The late Ming and early Qing dynasties in China, spanning the end of the sixteenth to the seventeenth centuries, were an era of profound transformation, marked by intercultural exchange between the East and West as European culture spread throughout the globe. In Japan, such encounters exerted a wide-ranging influence and shaped the development of Edo-period (1615–1868) Japanese culture. This impacted numerous types of Japanese ceramics, ranging from Imari overglaze-enamel porcelain to Kyoto ware. This exhibition introduces a selection of Chinese polychrome porcelain——including iroe Shonzui, Nankin akae ("Nanjing red"), and famille verte (Kangxi wucai)——that shaped the emergence and development of Japan’s own overglaze enamel porcelain tradition.

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.

Northern Kyoto Prefecture has long served as a hub of both domestic and international exchange. Comprising the Tango region and part of the Tamba region, the area is bordered by the Sea of Japan and mountains. Archaeological excavations have revealed that during the latter half of the early Jōmon period (pre-10,000–ca. 5th c. BCE), dugout canoes were used to travel across the open sea, while during the Yayoi (ca. 5th c. BCE–ca. 3rd c. CE) and Kofun (ca. 3rd c.–6th c.) periods, large tombs were constructed. The unique culture of northern Kyoto led to it being referred to as the “Tango Kingdom.” From the Heian period (794–1185) onward, the region maintained close ties with the capital yet also nurtured its own distinctive art and religious traditions, as evidenced by artifacts excavated from sutra mounds. This exhibition provides a glimpse into the rich culture of northern Kyoto through archaeological materials from the Jōmon period to the medieval era.

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.

The Heian period (794–1185) was one of the most dynamic eras within the history of Japanese sculpture. The impression of Buddhist icons from the ninth century, during which the monks Saichō (767–822) and Kūkai (774–835) introduced Esoteric Buddhism from China, differs greatly from the serene air of twelfth-century statues.
Most temples were located in Kyoto’s surroundings until the middle of the Heian period. However, from the late Heian period onwards, temple construction within the capital itself increased, accompanied by the active production of Buddhist sculptures. Although unfortunately some works have been lost due to wars and natural disasters, many others have been carefully protected and passed down throughout generations. This exhibition presents a variety of sculptures capturing the spirit of the Heian period.

Originally, indigenous Japanese deities (kami) were thought to be invisible to humans, but the influence of Buddhism lead to the production of statues of Shinto gods. Many of them were small in scale, as they were enclosed within miniature shrines. Shinto sculptures also distinguished between male and female deities and had a human-like appearance, sometimes being depicted wearing the clothing and armor of nobles or monks.
Lions and lion dogs are stationed at shrine entrances to guard the deity inside. Within this protective pair, the open-mouthed creature without horns is the lion, while the close-mouthed and horned figure is the lion-dog. Pairs of lions are sometimes placed before Buddha sculptures, as within Buddhism the roar of the "king of the beasts" is likened to the Buddha’s voice preaching the dharma. This exhibition presents a variety of sculptures, including stone figures from China and wooden statues from Japan.

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

Since ancient times, the most prized patterns for clothing were those with auspicious associations. Patterns adorning garments and personal belongings were imbued with wishes for fundamental desires such as success, familial prosperity, and a long life. Some auspicious patterns originated in ancient China, while others developed out of Japanese customs. This exhibition, organized to celebrate the New Year, features textiles bearing celebratory motifs deriving from both cultures.

In Japan, people have long made a variety of offerings—— ranging from objects to performances of music and dance—— to honor Shinto and Buddhist deities and to express gratitude and prayer. Such offerings reflect the characteristics of the enshrined deity or principal image of worship, and, while following certain stylistic conventions, take a range of diverse forms. Among the many types of votive objects, this exhibition focuses on three principal themes: mirrors, Buddhist “flower garland” ornaments known as keman, and armor and garments dedicated to war deities.

Founded in 1772, Minoya was a high-end lacquerware shop specializing in custom-made works reflecting the status and tastes of its clients. Unfortunately, the shop was forced to close its doors in 1945 due to concerns over declining quality amid shortages of materials and artisans. In 1990, the last head of Minoya generously donated several hundred sample works to the Kyoto National Museum. The collection reflects the meticulous craftsmanship that defined Minoya lacquers, produced through Kyoto’s distinctive system of divided labor: masters of woodturning and joinery crafted precise wooden bases, lacquer specialists applied perfectly even coats, and makie artists added intricate decorative motifs. This painstaking process would take one to three years from an initial order to delivery. We invite you to enjoy this selection of Kyoto lacquerware, whose subtle charm reflects Minoya’s rich collaboration with local workshops and the dedication of their artisans.

The late Ming and early Qing dynasties in China, spanning the end of the sixteenth to the seventeenth centuries, were an era of profound transformation, marked by intercultural exchange between the East and West as European culture spread throughout the globe. In Japan, such encounters exerted a wide-ranging influence and shaped the development of Edo-period (1615–1868) Japanese culture. This impacted numerous types of Japanese ceramics, ranging from Imari overglaze-enamel porcelain to Kyoto ware. This exhibition introduces a selection of Chinese polychrome porcelain——including iroe Shonzui, Nankin akae ("Nanjing red"), and famille verte (Kangxi wucai)——that shaped the emergence and development of Japan’s own overglaze enamel porcelain tradition.

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.

Northern Kyoto Prefecture has long served as a hub of both domestic and international exchange. Comprising the Tango region and part of the Tamba region, the area is bordered by the Sea of Japan and mountains. Archaeological excavations have revealed that during the latter half of the early Jōmon period (pre-10,000–ca. 5th c. BCE), dugout canoes were used to travel across the open sea, while during the Yayoi (ca. 5th c. BCE–ca. 3rd c. CE) and Kofun (ca. 3rd c.–6th c.) periods, large tombs were constructed. The unique culture of northern Kyoto led to it being referred to as the “Tango Kingdom.” From the Heian period (794–1185) onward, the region maintained close ties with the capital yet also nurtured its own distinctive art and religious traditions, as evidenced by artifacts excavated from sutra mounds. This exhibition provides a glimpse into the rich culture of northern Kyoto through archaeological materials from the Jōmon period to the medieval era.

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.

The Heian period (794–1185) was one of the most dynamic eras within the history of Japanese sculpture. The impression of Buddhist icons from the ninth century, during which the monks Saichō (767–822) and Kūkai (774–835) introduced Esoteric Buddhism from China, differs greatly from the serene air of twelfth-century statues.
Most temples were located in Kyoto’s surroundings until the middle of the Heian period. However, from the late Heian period onwards, temple construction within the capital itself increased, accompanied by the active production of Buddhist sculptures. Although unfortunately some works have been lost due to wars and natural disasters, many others have been carefully protected and passed down throughout generations. This exhibition presents a variety of sculptures capturing the spirit of the Heian period.

Originally, indigenous Japanese deities (kami) were thought to be invisible to humans, but the influence of Buddhism lead to the production of statues of Shinto gods. Many of them were small in scale, as they were enclosed within miniature shrines. Shinto sculptures also distinguished between male and female deities and had a human-like appearance, sometimes being depicted wearing the clothing and armor of nobles or monks.
Lions and lion dogs are stationed at shrine entrances to guard the deity inside. Within this protective pair, the open-mouthed creature without horns is the lion, while the close-mouthed and horned figure is the lion-dog. Pairs of lions are sometimes placed before Buddha sculptures, as within Buddhism the roar of the "king of the beasts" is likened to the Buddha’s voice preaching the dharma. This exhibition presents a variety of sculptures, including stone figures from China and wooden statues from Japan.

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

Since ancient times, the most prized patterns for clothing were those with auspicious associations. Patterns adorning garments and personal belongings were imbued with wishes for fundamental desires such as success, familial prosperity, and a long life. Some auspicious patterns originated in ancient China, while others developed out of Japanese customs. This exhibition, organized to celebrate the New Year, features textiles bearing celebratory motifs deriving from both cultures.

In Japan, people have long made a variety of offerings—— ranging from objects to performances of music and dance—— to honor Shinto and Buddhist deities and to express gratitude and prayer. Such offerings reflect the characteristics of the enshrined deity or principal image of worship, and, while following certain stylistic conventions, take a range of diverse forms. Among the many types of votive objects, this exhibition focuses on three principal themes: mirrors, Buddhist “flower garland” ornaments known as keman, and armor and garments dedicated to war deities.

Founded in 1772, Minoya was a high-end lacquerware shop specializing in custom-made works reflecting the status and tastes of its clients. Unfortunately, the shop was forced to close its doors in 1945 due to concerns over declining quality amid shortages of materials and artisans. In 1990, the last head of Minoya generously donated several hundred sample works to the Kyoto National Museum. The collection reflects the meticulous craftsmanship that defined Minoya lacquers, produced through Kyoto’s distinctive system of divided labor: masters of woodturning and joinery crafted precise wooden bases, lacquer specialists applied perfectly even coats, and makie artists added intricate decorative motifs. This painstaking process would take one to three years from an initial order to delivery. We invite you to enjoy this selection of Kyoto lacquerware, whose subtle charm reflects Minoya’s rich collaboration with local workshops and the dedication of their artisans.

The late Ming and early Qing dynasties in China, spanning the end of the sixteenth to the seventeenth centuries, were an era of profound transformation, marked by intercultural exchange between the East and West as European culture spread throughout the globe. In Japan, such encounters exerted a wide-ranging influence and shaped the development of Edo-period (1615–1868) Japanese culture. This impacted numerous types of Japanese ceramics, ranging from Imari overglaze-enamel porcelain to Kyoto ware. This exhibition introduces a selection of Chinese polychrome porcelain——including iroe Shonzui, Nankin akae ("Nanjing red"), and famille verte (Kangxi wucai)——that shaped the emergence and development of Japan’s own overglaze enamel porcelain tradition.

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.

Northern Kyoto Prefecture has long served as a hub of both domestic and international exchange. Comprising the Tango region and part of the Tamba region, the area is bordered by the Sea of Japan and mountains. Archaeological excavations have revealed that during the latter half of the early Jōmon period (pre-10,000–ca. 5th c. BCE), dugout canoes were used to travel across the open sea, while during the Yayoi (ca. 5th c. BCE–ca. 3rd c. CE) and Kofun (ca. 3rd c.–6th c.) periods, large tombs were constructed. The unique culture of northern Kyoto led to it being referred to as the “Tango Kingdom.” From the Heian period (794–1185) onward, the region maintained close ties with the capital yet also nurtured its own distinctive art and religious traditions, as evidenced by artifacts excavated from sutra mounds. This exhibition provides a glimpse into the rich culture of northern Kyoto through archaeological materials from the Jōmon period to the medieval era.

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.

The Heian period (794–1185) was one of the most dynamic eras within the history of Japanese sculpture. The impression of Buddhist icons from the ninth century, during which the monks Saichō (767–822) and Kūkai (774–835) introduced Esoteric Buddhism from China, differs greatly from the serene air of twelfth-century statues.
Most temples were located in Kyoto’s surroundings until the middle of the Heian period. However, from the late Heian period onwards, temple construction within the capital itself increased, accompanied by the active production of Buddhist sculptures. Although unfortunately some works have been lost due to wars and natural disasters, many others have been carefully protected and passed down throughout generations. This exhibition presents a variety of sculptures capturing the spirit of the Heian period.

Originally, indigenous Japanese deities (kami) were thought to be invisible to humans, but the influence of Buddhism lead to the production of statues of Shinto gods. Many of them were small in scale, as they were enclosed within miniature shrines. Shinto sculptures also distinguished between male and female deities and had a human-like appearance, sometimes being depicted wearing the clothing and armor of nobles or monks.
Lions and lion dogs are stationed at shrine entrances to guard the deity inside. Within this protective pair, the open-mouthed creature without horns is the lion, while the close-mouthed and horned figure is the lion-dog. Pairs of lions are sometimes placed before Buddha sculptures, as within Buddhism the roar of the "king of the beasts" is likened to the Buddha’s voice preaching the dharma. This exhibition presents a variety of sculptures, including stone figures from China and wooden statues from Japan.

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

Since ancient times, the most prized patterns for clothing were those with auspicious associations. Patterns adorning garments and personal belongings were imbued with wishes for fundamental desires such as success, familial prosperity, and a long life. Some auspicious patterns originated in ancient China, while others developed out of Japanese customs. This exhibition, organized to celebrate the New Year, features textiles bearing celebratory motifs deriving from both cultures.

In Japan, people have long made a variety of offerings—— ranging from objects to performances of music and dance—— to honor Shinto and Buddhist deities and to express gratitude and prayer. Such offerings reflect the characteristics of the enshrined deity or principal image of worship, and, while following certain stylistic conventions, take a range of diverse forms. Among the many types of votive objects, this exhibition focuses on three principal themes: mirrors, Buddhist “flower garland” ornaments known as keman, and armor and garments dedicated to war deities.

Founded in 1772, Minoya was a high-end lacquerware shop specializing in custom-made works reflecting the status and tastes of its clients. Unfortunately, the shop was forced to close its doors in 1945 due to concerns over declining quality amid shortages of materials and artisans. In 1990, the last head of Minoya generously donated several hundred sample works to the Kyoto National Museum. The collection reflects the meticulous craftsmanship that defined Minoya lacquers, produced through Kyoto’s distinctive system of divided labor: masters of woodturning and joinery crafted precise wooden bases, lacquer specialists applied perfectly even coats, and makie artists added intricate decorative motifs. This painstaking process would take one to three years from an initial order to delivery. We invite you to enjoy this selection of Kyoto lacquerware, whose subtle charm reflects Minoya’s rich collaboration with local workshops and the dedication of their artisans.

The late Ming and early Qing dynasties in China, spanning the end of the sixteenth to the seventeenth centuries, were an era of profound transformation, marked by intercultural exchange between the East and West as European culture spread throughout the globe. In Japan, such encounters exerted a wide-ranging influence and shaped the development of Edo-period (1615–1868) Japanese culture. This impacted numerous types of Japanese ceramics, ranging from Imari overglaze-enamel porcelain to Kyoto ware. This exhibition introduces a selection of Chinese polychrome porcelain——including iroe Shonzui, Nankin akae ("Nanjing red"), and famille verte (Kangxi wucai)——that shaped the emergence and development of Japan’s own overglaze enamel porcelain tradition.

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.

Northern Kyoto Prefecture has long served as a hub of both domestic and international exchange. Comprising the Tango region and part of the Tamba region, the area is bordered by the Sea of Japan and mountains. Archaeological excavations have revealed that during the latter half of the early Jōmon period (pre-10,000–ca. 5th c. BCE), dugout canoes were used to travel across the open sea, while during the Yayoi (ca. 5th c. BCE–ca. 3rd c. CE) and Kofun (ca. 3rd c.–6th c.) periods, large tombs were constructed. The unique culture of northern Kyoto led to it being referred to as the “Tango Kingdom.” From the Heian period (794–1185) onward, the region maintained close ties with the capital yet also nurtured its own distinctive art and religious traditions, as evidenced by artifacts excavated from sutra mounds. This exhibition provides a glimpse into the rich culture of northern Kyoto through archaeological materials from the Jōmon period to the medieval era.

