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.

Lobed Dish with Peach, Pine, and Deer
Inscription: "Made during the Jiajing era of the Ming dynasty"
Kyoto National Museum

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.

Important Cultural Property
Decorative Nail Covers
Attributed to Nonomura Ninsei
Kyoto National Museum

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.

Mirror with Bells
Excavated from Benzai Tumulus No. 1, Kyoto
Kyoto National Museum

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

Important Cultural Property
Sutra Container
Reportedly excavated in Wakayama
Kyoto National Museum

*Under Construction

*Under Construction

*Under Construction

*Under Construction

*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.

Important Cultural Property
Standing Thousand-Armed Kannon (Sahasrabhuja Avalokiteśvara) Bodhisattva
Zenkai-ji Temple, Kyoto

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.

Standing Deity Traditionally Identified as Sarutahiko
Kyoto National Museum

*Under Construction

*Under Construction

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.

Lobed Dish with Peach, Pine, and Deer
Inscription: "Made during the Jiajing era of the Ming dynasty"
Kyoto National Museum

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.

Important Cultural Property
Decorative Nail Covers
Attributed to Nonomura Ninsei
Kyoto National Museum

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.

Mirror with Bells
Excavated from Benzai Tumulus No. 1, Kyoto
Kyoto National Museum

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

Important Cultural Property
Sutra Container
Reportedly excavated in Wakayama
Kyoto National Museum

*Under Construction

*Under Construction

*Under Construction

*Under Construction

*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.

Important Cultural Property
Standing Thousand-Armed Kannon (Sahasrabhuja Avalokiteśvara) Bodhisattva
Zenkai-ji Temple, Kyoto

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.

Standing Deity Traditionally Identified as Sarutahiko
Kyoto National Museum

*Under Construction

*Under Construction

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.

Lobed Dish with Peach, Pine, and Deer
Inscription: "Made during the Jiajing era of the Ming dynasty"
Kyoto National Museum

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.

Important Cultural Property
Decorative Nail Covers
Attributed to Nonomura Ninsei
Kyoto National Museum

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.

Mirror with Bells
Excavated from Benzai Tumulus No. 1, Kyoto
Kyoto National Museum

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

Important Cultural Property
Sutra Container
Reportedly excavated in Wakayama
Kyoto National Museum

*Under Construction

*Under Construction

*Under Construction

*Under Construction

*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.

Important Cultural Property
Standing Thousand-Armed Kannon (Sahasrabhuja Avalokiteśvara) Bodhisattva
Zenkai-ji Temple, Kyoto

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.

Standing Deity Traditionally Identified as Sarutahiko
Kyoto National Museum

*Under Construction

*Under Construction

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.

Lobed Dish with Peach, Pine, and Deer
Inscription: "Made during the Jiajing era of the Ming dynasty"
Kyoto National Museum

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.

Important Cultural Property
Decorative Nail Covers
Attributed to Nonomura Ninsei
Kyoto National Museum

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.

Mirror with Bells
Excavated from Benzai Tumulus No. 1, Kyoto
Kyoto National Museum

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

Important Cultural Property
Sutra Container
Reportedly excavated in Wakayama
Kyoto National Museum

*Under Construction

*Under Construction

*Under Construction

*Under Construction

*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.

Important Cultural Property
Standing Thousand-Armed Kannon (Sahasrabhuja Avalokiteśvara) Bodhisattva
Zenkai-ji Temple, Kyoto

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.

Standing Deity Traditionally Identified as Sarutahiko
Kyoto National Museum

*Under Construction

*Under Construction

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.

Lobed Dish with Peach, Pine, and Deer
Inscription: "Made during the Jiajing era of the Ming dynasty"
Kyoto National Museum

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.

Important Cultural Property
Decorative Nail Covers
Attributed to Nonomura Ninsei
Kyoto National Museum

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.

Mirror with Bells
Excavated from Benzai Tumulus No. 1, Kyoto
Kyoto National Museum

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

Important Cultural Property
Sutra Container
Reportedly excavated in Wakayama
Kyoto National Museum

*Under Construction

*Under Construction

*Under Construction

*Under Construction

*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.

Important Cultural Property
Standing Thousand-Armed Kannon (Sahasrabhuja Avalokiteśvara) Bodhisattva
Zenkai-ji Temple, Kyoto

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.

Standing Deity Traditionally Identified as Sarutahiko
Kyoto National Museum

*Under Construction

*Under Construction

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.

Lobed Dish with Peach, Pine, and Deer
Inscription: "Made during the Jiajing era of the Ming dynasty"
Kyoto National Museum

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.

