Sometime between 1644 and 1648, the potter Nonomura Ninsei (dates unknown) founded the Omuro kiln in front of the gate of Ninna-ji Temple in northwestern Kyoto. There, he produced a rich array of wares, such as tea-leaf storage jars and tea bowls, characterized by a sophisticated use of overglaze enamels. Ninsei imbued his works with a painterly quality by applying red, blue, green, purple, and black glazes with gold and silver accents. His use of overglaze enamels, along with his overall craftsmanship, had a significant influence on later Kyoto ware, including the ceramics of the famed Ogata Kenzan (1663–1743). This exhibition presents works by Ninsei and his contemporaries, as well as those he influenced. In addition, it features ceramic fragments excavated from the Omura kiln site, whose production techniques have been revealed through scientific analysis.

Important Cultural Property
Lotus-Shaped Incense Burner
Attributed to Nonomura Ninsei
Hōkongō-in Temple, Kyoto

Sue ware (sueki) is a type of hard, unglazed greyish brown stoneware closely associated with Japan’s Kofun period (ca. 3rd c.–6th c.). The technology for producing such ceramics was introduced to the Japanese archipelago from the Korean peninsula around the beginning of the fifth century. This exhibition presents Korean ceramics produced in the Silla period (668–935) along with Japanese Sue ware, revealing their shared lineage. Roof tiles excavated in Gyeongju, South Korea, are also on display.

Bowl with Stamped Decoration
Excavation site unknown
Kyoto National Museum

This exhibition explores the history of Japan through introducing a variety of archaeological relics. Many of these artifacts were excavated from ancient ruins. Some are special tools used in rituals and ceremonies, while others are objects used by people in their daily lives. Through exploring Japanese archaeology, we can gain a sense of the lives and experiences of people of the past.

National Treasure
Memorial Tablet with Epitaph of Ono no Emishi
Excavated in Kyoto
Sudō Shrine, Kyoto

Shinto shrines are found throughout every region of Japan. Dedicated to forces of nature, ancestors, or vengeful spirits, they serve as places for offering prayers to a region’s local deities or for the prosperity of family clans.
Hachiman shrines, which are dedicated to the Shinto god of warfare, Hachiman, also exist throughout the country. While the head Hachiman shrine is located at Usa in Oita, Kyushu, the most famous shrine dedicated to the war deity, Iwashimizu Hachimangu, is in Kyoto prefecture.
Another influential Shinto sanctuary is Itsukushima Shrine, located on the island of Miyajima in Hiroshima and best known for its “floating” torii gate. The shrine is dedicated to the Munakata Sanjoshin, three female deities of seas and storms. Itsukushima Shrine is said to have been constructed in 593; it later flourished under the patronage of warlords Taira no Kiyomori (1118–1181) and Mōri Motonari (1497–1571). This exhibition presents illustrated handscrolls tracing the origins of these famed Shinto shrines.

Important Art Object
Illustrated Legends of Itsukushima Shrine

The Twelve Devas were originally Hindu deities who protected sacred ritual spaces from all twelve directions. The screens on display in this exhibition feature these guardian deities as they were once used in esoteric Buddhist initiation rituals called kanjō (Sanskrit: abhiṣeka) in Japan. Originally, abhiṣeka was part of an ancient Indian royal consecration rite, in which water would be poured on the head of the monarch during the accession ceremony. In Japan, this ritual was adopted as a Buddhist rite of passage, in which the practitioner would be purified by water sprinkled over him as a confirmation of his initiation into the esoteric teachings. The inclusion of the Twelve Devas into the rite, however, is considered a purely Japanese development. It is only from the twelfth century onward that these deities came to be depicted in pairs of six-panel folding screens. Previously portrayed seated on pedestals, they now assumed a standing posture that was better adapted to the elongated panels of the folding screen format.

Important Cultural Property
Fūten (Skt., Vayu) from Twelve Devas
Attributed to Takashina Takakane
Shōjuraikō-ji Temple, Shiga

Pine, bamboo, and plum are particularly beloved within East Asia as symbols of winter. Even in intense cold, pine trees retain their vivid green needles, bamboo remains steadfast and sturdy, and plum trees produce fragrant blossoms long before other flowers bloom. In ancient times, Chinese literati called these trees the “Three Friends of Winter.” Viewed as symbols of nobility and profound spirituality, these plants were extolled in cultured pursuits such as poetry, calligraphy, and ink painting.
In Japan, pine, bamboo, and plum were especially admired by medieval Zen monks, who were the most worldly figures of their day. Over time these trees came to be widely recognized across Japanese society as auspicious motifs. In celebration of the New Year, this gallery exhibits elegant paintings of pine, bamboo, and plum—enduring themes nurtured by Japan’s culture of Zen.

Important Cultural Property
Birds and Flowers of the Four Seasons
By Geiai
Kyoto National Museum

Historical records provide evidence of paintings by Japanese women dating as far back as the Heian period (794–1185); however, it was not until the Edo period (1615–1868) that women emerged as full-fledged professional painters. While often grouped together, the experiences of these female artists differed greatly. Women from various social backgrounds transcended the constraints of feudalistic society to engage in a rich array of artistic activities. Although many of these women painters may not be particularly well-known today, their vibrant and captivating works play a key role in the narrative of Japanese art history.

White-Robed Kannon (Avalokiteśvara)
By Kiyohara Yukinobu
Gift of Okamura Takemori, Kyoto National Museum

The city of Yangzhou, situated near the lower end of the Yangtze river, has long flourished as a key location for waterborne transport. During the Qing dynasty (1644–1912), Yangzhou enjoyed unprecedented economic prosperity thanks to its natural reserves of salt, quickly attracting people from throughout the land and blossoming into a capital of culture. The city’s wealthy salt merchants patronized painters, poets, and other cultural figures, opening many ateliers. This exhibition presents a magnificent pair of eight-paneled folding screens, Landscape with Pavilions, painted in Yangzhou in 1720 by Yuan Jiang (1671–ca. 1753) and Wang Yun (b. 1652). The screens have remained unaltered since their original creation in China, where they perhaps once decorated one of the luxurious mansions of Yangzhou, making Landscape with Pavilions a particularly precious masterpiece.

Landscape with Pavilions
By Yuan Jiang
Kyoto National Museum

Sculptures of Buddhist and Shinto deities have been produced throughout the ages in Kyoto, the capital of Japan for a thousand years. Although some of these statues have been lost due to warfare and natural disasters, many have survived to the present. From the ninth century, when the monk Kūkai (also known as Kōbō Daishi, 774–835) brought the teachings of Esoteric Buddhism to Japan from China, through the development of new schools of Buddhism during the Kamakura period (1185–1333), Buddhist sculptures have evolved in diverse ways. In addition to Buddhist deities, statues might also depict Shinto deities, animals, or erudite monks. This gallery displays various sculptures that have been passed down in Kyoto.

National Treasure
Seated Five Wisdom Buddhas
Anshō-ji Temple, Kyoto

Bokuseki, literally “ink traces,” refers to a form of calligraphy written by Zen Buddhist monks. Brushed in Chinese characters, the contents range widely from certificates of enlightenment to instructional literature to poems written at the time of death. These works, many of which are designated Important Cultural Properties, each provide rich insight essential to understanding Zen history and religious thought. The style of writing differs from the refined, delicate brushwork admired in earlier Japanese calligraphy, and instead is characterized by bold, heavy forms and assertive movement. Even if you cannot read what is written, we hope that you will enjoy the spontaneity and strength expressed through these characters.

National Treasure
Calligraphy for a Zen Temple Sign: "Head Monk" (Shuso)
By Zhang Jizhi
Tōfuku-ji Temple, Kyoto

Three magnificent swords designated as Important Cultural Properties have recently come into the collection of the Kyoto National Museum. The blades were crafted by master smiths representing key regions of sword production—Yamashiro, Bizen, and Bicchū. Yet these swords are relatively unknown, as they have not been exhibited to the public for nearly a half century. This special viewing celebrates the reemergence of these masterpieces, while showcasing the Kyoto National Museum’s efforts to protect and preserve Japan’s extraordinary cultural heritage.

Important Cultural Property
Tachi (Slung Sword) Blade
Inscription: "Bitchū […]"
Kyoto National Museum
[on view: February 26–March 23, 2025]

Sometime between 1644 and 1648, the potter Nonomura Ninsei (dates unknown) founded the Omuro kiln in front of the gate of Ninna-ji Temple in northwestern Kyoto. There, he produced a rich array of wares, such as tea-leaf storage jars and tea bowls, characterized by a sophisticated use of overglaze enamels. Ninsei imbued his works with a painterly quality by applying red, blue, green, purple, and black glazes with gold and silver accents. His use of overglaze enamels, along with his overall craftsmanship, had a significant influence on later Kyoto ware, including the ceramics of the famed Ogata Kenzan (1663–1743). This exhibition presents works by Ninsei and his contemporaries, as well as those he influenced. In addition, it features ceramic fragments excavated from the Omura kiln site, whose production techniques have been revealed through scientific analysis.

Important Cultural Property
Lotus-Shaped Incense Burner
Attributed to Nonomura Ninsei
Hōkongō-in Temple, Kyoto

Sue ware (sueki) is a type of hard, unglazed greyish brown stoneware closely associated with Japan’s Kofun period (ca. 3rd c.–6th c.). The technology for producing such ceramics was introduced to the Japanese archipelago from the Korean peninsula around the beginning of the fifth century. This exhibition presents Korean ceramics produced in the Silla period (668–935) along with Japanese Sue ware, revealing their shared lineage. Roof tiles excavated in Gyeongju, South Korea, are also on display.

Bowl with Stamped Decoration
Excavation site unknown
Kyoto National Museum

This exhibition explores the history of Japan through introducing a variety of archaeological relics. Many of these artifacts were excavated from ancient ruins. Some are special tools used in rituals and ceremonies, while others are objects used by people in their daily lives. Through exploring Japanese archaeology, we can gain a sense of the lives and experiences of people of the past.

National Treasure
Memorial Tablet with Epitaph of Ono no Emishi
Excavated in Kyoto
Sudō Shrine, Kyoto

Shinto shrines are found throughout every region of Japan. Dedicated to forces of nature, ancestors, or vengeful spirits, they serve as places for offering prayers to a region’s local deities or for the prosperity of family clans.
Hachiman shrines, which are dedicated to the Shinto god of warfare, Hachiman, also exist throughout the country. While the head Hachiman shrine is located at Usa in Oita, Kyushu, the most famous shrine dedicated to the war deity, Iwashimizu Hachimangu, is in Kyoto prefecture.
Another influential Shinto sanctuary is Itsukushima Shrine, located on the island of Miyajima in Hiroshima and best known for its “floating” torii gate. The shrine is dedicated to the Munakata Sanjoshin, three female deities of seas and storms. Itsukushima Shrine is said to have been constructed in 593; it later flourished under the patronage of warlords Taira no Kiyomori (1118–1181) and Mōri Motonari (1497–1571). This exhibition presents illustrated handscrolls tracing the origins of these famed Shinto shrines.

Important Art Object
Illustrated Legends of Itsukushima Shrine

The Twelve Devas were originally Hindu deities who protected sacred ritual spaces from all twelve directions. The screens on display in this exhibition feature these guardian deities as they were once used in esoteric Buddhist initiation rituals called kanjō (Sanskrit: abhiṣeka) in Japan. Originally, abhiṣeka was part of an ancient Indian royal consecration rite, in which water would be poured on the head of the monarch during the accession ceremony. In Japan, this ritual was adopted as a Buddhist rite of passage, in which the practitioner would be purified by water sprinkled over him as a confirmation of his initiation into the esoteric teachings. The inclusion of the Twelve Devas into the rite, however, is considered a purely Japanese development. It is only from the twelfth century onward that these deities came to be depicted in pairs of six-panel folding screens. Previously portrayed seated on pedestals, they now assumed a standing posture that was better adapted to the elongated panels of the folding screen format.

Important Cultural Property
Fūten (Skt., Vayu) from Twelve Devas
Attributed to Takashina Takakane
Shōjuraikō-ji Temple, Shiga

Pine, bamboo, and plum are particularly beloved within East Asia as symbols of winter. Even in intense cold, pine trees retain their vivid green needles, bamboo remains steadfast and sturdy, and plum trees produce fragrant blossoms long before other flowers bloom. In ancient times, Chinese literati called these trees the “Three Friends of Winter.” Viewed as symbols of nobility and profound spirituality, these plants were extolled in cultured pursuits such as poetry, calligraphy, and ink painting.
In Japan, pine, bamboo, and plum were especially admired by medieval Zen monks, who were the most worldly figures of their day. Over time these trees came to be widely recognized across Japanese society as auspicious motifs. In celebration of the New Year, this gallery exhibits elegant paintings of pine, bamboo, and plum—enduring themes nurtured by Japan’s culture of Zen.

Important Cultural Property
Birds and Flowers of the Four Seasons
By Geiai
Kyoto National Museum

Historical records provide evidence of paintings by Japanese women dating as far back as the Heian period (794–1185); however, it was not until the Edo period (1615–1868) that women emerged as full-fledged professional painters. While often grouped together, the experiences of these female artists differed greatly. Women from various social backgrounds transcended the constraints of feudalistic society to engage in a rich array of artistic activities. Although many of these women painters may not be particularly well-known today, their vibrant and captivating works play a key role in the narrative of Japanese art history.

White-Robed Kannon (Avalokiteśvara)
By Kiyohara Yukinobu
Gift of Okamura Takemori, Kyoto National Museum

The city of Yangzhou, situated near the lower end of the Yangtze river, has long flourished as a key location for waterborne transport. During the Qing dynasty (1644–1912), Yangzhou enjoyed unprecedented economic prosperity thanks to its natural reserves of salt, quickly attracting people from throughout the land and blossoming into a capital of culture. The city’s wealthy salt merchants patronized painters, poets, and other cultural figures, opening many ateliers. This exhibition presents a magnificent pair of eight-paneled folding screens, Landscape with Pavilions, painted in Yangzhou in 1720 by Yuan Jiang (1671–ca. 1753) and Wang Yun (b. 1652). The screens have remained unaltered since their original creation in China, where they perhaps once decorated one of the luxurious mansions of Yangzhou, making Landscape with Pavilions a particularly precious masterpiece.

Landscape with Pavilions
By Yuan Jiang
Kyoto National Museum

Sculptures of Buddhist and Shinto deities have been produced throughout the ages in Kyoto, the capital of Japan for a thousand years. Although some of these statues have been lost due to warfare and natural disasters, many have survived to the present. From the ninth century, when the monk Kūkai (also known as Kōbō Daishi, 774–835) brought the teachings of Esoteric Buddhism to Japan from China, through the development of new schools of Buddhism during the Kamakura period (1185–1333), Buddhist sculptures have evolved in diverse ways. In addition to Buddhist deities, statues might also depict Shinto deities, animals, or erudite monks. This gallery displays various sculptures that have been passed down in Kyoto.

National Treasure
Seated Five Wisdom Buddhas
Anshō-ji Temple, Kyoto

Bokuseki, literally “ink traces,” refers to a form of calligraphy written by Zen Buddhist monks. Brushed in Chinese characters, the contents range widely from certificates of enlightenment to instructional literature to poems written at the time of death. These works, many of which are designated Important Cultural Properties, each provide rich insight essential to understanding Zen history and religious thought. The style of writing differs from the refined, delicate brushwork admired in earlier Japanese calligraphy, and instead is characterized by bold, heavy forms and assertive movement. Even if you cannot read what is written, we hope that you will enjoy the spontaneity and strength expressed through these characters.

National Treasure
Calligraphy for a Zen Temple Sign: "Head Monk" (Shuso)
By Zhang Jizhi
Tōfuku-ji Temple, Kyoto

Three magnificent swords designated as Important Cultural Properties have recently come into the collection of the Kyoto National Museum. The blades were crafted by master smiths representing key regions of sword production—Yamashiro, Bizen, and Bicchū. Yet these swords are relatively unknown, as they have not been exhibited to the public for nearly a half century. This special viewing celebrates the reemergence of these masterpieces, while showcasing the Kyoto National Museum’s efforts to protect and preserve Japan’s extraordinary cultural heritage.

