 10, 2023
Textiles and Costumes|1F-4 gallery
The act of embroidering designs one stitch at a time was traditionally believed to hold special significance. The repetitive nature of the process and the patient perseverance of the embroiderer were thought to infuse a work with the prayers of the creator or the person who commissioned it. This is why embroidered textiles came to feature prominently in religion, in the performing arts, and on celebratory occasions.
Embroiderers can render free designs in multiple colors without the arduous preparation required for woven and dyed textiles. The thickness of the thread can be used to add depth, and different types of stitches can evoke light and shadow. This exhibition presents embroidered textiles made to embellish special spaces and occasions.

Furisode (Long-Sleeved Kimono) with Stripes and Chrysanthemum Sprigs
Kyoto National Museum
The Art of Adornment: Buddhist Decoration
June 13–September 10, 2023
Metalwork|1F-5 gallery
A distinct feature of Japanese art is its many modes of adornment. Throughout history, artists and craftspeople in Japan have shared the impulse to embellish objects of all types with decorations ranging from geometric patterns to motifs from nature. This décor might be boldly exaggerated or it might be so abbreviated as to require special knowledge to comprehend. This is the first installment in a series of exhibitions that will examine celebrated examples of metalwork used to embellish daily life, to bedeck warriors, and to enhance worship. In this first exhibition, visitors are invited to take a closer look at sacred Japanese decorative art works used to glorify Buddhas and other deities.

Important Cultural Property
Hanging Temple Lantern
Kyoto National Museum
Imported Lacquerware: The Enduring Allure of Karamono
August 2–September 10, 2023
Lacquerware|1F-6 gallery
During the Heian period (794–1185), the word karamono (lit. “Tang things” or “Chinese things”) referred to prestigious objects imported from Tang dynasty (618–907) China. Over time, the term came to be used more broadly for rare objects imported from various foreign regions, including Korea, Southeast Asia, and even the Middle East and Europe. Appreciation of karamono reached a peak during the Muromachi period (1392–1573), when military rulers and Buddhist priests who admired Chinese culture spent fortunes to acquire luxurious imported works. During the economic growth and urbanization of the Edo period (1615–1868), import stores called karamono shops also sold Japanese objects that imitated foreign wares. This gallery features examples of karamono from various countries of origin, which have long been admired in Japan for their exotic appeal.

Incense Container in the Shape of a Buddhist Jewel
Kyoto National Museum
Also On View in the Collection Galleries特別展観覧料が必要
Earthenware Vessels and Dogū Figures of the Jōmon Period
June 20–September 10, 2023
Archaeological Relics|3F-2 gallery
The use of pottery in Japan can be traced back nearly 16,000 years. People living during the Jōmon period (ca. 14,000–ca. 4th c. BCE) made vessels for a variety of different purposes. These came in a multitude of forms, including deep pots for boiling and cooking, vessels for storage, shallow bowls and plates for serving or eating food, vessels with spouts for pouring alcohol or other liquids, and vessels for ritual use. Even earthenware pots with practical functions were rich in variation, featuring large, three-dimensional projections and ornate patterns. In addition to pottery for daily use, the Jōmon people made votive figures from clay called dogū. Most dogū are shaped like women and are thought to have embodied prayers for a good harvest or fertility. This exhibition explores the fascinating culture of the Jōmon period with a special focus on its earthenware vessels and dogū figures.

Spouted Vessel
Reportedly excavated in Aomori
Kyoto National Museum
Buddhist Tales of Distant Lands
August 22–September 18, 2023
Illustrated Handscrolls|2F-1 gallery
Though Buddhism eventually became an integral part of Japanese culture, in many ways it continued to be perceived as a religion from a far-off land. Japanese priests were drawn to India and China, and dreamed of retracing the journeys of the Historical Buddha and famous priests. Yet only a handful of people were actually able to travel to other parts of Asia; most had to be satisfied with journeys of imagination based on written texts. The use of illustrated handscrolls allowed them to “see” foreign lands and the activities of revered figures that they had previously only imagined. This gallery presents works by artists who challenged themselves to illustrate tales of distant lands and give Buddhists the visual imagery they craved.

