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

Japanese illustrated handscrolls are usually composed of sections of text followed by corresponding paintings. Occasionally, however, amidst the images we find scattered words and phrases (gachūshi). Annotations interwoven with the illustrations sometimes serve as labels for people or places. In other cases, such inscriptions capture the dialogue of different characters, heightening the realism of spoken scenes—somewhat like the text bubbles of manga comics. This exhibition presents key examples of handscrolls featuring writing interspersed within their illustrations. Even if you cannot read what is written, we invite you to enjoy contemplating the relationship between images and text.

Important Cultural Property
Legends of the Yata Jizō, Vol. 1
Yata-dera Temple, Kyoto

The historical Buddha Shakyamuni is said to have died and entered parinirvana, his “final nirvana,” on the fifteenth day of the second lunar month (March 15th by the Gregorian calendar). Japanese temples continue to hold the Nirvana Assembly (nehan-e) in the present; a painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized—some are so large that they cannot be fully unrolled, even in grand temple halls. Why use such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became widespread among many different sects, in part because it revolves around the historical Buddha Shakyamuni. The grand scale and realism of Death of the Buddha paintings such as these may have also contributed to the Nirvana Assembly’s prevalence in Japan.

Death of the Buddha
Kyoto National Museum

Farming has been essential to human society since the dawn of civilization. Paintings related to agricultural activities have a long and rich tradition, as a form of prayer for abundant harvests or as a record of farming practices and customs. In Song dynasty (960–1279) China, seasonal activities such as rice cultivation, silkworm farming, and weaving were depicted in artworks, reminding those in power of their duty to nurture their subjects. Such paintings were imported to Japan during its medieval period. Depictions of agriculture grew to become a central theme of Japanese ink painting, resulting in a vast array of farming-related works from the fourteenth century on. Primarily drawing from the works of the illustrious Kano school, this exhibition presents a wide variety of medieval Japanese paintings related to agriculture.

Farming
Seal of Kano Motonobu
Kyoto National Museum

Early modern Japanese painters left behind a considerable number of sketches, primarily dating to the Edo period (1615–1868). Many of these come from the eighteenth century, during which the renowned painter Maruyama Ōkyo popularized the practice of naturalistic sketching from life (shasei). Other examples date back to the preceding Muromachi period (1392–1573). In this long tradition of sketching, Japanese artists not only produced numerous sketches of plants, animals, and landscapes, but also copied the works of ancient and contemporary masters. Some sketches even included commentary by the artists, providing key historical insights, as in Kano Tan’yū’s “Small Sketches” (Tan’yū shukuzu). Because these were made only for reference, they were brushed in a relaxed and free-spirited manner, offering a charm distinct from more polished works.
A version of this exhibition opened briefly in February 2020 but ended after only two weeks due to the pandemic.

Important Cultural Property
Sketches of Animals
From the Konishi Family Archives
By Ogata Kōrin
Kyoto National Museum

The works of modern Chinese painting master Qi Baishi (1864–1957) continue to be celebrated today. Baishi’s style, characterized by succinct brushstrokes and vibrant colors, is charming yet deceptively simple—so much so that it may seem easy to replicate at first glance. His distinctive manner of expression, forged throughout a lifetime of constant study, is rooted in powerful, free-flowing brushwork, carefully planned compositions, and a keen sense of color. Together, these elements imbue Baishi’s subjects with lifelike vibrancy, reflecting his deeply individual artistic vision.
This exhibition presents masterpieces from the collection of the diplomat Suma Yakichirō (1892–970), Baishi’s friend and contemporary, which capture the essence of his distinguished artistic legacy.

Three Leisures (Three Fish)
By Qi Baishi
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

What makes these sutra manuscripts special? The most obvious characteristic is the dark blue indigo-dyed paper upon which they are inscribed. But also notice the color of the sacred texts. The Chinese characters (which read top to bottom, right to left) are written in columns of gold and silver paint, made by mixing fine metallic dust with gelatinous animal glue. After brushing the characters onto the paper, scribes used boar tusks to polish them, allowing the text to shine even more. Sutras are Buddhism’s sacred scriptures, believed to record the actual sermons of the Buddha Shakyamuni—often described as the Buddha’s “golden words.” The metallic pigments glimmering on the dark blue backgrounds of these sutras bring this metaphor to life.

Flower Garland Sutra, Fragment of Vol. 33
From the Burned Sutras of Nigatsudō Hall
Kyoto National Museum

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 Bitchū. 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

Japanese illustrated handscrolls are usually composed of sections of text followed by corresponding paintings. Occasionally, however, amidst the images we find scattered words and phrases (gachūshi). Annotations interwoven with the illustrations sometimes serve as labels for people or places. In other cases, such inscriptions capture the dialogue of different characters, heightening the realism of spoken scenes—somewhat like the text bubbles of manga comics. This exhibition presents key examples of handscrolls featuring writing interspersed within their illustrations. Even if you cannot read what is written, we invite you to enjoy contemplating the relationship between images and text.

Important Cultural Property
Legends of the Yata Jizō, Vol. 1
Yata-dera Temple, Kyoto

The historical Buddha Shakyamuni is said to have died and entered parinirvana, his “final nirvana,” on the fifteenth day of the second lunar month (March 15th by the Gregorian calendar). Japanese temples continue to hold the Nirvana Assembly (nehan-e) in the present; a painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized—some are so large that they cannot be fully unrolled, even in grand temple halls. Why use such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became widespread among many different sects, in part because it revolves around the historical Buddha Shakyamuni. The grand scale and realism of Death of the Buddha paintings such as these may have also contributed to the Nirvana Assembly’s prevalence in Japan.

Death of the Buddha
Kyoto National Museum

Farming has been essential to human society since the dawn of civilization. Paintings related to agricultural activities have a long and rich tradition, as a form of prayer for abundant harvests or as a record of farming practices and customs. In Song dynasty (960–1279) China, seasonal activities such as rice cultivation, silkworm farming, and weaving were depicted in artworks, reminding those in power of their duty to nurture their subjects. Such paintings were imported to Japan during its medieval period. Depictions of agriculture grew to become a central theme of Japanese ink painting, resulting in a vast array of farming-related works from the fourteenth century on. Primarily drawing from the works of the illustrious Kano school, this exhibition presents a wide variety of medieval Japanese paintings related to agriculture.

Farming
Seal of Kano Motonobu
Kyoto National Museum

Early modern Japanese painters left behind a considerable number of sketches, primarily dating to the Edo period (1615–1868). Many of these come from the eighteenth century, during which the renowned painter Maruyama Ōkyo popularized the practice of naturalistic sketching from life (shasei). Other examples date back to the preceding Muromachi period (1392–1573). In this long tradition of sketching, Japanese artists not only produced numerous sketches of plants, animals, and landscapes, but also copied the works of ancient and contemporary masters. Some sketches even included commentary by the artists, providing key historical insights, as in Kano Tan’yū’s “Small Sketches” (Tan’yū shukuzu). Because these were made only for reference, they were brushed in a relaxed and free-spirited manner, offering a charm distinct from more polished works.
A version of this exhibition opened briefly in February 2020 but ended after only two weeks due to the pandemic.

Important Cultural Property
Sketches of Animals
From the Konishi Family Archives
By Ogata Kōrin
Kyoto National Museum

The works of modern Chinese painting master Qi Baishi (1864–1957) continue to be celebrated today. Baishi’s style, characterized by succinct brushstrokes and vibrant colors, is charming yet deceptively simple—so much so that it may seem easy to replicate at first glance. His distinctive manner of expression, forged throughout a lifetime of constant study, is rooted in powerful, free-flowing brushwork, carefully planned compositions, and a keen sense of color. Together, these elements imbue Baishi’s subjects with lifelike vibrancy, reflecting his deeply individual artistic vision.
This exhibition presents masterpieces from the collection of the diplomat Suma Yakichirō (1892–970), Baishi’s friend and contemporary, which capture the essence of his distinguished artistic legacy.

Three Leisures (Three Fish)
By Qi Baishi
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

What makes these sutra manuscripts special? The most obvious characteristic is the dark blue indigo-dyed paper upon which they are inscribed. But also notice the color of the sacred texts. The Chinese characters (which read top to bottom, right to left) are written in columns of gold and silver paint, made by mixing fine metallic dust with gelatinous animal glue. After brushing the characters onto the paper, scribes used boar tusks to polish them, allowing the text to shine even more. Sutras are Buddhism’s sacred scriptures, believed to record the actual sermons of the Buddha Shakyamuni—often described as the Buddha’s “golden words.” The metallic pigments glimmering on the dark blue backgrounds of these sutras bring this metaphor to life.

Flower Garland Sutra, Fragment of Vol. 33
From the Burned Sutras of Nigatsudō Hall
Kyoto National Museum

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 Bitchū. 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

Japanese illustrated handscrolls are usually composed of sections of text followed by corresponding paintings. Occasionally, however, amidst the images we find scattered words and phrases (gachūshi). Annotations interwoven with the illustrations sometimes serve as labels for people or places. In other cases, such inscriptions capture the dialogue of different characters, heightening the realism of spoken scenes—somewhat like the text bubbles of manga comics. This exhibition presents key examples of handscrolls featuring writing interspersed within their illustrations. Even if you cannot read what is written, we invite you to enjoy contemplating the relationship between images and text.