Important Cultural Property
Tachi (Slung Sword) Blade
Inscription: "Bitchū […]"
Kyoto National Museum
[on view: February 26–March 23, 2025]

Sometime between 1644 and 1648, the potter Nonomura Ninsei (dates unknown) founded the Omuro kiln in front of the gate of Ninna-ji Temple in northwestern Kyoto. There, he produced a rich array of wares, such as tea-leaf storage jars and tea bowls, characterized by a sophisticated use of overglaze enamels. Ninsei imbued his works with a painterly quality by applying red, blue, green, purple, and black glazes with gold and silver accents. His use of overglaze enamels, along with his overall craftsmanship, had a significant influence on later Kyoto ware, including the ceramics of the famed Ogata Kenzan (1663–1743). This exhibition presents works by Ninsei and his contemporaries, as well as those he influenced. In addition, it features ceramic fragments excavated from the Omura kiln site, whose production techniques have been revealed through scientific analysis.

Important Cultural Property
Lotus-Shaped Incense Burner
Attributed to Nonomura Ninsei
Hōkongō-in Temple, Kyoto

Sue ware (sueki) is a type of hard, unglazed greyish brown stoneware closely associated with Japan’s Kofun period (ca. 3rd c.–6th c.). The technology for producing such ceramics was introduced to the Japanese archipelago from the Korean peninsula around the beginning of the fifth century. This exhibition presents Korean ceramics produced in the Silla period (668–935) along with Japanese Sue ware, revealing their shared lineage. Roof tiles excavated in Gyeongju, South Korea, are also on display.

Bowl with Stamped Decoration
Excavation site unknown
Kyoto National Museum

This exhibition explores the history of Japan through introducing a variety of archaeological relics. Many of these artifacts were excavated from ancient ruins. Some are special tools used in rituals and ceremonies, while others are objects used by people in their daily lives. Through exploring Japanese archaeology, we can gain a sense of the lives and experiences of people of the past.

National Treasure
Memorial Tablet with Epitaph of Ono no Emishi
Excavated in Kyoto
Sudō Shrine, Kyoto

Shinto shrines are found throughout every region of Japan. Dedicated to forces of nature, ancestors, or vengeful spirits, they serve as places for offering prayers to a region’s local deities or for the prosperity of family clans.
Hachiman shrines, which are dedicated to the Shinto god of warfare, Hachiman, also exist throughout the country. While the head Hachiman shrine is located at Usa in Oita, Kyushu, the most famous shrine dedicated to the war deity, Iwashimizu Hachimangu, is in Kyoto prefecture.
Another influential Shinto sanctuary is Itsukushima Shrine, located on the island of Miyajima in Hiroshima and best known for its “floating” torii gate. The shrine is dedicated to the Munakata Sanjoshin, three female deities of seas and storms. Itsukushima Shrine is said to have been constructed in 593; it later flourished under the patronage of warlords Taira no Kiyomori (1118–1181) and Mōri Motonari (1497–1571). This exhibition presents illustrated handscrolls tracing the origins of these famed Shinto shrines.

Important Art Object
Illustrated Legends of Itsukushima Shrine

The Twelve Devas were originally Hindu deities who protected sacred ritual spaces from all twelve directions. The screens on display in this exhibition feature these guardian deities as they were once used in esoteric Buddhist initiation rituals called kanjō (Sanskrit: abhiṣeka) in Japan. Originally, abhiṣeka was part of an ancient Indian royal consecration rite, in which water would be poured on the head of the monarch during the accession ceremony. In Japan, this ritual was adopted as a Buddhist rite of passage, in which the practitioner would be purified by water sprinkled over him as a confirmation of his initiation into the esoteric teachings. The inclusion of the Twelve Devas into the rite, however, is considered a purely Japanese development. It is only from the twelfth century onward that these deities came to be depicted in pairs of six-panel folding screens. Previously portrayed seated on pedestals, they now assumed a standing posture that was better adapted to the elongated panels of the folding screen format.

Important Cultural Property
Fūten (Skt., Vayu) from Twelve Devas
Attributed to Takashina Takakane
Shōjuraikō-ji Temple, Shiga

Pine, bamboo, and plum are particularly beloved within East Asia as symbols of winter. Even in intense cold, pine trees retain their vivid green needles, bamboo remains steadfast and sturdy, and plum trees produce fragrant blossoms long before other flowers bloom. In ancient times, Chinese literati called these trees the “Three Friends of Winter.” Viewed as symbols of nobility and profound spirituality, these plants were extolled in cultured pursuits such as poetry, calligraphy, and ink painting.
In Japan, pine, bamboo, and plum were especially admired by medieval Zen monks, who were the most worldly figures of their day. Over time these trees came to be widely recognized across Japanese society as auspicious motifs. In celebration of the New Year, this gallery exhibits elegant paintings of pine, bamboo, and plum—enduring themes nurtured by Japan’s culture of Zen.

Important Cultural Property
Birds and Flowers of the Four Seasons
By Geiai
Kyoto National Museum

Historical records provide evidence of paintings by Japanese women dating as far back as the Heian period (794–1185); however, it was not until the Edo period (1615–1868) that women emerged as full-fledged professional painters. While often grouped together, the experiences of these female artists differed greatly. Women from various social backgrounds transcended the constraints of feudalistic society to engage in a rich array of artistic activities. Although many of these women painters may not be particularly well-known today, their vibrant and captivating works play a key role in the narrative of Japanese art history.

White-Robed Kannon (Avalokiteśvara)
By Kiyohara Yukinobu
Gift of Okamura Takemori, Kyoto National Museum

The city of Yangzhou, situated near the lower end of the Yangtze river, has long flourished as a key location for waterborne transport. During the Qing dynasty (1644–1912), Yangzhou enjoyed unprecedented economic prosperity thanks to its natural reserves of salt, quickly attracting people from throughout the land and blossoming into a capital of culture. The city’s wealthy salt merchants patronized painters, poets, and other cultural figures, opening many ateliers. This exhibition presents a magnificent pair of eight-paneled folding screens, Landscape with Pavilions, painted in Yangzhou in 1720 by Yuan Jiang (1671–ca. 1753) and Wang Yun (b. 1652). The screens have remained unaltered since their original creation in China, where they perhaps once decorated one of the luxurious mansions of Yangzhou, making Landscape with Pavilions a particularly precious masterpiece.

Landscape with Pavilions
By Yuan Jiang
Kyoto National Museum

Sculptures of Buddhist and Shinto deities have been produced throughout the ages in Kyoto, the capital of Japan for a thousand years. Although some of these statues have been lost due to warfare and natural disasters, many have survived to the present. From the ninth century, when the monk Kūkai (also known as Kōbō Daishi, 774–835) brought the teachings of Esoteric Buddhism to Japan from China, through the development of new schools of Buddhism during the Kamakura period (1185–1333), Buddhist sculptures have evolved in diverse ways. In addition to Buddhist deities, statues might also depict Shinto deities, animals, or erudite monks. This gallery displays various sculptures that have been passed down in Kyoto.

National Treasure
Seated Five Wisdom Buddhas
Anshō-ji Temple, Kyoto

Bokuseki, literally “ink traces,” refers to a form of calligraphy written by Zen Buddhist monks. Brushed in Chinese characters, the contents range widely from certificates of enlightenment to instructional literature to poems written at the time of death. These works, many of which are designated Important Cultural Properties, each provide rich insight essential to understanding Zen history and religious thought. The style of writing differs from the refined, delicate brushwork admired in earlier Japanese calligraphy, and instead is characterized by bold, heavy forms and assertive movement. Even if you cannot read what is written, we hope that you will enjoy the spontaneity and strength expressed through these characters.

National Treasure
Calligraphy for a Zen Temple Sign: "Head Monk" (Shuso)
By Zhang Jizhi
Tōfuku-ji Temple, Kyoto

Three magnificent swords designated as Important Cultural Properties have recently come into the collection of the Kyoto National Museum. The blades were crafted by master smiths representing key regions of sword production—Yamashiro, Bizen, and Bicchū. Yet these swords are relatively unknown, as they have not been exhibited to the public for nearly a half century. This special viewing celebrates the reemergence of these masterpieces, while showcasing the Kyoto National Museum’s efforts to protect and preserve Japan’s extraordinary cultural heritage.

Important Cultural Property
Tachi (Slung Sword) Blade
Inscription: "Bitchū […]"
Kyoto National Museum
[on view: February 26–March 23, 2025]

Sometime between 1644 and 1648, the potter Nonomura Ninsei (dates unknown) founded the Omuro kiln in front of the gate of Ninna-ji Temple in northwestern Kyoto. There, he produced a rich array of wares, such as tea-leaf storage jars and tea bowls, characterized by a sophisticated use of overglaze enamels. Ninsei imbued his works with a painterly quality by applying red, blue, green, purple, and black glazes with gold and silver accents. His use of overglaze enamels, along with his overall craftsmanship, had a significant influence on later Kyoto ware, including the ceramics of the famed Ogata Kenzan (1663–1743). This exhibition presents works by Ninsei and his contemporaries, as well as those he influenced. In addition, it features ceramic fragments excavated from the Omura kiln site, whose production techniques have been revealed through scientific analysis.

Important Cultural Property
Lotus-Shaped Incense Burner
Attributed to Nonomura Ninsei
Hōkongō-in Temple, Kyoto

Sue ware (sueki) is a type of hard, unglazed greyish brown stoneware closely associated with Japan’s Kofun period (ca. 3rd c.–6th c.). The technology for producing such ceramics was introduced to the Japanese archipelago from the Korean peninsula around the beginning of the fifth century. This exhibition presents Korean ceramics produced in the Silla period (668–935) along with Japanese Sue ware, revealing their shared lineage. Roof tiles excavated in Gyeongju, South Korea, are also on display.

Bowl with Stamped Decoration
Excavation site unknown
Kyoto National Museum

This exhibition explores the history of Japan through introducing a variety of archaeological relics. Many of these artifacts were excavated from ancient ruins. Some are special tools used in rituals and ceremonies, while others are objects used by people in their daily lives. Through exploring Japanese archaeology, we can gain a sense of the lives and experiences of people of the past.

National Treasure
Memorial Tablet with Epitaph of Ono no Emishi
Excavated in Kyoto
Sudō Shrine, Kyoto

Shinto shrines are found throughout every region of Japan. Dedicated to forces of nature, ancestors, or vengeful spirits, they serve as places for offering prayers to a region’s local deities or for the prosperity of family clans.
Hachiman shrines, which are dedicated to the Shinto god of warfare, Hachiman, also exist throughout the country. While the head Hachiman shrine is located at Usa in Oita, Kyushu, the most famous shrine dedicated to the war deity, Iwashimizu Hachimangu, is in Kyoto prefecture.
Another influential Shinto sanctuary is Itsukushima Shrine, located on the island of Miyajima in Hiroshima and best known for its “floating” torii gate. The shrine is dedicated to the Munakata Sanjoshin, three female deities of seas and storms. Itsukushima Shrine is said to have been constructed in 593; it later flourished under the patronage of warlords Taira no Kiyomori (1118–1181) and Mōri Motonari (1497–1571). This exhibition presents illustrated handscrolls tracing the origins of these famed Shinto shrines.

Important Art Object
Illustrated Legends of Itsukushima Shrine

The Twelve Devas were originally Hindu deities who protected sacred ritual spaces from all twelve directions. The screens on display in this exhibition feature these guardian deities as they were once used in esoteric Buddhist initiation rituals called kanjō (Sanskrit: abhiṣeka) in Japan. Originally, abhiṣeka was part of an ancient Indian royal consecration rite, in which water would be poured on the head of the monarch during the accession ceremony. In Japan, this ritual was adopted as a Buddhist rite of passage, in which the practitioner would be purified by water sprinkled over him as a confirmation of his initiation into the esoteric teachings. The inclusion of the Twelve Devas into the rite, however, is considered a purely Japanese development. It is only from the twelfth century onward that these deities came to be depicted in pairs of six-panel folding screens. Previously portrayed seated on pedestals, they now assumed a standing posture that was better adapted to the elongated panels of the folding screen format.

Important Cultural Property
Fūten (Skt., Vayu) from Twelve Devas
Attributed to Takashina Takakane
Shōjuraikō-ji Temple, Shiga

Pine, bamboo, and plum are particularly beloved within East Asia as symbols of winter. Even in intense cold, pine trees retain their vivid green needles, bamboo remains steadfast and sturdy, and plum trees produce fragrant blossoms long before other flowers bloom. In ancient times, Chinese literati called these trees the “Three Friends of Winter.” Viewed as symbols of nobility and profound spirituality, these plants were extolled in cultured pursuits such as poetry, calligraphy, and ink painting.
In Japan, pine, bamboo, and plum were especially admired by medieval Zen monks, who were the most worldly figures of their day. Over time these trees came to be widely recognized across Japanese society as auspicious motifs. In celebration of the New Year, this gallery exhibits elegant paintings of pine, bamboo, and plum—enduring themes nurtured by Japan’s culture of Zen.

Important Cultural Property
Birds and Flowers of the Four Seasons
By Geiai
Kyoto National Museum

Historical records provide evidence of paintings by Japanese women dating as far back as the Heian period (794–1185); however, it was not until the Edo period (1615–1868) that women emerged as full-fledged professional painters. While often grouped together, the experiences of these female artists differed greatly. Women from various social backgrounds transcended the constraints of feudalistic society to engage in a rich array of artistic activities. Although many of these women painters may not be particularly well-known today, their vibrant and captivating works play a key role in the narrative of Japanese art history.

White-Robed Kannon (Avalokiteśvara)
By Kiyohara Yukinobu
Gift of Okamura Takemori, Kyoto National Museum

The city of Yangzhou, situated near the lower end of the Yangtze river, has long flourished as a key location for waterborne transport. During the Qing dynasty (1644–1912), Yangzhou enjoyed unprecedented economic prosperity thanks to its natural reserves of salt, quickly attracting people from throughout the land and blossoming into a capital of culture. The city’s wealthy salt merchants patronized painters, poets, and other cultural figures, opening many ateliers. This exhibition presents a magnificent pair of eight-paneled folding screens, Landscape with Pavilions, painted in Yangzhou in 1720 by Yuan Jiang (1671–ca. 1753) and Wang Yun (b. 1652). The screens have remained unaltered since their original creation in China, where they perhaps once decorated one of the luxurious mansions of Yangzhou, making Landscape with Pavilions a particularly precious masterpiece.

Landscape with Pavilions
By Yuan Jiang
Kyoto National Museum

Sculptures of Buddhist and Shinto deities have been produced throughout the ages in Kyoto, the capital of Japan for a thousand years. Although some of these statues have been lost due to warfare and natural disasters, many have survived to the present. From the ninth century, when the monk Kūkai (also known as Kōbō Daishi, 774–835) brought the teachings of Esoteric Buddhism to Japan from China, through the development of new schools of Buddhism during the Kamakura period (1185–1333), Buddhist sculptures have evolved in diverse ways. In addition to Buddhist deities, statues might also depict Shinto deities, animals, or erudite monks. This gallery displays various sculptures that have been passed down in Kyoto.

National Treasure
Seated Five Wisdom Buddhas
Anshō-ji Temple, Kyoto

Bokuseki, literally “ink traces,” refers to a form of calligraphy written by Zen Buddhist monks. Brushed in Chinese characters, the contents range widely from certificates of enlightenment to instructional literature to poems written at the time of death. These works, many of which are designated Important Cultural Properties, each provide rich insight essential to understanding Zen history and religious thought. The style of writing differs from the refined, delicate brushwork admired in earlier Japanese calligraphy, and instead is characterized by bold, heavy forms and assertive movement. Even if you cannot read what is written, we hope that you will enjoy the spontaneity and strength expressed through these characters.

National Treasure
Calligraphy for a Zen Temple Sign: "Head Monk" (Shuso)
By Zhang Jizhi
Tōfuku-ji Temple, Kyoto

Three magnificent swords designated as Important Cultural Properties have recently come into the collection of the Kyoto National Museum. The blades were crafted by master smiths representing key regions of sword production—Yamashiro, Bizen, and Bicchū. Yet these swords are relatively unknown, as they have not been exhibited to the public for nearly a half century. This special viewing celebrates the reemergence of these masterpieces, while showcasing the Kyoto National Museum’s efforts to protect and preserve Japan’s extraordinary cultural heritage.

