This gallery introduces illustrated handscrolls from the Muromachi period (1392–1573) which are related to the feature exhibition Commemorating the Completion of Conservation: Legends of the Shakyamuni Hall (Shakadō Engi). They include illustrated origin stories (engi-e) dating to the same era, as well as works influenced by Kano school handscrolls. Together, the scrolls displayed here provide fresh insight into the masterpiece Legends of the Shakyamuni Hall.

Kyoto’s Myōshin-ji, the head temple of the Myōshin-ji sect of Rinzai Zen Buddhism, possesses a remarkable set of six pairs of folding screens. Commonly known as the “Myōshin-ji Temple Folding Screens,” the paintings each tower nearly two meters tall, far exceeding the typical height of around 175 centimeters. The master painters Kaiho Yūshō (1533–1615) and Kano Sanraku (1559–1635) each brushed three pairs of the screens. They were originally used to decorate the Ōhōjō (Abbot’s Quarters) during the annual memorial service for the temple’s founder, enhancing the splendor and solemnity of the ritual space. Their impressive scale and lavish gold-leaf backgrounds embody the opulent tastes of the Momoyama period (1573–1615).

Painting and sculpture have a long and rich tradition in Daoism and Buddhism, the two major religions practiced in China since antiquity. Depictions of Daoist and Buddhist figures form one of the key genres of Chinese painting, alongside landscapes and bird-and-flower painting. Such works include not only images of Buddhist and Daoist divinities, which were used for worship, but also portraits of patriarchs, scenes of immortals, and illustrated narratives. Artists of the Ming (1368–1644) and Qing (1644–1912) dynasties, while drawing on Song (960–1279) and Yuan (1271–1368) iconographic traditions, developed increasingly vibrant and dynamic approaches to portraying these sacred figures.

The history of Japanese Buddhist sculpture originates in the mid-sixth century, when Buddhism was introduced from the Korean kingdom of Baekje. The introduction of cast and gilded bronze statues at that time marked the beginning of a tradition of Buddhist sculpture in Japan that continues to this day.
This exhibition features sculpture from the Asuka (592–710), Nara (710–794), and Heian (794–1185) periods. During this time, official envoys to Sui and Tang China as well as visits from foreign monks brought new knowledge and objects to the Japanese archipelago. In the realm of Buddhist sculpture, the main techniques and materials—bronze, clay, dry lacquer, and wood——changed with each era and influenced stylistic trends. This gallery introduces a variety of sculptures from ancient Japan, tracing the dawn of Japanese Buddhist art.

Wisdom Kings (Myōō) are wrathful deities of Esoteric Buddhism tasked with protecting the Buddhist law. Esoteric Buddhist imagery often portrays these figures with fierce expressions and multiple arms, drawing on elements of ancient Indian Hinduism. Among the Wisdom Kings, Fudō Myōō (Acala, literally “The Immovable Wisdom King”) is the most prominent. He is revered as an incarnation of the Cosmic Buddha Dainichi (Mahāvairocana), the central deity of Esoteric Buddhism. Sculptures of Fudō Myōō often depict him wielding weapons with a ferocious glare and bared fangs. This intimidating appearance is intended to overpower those consumed by worldly desires and guide them to the path of enlightenment, although some representations of Fudō Myōō also exhibit a certain gentleness. This exhibition presents an array of sculptures of this fearsome deity dating from the Heian (794–1185) and Kamakura (1185–1333) periods.

This gallery introduces illustrated handscrolls from the Muromachi period (1392–1573) which are related to the feature exhibition Commemorating the Completion of Conservation: Legends of the Shakyamuni Hall (Shakadō Engi). They include illustrated origin stories (engi-e) dating to the same era, as well as works influenced by Kano school handscrolls. Together, the scrolls displayed here provide fresh insight into the masterpiece Legends of the Shakyamuni Hall.

Kyoto’s Myōshin-ji, the head temple of the Myōshin-ji sect of Rinzai Zen Buddhism, possesses a remarkable set of six pairs of folding screens. Commonly known as the “Myōshin-ji Temple Folding Screens,” the paintings each tower nearly two meters tall, far exceeding the typical height of around 175 centimeters. The master painters Kaiho Yūshō (1533–1615) and Kano Sanraku (1559–1635) each brushed three pairs of the screens. They were originally used to decorate the Ōhōjō (Abbot’s Quarters) during the annual memorial service for the temple’s founder, enhancing the splendor and solemnity of the ritual space. Their impressive scale and lavish gold-leaf backgrounds embody the opulent tastes of the Momoyama period (1573–1615).

Painting and sculpture have a long and rich tradition in Daoism and Buddhism, the two major religions practiced in China since antiquity. Depictions of Daoist and Buddhist figures form one of the key genres of Chinese painting, alongside landscapes and bird-and-flower painting. Such works include not only images of Buddhist and Daoist divinities, which were used for worship, but also portraits of patriarchs, scenes of immortals, and illustrated narratives. Artists of the Ming (1368–1644) and Qing (1644–1912) dynasties, while drawing on Song (960–1279) and Yuan (1271–1368) iconographic traditions, developed increasingly vibrant and dynamic approaches to portraying these sacred figures.

The history of Japanese Buddhist sculpture originates in the mid-sixth century, when Buddhism was introduced from the Korean kingdom of Baekje. The introduction of cast and gilded bronze statues at that time marked the beginning of a tradition of Buddhist sculpture in Japan that continues to this day.
This exhibition features sculpture from the Asuka (592–710), Nara (710–794), and Heian (794–1185) periods. During this time, official envoys to Sui and Tang China as well as visits from foreign monks brought new knowledge and objects to the Japanese archipelago. In the realm of Buddhist sculpture, the main techniques and materials—bronze, clay, dry lacquer, and wood——changed with each era and influenced stylistic trends. This gallery introduces a variety of sculptures from ancient Japan, tracing the dawn of Japanese Buddhist art.

Wisdom Kings (Myōō) are wrathful deities of Esoteric Buddhism tasked with protecting the Buddhist law. Esoteric Buddhist imagery often portrays these figures with fierce expressions and multiple arms, drawing on elements of ancient Indian Hinduism. Among the Wisdom Kings, Fudō Myōō (Acala, literally “The Immovable Wisdom King”) is the most prominent. He is revered as an incarnation of the Cosmic Buddha Dainichi (Mahāvairocana), the central deity of Esoteric Buddhism. Sculptures of Fudō Myōō often depict him wielding weapons with a ferocious glare and bared fangs. This intimidating appearance is intended to overpower those consumed by worldly desires and guide them to the path of enlightenment, although some representations of Fudō Myōō also exhibit a certain gentleness. This exhibition presents an array of sculptures of this fearsome deity dating from the Heian (794–1185) and Kamakura (1185–1333) periods.

This gallery introduces illustrated handscrolls from the Muromachi period (1392–1573) which are related to the feature exhibition Commemorating the Completion of Conservation: Legends of the Shakyamuni Hall (Shakadō Engi). They include illustrated origin stories (engi-e) dating to the same era, as well as works influenced by Kano school handscrolls. Together, the scrolls displayed here provide fresh insight into the masterpiece Legends of the Shakyamuni Hall.

Kyoto’s Myōshin-ji, the head temple of the Myōshin-ji sect of Rinzai Zen Buddhism, possesses a remarkable set of six pairs of folding screens. Commonly known as the “Myōshin-ji Temple Folding Screens,” the paintings each tower nearly two meters tall, far exceeding the typical height of around 175 centimeters. The master painters Kaiho Yūshō (1533–1615) and Kano Sanraku (1559–1635) each brushed three pairs of the screens. They were originally used to decorate the Ōhōjō (Abbot’s Quarters) during the annual memorial service for the temple’s founder, enhancing the splendor and solemnity of the ritual space. Their impressive scale and lavish gold-leaf backgrounds embody the opulent tastes of the Momoyama period (1573–1615).

Painting and sculpture have a long and rich tradition in Daoism and Buddhism, the two major religions practiced in China since antiquity. Depictions of Daoist and Buddhist figures form one of the key genres of Chinese painting, alongside landscapes and bird-and-flower painting. Such works include not only images of Buddhist and Daoist divinities, which were used for worship, but also portraits of patriarchs, scenes of immortals, and illustrated narratives. Artists of the Ming (1368–1644) and Qing (1644–1912) dynasties, while drawing on Song (960–1279) and Yuan (1271–1368) iconographic traditions, developed increasingly vibrant and dynamic approaches to portraying these sacred figures.

The history of Japanese Buddhist sculpture originates in the mid-sixth century, when Buddhism was introduced from the Korean kingdom of Baekje. The introduction of cast and gilded bronze statues at that time marked the beginning of a tradition of Buddhist sculpture in Japan that continues to this day.
This exhibition features sculpture from the Asuka (592–710), Nara (710–794), and Heian (794–1185) periods. During this time, official envoys to Sui and Tang China as well as visits from foreign monks brought new knowledge and objects to the Japanese archipelago. In the realm of Buddhist sculpture, the main techniques and materials—bronze, clay, dry lacquer, and wood——changed with each era and influenced stylistic trends. This gallery introduces a variety of sculptures from ancient Japan, tracing the dawn of Japanese Buddhist art.

Wisdom Kings (Myōō) are wrathful deities of Esoteric Buddhism tasked with protecting the Buddhist law. Esoteric Buddhist imagery often portrays these figures with fierce expressions and multiple arms, drawing on elements of ancient Indian Hinduism. Among the Wisdom Kings, Fudō Myōō (Acala, literally “The Immovable Wisdom King”) is the most prominent. He is revered as an incarnation of the Cosmic Buddha Dainichi (Mahāvairocana), the central deity of Esoteric Buddhism. Sculptures of Fudō Myōō often depict him wielding weapons with a ferocious glare and bared fangs. This intimidating appearance is intended to overpower those consumed by worldly desires and guide them to the path of enlightenment, although some representations of Fudō Myōō also exhibit a certain gentleness. This exhibition presents an array of sculptures of this fearsome deity dating from the Heian (794–1185) and Kamakura (1185–1333) periods.

This gallery introduces illustrated handscrolls from the Muromachi period (1392–1573) which are related to the feature exhibition Commemorating the Completion of Conservation: Legends of the Shakyamuni Hall (Shakadō Engi). They include illustrated origin stories (engi-e) dating to the same era, as well as works influenced by Kano school handscrolls. Together, the scrolls displayed here provide fresh insight into the masterpiece Legends of the Shakyamuni Hall.

Kyoto’s Myōshin-ji, the head temple of the Myōshin-ji sect of Rinzai Zen Buddhism, possesses a remarkable set of six pairs of folding screens. Commonly known as the “Myōshin-ji Temple Folding Screens,” the paintings each tower nearly two meters tall, far exceeding the typical height of around 175 centimeters. The master painters Kaiho Yūshō (1533–1615) and Kano Sanraku (1559–1635) each brushed three pairs of the screens. They were originally used to decorate the Ōhōjō (Abbot’s Quarters) during the annual memorial service for the temple’s founder, enhancing the splendor and solemnity of the ritual space. Their impressive scale and lavish gold-leaf backgrounds embody the opulent tastes of the Momoyama period (1573–1615).