Important Cultural Property
Legends of the Yata Jizō, Vol. 1
Yata-dera Temple, Kyoto

The historical Buddha Shakyamuni is said to have died and entered parinirvana, his “final nirvana,” on the fifteenth day of the second lunar month (March 15th by the Gregorian calendar). Japanese temples continue to hold the Nirvana Assembly (nehan-e) in the present; a painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized—some are so large that they cannot be fully unrolled, even in grand temple halls. Why use such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became widespread among many different sects, in part because it revolves around the historical Buddha Shakyamuni. The grand scale and realism of Death of the Buddha paintings such as these may have also contributed to the Nirvana Assembly’s prevalence in Japan.

Death of the Buddha
Kyoto National Museum

Farming has been essential to human society since the dawn of civilization. Paintings related to agricultural activities have a long and rich tradition, as a form of prayer for abundant harvests or as a record of farming practices and customs. In Song dynasty (960–1279) China, seasonal activities such as rice cultivation, silkworm farming, and weaving were depicted in artworks, reminding those in power of their duty to nurture their subjects. Such paintings were imported to Japan during its medieval period. Depictions of agriculture grew to become a central theme of Japanese ink painting, resulting in a vast array of farming-related works from the fourteenth century on. Primarily drawing from the works of the illustrious Kano school, this exhibition presents a wide variety of medieval Japanese paintings related to agriculture.

Farming
Seal of Kano Motonobu
Kyoto National Museum

Early modern Japanese painters left behind a considerable number of sketches, primarily dating to the Edo period (1615–1868). Many of these come from the eighteenth century, during which the renowned painter Maruyama Ōkyo popularized the practice of naturalistic sketching from life (shasei). Other examples date back to the preceding Muromachi period (1392–1573). In this long tradition of sketching, Japanese artists not only produced numerous sketches of plants, animals, and landscapes, but also copied the works of ancient and contemporary masters. Some sketches even included commentary by the artists, providing key historical insights, as in Kano Tan’yū’s “Small Sketches” (Tan’yū shukuzu). Because these were made only for reference, they were brushed in a relaxed and free-spirited manner, offering a charm distinct from more polished works.
A version of this exhibition opened briefly in February 2020 but ended after only two weeks due to the pandemic.

Important Cultural Property
Sketches of Animals
From the Konishi Family Archives
By Ogata Kōrin
Kyoto National Museum

The works of modern Chinese painting master Qi Baishi (1864–1957) continue to be celebrated today. Baishi’s style, characterized by succinct brushstrokes and vibrant colors, is charming yet deceptively simple—so much so that it may seem easy to replicate at first glance. His distinctive manner of expression, forged throughout a lifetime of constant study, is rooted in powerful, free-flowing brushwork, carefully planned compositions, and a keen sense of color. Together, these elements imbue Baishi’s subjects with lifelike vibrancy, reflecting his deeply individual artistic vision.
This exhibition presents masterpieces from the collection of the diplomat Suma Yakichirō (1892–970), Baishi’s friend and contemporary, which capture the essence of his distinguished artistic legacy.

Three Leisures (Three Fish)
By Qi Baishi
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

What makes these sutra manuscripts special? The most obvious characteristic is the dark blue indigo-dyed paper upon which they are inscribed. But also notice the color of the sacred texts. The Chinese characters (which read top to bottom, right to left) are written in columns of gold and silver paint, made by mixing fine metallic dust with gelatinous animal glue. After brushing the characters onto the paper, scribes used boar tusks to polish them, allowing the text to shine even more. Sutras are Buddhism’s sacred scriptures, believed to record the actual sermons of the Buddha Shakyamuni—often described as the Buddha’s “golden words.” The metallic pigments glimmering on the dark blue backgrounds of these sutras bring this metaphor to life.

Flower Garland Sutra, Fragment of Vol. 33
From the Burned Sutras of Nigatsudō Hall
Kyoto National Museum

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 Bitchū. 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

Japanese illustrated handscrolls are usually composed of sections of text followed by corresponding paintings. Occasionally, however, amidst the images we find scattered words and phrases (gachūshi). Annotations interwoven with the illustrations sometimes serve as labels for people or places. In other cases, such inscriptions capture the dialogue of different characters, heightening the realism of spoken scenes—somewhat like the text bubbles of manga comics. This exhibition presents key examples of handscrolls featuring writing interspersed within their illustrations. Even if you cannot read what is written, we invite you to enjoy contemplating the relationship between images and text.

Important Cultural Property
Legends of the Yata Jizō, Vol. 1
Yata-dera Temple, Kyoto

The historical Buddha Shakyamuni is said to have died and entered parinirvana, his “final nirvana,” on the fifteenth day of the second lunar month (March 15th by the Gregorian calendar). Japanese temples continue to hold the Nirvana Assembly (nehan-e) in the present; a painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized—some are so large that they cannot be fully unrolled, even in grand temple halls. Why use such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became widespread among many different sects, in part because it revolves around the historical Buddha Shakyamuni. The grand scale and realism of Death of the Buddha paintings such as these may have also contributed to the Nirvana Assembly’s prevalence in Japan.

Death of the Buddha
Kyoto National Museum

Farming has been essential to human society since the dawn of civilization. Paintings related to agricultural activities have a long and rich tradition, as a form of prayer for abundant harvests or as a record of farming practices and customs. In Song dynasty (960–1279) China, seasonal activities such as rice cultivation, silkworm farming, and weaving were depicted in artworks, reminding those in power of their duty to nurture their subjects. Such paintings were imported to Japan during its medieval period. Depictions of agriculture grew to become a central theme of Japanese ink painting, resulting in a vast array of farming-related works from the fourteenth century on. Primarily drawing from the works of the illustrious Kano school, this exhibition presents a wide variety of medieval Japanese paintings related to agriculture.

Farming
Seal of Kano Motonobu
Kyoto National Museum

Early modern Japanese painters left behind a considerable number of sketches, primarily dating to the Edo period (1615–1868). Many of these come from the eighteenth century, during which the renowned painter Maruyama Ōkyo popularized the practice of naturalistic sketching from life (shasei). Other examples date back to the preceding Muromachi period (1392–1573). In this long tradition of sketching, Japanese artists not only produced numerous sketches of plants, animals, and landscapes, but also copied the works of ancient and contemporary masters. Some sketches even included commentary by the artists, providing key historical insights, as in Kano Tan’yū’s “Small Sketches” (Tan’yū shukuzu). Because these were made only for reference, they were brushed in a relaxed and free-spirited manner, offering a charm distinct from more polished works.
A version of this exhibition opened briefly in February 2020 but ended after only two weeks due to the pandemic.

Important Cultural Property
Sketches of Animals
From the Konishi Family Archives
By Ogata Kōrin
Kyoto National Museum

The works of modern Chinese painting master Qi Baishi (1864–1957) continue to be celebrated today. Baishi’s style, characterized by succinct brushstrokes and vibrant colors, is charming yet deceptively simple—so much so that it may seem easy to replicate at first glance. His distinctive manner of expression, forged throughout a lifetime of constant study, is rooted in powerful, free-flowing brushwork, carefully planned compositions, and a keen sense of color. Together, these elements imbue Baishi’s subjects with lifelike vibrancy, reflecting his deeply individual artistic vision.
This exhibition presents masterpieces from the collection of the diplomat Suma Yakichirō (1892–970), Baishi’s friend and contemporary, which capture the essence of his distinguished artistic legacy.

Three Leisures (Three Fish)
By Qi Baishi
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

What makes these sutra manuscripts special? The most obvious characteristic is the dark blue indigo-dyed paper upon which they are inscribed. But also notice the color of the sacred texts. The Chinese characters (which read top to bottom, right to left) are written in columns of gold and silver paint, made by mixing fine metallic dust with gelatinous animal glue. After brushing the characters onto the paper, scribes used boar tusks to polish them, allowing the text to shine even more. Sutras are Buddhism’s sacred scriptures, believed to record the actual sermons of the Buddha Shakyamuni—often described as the Buddha’s “golden words.” The metallic pigments glimmering on the dark blue backgrounds of these sutras bring this metaphor to life.

Flower Garland Sutra, Fragment of Vol. 33
From the Burned Sutras of Nigatsudō Hall
Kyoto National Museum

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 Bitchū. 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

Japanese illustrated handscrolls are usually composed of sections of text followed by corresponding paintings. Occasionally, however, amidst the images we find scattered words and phrases (gachūshi). Annotations interwoven with the illustrations sometimes serve as labels for people or places. In other cases, such inscriptions capture the dialogue of different characters, heightening the realism of spoken scenes—somewhat like the text bubbles of manga comics. This exhibition presents key examples of handscrolls featuring writing interspersed within their illustrations. Even if you cannot read what is written, we invite you to enjoy contemplating the relationship between images and text.