Important Cultural Property
Tachi (Slung Sword) Blade
Inscription: "Bitchū […]"
Kyoto National Museum
[on view: February 26–March 23, 2025]

Sometime between 1644 and 1648, the potter Nonomura Ninsei (dates unknown) founded the Omuro kiln in front of the gate of Ninna-ji Temple in northwestern Kyoto. There, he produced a rich array of wares, such as tea-leaf storage jars and tea bowls, characterized by a sophisticated use of overglaze enamels. Ninsei imbued his works with a painterly quality by applying red, blue, green, purple, and black glazes with gold and silver accents. His use of overglaze enamels, along with his overall craftsmanship, had a significant influence on later Kyoto ware, including the ceramics of the famed Ogata Kenzan (1663–1743). This exhibition presents works by Ninsei and his contemporaries, as well as those he influenced. In addition, it features ceramic fragments excavated from the Omura kiln site, whose production techniques have been revealed through scientific analysis.

Important Cultural Property
Lotus-Shaped Incense Burner
Attributed to Nonomura Ninsei
Hōkongō-in Temple, Kyoto

Sue ware (sueki) is a type of hard, unglazed greyish brown stoneware closely associated with Japan’s Kofun period (ca. 3rd c.–6th c.). The technology for producing such ceramics was introduced to the Japanese archipelago from the Korean peninsula around the beginning of the fifth century. This exhibition presents Korean ceramics produced in the Silla period (668–935) along with Japanese Sue ware, revealing their shared lineage. Roof tiles excavated in Gyeongju, South Korea, are also on display.

Bowl with Stamped Decoration
Excavation site unknown
Kyoto National Museum

This exhibition explores the history of Japan through introducing a variety of archaeological relics. Many of these artifacts were excavated from ancient ruins. Some are special tools used in rituals and ceremonies, while others are objects used by people in their daily lives. Through exploring Japanese archaeology, we can gain a sense of the lives and experiences of people of the past.

National Treasure
Memorial Tablet with Epitaph of Ono no Emishi
Excavated in Kyoto
Sudō Shrine, Kyoto

Shinto shrines are found throughout every region of Japan. Dedicated to forces of nature, ancestors, or vengeful spirits, they serve as places for offering prayers to a region’s local deities or for the prosperity of family clans.
Hachiman shrines, which are dedicated to the Shinto god of warfare, Hachiman, also exist throughout the country. While the head Hachiman shrine is located at Usa in Oita, Kyushu, the most famous shrine dedicated to the war deity, Iwashimizu Hachimangu, is in Kyoto prefecture.
Another influential Shinto sanctuary is Itsukushima Shrine, located on the island of Miyajima in Hiroshima and best known for its “floating” torii gate. The shrine is dedicated to the Munakata Sanjoshin, three female deities of seas and storms. Itsukushima Shrine is said to have been constructed in 593; it later flourished under the patronage of warlords Taira no Kiyomori (1118–1181) and Mōri Motonari (1497–1571). This exhibition presents illustrated handscrolls tracing the origins of these famed Shinto shrines.

Important Art Object
Illustrated Legends of Itsukushima Shrine

The Twelve Devas were originally Hindu deities who protected sacred ritual spaces from all twelve directions. The screens on display in this exhibition feature these guardian deities as they were once used in esoteric Buddhist initiation rituals called kanjō (Sanskrit: abhiṣeka) in Japan. Originally, abhiṣeka was part of an ancient Indian royal consecration rite, in which water would be poured on the head of the monarch during the accession ceremony. In Japan, this ritual was adopted as a Buddhist rite of passage, in which the practitioner would be purified by water sprinkled over him as a confirmation of his initiation into the esoteric teachings. The inclusion of the Twelve Devas into the rite, however, is considered a purely Japanese development. It is only from the twelfth century onward that these deities came to be depicted in pairs of six-panel folding screens. Previously portrayed seated on pedestals, they now assumed a standing posture that was better adapted to the elongated panels of the folding screen format.

Important Cultural Property
Fūten (Skt., Vayu) from Twelve Devas
Attributed to Takashina Takakane
Shōjuraikō-ji Temple, Shiga

Pine, bamboo, and plum are particularly beloved within East Asia as symbols of winter. Even in intense cold, pine trees retain their vivid green needles, bamboo remains steadfast and sturdy, and plum trees produce fragrant blossoms long before other flowers bloom. In ancient times, Chinese literati called these trees the “Three Friends of Winter.” Viewed as symbols of nobility and profound spirituality, these plants were extolled in cultured pursuits such as poetry, calligraphy, and ink painting.
In Japan, pine, bamboo, and plum were especially admired by medieval Zen monks, who were the most worldly figures of their day. Over time these trees came to be widely recognized across Japanese society as auspicious motifs. In celebration of the New Year, this gallery exhibits elegant paintings of pine, bamboo, and plum—enduring themes nurtured by Japan’s culture of Zen.

Important Cultural Property
Birds and Flowers of the Four Seasons
By Geiai
Kyoto National Museum

Historical records provide evidence of paintings by Japanese women dating as far back as the Heian period (794–1185); however, it was not until the Edo period (1615–1868) that women emerged as full-fledged professional painters. While often grouped together, the experiences of these female artists differed greatly. Women from various social backgrounds transcended the constraints of feudalistic society to engage in a rich array of artistic activities. Although many of these women painters may not be particularly well-known today, their vibrant and captivating works play a key role in the narrative of Japanese art history.

White-Robed Kannon (Avalokiteśvara)
By Kiyohara Yukinobu
Gift of Okamura Takemori, Kyoto National Museum

The city of Yangzhou, situated near the lower end of the Yangtze river, has long flourished as a key location for waterborne transport. During the Qing dynasty (1644–1912), Yangzhou enjoyed unprecedented economic prosperity thanks to its natural reserves of salt, quickly attracting people from throughout the land and blossoming into a capital of culture. The city’s wealthy salt merchants patronized painters, poets, and other cultural figures, opening many ateliers. This exhibition presents a magnificent pair of eight-paneled folding screens, Landscape with Pavilions, painted in Yangzhou in 1720 by Yuan Jiang (1671–ca. 1753) and Wang Yun (b. 1652). The screens have remained unaltered since their original creation in China, where they perhaps once decorated one of the luxurious mansions of Yangzhou, making Landscape with Pavilions a particularly precious masterpiece.

Landscape with Pavilions
By Yuan Jiang
Kyoto National Museum

Sculptures of Buddhist and Shinto deities have been produced throughout the ages in Kyoto, the capital of Japan for a thousand years. Although some of these statues have been lost due to warfare and natural disasters, many have survived to the present. From the ninth century, when the monk Kūkai (also known as Kōbō Daishi, 774–835) brought the teachings of Esoteric Buddhism to Japan from China, through the development of new schools of Buddhism during the Kamakura period (1185–1333), Buddhist sculptures have evolved in diverse ways. In addition to Buddhist deities, statues might also depict Shinto deities, animals, or erudite monks. This gallery displays various sculptures that have been passed down in Kyoto.

National Treasure
Seated Five Wisdom Buddhas
Anshō-ji Temple, Kyoto

Bokuseki, literally “ink traces,” refers to a form of calligraphy written by Zen Buddhist monks. Brushed in Chinese characters, the contents range widely from certificates of enlightenment to instructional literature to poems written at the time of death. These works, many of which are designated Important Cultural Properties, each provide rich insight essential to understanding Zen history and religious thought. The style of writing differs from the refined, delicate brushwork admired in earlier Japanese calligraphy, and instead is characterized by bold, heavy forms and assertive movement. Even if you cannot read what is written, we hope that you will enjoy the spontaneity and strength expressed through these characters.

National Treasure
Calligraphy for a Zen Temple Sign: "Head Monk" (Shuso)
By Zhang Jizhi
Tōfuku-ji Temple, Kyoto

Three magnificent swords designated as Important Cultural Properties have recently come into the collection of the Kyoto National Museum. The blades were crafted by master smiths representing key regions of sword production—Yamashiro, Bizen, and Bicchū. Yet these swords are relatively unknown, as they have not been exhibited to the public for nearly a half century. This special viewing celebrates the reemergence of these masterpieces, while showcasing the Kyoto National Museum’s efforts to protect and preserve Japan’s extraordinary cultural heritage.

Important Cultural Property
Tachi (Slung Sword) Blade
Inscription: "Bitchū […]"
Kyoto National Museum
[on view: February 26–March 23, 2025]

Sometime between 1644 and 1648, the potter Nonomura Ninsei (dates unknown) founded the Omuro kiln in front of the gate of Ninna-ji Temple in northwestern Kyoto. There, he produced a rich array of wares, such as tea-leaf storage jars and tea bowls, characterized by a sophisticated use of overglaze enamels. Ninsei imbued his works with a painterly quality by applying red, blue, green, purple, and black glazes with gold and silver accents. His use of overglaze enamels, along with his overall craftsmanship, had a significant influence on later Kyoto ware, including the ceramics of the famed Ogata Kenzan (1663–1743). This exhibition presents works by Ninsei and his contemporaries, as well as those he influenced. In addition, it features ceramic fragments excavated from the Omura kiln site, whose production techniques have been revealed through scientific analysis.

Important Cultural Property
Lotus-Shaped Incense Burner
Attributed to Nonomura Ninsei
Hōkongō-in Temple, Kyoto

Sue ware (sueki) is a type of hard, unglazed greyish brown stoneware closely associated with Japan’s Kofun period (ca. 3rd c.–6th c.). The technology for producing such ceramics was introduced to the Japanese archipelago from the Korean peninsula around the beginning of the fifth century. This exhibition presents Korean ceramics produced in the Silla period (668–935) along with Japanese Sue ware, revealing their shared lineage. Roof tiles excavated in Gyeongju, South Korea, are also on display.

Bowl with Stamped Decoration
Excavation site unknown
Kyoto National Museum

This exhibition explores the history of Japan through introducing a variety of archaeological relics. Many of these artifacts were excavated from ancient ruins. Some are special tools used in rituals and ceremonies, while others are objects used by people in their daily lives. Through exploring Japanese archaeology, we can gain a sense of the lives and experiences of people of the past.

National Treasure
Memorial Tablet with Epitaph of Ono no Emishi
Excavated in Kyoto
Sudō Shrine, Kyoto

Shinto shrines are found throughout every region of Japan. Dedicated to forces of nature, ancestors, or vengeful spirits, they serve as places for offering prayers to a region’s local deities or for the prosperity of family clans.
Hachiman shrines, which are dedicated to the Shinto god of warfare, Hachiman, also exist throughout the country. While the head Hachiman shrine is located at Usa in Oita, Kyushu, the most famous shrine dedicated to the war deity, Iwashimizu Hachimangu, is in Kyoto prefecture.
Another influential Shinto sanctuary is Itsukushima Shrine, located on the island of Miyajima in Hiroshima and best known for its “floating” torii gate. The shrine is dedicated to the Munakata Sanjoshin, three female deities of seas and storms. Itsukushima Shrine is said to have been constructed in 593; it later flourished under the patronage of warlords Taira no Kiyomori (1118–1181) and Mōri Motonari (1497–1571). This exhibition presents illustrated handscrolls tracing the origins of these famed Shinto shrines.

Important Art Object
Illustrated Legends of Itsukushima Shrine

The Twelve Devas were originally Hindu deities who protected sacred ritual spaces from all twelve directions. The screens on display in this exhibition feature these guardian deities as they were once used in esoteric Buddhist initiation rituals called kanjō (Sanskrit: abhiṣeka) in Japan. Originally, abhiṣeka was part of an ancient Indian royal consecration rite, in which water would be poured on the head of the monarch during the accession ceremony. In Japan, this ritual was adopted as a Buddhist rite of passage, in which the practitioner would be purified by water sprinkled over him as a confirmation of his initiation into the esoteric teachings. The inclusion of the Twelve Devas into the rite, however, is considered a purely Japanese development. It is only from the twelfth century onward that these deities came to be depicted in pairs of six-panel folding screens. Previously portrayed seated on pedestals, they now assumed a standing posture that was better adapted to the elongated panels of the folding screen format.

Important Cultural Property
Fūten (Skt., Vayu) from Twelve Devas
Attributed to Takashina Takakane
Shōjuraikō-ji Temple, Shiga

Pine, bamboo, and plum are particularly beloved within East Asia as symbols of winter. Even in intense cold, pine trees retain their vivid green needles, bamboo remains steadfast and sturdy, and plum trees produce fragrant blossoms long before other flowers bloom. In ancient times, Chinese literati called these trees the “Three Friends of Winter.” Viewed as symbols of nobility and profound spirituality, these plants were extolled in cultured pursuits such as poetry, calligraphy, and ink painting.
In Japan, pine, bamboo, and plum were especially admired by medieval Zen monks, who were the most worldly figures of their day. Over time these trees came to be widely recognized across Japanese society as auspicious motifs. In celebration of the New Year, this gallery exhibits elegant paintings of pine, bamboo, and plum—enduring themes nurtured by Japan’s culture of Zen.

Important Cultural Property
Birds and Flowers of the Four Seasons
By Geiai
Kyoto National Museum

Historical records provide evidence of paintings by Japanese women dating as far back as the Heian period (794–1185); however, it was not until the Edo period (1615–1868) that women emerged as full-fledged professional painters. While often grouped together, the experiences of these female artists differed greatly. Women from various social backgrounds transcended the constraints of feudalistic society to engage in a rich array of artistic activities. Although many of these women painters may not be particularly well-known today, their vibrant and captivating works play a key role in the narrative of Japanese art history.

White-Robed Kannon (Avalokiteśvara)
By Kiyohara Yukinobu
Gift of Okamura Takemori, Kyoto National Museum

The city of Yangzhou, situated near the lower end of the Yangtze river, has long flourished as a key location for waterborne transport. During the Qing dynasty (1644–1912), Yangzhou enjoyed unprecedented economic prosperity thanks to its natural reserves of salt, quickly attracting people from throughout the land and blossoming into a capital of culture. The city’s wealthy salt merchants patronized painters, poets, and other cultural figures, opening many ateliers. This exhibition presents a magnificent pair of eight-paneled folding screens, Landscape with Pavilions, painted in Yangzhou in 1720 by Yuan Jiang (1671–ca. 1753) and Wang Yun (b. 1652). The screens have remained unaltered since their original creation in China, where they perhaps once decorated one of the luxurious mansions of Yangzhou, making Landscape with Pavilions a particularly precious masterpiece.

Landscape with Pavilions
By Yuan Jiang
Kyoto National Museum

Sculptures of Buddhist and Shinto deities have been produced throughout the ages in Kyoto, the capital of Japan for a thousand years. Although some of these statues have been lost due to warfare and natural disasters, many have survived to the present. From the ninth century, when the monk Kūkai (also known as Kōbō Daishi, 774–835) brought the teachings of Esoteric Buddhism to Japan from China, through the development of new schools of Buddhism during the Kamakura period (1185–1333), Buddhist sculptures have evolved in diverse ways. In addition to Buddhist deities, statues might also depict Shinto deities, animals, or erudite monks. This gallery displays various sculptures that have been passed down in Kyoto.

National Treasure
Seated Five Wisdom Buddhas
Anshō-ji Temple, Kyoto

Bokuseki, literally “ink traces,” refers to a form of calligraphy written by Zen Buddhist monks. Brushed in Chinese characters, the contents range widely from certificates of enlightenment to instructional literature to poems written at the time of death. These works, many of which are designated Important Cultural Properties, each provide rich insight essential to understanding Zen history and religious thought. The style of writing differs from the refined, delicate brushwork admired in earlier Japanese calligraphy, and instead is characterized by bold, heavy forms and assertive movement. Even if you cannot read what is written, we hope that you will enjoy the spontaneity and strength expressed through these characters.

National Treasure
Calligraphy for a Zen Temple Sign: "Head Monk" (Shuso)
By Zhang Jizhi
Tōfuku-ji Temple, Kyoto

Three magnificent swords designated as Important Cultural Properties have recently come into the collection of the Kyoto National Museum. The blades were crafted by master smiths representing key regions of sword production—Yamashiro, Bizen, and Bicchū. Yet these swords are relatively unknown, as they have not been exhibited to the public for nearly a half century. This special viewing celebrates the reemergence of these masterpieces, while showcasing the Kyoto National Museum’s efforts to protect and preserve Japan’s extraordinary cultural heritage.