Important Cultural Property
Decorative Nail Covers
Attributed to Nonomura Ninsei
Kyoto National Museum

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.

Mirror with Bells
Excavated from Benzai Tumulus No. 1, Kyoto
Kyoto National Museum

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

Important Cultural Property
Sutra Container
Reportedly excavated in Wakayama
Kyoto National Museum

*Under Construction

*Under Construction

*Under Construction

*Under Construction

*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.

Important Cultural Property
Standing Thousand-Armed Kannon (Sahasrabhuja Avalokiteśvara) Bodhisattva
Zenkai-ji Temple, Kyoto

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.

Standing Deity Traditionally Identified as Sarutahiko
Kyoto National Museum

*Under Construction

*Under Construction

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.

Lobed Dish with Peach, Pine, and Deer
Inscription: "Made during the Jiajing era of the Ming dynasty"
Kyoto National Museum

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.

Important Cultural Property
Decorative Nail Covers
Attributed to Nonomura Ninsei
Kyoto National Museum

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.

Mirror with Bells
Excavated from Benzai Tumulus No. 1, Kyoto
Kyoto National Museum

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

Important Cultural Property
Sutra Container
Reportedly excavated in Wakayama
Kyoto National Museum

*Under Construction

*Under Construction

*Under Construction

*Under Construction

*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.

Important Cultural Property
Standing Thousand-Armed Kannon (Sahasrabhuja Avalokiteśvara) Bodhisattva
Zenkai-ji Temple, Kyoto

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.

Standing Deity Traditionally Identified as Sarutahiko
Kyoto National Museum

*Under Construction

*Under Construction

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.

Lobed Dish with Peach, Pine, and Deer
Inscription: "Made during the Jiajing era of the Ming dynasty"
Kyoto National Museum

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.

Important Cultural Property
Decorative Nail Covers
Attributed to Nonomura Ninsei
Kyoto National Museum

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.

Mirror with Bells
Excavated from Benzai Tumulus No. 1, Kyoto
Kyoto National Museum

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

Important Cultural Property
Sutra Container
Reportedly excavated in Wakayama
Kyoto National Museum

*Under Construction

*Under Construction

*Under Construction

*Under Construction

*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.

Important Cultural Property
Standing Thousand-Armed Kannon (Sahasrabhuja Avalokiteśvara) Bodhisattva
Zenkai-ji Temple, Kyoto

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.

Standing Deity Traditionally Identified as Sarutahiko
Kyoto National Museum

*Under Construction

*Under Construction

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.

Lobed Dish with Peach, Pine, and Deer
Inscription: "Made during the Jiajing era of the Ming dynasty"
Kyoto National Museum

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.

Important Cultural Property
Decorative Nail Covers
Attributed to Nonomura Ninsei
Kyoto National Museum

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.

Mirror with Bells
Excavated from Benzai Tumulus No. 1, Kyoto
Kyoto National Museum

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

Important Cultural Property
Sutra Container
Reportedly excavated in Wakayama
Kyoto National Museum

*Under Construction

*Under Construction

*Under Construction

*Under Construction

*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.

Important Cultural Property
Standing Thousand-Armed Kannon (Sahasrabhuja Avalokiteśvara) Bodhisattva
Zenkai-ji Temple, Kyoto

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.

Standing Deity Traditionally Identified as Sarutahiko
Kyoto National Museum

*Under Construction

*Under Construction

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.

Lobed Dish with Peach, Pine, and Deer
Inscription: "Made during the Jiajing era of the Ming dynasty"
Kyoto National Museum

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.

Important Cultural Property
Decorative Nail Covers
Attributed to Nonomura Ninsei
Kyoto National Museum

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.

Mirror with Bells
Excavated from Benzai Tumulus No. 1, Kyoto
Kyoto National Museum

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

Important Cultural Property
Sutra Container
Reportedly excavated in Wakayama
Kyoto National Museum

*Under Construction

*Under Construction

*Under Construction

*Under Construction

*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.

Important Cultural Property
Standing Thousand-Armed Kannon (Sahasrabhuja Avalokiteśvara) Bodhisattva
Zenkai-ji Temple, Kyoto

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.

Standing Deity Traditionally Identified as Sarutahiko
Kyoto National Museum

*Under Construction

*Under Construction

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.

Lobed Dish with Peach, Pine, and Deer
Inscription: "Made during the Jiajing era of the Ming dynasty"
Kyoto National Museum

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.

Important Cultural Property
Decorative Nail Covers
Attributed to Nonomura Ninsei
Kyoto National Museum

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.