Important Cultural Property
Legends of the Yata Jizō, Vol. 1
Yata-dera Temple, Kyoto

The historical Buddha Shakyamuni is said to have died and entered parinirvana, his “final nirvana,” on the fifteenth day of the second lunar month (March 15th by the Gregorian calendar). Japanese temples continue to hold the Nirvana Assembly (nehan-e) in the present; a painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized—some are so large that they cannot be fully unrolled, even in grand temple halls. Why use such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became widespread among many different sects, in part because it revolves around the historical Buddha Shakyamuni. The grand scale and realism of Death of the Buddha paintings such as these may have also contributed to the Nirvana Assembly’s prevalence in Japan.

Death of the Buddha
Kyoto National Museum

Farming has been essential to human society since the dawn of civilization. Paintings related to agricultural activities have a long and rich tradition, as a form of prayer for abundant harvests or as a record of farming practices and customs. In Song dynasty (960–1279) China, seasonal activities such as rice cultivation, silkworm farming, and weaving were depicted in artworks, reminding those in power of their duty to nurture their subjects. Such paintings were imported to Japan during its medieval period. Depictions of agriculture grew to become a central theme of Japanese ink painting, resulting in a vast array of farming-related works from the fourteenth century on. Primarily drawing from the works of the illustrious Kano school, this exhibition presents a wide variety of medieval Japanese paintings related to agriculture.

Farming
Seal of Kano Motonobu
Kyoto National Museum

Early modern Japanese painters left behind a considerable number of sketches, primarily dating to the Edo period (1615–1868). Many of these come from the eighteenth century, during which the renowned painter Maruyama Ōkyo popularized the practice of naturalistic sketching from life (shasei). Other examples date back to the preceding Muromachi period (1392–1573). In this long tradition of sketching, Japanese artists not only produced numerous sketches of plants, animals, and landscapes, but also copied the works of ancient and contemporary masters. Some sketches even included commentary by the artists, providing key historical insights, as in Kano Tan’yū’s “Small Sketches” (Tan’yū shukuzu). Because these were made only for reference, they were brushed in a relaxed and free-spirited manner, offering a charm distinct from more polished works.
A version of this exhibition opened briefly in February 2020 but ended after only two weeks due to the pandemic.

Important Cultural Property
Sketches of Animals
From the Konishi Family Archives
By Ogata Kōrin
Kyoto National Museum

The works of modern Chinese painting master Qi Baishi (1864–1957) continue to be celebrated today. Baishi’s style, characterized by succinct brushstrokes and vibrant colors, is charming yet deceptively simple—so much so that it may seem easy to replicate at first glance. His distinctive manner of expression, forged throughout a lifetime of constant study, is rooted in powerful, free-flowing brushwork, carefully planned compositions, and a keen sense of color. Together, these elements imbue Baishi’s subjects with lifelike vibrancy, reflecting his deeply individual artistic vision.
This exhibition presents masterpieces from the collection of the diplomat Suma Yakichirō (1892–970), Baishi’s friend and contemporary, which capture the essence of his distinguished artistic legacy.

Three Leisures (Three Fish)
By Qi Baishi
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

What makes these sutra manuscripts special? The most obvious characteristic is the dark blue indigo-dyed paper upon which they are inscribed. But also notice the color of the sacred texts. The Chinese characters (which read top to bottom, right to left) are written in columns of gold and silver paint, made by mixing fine metallic dust with gelatinous animal glue. After brushing the characters onto the paper, scribes used boar tusks to polish them, allowing the text to shine even more. Sutras are Buddhism’s sacred scriptures, believed to record the actual sermons of the Buddha Shakyamuni—often described as the Buddha’s “golden words.” The metallic pigments glimmering on the dark blue backgrounds of these sutras bring this metaphor to life.

Flower Garland Sutra, Fragment of Vol. 33
From the Burned Sutras of Nigatsudō Hall
Kyoto National Museum

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 Bitchū. 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

Japanese illustrated handscrolls are usually composed of sections of text followed by corresponding paintings. Occasionally, however, amidst the images we find scattered words and phrases (gachūshi). Annotations interwoven with the illustrations sometimes serve as labels for people or places. In other cases, such inscriptions capture the dialogue of different characters, heightening the realism of spoken scenes—somewhat like the text bubbles of manga comics. This exhibition presents key examples of handscrolls featuring writing interspersed within their illustrations. Even if you cannot read what is written, we invite you to enjoy contemplating the relationship between images and text.

Important Cultural Property
Legends of the Yata Jizō, Vol. 1
Yata-dera Temple, Kyoto

The historical Buddha Shakyamuni is said to have died and entered parinirvana, his “final nirvana,” on the fifteenth day of the second lunar month (March 15th by the Gregorian calendar). Japanese temples continue to hold the Nirvana Assembly (nehan-e) in the present; a painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized—some are so large that they cannot be fully unrolled, even in grand temple halls. Why use such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became widespread among many different sects, in part because it revolves around the historical Buddha Shakyamuni. The grand scale and realism of Death of the Buddha paintings such as these may have also contributed to the Nirvana Assembly’s prevalence in Japan.

Death of the Buddha
Kyoto National Museum

Farming has been essential to human society since the dawn of civilization. Paintings related to agricultural activities have a long and rich tradition, as a form of prayer for abundant harvests or as a record of farming practices and customs. In Song dynasty (960–1279) China, seasonal activities such as rice cultivation, silkworm farming, and weaving were depicted in artworks, reminding those in power of their duty to nurture their subjects. Such paintings were imported to Japan during its medieval period. Depictions of agriculture grew to become a central theme of Japanese ink painting, resulting in a vast array of farming-related works from the fourteenth century on. Primarily drawing from the works of the illustrious Kano school, this exhibition presents a wide variety of medieval Japanese paintings related to agriculture.

Farming
Seal of Kano Motonobu
Kyoto National Museum

Early modern Japanese painters left behind a considerable number of sketches, primarily dating to the Edo period (1615–1868). Many of these come from the eighteenth century, during which the renowned painter Maruyama Ōkyo popularized the practice of naturalistic sketching from life (shasei). Other examples date back to the preceding Muromachi period (1392–1573). In this long tradition of sketching, Japanese artists not only produced numerous sketches of plants, animals, and landscapes, but also copied the works of ancient and contemporary masters. Some sketches even included commentary by the artists, providing key historical insights, as in Kano Tan’yū’s “Small Sketches” (Tan’yū shukuzu). Because these were made only for reference, they were brushed in a relaxed and free-spirited manner, offering a charm distinct from more polished works.
A version of this exhibition opened briefly in February 2020 but ended after only two weeks due to the pandemic.

Important Cultural Property
Sketches of Animals
From the Konishi Family Archives
By Ogata Kōrin
Kyoto National Museum

The works of modern Chinese painting master Qi Baishi (1864–1957) continue to be celebrated today. Baishi’s style, characterized by succinct brushstrokes and vibrant colors, is charming yet deceptively simple—so much so that it may seem easy to replicate at first glance. His distinctive manner of expression, forged throughout a lifetime of constant study, is rooted in powerful, free-flowing brushwork, carefully planned compositions, and a keen sense of color. Together, these elements imbue Baishi’s subjects with lifelike vibrancy, reflecting his deeply individual artistic vision.
This exhibition presents masterpieces from the collection of the diplomat Suma Yakichirō (1892–970), Baishi’s friend and contemporary, which capture the essence of his distinguished artistic legacy.

Three Leisures (Three Fish)
By Qi Baishi
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

What makes these sutra manuscripts special? The most obvious characteristic is the dark blue indigo-dyed paper upon which they are inscribed. But also notice the color of the sacred texts. The Chinese characters (which read top to bottom, right to left) are written in columns of gold and silver paint, made by mixing fine metallic dust with gelatinous animal glue. After brushing the characters onto the paper, scribes used boar tusks to polish them, allowing the text to shine even more. Sutras are Buddhism’s sacred scriptures, believed to record the actual sermons of the Buddha Shakyamuni—often described as the Buddha’s “golden words.” The metallic pigments glimmering on the dark blue backgrounds of these sutras bring this metaphor to life.

Flower Garland Sutra, Fragment of Vol. 33
From the Burned Sutras of Nigatsudō Hall
Kyoto National Museum

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 Bitchū. 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

Japanese illustrated handscrolls are usually composed of sections of text followed by corresponding paintings. Occasionally, however, amidst the images we find scattered words and phrases (gachūshi). Annotations interwoven with the illustrations sometimes serve as labels for people or places. In other cases, such inscriptions capture the dialogue of different characters, heightening the realism of spoken scenes—somewhat like the text bubbles of manga comics. This exhibition presents key examples of handscrolls featuring writing interspersed within their illustrations. Even if you cannot read what is written, we invite you to enjoy contemplating the relationship between images and text.