Important Cultural Property
Tachi (Slung Sword) Blade
Inscription: "Bitchū […]"
Kyoto National Museum
[on view: February 26–March 23, 2025]

Sometime between 1644 and 1648, the potter Nonomura Ninsei (dates unknown) founded the Omuro kiln in front of the gate of Ninna-ji Temple in northwestern Kyoto. There, he produced a rich array of wares, such as tea-leaf storage jars and tea bowls, characterized by a sophisticated use of overglaze enamels. Ninsei imbued his works with a painterly quality by applying red, blue, green, purple, and black glazes with gold and silver accents. His use of overglaze enamels, along with his overall craftsmanship, had a significant influence on later Kyoto ware, including the ceramics of the famed Ogata Kenzan (1663–1743). This exhibition presents works by Ninsei and his contemporaries, as well as those he influenced. In addition, it features ceramic fragments excavated from the Omura kiln site, whose production techniques have been revealed through scientific analysis.

Important Cultural Property
Lotus-Shaped Incense Burner
Attributed to Nonomura Ninsei
Hōkongō-in Temple, Kyoto

Sue ware (sueki) is a type of hard, unglazed greyish brown stoneware closely associated with Japan’s Kofun period (ca. 3rd c.–6th c.). The technology for producing such ceramics was introduced to the Japanese archipelago from the Korean peninsula around the beginning of the fifth century. This exhibition presents Korean ceramics produced in the Silla period (668–935) along with Japanese Sue ware, revealing their shared lineage. Roof tiles excavated in Gyeongju, South Korea, are also on display.

Bowl with Stamped Decoration
Excavation site unknown
Kyoto National Museum

This exhibition explores the history of Japan through introducing a variety of archaeological relics. Many of these artifacts were excavated from ancient ruins. Some are special tools used in rituals and ceremonies, while others are objects used by people in their daily lives. Through exploring Japanese archaeology, we can gain a sense of the lives and experiences of people of the past.

National Treasure
Memorial Tablet with Epitaph of Ono no Emishi
Excavated in Kyoto
Sudō Shrine, Kyoto

Shinto shrines are found throughout every region of Japan. Dedicated to forces of nature, ancestors, or vengeful spirits, they serve as places for offering prayers to a region’s local deities or for the prosperity of family clans.
Hachiman shrines, which are dedicated to the Shinto god of warfare, Hachiman, also exist throughout the country. While the head Hachiman shrine is located at Usa in Oita, Kyushu, the most famous shrine dedicated to the war deity, Iwashimizu Hachimangu, is in Kyoto prefecture.
Another influential Shinto sanctuary is Itsukushima Shrine, located on the island of Miyajima in Hiroshima and best known for its “floating” torii gate. The shrine is dedicated to the Munakata Sanjoshin, three female deities of seas and storms. Itsukushima Shrine is said to have been constructed in 593; it later flourished under the patronage of warlords Taira no Kiyomori (1118–1181) and Mōri Motonari (1497–1571). This exhibition presents illustrated handscrolls tracing the origins of these famed Shinto shrines.

Important Art Object
Illustrated Legends of Itsukushima Shrine

The Twelve Devas were originally Hindu deities who protected sacred ritual spaces from all twelve directions. The screens on display in this exhibition feature these guardian deities as they were once used in esoteric Buddhist initiation rituals called kanjō (Sanskrit: abhiṣeka) in Japan. Originally, abhiṣeka was part of an ancient Indian royal consecration rite, in which water would be poured on the head of the monarch during the accession ceremony. In Japan, this ritual was adopted as a Buddhist rite of passage, in which the practitioner would be purified by water sprinkled over him as a confirmation of his initiation into the esoteric teachings. The inclusion of the Twelve Devas into the rite, however, is considered a purely Japanese development. It is only from the twelfth century onward that these deities came to be depicted in pairs of six-panel folding screens. Previously portrayed seated on pedestals, they now assumed a standing posture that was better adapted to the elongated panels of the folding screen format.

Important Cultural Property
Fūten (Skt., Vayu) from Twelve Devas
Attributed to Takashina Takakane
Shōjuraikō-ji Temple, Shiga

Pine, bamboo, and plum are particularly beloved within East Asia as symbols of winter. Even in intense cold, pine trees retain their vivid green needles, bamboo remains steadfast and sturdy, and plum trees produce fragrant blossoms long before other flowers bloom. In ancient times, Chinese literati called these trees the “Three Friends of Winter.” Viewed as symbols of nobility and profound spirituality, these plants were extolled in cultured pursuits such as poetry, calligraphy, and ink painting.
In Japan, pine, bamboo, and plum were especially admired by medieval Zen monks, who were the most worldly figures of their day. Over time these trees came to be widely recognized across Japanese society as auspicious motifs. In celebration of the New Year, this gallery exhibits elegant paintings of pine, bamboo, and plum—enduring themes nurtured by Japan’s culture of Zen.

Important Cultural Property
Birds and Flowers of the Four Seasons
By Geiai
Kyoto National Museum

Historical records provide evidence of paintings by Japanese women dating as far back as the Heian period (794–1185); however, it was not until the Edo period (1615–1868) that women emerged as full-fledged professional painters. While often grouped together, the experiences of these female artists differed greatly. Women from various social backgrounds transcended the constraints of feudalistic society to engage in a rich array of artistic activities. Although many of these women painters may not be particularly well-known today, their vibrant and captivating works play a key role in the narrative of Japanese art history.

White-Robed Kannon (Avalokiteśvara)
By Kiyohara Yukinobu
Gift of Okamura Takemori, Kyoto National Museum

The city of Yangzhou, situated near the lower end of the Yangtze river, has long flourished as a key location for waterborne transport. During the Qing dynasty (1644–1912), Yangzhou enjoyed unprecedented economic prosperity thanks to its natural reserves of salt, quickly attracting people from throughout the land and blossoming into a capital of culture. The city’s wealthy salt merchants patronized painters, poets, and other cultural figures, opening many ateliers. This exhibition presents a magnificent pair of eight-paneled folding screens, Landscape with Pavilions, painted in Yangzhou in 1720 by Yuan Jiang (1671–ca. 1753) and Wang Yun (b. 1652). The screens have remained unaltered since their original creation in China, where they perhaps once decorated one of the luxurious mansions of Yangzhou, making Landscape with Pavilions a particularly precious masterpiece.

Landscape with Pavilions
By Yuan Jiang
Kyoto National Museum

Sculptures of Buddhist and Shinto deities have been produced throughout the ages in Kyoto, the capital of Japan for a thousand years. Although some of these statues have been lost due to warfare and natural disasters, many have survived to the present. From the ninth century, when the monk Kūkai (also known as Kōbō Daishi, 774–835) brought the teachings of Esoteric Buddhism to Japan from China, through the development of new schools of Buddhism during the Kamakura period (1185–1333), Buddhist sculptures have evolved in diverse ways. In addition to Buddhist deities, statues might also depict Shinto deities, animals, or erudite monks. This gallery displays various sculptures that have been passed down in Kyoto.

National Treasure
Seated Five Wisdom Buddhas
Anshō-ji Temple, Kyoto

Bokuseki, literally “ink traces,” refers to a form of calligraphy written by Zen Buddhist monks. Brushed in Chinese characters, the contents range widely from certificates of enlightenment to instructional literature to poems written at the time of death. These works, many of which are designated Important Cultural Properties, each provide rich insight essential to understanding Zen history and religious thought. The style of writing differs from the refined, delicate brushwork admired in earlier Japanese calligraphy, and instead is characterized by bold, heavy forms and assertive movement. Even if you cannot read what is written, we hope that you will enjoy the spontaneity and strength expressed through these characters.

National Treasure
Calligraphy for a Zen Temple Sign: "Head Monk" (Shuso)
By Zhang Jizhi
Tōfuku-ji Temple, Kyoto

Three magnificent swords designated as Important Cultural Properties have recently come into the collection of the Kyoto National Museum. The blades were crafted by master smiths representing key regions of sword production—Yamashiro, Bizen, and Bicchū. Yet these swords are relatively unknown, as they have not been exhibited to the public for nearly a half century. This special viewing celebrates the reemergence of these masterpieces, while showcasing the Kyoto National Museum’s efforts to protect and preserve Japan’s extraordinary cultural heritage.

Important Cultural Property
Tachi (Slung Sword) Blade
Inscription: "Bitchū […]"
Kyoto National Museum
[on view: February 26–March 23, 2025]

Sometime between 1644 and 1648, the potter Nonomura Ninsei (dates unknown) founded the Omuro kiln in front of the gate of Ninna-ji Temple in northwestern Kyoto. There, he produced a rich array of wares, such as tea-leaf storage jars and tea bowls, characterized by a sophisticated use of overglaze enamels. Ninsei imbued his works with a painterly quality by applying red, blue, green, purple, and black glazes with gold and silver accents. His use of overglaze enamels, along with his overall craftsmanship, had a significant influence on later Kyoto ware, including the ceramics of the famed Ogata Kenzan (1663–1743). This exhibition presents works by Ninsei and his contemporaries, as well as those he influenced. In addition, it features ceramic fragments excavated from the Omura kiln site, whose production techniques have been revealed through scientific analysis.

Important Cultural Property
Lotus-Shaped Incense Burner
Attributed to Nonomura Ninsei
Hōkongō-in Temple, Kyoto

Sue ware (sueki) is a type of hard, unglazed greyish brown stoneware closely associated with Japan’s Kofun period (ca. 3rd c.–6th c.). The technology for producing such ceramics was introduced to the Japanese archipelago from the Korean peninsula around the beginning of the fifth century. This exhibition presents Korean ceramics produced in the Silla period (668–935) along with Japanese Sue ware, revealing their shared lineage. Roof tiles excavated in Gyeongju, South Korea, are also on display.

Bowl with Stamped Decoration
Excavation site unknown
Kyoto National Museum

This exhibition explores the history of Japan through introducing a variety of archaeological relics. Many of these artifacts were excavated from ancient ruins. Some are special tools used in rituals and ceremonies, while others are objects used by people in their daily lives. Through exploring Japanese archaeology, we can gain a sense of the lives and experiences of people of the past.

National Treasure
Memorial Tablet with Epitaph of Ono no Emishi
Excavated in Kyoto
Sudō Shrine, Kyoto

Shinto shrines are found throughout every region of Japan. Dedicated to forces of nature, ancestors, or vengeful spirits, they serve as places for offering prayers to a region’s local deities or for the prosperity of family clans.
Hachiman shrines, which are dedicated to the Shinto god of warfare, Hachiman, also exist throughout the country. While the head Hachiman shrine is located at Usa in Oita, Kyushu, the most famous shrine dedicated to the war deity, Iwashimizu Hachimangu, is in Kyoto prefecture.
Another influential Shinto sanctuary is Itsukushima Shrine, located on the island of Miyajima in Hiroshima and best known for its “floating” torii gate. The shrine is dedicated to the Munakata Sanjoshin, three female deities of seas and storms. Itsukushima Shrine is said to have been constructed in 593; it later flourished under the patronage of warlords Taira no Kiyomori (1118–1181) and Mōri Motonari (1497–1571). This exhibition presents illustrated handscrolls tracing the origins of these famed Shinto shrines.

Important Art Object
Illustrated Legends of Itsukushima Shrine

The Twelve Devas were originally Hindu deities who protected sacred ritual spaces from all twelve directions. The screens on display in this exhibition feature these guardian deities as they were once used in esoteric Buddhist initiation rituals called kanjō (Sanskrit: abhiṣeka) in Japan. Originally, abhiṣeka was part of an ancient Indian royal consecration rite, in which water would be poured on the head of the monarch during the accession ceremony. In Japan, this ritual was adopted as a Buddhist rite of passage, in which the practitioner would be purified by water sprinkled over him as a confirmation of his initiation into the esoteric teachings. The inclusion of the Twelve Devas into the rite, however, is considered a purely Japanese development. It is only from the twelfth century onward that these deities came to be depicted in pairs of six-panel folding screens. Previously portrayed seated on pedestals, they now assumed a standing posture that was better adapted to the elongated panels of the folding screen format.

Important Cultural Property
Fūten (Skt., Vayu) from Twelve Devas
Attributed to Takashina Takakane
Shōjuraikō-ji Temple, Shiga

Pine, bamboo, and plum are particularly beloved within East Asia as symbols of winter. Even in intense cold, pine trees retain their vivid green needles, bamboo remains steadfast and sturdy, and plum trees produce fragrant blossoms long before other flowers bloom. In ancient times, Chinese literati called these trees the “Three Friends of Winter.” Viewed as symbols of nobility and profound spirituality, these plants were extolled in cultured pursuits such as poetry, calligraphy, and ink painting.
In Japan, pine, bamboo, and plum were especially admired by medieval Zen monks, who were the most worldly figures of their day. Over time these trees came to be widely recognized across Japanese society as auspicious motifs. In celebration of the New Year, this gallery exhibits elegant paintings of pine, bamboo, and plum—enduring themes nurtured by Japan’s culture of Zen.

Important Cultural Property
Birds and Flowers of the Four Seasons
By Geiai
Kyoto National Museum

Historical records provide evidence of paintings by Japanese women dating as far back as the Heian period (794–1185); however, it was not until the Edo period (1615–1868) that women emerged as full-fledged professional painters. While often grouped together, the experiences of these female artists differed greatly. Women from various social backgrounds transcended the constraints of feudalistic society to engage in a rich array of artistic activities. Although many of these women painters may not be particularly well-known today, their vibrant and captivating works play a key role in the narrative of Japanese art history.

White-Robed Kannon (Avalokiteśvara)
By Kiyohara Yukinobu
Gift of Okamura Takemori, Kyoto National Museum

The city of Yangzhou, situated near the lower end of the Yangtze river, has long flourished as a key location for waterborne transport. During the Qing dynasty (1644–1912), Yangzhou enjoyed unprecedented economic prosperity thanks to its natural reserves of salt, quickly attracting people from throughout the land and blossoming into a capital of culture. The city’s wealthy salt merchants patronized painters, poets, and other cultural figures, opening many ateliers. This exhibition presents a magnificent pair of eight-paneled folding screens, Landscape with Pavilions, painted in Yangzhou in 1720 by Yuan Jiang (1671–ca. 1753) and Wang Yun (b. 1652). The screens have remained unaltered since their original creation in China, where they perhaps once decorated one of the luxurious mansions of Yangzhou, making Landscape with Pavilions a particularly precious masterpiece.

Landscape with Pavilions
By Yuan Jiang
Kyoto National Museum

Sculptures of Buddhist and Shinto deities have been produced throughout the ages in Kyoto, the capital of Japan for a thousand years. Although some of these statues have been lost due to warfare and natural disasters, many have survived to the present. From the ninth century, when the monk Kūkai (also known as Kōbō Daishi, 774–835) brought the teachings of Esoteric Buddhism to Japan from China, through the development of new schools of Buddhism during the Kamakura period (1185–1333), Buddhist sculptures have evolved in diverse ways. In addition to Buddhist deities, statues might also depict Shinto deities, animals, or erudite monks. This gallery displays various sculptures that have been passed down in Kyoto.

National Treasure
Seated Five Wisdom Buddhas
Anshō-ji Temple, Kyoto

Bokuseki, literally “ink traces,” refers to a form of calligraphy written by Zen Buddhist monks. Brushed in Chinese characters, the contents range widely from certificates of enlightenment to instructional literature to poems written at the time of death. These works, many of which are designated Important Cultural Properties, each provide rich insight essential to understanding Zen history and religious thought. The style of writing differs from the refined, delicate brushwork admired in earlier Japanese calligraphy, and instead is characterized by bold, heavy forms and assertive movement. Even if you cannot read what is written, we hope that you will enjoy the spontaneity and strength expressed through these characters.

National Treasure
Calligraphy for a Zen Temple Sign: "Head Monk" (Shuso)
By Zhang Jizhi
Tōfuku-ji Temple, Kyoto

Three magnificent swords designated as Important Cultural Properties have recently come into the collection of the Kyoto National Museum. The blades were crafted by master smiths representing key regions of sword production—Yamashiro, Bizen, and Bicchū. Yet these swords are relatively unknown, as they have not been exhibited to the public for nearly a half century. This special viewing celebrates the reemergence of these masterpieces, while showcasing the Kyoto National Museum’s efforts to protect and preserve Japan’s extraordinary cultural heritage.