Mirror with Bells
Excavated from Benzai Tumulus No. 1, Kyoto
Kyoto National Museum

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

Important Cultural Property
Sutra Container
Reportedly excavated in Wakayama
Kyoto National Museum

*Under Construction

*Under Construction

*Under Construction

*Under Construction

*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.

Important Cultural Property
Standing Thousand-Armed Kannon (Sahasrabhuja Avalokiteśvara) Bodhisattva
Zenkai-ji Temple, Kyoto

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.

Standing Deity Traditionally Identified as Sarutahiko
Kyoto National Museum

*Under Construction

*Under Construction

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.

Lobed Dish with Peach, Pine, and Deer
Inscription: "Made during the Jiajing era of the Ming dynasty"
Kyoto National Museum

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.

Important Cultural Property
Decorative Nail Covers
Attributed to Nonomura Ninsei
Kyoto National Museum

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.

Mirror with Bells
Excavated from Benzai Tumulus No. 1, Kyoto
Kyoto National Museum

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

Important Cultural Property
Sutra Container
Reportedly excavated in Wakayama
Kyoto National Museum

*Under Construction

*Under Construction

*Under Construction

*Under Construction

*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.

Important Cultural Property
Standing Thousand-Armed Kannon (Sahasrabhuja Avalokiteśvara) Bodhisattva
Zenkai-ji Temple, Kyoto

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.

Standing Deity Traditionally Identified as Sarutahiko
Kyoto National Museum

*Under Construction

*Under Construction

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.

Lobed Dish with Peach, Pine, and Deer
Inscription: "Made during the Jiajing era of the Ming dynasty"
Kyoto National Museum

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.

Important Cultural Property
Decorative Nail Covers
Attributed to Nonomura Ninsei
Kyoto National Museum

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.

Mirror with Bells
Excavated from Benzai Tumulus No. 1, Kyoto
Kyoto National Museum

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

Important Cultural Property
Sutra Container
Reportedly excavated in Wakayama
Kyoto National Museum

*Under Construction

*Under Construction

*Under Construction

*Under Construction

*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.

Important Cultural Property
Standing Thousand-Armed Kannon (Sahasrabhuja Avalokiteśvara) Bodhisattva
Zenkai-ji Temple, Kyoto

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.

Standing Deity Traditionally Identified as Sarutahiko
Kyoto National Museum

*Under Construction

*Under Construction

*Under Construction

*Under Construction

*Under Construction

*Under Construction

*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.

Important Cultural Property
Standing Thousand-Armed Kannon (Sahasrabhuja Avalokiteśvara) Bodhisattva
Zenkai-ji Temple, Kyoto

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.

Standing Deity Traditionally Identified as Sarutahiko
Kyoto National Museum

*Under Construction

*Under Construction

*Under Construction

*Under Construction

*Under Construction

*Under Construction

*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.

Important Cultural Property
Standing Thousand-Armed Kannon (Sahasrabhuja Avalokiteśvara) Bodhisattva
Zenkai-ji Temple, Kyoto

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.

Standing Deity Traditionally Identified as Sarutahiko
Kyoto National Museum

*Under Construction

*Under Construction

*Under Construction

*Under Construction

*Under Construction

*Under Construction

*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.

Important Cultural Property
Standing Thousand-Armed Kannon (Sahasrabhuja Avalokiteśvara) Bodhisattva
Zenkai-ji Temple, Kyoto

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.

Standing Deity Traditionally Identified as Sarutahiko
Kyoto National Museum

*Under Construction

*Under Construction

*Under Construction

*Under Construction

*Under Construction

*Under Construction

*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.

Important Cultural Property
Standing Thousand-Armed Kannon (Sahasrabhuja Avalokiteśvara) Bodhisattva
Zenkai-ji Temple, Kyoto

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.

Standing Deity Traditionally Identified as Sarutahiko
Kyoto National Museum

*Under Construction

*Under Construction

*Under Construction

*Under Construction

*Under Construction

*Under Construction

*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.

Important Cultural Property
Standing Thousand-Armed Kannon (Sahasrabhuja Avalokiteśvara) Bodhisattva
Zenkai-ji Temple, Kyoto

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.

Standing Deity Traditionally Identified as Sarutahiko
Kyoto National Museum

*Under Construction

*Under Construction

*Under Construction

*Under Construction

*Under Construction

*Under Construction

*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.

Important Cultural Property
Standing Thousand-Armed Kannon (Sahasrabhuja Avalokiteśvara) Bodhisattva
Zenkai-ji Temple, Kyoto

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.

Standing Deity Traditionally Identified as Sarutahiko
Kyoto National Museum

*Under Construction

*Under Construction