Important Cultural Property
Legends of the Yata Jizō, Vol. 1
Yata-dera Temple, Kyoto

The historical Buddha Shakyamuni is said to have died and entered parinirvana, his “final nirvana,” on the fifteenth day of the second lunar month (March 15th by the Gregorian calendar). Japanese temples continue to hold the Nirvana Assembly (nehan-e) in the present; a painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized—some are so large that they cannot be fully unrolled, even in grand temple halls. Why use such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became widespread among many different sects, in part because it revolves around the historical Buddha Shakyamuni. The grand scale and realism of Death of the Buddha paintings such as these may have also contributed to the Nirvana Assembly’s prevalence in Japan.

Death of the Buddha
Kyoto National Museum

Farming has been essential to human society since the dawn of civilization. Paintings related to agricultural activities have a long and rich tradition, as a form of prayer for abundant harvests or as a record of farming practices and customs. In Song dynasty (960–1279) China, seasonal activities such as rice cultivation, silkworm farming, and weaving were depicted in artworks, reminding those in power of their duty to nurture their subjects. Such paintings were imported to Japan during its medieval period. Depictions of agriculture grew to become a central theme of Japanese ink painting, resulting in a vast array of farming-related works from the fourteenth century on. Primarily drawing from the works of the illustrious Kano school, this exhibition presents a wide variety of medieval Japanese paintings related to agriculture.

Farming
Seal of Kano Motonobu
Kyoto National Museum

Early modern Japanese painters left behind a considerable number of sketches, primarily dating to the Edo period (1615–1868). Many of these come from the eighteenth century, during which the renowned painter Maruyama Ōkyo popularized the practice of naturalistic sketching from life (shasei). Other examples date back to the preceding Muromachi period (1392–1573). In this long tradition of sketching, Japanese artists not only produced numerous sketches of plants, animals, and landscapes, but also copied the works of ancient and contemporary masters. Some sketches even included commentary by the artists, providing key historical insights, as in Kano Tan’yū’s “Small Sketches” (Tan’yū shukuzu). Because these were made only for reference, they were brushed in a relaxed and free-spirited manner, offering a charm distinct from more polished works.
A version of this exhibition opened briefly in February 2020 but ended after only two weeks due to the pandemic.

Important Cultural Property
Sketches of Animals
From the Konishi Family Archives
By Ogata Kōrin
Kyoto National Museum

The works of modern Chinese painting master Qi Baishi (1864–1957) continue to be celebrated today. Baishi’s style, characterized by succinct brushstrokes and vibrant colors, is charming yet deceptively simple—so much so that it may seem easy to replicate at first glance. His distinctive manner of expression, forged throughout a lifetime of constant study, is rooted in powerful, free-flowing brushwork, carefully planned compositions, and a keen sense of color. Together, these elements imbue Baishi’s subjects with lifelike vibrancy, reflecting his deeply individual artistic vision.
This exhibition presents masterpieces from the collection of the diplomat Suma Yakichirō (1892–970), Baishi’s friend and contemporary, which capture the essence of his distinguished artistic legacy.

Three Leisures (Three Fish)
By Qi Baishi
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

What makes these sutra manuscripts special? The most obvious characteristic is the dark blue indigo-dyed paper upon which they are inscribed. But also notice the color of the sacred texts. The Chinese characters (which read top to bottom, right to left) are written in columns of gold and silver paint, made by mixing fine metallic dust with gelatinous animal glue. After brushing the characters onto the paper, scribes used boar tusks to polish them, allowing the text to shine even more. Sutras are Buddhism’s sacred scriptures, believed to record the actual sermons of the Buddha Shakyamuni—often described as the Buddha’s “golden words.” The metallic pigments glimmering on the dark blue backgrounds of these sutras bring this metaphor to life.

Flower Garland Sutra, Fragment of Vol. 33
From the Burned Sutras of Nigatsudō Hall
Kyoto National Museum

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 Bitchū. 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

Japanese illustrated handscrolls are usually composed of sections of text followed by corresponding paintings. Occasionally, however, amidst the images we find scattered words and phrases (gachūshi). Annotations interwoven with the illustrations sometimes serve as labels for people or places. In other cases, such inscriptions capture the dialogue of different characters, heightening the realism of spoken scenes—somewhat like the text bubbles of manga comics. This exhibition presents key examples of handscrolls featuring writing interspersed within their illustrations. Even if you cannot read what is written, we invite you to enjoy contemplating the relationship between images and text.

Important Cultural Property
Legends of the Yata Jizō, Vol. 1
Yata-dera Temple, Kyoto

The historical Buddha Shakyamuni is said to have died and entered parinirvana, his “final nirvana,” on the fifteenth day of the second lunar month (March 15th by the Gregorian calendar). Japanese temples continue to hold the Nirvana Assembly (nehan-e) in the present; a painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized—some are so large that they cannot be fully unrolled, even in grand temple halls. Why use such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became widespread among many different sects, in part because it revolves around the historical Buddha Shakyamuni. The grand scale and realism of Death of the Buddha paintings such as these may have also contributed to the Nirvana Assembly’s prevalence in Japan.

Death of the Buddha
Kyoto National Museum

Farming has been essential to human society since the dawn of civilization. Paintings related to agricultural activities have a long and rich tradition, as a form of prayer for abundant harvests or as a record of farming practices and customs. In Song dynasty (960–1279) China, seasonal activities such as rice cultivation, silkworm farming, and weaving were depicted in artworks, reminding those in power of their duty to nurture their subjects. Such paintings were imported to Japan during its medieval period. Depictions of agriculture grew to become a central theme of Japanese ink painting, resulting in a vast array of farming-related works from the fourteenth century on. Primarily drawing from the works of the illustrious Kano school, this exhibition presents a wide variety of medieval Japanese paintings related to agriculture.

Farming
Seal of Kano Motonobu
Kyoto National Museum

Early modern Japanese painters left behind a considerable number of sketches, primarily dating to the Edo period (1615–1868). Many of these come from the eighteenth century, during which the renowned painter Maruyama Ōkyo popularized the practice of naturalistic sketching from life (shasei). Other examples date back to the preceding Muromachi period (1392–1573). In this long tradition of sketching, Japanese artists not only produced numerous sketches of plants, animals, and landscapes, but also copied the works of ancient and contemporary masters. Some sketches even included commentary by the artists, providing key historical insights, as in Kano Tan’yū’s “Small Sketches” (Tan’yū shukuzu). Because these were made only for reference, they were brushed in a relaxed and free-spirited manner, offering a charm distinct from more polished works.
A version of this exhibition opened briefly in February 2020 but ended after only two weeks due to the pandemic.

Important Cultural Property
Sketches of Animals
From the Konishi Family Archives
By Ogata Kōrin
Kyoto National Museum

The works of modern Chinese painting master Qi Baishi (1864–1957) continue to be celebrated today. Baishi’s style, characterized by succinct brushstrokes and vibrant colors, is charming yet deceptively simple—so much so that it may seem easy to replicate at first glance. His distinctive manner of expression, forged throughout a lifetime of constant study, is rooted in powerful, free-flowing brushwork, carefully planned compositions, and a keen sense of color. Together, these elements imbue Baishi’s subjects with lifelike vibrancy, reflecting his deeply individual artistic vision.
This exhibition presents masterpieces from the collection of the diplomat Suma Yakichirō (1892–970), Baishi’s friend and contemporary, which capture the essence of his distinguished artistic legacy.

Three Leisures (Three Fish)
By Qi Baishi
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

What makes these sutra manuscripts special? The most obvious characteristic is the dark blue indigo-dyed paper upon which they are inscribed. But also notice the color of the sacred texts. The Chinese characters (which read top to bottom, right to left) are written in columns of gold and silver paint, made by mixing fine metallic dust with gelatinous animal glue. After brushing the characters onto the paper, scribes used boar tusks to polish them, allowing the text to shine even more. Sutras are Buddhism’s sacred scriptures, believed to record the actual sermons of the Buddha Shakyamuni—often described as the Buddha’s “golden words.” The metallic pigments glimmering on the dark blue backgrounds of these sutras bring this metaphor to life.

Flower Garland Sutra, Fragment of Vol. 33
From the Burned Sutras of Nigatsudō Hall
Kyoto National Museum

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 Bitchū. 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

Japanese illustrated handscrolls are usually composed of sections of text followed by corresponding paintings. Occasionally, however, amidst the images we find scattered words and phrases (gachūshi). Annotations interwoven with the illustrations sometimes serve as labels for people or places. In other cases, such inscriptions capture the dialogue of different characters, heightening the realism of spoken scenes—somewhat like the text bubbles of manga comics. This exhibition presents key examples of handscrolls featuring writing interspersed within their illustrations. Even if you cannot read what is written, we invite you to enjoy contemplating the relationship between images and text.

Important Cultural Property
Legends of the Yata Jizō, Vol. 1
Yata-dera Temple, Kyoto

The historical Buddha Shakyamuni is said to have died and entered parinirvana, his “final nirvana,” on the fifteenth day of the second lunar month (March 15th by the Gregorian calendar). Japanese temples continue to hold the Nirvana Assembly (nehan-e) in the present; a painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized—some are so large that they cannot be fully unrolled, even in grand temple halls. Why use such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became widespread among many different sects, in part because it revolves around the historical Buddha Shakyamuni. The grand scale and realism of Death of the Buddha paintings such as these may have also contributed to the Nirvana Assembly’s prevalence in Japan.