National Treasure
“Tales of Uisang” from Illustrated Legends of the Founders of the Flower Garland School
Kōsan-ji Temple, Kyoto
The Bodhisattva Jizō (Kṣitigarbha) and the Ten Kings of Hell
August 22–September 18, 2023
Buddhist Paintings|2F-2 gallery
The contrasting depictions of the bodhisattva Jizō and the Ten Kings of Hell belie their close relationship. Jizō is shown with a gentle countenance, reflecting his compassion, while the Ten Kings have fierce expressions befitting their roles as agents of karmic retribution. These ten judges decide the fates of the deceased in hell. They were added to the Buddhist pantheon in China, where Confucian funerary rituals and Daoist beliefs about the afterlife were fused with Buddhist practice.
Japanese Buddhists retained the Ten Kings and further localized the concept in the late Heian period (794–1185). They connected Jizō, the savior of those reborn in hell, to King Enma (the ruler of the Ten Kings), and recast Enma as an incarnation of Jizō. Though Enma hates sin and imposes harsh sentences, Jizō does not hate humanity and descends to hell to offer salvation.

Jizō (Kṣitigarbha) Bodhisattva, known as Mibu Jizō
Kyoto National Museum
Paintings of Kannon (Avalokiteśvara) in Zen Buddhism II
August 22–September 18, 2023
Medieval Paintings|2F-3 gallery
During Japan’s medieval period, Zen Buddhists who traveled to and from China introduced new forms of Buddhist culture to Japan. These included monochrome ink painting and Buddhist images that were employed in distinctive ceremonies. The bodhisattva Kannon became an important symbol of wisdom and compassion in Zen temples, and images of Kannon were incorporated into temple rituals. Early monks created numerous paintings of the White-Robed Kannon, whose iconography played an important role in the development of Japanese ink painting.
Kannon is also associated with water and the ocean. The bodhisattva is believed to have descended to the Pure Land of Mount Potalaka in the southern seas and came to be seen as a guardian deity for merchants and monks who traveled by sea. In this exhibition, the cosmopolitan culture of medieval Japan is evident in the many depictions of Kannon that draw on iconography brought to Japan from mainland East Asia.

Kannon (Avalokiteśvara) with a Willow Branch
Kyoto National Museum
A Legacy of Wit and Artistry: Celebrating the 300th Anniversary of Ike no Taiga
August 22–September 18, 2023
Momoyama-Edo Paintings|2F-4 gallery
Ike no Taiga (1723–1776) was the son of a low-ranking official at Kyoto’s silver mint. He lost his father at a young age and turned to painting and calligraphy to support himself and his mother. Taiga’s exceptional talent bloomed with the patronage of intellectuals interested in the newly imported Chinese culture, propelling him to become one of the most popular painters and calligraphers of his time. His works are imbued with innovation and unassuming brilliance, reflecting Taiga’s reputation as an exceptionally humble human being.
The Kyoto National Museum held a large-scale exhibition of Taiga’s works in 2018. In this smaller exhibition, we revisit the artistry of Ike no Taiga in celebration of the 300th anniversary of his birth.

Important Cultural Property
Dongting Lake and the Red Cliffs
By Ike no Taiga
Kyoto National Museum
Discovering the World of Chinese Landscape Painting
August 22–September 18, 2023
Chinese Paintings|2F-5 gallery
Landscapes perhaps exhibit the most significant developments of all Chinese painting genres. Rather than simply sketching scenery as it appeared to the eye, Chinese painters attempted to produce almost mystical representations imbued with Asian worldviews and concepts of the natural world. They found inspiration in the shifting faces of mountains in different seasons and weather, towering peaks that erupted from the ground like manifestations of the earth’s energy, and rivulets from wellsprings deep in the mountains that merged to form colossal rivers.
This exhibition presents landscape paintings from the Ming (1368–1644) through the twentieth century. Featured works include diverse representations of Chinese landscapes, with some following traditional styles and others breaking new ground by incorporating European techniques.