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.

The Heian period (794–1185) was one of the most dynamic eras within the history of Japanese sculpture. The impression of Buddhist icons from the ninth century, during which the monks Saichō (767–822) and Kūkai (774–835) introduced Esoteric Buddhism from China, differs greatly from the serene air of twelfth-century statues.
Most temples were located in Kyoto’s surroundings until the middle of the Heian period. However, from the late Heian period onwards, temple construction within the capital itself increased, accompanied by the active production of Buddhist sculptures. Although unfortunately some works have been lost due to wars and natural disasters, many others have been carefully protected and passed down throughout generations. This exhibition presents a variety of sculptures capturing the spirit of the Heian period.

Originally, indigenous Japanese deities (kami) were thought to be invisible to humans, but the influence of Buddhism lead to the production of statues of Shinto gods. Many of them were small in scale, as they were enclosed within miniature shrines. Shinto sculptures also distinguished between male and female deities and had a human-like appearance, sometimes being depicted wearing the clothing and armor of nobles or monks.
Lions and lion dogs are stationed at shrine entrances to guard the deity inside. Within this protective pair, the open-mouthed creature without horns is the lion, while the close-mouthed and horned figure is the lion-dog. Pairs of lions are sometimes placed before Buddha sculptures, as within Buddhism the roar of the "king of the beasts" is likened to the Buddha’s voice preaching the dharma. This exhibition presents a variety of sculptures, including stone figures from China and wooden statues from Japan.

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

Since ancient times, the most prized patterns for clothing were those with auspicious associations. Patterns adorning garments and personal belongings were imbued with wishes for fundamental desires such as success, familial prosperity, and a long life. Some auspicious patterns originated in ancient China, while others developed out of Japanese customs. This exhibition, organized to celebrate the New Year, features textiles bearing celebratory motifs deriving from both cultures.

In Japan, people have long made a variety of offerings—— ranging from objects to performances of music and dance—— to honor Shinto and Buddhist deities and to express gratitude and prayer. Such offerings reflect the characteristics of the enshrined deity or principal image of worship, and, while following certain stylistic conventions, take a range of diverse forms. Among the many types of votive objects, this exhibition focuses on three principal themes: mirrors, Buddhist “flower garland” ornaments known as keman, and armor and garments dedicated to war deities.

Founded in 1772, Minoya was a high-end lacquerware shop specializing in custom-made works reflecting the status and tastes of its clients. Unfortunately, the shop was forced to close its doors in 1945 due to concerns over declining quality amid shortages of materials and artisans. In 1990, the last head of Minoya generously donated several hundred sample works to the Kyoto National Museum. The collection reflects the meticulous craftsmanship that defined Minoya lacquers, produced through Kyoto’s distinctive system of divided labor: masters of woodturning and joinery crafted precise wooden bases, lacquer specialists applied perfectly even coats, and makie artists added intricate decorative motifs. This painstaking process would take one to three years from an initial order to delivery. We invite you to enjoy this selection of Kyoto lacquerware, whose subtle charm reflects Minoya’s rich collaboration with local workshops and the dedication of their artisans.

The late Ming and early Qing dynasties in China, spanning the end of the sixteenth to the seventeenth centuries, were an era of profound transformation, marked by intercultural exchange between the East and West as European culture spread throughout the globe. In Japan, such encounters exerted a wide-ranging influence and shaped the development of Edo-period (1615–1868) Japanese culture. This impacted numerous types of Japanese ceramics, ranging from Imari overglaze-enamel porcelain to Kyoto ware. This exhibition introduces a selection of Chinese polychrome porcelain——including iroe Shonzui, Nankin akae ("Nanjing red"), and famille verte (Kangxi wucai)——that shaped the emergence and development of Japan’s own overglaze enamel porcelain tradition.

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.

Northern Kyoto Prefecture has long served as a hub of both domestic and international exchange. Comprising the Tango region and part of the Tamba region, the area is bordered by the Sea of Japan and mountains. Archaeological excavations have revealed that during the latter half of the early Jōmon period (pre-10,000–ca. 5th c. BCE), dugout canoes were used to travel across the open sea, while during the Yayoi (ca. 5th c. BCE–ca. 3rd c. CE) and Kofun (ca. 3rd c.–6th c.) periods, large tombs were constructed. The unique culture of northern Kyoto led to it being referred to as the “Tango Kingdom.” From the Heian period (794–1185) onward, the region maintained close ties with the capital yet also nurtured its own distinctive art and religious traditions, as evidenced by artifacts excavated from sutra mounds. This exhibition provides a glimpse into the rich culture of northern Kyoto through archaeological materials from the Jōmon period to the medieval era.

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.

The Heian period (794–1185) was one of the most dynamic eras within the history of Japanese sculpture. The impression of Buddhist icons from the ninth century, during which the monks Saichō (767–822) and Kūkai (774–835) introduced Esoteric Buddhism from China, differs greatly from the serene air of twelfth-century statues.
Most temples were located in Kyoto’s surroundings until the middle of the Heian period. However, from the late Heian period onwards, temple construction within the capital itself increased, accompanied by the active production of Buddhist sculptures. Although unfortunately some works have been lost due to wars and natural disasters, many others have been carefully protected and passed down throughout generations. This exhibition presents a variety of sculptures capturing the spirit of the Heian period.

Originally, indigenous Japanese deities (kami) were thought to be invisible to humans, but the influence of Buddhism lead to the production of statues of Shinto gods. Many of them were small in scale, as they were enclosed within miniature shrines. Shinto sculptures also distinguished between male and female deities and had a human-like appearance, sometimes being depicted wearing the clothing and armor of nobles or monks.
Lions and lion dogs are stationed at shrine entrances to guard the deity inside. Within this protective pair, the open-mouthed creature without horns is the lion, while the close-mouthed and horned figure is the lion-dog. Pairs of lions are sometimes placed before Buddha sculptures, as within Buddhism the roar of the "king of the beasts" is likened to the Buddha’s voice preaching the dharma. This exhibition presents a variety of sculptures, including stone figures from China and wooden statues from Japan.

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

Since ancient times, the most prized patterns for clothing were those with auspicious associations. Patterns adorning garments and personal belongings were imbued with wishes for fundamental desires such as success, familial prosperity, and a long life. Some auspicious patterns originated in ancient China, while others developed out of Japanese customs. This exhibition, organized to celebrate the New Year, features textiles bearing celebratory motifs deriving from both cultures.

In Japan, people have long made a variety of offerings—— ranging from objects to performances of music and dance—— to honor Shinto and Buddhist deities and to express gratitude and prayer. Such offerings reflect the characteristics of the enshrined deity or principal image of worship, and, while following certain stylistic conventions, take a range of diverse forms. Among the many types of votive objects, this exhibition focuses on three principal themes: mirrors, Buddhist “flower garland” ornaments known as keman, and armor and garments dedicated to war deities.

Founded in 1772, Minoya was a high-end lacquerware shop specializing in custom-made works reflecting the status and tastes of its clients. Unfortunately, the shop was forced to close its doors in 1945 due to concerns over declining quality amid shortages of materials and artisans. In 1990, the last head of Minoya generously donated several hundred sample works to the Kyoto National Museum. The collection reflects the meticulous craftsmanship that defined Minoya lacquers, produced through Kyoto’s distinctive system of divided labor: masters of woodturning and joinery crafted precise wooden bases, lacquer specialists applied perfectly even coats, and makie artists added intricate decorative motifs. This painstaking process would take one to three years from an initial order to delivery. We invite you to enjoy this selection of Kyoto lacquerware, whose subtle charm reflects Minoya’s rich collaboration with local workshops and the dedication of their artisans.

The late Ming and early Qing dynasties in China, spanning the end of the sixteenth to the seventeenth centuries, were an era of profound transformation, marked by intercultural exchange between the East and West as European culture spread throughout the globe. In Japan, such encounters exerted a wide-ranging influence and shaped the development of Edo-period (1615–1868) Japanese culture. This impacted numerous types of Japanese ceramics, ranging from Imari overglaze-enamel porcelain to Kyoto ware. This exhibition introduces a selection of Chinese polychrome porcelain——including iroe Shonzui, Nankin akae ("Nanjing red"), and famille verte (Kangxi wucai)——that shaped the emergence and development of Japan’s own overglaze enamel porcelain tradition.

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.

Northern Kyoto Prefecture has long served as a hub of both domestic and international exchange. Comprising the Tango region and part of the Tamba region, the area is bordered by the Sea of Japan and mountains. Archaeological excavations have revealed that during the latter half of the early Jōmon period (pre-10,000–ca. 5th c. BCE), dugout canoes were used to travel across the open sea, while during the Yayoi (ca. 5th c. BCE–ca. 3rd c. CE) and Kofun (ca. 3rd c.–6th c.) periods, large tombs were constructed. The unique culture of northern Kyoto led to it being referred to as the “Tango Kingdom.” From the Heian period (794–1185) onward, the region maintained close ties with the capital yet also nurtured its own distinctive art and religious traditions, as evidenced by artifacts excavated from sutra mounds. This exhibition provides a glimpse into the rich culture of northern Kyoto through archaeological materials from the Jōmon period to the medieval era.

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.

The Heian period (794–1185) was one of the most dynamic eras within the history of Japanese sculpture. The impression of Buddhist icons from the ninth century, during which the monks Saichō (767–822) and Kūkai (774–835) introduced Esoteric Buddhism from China, differs greatly from the serene air of twelfth-century statues.
Most temples were located in Kyoto’s surroundings until the middle of the Heian period. However, from the late Heian period onwards, temple construction within the capital itself increased, accompanied by the active production of Buddhist sculptures. Although unfortunately some works have been lost due to wars and natural disasters, many others have been carefully protected and passed down throughout generations. This exhibition presents a variety of sculptures capturing the spirit of the Heian period.

Originally, indigenous Japanese deities (kami) were thought to be invisible to humans, but the influence of Buddhism lead to the production of statues of Shinto gods. Many of them were small in scale, as they were enclosed within miniature shrines. Shinto sculptures also distinguished between male and female deities and had a human-like appearance, sometimes being depicted wearing the clothing and armor of nobles or monks.
Lions and lion dogs are stationed at shrine entrances to guard the deity inside. Within this protective pair, the open-mouthed creature without horns is the lion, while the close-mouthed and horned figure is the lion-dog. Pairs of lions are sometimes placed before Buddha sculptures, as within Buddhism the roar of the "king of the beasts" is likened to the Buddha’s voice preaching the dharma. This exhibition presents a variety of sculptures, including stone figures from China and wooden statues from Japan.

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

Since ancient times, the most prized patterns for clothing were those with auspicious associations. Patterns adorning garments and personal belongings were imbued with wishes for fundamental desires such as success, familial prosperity, and a long life. Some auspicious patterns originated in ancient China, while others developed out of Japanese customs. This exhibition, organized to celebrate the New Year, features textiles bearing celebratory motifs deriving from both cultures.

In Japan, people have long made a variety of offerings—— ranging from objects to performances of music and dance—— to honor Shinto and Buddhist deities and to express gratitude and prayer. Such offerings reflect the characteristics of the enshrined deity or principal image of worship, and, while following certain stylistic conventions, take a range of diverse forms. Among the many types of votive objects, this exhibition focuses on three principal themes: mirrors, Buddhist “flower garland” ornaments known as keman, and armor and garments dedicated to war deities.

Founded in 1772, Minoya was a high-end lacquerware shop specializing in custom-made works reflecting the status and tastes of its clients. Unfortunately, the shop was forced to close its doors in 1945 due to concerns over declining quality amid shortages of materials and artisans. In 1990, the last head of Minoya generously donated several hundred sample works to the Kyoto National Museum. The collection reflects the meticulous craftsmanship that defined Minoya lacquers, produced through Kyoto’s distinctive system of divided labor: masters of woodturning and joinery crafted precise wooden bases, lacquer specialists applied perfectly even coats, and makie artists added intricate decorative motifs. This painstaking process would take one to three years from an initial order to delivery. We invite you to enjoy this selection of Kyoto lacquerware, whose subtle charm reflects Minoya’s rich collaboration with local workshops and the dedication of their artisans.

The late Ming and early Qing dynasties in China, spanning the end of the sixteenth to the seventeenth centuries, were an era of profound transformation, marked by intercultural exchange between the East and West as European culture spread throughout the globe. In Japan, such encounters exerted a wide-ranging influence and shaped the development of Edo-period (1615–1868) Japanese culture. This impacted numerous types of Japanese ceramics, ranging from Imari overglaze-enamel porcelain to Kyoto ware. This exhibition introduces a selection of Chinese polychrome porcelain——including iroe Shonzui, Nankin akae ("Nanjing red"), and famille verte (Kangxi wucai)——that shaped the emergence and development of Japan’s own overglaze enamel porcelain tradition.

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.

Northern Kyoto Prefecture has long served as a hub of both domestic and international exchange. Comprising the Tango region and part of the Tamba region, the area is bordered by the Sea of Japan and mountains. Archaeological excavations have revealed that during the latter half of the early Jōmon period (pre-10,000–ca. 5th c. BCE), dugout canoes were used to travel across the open sea, while during the Yayoi (ca. 5th c. BCE–ca. 3rd c. CE) and Kofun (ca. 3rd c.–6th c.) periods, large tombs were constructed. The unique culture of northern Kyoto led to it being referred to as the “Tango Kingdom.” From the Heian period (794–1185) onward, the region maintained close ties with the capital yet also nurtured its own distinctive art and religious traditions, as evidenced by artifacts excavated from sutra mounds. This exhibition provides a glimpse into the rich culture of northern Kyoto through archaeological materials from the Jōmon period to the medieval era.

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.

The Heian period (794–1185) was one of the most dynamic eras within the history of Japanese sculpture. The impression of Buddhist icons from the ninth century, during which the monks Saichō (767–822) and Kūkai (774–835) introduced Esoteric Buddhism from China, differs greatly from the serene air of twelfth-century statues.
Most temples were located in Kyoto’s surroundings until the middle of the Heian period. However, from the late Heian period onwards, temple construction within the capital itself increased, accompanied by the active production of Buddhist sculptures. Although unfortunately some works have been lost due to wars and natural disasters, many others have been carefully protected and passed down throughout generations. This exhibition presents a variety of sculptures capturing the spirit of the Heian period.