Death of the Buddha
Kyoto National Museum

Farming has been essential to human society since the dawn of civilization. Paintings related to agricultural activities have a long and rich tradition, as a form of prayer for abundant harvests or as a record of farming practices and customs. In Song dynasty (960–1279) China, seasonal activities such as rice cultivation, silkworm farming, and weaving were depicted in artworks, reminding those in power of their duty to nurture their subjects. Such paintings were imported to Japan during its medieval period. Depictions of agriculture grew to become a central theme of Japanese ink painting, resulting in a vast array of farming-related works from the fourteenth century on. Primarily drawing from the works of the illustrious Kano school, this exhibition presents a wide variety of medieval Japanese paintings related to agriculture.

Farming
Seal of Kano Motonobu
Kyoto National Museum

Early modern Japanese painters left behind a considerable number of sketches, primarily dating to the Edo period (1615–1868). Many of these come from the eighteenth century, during which the renowned painter Maruyama Ōkyo popularized the practice of naturalistic sketching from life (shasei). Other examples date back to the preceding Muromachi period (1392–1573). In this long tradition of sketching, Japanese artists not only produced numerous sketches of plants, animals, and landscapes, but also copied the works of ancient and contemporary masters. Some sketches even included commentary by the artists, providing key historical insights, as in Kano Tan’yū’s “Small Sketches” (Tan’yū shukuzu). Because these were made only for reference, they were brushed in a relaxed and free-spirited manner, offering a charm distinct from more polished works.
A version of this exhibition opened briefly in February 2020 but ended after only two weeks due to the pandemic.

Important Cultural Property
Sketches of Animals
From the Konishi Family Archives
By Ogata Kōrin
Kyoto National Museum

The works of modern Chinese painting master Qi Baishi (1864–1957) continue to be celebrated today. Baishi’s style, characterized by succinct brushstrokes and vibrant colors, is charming yet deceptively simple—so much so that it may seem easy to replicate at first glance. His distinctive manner of expression, forged throughout a lifetime of constant study, is rooted in powerful, free-flowing brushwork, carefully planned compositions, and a keen sense of color. Together, these elements imbue Baishi’s subjects with lifelike vibrancy, reflecting his deeply individual artistic vision.
This exhibition presents masterpieces from the collection of the diplomat Suma Yakichirō (1892–970), Baishi’s friend and contemporary, which capture the essence of his distinguished artistic legacy.

Three Leisures (Three Fish)
By Qi Baishi
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

What makes these sutra manuscripts special? The most obvious characteristic is the dark blue indigo-dyed paper upon which they are inscribed. But also notice the color of the sacred texts. The Chinese characters (which read top to bottom, right to left) are written in columns of gold and silver paint, made by mixing fine metallic dust with gelatinous animal glue. After brushing the characters onto the paper, scribes used boar tusks to polish them, allowing the text to shine even more. Sutras are Buddhism’s sacred scriptures, believed to record the actual sermons of the Buddha Shakyamuni—often described as the Buddha’s “golden words.” The metallic pigments glimmering on the dark blue backgrounds of these sutras bring this metaphor to life.

Flower Garland Sutra, Fragment of Vol. 33
From the Burned Sutras of Nigatsudō Hall
Kyoto National Museum

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 Bitchū. 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

Japanese illustrated handscrolls are usually composed of sections of text followed by corresponding paintings. Occasionally, however, amidst the images we find scattered words and phrases (gachūshi). Annotations interwoven with the illustrations sometimes serve as labels for people or places. In other cases, such inscriptions capture the dialogue of different characters, heightening the realism of spoken scenes—somewhat like the text bubbles of manga comics. This exhibition presents key examples of handscrolls featuring writing interspersed within their illustrations. Even if you cannot read what is written, we invite you to enjoy contemplating the relationship between images and text.

Important Cultural Property
Legends of the Yata Jizō, Vol. 1
Yata-dera Temple, Kyoto

The historical Buddha Shakyamuni is said to have died and entered parinirvana, his “final nirvana,” on the fifteenth day of the second lunar month (March 15th by the Gregorian calendar). Japanese temples continue to hold the Nirvana Assembly (nehan-e) in the present; a painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized—some are so large that they cannot be fully unrolled, even in grand temple halls. Why use such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became widespread among many different sects, in part because it revolves around the historical Buddha Shakyamuni. The grand scale and realism of Death of the Buddha paintings such as these may have also contributed to the Nirvana Assembly’s prevalence in Japan.

Death of the Buddha
Kyoto National Museum

Farming has been essential to human society since the dawn of civilization. Paintings related to agricultural activities have a long and rich tradition, as a form of prayer for abundant harvests or as a record of farming practices and customs. In Song dynasty (960–1279) China, seasonal activities such as rice cultivation, silkworm farming, and weaving were depicted in artworks, reminding those in power of their duty to nurture their subjects. Such paintings were imported to Japan during its medieval period. Depictions of agriculture grew to become a central theme of Japanese ink painting, resulting in a vast array of farming-related works from the fourteenth century on. Primarily drawing from the works of the illustrious Kano school, this exhibition presents a wide variety of medieval Japanese paintings related to agriculture.

Farming
Seal of Kano Motonobu
Kyoto National Museum

Early modern Japanese painters left behind a considerable number of sketches, primarily dating to the Edo period (1615–1868). Many of these come from the eighteenth century, during which the renowned painter Maruyama Ōkyo popularized the practice of naturalistic sketching from life (shasei). Other examples date back to the preceding Muromachi period (1392–1573). In this long tradition of sketching, Japanese artists not only produced numerous sketches of plants, animals, and landscapes, but also copied the works of ancient and contemporary masters. Some sketches even included commentary by the artists, providing key historical insights, as in Kano Tan’yū’s “Small Sketches” (Tan’yū shukuzu). Because these were made only for reference, they were brushed in a relaxed and free-spirited manner, offering a charm distinct from more polished works.
A version of this exhibition opened briefly in February 2020 but ended after only two weeks due to the pandemic.

Important Cultural Property
Sketches of Animals
From the Konishi Family Archives
By Ogata Kōrin
Kyoto National Museum

The works of modern Chinese painting master Qi Baishi (1864–1957) continue to be celebrated today. Baishi’s style, characterized by succinct brushstrokes and vibrant colors, is charming yet deceptively simple—so much so that it may seem easy to replicate at first glance. His distinctive manner of expression, forged throughout a lifetime of constant study, is rooted in powerful, free-flowing brushwork, carefully planned compositions, and a keen sense of color. Together, these elements imbue Baishi’s subjects with lifelike vibrancy, reflecting his deeply individual artistic vision.
This exhibition presents masterpieces from the collection of the diplomat Suma Yakichirō (1892–970), Baishi’s friend and contemporary, which capture the essence of his distinguished artistic legacy.

Three Leisures (Three Fish)
By Qi Baishi
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

What makes these sutra manuscripts special? The most obvious characteristic is the dark blue indigo-dyed paper upon which they are inscribed. But also notice the color of the sacred texts. The Chinese characters (which read top to bottom, right to left) are written in columns of gold and silver paint, made by mixing fine metallic dust with gelatinous animal glue. After brushing the characters onto the paper, scribes used boar tusks to polish them, allowing the text to shine even more. Sutras are Buddhism’s sacred scriptures, believed to record the actual sermons of the Buddha Shakyamuni—often described as the Buddha’s “golden words.” The metallic pigments glimmering on the dark blue backgrounds of these sutras bring this metaphor to life.

Flower Garland Sutra, Fragment of Vol. 33
From the Burned Sutras of Nigatsudō Hall
Kyoto National Museum

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 Bitchū. 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

Japanese illustrated handscrolls are usually composed of sections of text followed by corresponding paintings. Occasionally, however, amidst the images we find scattered words and phrases (gachūshi). Annotations interwoven with the illustrations sometimes serve as labels for people or places. In other cases, such inscriptions capture the dialogue of different characters, heightening the realism of spoken scenes—somewhat like the text bubbles of manga comics. This exhibition presents key examples of handscrolls featuring writing interspersed within their illustrations. Even if you cannot read what is written, we invite you to enjoy contemplating the relationship between images and text.

Important Cultural Property
Legends of the Yata Jizō, Vol. 1
Yata-dera Temple, Kyoto

The historical Buddha Shakyamuni is said to have died and entered parinirvana, his “final nirvana,” on the fifteenth day of the second lunar month (March 15th by the Gregorian calendar). Japanese temples continue to hold the Nirvana Assembly (nehan-e) in the present; a painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized—some are so large that they cannot be fully unrolled, even in grand temple halls. Why use such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became widespread among many different sects, in part because it revolves around the historical Buddha Shakyamuni. The grand scale and realism of Death of the Buddha paintings such as these may have also contributed to the Nirvana Assembly’s prevalence in Japan.