Important Cultural Property
Tachi (Slung Sword) Blade
Inscription: "Bitchū […]"
Kyoto National Museum
[on view: February 26–March 23, 2025]

Sometime between 1644 and 1648, the potter Nonomura Ninsei (dates unknown) founded the Omuro kiln in front of the gate of Ninna-ji Temple in northwestern Kyoto. There, he produced a rich array of wares, such as tea-leaf storage jars and tea bowls, characterized by a sophisticated use of overglaze enamels. Ninsei imbued his works with a painterly quality by applying red, blue, green, purple, and black glazes with gold and silver accents. His use of overglaze enamels, along with his overall craftsmanship, had a significant influence on later Kyoto ware, including the ceramics of the famed Ogata Kenzan (1663–1743). This exhibition presents works by Ninsei and his contemporaries, as well as those he influenced. In addition, it features ceramic fragments excavated from the Omura kiln site, whose production techniques have been revealed through scientific analysis.

Important Cultural Property
Lotus-Shaped Incense Burner
Attributed to Nonomura Ninsei
Hōkongō-in Temple, Kyoto

Sue ware (sueki) is a type of hard, unglazed greyish brown stoneware closely associated with Japan’s Kofun period (ca. 3rd c.–6th c.). The technology for producing such ceramics was introduced to the Japanese archipelago from the Korean peninsula around the beginning of the fifth century. This exhibition presents Korean ceramics produced in the Silla period (668–935) along with Japanese Sue ware, revealing their shared lineage. Roof tiles excavated in Gyeongju, South Korea, are also on display.

Bowl with Stamped Decoration
Excavation site unknown
Kyoto National Museum

This exhibition explores the history of Japan through introducing a variety of archaeological relics. Many of these artifacts were excavated from ancient ruins. Some are special tools used in rituals and ceremonies, while others are objects used by people in their daily lives. Through exploring Japanese archaeology, we can gain a sense of the lives and experiences of people of the past.

National Treasure
Memorial Tablet with Epitaph of Ono no Emishi
Excavated in Kyoto
Sudō Shrine, Kyoto

Shinto shrines are found throughout every region of Japan. Dedicated to forces of nature, ancestors, or vengeful spirits, they serve as places for offering prayers to a region’s local deities or for the prosperity of family clans.
Hachiman shrines, which are dedicated to the Shinto god of warfare, Hachiman, also exist throughout the country. While the head Hachiman shrine is located at Usa in Oita, Kyushu, the most famous shrine dedicated to the war deity, Iwashimizu Hachimangu, is in Kyoto prefecture.
Another influential Shinto sanctuary is Itsukushima Shrine, located on the island of Miyajima in Hiroshima and best known for its “floating” torii gate. The shrine is dedicated to the Munakata Sanjoshin, three female deities of seas and storms. Itsukushima Shrine is said to have been constructed in 593; it later flourished under the patronage of warlords Taira no Kiyomori (1118–1181) and Mōri Motonari (1497–1571). This exhibition presents illustrated handscrolls tracing the origins of these famed Shinto shrines.

Important Art Object
Illustrated Legends of Itsukushima Shrine

The Twelve Devas were originally Hindu deities who protected sacred ritual spaces from all twelve directions. The screens on display in this exhibition feature these guardian deities as they were once used in esoteric Buddhist initiation rituals called kanjō (Sanskrit: abhiṣeka) in Japan. Originally, abhiṣeka was part of an ancient Indian royal consecration rite, in which water would be poured on the head of the monarch during the accession ceremony. In Japan, this ritual was adopted as a Buddhist rite of passage, in which the practitioner would be purified by water sprinkled over him as a confirmation of his initiation into the esoteric teachings. The inclusion of the Twelve Devas into the rite, however, is considered a purely Japanese development. It is only from the twelfth century onward that these deities came to be depicted in pairs of six-panel folding screens. Previously portrayed seated on pedestals, they now assumed a standing posture that was better adapted to the elongated panels of the folding screen format.

Important Cultural Property
Fūten (Skt., Vayu) from Twelve Devas
Attributed to Takashina Takakane
Shōjuraikō-ji Temple, Shiga

Pine, bamboo, and plum are particularly beloved within East Asia as symbols of winter. Even in intense cold, pine trees retain their vivid green needles, bamboo remains steadfast and sturdy, and plum trees produce fragrant blossoms long before other flowers bloom. In ancient times, Chinese literati called these trees the “Three Friends of Winter.” Viewed as symbols of nobility and profound spirituality, these plants were extolled in cultured pursuits such as poetry, calligraphy, and ink painting.
In Japan, pine, bamboo, and plum were especially admired by medieval Zen monks, who were the most worldly figures of their day. Over time these trees came to be widely recognized across Japanese society as auspicious motifs. In celebration of the New Year, this gallery exhibits elegant paintings of pine, bamboo, and plum—enduring themes nurtured by Japan’s culture of Zen.

Important Cultural Property
Birds and Flowers of the Four Seasons
By Geiai
Kyoto National Museum

Historical records provide evidence of paintings by Japanese women dating as far back as the Heian period (794–1185); however, it was not until the Edo period (1615–1868) that women emerged as full-fledged professional painters. While often grouped together, the experiences of these female artists differed greatly. Women from various social backgrounds transcended the constraints of feudalistic society to engage in a rich array of artistic activities. Although many of these women painters may not be particularly well-known today, their vibrant and captivating works play a key role in the narrative of Japanese art history.

White-Robed Kannon (Avalokiteśvara)
By Kiyohara Yukinobu
Gift of Okamura Takemori, Kyoto National Museum

The city of Yangzhou, situated near the lower end of the Yangtze river, has long flourished as a key location for waterborne transport. During the Qing dynasty (1644–1912), Yangzhou enjoyed unprecedented economic prosperity thanks to its natural reserves of salt, quickly attracting people from throughout the land and blossoming into a capital of culture. The city’s wealthy salt merchants patronized painters, poets, and other cultural figures, opening many ateliers. This exhibition presents a magnificent pair of eight-paneled folding screens, Landscape with Pavilions, painted in Yangzhou in 1720 by Yuan Jiang (1671–ca. 1753) and Wang Yun (b. 1652). The screens have remained unaltered since their original creation in China, where they perhaps once decorated one of the luxurious mansions of Yangzhou, making Landscape with Pavilions a particularly precious masterpiece.

Landscape with Pavilions
By Yuan Jiang
Kyoto National Museum

Sculptures of Buddhist and Shinto deities have been produced throughout the ages in Kyoto, the capital of Japan for a thousand years. Although some of these statues have been lost due to warfare and natural disasters, many have survived to the present. From the ninth century, when the monk Kūkai (also known as Kōbō Daishi, 774–835) brought the teachings of Esoteric Buddhism to Japan from China, through the development of new schools of Buddhism during the Kamakura period (1185–1333), Buddhist sculptures have evolved in diverse ways. In addition to Buddhist deities, statues might also depict Shinto deities, animals, or erudite monks. This gallery displays various sculptures that have been passed down in Kyoto.

National Treasure
Seated Five Wisdom Buddhas
Anshō-ji Temple, Kyoto

Bokuseki, literally “ink traces,” refers to a form of calligraphy written by Zen Buddhist monks. Brushed in Chinese characters, the contents range widely from certificates of enlightenment to instructional literature to poems written at the time of death. These works, many of which are designated Important Cultural Properties, each provide rich insight essential to understanding Zen history and religious thought. The style of writing differs from the refined, delicate brushwork admired in earlier Japanese calligraphy, and instead is characterized by bold, heavy forms and assertive movement. Even if you cannot read what is written, we hope that you will enjoy the spontaneity and strength expressed through these characters.

National Treasure
Calligraphy for a Zen Temple Sign: "Head Monk" (Shuso)
By Zhang Jizhi
Tōfuku-ji Temple, Kyoto

Three magnificent swords designated as Important Cultural Properties have recently come into the collection of the Kyoto National Museum. The blades were crafted by master smiths representing key regions of sword production—Yamashiro, Bizen, and Bicchū. Yet these swords are relatively unknown, as they have not been exhibited to the public for nearly a half century. This special viewing celebrates the reemergence of these masterpieces, while showcasing the Kyoto National Museum’s efforts to protect and preserve Japan’s extraordinary cultural heritage.

Important Cultural Property
Tachi (Slung Sword) Blade
Inscription: "Bitchū […]"
Kyoto National Museum
[on view: February 26–March 23, 2025]

Sometime between 1644 and 1648, the potter Nonomura Ninsei (dates unknown) founded the Omuro kiln in front of the gate of Ninna-ji Temple in northwestern Kyoto. There, he produced a rich array of wares, such as tea-leaf storage jars and tea bowls, characterized by a sophisticated use of overglaze enamels. Ninsei imbued his works with a painterly quality by applying red, blue, green, purple, and black glazes with gold and silver accents. His use of overglaze enamels, along with his overall craftsmanship, had a significant influence on later Kyoto ware, including the ceramics of the famed Ogata Kenzan (1663–1743). This exhibition presents works by Ninsei and his contemporaries, as well as those he influenced. In addition, it features ceramic fragments excavated from the Omura kiln site, whose production techniques have been revealed through scientific analysis.

Important Cultural Property
Lotus-Shaped Incense Burner
Attributed to Nonomura Ninsei
Hōkongō-in Temple, Kyoto

Sue ware (sueki) is a type of hard, unglazed greyish brown stoneware closely associated with Japan’s Kofun period (ca. 3rd c.–6th c.). The technology for producing such ceramics was introduced to the Japanese archipelago from the Korean peninsula around the beginning of the fifth century. This exhibition presents Korean ceramics produced in the Silla period (668–935) along with Japanese Sue ware, revealing their shared lineage. Roof tiles excavated in Gyeongju, South Korea, are also on display.

Bowl with Stamped Decoration
Excavation site unknown
Kyoto National Museum

This exhibition explores the history of Japan through introducing a variety of archaeological relics. Many of these artifacts were excavated from ancient ruins. Some are special tools used in rituals and ceremonies, while others are objects used by people in their daily lives. Through exploring Japanese archaeology, we can gain a sense of the lives and experiences of people of the past.

National Treasure
Memorial Tablet with Epitaph of Ono no Emishi
Excavated in Kyoto
Sudō Shrine, Kyoto

Shinto shrines are found throughout every region of Japan. Dedicated to forces of nature, ancestors, or vengeful spirits, they serve as places for offering prayers to a region’s local deities or for the prosperity of family clans.
Hachiman shrines, which are dedicated to the Shinto god of warfare, Hachiman, also exist throughout the country. While the head Hachiman shrine is located at Usa in Oita, Kyushu, the most famous shrine dedicated to the war deity, Iwashimizu Hachimangu, is in Kyoto prefecture.
Another influential Shinto sanctuary is Itsukushima Shrine, located on the island of Miyajima in Hiroshima and best known for its “floating” torii gate. The shrine is dedicated to the Munakata Sanjoshin, three female deities of seas and storms. Itsukushima Shrine is said to have been constructed in 593; it later flourished under the patronage of warlords Taira no Kiyomori (1118–1181) and Mōri Motonari (1497–1571). This exhibition presents illustrated handscrolls tracing the origins of these famed Shinto shrines.

Important Art Object
Illustrated Legends of Itsukushima Shrine

The Twelve Devas were originally Hindu deities who protected sacred ritual spaces from all twelve directions. The screens on display in this exhibition feature these guardian deities as they were once used in esoteric Buddhist initiation rituals called kanjō (Sanskrit: abhiṣeka) in Japan. Originally, abhiṣeka was part of an ancient Indian royal consecration rite, in which water would be poured on the head of the monarch during the accession ceremony. In Japan, this ritual was adopted as a Buddhist rite of passage, in which the practitioner would be purified by water sprinkled over him as a confirmation of his initiation into the esoteric teachings. The inclusion of the Twelve Devas into the rite, however, is considered a purely Japanese development. It is only from the twelfth century onward that these deities came to be depicted in pairs of six-panel folding screens. Previously portrayed seated on pedestals, they now assumed a standing posture that was better adapted to the elongated panels of the folding screen format.

Important Cultural Property
Fūten (Skt., Vayu) from Twelve Devas
Attributed to Takashina Takakane
Shōjuraikō-ji Temple, Shiga

Pine, bamboo, and plum are particularly beloved within East Asia as symbols of winter. Even in intense cold, pine trees retain their vivid green needles, bamboo remains steadfast and sturdy, and plum trees produce fragrant blossoms long before other flowers bloom. In ancient times, Chinese literati called these trees the “Three Friends of Winter.” Viewed as symbols of nobility and profound spirituality, these plants were extolled in cultured pursuits such as poetry, calligraphy, and ink painting.
In Japan, pine, bamboo, and plum were especially admired by medieval Zen monks, who were the most worldly figures of their day. Over time these trees came to be widely recognized across Japanese society as auspicious motifs. In celebration of the New Year, this gallery exhibits elegant paintings of pine, bamboo, and plum—enduring themes nurtured by Japan’s culture of Zen.

Important Cultural Property
Birds and Flowers of the Four Seasons
By Geiai
Kyoto National Museum

Historical records provide evidence of paintings by Japanese women dating as far back as the Heian period (794–1185); however, it was not until the Edo period (1615–1868) that women emerged as full-fledged professional painters. While often grouped together, the experiences of these female artists differed greatly. Women from various social backgrounds transcended the constraints of feudalistic society to engage in a rich array of artistic activities. Although many of these women painters may not be particularly well-known today, their vibrant and captivating works play a key role in the narrative of Japanese art history.

White-Robed Kannon (Avalokiteśvara)
By Kiyohara Yukinobu
Gift of Okamura Takemori, Kyoto National Museum

The city of Yangzhou, situated near the lower end of the Yangtze river, has long flourished as a key location for waterborne transport. During the Qing dynasty (1644–1912), Yangzhou enjoyed unprecedented economic prosperity thanks to its natural reserves of salt, quickly attracting people from throughout the land and blossoming into a capital of culture. The city’s wealthy salt merchants patronized painters, poets, and other cultural figures, opening many ateliers. This exhibition presents a magnificent pair of eight-paneled folding screens, Landscape with Pavilions, painted in Yangzhou in 1720 by Yuan Jiang (1671–ca. 1753) and Wang Yun (b. 1652). The screens have remained unaltered since their original creation in China, where they perhaps once decorated one of the luxurious mansions of Yangzhou, making Landscape with Pavilions a particularly precious masterpiece.

Landscape with Pavilions
By Yuan Jiang
Kyoto National Museum

Sculptures of Buddhist and Shinto deities have been produced throughout the ages in Kyoto, the capital of Japan for a thousand years. Although some of these statues have been lost due to warfare and natural disasters, many have survived to the present. From the ninth century, when the monk Kūkai (also known as Kōbō Daishi, 774–835) brought the teachings of Esoteric Buddhism to Japan from China, through the development of new schools of Buddhism during the Kamakura period (1185–1333), Buddhist sculptures have evolved in diverse ways. In addition to Buddhist deities, statues might also depict Shinto deities, animals, or erudite monks. This gallery displays various sculptures that have been passed down in Kyoto.

National Treasure
Seated Five Wisdom Buddhas
Anshō-ji Temple, Kyoto

Bokuseki, literally “ink traces,” refers to a form of calligraphy written by Zen Buddhist monks. Brushed in Chinese characters, the contents range widely from certificates of enlightenment to instructional literature to poems written at the time of death. These works, many of which are designated Important Cultural Properties, each provide rich insight essential to understanding Zen history and religious thought. The style of writing differs from the refined, delicate brushwork admired in earlier Japanese calligraphy, and instead is characterized by bold, heavy forms and assertive movement. Even if you cannot read what is written, we hope that you will enjoy the spontaneity and strength expressed through these characters.

National Treasure
Calligraphy for a Zen Temple Sign: "Head Monk" (Shuso)
By Zhang Jizhi
Tōfuku-ji Temple, Kyoto

Three magnificent swords designated as Important Cultural Properties have recently come into the collection of the Kyoto National Museum. The blades were crafted by master smiths representing key regions of sword production—Yamashiro, Bizen, and Bicchū. Yet these swords are relatively unknown, as they have not been exhibited to the public for nearly a half century. This special viewing celebrates the reemergence of these masterpieces, while showcasing the Kyoto National Museum’s efforts to protect and preserve Japan’s extraordinary cultural heritage.

