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

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 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

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

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

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

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

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 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

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

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

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

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 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

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

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

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

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

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 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

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

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

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

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 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

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

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

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

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

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 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

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

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

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

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 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

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

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

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

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

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 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

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

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

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

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 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

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

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

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

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

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 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

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

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

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

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 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

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

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

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

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

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 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

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

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

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

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 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

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

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

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

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

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 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

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

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

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

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 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

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

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

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

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

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 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

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

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

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

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 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

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

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

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

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

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 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

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

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

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 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

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

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

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

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

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.

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 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

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

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

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

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

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.

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 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

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

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

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

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

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.

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 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

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

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

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

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

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.

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 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

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

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

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

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

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.

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 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

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

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

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

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

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.

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 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

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

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

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

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

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.