*Under Construction

Although the Kyoto National Museum’s collections primarily focus on cultural properties dating through the Edo period (1615–1868), the museum has also collected fine and decorative arts of the modern era from an early stage. Yet historically it acquired few Japanese modern paintings, and many of these were lent to other institutions instead of being exhibited on site.
In recent years, however, a substantial number of donations have made it easier to show works at the museum itself and enabled more effective use of the collection. The Hakujusai Collection, comprising approximately 130 paintings from the early modern and modern periods, is one of the most important recent gifts. This exhibition introduces outstanding folding screens newly acquired as part of the Hakujusai Collection.

Fan-Tossing
By Kamenaga Gorō
Kyoto National Museum

The term youhua (oil painting) refers to works in oil created in modern China through the study of Western painting. In contrast, traditional ink painting came to be known as guohua (national painting). In the early twentieth century, the low status of guohua within the Chinese art world became a cause of growing concern, leading to a movement advocating for its revival by incorporating the strengths of Western painting. In 1911, figures including Liu Haisu (1896–1994), then still in his teens, helped found China’s first private art school, the Shanghai Drawing and Art School (later the Shanghai Academy of Fine Arts). Through such institutions, as well as study abroad in Europe and the United States, Chinese painters began to engage seriously with oil painting, while seeking new directions for traditional styles. This exhibition presents the practices of three such artists, the contemporaries Liu Haisu, Xu Beihong (1895–1953), and Wang Jiyuan (1893–1975).

Portrait of Jiang Biwei
By Xu Beihong
Kyoto National Museum

Some of the most renowned Kamakura period (1185–1333) Buddhist sculptures came from Nara, crafted by Kei school sculptors such as Unkei and Kaikei for the reconstruction of temples. Other famous statues were made in the Kanto region, following the Kamakura shogunate’s establishment in present-day Kanagawa. Kyoto is often overlooked in comparison, yet Buddhist sculptures were continuously being produced in the capital. Three major lineages—the In school, En school, and Kei school—carried on traditions established during the late Heian period (794–1185).
From the Kamakura period onward, it became increasingly common for sculptors to inscribe production dates and their own signatures onto their works, though many statues are unsigned. There is much left to learn about the development of sculpture in Kamakura-period Kyoto—the works here offer important insight into this compelling era.

Buddhist sculptures are often produced in response to someone’s prayers. In order to eternally preserve these wishes, or to ensure the efficacy of the spiritual benefits, information such as the circumstances and date of production, along with the commissioner and sculptor, may be recorded inside the statues. Though originally carved on upplementary elements such as mandorlas (halos) or pedestals, these dedicatory inscriptions came to be engraved inside a given statue or on supports for its feet.
Additionally, objects are sometimes deposited within sculptures. These may include relics of the Buddha, small images, sutras and written prayers (ganmon)—the names of those with spiritual links (kechien) to the creation of the statue. Other votive items include the hair of the deceased and representations of internal organs made of silk or metal. This exhibition introduces the wishes and prayers embodied within Buddhist sculptures.

In Ancient China, burial goods (minqi) made of clay or wood were interred in tombs so that the deceased could continue to live after death just as they had in life. Such burial goods included human figures, known as yong, along with household furnishings and animals. Yong tomb figures were first interred in the Shang dynasty (ca. 1600–1050 BCE), and this custom continued through the Ming (1368–1644) and Qing (1644–1912) dynasties. Tomb figures reflect the clothing and customs of various periods, making them particularly intriguing within the realms of history and art.
Primarily centered around works from the Han (206 BCE–220 CE) through Song (960–1279) dynasties, this exhibition presents an array of tomb figures, dynamically capturing the vibrancy of their time.

*Under Construction

Up through Japan’s medieval era, daily life was closely intertwined with faith, and the spaces and implements used for prayer were adorned with the utmost care. Vermillion has long been used in ritual contexts—perhaps because its vivid red tone contrasts with the colors of the earth, grass, sky, and water, imbuing it with special meaning. Offering stands and wooden esoteric Buddhist implements were likely coated in vermillion lacquer in order to express their sacred nature. Lacquered wooden objects are distinguished by both their lustrous sheen and exceptional durability. They are at times decorated using makie, the technique of sprinkling gold or silver powder to form intricate designs. Furnishings believed to be used by the gods—adorned with resplendent makie—along with items such as boxes storing wish-granting jewels, thought to fulfill all desires, reflect the lives and aspirations of those who bequeathed them.
This exhibition presents an array of sacred lacquers carefully preserved over time to the present day.