Important Cultural Property
Tachi (Slung Sword) Blade
Inscription: "Bitchū […]"
Kyoto National Museum
[on view: February 26–March 23, 2025]

Sometime between 1644 and 1648, the potter Nonomura Ninsei (dates unknown) founded the Omuro kiln in front of the gate of Ninna-ji Temple in northwestern Kyoto. There, he produced a rich array of wares, such as tea-leaf storage jars and tea bowls, characterized by a sophisticated use of overglaze enamels. Ninsei imbued his works with a painterly quality by applying red, blue, green, purple, and black glazes with gold and silver accents. His use of overglaze enamels, along with his overall craftsmanship, had a significant influence on later Kyoto ware, including the ceramics of the famed Ogata Kenzan (1663–1743). This exhibition presents works by Ninsei and his contemporaries, as well as those he influenced. In addition, it features ceramic fragments excavated from the Omura kiln site, whose production techniques have been revealed through scientific analysis.

Important Cultural Property
Lotus-Shaped Incense Burner
Attributed to Nonomura Ninsei
Hōkongō-in Temple, Kyoto

Sue ware (sueki) is a type of hard, unglazed greyish brown stoneware closely associated with Japan’s Kofun period (ca. 3rd c.–6th c.). The technology for producing such ceramics was introduced to the Japanese archipelago from the Korean peninsula around the beginning of the fifth century. This exhibition presents Korean ceramics produced in the Silla period (668–935) along with Japanese Sue ware, revealing their shared lineage. Roof tiles excavated in Gyeongju, South Korea, are also on display.

Bowl with Stamped Decoration
Excavation site unknown
Kyoto National Museum

This exhibition explores the history of Japan through introducing a variety of archaeological relics. Many of these artifacts were excavated from ancient ruins. Some are special tools used in rituals and ceremonies, while others are objects used by people in their daily lives. Through exploring Japanese archaeology, we can gain a sense of the lives and experiences of people of the past.

National Treasure
Memorial Tablet with Epitaph of Ono no Emishi
Excavated in Kyoto
Sudō Shrine, Kyoto

Shinto shrines are found throughout every region of Japan. Dedicated to forces of nature, ancestors, or vengeful spirits, they serve as places for offering prayers to a region’s local deities or for the prosperity of family clans.
Hachiman shrines, which are dedicated to the Shinto god of warfare, Hachiman, also exist throughout the country. While the head Hachiman shrine is located at Usa in Oita, Kyushu, the most famous shrine dedicated to the war deity, Iwashimizu Hachimangu, is in Kyoto prefecture.
Another influential Shinto sanctuary is Itsukushima Shrine, located on the island of Miyajima in Hiroshima and best known for its “floating” torii gate. The shrine is dedicated to the Munakata Sanjoshin, three female deities of seas and storms. Itsukushima Shrine is said to have been constructed in 593; it later flourished under the patronage of warlords Taira no Kiyomori (1118–1181) and Mōri Motonari (1497–1571). This exhibition presents illustrated handscrolls tracing the origins of these famed Shinto shrines.

Important Art Object
Illustrated Legends of Itsukushima Shrine

The Twelve Devas were originally Hindu deities who protected sacred ritual spaces from all twelve directions. The screens on display in this exhibition feature these guardian deities as they were once used in esoteric Buddhist initiation rituals called kanjō (Sanskrit: abhiṣeka) in Japan. Originally, abhiṣeka was part of an ancient Indian royal consecration rite, in which water would be poured on the head of the monarch during the accession ceremony. In Japan, this ritual was adopted as a Buddhist rite of passage, in which the practitioner would be purified by water sprinkled over him as a confirmation of his initiation into the esoteric teachings. The inclusion of the Twelve Devas into the rite, however, is considered a purely Japanese development. It is only from the twelfth century onward that these deities came to be depicted in pairs of six-panel folding screens. Previously portrayed seated on pedestals, they now assumed a standing posture that was better adapted to the elongated panels of the folding screen format.

Important Cultural Property
Fūten (Skt., Vayu) from Twelve Devas
Attributed to Takashina Takakane
Shōjuraikō-ji Temple, Shiga

Pine, bamboo, and plum are particularly beloved within East Asia as symbols of winter. Even in intense cold, pine trees retain their vivid green needles, bamboo remains steadfast and sturdy, and plum trees produce fragrant blossoms long before other flowers bloom. In ancient times, Chinese literati called these trees the “Three Friends of Winter.” Viewed as symbols of nobility and profound spirituality, these plants were extolled in cultured pursuits such as poetry, calligraphy, and ink painting.
In Japan, pine, bamboo, and plum were especially admired by medieval Zen monks, who were the most worldly figures of their day. Over time these trees came to be widely recognized across Japanese society as auspicious motifs. In celebration of the New Year, this gallery exhibits elegant paintings of pine, bamboo, and plum—enduring themes nurtured by Japan’s culture of Zen.

Important Cultural Property
Birds and Flowers of the Four Seasons
By Geiai
Kyoto National Museum

Historical records provide evidence of paintings by Japanese women dating as far back as the Heian period (794–1185); however, it was not until the Edo period (1615–1868) that women emerged as full-fledged professional painters. While often grouped together, the experiences of these female artists differed greatly. Women from various social backgrounds transcended the constraints of feudalistic society to engage in a rich array of artistic activities. Although many of these women painters may not be particularly well-known today, their vibrant and captivating works play a key role in the narrative of Japanese art history.

White-Robed Kannon (Avalokiteśvara)
By Kiyohara Yukinobu
Gift of Okamura Takemori, Kyoto National Museum

The city of Yangzhou, situated near the lower end of the Yangtze river, has long flourished as a key location for waterborne transport. During the Qing dynasty (1644–1912), Yangzhou enjoyed unprecedented economic prosperity thanks to its natural reserves of salt, quickly attracting people from throughout the land and blossoming into a capital of culture. The city’s wealthy salt merchants patronized painters, poets, and other cultural figures, opening many ateliers. This exhibition presents a magnificent pair of eight-paneled folding screens, Landscape with Pavilions, painted in Yangzhou in 1720 by Yuan Jiang (1671–ca. 1753) and Wang Yun (b. 1652). The screens have remained unaltered since their original creation in China, where they perhaps once decorated one of the luxurious mansions of Yangzhou, making Landscape with Pavilions a particularly precious masterpiece.

Landscape with Pavilions
By Yuan Jiang
Kyoto National Museum

Sculptures of Buddhist and Shinto deities have been produced throughout the ages in Kyoto, the capital of Japan for a thousand years. Although some of these statues have been lost due to warfare and natural disasters, many have survived to the present. From the ninth century, when the monk Kūkai (also known as Kōbō Daishi, 774–835) brought the teachings of Esoteric Buddhism to Japan from China, through the development of new schools of Buddhism during the Kamakura period (1185–1333), Buddhist sculptures have evolved in diverse ways. In addition to Buddhist deities, statues might also depict Shinto deities, animals, or erudite monks. This gallery displays various sculptures that have been passed down in Kyoto.

National Treasure
Seated Five Wisdom Buddhas
Anshō-ji Temple, Kyoto

Bokuseki, literally “ink traces,” refers to a form of calligraphy written by Zen Buddhist monks. Brushed in Chinese characters, the contents range widely from certificates of enlightenment to instructional literature to poems written at the time of death. These works, many of which are designated Important Cultural Properties, each provide rich insight essential to understanding Zen history and religious thought. The style of writing differs from the refined, delicate brushwork admired in earlier Japanese calligraphy, and instead is characterized by bold, heavy forms and assertive movement. Even if you cannot read what is written, we hope that you will enjoy the spontaneity and strength expressed through these characters.

National Treasure
Calligraphy for a Zen Temple Sign: "Head Monk" (Shuso)
By Zhang Jizhi
Tōfuku-ji Temple, Kyoto

Three magnificent swords designated as Important Cultural Properties have recently come into the collection of the Kyoto National Museum. The blades were crafted by master smiths representing key regions of sword production—Yamashiro, Bizen, and Bicchū. Yet these swords are relatively unknown, as they have not been exhibited to the public for nearly a half century. This special viewing celebrates the reemergence of these masterpieces, while showcasing the Kyoto National Museum’s efforts to protect and preserve Japan’s extraordinary cultural heritage.

Important Cultural Property
Tachi (Slung Sword) Blade
Inscription: "Bitchū […]"
Kyoto National Museum
[on view: February 26–March 23, 2025]

Sometime between 1644 and 1648, the potter Nonomura Ninsei (dates unknown) founded the Omuro kiln in front of the gate of Ninna-ji Temple in northwestern Kyoto. There, he produced a rich array of wares, such as tea-leaf storage jars and tea bowls, characterized by a sophisticated use of overglaze enamels. Ninsei imbued his works with a painterly quality by applying red, blue, green, purple, and black glazes with gold and silver accents. His use of overglaze enamels, along with his overall craftsmanship, had a significant influence on later Kyoto ware, including the ceramics of the famed Ogata Kenzan (1663–1743). This exhibition presents works by Ninsei and his contemporaries, as well as those he influenced. In addition, it features ceramic fragments excavated from the Omura kiln site, whose production techniques have been revealed through scientific analysis.

Important Cultural Property
Lotus-Shaped Incense Burner
Attributed to Nonomura Ninsei
Hōkongō-in Temple, Kyoto

Sue ware (sueki) is a type of hard, unglazed greyish brown stoneware closely associated with Japan’s Kofun period (ca. 3rd c.–6th c.). The technology for producing such ceramics was introduced to the Japanese archipelago from the Korean peninsula around the beginning of the fifth century. This exhibition presents Korean ceramics produced in the Silla period (668–935) along with Japanese Sue ware, revealing their shared lineage. Roof tiles excavated in Gyeongju, South Korea, are also on display.

Bowl with Stamped Decoration
Excavation site unknown
Kyoto National Museum

This exhibition explores the history of Japan through introducing a variety of archaeological relics. Many of these artifacts were excavated from ancient ruins. Some are special tools used in rituals and ceremonies, while others are objects used by people in their daily lives. Through exploring Japanese archaeology, we can gain a sense of the lives and experiences of people of the past.

National Treasure
Memorial Tablet with Epitaph of Ono no Emishi
Excavated in Kyoto
Sudō Shrine, Kyoto

Shinto shrines are found throughout every region of Japan. Dedicated to forces of nature, ancestors, or vengeful spirits, they serve as places for offering prayers to a region’s local deities or for the prosperity of family clans.
Hachiman shrines, which are dedicated to the Shinto god of warfare, Hachiman, also exist throughout the country. While the head Hachiman shrine is located at Usa in Oita, Kyushu, the most famous shrine dedicated to the war deity, Iwashimizu Hachimangu, is in Kyoto prefecture.
Another influential Shinto sanctuary is Itsukushima Shrine, located on the island of Miyajima in Hiroshima and best known for its “floating” torii gate. The shrine is dedicated to the Munakata Sanjoshin, three female deities of seas and storms. Itsukushima Shrine is said to have been constructed in 593; it later flourished under the patronage of warlords Taira no Kiyomori (1118–1181) and Mōri Motonari (1497–1571). This exhibition presents illustrated handscrolls tracing the origins of these famed Shinto shrines.

Important Art Object
Illustrated Legends of Itsukushima Shrine

The Twelve Devas were originally Hindu deities who protected sacred ritual spaces from all twelve directions. The screens on display in this exhibition feature these guardian deities as they were once used in esoteric Buddhist initiation rituals called kanjō (Sanskrit: abhiṣeka) in Japan. Originally, abhiṣeka was part of an ancient Indian royal consecration rite, in which water would be poured on the head of the monarch during the accession ceremony. In Japan, this ritual was adopted as a Buddhist rite of passage, in which the practitioner would be purified by water sprinkled over him as a confirmation of his initiation into the esoteric teachings. The inclusion of the Twelve Devas into the rite, however, is considered a purely Japanese development. It is only from the twelfth century onward that these deities came to be depicted in pairs of six-panel folding screens. Previously portrayed seated on pedestals, they now assumed a standing posture that was better adapted to the elongated panels of the folding screen format.

Important Cultural Property
Fūten (Skt., Vayu) from Twelve Devas
Attributed to Takashina Takakane
Shōjuraikō-ji Temple, Shiga

Pine, bamboo, and plum are particularly beloved within East Asia as symbols of winter. Even in intense cold, pine trees retain their vivid green needles, bamboo remains steadfast and sturdy, and plum trees produce fragrant blossoms long before other flowers bloom. In ancient times, Chinese literati called these trees the “Three Friends of Winter.” Viewed as symbols of nobility and profound spirituality, these plants were extolled in cultured pursuits such as poetry, calligraphy, and ink painting.
In Japan, pine, bamboo, and plum were especially admired by medieval Zen monks, who were the most worldly figures of their day. Over time these trees came to be widely recognized across Japanese society as auspicious motifs. In celebration of the New Year, this gallery exhibits elegant paintings of pine, bamboo, and plum—enduring themes nurtured by Japan’s culture of Zen.

Important Cultural Property
Birds and Flowers of the Four Seasons
By Geiai
Kyoto National Museum

Historical records provide evidence of paintings by Japanese women dating as far back as the Heian period (794–1185); however, it was not until the Edo period (1615–1868) that women emerged as full-fledged professional painters. While often grouped together, the experiences of these female artists differed greatly. Women from various social backgrounds transcended the constraints of feudalistic society to engage in a rich array of artistic activities. Although many of these women painters may not be particularly well-known today, their vibrant and captivating works play a key role in the narrative of Japanese art history.

White-Robed Kannon (Avalokiteśvara)
By Kiyohara Yukinobu
Gift of Okamura Takemori, Kyoto National Museum

The city of Yangzhou, situated near the lower end of the Yangtze river, has long flourished as a key location for waterborne transport. During the Qing dynasty (1644–1912), Yangzhou enjoyed unprecedented economic prosperity thanks to its natural reserves of salt, quickly attracting people from throughout the land and blossoming into a capital of culture. The city’s wealthy salt merchants patronized painters, poets, and other cultural figures, opening many ateliers. This exhibition presents a magnificent pair of eight-paneled folding screens, Landscape with Pavilions, painted in Yangzhou in 1720 by Yuan Jiang (1671–ca. 1753) and Wang Yun (b. 1652). The screens have remained unaltered since their original creation in China, where they perhaps once decorated one of the luxurious mansions of Yangzhou, making Landscape with Pavilions a particularly precious masterpiece.

Landscape with Pavilions
By Yuan Jiang
Kyoto National Museum

Sculptures of Buddhist and Shinto deities have been produced throughout the ages in Kyoto, the capital of Japan for a thousand years. Although some of these statues have been lost due to warfare and natural disasters, many have survived to the present. From the ninth century, when the monk Kūkai (also known as Kōbō Daishi, 774–835) brought the teachings of Esoteric Buddhism to Japan from China, through the development of new schools of Buddhism during the Kamakura period (1185–1333), Buddhist sculptures have evolved in diverse ways. In addition to Buddhist deities, statues might also depict Shinto deities, animals, or erudite monks. This gallery displays various sculptures that have been passed down in Kyoto.

National Treasure
Seated Five Wisdom Buddhas
Anshō-ji Temple, Kyoto

Bokuseki, literally “ink traces,” refers to a form of calligraphy written by Zen Buddhist monks. Brushed in Chinese characters, the contents range widely from certificates of enlightenment to instructional literature to poems written at the time of death. These works, many of which are designated Important Cultural Properties, each provide rich insight essential to understanding Zen history and religious thought. The style of writing differs from the refined, delicate brushwork admired in earlier Japanese calligraphy, and instead is characterized by bold, heavy forms and assertive movement. Even if you cannot read what is written, we hope that you will enjoy the spontaneity and strength expressed through these characters.

National Treasure
Calligraphy for a Zen Temple Sign: "Head Monk" (Shuso)
By Zhang Jizhi
Tōfuku-ji Temple, Kyoto

Three magnificent swords designated as Important Cultural Properties have recently come into the collection of the Kyoto National Museum. The blades were crafted by master smiths representing key regions of sword production—Yamashiro, Bizen, and Bicchū. Yet these swords are relatively unknown, as they have not been exhibited to the public for nearly a half century. This special viewing celebrates the reemergence of these masterpieces, while showcasing the Kyoto National Museum’s efforts to protect and preserve Japan’s extraordinary cultural heritage.