Misty River and Layered Peaks
By Gao Jianfu
Kyoto National Museum
Deities of Buddhist Hell: Jizō and King Enma
June 13–September 18, 2023
Sculpture|1F-1 gallery
Summertime in Japan means the coming of Obon, or the Bon Festival, a tradition rooted in the Indian Ullambana Festival that marks the end of the summer retreat for the Buddhist monastic community. It is an occasion for making offerings to ancestral spirits, but it is also said to be the day when the lids are lifted from the cauldrons of Hell. In Buddhism, Hell is presided over by King Enma, who serves as the judge of the afterlife. Belief in Enma also derives from India, where he was known as Yama, the Hindu god of the underworld. In China, he came to be worshipped alongside Taoist deities, and in Japan he became the leader of the Ten Kings of Hell. In this exhibition, statues of these ten rulers from Jōnen-ji Temple in Kizugawa, who serve as judges of the dead, are featured along with images of Jizō (Skt: Kṣitigarbha), a bodhisattva who rescues souls from the suffering of Hell. These powerful depictions of the fearsome deities of Buddhist Hell may send shivers up your spine!

Important Cultural Property
Seated Jizō (Kṣitigarbha) Bodhisattva in a Portable Shrine
Hō’on-ji Temple, Kyoto
Japanese Sculpture
June 13–September 18, 2023
Sculpture|1F-1 gallery
From ancient times through the Edo period (1615–1868), almost all subjects of Japanese sculpture were religious in nature. After Buddhism was introduced to Japan and became firmly established in the seventh century, the production of Buddhist statues flourished. Buddhist deities and their images often have origins in South Asia or Central Asia, and they were usually transmitted to Japan by way of China, bringing with them a complex array of foreign influences.
One of the distinctive characteristics of Japanese sculpture is its use of wood as a primary material. Various modes of carving and other techniques—including joint-block construction (yosegi-zukuri) and inlaid crystal eyes—were developed in Japan to create these wood images.
Over time, the repeated introduction of new images from the Asian continent contributed to further stylistic transformations and innovations in Japan. The Japanese Buddhist sculptures on view here reflect various styles of different historical periods.
Dyeing and Weaving Techniques: Embroidery
August 2–September 10, 2023
Textiles and Costumes|1F-4 gallery
The act of embroidering designs one stitch at a time was traditionally believed to hold special significance. The repetitive nature of the process and the patient perseverance of the embroiderer were thought to infuse a work with the prayers of the creator or the person who commissioned it. This is why embroidered textiles came to feature prominently in religion, in the performing arts, and on celebratory occasions.
Embroiderers can render free designs in multiple colors without the arduous preparation required for woven and dyed textiles. The thickness of the thread can be used to add depth, and different types of stitches can evoke light and shadow. This exhibition presents embroidered textiles made to embellish special spaces and occasions.

Furisode (Long-Sleeved Kimono) with Stripes and Chrysanthemum Sprigs
Kyoto National Museum
The Art of Adornment: Buddhist Decoration
June 13–September 10, 2023
Metalwork|1F-5 gallery
A distinct feature of Japanese art is its many modes of adornment. Throughout history, artists and craftspeople in Japan have shared the impulse to embellish objects of all types with decorations ranging from geometric patterns to motifs from nature. This décor might be boldly exaggerated or it might be so abbreviated as to require special knowledge to comprehend. This is the first installment in a series of exhibitions that will examine celebrated examples of metalwork used to embellish daily life, to bedeck warriors, and to enhance worship. In this first exhibition, visitors are invited to take a closer look at sacred Japanese decorative art works used to glorify Buddhas and other deities.

Important Cultural Property
Hanging Temple Lantern
Kyoto National Museum
Imported Lacquerware: The Enduring Allure of Karamono
August 2–September 10, 2023
Lacquerware|1F-6 gallery
During the Heian period (794–1185), the word karamono (lit. “Tang things” or “Chinese things”) referred to prestigious objects imported from Tang dynasty (618–907) China. Over time, the term came to be used more broadly for rare objects imported from various foreign regions, including Korea, Southeast Asia, and even the Middle East and Europe. Appreciation of karamono reached a peak during the Muromachi period (1392–1573), when military rulers and Buddhist priests who admired Chinese culture spent fortunes to acquire luxurious imported works. During the economic growth and urbanization of the Edo period (1615–1868), import stores called karamono shops also sold Japanese objects that imitated foreign wares. This gallery features examples of karamono from various countries of origin, which have long been admired in Japan for their exotic appeal.

Incense Container in the Shape of a Buddhist Jewel
Kyoto National Museum