Painting and sculpture have a long and rich tradition in Daoism and Buddhism, the two major religions practiced in China since antiquity. Depictions of Daoist and Buddhist figures form one of the key genres of Chinese painting, alongside landscapes and bird-and-flower painting. Such works include not only images of Buddhist and Daoist divinities, which were used for worship, but also portraits of patriarchs, scenes of immortals, and illustrated narratives. Artists of the Ming (1368–1644) and Qing (1644–1912) dynasties, while drawing on Song (960–1279) and Yuan (1271–1368) iconographic traditions, developed increasingly vibrant and dynamic approaches to portraying these sacred figures.

The history of Japanese Buddhist sculpture originates in the mid-sixth century, when Buddhism was introduced from the Korean kingdom of Baekje. The introduction of cast and gilded bronze statues at that time marked the beginning of a tradition of Buddhist sculpture in Japan that continues to this day.
This exhibition features sculpture from the Asuka (592–710), Nara (710–794), and Heian (794–1185) periods. During this time, official envoys to Sui and Tang China as well as visits from foreign monks brought new knowledge and objects to the Japanese archipelago. In the realm of Buddhist sculpture, the main techniques and materials—bronze, clay, dry lacquer, and wood——changed with each era and influenced stylistic trends. This gallery introduces a variety of sculptures from ancient Japan, tracing the dawn of Japanese Buddhist art.

Wisdom Kings (Myōō) are wrathful deities of Esoteric Buddhism tasked with protecting the Buddhist law. Esoteric Buddhist imagery often portrays these figures with fierce expressions and multiple arms, drawing on elements of ancient Indian Hinduism. Among the Wisdom Kings, Fudō Myōō (Acala, literally “The Immovable Wisdom King”) is the most prominent. He is revered as an incarnation of the Cosmic Buddha Dainichi (Mahāvairocana), the central deity of Esoteric Buddhism. Sculptures of Fudō Myōō often depict him wielding weapons with a ferocious glare and bared fangs. This intimidating appearance is intended to overpower those consumed by worldly desires and guide them to the path of enlightenment, although some representations of Fudō Myōō also exhibit a certain gentleness. This exhibition presents an array of sculptures of this fearsome deity dating from the Heian (794–1185) and Kamakura (1185–1333) periods.

This gallery introduces illustrated handscrolls from the Muromachi period (1392–1573) which are related to the feature exhibition Commemorating the Completion of Conservation: Legends of the Shakyamuni Hall (Shakadō Engi). They include illustrated origin stories (engi-e) dating to the same era, as well as works influenced by Kano school handscrolls. Together, the scrolls displayed here provide fresh insight into the masterpiece Legends of the Shakyamuni Hall.

Kyoto’s Myōshin-ji, the head temple of the Myōshin-ji sect of Rinzai Zen Buddhism, possesses a remarkable set of six pairs of folding screens. Commonly known as the “Myōshin-ji Temple Folding Screens,” the paintings each tower nearly two meters tall, far exceeding the typical height of around 175 centimeters. The master painters Kaiho Yūshō (1533–1615) and Kano Sanraku (1559–1635) each brushed three pairs of the screens. They were originally used to decorate the Ōhōjō (Abbot’s Quarters) during the annual memorial service for the temple’s founder, enhancing the splendor and solemnity of the ritual space. Their impressive scale and lavish gold-leaf backgrounds embody the opulent tastes of the Momoyama period (1573–1615).

Painting and sculpture have a long and rich tradition in Daoism and Buddhism, the two major religions practiced in China since antiquity. Depictions of Daoist and Buddhist figures form one of the key genres of Chinese painting, alongside landscapes and bird-and-flower painting. Such works include not only images of Buddhist and Daoist divinities, which were used for worship, but also portraits of patriarchs, scenes of immortals, and illustrated narratives. Artists of the Ming (1368–1644) and Qing (1644–1912) dynasties, while drawing on Song (960–1279) and Yuan (1271–1368) iconographic traditions, developed increasingly vibrant and dynamic approaches to portraying these sacred figures.

The history of Japanese Buddhist sculpture originates in the mid-sixth century, when Buddhism was introduced from the Korean kingdom of Baekje. The introduction of cast and gilded bronze statues at that time marked the beginning of a tradition of Buddhist sculpture in Japan that continues to this day.
This exhibition features sculpture from the Asuka (592–710), Nara (710–794), and Heian (794–1185) periods. During this time, official envoys to Sui and Tang China as well as visits from foreign monks brought new knowledge and objects to the Japanese archipelago. In the realm of Buddhist sculpture, the main techniques and materials—bronze, clay, dry lacquer, and wood——changed with each era and influenced stylistic trends. This gallery introduces a variety of sculptures from ancient Japan, tracing the dawn of Japanese Buddhist art.

Wisdom Kings (Myōō) are wrathful deities of Esoteric Buddhism tasked with protecting the Buddhist law. Esoteric Buddhist imagery often portrays these figures with fierce expressions and multiple arms, drawing on elements of ancient Indian Hinduism. Among the Wisdom Kings, Fudō Myōō (Acala, literally “The Immovable Wisdom King”) is the most prominent. He is revered as an incarnation of the Cosmic Buddha Dainichi (Mahāvairocana), the central deity of Esoteric Buddhism. Sculptures of Fudō Myōō often depict him wielding weapons with a ferocious glare and bared fangs. This intimidating appearance is intended to overpower those consumed by worldly desires and guide them to the path of enlightenment, although some representations of Fudō Myōō also exhibit a certain gentleness. This exhibition presents an array of sculptures of this fearsome deity dating from the Heian (794–1185) and Kamakura (1185–1333) periods.

This gallery introduces illustrated handscrolls from the Muromachi period (1392–1573) which are related to the feature exhibition Commemorating the Completion of Conservation: Legends of the Shakyamuni Hall (Shakadō Engi). They include illustrated origin stories (engi-e) dating to the same era, as well as works influenced by Kano school handscrolls. Together, the scrolls displayed here provide fresh insight into the masterpiece Legends of the Shakyamuni Hall.

Kyoto’s Myōshin-ji, the head temple of the Myōshin-ji sect of Rinzai Zen Buddhism, possesses a remarkable set of six pairs of folding screens. Commonly known as the “Myōshin-ji Temple Folding Screens,” the paintings each tower nearly two meters tall, far exceeding the typical height of around 175 centimeters. The master painters Kaiho Yūshō (1533–1615) and Kano Sanraku (1559–1635) each brushed three pairs of the screens. They were originally used to decorate the Ōhōjō (Abbot’s Quarters) during the annual memorial service for the temple’s founder, enhancing the splendor and solemnity of the ritual space. Their impressive scale and lavish gold-leaf backgrounds embody the opulent tastes of the Momoyama period (1573–1615).

Painting and sculpture have a long and rich tradition in Daoism and Buddhism, the two major religions practiced in China since antiquity. Depictions of Daoist and Buddhist figures form one of the key genres of Chinese painting, alongside landscapes and bird-and-flower painting. Such works include not only images of Buddhist and Daoist divinities, which were used for worship, but also portraits of patriarchs, scenes of immortals, and illustrated narratives. Artists of the Ming (1368–1644) and Qing (1644–1912) dynasties, while drawing on Song (960–1279) and Yuan (1271–1368) iconographic traditions, developed increasingly vibrant and dynamic approaches to portraying these sacred figures.

The history of Japanese Buddhist sculpture originates in the mid-sixth century, when Buddhism was introduced from the Korean kingdom of Baekje. The introduction of cast and gilded bronze statues at that time marked the beginning of a tradition of Buddhist sculpture in Japan that continues to this day.
This exhibition features sculpture from the Asuka (592–710), Nara (710–794), and Heian (794–1185) periods. During this time, official envoys to Sui and Tang China as well as visits from foreign monks brought new knowledge and objects to the Japanese archipelago. In the realm of Buddhist sculpture, the main techniques and materials—bronze, clay, dry lacquer, and wood——changed with each era and influenced stylistic trends. This gallery introduces a variety of sculptures from ancient Japan, tracing the dawn of Japanese Buddhist art.

Wisdom Kings (Myōō) are wrathful deities of Esoteric Buddhism tasked with protecting the Buddhist law. Esoteric Buddhist imagery often portrays these figures with fierce expressions and multiple arms, drawing on elements of ancient Indian Hinduism. Among the Wisdom Kings, Fudō Myōō (Acala, literally “The Immovable Wisdom King”) is the most prominent. He is revered as an incarnation of the Cosmic Buddha Dainichi (Mahāvairocana), the central deity of Esoteric Buddhism. Sculptures of Fudō Myōō often depict him wielding weapons with a ferocious glare and bared fangs. This intimidating appearance is intended to overpower those consumed by worldly desires and guide them to the path of enlightenment, although some representations of Fudō Myōō also exhibit a certain gentleness. This exhibition presents an array of sculptures of this fearsome deity dating from the Heian (794–1185) and Kamakura (1185–1333) periods.

Ceramics are not only admired for their beauty but are also broadly used in daily life, making them one of the most familiar forms of decorative arts. East Asian ceramics in particular feature a rich variety of patterns, forms, and colors, and have equally wide-ranging uses. Additionally, the type of ware (such as earthenware or porcelain), clay, glazes, decor, and firing techniques each vary depending on the region of production. Focusing on Japan, China, and the Korean Peninsula, this gallery presents a diverse selection of East Asian ceramics, showcasing their distinctive qualities and artistic appeal.

This gallery introduces archaeological materials related to ritual practices from the Asuka (592–710) and Nara (710–794) periods. During this time, Japan actively looked to China and the Korean peninsula for political and cultural models as it laid the foundations of the state. This was also the age when Buddhism, which had been introduced to Japan during the sixth century, began to flourish. As a result, worship practices evolved substantially from earlier periods.
There are many things that people wished for—— personal wellbeing, protection of the nation, prosperity of their descendants, and safety from disease and disasters—— yet the human urge to pray for that which we hold dear has remained unchanged throughout history. The objects in this gallery, entrusted with the hopes and prayers of people from the seventh and eighth centuries, offer a glimpse into the spiritual life of their time.

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.

This gallery introduces illustrated handscrolls from the Muromachi period (1392–1573) which are related to the feature exhibition Commemorating the Completion of Conservation: Legends of the Shakyamuni Hall (Shakadō Engi). They include illustrated origin stories (engi-e) dating to the same era, as well as works influenced by Kano school handscrolls. Together, the scrolls displayed here provide fresh insight into the masterpiece Legends of the Shakyamuni Hall.