Important Cultural Property
Tachi (Slung Sword) Blade
Inscription: "Bitchū […]"
Kyoto National Museum
[on view: February 26–March 23, 2025]

Sometime between 1644 and 1648, the potter Nonomura Ninsei (dates unknown) founded the Omuro kiln in front of the gate of Ninna-ji Temple in northwestern Kyoto. There, he produced a rich array of wares, such as tea-leaf storage jars and tea bowls, characterized by a sophisticated use of overglaze enamels. Ninsei imbued his works with a painterly quality by applying red, blue, green, purple, and black glazes with gold and silver accents. His use of overglaze enamels, along with his overall craftsmanship, had a significant influence on later Kyoto ware, including the ceramics of the famed Ogata Kenzan (1663–1743). This exhibition presents works by Ninsei and his contemporaries, as well as those he influenced. In addition, it features ceramic fragments excavated from the Omura kiln site, whose production techniques have been revealed through scientific analysis.

Important Cultural Property
Lotus-Shaped Incense Burner
Attributed to Nonomura Ninsei
Hōkongō-in Temple, Kyoto

Sue ware (sueki) is a type of hard, unglazed greyish brown stoneware closely associated with Japan’s Kofun period (ca. 3rd c.–6th c.). The technology for producing such ceramics was introduced to the Japanese archipelago from the Korean peninsula around the beginning of the fifth century. This exhibition presents Korean ceramics produced in the Silla period (668–935) along with Japanese Sue ware, revealing their shared lineage. Roof tiles excavated in Gyeongju, South Korea, are also on display.

Bowl with Stamped Decoration
Excavation site unknown
Kyoto National Museum

This exhibition explores the history of Japan through introducing a variety of archaeological relics. Many of these artifacts were excavated from ancient ruins. Some are special tools used in rituals and ceremonies, while others are objects used by people in their daily lives. Through exploring Japanese archaeology, we can gain a sense of the lives and experiences of people of the past.

National Treasure
Memorial Tablet with Epitaph of Ono no Emishi
Excavated in Kyoto
Sudō Shrine, Kyoto

Shinto shrines are found throughout every region of Japan. Dedicated to forces of nature, ancestors, or vengeful spirits, they serve as places for offering prayers to a region’s local deities or for the prosperity of family clans.
Hachiman shrines, which are dedicated to the Shinto god of warfare, Hachiman, also exist throughout the country. While the head Hachiman shrine is located at Usa in Oita, Kyushu, the most famous shrine dedicated to the war deity, Iwashimizu Hachimangu, is in Kyoto prefecture.
Another influential Shinto sanctuary is Itsukushima Shrine, located on the island of Miyajima in Hiroshima and best known for its “floating” torii gate. The shrine is dedicated to the Munakata Sanjoshin, three female deities of seas and storms. Itsukushima Shrine is said to have been constructed in 593; it later flourished under the patronage of warlords Taira no Kiyomori (1118–1181) and Mōri Motonari (1497–1571). This exhibition presents illustrated handscrolls tracing the origins of these famed Shinto shrines.

Important Art Object
Illustrated Legends of Itsukushima Shrine

The Twelve Devas were originally Hindu deities who protected sacred ritual spaces from all twelve directions. The screens on display in this exhibition feature these guardian deities as they were once used in esoteric Buddhist initiation rituals called kanjō (Sanskrit: abhiṣeka) in Japan. Originally, abhiṣeka was part of an ancient Indian royal consecration rite, in which water would be poured on the head of the monarch during the accession ceremony. In Japan, this ritual was adopted as a Buddhist rite of passage, in which the practitioner would be purified by water sprinkled over him as a confirmation of his initiation into the esoteric teachings. The inclusion of the Twelve Devas into the rite, however, is considered a purely Japanese development. It is only from the twelfth century onward that these deities came to be depicted in pairs of six-panel folding screens. Previously portrayed seated on pedestals, they now assumed a standing posture that was better adapted to the elongated panels of the folding screen format.

Important Cultural Property
Fūten (Skt., Vayu) from Twelve Devas
Attributed to Takashina Takakane
Shōjuraikō-ji Temple, Shiga

Pine, bamboo, and plum are particularly beloved within East Asia as symbols of winter. Even in intense cold, pine trees retain their vivid green needles, bamboo remains steadfast and sturdy, and plum trees produce fragrant blossoms long before other flowers bloom. In ancient times, Chinese literati called these trees the “Three Friends of Winter.” Viewed as symbols of nobility and profound spirituality, these plants were extolled in cultured pursuits such as poetry, calligraphy, and ink painting.
In Japan, pine, bamboo, and plum were especially admired by medieval Zen monks, who were the most worldly figures of their day. Over time these trees came to be widely recognized across Japanese society as auspicious motifs. In celebration of the New Year, this gallery exhibits elegant paintings of pine, bamboo, and plum—enduring themes nurtured by Japan’s culture of Zen.

Important Cultural Property
Birds and Flowers of the Four Seasons
By Geiai
Kyoto National Museum

Historical records provide evidence of paintings by Japanese women dating as far back as the Heian period (794–1185); however, it was not until the Edo period (1615–1868) that women emerged as full-fledged professional painters. While often grouped together, the experiences of these female artists differed greatly. Women from various social backgrounds transcended the constraints of feudalistic society to engage in a rich array of artistic activities. Although many of these women painters may not be particularly well-known today, their vibrant and captivating works play a key role in the narrative of Japanese art history.

White-Robed Kannon (Avalokiteśvara)
By Kiyohara Yukinobu
Gift of Okamura Takemori, Kyoto National Museum

The city of Yangzhou, situated near the lower end of the Yangtze river, has long flourished as a key location for waterborne transport. During the Qing dynasty (1644–1912), Yangzhou enjoyed unprecedented economic prosperity thanks to its natural reserves of salt, quickly attracting people from throughout the land and blossoming into a capital of culture. The city’s wealthy salt merchants patronized painters, poets, and other cultural figures, opening many ateliers. This exhibition presents a magnificent pair of eight-paneled folding screens, Landscape with Pavilions, painted in Yangzhou in 1720 by Yuan Jiang (1671–ca. 1753) and Wang Yun (b. 1652). The screens have remained unaltered since their original creation in China, where they perhaps once decorated one of the luxurious mansions of Yangzhou, making Landscape with Pavilions a particularly precious masterpiece.

Landscape with Pavilions
By Yuan Jiang
Kyoto National Museum

Sculptures of Buddhist and Shinto deities have been produced throughout the ages in Kyoto, the capital of Japan for a thousand years. Although some of these statues have been lost due to warfare and natural disasters, many have survived to the present. From the ninth century, when the monk Kūkai (also known as Kōbō Daishi, 774–835) brought the teachings of Esoteric Buddhism to Japan from China, through the development of new schools of Buddhism during the Kamakura period (1185–1333), Buddhist sculptures have evolved in diverse ways. In addition to Buddhist deities, statues might also depict Shinto deities, animals, or erudite monks. This gallery displays various sculptures that have been passed down in Kyoto.

National Treasure
Seated Five Wisdom Buddhas
Anshō-ji Temple, Kyoto

Bokuseki, literally “ink traces,” refers to a form of calligraphy written by Zen Buddhist monks. Brushed in Chinese characters, the contents range widely from certificates of enlightenment to instructional literature to poems written at the time of death. These works, many of which are designated Important Cultural Properties, each provide rich insight essential to understanding Zen history and religious thought. The style of writing differs from the refined, delicate brushwork admired in earlier Japanese calligraphy, and instead is characterized by bold, heavy forms and assertive movement. Even if you cannot read what is written, we hope that you will enjoy the spontaneity and strength expressed through these characters.

National Treasure
Calligraphy for a Zen Temple Sign: "Head Monk" (Shuso)
By Zhang Jizhi
Tōfuku-ji Temple, Kyoto

Three magnificent swords designated as Important Cultural Properties have recently come into the collection of the Kyoto National Museum. The blades were crafted by master smiths representing key regions of sword production—Yamashiro, Bizen, and Bicchū. Yet these swords are relatively unknown, as they have not been exhibited to the public for nearly a half century. This special viewing celebrates the reemergence of these masterpieces, while showcasing the Kyoto National Museum’s efforts to protect and preserve Japan’s extraordinary cultural heritage.

Important Cultural Property
Tachi (Slung Sword) Blade
Inscription: "Bitchū […]"
Kyoto National Museum
[on view: February 26–March 23, 2025]

Sometime between 1644 and 1648, the potter Nonomura Ninsei (dates unknown) founded the Omuro kiln in front of the gate of Ninna-ji Temple in northwestern Kyoto. There, he produced a rich array of wares, such as tea-leaf storage jars and tea bowls, characterized by a sophisticated use of overglaze enamels. Ninsei imbued his works with a painterly quality by applying red, blue, green, purple, and black glazes with gold and silver accents. His use of overglaze enamels, along with his overall craftsmanship, had a significant influence on later Kyoto ware, including the ceramics of the famed Ogata Kenzan (1663–1743). This exhibition presents works by Ninsei and his contemporaries, as well as those he influenced. In addition, it features ceramic fragments excavated from the Omura kiln site, whose production techniques have been revealed through scientific analysis.

Important Cultural Property
Lotus-Shaped Incense Burner
Attributed to Nonomura Ninsei
Hōkongō-in Temple, Kyoto

Sue ware (sueki) is a type of hard, unglazed greyish brown stoneware closely associated with Japan’s Kofun period (ca. 3rd c.–6th c.). The technology for producing such ceramics was introduced to the Japanese archipelago from the Korean peninsula around the beginning of the fifth century. This exhibition presents Korean ceramics produced in the Silla period (668–935) along with Japanese Sue ware, revealing their shared lineage. Roof tiles excavated in Gyeongju, South Korea, are also on display.

Bowl with Stamped Decoration
Excavation site unknown
Kyoto National Museum

This exhibition explores the history of Japan through introducing a variety of archaeological relics. Many of these artifacts were excavated from ancient ruins. Some are special tools used in rituals and ceremonies, while others are objects used by people in their daily lives. Through exploring Japanese archaeology, we can gain a sense of the lives and experiences of people of the past.

National Treasure
Memorial Tablet with Epitaph of Ono no Emishi
Excavated in Kyoto
Sudō Shrine, Kyoto

Shinto shrines are found throughout every region of Japan. Dedicated to forces of nature, ancestors, or vengeful spirits, they serve as places for offering prayers to a region’s local deities or for the prosperity of family clans.
Hachiman shrines, which are dedicated to the Shinto god of warfare, Hachiman, also exist throughout the country. While the head Hachiman shrine is located at Usa in Oita, Kyushu, the most famous shrine dedicated to the war deity, Iwashimizu Hachimangu, is in Kyoto prefecture.
Another influential Shinto sanctuary is Itsukushima Shrine, located on the island of Miyajima in Hiroshima and best known for its “floating” torii gate. The shrine is dedicated to the Munakata Sanjoshin, three female deities of seas and storms. Itsukushima Shrine is said to have been constructed in 593; it later flourished under the patronage of warlords Taira no Kiyomori (1118–1181) and Mōri Motonari (1497–1571). This exhibition presents illustrated handscrolls tracing the origins of these famed Shinto shrines.

Important Art Object
Illustrated Legends of Itsukushima Shrine

The Twelve Devas were originally Hindu deities who protected sacred ritual spaces from all twelve directions. The screens on display in this exhibition feature these guardian deities as they were once used in esoteric Buddhist initiation rituals called kanjō (Sanskrit: abhiṣeka) in Japan. Originally, abhiṣeka was part of an ancient Indian royal consecration rite, in which water would be poured on the head of the monarch during the accession ceremony. In Japan, this ritual was adopted as a Buddhist rite of passage, in which the practitioner would be purified by water sprinkled over him as a confirmation of his initiation into the esoteric teachings. The inclusion of the Twelve Devas into the rite, however, is considered a purely Japanese development. It is only from the twelfth century onward that these deities came to be depicted in pairs of six-panel folding screens. Previously portrayed seated on pedestals, they now assumed a standing posture that was better adapted to the elongated panels of the folding screen format.

Important Cultural Property
Fūten (Skt., Vayu) from Twelve Devas
Attributed to Takashina Takakane
Shōjuraikō-ji Temple, Shiga

Pine, bamboo, and plum are particularly beloved within East Asia as symbols of winter. Even in intense cold, pine trees retain their vivid green needles, bamboo remains steadfast and sturdy, and plum trees produce fragrant blossoms long before other flowers bloom. In ancient times, Chinese literati called these trees the “Three Friends of Winter.” Viewed as symbols of nobility and profound spirituality, these plants were extolled in cultured pursuits such as poetry, calligraphy, and ink painting.
In Japan, pine, bamboo, and plum were especially admired by medieval Zen monks, who were the most worldly figures of their day. Over time these trees came to be widely recognized across Japanese society as auspicious motifs. In celebration of the New Year, this gallery exhibits elegant paintings of pine, bamboo, and plum—enduring themes nurtured by Japan’s culture of Zen.

Important Cultural Property
Birds and Flowers of the Four Seasons
By Geiai
Kyoto National Museum

Historical records provide evidence of paintings by Japanese women dating as far back as the Heian period (794–1185); however, it was not until the Edo period (1615–1868) that women emerged as full-fledged professional painters. While often grouped together, the experiences of these female artists differed greatly. Women from various social backgrounds transcended the constraints of feudalistic society to engage in a rich array of artistic activities. Although many of these women painters may not be particularly well-known today, their vibrant and captivating works play a key role in the narrative of Japanese art history.

White-Robed Kannon (Avalokiteśvara)
By Kiyohara Yukinobu
Gift of Okamura Takemori, Kyoto National Museum

The city of Yangzhou, situated near the lower end of the Yangtze river, has long flourished as a key location for waterborne transport. During the Qing dynasty (1644–1912), Yangzhou enjoyed unprecedented economic prosperity thanks to its natural reserves of salt, quickly attracting people from throughout the land and blossoming into a capital of culture. The city’s wealthy salt merchants patronized painters, poets, and other cultural figures, opening many ateliers. This exhibition presents a magnificent pair of eight-paneled folding screens, Landscape with Pavilions, painted in Yangzhou in 1720 by Yuan Jiang (1671–ca. 1753) and Wang Yun (b. 1652). The screens have remained unaltered since their original creation in China, where they perhaps once decorated one of the luxurious mansions of Yangzhou, making Landscape with Pavilions a particularly precious masterpiece.

Landscape with Pavilions
By Yuan Jiang
Kyoto National Museum

Sculptures of Buddhist and Shinto deities have been produced throughout the ages in Kyoto, the capital of Japan for a thousand years. Although some of these statues have been lost due to warfare and natural disasters, many have survived to the present. From the ninth century, when the monk Kūkai (also known as Kōbō Daishi, 774–835) brought the teachings of Esoteric Buddhism to Japan from China, through the development of new schools of Buddhism during the Kamakura period (1185–1333), Buddhist sculptures have evolved in diverse ways. In addition to Buddhist deities, statues might also depict Shinto deities, animals, or erudite monks. This gallery displays various sculptures that have been passed down in Kyoto.

National Treasure
Seated Five Wisdom Buddhas
Anshō-ji Temple, Kyoto

Bokuseki, literally “ink traces,” refers to a form of calligraphy written by Zen Buddhist monks. Brushed in Chinese characters, the contents range widely from certificates of enlightenment to instructional literature to poems written at the time of death. These works, many of which are designated Important Cultural Properties, each provide rich insight essential to understanding Zen history and religious thought. The style of writing differs from the refined, delicate brushwork admired in earlier Japanese calligraphy, and instead is characterized by bold, heavy forms and assertive movement. Even if you cannot read what is written, we hope that you will enjoy the spontaneity and strength expressed through these characters.

National Treasure
Calligraphy for a Zen Temple Sign: "Head Monk" (Shuso)
By Zhang Jizhi
Tōfuku-ji Temple, Kyoto

Three magnificent swords designated as Important Cultural Properties have recently come into the collection of the Kyoto National Museum. The blades were crafted by master smiths representing key regions of sword production—Yamashiro, Bizen, and Bicchū. Yet these swords are relatively unknown, as they have not been exhibited to the public for nearly a half century. This special viewing celebrates the reemergence of these masterpieces, while showcasing the Kyoto National Museum’s efforts to protect and preserve Japan’s extraordinary cultural heritage.