Death of the Buddha
Kyoto National Museum

Farming has been essential to human society since the dawn of civilization. Paintings related to agricultural activities have a long and rich tradition, as a form of prayer for abundant harvests or as a record of farming practices and customs. In Song dynasty (960–1279) China, seasonal activities such as rice cultivation, silkworm farming, and weaving were depicted in artworks, reminding those in power of their duty to nurture their subjects. Such paintings were imported to Japan during its medieval period. Depictions of agriculture grew to become a central theme of Japanese ink painting, resulting in a vast array of farming-related works from the fourteenth century on. Primarily drawing from the works of the illustrious Kano school, this exhibition presents a wide variety of medieval Japanese paintings related to agriculture.

Farming
Seal of Kano Motonobu
Kyoto National Museum

Early modern Japanese painters left behind a considerable number of sketches, primarily dating to the Edo period (1615–1868). Many of these come from the eighteenth century, during which the renowned painter Maruyama Ōkyo popularized the practice of naturalistic sketching from life (shasei). Other examples date back to the preceding Muromachi period (1392–1573). In this long tradition of sketching, Japanese artists not only produced numerous sketches of plants, animals, and landscapes, but also copied the works of ancient and contemporary masters. Some sketches even included commentary by the artists, providing key historical insights, as in Kano Tan’yū’s “Small Sketches” (Tan’yū shukuzu). Because these were made only for reference, they were brushed in a relaxed and free-spirited manner, offering a charm distinct from more polished works.
A version of this exhibition opened briefly in February 2020 but ended after only two weeks due to the pandemic.

Important Cultural Property
Sketches of Animals
From the Konishi Family Archives
By Ogata Kōrin
Kyoto National Museum

The works of modern Chinese painting master Qi Baishi (1864–1957) continue to be celebrated today. Baishi’s style, characterized by succinct brushstrokes and vibrant colors, is charming yet deceptively simple—so much so that it may seem easy to replicate at first glance. His distinctive manner of expression, forged throughout a lifetime of constant study, is rooted in powerful, free-flowing brushwork, carefully planned compositions, and a keen sense of color. Together, these elements imbue Baishi’s subjects with lifelike vibrancy, reflecting his deeply individual artistic vision.
This exhibition presents masterpieces from the collection of the diplomat Suma Yakichirō (1892–970), Baishi’s friend and contemporary, which capture the essence of his distinguished artistic legacy.

Three Leisures (Three Fish)
By Qi Baishi
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

What makes these sutra manuscripts special? The most obvious characteristic is the dark blue indigo-dyed paper upon which they are inscribed. But also notice the color of the sacred texts. The Chinese characters (which read top to bottom, right to left) are written in columns of gold and silver paint, made by mixing fine metallic dust with gelatinous animal glue. After brushing the characters onto the paper, scribes used boar tusks to polish them, allowing the text to shine even more. Sutras are Buddhism’s sacred scriptures, believed to record the actual sermons of the Buddha Shakyamuni—often described as the Buddha’s “golden words.” The metallic pigments glimmering on the dark blue backgrounds of these sutras bring this metaphor to life.

Flower Garland Sutra, Fragment of Vol. 33
From the Burned Sutras of Nigatsudō Hall
Kyoto National Museum

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 Bitchū. 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

Japanese illustrated handscrolls are usually composed of sections of text followed by corresponding paintings. Occasionally, however, amidst the images we find scattered words and phrases (gachūshi). Annotations interwoven with the illustrations sometimes serve as labels for people or places. In other cases, such inscriptions capture the dialogue of different characters, heightening the realism of spoken scenes—somewhat like the text bubbles of manga comics. This exhibition presents key examples of handscrolls featuring writing interspersed within their illustrations. Even if you cannot read what is written, we invite you to enjoy contemplating the relationship between images and text.

Important Cultural Property
Legends of the Yata Jizō, Vol. 1
Yata-dera Temple, Kyoto

The historical Buddha Shakyamuni is said to have died and entered parinirvana, his “final nirvana,” on the fifteenth day of the second lunar month (March 15th by the Gregorian calendar). Japanese temples continue to hold the Nirvana Assembly (nehan-e) in the present; a painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized—some are so large that they cannot be fully unrolled, even in grand temple halls. Why use such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became widespread among many different sects, in part because it revolves around the historical Buddha Shakyamuni. The grand scale and realism of Death of the Buddha paintings such as these may have also contributed to the Nirvana Assembly’s prevalence in Japan.

Death of the Buddha
Kyoto National Museum

Farming has been essential to human society since the dawn of civilization. Paintings related to agricultural activities have a long and rich tradition, as a form of prayer for abundant harvests or as a record of farming practices and customs. In Song dynasty (960–1279) China, seasonal activities such as rice cultivation, silkworm farming, and weaving were depicted in artworks, reminding those in power of their duty to nurture their subjects. Such paintings were imported to Japan during its medieval period. Depictions of agriculture grew to become a central theme of Japanese ink painting, resulting in a vast array of farming-related works from the fourteenth century on. Primarily drawing from the works of the illustrious Kano school, this exhibition presents a wide variety of medieval Japanese paintings related to agriculture.

Farming
Seal of Kano Motonobu
Kyoto National Museum

Early modern Japanese painters left behind a considerable number of sketches, primarily dating to the Edo period (1615–1868). Many of these come from the eighteenth century, during which the renowned painter Maruyama Ōkyo popularized the practice of naturalistic sketching from life (shasei). Other examples date back to the preceding Muromachi period (1392–1573). In this long tradition of sketching, Japanese artists not only produced numerous sketches of plants, animals, and landscapes, but also copied the works of ancient and contemporary masters. Some sketches even included commentary by the artists, providing key historical insights, as in Kano Tan’yū’s “Small Sketches” (Tan’yū shukuzu). Because these were made only for reference, they were brushed in a relaxed and free-spirited manner, offering a charm distinct from more polished works.
A version of this exhibition opened briefly in February 2020 but ended after only two weeks due to the pandemic.

Important Cultural Property
Sketches of Animals
From the Konishi Family Archives
By Ogata Kōrin
Kyoto National Museum

The works of modern Chinese painting master Qi Baishi (1864–1957) continue to be celebrated today. Baishi’s style, characterized by succinct brushstrokes and vibrant colors, is charming yet deceptively simple—so much so that it may seem easy to replicate at first glance. His distinctive manner of expression, forged throughout a lifetime of constant study, is rooted in powerful, free-flowing brushwork, carefully planned compositions, and a keen sense of color. Together, these elements imbue Baishi’s subjects with lifelike vibrancy, reflecting his deeply individual artistic vision.
This exhibition presents masterpieces from the collection of the diplomat Suma Yakichirō (1892–970), Baishi’s friend and contemporary, which capture the essence of his distinguished artistic legacy.

Three Leisures (Three Fish)
By Qi Baishi
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

What makes these sutra manuscripts special? The most obvious characteristic is the dark blue indigo-dyed paper upon which they are inscribed. But also notice the color of the sacred texts. The Chinese characters (which read top to bottom, right to left) are written in columns of gold and silver paint, made by mixing fine metallic dust with gelatinous animal glue. After brushing the characters onto the paper, scribes used boar tusks to polish them, allowing the text to shine even more. Sutras are Buddhism’s sacred scriptures, believed to record the actual sermons of the Buddha Shakyamuni—often described as the Buddha’s “golden words.” The metallic pigments glimmering on the dark blue backgrounds of these sutras bring this metaphor to life.

Flower Garland Sutra, Fragment of Vol. 33
From the Burned Sutras of Nigatsudō Hall
Kyoto National Museum

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 Bitchū. 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

Japanese illustrated handscrolls are usually composed of sections of text followed by corresponding paintings. Occasionally, however, amidst the images we find scattered words and phrases (gachūshi). Annotations interwoven with the illustrations sometimes serve as labels for people or places. In other cases, such inscriptions capture the dialogue of different characters, heightening the realism of spoken scenes—somewhat like the text bubbles of manga comics. This exhibition presents key examples of handscrolls featuring writing interspersed within their illustrations. Even if you cannot read what is written, we invite you to enjoy contemplating the relationship between images and text.

Important Cultural Property
Legends of the Yata Jizō, Vol. 1
Yata-dera Temple, Kyoto

The historical Buddha Shakyamuni is said to have died and entered parinirvana, his “final nirvana,” on the fifteenth day of the second lunar month (March 15th by the Gregorian calendar). Japanese temples continue to hold the Nirvana Assembly (nehan-e) in the present; a painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized—some are so large that they cannot be fully unrolled, even in grand temple halls. Why use such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became widespread among many different sects, in part because it revolves around the historical Buddha Shakyamuni. The grand scale and realism of Death of the Buddha paintings such as these may have also contributed to the Nirvana Assembly’s prevalence in Japan.