Kyoto’s Myōshin-ji, the head temple of the Myōshin-ji sect of Rinzai Zen Buddhism, possesses a remarkable set of six pairs of folding screens. Commonly known as the “Myōshin-ji Temple Folding Screens,” the paintings each tower nearly two meters tall, far exceeding the typical height of around 175 centimeters. The master painters Kaiho Yūshō (1533–1615) and Kano Sanraku (1559–1635) each brushed three pairs of the screens. They were originally used to decorate the Ōhōjō (Abbot’s Quarters) during the annual memorial service for the temple’s founder, enhancing the splendor and solemnity of the ritual space. Their impressive scale and lavish gold-leaf backgrounds embody the opulent tastes of the Momoyama period (1573–1615).

Painting and sculpture have a long and rich tradition in Daoism and Buddhism, the two major religions practiced in China since antiquity. Depictions of Daoist and Buddhist figures form one of the key genres of Chinese painting, alongside landscapes and bird-and-flower painting. Such works include not only images of Buddhist and Daoist divinities, which were used for worship, but also portraits of patriarchs, scenes of immortals, and illustrated narratives. Artists of the Ming (1368–1644) and Qing (1644–1912) dynasties, while drawing on Song (960–1279) and Yuan (1271–1368) iconographic traditions, developed increasingly vibrant and dynamic approaches to portraying these sacred figures.

The history of Japanese Buddhist sculpture originates in the mid-sixth century, when Buddhism was introduced from the Korean kingdom of Baekje. The introduction of cast and gilded bronze statues at that time marked the beginning of a tradition of Buddhist sculpture in Japan that continues to this day.
This exhibition features sculpture from the Asuka (592–710), Nara (710–794), and Heian (794–1185) periods. During this time, official envoys to Sui and Tang China as well as visits from foreign monks brought new knowledge and objects to the Japanese archipelago. In the realm of Buddhist sculpture, the main techniques and materials—bronze, clay, dry lacquer, and wood——changed with each era and influenced stylistic trends. This gallery introduces a variety of sculptures from ancient Japan, tracing the dawn of Japanese Buddhist art.

Wisdom Kings (Myōō) are wrathful deities of Esoteric Buddhism tasked with protecting the Buddhist law. Esoteric Buddhist imagery often portrays these figures with fierce expressions and multiple arms, drawing on elements of ancient Indian Hinduism. Among the Wisdom Kings, Fudō Myōō (Acala, literally “The Immovable Wisdom King”) is the most prominent. He is revered as an incarnation of the Cosmic Buddha Dainichi (Mahāvairocana), the central deity of Esoteric Buddhism. Sculptures of Fudō Myōō often depict him wielding weapons with a ferocious glare and bared fangs. This intimidating appearance is intended to overpower those consumed by worldly desires and guide them to the path of enlightenment, although some representations of Fudō Myōō also exhibit a certain gentleness. This exhibition presents an array of sculptures of this fearsome deity dating from the Heian (794–1185) and Kamakura (1185–1333) periods.

Ceramics are not only admired for their beauty but are also broadly used in daily life, making them one of the most familiar forms of decorative arts. East Asian ceramics in particular feature a rich variety of patterns, forms, and colors, and have equally wide-ranging uses. Additionally, the type of ware (such as earthenware or porcelain), clay, glazes, decor, and firing techniques each vary depending on the region of production. Focusing on Japan, China, and the Korean Peninsula, this gallery presents a diverse selection of East Asian ceramics, showcasing their distinctive qualities and artistic appeal.

This gallery introduces archaeological materials related to ritual practices from the Asuka (592–710) and Nara (710–794) periods. During this time, Japan actively looked to China and the Korean peninsula for political and cultural models as it laid the foundations of the state. This was also the age when Buddhism, which had been introduced to Japan during the sixth century, began to flourish. As a result, worship practices evolved substantially from earlier periods.
There are many things that people wished for—— personal wellbeing, protection of the nation, prosperity of their descendants, and safety from disease and disasters—— yet the human urge to pray for that which we hold dear has remained unchanged throughout history. The objects in this gallery, entrusted with the hopes and prayers of people from the seventh and eighth centuries, offer a glimpse into the spiritual life of their time.

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.

This gallery introduces illustrated handscrolls from the Muromachi period (1392–1573) which are related to the feature exhibition Commemorating the Completion of Conservation: Legends of the Shakyamuni Hall (Shakadō Engi). They include illustrated origin stories (engi-e) dating to the same era, as well as works influenced by Kano school handscrolls. Together, the scrolls displayed here provide fresh insight into the masterpiece Legends of the Shakyamuni Hall.

Kyoto’s Myōshin-ji, the head temple of the Myōshin-ji sect of Rinzai Zen Buddhism, possesses a remarkable set of six pairs of folding screens. Commonly known as the “Myōshin-ji Temple Folding Screens,” the paintings each tower nearly two meters tall, far exceeding the typical height of around 175 centimeters. The master painters Kaiho Yūshō (1533–1615) and Kano Sanraku (1559–1635) each brushed three pairs of the screens. They were originally used to decorate the Ōhōjō (Abbot’s Quarters) during the annual memorial service for the temple’s founder, enhancing the splendor and solemnity of the ritual space. Their impressive scale and lavish gold-leaf backgrounds embody the opulent tastes of the Momoyama period (1573–1615).

Painting and sculpture have a long and rich tradition in Daoism and Buddhism, the two major religions practiced in China since antiquity. Depictions of Daoist and Buddhist figures form one of the key genres of Chinese painting, alongside landscapes and bird-and-flower painting. Such works include not only images of Buddhist and Daoist divinities, which were used for worship, but also portraits of patriarchs, scenes of immortals, and illustrated narratives. Artists of the Ming (1368–1644) and Qing (1644–1912) dynasties, while drawing on Song (960–1279) and Yuan (1271–1368) iconographic traditions, developed increasingly vibrant and dynamic approaches to portraying these sacred figures.

The history of Japanese Buddhist sculpture originates in the mid-sixth century, when Buddhism was introduced from the Korean kingdom of Baekje. The introduction of cast and gilded bronze statues at that time marked the beginning of a tradition of Buddhist sculpture in Japan that continues to this day.
This exhibition features sculpture from the Asuka (592–710), Nara (710–794), and Heian (794–1185) periods. During this time, official envoys to Sui and Tang China as well as visits from foreign monks brought new knowledge and objects to the Japanese archipelago. In the realm of Buddhist sculpture, the main techniques and materials—bronze, clay, dry lacquer, and wood——changed with each era and influenced stylistic trends. This gallery introduces a variety of sculptures from ancient Japan, tracing the dawn of Japanese Buddhist art.

Wisdom Kings (Myōō) are wrathful deities of Esoteric Buddhism tasked with protecting the Buddhist law. Esoteric Buddhist imagery often portrays these figures with fierce expressions and multiple arms, drawing on elements of ancient Indian Hinduism. Among the Wisdom Kings, Fudō Myōō (Acala, literally “The Immovable Wisdom King”) is the most prominent. He is revered as an incarnation of the Cosmic Buddha Dainichi (Mahāvairocana), the central deity of Esoteric Buddhism. Sculptures of Fudō Myōō often depict him wielding weapons with a ferocious glare and bared fangs. This intimidating appearance is intended to overpower those consumed by worldly desires and guide them to the path of enlightenment, although some representations of Fudō Myōō also exhibit a certain gentleness. This exhibition presents an array of sculptures of this fearsome deity dating from the Heian (794–1185) and Kamakura (1185–1333) periods.

Ceramics are not only admired for their beauty but are also broadly used in daily life, making them one of the most familiar forms of decorative arts. East Asian ceramics in particular feature a rich variety of patterns, forms, and colors, and have equally wide-ranging uses. Additionally, the type of ware (such as earthenware or porcelain), clay, glazes, decor, and firing techniques each vary depending on the region of production. Focusing on Japan, China, and the Korean Peninsula, this gallery presents a diverse selection of East Asian ceramics, showcasing their distinctive qualities and artistic appeal.

This gallery introduces archaeological materials related to ritual practices from the Asuka (592–710) and Nara (710–794) periods. During this time, Japan actively looked to China and the Korean peninsula for political and cultural models as it laid the foundations of the state. This was also the age when Buddhism, which had been introduced to Japan during the sixth century, began to flourish. As a result, worship practices evolved substantially from earlier periods.
There are many things that people wished for—— personal wellbeing, protection of the nation, prosperity of their descendants, and safety from disease and disasters—— yet the human urge to pray for that which we hold dear has remained unchanged throughout history. The objects in this gallery, entrusted with the hopes and prayers of people from the seventh and eighth centuries, offer a glimpse into the spiritual life of their time.

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.

This gallery introduces illustrated handscrolls from the Muromachi period (1392–1573) which are related to the feature exhibition Commemorating the Completion of Conservation: Legends of the Shakyamuni Hall (Shakadō Engi). They include illustrated origin stories (engi-e) dating to the same era, as well as works influenced by Kano school handscrolls. Together, the scrolls displayed here provide fresh insight into the masterpiece Legends of the Shakyamuni Hall.

Kyoto’s Myōshin-ji, the head temple of the Myōshin-ji sect of Rinzai Zen Buddhism, possesses a remarkable set of six pairs of folding screens. Commonly known as the “Myōshin-ji Temple Folding Screens,” the paintings each tower nearly two meters tall, far exceeding the typical height of around 175 centimeters. The master painters Kaiho Yūshō (1533–1615) and Kano Sanraku (1559–1635) each brushed three pairs of the screens. They were originally used to decorate the Ōhōjō (Abbot’s Quarters) during the annual memorial service for the temple’s founder, enhancing the splendor and solemnity of the ritual space. Their impressive scale and lavish gold-leaf backgrounds embody the opulent tastes of the Momoyama period (1573–1615).

Painting and sculpture have a long and rich tradition in Daoism and Buddhism, the two major religions practiced in China since antiquity. Depictions of Daoist and Buddhist figures form one of the key genres of Chinese painting, alongside landscapes and bird-and-flower painting. Such works include not only images of Buddhist and Daoist divinities, which were used for worship, but also portraits of patriarchs, scenes of immortals, and illustrated narratives. Artists of the Ming (1368–1644) and Qing (1644–1912) dynasties, while drawing on Song (960–1279) and Yuan (1271–1368) iconographic traditions, developed increasingly vibrant and dynamic approaches to portraying these sacred figures.

The history of Japanese Buddhist sculpture originates in the mid-sixth century, when Buddhism was introduced from the Korean kingdom of Baekje. The introduction of cast and gilded bronze statues at that time marked the beginning of a tradition of Buddhist sculpture in Japan that continues to this day.
This exhibition features sculpture from the Asuka (592–710), Nara (710–794), and Heian (794–1185) periods. During this time, official envoys to Sui and Tang China as well as visits from foreign monks brought new knowledge and objects to the Japanese archipelago. In the realm of Buddhist sculpture, the main techniques and materials—bronze, clay, dry lacquer, and wood——changed with each era and influenced stylistic trends. This gallery introduces a variety of sculptures from ancient Japan, tracing the dawn of Japanese Buddhist art.