Originally, indigenous Japanese deities (kami) were thought to be invisible to humans, but the influence of Buddhism lead to the production of statues of Shinto gods. Many of them were small in scale, as they were enclosed within miniature shrines. Shinto sculptures also distinguished between male and female deities and had a human-like appearance, sometimes being depicted wearing the clothing and armor of nobles or monks.
Lions and lion dogs are stationed at shrine entrances to guard the deity inside. Within this protective pair, the open-mouthed creature without horns is the lion, while the close-mouthed and horned figure is the lion-dog. Pairs of lions are sometimes placed before Buddha sculptures, as within Buddhism the roar of the "king of the beasts" is likened to the Buddha’s voice preaching the dharma. This exhibition presents a variety of sculptures, including stone figures from China and wooden statues from Japan.

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

Since ancient times, the most prized patterns for clothing were those with auspicious associations. Patterns adorning garments and personal belongings were imbued with wishes for fundamental desires such as success, familial prosperity, and a long life. Some auspicious patterns originated in ancient China, while others developed out of Japanese customs. This exhibition, organized to celebrate the New Year, features textiles bearing celebratory motifs deriving from both cultures.

In Japan, people have long made a variety of offerings—— ranging from objects to performances of music and dance—— to honor Shinto and Buddhist deities and to express gratitude and prayer. Such offerings reflect the characteristics of the enshrined deity or principal image of worship, and, while following certain stylistic conventions, take a range of diverse forms. Among the many types of votive objects, this exhibition focuses on three principal themes: mirrors, Buddhist “flower garland” ornaments known as keman, and armor and garments dedicated to war deities.

Founded in 1772, Minoya was a high-end lacquerware shop specializing in custom-made works reflecting the status and tastes of its clients. Unfortunately, the shop was forced to close its doors in 1945 due to concerns over declining quality amid shortages of materials and artisans. In 1990, the last head of Minoya generously donated several hundred sample works to the Kyoto National Museum. The collection reflects the meticulous craftsmanship that defined Minoya lacquers, produced through Kyoto’s distinctive system of divided labor: masters of woodturning and joinery crafted precise wooden bases, lacquer specialists applied perfectly even coats, and makie artists added intricate decorative motifs. This painstaking process would take one to three years from an initial order to delivery. We invite you to enjoy this selection of Kyoto lacquerware, whose subtle charm reflects Minoya’s rich collaboration with local workshops and the dedication of their artisans.

The late Ming and early Qing dynasties in China, spanning the end of the sixteenth to the seventeenth centuries, were an era of profound transformation, marked by intercultural exchange between the East and West as European culture spread throughout the globe. In Japan, such encounters exerted a wide-ranging influence and shaped the development of Edo-period (1615–1868) Japanese culture. This impacted numerous types of Japanese ceramics, ranging from Imari overglaze-enamel porcelain to Kyoto ware. This exhibition introduces a selection of Chinese polychrome porcelain——including iroe Shonzui, Nankin akae ("Nanjing red"), and famille verte (Kangxi wucai)——that shaped the emergence and development of Japan’s own overglaze enamel porcelain tradition.

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.

Northern Kyoto Prefecture has long served as a hub of both domestic and international exchange. Comprising the Tango region and part of the Tamba region, the area is bordered by the Sea of Japan and mountains. Archaeological excavations have revealed that during the latter half of the early Jōmon period (pre-10,000–ca. 5th c. BCE), dugout canoes were used to travel across the open sea, while during the Yayoi (ca. 5th c. BCE–ca. 3rd c. CE) and Kofun (ca. 3rd c.–6th c.) periods, large tombs were constructed. The unique culture of northern Kyoto led to it being referred to as the “Tango Kingdom.” From the Heian period (794–1185) onward, the region maintained close ties with the capital yet also nurtured its own distinctive art and religious traditions, as evidenced by artifacts excavated from sutra mounds. This exhibition provides a glimpse into the rich culture of northern Kyoto through archaeological materials from the Jōmon period to the medieval era.

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.

The Heian period (794–1185) was one of the most dynamic eras within the history of Japanese sculpture. The impression of Buddhist icons from the ninth century, during which the monks Saichō (767–822) and Kūkai (774–835) introduced Esoteric Buddhism from China, differs greatly from the serene air of twelfth-century statues.
Most temples were located in Kyoto’s surroundings until the middle of the Heian period. However, from the late Heian period onwards, temple construction within the capital itself increased, accompanied by the active production of Buddhist sculptures. Although unfortunately some works have been lost due to wars and natural disasters, many others have been carefully protected and passed down throughout generations. This exhibition presents a variety of sculptures capturing the spirit of the Heian period.

Originally, indigenous Japanese deities (kami) were thought to be invisible to humans, but the influence of Buddhism lead to the production of statues of Shinto gods. Many of them were small in scale, as they were enclosed within miniature shrines. Shinto sculptures also distinguished between male and female deities and had a human-like appearance, sometimes being depicted wearing the clothing and armor of nobles or monks.
Lions and lion dogs are stationed at shrine entrances to guard the deity inside. Within this protective pair, the open-mouthed creature without horns is the lion, while the close-mouthed and horned figure is the lion-dog. Pairs of lions are sometimes placed before Buddha sculptures, as within Buddhism the roar of the "king of the beasts" is likened to the Buddha’s voice preaching the dharma. This exhibition presents a variety of sculptures, including stone figures from China and wooden statues from Japan.

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

Since ancient times, the most prized patterns for clothing were those with auspicious associations. Patterns adorning garments and personal belongings were imbued with wishes for fundamental desires such as success, familial prosperity, and a long life. Some auspicious patterns originated in ancient China, while others developed out of Japanese customs. This exhibition, organized to celebrate the New Year, features textiles bearing celebratory motifs deriving from both cultures.

In Japan, people have long made a variety of offerings—— ranging from objects to performances of music and dance—— to honor Shinto and Buddhist deities and to express gratitude and prayer. Such offerings reflect the characteristics of the enshrined deity or principal image of worship, and, while following certain stylistic conventions, take a range of diverse forms. Among the many types of votive objects, this exhibition focuses on three principal themes: mirrors, Buddhist “flower garland” ornaments known as keman, and armor and garments dedicated to war deities.

Founded in 1772, Minoya was a high-end lacquerware shop specializing in custom-made works reflecting the status and tastes of its clients. Unfortunately, the shop was forced to close its doors in 1945 due to concerns over declining quality amid shortages of materials and artisans. In 1990, the last head of Minoya generously donated several hundred sample works to the Kyoto National Museum. The collection reflects the meticulous craftsmanship that defined Minoya lacquers, produced through Kyoto’s distinctive system of divided labor: masters of woodturning and joinery crafted precise wooden bases, lacquer specialists applied perfectly even coats, and makie artists added intricate decorative motifs. This painstaking process would take one to three years from an initial order to delivery. We invite you to enjoy this selection of Kyoto lacquerware, whose subtle charm reflects Minoya’s rich collaboration with local workshops and the dedication of their artisans.

The late Ming and early Qing dynasties in China, spanning the end of the sixteenth to the seventeenth centuries, were an era of profound transformation, marked by intercultural exchange between the East and West as European culture spread throughout the globe. In Japan, such encounters exerted a wide-ranging influence and shaped the development of Edo-period (1615–1868) Japanese culture. This impacted numerous types of Japanese ceramics, ranging from Imari overglaze-enamel porcelain to Kyoto ware. This exhibition introduces a selection of Chinese polychrome porcelain——including iroe Shonzui, Nankin akae ("Nanjing red"), and famille verte (Kangxi wucai)——that shaped the emergence and development of Japan’s own overglaze enamel porcelain tradition.

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.

Northern Kyoto Prefecture has long served as a hub of both domestic and international exchange. Comprising the Tango region and part of the Tamba region, the area is bordered by the Sea of Japan and mountains. Archaeological excavations have revealed that during the latter half of the early Jōmon period (pre-10,000–ca. 5th c. BCE), dugout canoes were used to travel across the open sea, while during the Yayoi (ca. 5th c. BCE–ca. 3rd c. CE) and Kofun (ca. 3rd c.–6th c.) periods, large tombs were constructed. The unique culture of northern Kyoto led to it being referred to as the “Tango Kingdom.” From the Heian period (794–1185) onward, the region maintained close ties with the capital yet also nurtured its own distinctive art and religious traditions, as evidenced by artifacts excavated from sutra mounds. This exhibition provides a glimpse into the rich culture of northern Kyoto through archaeological materials from the Jōmon period to the medieval era.

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.

The Heian period (794–1185) was one of the most dynamic eras within the history of Japanese sculpture. The impression of Buddhist icons from the ninth century, during which the monks Saichō (767–822) and Kūkai (774–835) introduced Esoteric Buddhism from China, differs greatly from the serene air of twelfth-century statues.
Most temples were located in Kyoto’s surroundings until the middle of the Heian period. However, from the late Heian period onwards, temple construction within the capital itself increased, accompanied by the active production of Buddhist sculptures. Although unfortunately some works have been lost due to wars and natural disasters, many others have been carefully protected and passed down throughout generations. This exhibition presents a variety of sculptures capturing the spirit of the Heian period.

Originally, indigenous Japanese deities (kami) were thought to be invisible to humans, but the influence of Buddhism lead to the production of statues of Shinto gods. Many of them were small in scale, as they were enclosed within miniature shrines. Shinto sculptures also distinguished between male and female deities and had a human-like appearance, sometimes being depicted wearing the clothing and armor of nobles or monks.
Lions and lion dogs are stationed at shrine entrances to guard the deity inside. Within this protective pair, the open-mouthed creature without horns is the lion, while the close-mouthed and horned figure is the lion-dog. Pairs of lions are sometimes placed before Buddha sculptures, as within Buddhism the roar of the "king of the beasts" is likened to the Buddha’s voice preaching the dharma. This exhibition presents a variety of sculptures, including stone figures from China and wooden statues from Japan.

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

Since ancient times, the most prized patterns for clothing were those with auspicious associations. Patterns adorning garments and personal belongings were imbued with wishes for fundamental desires such as success, familial prosperity, and a long life. Some auspicious patterns originated in ancient China, while others developed out of Japanese customs. This exhibition, organized to celebrate the New Year, features textiles bearing celebratory motifs deriving from both cultures.

In Japan, people have long made a variety of offerings—— ranging from objects to performances of music and dance—— to honor Shinto and Buddhist deities and to express gratitude and prayer. Such offerings reflect the characteristics of the enshrined deity or principal image of worship, and, while following certain stylistic conventions, take a range of diverse forms. Among the many types of votive objects, this exhibition focuses on three principal themes: mirrors, Buddhist “flower garland” ornaments known as keman, and armor and garments dedicated to war deities.

Founded in 1772, Minoya was a high-end lacquerware shop specializing in custom-made works reflecting the status and tastes of its clients. Unfortunately, the shop was forced to close its doors in 1945 due to concerns over declining quality amid shortages of materials and artisans. In 1990, the last head of Minoya generously donated several hundred sample works to the Kyoto National Museum. The collection reflects the meticulous craftsmanship that defined Minoya lacquers, produced through Kyoto’s distinctive system of divided labor: masters of woodturning and joinery crafted precise wooden bases, lacquer specialists applied perfectly even coats, and makie artists added intricate decorative motifs. This painstaking process would take one to three years from an initial order to delivery. We invite you to enjoy this selection of Kyoto lacquerware, whose subtle charm reflects Minoya’s rich collaboration with local workshops and the dedication of their artisans.

The late Ming and early Qing dynasties in China, spanning the end of the sixteenth to the seventeenth centuries, were an era of profound transformation, marked by intercultural exchange between the East and West as European culture spread throughout the globe. In Japan, such encounters exerted a wide-ranging influence and shaped the development of Edo-period (1615–1868) Japanese culture. This impacted numerous types of Japanese ceramics, ranging from Imari overglaze-enamel porcelain to Kyoto ware. This exhibition introduces a selection of Chinese polychrome porcelain——including iroe Shonzui, Nankin akae ("Nanjing red"), and famille verte (Kangxi wucai)——that shaped the emergence and development of Japan’s own overglaze enamel porcelain tradition.

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.

Northern Kyoto Prefecture has long served as a hub of both domestic and international exchange. Comprising the Tango region and part of the Tamba region, the area is bordered by the Sea of Japan and mountains. Archaeological excavations have revealed that during the latter half of the early Jōmon period (pre-10,000–ca. 5th c. BCE), dugout canoes were used to travel across the open sea, while during the Yayoi (ca. 5th c. BCE–ca. 3rd c. CE) and Kofun (ca. 3rd c.–6th c.) periods, large tombs were constructed. The unique culture of northern Kyoto led to it being referred to as the “Tango Kingdom.” From the Heian period (794–1185) onward, the region maintained close ties with the capital yet also nurtured its own distinctive art and religious traditions, as evidenced by artifacts excavated from sutra mounds. This exhibition provides a glimpse into the rich culture of northern Kyoto through archaeological materials from the Jōmon period to the medieval era.

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.

The Heian period (794–1185) was one of the most dynamic eras within the history of Japanese sculpture. The impression of Buddhist icons from the ninth century, during which the monks Saichō (767–822) and Kūkai (774–835) introduced Esoteric Buddhism from China, differs greatly from the serene air of twelfth-century statues.
Most temples were located in Kyoto’s surroundings until the middle of the Heian period. However, from the late Heian period onwards, temple construction within the capital itself increased, accompanied by the active production of Buddhist sculptures. Although unfortunately some works have been lost due to wars and natural disasters, many others have been carefully protected and passed down throughout generations. This exhibition presents a variety of sculptures capturing the spirit of the Heian period.

Originally, indigenous Japanese deities (kami) were thought to be invisible to humans, but the influence of Buddhism lead to the production of statues of Shinto gods. Many of them were small in scale, as they were enclosed within miniature shrines. Shinto sculptures also distinguished between male and female deities and had a human-like appearance, sometimes being depicted wearing the clothing and armor of nobles or monks.
Lions and lion dogs are stationed at shrine entrances to guard the deity inside. Within this protective pair, the open-mouthed creature without horns is the lion, while the close-mouthed and horned figure is the lion-dog. Pairs of lions are sometimes placed before Buddha sculptures, as within Buddhism the roar of the "king of the beasts" is likened to the Buddha’s voice preaching the dharma. This exhibition presents a variety of sculptures, including stone figures from China and wooden statues from Japan.

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

Since ancient times, the most prized patterns for clothing were those with auspicious associations. Patterns adorning garments and personal belongings were imbued with wishes for fundamental desires such as success, familial prosperity, and a long life. Some auspicious patterns originated in ancient China, while others developed out of Japanese customs. This exhibition, organized to celebrate the New Year, features textiles bearing celebratory motifs deriving from both cultures.