Important Cultural Property
Tachi (Slung Sword) Blade
Inscription: "Bitchū […]"
Kyoto National Museum
[on view: February 26–March 23, 2025]

Sometime between 1644 and 1648, the potter Nonomura Ninsei (dates unknown) founded the Omuro kiln in front of the gate of Ninna-ji Temple in northwestern Kyoto. There, he produced a rich array of wares, such as tea-leaf storage jars and tea bowls, characterized by a sophisticated use of overglaze enamels. Ninsei imbued his works with a painterly quality by applying red, blue, green, purple, and black glazes with gold and silver accents. His use of overglaze enamels, along with his overall craftsmanship, had a significant influence on later Kyoto ware, including the ceramics of the famed Ogata Kenzan (1663–1743). This exhibition presents works by Ninsei and his contemporaries, as well as those he influenced. In addition, it features ceramic fragments excavated from the Omura kiln site, whose production techniques have been revealed through scientific analysis.

Important Cultural Property
Lotus-Shaped Incense Burner
Attributed to Nonomura Ninsei
Hōkongō-in Temple, Kyoto

Sue ware (sueki) is a type of hard, unglazed greyish brown stoneware closely associated with Japan’s Kofun period (ca. 3rd c.–6th c.). The technology for producing such ceramics was introduced to the Japanese archipelago from the Korean peninsula around the beginning of the fifth century. This exhibition presents Korean ceramics produced in the Silla period (668–935) along with Japanese Sue ware, revealing their shared lineage. Roof tiles excavated in Gyeongju, South Korea, are also on display.

Bowl with Stamped Decoration
Excavation site unknown
Kyoto National Museum

This exhibition explores the history of Japan through introducing a variety of archaeological relics. Many of these artifacts were excavated from ancient ruins. Some are special tools used in rituals and ceremonies, while others are objects used by people in their daily lives. Through exploring Japanese archaeology, we can gain a sense of the lives and experiences of people of the past.

National Treasure
Memorial Tablet with Epitaph of Ono no Emishi
Excavated in Kyoto
Sudō Shrine, Kyoto

Shinto shrines are found throughout every region of Japan. Dedicated to forces of nature, ancestors, or vengeful spirits, they serve as places for offering prayers to a region’s local deities or for the prosperity of family clans.
Hachiman shrines, which are dedicated to the Shinto god of warfare, Hachiman, also exist throughout the country. While the head Hachiman shrine is located at Usa in Oita, Kyushu, the most famous shrine dedicated to the war deity, Iwashimizu Hachimangu, is in Kyoto prefecture.
Another influential Shinto sanctuary is Itsukushima Shrine, located on the island of Miyajima in Hiroshima and best known for its “floating” torii gate. The shrine is dedicated to the Munakata Sanjoshin, three female deities of seas and storms. Itsukushima Shrine is said to have been constructed in 593; it later flourished under the patronage of warlords Taira no Kiyomori (1118–1181) and Mōri Motonari (1497–1571). This exhibition presents illustrated handscrolls tracing the origins of these famed Shinto shrines.

Important Art Object
Illustrated Legends of Itsukushima Shrine

The Twelve Devas were originally Hindu deities who protected sacred ritual spaces from all twelve directions. The screens on display in this exhibition feature these guardian deities as they were once used in esoteric Buddhist initiation rituals called kanjō (Sanskrit: abhiṣeka) in Japan. Originally, abhiṣeka was part of an ancient Indian royal consecration rite, in which water would be poured on the head of the monarch during the accession ceremony. In Japan, this ritual was adopted as a Buddhist rite of passage, in which the practitioner would be purified by water sprinkled over him as a confirmation of his initiation into the esoteric teachings. The inclusion of the Twelve Devas into the rite, however, is considered a purely Japanese development. It is only from the twelfth century onward that these deities came to be depicted in pairs of six-panel folding screens. Previously portrayed seated on pedestals, they now assumed a standing posture that was better adapted to the elongated panels of the folding screen format.

Important Cultural Property
Fūten (Skt., Vayu) from Twelve Devas
Attributed to Takashina Takakane
Shōjuraikō-ji Temple, Shiga

Pine, bamboo, and plum are particularly beloved within East Asia as symbols of winter. Even in intense cold, pine trees retain their vivid green needles, bamboo remains steadfast and sturdy, and plum trees produce fragrant blossoms long before other flowers bloom. In ancient times, Chinese literati called these trees the “Three Friends of Winter.” Viewed as symbols of nobility and profound spirituality, these plants were extolled in cultured pursuits such as poetry, calligraphy, and ink painting.
In Japan, pine, bamboo, and plum were especially admired by medieval Zen monks, who were the most worldly figures of their day. Over time these trees came to be widely recognized across Japanese society as auspicious motifs. In celebration of the New Year, this gallery exhibits elegant paintings of pine, bamboo, and plum—enduring themes nurtured by Japan’s culture of Zen.

Important Cultural Property
Birds and Flowers of the Four Seasons
By Geiai
Kyoto National Museum

Historical records provide evidence of paintings by Japanese women dating as far back as the Heian period (794–1185); however, it was not until the Edo period (1615–1868) that women emerged as full-fledged professional painters. While often grouped together, the experiences of these female artists differed greatly. Women from various social backgrounds transcended the constraints of feudalistic society to engage in a rich array of artistic activities. Although many of these women painters may not be particularly well-known today, their vibrant and captivating works play a key role in the narrative of Japanese art history.

White-Robed Kannon (Avalokiteśvara)
By Kiyohara Yukinobu
Gift of Okamura Takemori, Kyoto National Museum

The city of Yangzhou, situated near the lower end of the Yangtze river, has long flourished as a key location for waterborne transport. During the Qing dynasty (1644–1912), Yangzhou enjoyed unprecedented economic prosperity thanks to its natural reserves of salt, quickly attracting people from throughout the land and blossoming into a capital of culture. The city’s wealthy salt merchants patronized painters, poets, and other cultural figures, opening many ateliers. This exhibition presents a magnificent pair of eight-paneled folding screens, Landscape with Pavilions, painted in Yangzhou in 1720 by Yuan Jiang (1671–ca. 1753) and Wang Yun (b. 1652). The screens have remained unaltered since their original creation in China, where they perhaps once decorated one of the luxurious mansions of Yangzhou, making Landscape with Pavilions a particularly precious masterpiece.

Landscape with Pavilions
By Yuan Jiang
Kyoto National Museum

Sculptures of Buddhist and Shinto deities have been produced throughout the ages in Kyoto, the capital of Japan for a thousand years. Although some of these statues have been lost due to warfare and natural disasters, many have survived to the present. From the ninth century, when the monk Kūkai (also known as Kōbō Daishi, 774–835) brought the teachings of Esoteric Buddhism to Japan from China, through the development of new schools of Buddhism during the Kamakura period (1185–1333), Buddhist sculptures have evolved in diverse ways. In addition to Buddhist deities, statues might also depict Shinto deities, animals, or erudite monks. This gallery displays various sculptures that have been passed down in Kyoto.

National Treasure
Seated Five Wisdom Buddhas
Anshō-ji Temple, Kyoto

Bokuseki, literally “ink traces,” refers to a form of calligraphy written by Zen Buddhist monks. Brushed in Chinese characters, the contents range widely from certificates of enlightenment to instructional literature to poems written at the time of death. These works, many of which are designated Important Cultural Properties, each provide rich insight essential to understanding Zen history and religious thought. The style of writing differs from the refined, delicate brushwork admired in earlier Japanese calligraphy, and instead is characterized by bold, heavy forms and assertive movement. Even if you cannot read what is written, we hope that you will enjoy the spontaneity and strength expressed through these characters.

National Treasure
Calligraphy for a Zen Temple Sign: "Head Monk" (Shuso)
By Zhang Jizhi
Tōfuku-ji Temple, Kyoto

Three magnificent swords designated as Important Cultural Properties have recently come into the collection of the Kyoto National Museum. The blades were crafted by master smiths representing key regions of sword production—Yamashiro, Bizen, and Bicchū. Yet these swords are relatively unknown, as they have not been exhibited to the public for nearly a half century. This special viewing celebrates the reemergence of these masterpieces, while showcasing the Kyoto National Museum’s efforts to protect and preserve Japan’s extraordinary cultural heritage.

Important Cultural Property
Tachi (Slung Sword) Blade
Inscription: "Bitchū […]"
Kyoto National Museum
[on view: February 26–March 23, 2025]

Sometime between 1644 and 1648, the potter Nonomura Ninsei (dates unknown) founded the Omuro kiln in front of the gate of Ninna-ji Temple in northwestern Kyoto. There, he produced a rich array of wares, such as tea-leaf storage jars and tea bowls, characterized by a sophisticated use of overglaze enamels. Ninsei imbued his works with a painterly quality by applying red, blue, green, purple, and black glazes with gold and silver accents. His use of overglaze enamels, along with his overall craftsmanship, had a significant influence on later Kyoto ware, including the ceramics of the famed Ogata Kenzan (1663–1743). This exhibition presents works by Ninsei and his contemporaries, as well as those he influenced. In addition, it features ceramic fragments excavated from the Omura kiln site, whose production techniques have been revealed through scientific analysis.

Important Cultural Property
Lotus-Shaped Incense Burner
Attributed to Nonomura Ninsei
Hōkongō-in Temple, Kyoto

Sue ware (sueki) is a type of hard, unglazed greyish brown stoneware closely associated with Japan’s Kofun period (ca. 3rd c.–6th c.). The technology for producing such ceramics was introduced to the Japanese archipelago from the Korean peninsula around the beginning of the fifth century. This exhibition presents Korean ceramics produced in the Silla period (668–935) along with Japanese Sue ware, revealing their shared lineage. Roof tiles excavated in Gyeongju, South Korea, are also on display.

Bowl with Stamped Decoration
Excavation site unknown
Kyoto National Museum

This exhibition explores the history of Japan through introducing a variety of archaeological relics. Many of these artifacts were excavated from ancient ruins. Some are special tools used in rituals and ceremonies, while others are objects used by people in their daily lives. Through exploring Japanese archaeology, we can gain a sense of the lives and experiences of people of the past.

National Treasure
Memorial Tablet with Epitaph of Ono no Emishi
Excavated in Kyoto
Sudō Shrine, Kyoto

Shinto shrines are found throughout every region of Japan. Dedicated to forces of nature, ancestors, or vengeful spirits, they serve as places for offering prayers to a region’s local deities or for the prosperity of family clans.
Hachiman shrines, which are dedicated to the Shinto god of warfare, Hachiman, also exist throughout the country. While the head Hachiman shrine is located at Usa in Oita, Kyushu, the most famous shrine dedicated to the war deity, Iwashimizu Hachimangu, is in Kyoto prefecture.
Another influential Shinto sanctuary is Itsukushima Shrine, located on the island of Miyajima in Hiroshima and best known for its “floating” torii gate. The shrine is dedicated to the Munakata Sanjoshin, three female deities of seas and storms. Itsukushima Shrine is said to have been constructed in 593; it later flourished under the patronage of warlords Taira no Kiyomori (1118–1181) and Mōri Motonari (1497–1571). This exhibition presents illustrated handscrolls tracing the origins of these famed Shinto shrines.

Important Art Object
Illustrated Legends of Itsukushima Shrine

The Twelve Devas were originally Hindu deities who protected sacred ritual spaces from all twelve directions. The screens on display in this exhibition feature these guardian deities as they were once used in esoteric Buddhist initiation rituals called kanjō (Sanskrit: abhiṣeka) in Japan. Originally, abhiṣeka was part of an ancient Indian royal consecration rite, in which water would be poured on the head of the monarch during the accession ceremony. In Japan, this ritual was adopted as a Buddhist rite of passage, in which the practitioner would be purified by water sprinkled over him as a confirmation of his initiation into the esoteric teachings. The inclusion of the Twelve Devas into the rite, however, is considered a purely Japanese development. It is only from the twelfth century onward that these deities came to be depicted in pairs of six-panel folding screens. Previously portrayed seated on pedestals, they now assumed a standing posture that was better adapted to the elongated panels of the folding screen format.

Important Cultural Property
Fūten (Skt., Vayu) from Twelve Devas
Attributed to Takashina Takakane
Shōjuraikō-ji Temple, Shiga

Pine, bamboo, and plum are particularly beloved within East Asia as symbols of winter. Even in intense cold, pine trees retain their vivid green needles, bamboo remains steadfast and sturdy, and plum trees produce fragrant blossoms long before other flowers bloom. In ancient times, Chinese literati called these trees the “Three Friends of Winter.” Viewed as symbols of nobility and profound spirituality, these plants were extolled in cultured pursuits such as poetry, calligraphy, and ink painting.
In Japan, pine, bamboo, and plum were especially admired by medieval Zen monks, who were the most worldly figures of their day. Over time these trees came to be widely recognized across Japanese society as auspicious motifs. In celebration of the New Year, this gallery exhibits elegant paintings of pine, bamboo, and plum—enduring themes nurtured by Japan’s culture of Zen.

Important Cultural Property
Birds and Flowers of the Four Seasons
By Geiai
Kyoto National Museum

Historical records provide evidence of paintings by Japanese women dating as far back as the Heian period (794–1185); however, it was not until the Edo period (1615–1868) that women emerged as full-fledged professional painters. While often grouped together, the experiences of these female artists differed greatly. Women from various social backgrounds transcended the constraints of feudalistic society to engage in a rich array of artistic activities. Although many of these women painters may not be particularly well-known today, their vibrant and captivating works play a key role in the narrative of Japanese art history.

White-Robed Kannon (Avalokiteśvara)
By Kiyohara Yukinobu
Gift of Okamura Takemori, Kyoto National Museum

The city of Yangzhou, situated near the lower end of the Yangtze river, has long flourished as a key location for waterborne transport. During the Qing dynasty (1644–1912), Yangzhou enjoyed unprecedented economic prosperity thanks to its natural reserves of salt, quickly attracting people from throughout the land and blossoming into a capital of culture. The city’s wealthy salt merchants patronized painters, poets, and other cultural figures, opening many ateliers. This exhibition presents a magnificent pair of eight-paneled folding screens, Landscape with Pavilions, painted in Yangzhou in 1720 by Yuan Jiang (1671–ca. 1753) and Wang Yun (b. 1652). The screens have remained unaltered since their original creation in China, where they perhaps once decorated one of the luxurious mansions of Yangzhou, making Landscape with Pavilions a particularly precious masterpiece.

Landscape with Pavilions
By Yuan Jiang
Kyoto National Museum

Sculptures of Buddhist and Shinto deities have been produced throughout the ages in Kyoto, the capital of Japan for a thousand years. Although some of these statues have been lost due to warfare and natural disasters, many have survived to the present. From the ninth century, when the monk Kūkai (also known as Kōbō Daishi, 774–835) brought the teachings of Esoteric Buddhism to Japan from China, through the development of new schools of Buddhism during the Kamakura period (1185–1333), Buddhist sculptures have evolved in diverse ways. In addition to Buddhist deities, statues might also depict Shinto deities, animals, or erudite monks. This gallery displays various sculptures that have been passed down in Kyoto.

National Treasure
Seated Five Wisdom Buddhas
Anshō-ji Temple, Kyoto

Bokuseki, literally “ink traces,” refers to a form of calligraphy written by Zen Buddhist monks. Brushed in Chinese characters, the contents range widely from certificates of enlightenment to instructional literature to poems written at the time of death. These works, many of which are designated Important Cultural Properties, each provide rich insight essential to understanding Zen history and religious thought. The style of writing differs from the refined, delicate brushwork admired in earlier Japanese calligraphy, and instead is characterized by bold, heavy forms and assertive movement. Even if you cannot read what is written, we hope that you will enjoy the spontaneity and strength expressed through these characters.

National Treasure
Calligraphy for a Zen Temple Sign: "Head Monk" (Shuso)
By Zhang Jizhi
Tōfuku-ji Temple, Kyoto

Three magnificent swords designated as Important Cultural Properties have recently come into the collection of the Kyoto National Museum. The blades were crafted by master smiths representing key regions of sword production—Yamashiro, Bizen, and Bicchū. Yet these swords are relatively unknown, as they have not been exhibited to the public for nearly a half century. This special viewing celebrates the reemergence of these masterpieces, while showcasing the Kyoto National Museum’s efforts to protect and preserve Japan’s extraordinary cultural heritage.

Important Cultural Property
Tachi (Slung Sword) Blade
Inscription: "Bitchū […]"
Kyoto National Museum
[on view: February 26–March 23, 2025]