Wisdom Kings (Myōō) are wrathful deities of Esoteric Buddhism tasked with protecting the Buddhist law. Esoteric Buddhist imagery often portrays these figures with fierce expressions and multiple arms, drawing on elements of ancient Indian Hinduism. Among the Wisdom Kings, Fudō Myōō (Acala, literally “The Immovable Wisdom King”) is the most prominent. He is revered as an incarnation of the Cosmic Buddha Dainichi (Mahāvairocana), the central deity of Esoteric Buddhism. Sculptures of Fudō Myōō often depict him wielding weapons with a ferocious glare and bared fangs. This intimidating appearance is intended to overpower those consumed by worldly desires and guide them to the path of enlightenment, although some representations of Fudō Myōō also exhibit a certain gentleness. This exhibition presents an array of sculptures of this fearsome deity dating from the Heian (794–1185) and Kamakura (1185–1333) periods.

Ceramics are not only admired for their beauty but are also broadly used in daily life, making them one of the most familiar forms of decorative arts. East Asian ceramics in particular feature a rich variety of patterns, forms, and colors, and have equally wide-ranging uses. Additionally, the type of ware (such as earthenware or porcelain), clay, glazes, decor, and firing techniques each vary depending on the region of production. Focusing on Japan, China, and the Korean Peninsula, this gallery presents a diverse selection of East Asian ceramics, showcasing their distinctive qualities and artistic appeal.

This gallery introduces archaeological materials related to ritual practices from the Asuka (592–710) and Nara (710–794) periods. During this time, Japan actively looked to China and the Korean peninsula for political and cultural models as it laid the foundations of the state. This was also the age when Buddhism, which had been introduced to Japan during the sixth century, began to flourish. As a result, worship practices evolved substantially from earlier periods.
There are many things that people wished for—— personal wellbeing, protection of the nation, prosperity of their descendants, and safety from disease and disasters—— yet the human urge to pray for that which we hold dear has remained unchanged throughout history. The objects in this gallery, entrusted with the hopes and prayers of people from the seventh and eighth centuries, offer a glimpse into the spiritual life of their time.

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.

This gallery introduces illustrated handscrolls from the Muromachi period (1392–1573) which are related to the feature exhibition Commemorating the Completion of Conservation: Legends of the Shakyamuni Hall (Shakadō Engi). They include illustrated origin stories (engi-e) dating to the same era, as well as works influenced by Kano school handscrolls. Together, the scrolls displayed here provide fresh insight into the masterpiece Legends of the Shakyamuni Hall.

Kyoto’s Myōshin-ji, the head temple of the Myōshin-ji sect of Rinzai Zen Buddhism, possesses a remarkable set of six pairs of folding screens. Commonly known as the “Myōshin-ji Temple Folding Screens,” the paintings each tower nearly two meters tall, far exceeding the typical height of around 175 centimeters. The master painters Kaiho Yūshō (1533–1615) and Kano Sanraku (1559–1635) each brushed three pairs of the screens. They were originally used to decorate the Ōhōjō (Abbot’s Quarters) during the annual memorial service for the temple’s founder, enhancing the splendor and solemnity of the ritual space. Their impressive scale and lavish gold-leaf backgrounds embody the opulent tastes of the Momoyama period (1573–1615).

Painting and sculpture have a long and rich tradition in Daoism and Buddhism, the two major religions practiced in China since antiquity. Depictions of Daoist and Buddhist figures form one of the key genres of Chinese painting, alongside landscapes and bird-and-flower painting. Such works include not only images of Buddhist and Daoist divinities, which were used for worship, but also portraits of patriarchs, scenes of immortals, and illustrated narratives. Artists of the Ming (1368–1644) and Qing (1644–1912) dynasties, while drawing on Song (960–1279) and Yuan (1271–1368) iconographic traditions, developed increasingly vibrant and dynamic approaches to portraying these sacred figures.

The history of Japanese Buddhist sculpture originates in the mid-sixth century, when Buddhism was introduced from the Korean kingdom of Baekje. The introduction of cast and gilded bronze statues at that time marked the beginning of a tradition of Buddhist sculpture in Japan that continues to this day.
This exhibition features sculpture from the Asuka (592–710), Nara (710–794), and Heian (794–1185) periods. During this time, official envoys to Sui and Tang China as well as visits from foreign monks brought new knowledge and objects to the Japanese archipelago. In the realm of Buddhist sculpture, the main techniques and materials—bronze, clay, dry lacquer, and wood——changed with each era and influenced stylistic trends. This gallery introduces a variety of sculptures from ancient Japan, tracing the dawn of Japanese Buddhist art.

Wisdom Kings (Myōō) are wrathful deities of Esoteric Buddhism tasked with protecting the Buddhist law. Esoteric Buddhist imagery often portrays these figures with fierce expressions and multiple arms, drawing on elements of ancient Indian Hinduism. Among the Wisdom Kings, Fudō Myōō (Acala, literally “The Immovable Wisdom King”) is the most prominent. He is revered as an incarnation of the Cosmic Buddha Dainichi (Mahāvairocana), the central deity of Esoteric Buddhism. Sculptures of Fudō Myōō often depict him wielding weapons with a ferocious glare and bared fangs. This intimidating appearance is intended to overpower those consumed by worldly desires and guide them to the path of enlightenment, although some representations of Fudō Myōō also exhibit a certain gentleness. This exhibition presents an array of sculptures of this fearsome deity dating from the Heian (794–1185) and Kamakura (1185–1333) periods.

Ceramics are not only admired for their beauty but are also broadly used in daily life, making them one of the most familiar forms of decorative arts. East Asian ceramics in particular feature a rich variety of patterns, forms, and colors, and have equally wide-ranging uses. Additionally, the type of ware (such as earthenware or porcelain), clay, glazes, decor, and firing techniques each vary depending on the region of production. Focusing on Japan, China, and the Korean Peninsula, this gallery presents a diverse selection of East Asian ceramics, showcasing their distinctive qualities and artistic appeal.

This gallery introduces archaeological materials related to ritual practices from the Asuka (592–710) and Nara (710–794) periods. During this time, Japan actively looked to China and the Korean peninsula for political and cultural models as it laid the foundations of the state. This was also the age when Buddhism, which had been introduced to Japan during the sixth century, began to flourish. As a result, worship practices evolved substantially from earlier periods.
There are many things that people wished for—— personal wellbeing, protection of the nation, prosperity of their descendants, and safety from disease and disasters—— yet the human urge to pray for that which we hold dear has remained unchanged throughout history. The objects in this gallery, entrusted with the hopes and prayers of people from the seventh and eighth centuries, offer a glimpse into the spiritual life of their time.

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.

This gallery introduces illustrated handscrolls from the Muromachi period (1392–1573) which are related to the feature exhibition Commemorating the Completion of Conservation: Legends of the Shakyamuni Hall (Shakadō Engi). They include illustrated origin stories (engi-e) dating to the same era, as well as works influenced by Kano school handscrolls. Together, the scrolls displayed here provide fresh insight into the masterpiece Legends of the Shakyamuni Hall.

Kyoto’s Myōshin-ji, the head temple of the Myōshin-ji sect of Rinzai Zen Buddhism, possesses a remarkable set of six pairs of folding screens. Commonly known as the “Myōshin-ji Temple Folding Screens,” the paintings each tower nearly two meters tall, far exceeding the typical height of around 175 centimeters. The master painters Kaiho Yūshō (1533–1615) and Kano Sanraku (1559–1635) each brushed three pairs of the screens. They were originally used to decorate the Ōhōjō (Abbot’s Quarters) during the annual memorial service for the temple’s founder, enhancing the splendor and solemnity of the ritual space. Their impressive scale and lavish gold-leaf backgrounds embody the opulent tastes of the Momoyama period (1573–1615).

Painting and sculpture have a long and rich tradition in Daoism and Buddhism, the two major religions practiced in China since antiquity. Depictions of Daoist and Buddhist figures form one of the key genres of Chinese painting, alongside landscapes and bird-and-flower painting. Such works include not only images of Buddhist and Daoist divinities, which were used for worship, but also portraits of patriarchs, scenes of immortals, and illustrated narratives. Artists of the Ming (1368–1644) and Qing (1644–1912) dynasties, while drawing on Song (960–1279) and Yuan (1271–1368) iconographic traditions, developed increasingly vibrant and dynamic approaches to portraying these sacred figures.

The history of Japanese Buddhist sculpture originates in the mid-sixth century, when Buddhism was introduced from the Korean kingdom of Baekje. The introduction of cast and gilded bronze statues at that time marked the beginning of a tradition of Buddhist sculpture in Japan that continues to this day.
This exhibition features sculpture from the Asuka (592–710), Nara (710–794), and Heian (794–1185) periods. During this time, official envoys to Sui and Tang China as well as visits from foreign monks brought new knowledge and objects to the Japanese archipelago. In the realm of Buddhist sculpture, the main techniques and materials—bronze, clay, dry lacquer, and wood——changed with each era and influenced stylistic trends. This gallery introduces a variety of sculptures from ancient Japan, tracing the dawn of Japanese Buddhist art.

Wisdom Kings (Myōō) are wrathful deities of Esoteric Buddhism tasked with protecting the Buddhist law. Esoteric Buddhist imagery often portrays these figures with fierce expressions and multiple arms, drawing on elements of ancient Indian Hinduism. Among the Wisdom Kings, Fudō Myōō (Acala, literally “The Immovable Wisdom King”) is the most prominent. He is revered as an incarnation of the Cosmic Buddha Dainichi (Mahāvairocana), the central deity of Esoteric Buddhism. Sculptures of Fudō Myōō often depict him wielding weapons with a ferocious glare and bared fangs. This intimidating appearance is intended to overpower those consumed by worldly desires and guide them to the path of enlightenment, although some representations of Fudō Myōō also exhibit a certain gentleness. This exhibition presents an array of sculptures of this fearsome deity dating from the Heian (794–1185) and Kamakura (1185–1333) periods.

Ceramics are not only admired for their beauty but are also broadly used in daily life, making them one of the most familiar forms of decorative arts. East Asian ceramics in particular feature a rich variety of patterns, forms, and colors, and have equally wide-ranging uses. Additionally, the type of ware (such as earthenware or porcelain), clay, glazes, decor, and firing techniques each vary depending on the region of production. Focusing on Japan, China, and the Korean Peninsula, this gallery presents a diverse selection of East Asian ceramics, showcasing their distinctive qualities and artistic appeal.

This gallery introduces archaeological materials related to ritual practices from the Asuka (592–710) and Nara (710–794) periods. During this time, Japan actively looked to China and the Korean peninsula for political and cultural models as it laid the foundations of the state. This was also the age when Buddhism, which had been introduced to Japan during the sixth century, began to flourish. As a result, worship practices evolved substantially from earlier periods.
There are many things that people wished for—— personal wellbeing, protection of the nation, prosperity of their descendants, and safety from disease and disasters—— yet the human urge to pray for that which we hold dear has remained unchanged throughout history. The objects in this gallery, entrusted with the hopes and prayers of people from the seventh and eighth centuries, offer a glimpse into the spiritual life of their time.

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.