In Japan, people have long made a variety of offerings—— ranging from objects to performances of music and dance—— to honor Shinto and Buddhist deities and to express gratitude and prayer. Such offerings reflect the characteristics of the enshrined deity or principal image of worship, and, while following certain stylistic conventions, take a range of diverse forms. Among the many types of votive objects, this exhibition focuses on three principal themes: mirrors, Buddhist “flower garland” ornaments known as keman, and armor and garments dedicated to war deities.

Founded in 1772, Minoya was a high-end lacquerware shop specializing in custom-made works reflecting the status and tastes of its clients. Unfortunately, the shop was forced to close its doors in 1945 due to concerns over declining quality amid shortages of materials and artisans. In 1990, the last head of Minoya generously donated several hundred sample works to the Kyoto National Museum. The collection reflects the meticulous craftsmanship that defined Minoya lacquers, produced through Kyoto’s distinctive system of divided labor: masters of woodturning and joinery crafted precise wooden bases, lacquer specialists applied perfectly even coats, and makie artists added intricate decorative motifs. This painstaking process would take one to three years from an initial order to delivery. We invite you to enjoy this selection of Kyoto lacquerware, whose subtle charm reflects Minoya’s rich collaboration with local workshops and the dedication of their artisans.

The late Ming and early Qing dynasties in China, spanning the end of the sixteenth to the seventeenth centuries, were an era of profound transformation, marked by intercultural exchange between the East and West as European culture spread throughout the globe. In Japan, such encounters exerted a wide-ranging influence and shaped the development of Edo-period (1615–1868) Japanese culture. This impacted numerous types of Japanese ceramics, ranging from Imari overglaze-enamel porcelain to Kyoto ware. This exhibition introduces a selection of Chinese polychrome porcelain——including iroe Shonzui, Nankin akae ("Nanjing red"), and famille verte (Kangxi wucai)——that shaped the emergence and development of Japan’s own overglaze enamel porcelain tradition.

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.

Northern Kyoto Prefecture has long served as a hub of both domestic and international exchange. Comprising the Tango region and part of the Tamba region, the area is bordered by the Sea of Japan and mountains. Archaeological excavations have revealed that during the latter half of the early Jōmon period (pre-10,000–ca. 5th c. BCE), dugout canoes were used to travel across the open sea, while during the Yayoi (ca. 5th c. BCE–ca. 3rd c. CE) and Kofun (ca. 3rd c.–6th c.) periods, large tombs were constructed. The unique culture of northern Kyoto led to it being referred to as the “Tango Kingdom.” From the Heian period (794–1185) onward, the region maintained close ties with the capital yet also nurtured its own distinctive art and religious traditions, as evidenced by artifacts excavated from sutra mounds. This exhibition provides a glimpse into the rich culture of northern Kyoto through archaeological materials from the Jōmon period to the medieval era.

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.

The Heian period (794–1185) was one of the most dynamic eras within the history of Japanese sculpture. The impression of Buddhist icons from the ninth century, during which the monks Saichō (767–822) and Kūkai (774–835) introduced Esoteric Buddhism from China, differs greatly from the serene air of twelfth-century statues.
Most temples were located in Kyoto’s surroundings until the middle of the Heian period. However, from the late Heian period onwards, temple construction within the capital itself increased, accompanied by the active production of Buddhist sculptures. Although unfortunately some works have been lost due to wars and natural disasters, many others have been carefully protected and passed down throughout generations. This exhibition presents a variety of sculptures capturing the spirit of the Heian period.

Originally, indigenous Japanese deities (kami) were thought to be invisible to humans, but the influence of Buddhism lead to the production of statues of Shinto gods. Many of them were small in scale, as they were enclosed within miniature shrines. Shinto sculptures also distinguished between male and female deities and had a human-like appearance, sometimes being depicted wearing the clothing and armor of nobles or monks.
Lions and lion dogs are stationed at shrine entrances to guard the deity inside. Within this protective pair, the open-mouthed creature without horns is the lion, while the close-mouthed and horned figure is the lion-dog. Pairs of lions are sometimes placed before Buddha sculptures, as within Buddhism the roar of the "king of the beasts" is likened to the Buddha’s voice preaching the dharma. This exhibition presents a variety of sculptures, including stone figures from China and wooden statues from Japan.

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

Since ancient times, the most prized patterns for clothing were those with auspicious associations. Patterns adorning garments and personal belongings were imbued with wishes for fundamental desires such as success, familial prosperity, and a long life. Some auspicious patterns originated in ancient China, while others developed out of Japanese customs. This exhibition, organized to celebrate the New Year, features textiles bearing celebratory motifs deriving from both cultures.

In Japan, people have long made a variety of offerings—— ranging from objects to performances of music and dance—— to honor Shinto and Buddhist deities and to express gratitude and prayer. Such offerings reflect the characteristics of the enshrined deity or principal image of worship, and, while following certain stylistic conventions, take a range of diverse forms. Among the many types of votive objects, this exhibition focuses on three principal themes: mirrors, Buddhist “flower garland” ornaments known as keman, and armor and garments dedicated to war deities.

Founded in 1772, Minoya was a high-end lacquerware shop specializing in custom-made works reflecting the status and tastes of its clients. Unfortunately, the shop was forced to close its doors in 1945 due to concerns over declining quality amid shortages of materials and artisans. In 1990, the last head of Minoya generously donated several hundred sample works to the Kyoto National Museum. The collection reflects the meticulous craftsmanship that defined Minoya lacquers, produced through Kyoto’s distinctive system of divided labor: masters of woodturning and joinery crafted precise wooden bases, lacquer specialists applied perfectly even coats, and makie artists added intricate decorative motifs. This painstaking process would take one to three years from an initial order to delivery. We invite you to enjoy this selection of Kyoto lacquerware, whose subtle charm reflects Minoya’s rich collaboration with local workshops and the dedication of their artisans.

The late Ming and early Qing dynasties in China, spanning the end of the sixteenth to the seventeenth centuries, were an era of profound transformation, marked by intercultural exchange between the East and West as European culture spread throughout the globe. In Japan, such encounters exerted a wide-ranging influence and shaped the development of Edo-period (1615–1868) Japanese culture. This impacted numerous types of Japanese ceramics, ranging from Imari overglaze-enamel porcelain to Kyoto ware. This exhibition introduces a selection of Chinese polychrome porcelain——including iroe Shonzui, Nankin akae ("Nanjing red"), and famille verte (Kangxi wucai)——that shaped the emergence and development of Japan’s own overglaze enamel porcelain tradition.

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.

Northern Kyoto Prefecture has long served as a hub of both domestic and international exchange. Comprising the Tango region and part of the Tamba region, the area is bordered by the Sea of Japan and mountains. Archaeological excavations have revealed that during the latter half of the early Jōmon period (pre-10,000–ca. 5th c. BCE), dugout canoes were used to travel across the open sea, while during the Yayoi (ca. 5th c. BCE–ca. 3rd c. CE) and Kofun (ca. 3rd c.–6th c.) periods, large tombs were constructed. The unique culture of northern Kyoto led to it being referred to as the “Tango Kingdom.” From the Heian period (794–1185) onward, the region maintained close ties with the capital yet also nurtured its own distinctive art and religious traditions, as evidenced by artifacts excavated from sutra mounds. This exhibition provides a glimpse into the rich culture of northern Kyoto through archaeological materials from the Jōmon period to the medieval era.

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.

The Heian period (794–1185) was one of the most dynamic eras within the history of Japanese sculpture. The impression of Buddhist icons from the ninth century, during which the monks Saichō (767–822) and Kūkai (774–835) introduced Esoteric Buddhism from China, differs greatly from the serene air of twelfth-century statues.
Most temples were located in Kyoto’s surroundings until the middle of the Heian period. However, from the late Heian period onwards, temple construction within the capital itself increased, accompanied by the active production of Buddhist sculptures. Although unfortunately some works have been lost due to wars and natural disasters, many others have been carefully protected and passed down throughout generations. This exhibition presents a variety of sculptures capturing the spirit of the Heian period.

Originally, indigenous Japanese deities (kami) were thought to be invisible to humans, but the influence of Buddhism lead to the production of statues of Shinto gods. Many of them were small in scale, as they were enclosed within miniature shrines. Shinto sculptures also distinguished between male and female deities and had a human-like appearance, sometimes being depicted wearing the clothing and armor of nobles or monks.
Lions and lion dogs are stationed at shrine entrances to guard the deity inside. Within this protective pair, the open-mouthed creature without horns is the lion, while the close-mouthed and horned figure is the lion-dog. Pairs of lions are sometimes placed before Buddha sculptures, as within Buddhism the roar of the "king of the beasts" is likened to the Buddha’s voice preaching the dharma. This exhibition presents a variety of sculptures, including stone figures from China and wooden statues from Japan.

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

Since ancient times, the most prized patterns for clothing were those with auspicious associations. Patterns adorning garments and personal belongings were imbued with wishes for fundamental desires such as success, familial prosperity, and a long life. Some auspicious patterns originated in ancient China, while others developed out of Japanese customs. This exhibition, organized to celebrate the New Year, features textiles bearing celebratory motifs deriving from both cultures.

In Japan, people have long made a variety of offerings—— ranging from objects to performances of music and dance—— to honor Shinto and Buddhist deities and to express gratitude and prayer. Such offerings reflect the characteristics of the enshrined deity or principal image of worship, and, while following certain stylistic conventions, take a range of diverse forms. Among the many types of votive objects, this exhibition focuses on three principal themes: mirrors, Buddhist “flower garland” ornaments known as keman, and armor and garments dedicated to war deities.

Founded in 1772, Minoya was a high-end lacquerware shop specializing in custom-made works reflecting the status and tastes of its clients. Unfortunately, the shop was forced to close its doors in 1945 due to concerns over declining quality amid shortages of materials and artisans. In 1990, the last head of Minoya generously donated several hundred sample works to the Kyoto National Museum. The collection reflects the meticulous craftsmanship that defined Minoya lacquers, produced through Kyoto’s distinctive system of divided labor: masters of woodturning and joinery crafted precise wooden bases, lacquer specialists applied perfectly even coats, and makie artists added intricate decorative motifs. This painstaking process would take one to three years from an initial order to delivery. We invite you to enjoy this selection of Kyoto lacquerware, whose subtle charm reflects Minoya’s rich collaboration with local workshops and the dedication of their artisans.

The late Ming and early Qing dynasties in China, spanning the end of the sixteenth to the seventeenth centuries, were an era of profound transformation, marked by intercultural exchange between the East and West as European culture spread throughout the globe. In Japan, such encounters exerted a wide-ranging influence and shaped the development of Edo-period (1615–1868) Japanese culture. This impacted numerous types of Japanese ceramics, ranging from Imari overglaze-enamel porcelain to Kyoto ware. This exhibition introduces a selection of Chinese polychrome porcelain——including iroe Shonzui, Nankin akae ("Nanjing red"), and famille verte (Kangxi wucai)——that shaped the emergence and development of Japan’s own overglaze enamel porcelain tradition.

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.

Northern Kyoto Prefecture has long served as a hub of both domestic and international exchange. Comprising the Tango region and part of the Tamba region, the area is bordered by the Sea of Japan and mountains. Archaeological excavations have revealed that during the latter half of the early Jōmon period (pre-10,000–ca. 5th c. BCE), dugout canoes were used to travel across the open sea, while during the Yayoi (ca. 5th c. BCE–ca. 3rd c. CE) and Kofun (ca. 3rd c.–6th c.) periods, large tombs were constructed. The unique culture of northern Kyoto led to it being referred to as the “Tango Kingdom.” From the Heian period (794–1185) onward, the region maintained close ties with the capital yet also nurtured its own distinctive art and religious traditions, as evidenced by artifacts excavated from sutra mounds. This exhibition provides a glimpse into the rich culture of northern Kyoto through archaeological materials from the Jōmon period to the medieval era.

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.

The Heian period (794–1185) was one of the most dynamic eras within the history of Japanese sculpture. The impression of Buddhist icons from the ninth century, during which the monks Saichō (767–822) and Kūkai (774–835) introduced Esoteric Buddhism from China, differs greatly from the serene air of twelfth-century statues.
Most temples were located in Kyoto’s surroundings until the middle of the Heian period. However, from the late Heian period onwards, temple construction within the capital itself increased, accompanied by the active production of Buddhist sculptures. Although unfortunately some works have been lost due to wars and natural disasters, many others have been carefully protected and passed down throughout generations. This exhibition presents a variety of sculptures capturing the spirit of the Heian period.

Originally, indigenous Japanese deities (kami) were thought to be invisible to humans, but the influence of Buddhism lead to the production of statues of Shinto gods. Many of them were small in scale, as they were enclosed within miniature shrines. Shinto sculptures also distinguished between male and female deities and had a human-like appearance, sometimes being depicted wearing the clothing and armor of nobles or monks.
Lions and lion dogs are stationed at shrine entrances to guard the deity inside. Within this protective pair, the open-mouthed creature without horns is the lion, while the close-mouthed and horned figure is the lion-dog. Pairs of lions are sometimes placed before Buddha sculptures, as within Buddhism the roar of the "king of the beasts" is likened to the Buddha’s voice preaching the dharma. This exhibition presents a variety of sculptures, including stone figures from China and wooden statues from Japan.

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

Since ancient times, the most prized patterns for clothing were those with auspicious associations. Patterns adorning garments and personal belongings were imbued with wishes for fundamental desires such as success, familial prosperity, and a long life. Some auspicious patterns originated in ancient China, while others developed out of Japanese customs. This exhibition, organized to celebrate the New Year, features textiles bearing celebratory motifs deriving from both cultures.

In Japan, people have long made a variety of offerings—— ranging from objects to performances of music and dance—— to honor Shinto and Buddhist deities and to express gratitude and prayer. Such offerings reflect the characteristics of the enshrined deity or principal image of worship, and, while following certain stylistic conventions, take a range of diverse forms. Among the many types of votive objects, this exhibition focuses on three principal themes: mirrors, Buddhist “flower garland” ornaments known as keman, and armor and garments dedicated to war deities.

Founded in 1772, Minoya was a high-end lacquerware shop specializing in custom-made works reflecting the status and tastes of its clients. Unfortunately, the shop was forced to close its doors in 1945 due to concerns over declining quality amid shortages of materials and artisans. In 1990, the last head of Minoya generously donated several hundred sample works to the Kyoto National Museum. The collection reflects the meticulous craftsmanship that defined Minoya lacquers, produced through Kyoto’s distinctive system of divided labor: masters of woodturning and joinery crafted precise wooden bases, lacquer specialists applied perfectly even coats, and makie artists added intricate decorative motifs. This painstaking process would take one to three years from an initial order to delivery. We invite you to enjoy this selection of Kyoto lacquerware, whose subtle charm reflects Minoya’s rich collaboration with local workshops and the dedication of their artisans.