Death of the Buddha
Kyoto National Museum

Farming has been essential to human society since the dawn of civilization. Paintings related to agricultural activities have a long and rich tradition, as a form of prayer for abundant harvests or as a record of farming practices and customs. In Song dynasty (960–1279) China, seasonal activities such as rice cultivation, silkworm farming, and weaving were depicted in artworks, reminding those in power of their duty to nurture their subjects. Such paintings were imported to Japan during its medieval period. Depictions of agriculture grew to become a central theme of Japanese ink painting, resulting in a vast array of farming-related works from the fourteenth century on. Primarily drawing from the works of the illustrious Kano school, this exhibition presents a wide variety of medieval Japanese paintings related to agriculture.

Farming
Seal of Kano Motonobu
Kyoto National Museum

Early modern Japanese painters left behind a considerable number of sketches, primarily dating to the Edo period (1615–1868). Many of these come from the eighteenth century, during which the renowned painter Maruyama Ōkyo popularized the practice of naturalistic sketching from life (shasei). Other examples date back to the preceding Muromachi period (1392–1573). In this long tradition of sketching, Japanese artists not only produced numerous sketches of plants, animals, and landscapes, but also copied the works of ancient and contemporary masters. Some sketches even included commentary by the artists, providing key historical insights, as in Kano Tan’yū’s “Small Sketches” (Tan’yū shukuzu). Because these were made only for reference, they were brushed in a relaxed and free-spirited manner, offering a charm distinct from more polished works.
A version of this exhibition opened briefly in February 2020 but ended after only two weeks due to the pandemic.

Important Cultural Property
Sketches of Animals
From the Konishi Family Archives
By Ogata Kōrin
Kyoto National Museum

The works of modern Chinese painting master Qi Baishi (1864–1957) continue to be celebrated today. Baishi’s style, characterized by succinct brushstrokes and vibrant colors, is charming yet deceptively simple—so much so that it may seem easy to replicate at first glance. His distinctive manner of expression, forged throughout a lifetime of constant study, is rooted in powerful, free-flowing brushwork, carefully planned compositions, and a keen sense of color. Together, these elements imbue Baishi’s subjects with lifelike vibrancy, reflecting his deeply individual artistic vision.
This exhibition presents masterpieces from the collection of the diplomat Suma Yakichirō (1892–970), Baishi’s friend and contemporary, which capture the essence of his distinguished artistic legacy.

Three Leisures (Three Fish)
By Qi Baishi
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

What makes these sutra manuscripts special? The most obvious characteristic is the dark blue indigo-dyed paper upon which they are inscribed. But also notice the color of the sacred texts. The Chinese characters (which read top to bottom, right to left) are written in columns of gold and silver paint, made by mixing fine metallic dust with gelatinous animal glue. After brushing the characters onto the paper, scribes used boar tusks to polish them, allowing the text to shine even more. Sutras are Buddhism’s sacred scriptures, believed to record the actual sermons of the Buddha Shakyamuni—often described as the Buddha’s “golden words.” The metallic pigments glimmering on the dark blue backgrounds of these sutras bring this metaphor to life.

Flower Garland Sutra, Fragment of Vol. 33
From the Burned Sutras of Nigatsudō Hall
Kyoto National Museum

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 Bitchū. 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

Japanese illustrated handscrolls are usually composed of sections of text followed by corresponding paintings. Occasionally, however, amidst the images we find scattered words and phrases (gachūshi). Annotations interwoven with the illustrations sometimes serve as labels for people or places. In other cases, such inscriptions capture the dialogue of different characters, heightening the realism of spoken scenes—somewhat like the text bubbles of manga comics. This exhibition presents key examples of handscrolls featuring writing interspersed within their illustrations. Even if you cannot read what is written, we invite you to enjoy contemplating the relationship between images and text.

Important Cultural Property
Legends of the Yata Jizō, Vol. 1
Yata-dera Temple, Kyoto

The historical Buddha Shakyamuni is said to have died and entered parinirvana, his “final nirvana,” on the fifteenth day of the second lunar month (March 15th by the Gregorian calendar). Japanese temples continue to hold the Nirvana Assembly (nehan-e) in the present; a painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized—some are so large that they cannot be fully unrolled, even in grand temple halls. Why use such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became widespread among many different sects, in part because it revolves around the historical Buddha Shakyamuni. The grand scale and realism of Death of the Buddha paintings such as these may have also contributed to the Nirvana Assembly’s prevalence in Japan.

Death of the Buddha
Kyoto National Museum

Farming has been essential to human society since the dawn of civilization. Paintings related to agricultural activities have a long and rich tradition, as a form of prayer for abundant harvests or as a record of farming practices and customs. In Song dynasty (960–1279) China, seasonal activities such as rice cultivation, silkworm farming, and weaving were depicted in artworks, reminding those in power of their duty to nurture their subjects. Such paintings were imported to Japan during its medieval period. Depictions of agriculture grew to become a central theme of Japanese ink painting, resulting in a vast array of farming-related works from the fourteenth century on. Primarily drawing from the works of the illustrious Kano school, this exhibition presents a wide variety of medieval Japanese paintings related to agriculture.

Farming
Seal of Kano Motonobu
Kyoto National Museum

Early modern Japanese painters left behind a considerable number of sketches, primarily dating to the Edo period (1615–1868). Many of these come from the eighteenth century, during which the renowned painter Maruyama Ōkyo popularized the practice of naturalistic sketching from life (shasei). Other examples date back to the preceding Muromachi period (1392–1573). In this long tradition of sketching, Japanese artists not only produced numerous sketches of plants, animals, and landscapes, but also copied the works of ancient and contemporary masters. Some sketches even included commentary by the artists, providing key historical insights, as in Kano Tan’yū’s “Small Sketches” (Tan’yū shukuzu). Because these were made only for reference, they were brushed in a relaxed and free-spirited manner, offering a charm distinct from more polished works.
A version of this exhibition opened briefly in February 2020 but ended after only two weeks due to the pandemic.

Important Cultural Property
Sketches of Animals
From the Konishi Family Archives
By Ogata Kōrin
Kyoto National Museum

The works of modern Chinese painting master Qi Baishi (1864–1957) continue to be celebrated today. Baishi’s style, characterized by succinct brushstrokes and vibrant colors, is charming yet deceptively simple—so much so that it may seem easy to replicate at first glance. His distinctive manner of expression, forged throughout a lifetime of constant study, is rooted in powerful, free-flowing brushwork, carefully planned compositions, and a keen sense of color. Together, these elements imbue Baishi’s subjects with lifelike vibrancy, reflecting his deeply individual artistic vision.
This exhibition presents masterpieces from the collection of the diplomat Suma Yakichirō (1892–970), Baishi’s friend and contemporary, which capture the essence of his distinguished artistic legacy.

Three Leisures (Three Fish)
By Qi Baishi
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

What makes these sutra manuscripts special? The most obvious characteristic is the dark blue indigo-dyed paper upon which they are inscribed. But also notice the color of the sacred texts. The Chinese characters (which read top to bottom, right to left) are written in columns of gold and silver paint, made by mixing fine metallic dust with gelatinous animal glue. After brushing the characters onto the paper, scribes used boar tusks to polish them, allowing the text to shine even more. Sutras are Buddhism’s sacred scriptures, believed to record the actual sermons of the Buddha Shakyamuni—often described as the Buddha’s “golden words.” The metallic pigments glimmering on the dark blue backgrounds of these sutras bring this metaphor to life.

Flower Garland Sutra, Fragment of Vol. 33
From the Burned Sutras of Nigatsudō Hall
Kyoto National Museum

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 Bitchū. 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]

Japanese illustrated handscrolls are usually composed of sections of text followed by corresponding paintings. Occasionally, however, amidst the images we find scattered words and phrases (gachūshi). Annotations interwoven with the illustrations sometimes serve as labels for people or places. In other cases, such inscriptions capture the dialogue of different characters, heightening the realism of spoken scenes—somewhat like the text bubbles of manga comics. This exhibition presents key examples of handscrolls featuring writing interspersed within their illustrations. Even if you cannot read what is written, we invite you to enjoy contemplating the relationship between images and text.

Important Cultural Property
Legends of the Yata Jizō, Vol. 1
Yata-dera Temple, Kyoto

The historical Buddha Shakyamuni is said to have died and entered parinirvana, his “final nirvana,” on the fifteenth day of the second lunar month (March 15th by the Gregorian calendar). Japanese temples continue to hold the Nirvana Assembly (nehan-e) in the present; a painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized—some are so large that they cannot be fully unrolled, even in grand temple halls. Why use such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became widespread among many different sects, in part because it revolves around the historical Buddha Shakyamuni. The grand scale and realism of Death of the Buddha paintings such as these may have also contributed to the Nirvana Assembly’s prevalence in Japan.

Death of the Buddha
Kyoto National Museum

Farming has been essential to human society since the dawn of civilization. Paintings related to agricultural activities have a long and rich tradition, as a form of prayer for abundant harvests or as a record of farming practices and customs. In Song dynasty (960–1279) China, seasonal activities such as rice cultivation, silkworm farming, and weaving were depicted in artworks, reminding those in power of their duty to nurture their subjects. Such paintings were imported to Japan during its medieval period. Depictions of agriculture grew to become a central theme of Japanese ink painting, resulting in a vast array of farming-related works from the fourteenth century on. Primarily drawing from the works of the illustrious Kano school, this exhibition presents a wide variety of medieval Japanese paintings related to agriculture.