This gallery introduces illustrated handscrolls from the Muromachi period (1392–1573) which are related to the feature exhibition Commemorating the Completion of Conservation: Legends of the Shakyamuni Hall (Shakadō Engi). They include illustrated origin stories (engi-e) dating to the same era, as well as works influenced by Kano school handscrolls. Together, the scrolls displayed here provide fresh insight into the masterpiece Legends of the Shakyamuni Hall.

Kyoto’s Myōshin-ji, the head temple of the Myōshin-ji sect of Rinzai Zen Buddhism, possesses a remarkable set of six pairs of folding screens. Commonly known as the “Myōshin-ji Temple Folding Screens,” the paintings each tower nearly two meters tall, far exceeding the typical height of around 175 centimeters. The master painters Kaiho Yūshō (1533–1615) and Kano Sanraku (1559–1635) each brushed three pairs of the screens. They were originally used to decorate the Ōhōjō (Abbot’s Quarters) during the annual memorial service for the temple’s founder, enhancing the splendor and solemnity of the ritual space. Their impressive scale and lavish gold-leaf backgrounds embody the opulent tastes of the Momoyama period (1573–1615).

Painting and sculpture have a long and rich tradition in Daoism and Buddhism, the two major religions practiced in China since antiquity. Depictions of Daoist and Buddhist figures form one of the key genres of Chinese painting, alongside landscapes and bird-and-flower painting. Such works include not only images of Buddhist and Daoist divinities, which were used for worship, but also portraits of patriarchs, scenes of immortals, and illustrated narratives. Artists of the Ming (1368–1644) and Qing (1644–1912) dynasties, while drawing on Song (960–1279) and Yuan (1271–1368) iconographic traditions, developed increasingly vibrant and dynamic approaches to portraying these sacred figures.

The history of Japanese Buddhist sculpture originates in the mid-sixth century, when Buddhism was introduced from the Korean kingdom of Baekje. The introduction of cast and gilded bronze statues at that time marked the beginning of a tradition of Buddhist sculpture in Japan that continues to this day.
This exhibition features sculpture from the Asuka (592–710), Nara (710–794), and Heian (794–1185) periods. During this time, official envoys to Sui and Tang China as well as visits from foreign monks brought new knowledge and objects to the Japanese archipelago. In the realm of Buddhist sculpture, the main techniques and materials—bronze, clay, dry lacquer, and wood——changed with each era and influenced stylistic trends. This gallery introduces a variety of sculptures from ancient Japan, tracing the dawn of Japanese Buddhist art.

Wisdom Kings (Myōō) are wrathful deities of Esoteric Buddhism tasked with protecting the Buddhist law. Esoteric Buddhist imagery often portrays these figures with fierce expressions and multiple arms, drawing on elements of ancient Indian Hinduism. Among the Wisdom Kings, Fudō Myōō (Acala, literally “The Immovable Wisdom King”) is the most prominent. He is revered as an incarnation of the Cosmic Buddha Dainichi (Mahāvairocana), the central deity of Esoteric Buddhism. Sculptures of Fudō Myōō often depict him wielding weapons with a ferocious glare and bared fangs. This intimidating appearance is intended to overpower those consumed by worldly desires and guide them to the path of enlightenment, although some representations of Fudō Myōō also exhibit a certain gentleness. This exhibition presents an array of sculptures of this fearsome deity dating from the Heian (794–1185) and Kamakura (1185–1333) periods.

Ceramics are not only admired for their beauty but are also broadly used in daily life, making them one of the most familiar forms of decorative arts. East Asian ceramics in particular feature a rich variety of patterns, forms, and colors, and have equally wide-ranging uses. Additionally, the type of ware (such as earthenware or porcelain), clay, glazes, decor, and firing techniques each vary depending on the region of production. Focusing on Japan, China, and the Korean Peninsula, this gallery presents a diverse selection of East Asian ceramics, showcasing their distinctive qualities and artistic appeal.

This gallery introduces archaeological materials related to ritual practices from the Asuka (592–710) and Nara (710–794) periods. During this time, Japan actively looked to China and the Korean peninsula for political and cultural models as it laid the foundations of the state. This was also the age when Buddhism, which had been introduced to Japan during the sixth century, began to flourish. As a result, worship practices evolved substantially from earlier periods.
There are many things that people wished for—— personal wellbeing, protection of the nation, prosperity of their descendants, and safety from disease and disasters—— yet the human urge to pray for that which we hold dear has remained unchanged throughout history. The objects in this gallery, entrusted with the hopes and prayers of people from the seventh and eighth centuries, offer a glimpse into the spiritual life of their time.

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.

This gallery introduces illustrated handscrolls from the Muromachi period (1392–1573) which are related to the feature exhibition Commemorating the Completion of Conservation: Legends of the Shakyamuni Hall (Shakadō Engi). They include illustrated origin stories (engi-e) dating to the same era, as well as works influenced by Kano school handscrolls. Together, the scrolls displayed here provide fresh insight into the masterpiece Legends of the Shakyamuni Hall.

Kyoto’s Myōshin-ji, the head temple of the Myōshin-ji sect of Rinzai Zen Buddhism, possesses a remarkable set of six pairs of folding screens. Commonly known as the “Myōshin-ji Temple Folding Screens,” the paintings each tower nearly two meters tall, far exceeding the typical height of around 175 centimeters. The master painters Kaiho Yūshō (1533–1615) and Kano Sanraku (1559–1635) each brushed three pairs of the screens. They were originally used to decorate the Ōhōjō (Abbot’s Quarters) during the annual memorial service for the temple’s founder, enhancing the splendor and solemnity of the ritual space. Their impressive scale and lavish gold-leaf backgrounds embody the opulent tastes of the Momoyama period (1573–1615).

Painting and sculpture have a long and rich tradition in Daoism and Buddhism, the two major religions practiced in China since antiquity. Depictions of Daoist and Buddhist figures form one of the key genres of Chinese painting, alongside landscapes and bird-and-flower painting. Such works include not only images of Buddhist and Daoist divinities, which were used for worship, but also portraits of patriarchs, scenes of immortals, and illustrated narratives. Artists of the Ming (1368–1644) and Qing (1644–1912) dynasties, while drawing on Song (960–1279) and Yuan (1271–1368) iconographic traditions, developed increasingly vibrant and dynamic approaches to portraying these sacred figures.

The history of Japanese Buddhist sculpture originates in the mid-sixth century, when Buddhism was introduced from the Korean kingdom of Baekje. The introduction of cast and gilded bronze statues at that time marked the beginning of a tradition of Buddhist sculpture in Japan that continues to this day.
This exhibition features sculpture from the Asuka (592–710), Nara (710–794), and Heian (794–1185) periods. During this time, official envoys to Sui and Tang China as well as visits from foreign monks brought new knowledge and objects to the Japanese archipelago. In the realm of Buddhist sculpture, the main techniques and materials—bronze, clay, dry lacquer, and wood——changed with each era and influenced stylistic trends. This gallery introduces a variety of sculptures from ancient Japan, tracing the dawn of Japanese Buddhist art.

Wisdom Kings (Myōō) are wrathful deities of Esoteric Buddhism tasked with protecting the Buddhist law. Esoteric Buddhist imagery often portrays these figures with fierce expressions and multiple arms, drawing on elements of ancient Indian Hinduism. Among the Wisdom Kings, Fudō Myōō (Acala, literally “The Immovable Wisdom King”) is the most prominent. He is revered as an incarnation of the Cosmic Buddha Dainichi (Mahāvairocana), the central deity of Esoteric Buddhism. Sculptures of Fudō Myōō often depict him wielding weapons with a ferocious glare and bared fangs. This intimidating appearance is intended to overpower those consumed by worldly desires and guide them to the path of enlightenment, although some representations of Fudō Myōō also exhibit a certain gentleness. This exhibition presents an array of sculptures of this fearsome deity dating from the Heian (794–1185) and Kamakura (1185–1333) periods.

Ceramics are not only admired for their beauty but are also broadly used in daily life, making them one of the most familiar forms of decorative arts. East Asian ceramics in particular feature a rich variety of patterns, forms, and colors, and have equally wide-ranging uses. Additionally, the type of ware (such as earthenware or porcelain), clay, glazes, decor, and firing techniques each vary depending on the region of production. Focusing on Japan, China, and the Korean Peninsula, this gallery presents a diverse selection of East Asian ceramics, showcasing their distinctive qualities and artistic appeal.

This gallery introduces archaeological materials related to ritual practices from the Asuka (592–710) and Nara (710–794) periods. During this time, Japan actively looked to China and the Korean peninsula for political and cultural models as it laid the foundations of the state. This was also the age when Buddhism, which had been introduced to Japan during the sixth century, began to flourish. As a result, worship practices evolved substantially from earlier periods.
There are many things that people wished for—— personal wellbeing, protection of the nation, prosperity of their descendants, and safety from disease and disasters—— yet the human urge to pray for that which we hold dear has remained unchanged throughout history. The objects in this gallery, entrusted with the hopes and prayers of people from the seventh and eighth centuries, offer a glimpse into the spiritual life of their time.

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.

This gallery introduces illustrated handscrolls from the Muromachi period (1392–1573) which are related to the feature exhibition Commemorating the Completion of Conservation: Legends of the Shakyamuni Hall (Shakadō Engi). They include illustrated origin stories (engi-e) dating to the same era, as well as works influenced by Kano school handscrolls. Together, the scrolls displayed here provide fresh insight into the masterpiece Legends of the Shakyamuni Hall.

Kyoto’s Myōshin-ji, the head temple of the Myōshin-ji sect of Rinzai Zen Buddhism, possesses a remarkable set of six pairs of folding screens. Commonly known as the “Myōshin-ji Temple Folding Screens,” the paintings each tower nearly two meters tall, far exceeding the typical height of around 175 centimeters. The master painters Kaiho Yūshō (1533–1615) and Kano Sanraku (1559–1635) each brushed three pairs of the screens. They were originally used to decorate the Ōhōjō (Abbot’s Quarters) during the annual memorial service for the temple’s founder, enhancing the splendor and solemnity of the ritual space. Their impressive scale and lavish gold-leaf backgrounds embody the opulent tastes of the Momoyama period (1573–1615).

Painting and sculpture have a long and rich tradition in Daoism and Buddhism, the two major religions practiced in China since antiquity. Depictions of Daoist and Buddhist figures form one of the key genres of Chinese painting, alongside landscapes and bird-and-flower painting. Such works include not only images of Buddhist and Daoist divinities, which were used for worship, but also portraits of patriarchs, scenes of immortals, and illustrated narratives. Artists of the Ming (1368–1644) and Qing (1644–1912) dynasties, while drawing on Song (960–1279) and Yuan (1271–1368) iconographic traditions, developed increasingly vibrant and dynamic approaches to portraying these sacred figures.