*Under Construction

Although the Kyoto National Museum’s collections primarily focus on cultural properties dating through the Edo period (1615–1868), the museum has also collected fine and decorative arts of the modern era from an early stage. Yet historically it acquired few Japanese modern paintings, and many of these were lent to other institutions instead of being exhibited on site.
In recent years, however, a substantial number of donations have made it easier to show works at the museum itself and enabled more effective use of the collection. The Hakujusai Collection, comprising approximately 130 paintings from the early modern and modern periods, is one of the most important recent gifts. This exhibition introduces outstanding folding screens newly acquired as part of the Hakujusai Collection.

Fan-Tossing
By Kamenaga Gorō
Kyoto National Museum

The term youhua (oil painting) refers to works in oil created in modern China through the study of Western painting. In contrast, traditional ink painting came to be known as guohua (national painting). In the early twentieth century, the low status of guohua within the Chinese art world became a cause of growing concern, leading to a movement advocating for its revival by incorporating the strengths of Western painting. In 1911, figures including Liu Haisu (1896–1994), then still in his teens, helped found China’s first private art school, the Shanghai Drawing and Art School (later the Shanghai Academy of Fine Arts). Through such institutions, as well as study abroad in Europe and the United States, Chinese painters began to engage seriously with oil painting, while seeking new directions for traditional styles. This exhibition presents the practices of three such artists, the contemporaries Liu Haisu, Xu Beihong (1895–1953), and Wang Jiyuan (1893–1975).

Portrait of Jiang Biwei
By Xu Beihong
Kyoto National Museum

Some of the most renowned Kamakura period (1185–1333) Buddhist sculptures came from Nara, crafted by Kei school sculptors such as Unkei and Kaikei for the reconstruction of temples. Other famous statues were made in the Kanto region, following the Kamakura shogunate’s establishment in present-day Kanagawa. Kyoto is often overlooked in comparison, yet Buddhist sculptures were continuously being produced in the capital. Three major lineages—the In school, En school, and Kei school—carried on traditions established during the late Heian period (794–1185).
From the Kamakura period onward, it became increasingly common for sculptors to inscribe production dates and their own signatures onto their works, though many statues are unsigned. There is much left to learn about the development of sculpture in Kamakura-period Kyoto—the works here offer important insight into this compelling era.

Buddhist sculptures are often produced in response to someone’s prayers. In order to eternally preserve these wishes, or to ensure the efficacy of the spiritual benefits, information such as the circumstances and date of production, along with the commissioner and sculptor, may be recorded inside the statues. Though originally carved on upplementary elements such as mandorlas (halos) or pedestals, these dedicatory inscriptions came to be engraved inside a given statue or on supports for its feet.
Additionally, objects are sometimes deposited within sculptures. These may include relics of the Buddha, small images, sutras and written prayers (ganmon)—the names of those with spiritual links (kechien) to the creation of the statue. Other votive items include the hair of the deceased and representations of internal organs made of silk or metal. This exhibition introduces the wishes and prayers embodied within Buddhist sculptures.

In Ancient China, burial goods (minqi) made of clay or wood were interred in tombs so that the deceased could continue to live after death just as they had in life. Such burial goods included human figures, known as yong, along with household furnishings and animals. Yong tomb figures were first interred in the Shang dynasty (ca. 1600–1050 BCE), and this custom continued through the Ming (1368–1644) and Qing (1644–1912) dynasties. Tomb figures reflect the clothing and customs of various periods, making them particularly intriguing within the realms of history and art.
Primarily centered around works from the Han (206 BCE–220 CE) through Song (960–1279) dynasties, this exhibition presents an array of tomb figures, dynamically capturing the vibrancy of their time.

*Under Construction

Up through Japan’s medieval era, daily life was closely intertwined with faith, and the spaces and implements used for prayer were adorned with the utmost care. Vermillion has long been used in ritual contexts—perhaps because its vivid red tone contrasts with the colors of the earth, grass, sky, and water, imbuing it with special meaning. Offering stands and wooden esoteric Buddhist implements were likely coated in vermillion lacquer in order to express their sacred nature. Lacquered wooden objects are distinguished by both their lustrous sheen and exceptional durability. They are at times decorated using makie, the technique of sprinkling gold or silver powder to form intricate designs. Furnishings believed to be used by the gods—adorned with resplendent makie—along with items such as boxes storing wish-granting jewels, thought to fulfill all desires, reflect the lives and aspirations of those who bequeathed them.
This exhibition presents an array of sacred lacquers carefully preserved over time to the present day.