The late Ming and early Qing dynasties in China, spanning the end of the sixteenth to the seventeenth centuries, were an era of profound transformation, marked by intercultural exchange between the East and West as European culture spread throughout the globe. In Japan, such encounters exerted a wide-ranging influence and shaped the development of Edo-period (1615–1868) Japanese culture. This impacted numerous types of Japanese ceramics, ranging from Imari overglaze-enamel porcelain to Kyoto ware. This exhibition introduces a selection of Chinese polychrome porcelain——including iroe Shonzui, Nankin akae ("Nanjing red"), and famille verte (Kangxi wucai)——that shaped the emergence and development of Japan’s own overglaze enamel porcelain tradition.

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.

Northern Kyoto Prefecture has long served as a hub of both domestic and international exchange. Comprising the Tango region and part of the Tamba region, the area is bordered by the Sea of Japan and mountains. Archaeological excavations have revealed that during the latter half of the early Jōmon period (pre-10,000–ca. 5th c. BCE), dugout canoes were used to travel across the open sea, while during the Yayoi (ca. 5th c. BCE–ca. 3rd c. CE) and Kofun (ca. 3rd c.–6th c.) periods, large tombs were constructed. The unique culture of northern Kyoto led to it being referred to as the “Tango Kingdom.” From the Heian period (794–1185) onward, the region maintained close ties with the capital yet also nurtured its own distinctive art and religious traditions, as evidenced by artifacts excavated from sutra mounds. This exhibition provides a glimpse into the rich culture of northern Kyoto through archaeological materials from the Jōmon period to the medieval era.

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.

The Heian period (794–1185) was one of the most dynamic eras within the history of Japanese sculpture. The impression of Buddhist icons from the ninth century, during which the monks Saichō (767–822) and Kūkai (774–835) introduced Esoteric Buddhism from China, differs greatly from the serene air of twelfth-century statues.
Most temples were located in Kyoto’s surroundings until the middle of the Heian period. However, from the late Heian period onwards, temple construction within the capital itself increased, accompanied by the active production of Buddhist sculptures. Although unfortunately some works have been lost due to wars and natural disasters, many others have been carefully protected and passed down throughout generations. This exhibition presents a variety of sculptures capturing the spirit of the Heian period.

Originally, indigenous Japanese deities (kami) were thought to be invisible to humans, but the influence of Buddhism lead to the production of statues of Shinto gods. Many of them were small in scale, as they were enclosed within miniature shrines. Shinto sculptures also distinguished between male and female deities and had a human-like appearance, sometimes being depicted wearing the clothing and armor of nobles or monks.
Lions and lion dogs are stationed at shrine entrances to guard the deity inside. Within this protective pair, the open-mouthed creature without horns is the lion, while the close-mouthed and horned figure is the lion-dog. Pairs of lions are sometimes placed before Buddha sculptures, as within Buddhism the roar of the "king of the beasts" is likened to the Buddha’s voice preaching the dharma. This exhibition presents a variety of sculptures, including stone figures from China and wooden statues from Japan.

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

Since ancient times, the most prized patterns for clothing were those with auspicious associations. Patterns adorning garments and personal belongings were imbued with wishes for fundamental desires such as success, familial prosperity, and a long life. Some auspicious patterns originated in ancient China, while others developed out of Japanese customs. This exhibition, organized to celebrate the New Year, features textiles bearing celebratory motifs deriving from both cultures.

In Japan, people have long made a variety of offerings—— ranging from objects to performances of music and dance—— to honor Shinto and Buddhist deities and to express gratitude and prayer. Such offerings reflect the characteristics of the enshrined deity or principal image of worship, and, while following certain stylistic conventions, take a range of diverse forms. Among the many types of votive objects, this exhibition focuses on three principal themes: mirrors, Buddhist “flower garland” ornaments known as keman, and armor and garments dedicated to war deities.

Founded in 1772, Minoya was a high-end lacquerware shop specializing in custom-made works reflecting the status and tastes of its clients. Unfortunately, the shop was forced to close its doors in 1945 due to concerns over declining quality amid shortages of materials and artisans. In 1990, the last head of Minoya generously donated several hundred sample works to the Kyoto National Museum. The collection reflects the meticulous craftsmanship that defined Minoya lacquers, produced through Kyoto’s distinctive system of divided labor: masters of woodturning and joinery crafted precise wooden bases, lacquer specialists applied perfectly even coats, and makie artists added intricate decorative motifs. This painstaking process would take one to three years from an initial order to delivery. We invite you to enjoy this selection of Kyoto lacquerware, whose subtle charm reflects Minoya’s rich collaboration with local workshops and the dedication of their artisans.

The late Ming and early Qing dynasties in China, spanning the end of the sixteenth to the seventeenth centuries, were an era of profound transformation, marked by intercultural exchange between the East and West as European culture spread throughout the globe. In Japan, such encounters exerted a wide-ranging influence and shaped the development of Edo-period (1615–1868) Japanese culture. This impacted numerous types of Japanese ceramics, ranging from Imari overglaze-enamel porcelain to Kyoto ware. This exhibition introduces a selection of Chinese polychrome porcelain——including iroe Shonzui, Nankin akae ("Nanjing red"), and famille verte (Kangxi wucai)——that shaped the emergence and development of Japan’s own overglaze enamel porcelain tradition.

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.

Northern Kyoto Prefecture has long served as a hub of both domestic and international exchange. Comprising the Tango region and part of the Tamba region, the area is bordered by the Sea of Japan and mountains. Archaeological excavations have revealed that during the latter half of the early Jōmon period (pre-10,000–ca. 5th c. BCE), dugout canoes were used to travel across the open sea, while during the Yayoi (ca. 5th c. BCE–ca. 3rd c. CE) and Kofun (ca. 3rd c.–6th c.) periods, large tombs were constructed. The unique culture of northern Kyoto led to it being referred to as the “Tango Kingdom.” From the Heian period (794–1185) onward, the region maintained close ties with the capital yet also nurtured its own distinctive art and religious traditions, as evidenced by artifacts excavated from sutra mounds. This exhibition provides a glimpse into the rich culture of northern Kyoto through archaeological materials from the Jōmon period to the medieval era.

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.

The Heian period (794–1185) was one of the most dynamic eras within the history of Japanese sculpture. The impression of Buddhist icons from the ninth century, during which the monks Saichō (767–822) and Kūkai (774–835) introduced Esoteric Buddhism from China, differs greatly from the serene air of twelfth-century statues.
Most temples were located in Kyoto’s surroundings until the middle of the Heian period. However, from the late Heian period onwards, temple construction within the capital itself increased, accompanied by the active production of Buddhist sculptures. Although unfortunately some works have been lost due to wars and natural disasters, many others have been carefully protected and passed down throughout generations. This exhibition presents a variety of sculptures capturing the spirit of the Heian period.

Originally, indigenous Japanese deities (kami) were thought to be invisible to humans, but the influence of Buddhism lead to the production of statues of Shinto gods. Many of them were small in scale, as they were enclosed within miniature shrines. Shinto sculptures also distinguished between male and female deities and had a human-like appearance, sometimes being depicted wearing the clothing and armor of nobles or monks.
Lions and lion dogs are stationed at shrine entrances to guard the deity inside. Within this protective pair, the open-mouthed creature without horns is the lion, while the close-mouthed and horned figure is the lion-dog. Pairs of lions are sometimes placed before Buddha sculptures, as within Buddhism the roar of the "king of the beasts" is likened to the Buddha’s voice preaching the dharma. This exhibition presents a variety of sculptures, including stone figures from China and wooden statues from Japan.

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

Since ancient times, the most prized patterns for clothing were those with auspicious associations. Patterns adorning garments and personal belongings were imbued with wishes for fundamental desires such as success, familial prosperity, and a long life. Some auspicious patterns originated in ancient China, while others developed out of Japanese customs. This exhibition, organized to celebrate the New Year, features textiles bearing celebratory motifs deriving from both cultures.

In Japan, people have long made a variety of offerings—— ranging from objects to performances of music and dance—— to honor Shinto and Buddhist deities and to express gratitude and prayer. Such offerings reflect the characteristics of the enshrined deity or principal image of worship, and, while following certain stylistic conventions, take a range of diverse forms. Among the many types of votive objects, this exhibition focuses on three principal themes: mirrors, Buddhist “flower garland” ornaments known as keman, and armor and garments dedicated to war deities.

Founded in 1772, Minoya was a high-end lacquerware shop specializing in custom-made works reflecting the status and tastes of its clients. Unfortunately, the shop was forced to close its doors in 1945 due to concerns over declining quality amid shortages of materials and artisans. In 1990, the last head of Minoya generously donated several hundred sample works to the Kyoto National Museum. The collection reflects the meticulous craftsmanship that defined Minoya lacquers, produced through Kyoto’s distinctive system of divided labor: masters of woodturning and joinery crafted precise wooden bases, lacquer specialists applied perfectly even coats, and makie artists added intricate decorative motifs. This painstaking process would take one to three years from an initial order to delivery. We invite you to enjoy this selection of Kyoto lacquerware, whose subtle charm reflects Minoya’s rich collaboration with local workshops and the dedication of their artisans.

The late Ming and early Qing dynasties in China, spanning the end of the sixteenth to the seventeenth centuries, were an era of profound transformation, marked by intercultural exchange between the East and West as European culture spread throughout the globe. In Japan, such encounters exerted a wide-ranging influence and shaped the development of Edo-period (1615–1868) Japanese culture. This impacted numerous types of Japanese ceramics, ranging from Imari overglaze-enamel porcelain to Kyoto ware. This exhibition introduces a selection of Chinese polychrome porcelain——including iroe Shonzui, Nankin akae ("Nanjing red"), and famille verte (Kangxi wucai)——that shaped the emergence and development of Japan’s own overglaze enamel porcelain tradition.

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.

Northern Kyoto Prefecture has long served as a hub of both domestic and international exchange. Comprising the Tango region and part of the Tamba region, the area is bordered by the Sea of Japan and mountains. Archaeological excavations have revealed that during the latter half of the early Jōmon period (pre-10,000–ca. 5th c. BCE), dugout canoes were used to travel across the open sea, while during the Yayoi (ca. 5th c. BCE–ca. 3rd c. CE) and Kofun (ca. 3rd c.–6th c.) periods, large tombs were constructed. The unique culture of northern Kyoto led to it being referred to as the “Tango Kingdom.” From the Heian period (794–1185) onward, the region maintained close ties with the capital yet also nurtured its own distinctive art and religious traditions, as evidenced by artifacts excavated from sutra mounds. This exhibition provides a glimpse into the rich culture of northern Kyoto through archaeological materials from the Jōmon period to the medieval era.

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.

The Heian period (794–1185) was one of the most dynamic eras within the history of Japanese sculpture. The impression of Buddhist icons from the ninth century, during which the monks Saichō (767–822) and Kūkai (774–835) introduced Esoteric Buddhism from China, differs greatly from the serene air of twelfth-century statues.
Most temples were located in Kyoto’s surroundings until the middle of the Heian period. However, from the late Heian period onwards, temple construction within the capital itself increased, accompanied by the active production of Buddhist sculptures. Although unfortunately some works have been lost due to wars and natural disasters, many others have been carefully protected and passed down throughout generations. This exhibition presents a variety of sculptures capturing the spirit of the Heian period.

Originally, indigenous Japanese deities (kami) were thought to be invisible to humans, but the influence of Buddhism lead to the production of statues of Shinto gods. Many of them were small in scale, as they were enclosed within miniature shrines. Shinto sculptures also distinguished between male and female deities and had a human-like appearance, sometimes being depicted wearing the clothing and armor of nobles or monks.
Lions and lion dogs are stationed at shrine entrances to guard the deity inside. Within this protective pair, the open-mouthed creature without horns is the lion, while the close-mouthed and horned figure is the lion-dog. Pairs of lions are sometimes placed before Buddha sculptures, as within Buddhism the roar of the "king of the beasts" is likened to the Buddha’s voice preaching the dharma. This exhibition presents a variety of sculptures, including stone figures from China and wooden statues from Japan.

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

Since ancient times, the most prized patterns for clothing were those with auspicious associations. Patterns adorning garments and personal belongings were imbued with wishes for fundamental desires such as success, familial prosperity, and a long life. Some auspicious patterns originated in ancient China, while others developed out of Japanese customs. This exhibition, organized to celebrate the New Year, features textiles bearing celebratory motifs deriving from both cultures.

In Japan, people have long made a variety of offerings—— ranging from objects to performances of music and dance—— to honor Shinto and Buddhist deities and to express gratitude and prayer. Such offerings reflect the characteristics of the enshrined deity or principal image of worship, and, while following certain stylistic conventions, take a range of diverse forms. Among the many types of votive objects, this exhibition focuses on three principal themes: mirrors, Buddhist “flower garland” ornaments known as keman, and armor and garments dedicated to war deities.

Founded in 1772, Minoya was a high-end lacquerware shop specializing in custom-made works reflecting the status and tastes of its clients. Unfortunately, the shop was forced to close its doors in 1945 due to concerns over declining quality amid shortages of materials and artisans. In 1990, the last head of Minoya generously donated several hundred sample works to the Kyoto National Museum. The collection reflects the meticulous craftsmanship that defined Minoya lacquers, produced through Kyoto’s distinctive system of divided labor: masters of woodturning and joinery crafted precise wooden bases, lacquer specialists applied perfectly even coats, and makie artists added intricate decorative motifs. This painstaking process would take one to three years from an initial order to delivery. We invite you to enjoy this selection of Kyoto lacquerware, whose subtle charm reflects Minoya’s rich collaboration with local workshops and the dedication of their artisans.

The late Ming and early Qing dynasties in China, spanning the end of the sixteenth to the seventeenth centuries, were an era of profound transformation, marked by intercultural exchange between the East and West as European culture spread throughout the globe. In Japan, such encounters exerted a wide-ranging influence and shaped the development of Edo-period (1615–1868) Japanese culture. This impacted numerous types of Japanese ceramics, ranging from Imari overglaze-enamel porcelain to Kyoto ware. This exhibition introduces a selection of Chinese polychrome porcelain——including iroe Shonzui, Nankin akae ("Nanjing red"), and famille verte (Kangxi wucai)——that shaped the emergence and development of Japan’s own overglaze enamel porcelain tradition.

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.

Northern Kyoto Prefecture has long served as a hub of both domestic and international exchange. Comprising the Tango region and part of the Tamba region, the area is bordered by the Sea of Japan and mountains. Archaeological excavations have revealed that during the latter half of the early Jōmon period (pre-10,000–ca. 5th c. BCE), dugout canoes were used to travel across the open sea, while during the Yayoi (ca. 5th c. BCE–ca. 3rd c. CE) and Kofun (ca. 3rd c.–6th c.) periods, large tombs were constructed. The unique culture of northern Kyoto led to it being referred to as the “Tango Kingdom.” From the Heian period (794–1185) onward, the region maintained close ties with the capital yet also nurtured its own distinctive art and religious traditions, as evidenced by artifacts excavated from sutra mounds. This exhibition provides a glimpse into the rich culture of northern Kyoto through archaeological materials from the Jōmon period to the medieval era.