The history of Japanese Buddhist sculpture originates in the mid-sixth century, when Buddhism was introduced from the Korean kingdom of Baekje. The introduction of cast and gilded bronze statues at that time marked the beginning of a tradition of Buddhist sculpture in Japan that continues to this day.
This exhibition features sculpture from the Asuka (592–710), Nara (710–794), and Heian (794–1185) periods. During this time, official envoys to Sui and Tang China as well as visits from foreign monks brought new knowledge and objects to the Japanese archipelago. In the realm of Buddhist sculpture, the main techniques and materials—bronze, clay, dry lacquer, and wood——changed with each era and influenced stylistic trends. This gallery introduces a variety of sculptures from ancient Japan, tracing the dawn of Japanese Buddhist art.

Wisdom Kings (Myōō) are wrathful deities of Esoteric Buddhism tasked with protecting the Buddhist law. Esoteric Buddhist imagery often portrays these figures with fierce expressions and multiple arms, drawing on elements of ancient Indian Hinduism. Among the Wisdom Kings, Fudō Myōō (Acala, literally “The Immovable Wisdom King”) is the most prominent. He is revered as an incarnation of the Cosmic Buddha Dainichi (Mahāvairocana), the central deity of Esoteric Buddhism. Sculptures of Fudō Myōō often depict him wielding weapons with a ferocious glare and bared fangs. This intimidating appearance is intended to overpower those consumed by worldly desires and guide them to the path of enlightenment, although some representations of Fudō Myōō also exhibit a certain gentleness. This exhibition presents an array of sculptures of this fearsome deity dating from the Heian (794–1185) and Kamakura (1185–1333) periods.

Ceramics are not only admired for their beauty but are also broadly used in daily life, making them one of the most familiar forms of decorative arts. East Asian ceramics in particular feature a rich variety of patterns, forms, and colors, and have equally wide-ranging uses. Additionally, the type of ware (such as earthenware or porcelain), clay, glazes, decor, and firing techniques each vary depending on the region of production. Focusing on Japan, China, and the Korean Peninsula, this gallery presents a diverse selection of East Asian ceramics, showcasing their distinctive qualities and artistic appeal.

This gallery introduces archaeological materials related to ritual practices from the Asuka (592–710) and Nara (710–794) periods. During this time, Japan actively looked to China and the Korean peninsula for political and cultural models as it laid the foundations of the state. This was also the age when Buddhism, which had been introduced to Japan during the sixth century, began to flourish. As a result, worship practices evolved substantially from earlier periods.
There are many things that people wished for—— personal wellbeing, protection of the nation, prosperity of their descendants, and safety from disease and disasters—— yet the human urge to pray for that which we hold dear has remained unchanged throughout history. The objects in this gallery, entrusted with the hopes and prayers of people from the seventh and eighth centuries, offer a glimpse into the spiritual life of their time.

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.

This gallery introduces illustrated handscrolls from the Muromachi period (1392–1573) which are related to the feature exhibition Commemorating the Completion of Conservation: Legends of the Shakyamuni Hall (Shakadō Engi). They include illustrated origin stories (engi-e) dating to the same era, as well as works influenced by Kano school handscrolls. Together, the scrolls displayed here provide fresh insight into the masterpiece Legends of the Shakyamuni Hall.

Kyoto’s Myōshin-ji, the head temple of the Myōshin-ji sect of Rinzai Zen Buddhism, possesses a remarkable set of six pairs of folding screens. Commonly known as the “Myōshin-ji Temple Folding Screens,” the paintings each tower nearly two meters tall, far exceeding the typical height of around 175 centimeters. The master painters Kaiho Yūshō (1533–1615) and Kano Sanraku (1559–1635) each brushed three pairs of the screens. They were originally used to decorate the Ōhōjō (Abbot’s Quarters) during the annual memorial service for the temple’s founder, enhancing the splendor and solemnity of the ritual space. Their impressive scale and lavish gold-leaf backgrounds embody the opulent tastes of the Momoyama period (1573–1615).

Painting and sculpture have a long and rich tradition in Daoism and Buddhism, the two major religions practiced in China since antiquity. Depictions of Daoist and Buddhist figures form one of the key genres of Chinese painting, alongside landscapes and bird-and-flower painting. Such works include not only images of Buddhist and Daoist divinities, which were used for worship, but also portraits of patriarchs, scenes of immortals, and illustrated narratives. Artists of the Ming (1368–1644) and Qing (1644–1912) dynasties, while drawing on Song (960–1279) and Yuan (1271–1368) iconographic traditions, developed increasingly vibrant and dynamic approaches to portraying these sacred figures.

The history of Japanese Buddhist sculpture originates in the mid-sixth century, when Buddhism was introduced from the Korean kingdom of Baekje. The introduction of cast and gilded bronze statues at that time marked the beginning of a tradition of Buddhist sculpture in Japan that continues to this day.
This exhibition features sculpture from the Asuka (592–710), Nara (710–794), and Heian (794–1185) periods. During this time, official envoys to Sui and Tang China as well as visits from foreign monks brought new knowledge and objects to the Japanese archipelago. In the realm of Buddhist sculpture, the main techniques and materials—bronze, clay, dry lacquer, and wood——changed with each era and influenced stylistic trends. This gallery introduces a variety of sculptures from ancient Japan, tracing the dawn of Japanese Buddhist art.

Wisdom Kings (Myōō) are wrathful deities of Esoteric Buddhism tasked with protecting the Buddhist law. Esoteric Buddhist imagery often portrays these figures with fierce expressions and multiple arms, drawing on elements of ancient Indian Hinduism. Among the Wisdom Kings, Fudō Myōō (Acala, literally “The Immovable Wisdom King”) is the most prominent. He is revered as an incarnation of the Cosmic Buddha Dainichi (Mahāvairocana), the central deity of Esoteric Buddhism. Sculptures of Fudō Myōō often depict him wielding weapons with a ferocious glare and bared fangs. This intimidating appearance is intended to overpower those consumed by worldly desires and guide them to the path of enlightenment, although some representations of Fudō Myōō also exhibit a certain gentleness. This exhibition presents an array of sculptures of this fearsome deity dating from the Heian (794–1185) and Kamakura (1185–1333) periods.

Ceramics are not only admired for their beauty but are also broadly used in daily life, making them one of the most familiar forms of decorative arts. East Asian ceramics in particular feature a rich variety of patterns, forms, and colors, and have equally wide-ranging uses. Additionally, the type of ware (such as earthenware or porcelain), clay, glazes, decor, and firing techniques each vary depending on the region of production. Focusing on Japan, China, and the Korean Peninsula, this gallery presents a diverse selection of East Asian ceramics, showcasing their distinctive qualities and artistic appeal.

This gallery introduces archaeological materials related to ritual practices from the Asuka (592–710) and Nara (710–794) periods. During this time, Japan actively looked to China and the Korean peninsula for political and cultural models as it laid the foundations of the state. This was also the age when Buddhism, which had been introduced to Japan during the sixth century, began to flourish. As a result, worship practices evolved substantially from earlier periods.
There are many things that people wished for—— personal wellbeing, protection of the nation, prosperity of their descendants, and safety from disease and disasters—— yet the human urge to pray for that which we hold dear has remained unchanged throughout history. The objects in this gallery, entrusted with the hopes and prayers of people from the seventh and eighth centuries, offer a glimpse into the spiritual life of their time.

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.

This gallery introduces illustrated handscrolls from the Muromachi period (1392–1573) which are related to the feature exhibition Commemorating the Completion of Conservation: Legends of the Shakyamuni Hall (Shakadō Engi). They include illustrated origin stories (engi-e) dating to the same era, as well as works influenced by Kano school handscrolls. Together, the scrolls displayed here provide fresh insight into the masterpiece Legends of the Shakyamuni Hall.

Kyoto’s Myōshin-ji, the head temple of the Myōshin-ji sect of Rinzai Zen Buddhism, possesses a remarkable set of six pairs of folding screens. Commonly known as the “Myōshin-ji Temple Folding Screens,” the paintings each tower nearly two meters tall, far exceeding the typical height of around 175 centimeters. The master painters Kaiho Yūshō (1533–1615) and Kano Sanraku (1559–1635) each brushed three pairs of the screens. They were originally used to decorate the Ōhōjō (Abbot’s Quarters) during the annual memorial service for the temple’s founder, enhancing the splendor and solemnity of the ritual space. Their impressive scale and lavish gold-leaf backgrounds embody the opulent tastes of the Momoyama period (1573–1615).

Painting and sculpture have a long and rich tradition in Daoism and Buddhism, the two major religions practiced in China since antiquity. Depictions of Daoist and Buddhist figures form one of the key genres of Chinese painting, alongside landscapes and bird-and-flower painting. Such works include not only images of Buddhist and Daoist divinities, which were used for worship, but also portraits of patriarchs, scenes of immortals, and illustrated narratives. Artists of the Ming (1368–1644) and Qing (1644–1912) dynasties, while drawing on Song (960–1279) and Yuan (1271–1368) iconographic traditions, developed increasingly vibrant and dynamic approaches to portraying these sacred figures.

The history of Japanese Buddhist sculpture originates in the mid-sixth century, when Buddhism was introduced from the Korean kingdom of Baekje. The introduction of cast and gilded bronze statues at that time marked the beginning of a tradition of Buddhist sculpture in Japan that continues to this day.
This exhibition features sculpture from the Asuka (592–710), Nara (710–794), and Heian (794–1185) periods. During this time, official envoys to Sui and Tang China as well as visits from foreign monks brought new knowledge and objects to the Japanese archipelago. In the realm of Buddhist sculpture, the main techniques and materials—bronze, clay, dry lacquer, and wood——changed with each era and influenced stylistic trends. This gallery introduces a variety of sculptures from ancient Japan, tracing the dawn of Japanese Buddhist art.

Wisdom Kings (Myōō) are wrathful deities of Esoteric Buddhism tasked with protecting the Buddhist law. Esoteric Buddhist imagery often portrays these figures with fierce expressions and multiple arms, drawing on elements of ancient Indian Hinduism. Among the Wisdom Kings, Fudō Myōō (Acala, literally “The Immovable Wisdom King”) is the most prominent. He is revered as an incarnation of the Cosmic Buddha Dainichi (Mahāvairocana), the central deity of Esoteric Buddhism. Sculptures of Fudō Myōō often depict him wielding weapons with a ferocious glare and bared fangs. This intimidating appearance is intended to overpower those consumed by worldly desires and guide them to the path of enlightenment, although some representations of Fudō Myōō also exhibit a certain gentleness. This exhibition presents an array of sculptures of this fearsome deity dating from the Heian (794–1185) and Kamakura (1185–1333) periods.

Ceramics are not only admired for their beauty but are also broadly used in daily life, making them one of the most familiar forms of decorative arts. East Asian ceramics in particular feature a rich variety of patterns, forms, and colors, and have equally wide-ranging uses. Additionally, the type of ware (such as earthenware or porcelain), clay, glazes, decor, and firing techniques each vary depending on the region of production. Focusing on Japan, China, and the Korean Peninsula, this gallery presents a diverse selection of East Asian ceramics, showcasing their distinctive qualities and artistic appeal.