Farming
Seal of Kano Motonobu
Kyoto National Museum

Early modern Japanese painters left behind a considerable number of sketches, primarily dating to the Edo period (1615–1868). Many of these come from the eighteenth century, during which the renowned painter Maruyama Ōkyo popularized the practice of naturalistic sketching from life (shasei). Other examples date back to the preceding Muromachi period (1392–1573). In this long tradition of sketching, Japanese artists not only produced numerous sketches of plants, animals, and landscapes, but also copied the works of ancient and contemporary masters. Some sketches even included commentary by the artists, providing key historical insights, as in Kano Tan’yū’s “Small Sketches” (Tan’yū shukuzu). Because these were made only for reference, they were brushed in a relaxed and free-spirited manner, offering a charm distinct from more polished works.
A version of this exhibition opened briefly in February 2020 but ended after only two weeks due to the pandemic.

Important Cultural Property
Sketches of Animals
From the Konishi Family Archives
By Ogata Kōrin
Kyoto National Museum

The works of modern Chinese painting master Qi Baishi (1864–1957) continue to be celebrated today. Baishi’s style, characterized by succinct brushstrokes and vibrant colors, is charming yet deceptively simple—so much so that it may seem easy to replicate at first glance. His distinctive manner of expression, forged throughout a lifetime of constant study, is rooted in powerful, free-flowing brushwork, carefully planned compositions, and a keen sense of color. Together, these elements imbue Baishi’s subjects with lifelike vibrancy, reflecting his deeply individual artistic vision.
This exhibition presents masterpieces from the collection of the diplomat Suma Yakichirō (1892–970), Baishi’s friend and contemporary, which capture the essence of his distinguished artistic legacy.

Three Leisures (Three Fish)
By Qi Baishi
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

What makes these sutra manuscripts special? The most obvious characteristic is the dark blue indigo-dyed paper upon which they are inscribed. But also notice the color of the sacred texts. The Chinese characters (which read top to bottom, right to left) are written in columns of gold and silver paint, made by mixing fine metallic dust with gelatinous animal glue. After brushing the characters onto the paper, scribes used boar tusks to polish them, allowing the text to shine even more. Sutras are Buddhism’s sacred scriptures, believed to record the actual sermons of the Buddha Shakyamuni—often described as the Buddha’s “golden words.” The metallic pigments glimmering on the dark blue backgrounds of these sutras bring this metaphor to life.

Flower Garland Sutra, Fragment of Vol. 33
From the Burned Sutras of Nigatsudō Hall
Kyoto National Museum

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 Bitchū. 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]

Japanese illustrated handscrolls are usually composed of sections of text followed by corresponding paintings. Occasionally, however, amidst the images we find scattered words and phrases (gachūshi). Annotations interwoven with the illustrations sometimes serve as labels for people or places. In other cases, such inscriptions capture the dialogue of different characters, heightening the realism of spoken scenes—somewhat like the text bubbles of manga comics. This exhibition presents key examples of handscrolls featuring writing interspersed within their illustrations. Even if you cannot read what is written, we invite you to enjoy contemplating the relationship between images and text.

Important Cultural Property
Legends of the Yata Jizō, Vol. 1
Yata-dera Temple, Kyoto

The historical Buddha Shakyamuni is said to have died and entered parinirvana, his “final nirvana,” on the fifteenth day of the second lunar month (March 15th by the Gregorian calendar). Japanese temples continue to hold the Nirvana Assembly (nehan-e) in the present; a painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized—some are so large that they cannot be fully unrolled, even in grand temple halls. Why use such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became widespread among many different sects, in part because it revolves around the historical Buddha Shakyamuni. The grand scale and realism of Death of the Buddha paintings such as these may have also contributed to the Nirvana Assembly’s prevalence in Japan.

Death of the Buddha
Kyoto National Museum

Farming has been essential to human society since the dawn of civilization. Paintings related to agricultural activities have a long and rich tradition, as a form of prayer for abundant harvests or as a record of farming practices and customs. In Song dynasty (960–1279) China, seasonal activities such as rice cultivation, silkworm farming, and weaving were depicted in artworks, reminding those in power of their duty to nurture their subjects. Such paintings were imported to Japan during its medieval period. Depictions of agriculture grew to become a central theme of Japanese ink painting, resulting in a vast array of farming-related works from the fourteenth century on. Primarily drawing from the works of the illustrious Kano school, this exhibition presents a wide variety of medieval Japanese paintings related to agriculture.

Farming
Seal of Kano Motonobu
Kyoto National Museum

Early modern Japanese painters left behind a considerable number of sketches, primarily dating to the Edo period (1615–1868). Many of these come from the eighteenth century, during which the renowned painter Maruyama Ōkyo popularized the practice of naturalistic sketching from life (shasei). Other examples date back to the preceding Muromachi period (1392–1573). In this long tradition of sketching, Japanese artists not only produced numerous sketches of plants, animals, and landscapes, but also copied the works of ancient and contemporary masters. Some sketches even included commentary by the artists, providing key historical insights, as in Kano Tan’yū’s “Small Sketches” (Tan’yū shukuzu). Because these were made only for reference, they were brushed in a relaxed and free-spirited manner, offering a charm distinct from more polished works.
A version of this exhibition opened briefly in February 2020 but ended after only two weeks due to the pandemic.

Important Cultural Property
Sketches of Animals
From the Konishi Family Archives
By Ogata Kōrin
Kyoto National Museum

The works of modern Chinese painting master Qi Baishi (1864–1957) continue to be celebrated today. Baishi’s style, characterized by succinct brushstrokes and vibrant colors, is charming yet deceptively simple—so much so that it may seem easy to replicate at first glance. His distinctive manner of expression, forged throughout a lifetime of constant study, is rooted in powerful, free-flowing brushwork, carefully planned compositions, and a keen sense of color. Together, these elements imbue Baishi’s subjects with lifelike vibrancy, reflecting his deeply individual artistic vision.
This exhibition presents masterpieces from the collection of the diplomat Suma Yakichirō (1892–970), Baishi’s friend and contemporary, which capture the essence of his distinguished artistic legacy.

Three Leisures (Three Fish)
By Qi Baishi
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

What makes these sutra manuscripts special? The most obvious characteristic is the dark blue indigo-dyed paper upon which they are inscribed. But also notice the color of the sacred texts. The Chinese characters (which read top to bottom, right to left) are written in columns of gold and silver paint, made by mixing fine metallic dust with gelatinous animal glue. After brushing the characters onto the paper, scribes used boar tusks to polish them, allowing the text to shine even more. Sutras are Buddhism’s sacred scriptures, believed to record the actual sermons of the Buddha Shakyamuni—often described as the Buddha’s “golden words.” The metallic pigments glimmering on the dark blue backgrounds of these sutras bring this metaphor to life.

Flower Garland Sutra, Fragment of Vol. 33
From the Burned Sutras of Nigatsudō Hall
Kyoto National Museum

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 Bitchū. 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]

Japanese illustrated handscrolls are usually composed of sections of text followed by corresponding paintings. Occasionally, however, amidst the images we find scattered words and phrases (gachūshi). Annotations interwoven with the illustrations sometimes serve as labels for people or places. In other cases, such inscriptions capture the dialogue of different characters, heightening the realism of spoken scenes—somewhat like the text bubbles of manga comics. This exhibition presents key examples of handscrolls featuring writing interspersed within their illustrations. Even if you cannot read what is written, we invite you to enjoy contemplating the relationship between images and text.

Important Cultural Property
Legends of the Yata Jizō, Vol. 1
Yata-dera Temple, Kyoto

The historical Buddha Shakyamuni is said to have died and entered parinirvana, his “final nirvana,” on the fifteenth day of the second lunar month (March 15th by the Gregorian calendar). Japanese temples continue to hold the Nirvana Assembly (nehan-e) in the present; a painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized—some are so large that they cannot be fully unrolled, even in grand temple halls. Why use such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became widespread among many different sects, in part because it revolves around the historical Buddha Shakyamuni. The grand scale and realism of Death of the Buddha paintings such as these may have also contributed to the Nirvana Assembly’s prevalence in Japan.

Death of the Buddha
Kyoto National Museum

Farming has been essential to human society since the dawn of civilization. Paintings related to agricultural activities have a long and rich tradition, as a form of prayer for abundant harvests or as a record of farming practices and customs. In Song dynasty (960–1279) China, seasonal activities such as rice cultivation, silkworm farming, and weaving were depicted in artworks, reminding those in power of their duty to nurture their subjects. Such paintings were imported to Japan during its medieval period. Depictions of agriculture grew to become a central theme of Japanese ink painting, resulting in a vast array of farming-related works from the fourteenth century on. Primarily drawing from the works of the illustrious Kano school, this exhibition presents a wide variety of medieval Japanese paintings related to agriculture.

Farming
Seal of Kano Motonobu
Kyoto National Museum