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.

The Heian period (794–1185) was one of the most dynamic eras within the history of Japanese sculpture. The impression of Buddhist icons from the ninth century, during which the monks Saichō (767–822) and Kūkai (774–835) introduced Esoteric Buddhism from China, differs greatly from the serene air of twelfth-century statues.
Most temples were located in Kyoto’s surroundings until the middle of the Heian period. However, from the late Heian period onwards, temple construction within the capital itself increased, accompanied by the active production of Buddhist sculptures. Although unfortunately some works have been lost due to wars and natural disasters, many others have been carefully protected and passed down throughout generations. This exhibition presents a variety of sculptures capturing the spirit of the Heian period.

Originally, indigenous Japanese deities (kami) were thought to be invisible to humans, but the influence of Buddhism lead to the production of statues of Shinto gods. Many of them were small in scale, as they were enclosed within miniature shrines. Shinto sculptures also distinguished between male and female deities and had a human-like appearance, sometimes being depicted wearing the clothing and armor of nobles or monks.
Lions and lion dogs are stationed at shrine entrances to guard the deity inside. Within this protective pair, the open-mouthed creature without horns is the lion, while the close-mouthed and horned figure is the lion-dog. Pairs of lions are sometimes placed before Buddha sculptures, as within Buddhism the roar of the "king of the beasts" is likened to the Buddha’s voice preaching the dharma. This exhibition presents a variety of sculptures, including stone figures from China and wooden statues from Japan.

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

Since ancient times, the most prized patterns for clothing were those with auspicious associations. Patterns adorning garments and personal belongings were imbued with wishes for fundamental desires such as success, familial prosperity, and a long life. Some auspicious patterns originated in ancient China, while others developed out of Japanese customs. This exhibition, organized to celebrate the New Year, features textiles bearing celebratory motifs deriving from both cultures.

In Japan, people have long made a variety of offerings—— ranging from objects to performances of music and dance—— to honor Shinto and Buddhist deities and to express gratitude and prayer. Such offerings reflect the characteristics of the enshrined deity or principal image of worship, and, while following certain stylistic conventions, take a range of diverse forms. Among the many types of votive objects, this exhibition focuses on three principal themes: mirrors, Buddhist “flower garland” ornaments known as keman, and armor and garments dedicated to war deities.

Founded in 1772, Minoya was a high-end lacquerware shop specializing in custom-made works reflecting the status and tastes of its clients. Unfortunately, the shop was forced to close its doors in 1945 due to concerns over declining quality amid shortages of materials and artisans. In 1990, the last head of Minoya generously donated several hundred sample works to the Kyoto National Museum. The collection reflects the meticulous craftsmanship that defined Minoya lacquers, produced through Kyoto’s distinctive system of divided labor: masters of woodturning and joinery crafted precise wooden bases, lacquer specialists applied perfectly even coats, and makie artists added intricate decorative motifs. This painstaking process would take one to three years from an initial order to delivery. We invite you to enjoy this selection of Kyoto lacquerware, whose subtle charm reflects Minoya’s rich collaboration with local workshops and the dedication of their artisans.

The late Ming and early Qing dynasties in China, spanning the end of the sixteenth to the seventeenth centuries, were an era of profound transformation, marked by intercultural exchange between the East and West as European culture spread throughout the globe. In Japan, such encounters exerted a wide-ranging influence and shaped the development of Edo-period (1615–1868) Japanese culture. This impacted numerous types of Japanese ceramics, ranging from Imari overglaze-enamel porcelain to Kyoto ware. This exhibition introduces a selection of Chinese polychrome porcelain——including iroe Shonzui, Nankin akae ("Nanjing red"), and famille verte (Kangxi wucai)——that shaped the emergence and development of Japan’s own overglaze enamel porcelain tradition.

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.

Northern Kyoto Prefecture has long served as a hub of both domestic and international exchange. Comprising the Tango region and part of the Tamba region, the area is bordered by the Sea of Japan and mountains. Archaeological excavations have revealed that during the latter half of the early Jōmon period (pre-10,000–ca. 5th c. BCE), dugout canoes were used to travel across the open sea, while during the Yayoi (ca. 5th c. BCE–ca. 3rd c. CE) and Kofun (ca. 3rd c.–6th c.) periods, large tombs were constructed. The unique culture of northern Kyoto led to it being referred to as the “Tango Kingdom.” From the Heian period (794–1185) onward, the region maintained close ties with the capital yet also nurtured its own distinctive art and religious traditions, as evidenced by artifacts excavated from sutra mounds. This exhibition provides a glimpse into the rich culture of northern Kyoto through archaeological materials from the Jōmon period to the medieval era.

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.

The Heian period (794–1185) was one of the most dynamic eras within the history of Japanese sculpture. The impression of Buddhist icons from the ninth century, during which the monks Saichō (767–822) and Kūkai (774–835) introduced Esoteric Buddhism from China, differs greatly from the serene air of twelfth-century statues.
Most temples were located in Kyoto’s surroundings until the middle of the Heian period. However, from the late Heian period onwards, temple construction within the capital itself increased, accompanied by the active production of Buddhist sculptures. Although unfortunately some works have been lost due to wars and natural disasters, many others have been carefully protected and passed down throughout generations. This exhibition presents a variety of sculptures capturing the spirit of the Heian period.

Originally, indigenous Japanese deities (kami) were thought to be invisible to humans, but the influence of Buddhism lead to the production of statues of Shinto gods. Many of them were small in scale, as they were enclosed within miniature shrines. Shinto sculptures also distinguished between male and female deities and had a human-like appearance, sometimes being depicted wearing the clothing and armor of nobles or monks.
Lions and lion dogs are stationed at shrine entrances to guard the deity inside. Within this protective pair, the open-mouthed creature without horns is the lion, while the close-mouthed and horned figure is the lion-dog. Pairs of lions are sometimes placed before Buddha sculptures, as within Buddhism the roar of the "king of the beasts" is likened to the Buddha’s voice preaching the dharma. This exhibition presents a variety of sculptures, including stone figures from China and wooden statues from Japan.

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

Since ancient times, the most prized patterns for clothing were those with auspicious associations. Patterns adorning garments and personal belongings were imbued with wishes for fundamental desires such as success, familial prosperity, and a long life. Some auspicious patterns originated in ancient China, while others developed out of Japanese customs. This exhibition, organized to celebrate the New Year, features textiles bearing celebratory motifs deriving from both cultures.

In Japan, people have long made a variety of offerings—— ranging from objects to performances of music and dance—— to honor Shinto and Buddhist deities and to express gratitude and prayer. Such offerings reflect the characteristics of the enshrined deity or principal image of worship, and, while following certain stylistic conventions, take a range of diverse forms. Among the many types of votive objects, this exhibition focuses on three principal themes: mirrors, Buddhist “flower garland” ornaments known as keman, and armor and garments dedicated to war deities.

Founded in 1772, Minoya was a high-end lacquerware shop specializing in custom-made works reflecting the status and tastes of its clients. Unfortunately, the shop was forced to close its doors in 1945 due to concerns over declining quality amid shortages of materials and artisans. In 1990, the last head of Minoya generously donated several hundred sample works to the Kyoto National Museum. The collection reflects the meticulous craftsmanship that defined Minoya lacquers, produced through Kyoto’s distinctive system of divided labor: masters of woodturning and joinery crafted precise wooden bases, lacquer specialists applied perfectly even coats, and makie artists added intricate decorative motifs. This painstaking process would take one to three years from an initial order to delivery. We invite you to enjoy this selection of Kyoto lacquerware, whose subtle charm reflects Minoya’s rich collaboration with local workshops and the dedication of their artisans.

The late Ming and early Qing dynasties in China, spanning the end of the sixteenth to the seventeenth centuries, were an era of profound transformation, marked by intercultural exchange between the East and West as European culture spread throughout the globe. In Japan, such encounters exerted a wide-ranging influence and shaped the development of Edo-period (1615–1868) Japanese culture. This impacted numerous types of Japanese ceramics, ranging from Imari overglaze-enamel porcelain to Kyoto ware. This exhibition introduces a selection of Chinese polychrome porcelain——including iroe Shonzui, Nankin akae ("Nanjing red"), and famille verte (Kangxi wucai)——that shaped the emergence and development of Japan’s own overglaze enamel porcelain tradition.

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.

Northern Kyoto Prefecture has long served as a hub of both domestic and international exchange. Comprising the Tango region and part of the Tamba region, the area is bordered by the Sea of Japan and mountains. Archaeological excavations have revealed that during the latter half of the early Jōmon period (pre-10,000–ca. 5th c. BCE), dugout canoes were used to travel across the open sea, while during the Yayoi (ca. 5th c. BCE–ca. 3rd c. CE) and Kofun (ca. 3rd c.–6th c.) periods, large tombs were constructed. The unique culture of northern Kyoto led to it being referred to as the “Tango Kingdom.” From the Heian period (794–1185) onward, the region maintained close ties with the capital yet also nurtured its own distinctive art and religious traditions, as evidenced by artifacts excavated from sutra mounds. This exhibition provides a glimpse into the rich culture of northern Kyoto through archaeological materials from the Jōmon period to the medieval era.

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.

The Heian period (794–1185) was one of the most dynamic eras within the history of Japanese sculpture. The impression of Buddhist icons from the ninth century, during which the monks Saichō (767–822) and Kūkai (774–835) introduced Esoteric Buddhism from China, differs greatly from the serene air of twelfth-century statues.
Most temples were located in Kyoto’s surroundings until the middle of the Heian period. However, from the late Heian period onwards, temple construction within the capital itself increased, accompanied by the active production of Buddhist sculptures. Although unfortunately some works have been lost due to wars and natural disasters, many others have been carefully protected and passed down throughout generations. This exhibition presents a variety of sculptures capturing the spirit of the Heian period.

Originally, indigenous Japanese deities (kami) were thought to be invisible to humans, but the influence of Buddhism lead to the production of statues of Shinto gods. Many of them were small in scale, as they were enclosed within miniature shrines. Shinto sculptures also distinguished between male and female deities and had a human-like appearance, sometimes being depicted wearing the clothing and armor of nobles or monks.
Lions and lion dogs are stationed at shrine entrances to guard the deity inside. Within this protective pair, the open-mouthed creature without horns is the lion, while the close-mouthed and horned figure is the lion-dog. Pairs of lions are sometimes placed before Buddha sculptures, as within Buddhism the roar of the "king of the beasts" is likened to the Buddha’s voice preaching the dharma. This exhibition presents a variety of sculptures, including stone figures from China and wooden statues from Japan.

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

Since ancient times, the most prized patterns for clothing were those with auspicious associations. Patterns adorning garments and personal belongings were imbued with wishes for fundamental desires such as success, familial prosperity, and a long life. Some auspicious patterns originated in ancient China, while others developed out of Japanese customs. This exhibition, organized to celebrate the New Year, features textiles bearing celebratory motifs deriving from both cultures.

In Japan, people have long made a variety of offerings—— ranging from objects to performances of music and dance—— to honor Shinto and Buddhist deities and to express gratitude and prayer. Such offerings reflect the characteristics of the enshrined deity or principal image of worship, and, while following certain stylistic conventions, take a range of diverse forms. Among the many types of votive objects, this exhibition focuses on three principal themes: mirrors, Buddhist “flower garland” ornaments known as keman, and armor and garments dedicated to war deities.

Founded in 1772, Minoya was a high-end lacquerware shop specializing in custom-made works reflecting the status and tastes of its clients. Unfortunately, the shop was forced to close its doors in 1945 due to concerns over declining quality amid shortages of materials and artisans. In 1990, the last head of Minoya generously donated several hundred sample works to the Kyoto National Museum. The collection reflects the meticulous craftsmanship that defined Minoya lacquers, produced through Kyoto’s distinctive system of divided labor: masters of woodturning and joinery crafted precise wooden bases, lacquer specialists applied perfectly even coats, and makie artists added intricate decorative motifs. This painstaking process would take one to three years from an initial order to delivery. We invite you to enjoy this selection of Kyoto lacquerware, whose subtle charm reflects Minoya’s rich collaboration with local workshops and the dedication of their artisans.

The late Ming and early Qing dynasties in China, spanning the end of the sixteenth to the seventeenth centuries, were an era of profound transformation, marked by intercultural exchange between the East and West as European culture spread throughout the globe. In Japan, such encounters exerted a wide-ranging influence and shaped the development of Edo-period (1615–1868) Japanese culture. This impacted numerous types of Japanese ceramics, ranging from Imari overglaze-enamel porcelain to Kyoto ware. This exhibition introduces a selection of Chinese polychrome porcelain——including iroe Shonzui, Nankin akae ("Nanjing red"), and famille verte (Kangxi wucai)——that shaped the emergence and development of Japan’s own overglaze enamel porcelain tradition.

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.

Northern Kyoto Prefecture has long served as a hub of both domestic and international exchange. Comprising the Tango region and part of the Tamba region, the area is bordered by the Sea of Japan and mountains. Archaeological excavations have revealed that during the latter half of the early Jōmon period (pre-10,000–ca. 5th c. BCE), dugout canoes were used to travel across the open sea, while during the Yayoi (ca. 5th c. BCE–ca. 3rd c. CE) and Kofun (ca. 3rd c.–6th c.) periods, large tombs were constructed. The unique culture of northern Kyoto led to it being referred to as the “Tango Kingdom.” From the Heian period (794–1185) onward, the region maintained close ties with the capital yet also nurtured its own distinctive art and religious traditions, as evidenced by artifacts excavated from sutra mounds. This exhibition provides a glimpse into the rich culture of northern Kyoto through archaeological materials from the Jōmon period to the medieval era.

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.

The Heian period (794–1185) was one of the most dynamic eras within the history of Japanese sculpture. The impression of Buddhist icons from the ninth century, during which the monks Saichō (767–822) and Kūkai (774–835) introduced Esoteric Buddhism from China, differs greatly from the serene air of twelfth-century statues.
Most temples were located in Kyoto’s surroundings until the middle of the Heian period. However, from the late Heian period onwards, temple construction within the capital itself increased, accompanied by the active production of Buddhist sculptures. Although unfortunately some works have been lost due to wars and natural disasters, many others have been carefully protected and passed down throughout generations. This exhibition presents a variety of sculptures capturing the spirit of the Heian period.