This gallery introduces archaeological materials related to ritual practices from the Asuka (592–710) and Nara (710–794) periods. During this time, Japan actively looked to China and the Korean peninsula for political and cultural models as it laid the foundations of the state. This was also the age when Buddhism, which had been introduced to Japan during the sixth century, began to flourish. As a result, worship practices evolved substantially from earlier periods.
There are many things that people wished for—— personal wellbeing, protection of the nation, prosperity of their descendants, and safety from disease and disasters—— yet the human urge to pray for that which we hold dear has remained unchanged throughout history. The objects in this gallery, entrusted with the hopes and prayers of people from the seventh and eighth centuries, offer a glimpse into the spiritual life of their time.

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.

This gallery introduces illustrated handscrolls from the Muromachi period (1392–1573) which are related to the feature exhibition Commemorating the Completion of Conservation: Legends of the Shakyamuni Hall (Shakadō Engi). They include illustrated origin stories (engi-e) dating to the same era, as well as works influenced by Kano school handscrolls. Together, the scrolls displayed here provide fresh insight into the masterpiece Legends of the Shakyamuni Hall.

Kyoto’s Myōshin-ji, the head temple of the Myōshin-ji sect of Rinzai Zen Buddhism, possesses a remarkable set of six pairs of folding screens. Commonly known as the “Myōshin-ji Temple Folding Screens,” the paintings each tower nearly two meters tall, far exceeding the typical height of around 175 centimeters. The master painters Kaiho Yūshō (1533–1615) and Kano Sanraku (1559–1635) each brushed three pairs of the screens. They were originally used to decorate the Ōhōjō (Abbot’s Quarters) during the annual memorial service for the temple’s founder, enhancing the splendor and solemnity of the ritual space. Their impressive scale and lavish gold-leaf backgrounds embody the opulent tastes of the Momoyama period (1573–1615).

Painting and sculpture have a long and rich tradition in Daoism and Buddhism, the two major religions practiced in China since antiquity. Depictions of Daoist and Buddhist figures form one of the key genres of Chinese painting, alongside landscapes and bird-and-flower painting. Such works include not only images of Buddhist and Daoist divinities, which were used for worship, but also portraits of patriarchs, scenes of immortals, and illustrated narratives. Artists of the Ming (1368–1644) and Qing (1644–1912) dynasties, while drawing on Song (960–1279) and Yuan (1271–1368) iconographic traditions, developed increasingly vibrant and dynamic approaches to portraying these sacred figures.

The history of Japanese Buddhist sculpture originates in the mid-sixth century, when Buddhism was introduced from the Korean kingdom of Baekje. The introduction of cast and gilded bronze statues at that time marked the beginning of a tradition of Buddhist sculpture in Japan that continues to this day.
This exhibition features sculpture from the Asuka (592–710), Nara (710–794), and Heian (794–1185) periods. During this time, official envoys to Sui and Tang China as well as visits from foreign monks brought new knowledge and objects to the Japanese archipelago. In the realm of Buddhist sculpture, the main techniques and materials—bronze, clay, dry lacquer, and wood——changed with each era and influenced stylistic trends. This gallery introduces a variety of sculptures from ancient Japan, tracing the dawn of Japanese Buddhist art.

Wisdom Kings (Myōō) are wrathful deities of Esoteric Buddhism tasked with protecting the Buddhist law. Esoteric Buddhist imagery often portrays these figures with fierce expressions and multiple arms, drawing on elements of ancient Indian Hinduism. Among the Wisdom Kings, Fudō Myōō (Acala, literally “The Immovable Wisdom King”) is the most prominent. He is revered as an incarnation of the Cosmic Buddha Dainichi (Mahāvairocana), the central deity of Esoteric Buddhism. Sculptures of Fudō Myōō often depict him wielding weapons with a ferocious glare and bared fangs. This intimidating appearance is intended to overpower those consumed by worldly desires and guide them to the path of enlightenment, although some representations of Fudō Myōō also exhibit a certain gentleness. This exhibition presents an array of sculptures of this fearsome deity dating from the Heian (794–1185) and Kamakura (1185–1333) periods.

Ceramics are not only admired for their beauty but are also broadly used in daily life, making them one of the most familiar forms of decorative arts. East Asian ceramics in particular feature a rich variety of patterns, forms, and colors, and have equally wide-ranging uses. Additionally, the type of ware (such as earthenware or porcelain), clay, glazes, decor, and firing techniques each vary depending on the region of production. Focusing on Japan, China, and the Korean Peninsula, this gallery presents a diverse selection of East Asian ceramics, showcasing their distinctive qualities and artistic appeal.

This gallery introduces archaeological materials related to ritual practices from the Asuka (592–710) and Nara (710–794) periods. During this time, Japan actively looked to China and the Korean peninsula for political and cultural models as it laid the foundations of the state. This was also the age when Buddhism, which had been introduced to Japan during the sixth century, began to flourish. As a result, worship practices evolved substantially from earlier periods.
There are many things that people wished for—— personal wellbeing, protection of the nation, prosperity of their descendants, and safety from disease and disasters—— yet the human urge to pray for that which we hold dear has remained unchanged throughout history. The objects in this gallery, entrusted with the hopes and prayers of people from the seventh and eighth centuries, offer a glimpse into the spiritual life of their time.

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.

This gallery introduces illustrated handscrolls from the Muromachi period (1392–1573) which are related to the feature exhibition Commemorating the Completion of Conservation: Legends of the Shakyamuni Hall (Shakadō Engi). They include illustrated origin stories (engi-e) dating to the same era, as well as works influenced by Kano school handscrolls. Together, the scrolls displayed here provide fresh insight into the masterpiece Legends of the Shakyamuni Hall.

Kyoto’s Myōshin-ji, the head temple of the Myōshin-ji sect of Rinzai Zen Buddhism, possesses a remarkable set of six pairs of folding screens. Commonly known as the “Myōshin-ji Temple Folding Screens,” the paintings each tower nearly two meters tall, far exceeding the typical height of around 175 centimeters. The master painters Kaiho Yūshō (1533–1615) and Kano Sanraku (1559–1635) each brushed three pairs of the screens. They were originally used to decorate the Ōhōjō (Abbot’s Quarters) during the annual memorial service for the temple’s founder, enhancing the splendor and solemnity of the ritual space. Their impressive scale and lavish gold-leaf backgrounds embody the opulent tastes of the Momoyama period (1573–1615).

Painting and sculpture have a long and rich tradition in Daoism and Buddhism, the two major religions practiced in China since antiquity. Depictions of Daoist and Buddhist figures form one of the key genres of Chinese painting, alongside landscapes and bird-and-flower painting. Such works include not only images of Buddhist and Daoist divinities, which were used for worship, but also portraits of patriarchs, scenes of immortals, and illustrated narratives. Artists of the Ming (1368–1644) and Qing (1644–1912) dynasties, while drawing on Song (960–1279) and Yuan (1271–1368) iconographic traditions, developed increasingly vibrant and dynamic approaches to portraying these sacred figures.

The history of Japanese Buddhist sculpture originates in the mid-sixth century, when Buddhism was introduced from the Korean kingdom of Baekje. The introduction of cast and gilded bronze statues at that time marked the beginning of a tradition of Buddhist sculpture in Japan that continues to this day.
This exhibition features sculpture from the Asuka (592–710), Nara (710–794), and Heian (794–1185) periods. During this time, official envoys to Sui and Tang China as well as visits from foreign monks brought new knowledge and objects to the Japanese archipelago. In the realm of Buddhist sculpture, the main techniques and materials—bronze, clay, dry lacquer, and wood——changed with each era and influenced stylistic trends. This gallery introduces a variety of sculptures from ancient Japan, tracing the dawn of Japanese Buddhist art.

Wisdom Kings (Myōō) are wrathful deities of Esoteric Buddhism tasked with protecting the Buddhist law. Esoteric Buddhist imagery often portrays these figures with fierce expressions and multiple arms, drawing on elements of ancient Indian Hinduism. Among the Wisdom Kings, Fudō Myōō (Acala, literally “The Immovable Wisdom King”) is the most prominent. He is revered as an incarnation of the Cosmic Buddha Dainichi (Mahāvairocana), the central deity of Esoteric Buddhism. Sculptures of Fudō Myōō often depict him wielding weapons with a ferocious glare and bared fangs. This intimidating appearance is intended to overpower those consumed by worldly desires and guide them to the path of enlightenment, although some representations of Fudō Myōō also exhibit a certain gentleness. This exhibition presents an array of sculptures of this fearsome deity dating from the Heian (794–1185) and Kamakura (1185–1333) periods.

Ceramics are not only admired for their beauty but are also broadly used in daily life, making them one of the most familiar forms of decorative arts. East Asian ceramics in particular feature a rich variety of patterns, forms, and colors, and have equally wide-ranging uses. Additionally, the type of ware (such as earthenware or porcelain), clay, glazes, decor, and firing techniques each vary depending on the region of production. Focusing on Japan, China, and the Korean Peninsula, this gallery presents a diverse selection of East Asian ceramics, showcasing their distinctive qualities and artistic appeal.

This gallery introduces archaeological materials related to ritual practices from the Asuka (592–710) and Nara (710–794) periods. During this time, Japan actively looked to China and the Korean peninsula for political and cultural models as it laid the foundations of the state. This was also the age when Buddhism, which had been introduced to Japan during the sixth century, began to flourish. As a result, worship practices evolved substantially from earlier periods.
There are many things that people wished for—— personal wellbeing, protection of the nation, prosperity of their descendants, and safety from disease and disasters—— yet the human urge to pray for that which we hold dear has remained unchanged throughout history. The objects in this gallery, entrusted with the hopes and prayers of people from the seventh and eighth centuries, offer a glimpse into the spiritual life of their time.

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.

This gallery introduces illustrated handscrolls from the Muromachi period (1392–1573) which are related to the feature exhibition Commemorating the Completion of Conservation: Legends of the Shakyamuni Hall (Shakadō Engi). They include illustrated origin stories (engi-e) dating to the same era, as well as works influenced by Kano school handscrolls. Together, the scrolls displayed here provide fresh insight into the masterpiece Legends of the Shakyamuni Hall.

Kyoto’s Myōshin-ji, the head temple of the Myōshin-ji sect of Rinzai Zen Buddhism, possesses a remarkable set of six pairs of folding screens. Commonly known as the “Myōshin-ji Temple Folding Screens,” the paintings each tower nearly two meters tall, far exceeding the typical height of around 175 centimeters. The master painters Kaiho Yūshō (1533–1615) and Kano Sanraku (1559–1635) each brushed three pairs of the screens. They were originally used to decorate the Ōhōjō (Abbot’s Quarters) during the annual memorial service for the temple’s founder, enhancing the splendor and solemnity of the ritual space. Their impressive scale and lavish gold-leaf backgrounds embody the opulent tastes of the Momoyama period (1573–1615).

Painting and sculpture have a long and rich tradition in Daoism and Buddhism, the two major religions practiced in China since antiquity. Depictions of Daoist and Buddhist figures form one of the key genres of Chinese painting, alongside landscapes and bird-and-flower painting. Such works include not only images of Buddhist and Daoist divinities, which were used for worship, but also portraits of patriarchs, scenes of immortals, and illustrated narratives. Artists of the Ming (1368–1644) and Qing (1644–1912) dynasties, while drawing on Song (960–1279) and Yuan (1271–1368) iconographic traditions, developed increasingly vibrant and dynamic approaches to portraying these sacred figures.

The history of Japanese Buddhist sculpture originates in the mid-sixth century, when Buddhism was introduced from the Korean kingdom of Baekje. The introduction of cast and gilded bronze statues at that time marked the beginning of a tradition of Buddhist sculpture in Japan that continues to this day.
This exhibition features sculpture from the Asuka (592–710), Nara (710–794), and Heian (794–1185) periods. During this time, official envoys to Sui and Tang China as well as visits from foreign monks brought new knowledge and objects to the Japanese archipelago. In the realm of Buddhist sculpture, the main techniques and materials—bronze, clay, dry lacquer, and wood——changed with each era and influenced stylistic trends. This gallery introduces a variety of sculptures from ancient Japan, tracing the dawn of Japanese Buddhist art.

Wisdom Kings (Myōō) are wrathful deities of Esoteric Buddhism tasked with protecting the Buddhist law. Esoteric Buddhist imagery often portrays these figures with fierce expressions and multiple arms, drawing on elements of ancient Indian Hinduism. Among the Wisdom Kings, Fudō Myōō (Acala, literally “The Immovable Wisdom King”) is the most prominent. He is revered as an incarnation of the Cosmic Buddha Dainichi (Mahāvairocana), the central deity of Esoteric Buddhism. Sculptures of Fudō Myōō often depict him wielding weapons with a ferocious glare and bared fangs. This intimidating appearance is intended to overpower those consumed by worldly desires and guide them to the path of enlightenment, although some representations of Fudō Myōō also exhibit a certain gentleness. This exhibition presents an array of sculptures of this fearsome deity dating from the Heian (794–1185) and Kamakura (1185–1333) periods.

Ceramics are not only admired for their beauty but are also broadly used in daily life, making them one of the most familiar forms of decorative arts. East Asian ceramics in particular feature a rich variety of patterns, forms, and colors, and have equally wide-ranging uses. Additionally, the type of ware (such as earthenware or porcelain), clay, glazes, decor, and firing techniques each vary depending on the region of production. Focusing on Japan, China, and the Korean Peninsula, this gallery presents a diverse selection of East Asian ceramics, showcasing their distinctive qualities and artistic appeal.

This gallery introduces archaeological materials related to ritual practices from the Asuka (592–710) and Nara (710–794) periods. During this time, Japan actively looked to China and the Korean peninsula for political and cultural models as it laid the foundations of the state. This was also the age when Buddhism, which had been introduced to Japan during the sixth century, began to flourish. As a result, worship practices evolved substantially from earlier periods.
There are many things that people wished for—— personal wellbeing, protection of the nation, prosperity of their descendants, and safety from disease and disasters—— yet the human urge to pray for that which we hold dear has remained unchanged throughout history. The objects in this gallery, entrusted with the hopes and prayers of people from the seventh and eighth centuries, offer a glimpse into the spiritual life of their time.

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.

This gallery introduces illustrated handscrolls from the Muromachi period (1392–1573) which are related to the feature exhibition Commemorating the Completion of Conservation: Legends of the Shakyamuni Hall (Shakadō Engi). They include illustrated origin stories (engi-e) dating to the same era, as well as works influenced by Kano school handscrolls. Together, the scrolls displayed here provide fresh insight into the masterpiece Legends of the Shakyamuni Hall.

Kyoto’s Myōshin-ji, the head temple of the Myōshin-ji sect of Rinzai Zen Buddhism, possesses a remarkable set of six pairs of folding screens. Commonly known as the “Myōshin-ji Temple Folding Screens,” the paintings each tower nearly two meters tall, far exceeding the typical height of around 175 centimeters. The master painters Kaiho Yūshō (1533–1615) and Kano Sanraku (1559–1635) each brushed three pairs of the screens. They were originally used to decorate the Ōhōjō (Abbot’s Quarters) during the annual memorial service for the temple’s founder, enhancing the splendor and solemnity of the ritual space. Their impressive scale and lavish gold-leaf backgrounds embody the opulent tastes of the Momoyama period (1573–1615).

Painting and sculpture have a long and rich tradition in Daoism and Buddhism, the two major religions practiced in China since antiquity. Depictions of Daoist and Buddhist figures form one of the key genres of Chinese painting, alongside landscapes and bird-and-flower painting. Such works include not only images of Buddhist and Daoist divinities, which were used for worship, but also portraits of patriarchs, scenes of immortals, and illustrated narratives. Artists of the Ming (1368–1644) and Qing (1644–1912) dynasties, while drawing on Song (960–1279) and Yuan (1271–1368) iconographic traditions, developed increasingly vibrant and dynamic approaches to portraying these sacred figures.

The history of Japanese Buddhist sculpture originates in the mid-sixth century, when Buddhism was introduced from the Korean kingdom of Baekje. The introduction of cast and gilded bronze statues at that time marked the beginning of a tradition of Buddhist sculpture in Japan that continues to this day.
This exhibition features sculpture from the Asuka (592–710), Nara (710–794), and Heian (794–1185) periods. During this time, official envoys to Sui and Tang China as well as visits from foreign monks brought new knowledge and objects to the Japanese archipelago. In the realm of Buddhist sculpture, the main techniques and materials—bronze, clay, dry lacquer, and wood——changed with each era and influenced stylistic trends. This gallery introduces a variety of sculptures from ancient Japan, tracing the dawn of Japanese Buddhist art.

Wisdom Kings (Myōō) are wrathful deities of Esoteric Buddhism tasked with protecting the Buddhist law. Esoteric Buddhist imagery often portrays these figures with fierce expressions and multiple arms, drawing on elements of ancient Indian Hinduism. Among the Wisdom Kings, Fudō Myōō (Acala, literally “The Immovable Wisdom King”) is the most prominent. He is revered as an incarnation of the Cosmic Buddha Dainichi (Mahāvairocana), the central deity of Esoteric Buddhism. Sculptures of Fudō Myōō often depict him wielding weapons with a ferocious glare and bared fangs. This intimidating appearance is intended to overpower those consumed by worldly desires and guide them to the path of enlightenment, although some representations of Fudō Myōō also exhibit a certain gentleness. This exhibition presents an array of sculptures of this fearsome deity dating from the Heian (794–1185) and Kamakura (1185–1333) periods.

Ceramics are not only admired for their beauty but are also broadly used in daily life, making them one of the most familiar forms of decorative arts. East Asian ceramics in particular feature a rich variety of patterns, forms, and colors, and have equally wide-ranging uses. Additionally, the type of ware (such as earthenware or porcelain), clay, glazes, decor, and firing techniques each vary depending on the region of production. Focusing on Japan, China, and the Korean Peninsula, this gallery presents a diverse selection of East Asian ceramics, showcasing their distinctive qualities and artistic appeal.

This gallery introduces archaeological materials related to ritual practices from the Asuka (592–710) and Nara (710–794) periods. During this time, Japan actively looked to China and the Korean peninsula for political and cultural models as it laid the foundations of the state. This was also the age when Buddhism, which had been introduced to Japan during the sixth century, began to flourish. As a result, worship practices evolved substantially from earlier periods.
There are many things that people wished for—— personal wellbeing, protection of the nation, prosperity of their descendants, and safety from disease and disasters—— yet the human urge to pray for that which we hold dear has remained unchanged throughout history. The objects in this gallery, entrusted with the hopes and prayers of people from the seventh and eighth centuries, offer a glimpse into the spiritual life of their time.

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.

This gallery introduces illustrated handscrolls from the Muromachi period (1392–1573) which are related to the feature exhibition Commemorating the Completion of Conservation: Legends of the Shakyamuni Hall (Shakadō Engi). They include illustrated origin stories (engi-e) dating to the same era, as well as works influenced by Kano school handscrolls. Together, the scrolls displayed here provide fresh insight into the masterpiece Legends of the Shakyamuni Hall.

Kyoto’s Myōshin-ji, the head temple of the Myōshin-ji sect of Rinzai Zen Buddhism, possesses a remarkable set of six pairs of folding screens. Commonly known as the “Myōshin-ji Temple Folding Screens,” the paintings each tower nearly two meters tall, far exceeding the typical height of around 175 centimeters. The master painters Kaiho Yūshō (1533–1615) and Kano Sanraku (1559–1635) each brushed three pairs of the screens. They were originally used to decorate the Ōhōjō (Abbot’s Quarters) during the annual memorial service for the temple’s founder, enhancing the splendor and solemnity of the ritual space. Their impressive scale and lavish gold-leaf backgrounds embody the opulent tastes of the Momoyama period (1573–1615).

Painting and sculpture have a long and rich tradition in Daoism and Buddhism, the two major religions practiced in China since antiquity. Depictions of Daoist and Buddhist figures form one of the key genres of Chinese painting, alongside landscapes and bird-and-flower painting. Such works include not only images of Buddhist and Daoist divinities, which were used for worship, but also portraits of patriarchs, scenes of immortals, and illustrated narratives. Artists of the Ming (1368–1644) and Qing (1644–1912) dynasties, while drawing on Song (960–1279) and Yuan (1271–1368) iconographic traditions, developed increasingly vibrant and dynamic approaches to portraying these sacred figures.

The history of Japanese Buddhist sculpture originates in the mid-sixth century, when Buddhism was introduced from the Korean kingdom of Baekje. The introduction of cast and gilded bronze statues at that time marked the beginning of a tradition of Buddhist sculpture in Japan that continues to this day.
This exhibition features sculpture from the Asuka (592–710), Nara (710–794), and Heian (794–1185) periods. During this time, official envoys to Sui and Tang China as well as visits from foreign monks brought new knowledge and objects to the Japanese archipelago. In the realm of Buddhist sculpture, the main techniques and materials—bronze, clay, dry lacquer, and wood——changed with each era and influenced stylistic trends. This gallery introduces a variety of sculptures from ancient Japan, tracing the dawn of Japanese Buddhist art.

Wisdom Kings (Myōō) are wrathful deities of Esoteric Buddhism tasked with protecting the Buddhist law. Esoteric Buddhist imagery often portrays these figures with fierce expressions and multiple arms, drawing on elements of ancient Indian Hinduism. Among the Wisdom Kings, Fudō Myōō (Acala, literally “The Immovable Wisdom King”) is the most prominent. He is revered as an incarnation of the Cosmic Buddha Dainichi (Mahāvairocana), the central deity of Esoteric Buddhism. Sculptures of Fudō Myōō often depict him wielding weapons with a ferocious glare and bared fangs. This intimidating appearance is intended to overpower those consumed by worldly desires and guide them to the path of enlightenment, although some representations of Fudō Myōō also exhibit a certain gentleness. This exhibition presents an array of sculptures of this fearsome deity dating from the Heian (794–1185) and Kamakura (1185–1333) periods.