Originally, indigenous Japanese deities (kami) were thought to be invisible to humans, but the influence of Buddhism lead to the production of statues of Shinto gods. Many of them were small in scale, as they were enclosed within miniature shrines. Shinto sculptures also distinguished between male and female deities and had a human-like appearance, sometimes being depicted wearing the clothing and armor of nobles or monks.
Lions and lion dogs are stationed at shrine entrances to guard the deity inside. Within this protective pair, the open-mouthed creature without horns is the lion, while the close-mouthed and horned figure is the lion-dog. Pairs of lions are sometimes placed before Buddha sculptures, as within Buddhism the roar of the "king of the beasts" is likened to the Buddha’s voice preaching the dharma. This exhibition presents a variety of sculptures, including stone figures from China and wooden statues from Japan.

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

Since ancient times, the most prized patterns for clothing were those with auspicious associations. Patterns adorning garments and personal belongings were imbued with wishes for fundamental desires such as success, familial prosperity, and a long life. Some auspicious patterns originated in ancient China, while others developed out of Japanese customs. This exhibition, organized to celebrate the New Year, features textiles bearing celebratory motifs deriving from both cultures.

In Japan, people have long made a variety of offerings—— ranging from objects to performances of music and dance—— to honor Shinto and Buddhist deities and to express gratitude and prayer. Such offerings reflect the characteristics of the enshrined deity or principal image of worship, and, while following certain stylistic conventions, take a range of diverse forms. Among the many types of votive objects, this exhibition focuses on three principal themes: mirrors, Buddhist “flower garland” ornaments known as keman, and armor and garments dedicated to war deities.

Founded in 1772, Minoya was a high-end lacquerware shop specializing in custom-made works reflecting the status and tastes of its clients. Unfortunately, the shop was forced to close its doors in 1945 due to concerns over declining quality amid shortages of materials and artisans. In 1990, the last head of Minoya generously donated several hundred sample works to the Kyoto National Museum. The collection reflects the meticulous craftsmanship that defined Minoya lacquers, produced through Kyoto’s distinctive system of divided labor: masters of woodturning and joinery crafted precise wooden bases, lacquer specialists applied perfectly even coats, and makie artists added intricate decorative motifs. This painstaking process would take one to three years from an initial order to delivery. We invite you to enjoy this selection of Kyoto lacquerware, whose subtle charm reflects Minoya’s rich collaboration with local workshops and the dedication of their artisans.

The late Ming and early Qing dynasties in China, spanning the end of the sixteenth to the seventeenth centuries, were an era of profound transformation, marked by intercultural exchange between the East and West as European culture spread throughout the globe. In Japan, such encounters exerted a wide-ranging influence and shaped the development of Edo-period (1615–1868) Japanese culture. This impacted numerous types of Japanese ceramics, ranging from Imari overglaze-enamel porcelain to Kyoto ware. This exhibition introduces a selection of Chinese polychrome porcelain——including iroe Shonzui, Nankin akae ("Nanjing red"), and famille verte (Kangxi wucai)——that shaped the emergence and development of Japan’s own overglaze enamel porcelain tradition.

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.

Northern Kyoto Prefecture has long served as a hub of both domestic and international exchange. Comprising the Tango region and part of the Tamba region, the area is bordered by the Sea of Japan and mountains. Archaeological excavations have revealed that during the latter half of the early Jōmon period (pre-10,000–ca. 5th c. BCE), dugout canoes were used to travel across the open sea, while during the Yayoi (ca. 5th c. BCE–ca. 3rd c. CE) and Kofun (ca. 3rd c.–6th c.) periods, large tombs were constructed. The unique culture of northern Kyoto led to it being referred to as the “Tango Kingdom.” From the Heian period (794–1185) onward, the region maintained close ties with the capital yet also nurtured its own distinctive art and religious traditions, as evidenced by artifacts excavated from sutra mounds. This exhibition provides a glimpse into the rich culture of northern Kyoto through archaeological materials from the Jōmon period to the medieval era.

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.

The Heian period (794–1185) was one of the most dynamic eras within the history of Japanese sculpture. The impression of Buddhist icons from the ninth century, during which the monks Saichō (767–822) and Kūkai (774–835) introduced Esoteric Buddhism from China, differs greatly from the serene air of twelfth-century statues.
Most temples were located in Kyoto’s surroundings until the middle of the Heian period. However, from the late Heian period onwards, temple construction within the capital itself increased, accompanied by the active production of Buddhist sculptures. Although unfortunately some works have been lost due to wars and natural disasters, many others have been carefully protected and passed down throughout generations. This exhibition presents a variety of sculptures capturing the spirit of the Heian period.

Originally, indigenous Japanese deities (kami) were thought to be invisible to humans, but the influence of Buddhism lead to the production of statues of Shinto gods. Many of them were small in scale, as they were enclosed within miniature shrines. Shinto sculptures also distinguished between male and female deities and had a human-like appearance, sometimes being depicted wearing the clothing and armor of nobles or monks.
Lions and lion dogs are stationed at shrine entrances to guard the deity inside. Within this protective pair, the open-mouthed creature without horns is the lion, while the close-mouthed and horned figure is the lion-dog. Pairs of lions are sometimes placed before Buddha sculptures, as within Buddhism the roar of the "king of the beasts" is likened to the Buddha’s voice preaching the dharma. This exhibition presents a variety of sculptures, including stone figures from China and wooden statues from Japan.

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

Since ancient times, the most prized patterns for clothing were those with auspicious associations. Patterns adorning garments and personal belongings were imbued with wishes for fundamental desires such as success, familial prosperity, and a long life. Some auspicious patterns originated in ancient China, while others developed out of Japanese customs. This exhibition, organized to celebrate the New Year, features textiles bearing celebratory motifs deriving from both cultures.

In Japan, people have long made a variety of offerings—— ranging from objects to performances of music and dance—— to honor Shinto and Buddhist deities and to express gratitude and prayer. Such offerings reflect the characteristics of the enshrined deity or principal image of worship, and, while following certain stylistic conventions, take a range of diverse forms. Among the many types of votive objects, this exhibition focuses on three principal themes: mirrors, Buddhist “flower garland” ornaments known as keman, and armor and garments dedicated to war deities.

Founded in 1772, Minoya was a high-end lacquerware shop specializing in custom-made works reflecting the status and tastes of its clients. Unfortunately, the shop was forced to close its doors in 1945 due to concerns over declining quality amid shortages of materials and artisans. In 1990, the last head of Minoya generously donated several hundred sample works to the Kyoto National Museum. The collection reflects the meticulous craftsmanship that defined Minoya lacquers, produced through Kyoto’s distinctive system of divided labor: masters of woodturning and joinery crafted precise wooden bases, lacquer specialists applied perfectly even coats, and makie artists added intricate decorative motifs. This painstaking process would take one to three years from an initial order to delivery. We invite you to enjoy this selection of Kyoto lacquerware, whose subtle charm reflects Minoya’s rich collaboration with local workshops and the dedication of their artisans.

The late Ming and early Qing dynasties in China, spanning the end of the sixteenth to the seventeenth centuries, were an era of profound transformation, marked by intercultural exchange between the East and West as European culture spread throughout the globe. In Japan, such encounters exerted a wide-ranging influence and shaped the development of Edo-period (1615–1868) Japanese culture. This impacted numerous types of Japanese ceramics, ranging from Imari overglaze-enamel porcelain to Kyoto ware. This exhibition introduces a selection of Chinese polychrome porcelain——including iroe Shonzui, Nankin akae ("Nanjing red"), and famille verte (Kangxi wucai)——that shaped the emergence and development of Japan’s own overglaze enamel porcelain tradition.

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.

Northern Kyoto Prefecture has long served as a hub of both domestic and international exchange. Comprising the Tango region and part of the Tamba region, the area is bordered by the Sea of Japan and mountains. Archaeological excavations have revealed that during the latter half of the early Jōmon period (pre-10,000–ca. 5th c. BCE), dugout canoes were used to travel across the open sea, while during the Yayoi (ca. 5th c. BCE–ca. 3rd c. CE) and Kofun (ca. 3rd c.–6th c.) periods, large tombs were constructed. The unique culture of northern Kyoto led to it being referred to as the “Tango Kingdom.” From the Heian period (794–1185) onward, the region maintained close ties with the capital yet also nurtured its own distinctive art and religious traditions, as evidenced by artifacts excavated from sutra mounds. This exhibition provides a glimpse into the rich culture of northern Kyoto through archaeological materials from the Jōmon period to the medieval era.

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.

*Under Construction

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

*Under Construction

The Heian period (794–1185) was one of the most dynamic eras within the history of Japanese sculpture. The impression of Buddhist icons from the ninth century, during which the monks Saichō (767–822) and Kūkai (774–835) introduced Esoteric Buddhism from China, differs greatly from the serene air of twelfth-century statues.
Most temples were located in Kyoto’s surroundings until the middle of the Heian period. However, from the late Heian period onwards, temple construction within the capital itself increased, accompanied by the active production of Buddhist sculptures. Although unfortunately some works have been lost due to wars and natural disasters, many others have been carefully protected and passed down throughout generations. This exhibition presents a variety of sculptures capturing the spirit of the Heian period.

Originally, indigenous Japanese deities (kami) were thought to be invisible to humans, but the influence of Buddhism lead to the production of statues of Shinto gods. Many of them were small in scale, as they were enclosed within miniature shrines. Shinto sculptures also distinguished between male and female deities and had a human-like appearance, sometimes being depicted wearing the clothing and armor of nobles or monks.
Lions and lion dogs are stationed at shrine entrances to guard the deity inside. Within this protective pair, the open-mouthed creature without horns is the lion, while the close-mouthed and horned figure is the lion-dog. Pairs of lions are sometimes placed before Buddha sculptures, as within Buddhism the roar of the "king of the beasts" is likened to the Buddha’s voice preaching the dharma. This exhibition presents a variety of sculptures, including stone figures from China and wooden statues from Japan.

*Under Construction

Since ancient times, the most prized patterns for clothing were those with auspicious associations. Patterns adorning garments and personal belongings were imbued with wishes for fundamental desires such as success, familial prosperity, and a long life. Some auspicious patterns originated in ancient China, while others developed out of Japanese customs. This exhibition, organized to celebrate the New Year, features textiles bearing celebratory motifs deriving from both cultures.

In Japan, people have long made a variety of offerings—— ranging from objects to performances of music and dance—— to honor Shinto and Buddhist deities and to express gratitude and prayer. Such offerings reflect the characteristics of the enshrined deity or principal image of worship, and, while following certain stylistic conventions, take a range of diverse forms. Among the many types of votive objects, this exhibition focuses on three principal themes: mirrors, Buddhist “flower garland” ornaments known as keman, and armor and garments dedicated to war deities.

Founded in 1772, Minoya was a high-end lacquerware shop specializing in custom-made works reflecting the status and tastes of its clients. Unfortunately, the shop was forced to close its doors in 1945 due to concerns over declining quality amid shortages of materials and artisans. In 1990, the last head of Minoya generously donated several hundred sample works to the Kyoto National Museum. The collection reflects the meticulous craftsmanship that defined Minoya lacquers, produced through Kyoto’s distinctive system of divided labor: masters of woodturning and joinery crafted precise wooden bases, lacquer specialists applied perfectly even coats, and makie artists added intricate decorative motifs. This painstaking process would take one to three years from an initial order to delivery. We invite you to enjoy this selection of Kyoto lacquerware, whose subtle charm reflects Minoya’s rich collaboration with local workshops and the dedication of their artisans.

The late Ming and early Qing dynasties in China, spanning the end of the sixteenth to the seventeenth centuries, were an era of profound transformation, marked by intercultural exchange between the East and West as European culture spread throughout the globe. In Japan, such encounters exerted a wide-ranging influence and shaped the development of Edo-period (1615–1868) Japanese culture. This impacted numerous types of Japanese ceramics, ranging from Imari overglaze-enamel porcelain to Kyoto ware. This exhibition introduces a selection of Chinese polychrome porcelain——including iroe Shonzui, Nankin akae ("Nanjing red"), and famille verte (Kangxi wucai)——that shaped the emergence and development of Japan’s own overglaze enamel porcelain tradition.

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.

Northern Kyoto Prefecture has long served as a hub of both domestic and international exchange. Comprising the Tango region and part of the Tamba region, the area is bordered by the Sea of Japan and mountains. Archaeological excavations have revealed that during the latter half of the early Jōmon period (pre-10,000–ca. 5th c. BCE), dugout canoes were used to travel across the open sea, while during the Yayoi (ca. 5th c. BCE–ca. 3rd c. CE) and Kofun (ca. 3rd c.–6th c.) periods, large tombs were constructed. The unique culture of northern Kyoto led to it being referred to as the “Tango Kingdom.” From the Heian period (794–1185) onward, the region maintained close ties with the capital yet also nurtured its own distinctive art and religious traditions, as evidenced by artifacts excavated from sutra mounds. This exhibition provides a glimpse into the rich culture of northern Kyoto through archaeological materials from the Jōmon period to the medieval era.

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.

*Under Construction

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

*Under Construction

The Heian period (794–1185) was one of the most dynamic eras within the history of Japanese sculpture. The impression of Buddhist icons from the ninth century, during which the monks Saichō (767–822) and Kūkai (774–835) introduced Esoteric Buddhism from China, differs greatly from the serene air of twelfth-century statues.
Most temples were located in Kyoto’s surroundings until the middle of the Heian period. However, from the late Heian period onwards, temple construction within the capital itself increased, accompanied by the active production of Buddhist sculptures. Although unfortunately some works have been lost due to wars and natural disasters, many others have been carefully protected and passed down throughout generations. This exhibition presents a variety of sculptures capturing the spirit of the Heian period.

Originally, indigenous Japanese deities (kami) were thought to be invisible to humans, but the influence of Buddhism lead to the production of statues of Shinto gods. Many of them were small in scale, as they were enclosed within miniature shrines. Shinto sculptures also distinguished between male and female deities and had a human-like appearance, sometimes being depicted wearing the clothing and armor of nobles or monks.
Lions and lion dogs are stationed at shrine entrances to guard the deity inside. Within this protective pair, the open-mouthed creature without horns is the lion, while the close-mouthed and horned figure is the lion-dog. Pairs of lions are sometimes placed before Buddha sculptures, as within Buddhism the roar of the "king of the beasts" is likened to the Buddha’s voice preaching the dharma. This exhibition presents a variety of sculptures, including stone figures from China and wooden statues from Japan.

*Under Construction

Since ancient times, the most prized patterns for clothing were those with auspicious associations. Patterns adorning garments and personal belongings were imbued with wishes for fundamental desires such as success, familial prosperity, and a long life. Some auspicious patterns originated in ancient China, while others developed out of Japanese customs. This exhibition, organized to celebrate the New Year, features textiles bearing celebratory motifs deriving from both cultures.

In Japan, people have long made a variety of offerings—— ranging from objects to performances of music and dance—— to honor Shinto and Buddhist deities and to express gratitude and prayer. Such offerings reflect the characteristics of the enshrined deity or principal image of worship, and, while following certain stylistic conventions, take a range of diverse forms. Among the many types of votive objects, this exhibition focuses on three principal themes: mirrors, Buddhist “flower garland” ornaments known as keman, and armor and garments dedicated to war deities.

Founded in 1772, Minoya was a high-end lacquerware shop specializing in custom-made works reflecting the status and tastes of its clients. Unfortunately, the shop was forced to close its doors in 1945 due to concerns over declining quality amid shortages of materials and artisans. In 1990, the last head of Minoya generously donated several hundred sample works to the Kyoto National Museum. The collection reflects the meticulous craftsmanship that defined Minoya lacquers, produced through Kyoto’s distinctive system of divided labor: masters of woodturning and joinery crafted precise wooden bases, lacquer specialists applied perfectly even coats, and makie artists added intricate decorative motifs. This painstaking process would take one to three years from an initial order to delivery. We invite you to enjoy this selection of Kyoto lacquerware, whose subtle charm reflects Minoya’s rich collaboration with local workshops and the dedication of their artisans.

The late Ming and early Qing dynasties in China, spanning the end of the sixteenth to the seventeenth centuries, were an era of profound transformation, marked by intercultural exchange between the East and West as European culture spread throughout the globe. In Japan, such encounters exerted a wide-ranging influence and shaped the development of Edo-period (1615–1868) Japanese culture. This impacted numerous types of Japanese ceramics, ranging from Imari overglaze-enamel porcelain to Kyoto ware. This exhibition introduces a selection of Chinese polychrome porcelain——including iroe Shonzui, Nankin akae ("Nanjing red"), and famille verte (Kangxi wucai)——that shaped the emergence and development of Japan’s own overglaze enamel porcelain tradition.

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.

Northern Kyoto Prefecture has long served as a hub of both domestic and international exchange. Comprising the Tango region and part of the Tamba region, the area is bordered by the Sea of Japan and mountains. Archaeological excavations have revealed that during the latter half of the early Jōmon period (pre-10,000–ca. 5th c. BCE), dugout canoes were used to travel across the open sea, while during the Yayoi (ca. 5th c. BCE–ca. 3rd c. CE) and Kofun (ca. 3rd c.–6th c.) periods, large tombs were constructed. The unique culture of northern Kyoto led to it being referred to as the “Tango Kingdom.” From the Heian period (794–1185) onward, the region maintained close ties with the capital yet also nurtured its own distinctive art and religious traditions, as evidenced by artifacts excavated from sutra mounds. This exhibition provides a glimpse into the rich culture of northern Kyoto through archaeological materials from the Jōmon period to the medieval era.

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.

*Under Construction

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

*Under Construction

The Heian period (794–1185) was one of the most dynamic eras within the history of Japanese sculpture. The impression of Buddhist icons from the ninth century, during which the monks Saichō (767–822) and Kūkai (774–835) introduced Esoteric Buddhism from China, differs greatly from the serene air of twelfth-century statues.
Most temples were located in Kyoto’s surroundings until the middle of the Heian period. However, from the late Heian period onwards, temple construction within the capital itself increased, accompanied by the active production of Buddhist sculptures. Although unfortunately some works have been lost due to wars and natural disasters, many others have been carefully protected and passed down throughout generations. This exhibition presents a variety of sculptures capturing the spirit of the Heian period.

Originally, indigenous Japanese deities (kami) were thought to be invisible to humans, but the influence of Buddhism lead to the production of statues of Shinto gods. Many of them were small in scale, as they were enclosed within miniature shrines. Shinto sculptures also distinguished between male and female deities and had a human-like appearance, sometimes being depicted wearing the clothing and armor of nobles or monks.
Lions and lion dogs are stationed at shrine entrances to guard the deity inside. Within this protective pair, the open-mouthed creature without horns is the lion, while the close-mouthed and horned figure is the lion-dog. Pairs of lions are sometimes placed before Buddha sculptures, as within Buddhism the roar of the "king of the beasts" is likened to the Buddha’s voice preaching the dharma. This exhibition presents a variety of sculptures, including stone figures from China and wooden statues from Japan.

*Under Construction

Since ancient times, the most prized patterns for clothing were those with auspicious associations. Patterns adorning garments and personal belongings were imbued with wishes for fundamental desires such as success, familial prosperity, and a long life. Some auspicious patterns originated in ancient China, while others developed out of Japanese customs. This exhibition, organized to celebrate the New Year, features textiles bearing celebratory motifs deriving from both cultures.

In Japan, people have long made a variety of offerings—— ranging from objects to performances of music and dance—— to honor Shinto and Buddhist deities and to express gratitude and prayer. Such offerings reflect the characteristics of the enshrined deity or principal image of worship, and, while following certain stylistic conventions, take a range of diverse forms. Among the many types of votive objects, this exhibition focuses on three principal themes: mirrors, Buddhist “flower garland” ornaments known as keman, and armor and garments dedicated to war deities.

Founded in 1772, Minoya was a high-end lacquerware shop specializing in custom-made works reflecting the status and tastes of its clients. Unfortunately, the shop was forced to close its doors in 1945 due to concerns over declining quality amid shortages of materials and artisans. In 1990, the last head of Minoya generously donated several hundred sample works to the Kyoto National Museum. The collection reflects the meticulous craftsmanship that defined Minoya lacquers, produced through Kyoto’s distinctive system of divided labor: masters of woodturning and joinery crafted precise wooden bases, lacquer specialists applied perfectly even coats, and makie artists added intricate decorative motifs. This painstaking process would take one to three years from an initial order to delivery. We invite you to enjoy this selection of Kyoto lacquerware, whose subtle charm reflects Minoya’s rich collaboration with local workshops and the dedication of their artisans.

The late Ming and early Qing dynasties in China, spanning the end of the sixteenth to the seventeenth centuries, were an era of profound transformation, marked by intercultural exchange between the East and West as European culture spread throughout the globe. In Japan, such encounters exerted a wide-ranging influence and shaped the development of Edo-period (1615–1868) Japanese culture. This impacted numerous types of Japanese ceramics, ranging from Imari overglaze-enamel porcelain to Kyoto ware. This exhibition introduces a selection of Chinese polychrome porcelain——including iroe Shonzui, Nankin akae ("Nanjing red"), and famille verte (Kangxi wucai)——that shaped the emergence and development of Japan’s own overglaze enamel porcelain tradition.

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.

Northern Kyoto Prefecture has long served as a hub of both domestic and international exchange. Comprising the Tango region and part of the Tamba region, the area is bordered by the Sea of Japan and mountains. Archaeological excavations have revealed that during the latter half of the early Jōmon period (pre-10,000–ca. 5th c. BCE), dugout canoes were used to travel across the open sea, while during the Yayoi (ca. 5th c. BCE–ca. 3rd c. CE) and Kofun (ca. 3rd c.–6th c.) periods, large tombs were constructed. The unique culture of northern Kyoto led to it being referred to as the “Tango Kingdom.” From the Heian period (794–1185) onward, the region maintained close ties with the capital yet also nurtured its own distinctive art and religious traditions, as evidenced by artifacts excavated from sutra mounds. This exhibition provides a glimpse into the rich culture of northern Kyoto through archaeological materials from the Jōmon period to the medieval era.

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.

*Under Construction

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

*Under Construction

The Heian period (794–1185) was one of the most dynamic eras within the history of Japanese sculpture. The impression of Buddhist icons from the ninth century, during which the monks Saichō (767–822) and Kūkai (774–835) introduced Esoteric Buddhism from China, differs greatly from the serene air of twelfth-century statues.
Most temples were located in Kyoto’s surroundings until the middle of the Heian period. However, from the late Heian period onwards, temple construction within the capital itself increased, accompanied by the active production of Buddhist sculptures. Although unfortunately some works have been lost due to wars and natural disasters, many others have been carefully protected and passed down throughout generations. This exhibition presents a variety of sculptures capturing the spirit of the Heian period.

Originally, indigenous Japanese deities (kami) were thought to be invisible to humans, but the influence of Buddhism lead to the production of statues of Shinto gods. Many of them were small in scale, as they were enclosed within miniature shrines. Shinto sculptures also distinguished between male and female deities and had a human-like appearance, sometimes being depicted wearing the clothing and armor of nobles or monks.
Lions and lion dogs are stationed at shrine entrances to guard the deity inside. Within this protective pair, the open-mouthed creature without horns is the lion, while the close-mouthed and horned figure is the lion-dog. Pairs of lions are sometimes placed before Buddha sculptures, as within Buddhism the roar of the "king of the beasts" is likened to the Buddha’s voice preaching the dharma. This exhibition presents a variety of sculptures, including stone figures from China and wooden statues from Japan.

*Under Construction

Since ancient times, the most prized patterns for clothing were those with auspicious associations. Patterns adorning garments and personal belongings were imbued with wishes for fundamental desires such as success, familial prosperity, and a long life. Some auspicious patterns originated in ancient China, while others developed out of Japanese customs. This exhibition, organized to celebrate the New Year, features textiles bearing celebratory motifs deriving from both cultures.

In Japan, people have long made a variety of offerings—— ranging from objects to performances of music and dance—— to honor Shinto and Buddhist deities and to express gratitude and prayer. Such offerings reflect the characteristics of the enshrined deity or principal image of worship, and, while following certain stylistic conventions, take a range of diverse forms. Among the many types of votive objects, this exhibition focuses on three principal themes: mirrors, Buddhist “flower garland” ornaments known as keman, and armor and garments dedicated to war deities.

Founded in 1772, Minoya was a high-end lacquerware shop specializing in custom-made works reflecting the status and tastes of its clients. Unfortunately, the shop was forced to close its doors in 1945 due to concerns over declining quality amid shortages of materials and artisans. In 1990, the last head of Minoya generously donated several hundred sample works to the Kyoto National Museum. The collection reflects the meticulous craftsmanship that defined Minoya lacquers, produced through Kyoto’s distinctive system of divided labor: masters of woodturning and joinery crafted precise wooden bases, lacquer specialists applied perfectly even coats, and makie artists added intricate decorative motifs. This painstaking process would take one to three years from an initial order to delivery. We invite you to enjoy this selection of Kyoto lacquerware, whose subtle charm reflects Minoya’s rich collaboration with local workshops and the dedication of their artisans.

The late Ming and early Qing dynasties in China, spanning the end of the sixteenth to the seventeenth centuries, were an era of profound transformation, marked by intercultural exchange between the East and West as European culture spread throughout the globe. In Japan, such encounters exerted a wide-ranging influence and shaped the development of Edo-period (1615–1868) Japanese culture. This impacted numerous types of Japanese ceramics, ranging from Imari overglaze-enamel porcelain to Kyoto ware. This exhibition introduces a selection of Chinese polychrome porcelain——including iroe Shonzui, Nankin akae ("Nanjing red"), and famille verte (Kangxi wucai)——that shaped the emergence and development of Japan’s own overglaze enamel porcelain tradition.

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.

Northern Kyoto Prefecture has long served as a hub of both domestic and international exchange. Comprising the Tango region and part of the Tamba region, the area is bordered by the Sea of Japan and mountains. Archaeological excavations have revealed that during the latter half of the early Jōmon period (pre-10,000–ca. 5th c. BCE), dugout canoes were used to travel across the open sea, while during the Yayoi (ca. 5th c. BCE–ca. 3rd c. CE) and Kofun (ca. 3rd c.–6th c.) periods, large tombs were constructed. The unique culture of northern Kyoto led to it being referred to as the “Tango Kingdom.” From the Heian period (794–1185) onward, the region maintained close ties with the capital yet also nurtured its own distinctive art and religious traditions, as evidenced by artifacts excavated from sutra mounds. This exhibition provides a glimpse into the rich culture of northern Kyoto through archaeological materials from the Jōmon period to the medieval era.

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.

*Under Construction

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

*Under Construction

The Heian period (794–1185) was one of the most dynamic eras within the history of Japanese sculpture. The impression of Buddhist icons from the ninth century, during which the monks Saichō (767–822) and Kūkai (774–835) introduced Esoteric Buddhism from China, differs greatly from the serene air of twelfth-century statues.
Most temples were located in Kyoto’s surroundings until the middle of the Heian period. However, from the late Heian period onwards, temple construction within the capital itself increased, accompanied by the active production of Buddhist sculptures. Although unfortunately some works have been lost due to wars and natural disasters, many others have been carefully protected and passed down throughout generations. This exhibition presents a variety of sculptures capturing the spirit of the Heian period.

Originally, indigenous Japanese deities (kami) were thought to be invisible to humans, but the influence of Buddhism lead to the production of statues of Shinto gods. Many of them were small in scale, as they were enclosed within miniature shrines. Shinto sculptures also distinguished between male and female deities and had a human-like appearance, sometimes being depicted wearing the clothing and armor of nobles or monks.
Lions and lion dogs are stationed at shrine entrances to guard the deity inside. Within this protective pair, the open-mouthed creature without horns is the lion, while the close-mouthed and horned figure is the lion-dog. Pairs of lions are sometimes placed before Buddha sculptures, as within Buddhism the roar of the "king of the beasts" is likened to the Buddha’s voice preaching the dharma. This exhibition presents a variety of sculptures, including stone figures from China and wooden statues from Japan.

*Under Construction

Since ancient times, the most prized patterns for clothing were those with auspicious associations. Patterns adorning garments and personal belongings were imbued with wishes for fundamental desires such as success, familial prosperity, and a long life. Some auspicious patterns originated in ancient China, while others developed out of Japanese customs. This exhibition, organized to celebrate the New Year, features textiles bearing celebratory motifs deriving from both cultures.

In Japan, people have long made a variety of offerings—— ranging from objects to performances of music and dance—— to honor Shinto and Buddhist deities and to express gratitude and prayer. Such offerings reflect the characteristics of the enshrined deity or principal image of worship, and, while following certain stylistic conventions, take a range of diverse forms. Among the many types of votive objects, this exhibition focuses on three principal themes: mirrors, Buddhist “flower garland” ornaments known as keman, and armor and garments dedicated to war deities.

Founded in 1772, Minoya was a high-end lacquerware shop specializing in custom-made works reflecting the status and tastes of its clients. Unfortunately, the shop was forced to close its doors in 1945 due to concerns over declining quality amid shortages of materials and artisans. In 1990, the last head of Minoya generously donated several hundred sample works to the Kyoto National Museum. The collection reflects the meticulous craftsmanship that defined Minoya lacquers, produced through Kyoto’s distinctive system of divided labor: masters of woodturning and joinery crafted precise wooden bases, lacquer specialists applied perfectly even coats, and makie artists added intricate decorative motifs. This painstaking process would take one to three years from an initial order to delivery. We invite you to enjoy this selection of Kyoto lacquerware, whose subtle charm reflects Minoya’s rich collaboration with local workshops and the dedication of their artisans.