*Under Construction

Although the Kyoto National Museum’s collections primarily focus on cultural properties dating through the Edo period (1615–1868), the museum has also collected fine and decorative arts of the modern era from an early stage. Yet historically it acquired few Japanese modern paintings, and many of these were lent to other institutions instead of being exhibited on site.
In recent years, however, a substantial number of donations have made it easier to show works at the museum itself and enabled more effective use of the collection. The Hakujusai Collection, comprising approximately 130 paintings from the early modern and modern periods, is one of the most important recent gifts. This exhibition introduces outstanding folding screens newly acquired as part of the Hakujusai Collection.

Fan-Tossing
By Kamenaga Gorō
Kyoto National Museum

The term youhua (oil painting) refers to works in oil created in modern China through the study of Western painting. In contrast, traditional ink painting came to be known as guohua (national painting). In the early twentieth century, the low status of guohua within the Chinese art world became a cause of growing concern, leading to a movement advocating for its revival by incorporating the strengths of Western painting. In 1911, figures including Liu Haisu (1896–1994), then still in his teens, helped found China’s first private art school, the Shanghai Drawing and Art School (later the Shanghai Academy of Fine Arts). Through such institutions, as well as study abroad in Europe and the United States, Chinese painters began to engage seriously with oil painting, while seeking new directions for traditional styles. This exhibition presents the practices of three such artists, the contemporaries Liu Haisu, Xu Beihong (1895–1953), and Wang Jiyuan (1893–1975).

Portrait of Jiang Biwei
By Xu Beihong
Kyoto National Museum

Some of the most renowned Kamakura period (1185–1333) Buddhist sculptures came from Nara, crafted by Kei school sculptors such as Unkei and Kaikei for the reconstruction of temples. Other famous statues were made in the Kanto region, following the Kamakura shogunate’s establishment in present-day Kanagawa. Kyoto is often overlooked in comparison, yet Buddhist sculptures were continuously being produced in the capital. Three major lineages—the In school, En school, and Kei school—carried on traditions established during the late Heian period (794–1185).
From the Kamakura period onward, it became increasingly common for sculptors to inscribe production dates and their own signatures onto their works, though many statues are unsigned. There is much left to learn about the development of sculpture in Kamakura-period Kyoto—the works here offer important insight into this compelling era.

Buddhist sculptures are often produced in response to someone’s prayers. In order to eternally preserve these wishes, or to ensure the efficacy of the spiritual benefits, information such as the circumstances and date of production, along with the commissioner and sculptor, may be recorded inside the statues. Though originally carved on upplementary elements such as mandorlas (halos) or pedestals, these dedicatory inscriptions came to be engraved inside a given statue or on supports for its feet.
Additionally, objects are sometimes deposited within sculptures. These may include relics of the Buddha, small images, sutras and written prayers (ganmon)—the names of those with spiritual links (kechien) to the creation of the statue. Other votive items include the hair of the deceased and representations of internal organs made of silk or metal. This exhibition introduces the wishes and prayers embodied within Buddhist sculptures.

In Ancient China, burial goods (minqi) made of clay or wood were interred in tombs so that the deceased could continue to live after death just as they had in life. Such burial goods included human figures, known as yong, along with household furnishings and animals. Yong tomb figures were first interred in the Shang dynasty (ca. 1600–1050 BCE), and this custom continued through the Ming (1368–1644) and Qing (1644–1912) dynasties. Tomb figures reflect the clothing and customs of various periods, making them particularly intriguing within the realms of history and art.
Primarily centered around works from the Han (206 BCE–220 CE) through Song (960–1279) dynasties, this exhibition presents an array of tomb figures, dynamically capturing the vibrancy of their time.

*Under Construction

Up through Japan’s medieval era, daily life was closely intertwined with faith, and the spaces and implements used for prayer were adorned with the utmost care. Vermillion has long been used in ritual contexts—perhaps because its vivid red tone contrasts with the colors of the earth, grass, sky, and water, imbuing it with special meaning. Offering stands and wooden esoteric Buddhist implements were likely coated in vermillion lacquer in order to express their sacred nature. Lacquered wooden objects are distinguished by both their lustrous sheen and exceptional durability. They are at times decorated using makie, the technique of sprinkling gold or silver powder to form intricate designs. Furnishings believed to be used by the gods—adorned with resplendent makie—along with items such as boxes storing wish-granting jewels, thought to fulfill all desires, reflect the lives and aspirations of those who bequeathed them.
This exhibition presents an array of sacred lacquers carefully preserved over time to the present day.

*Under Construction

Although the Kyoto National Museum’s collections primarily focus on cultural properties dating through the Edo period (1615–1868), the museum has also collected fine and decorative arts of the modern era from an early stage. Yet historically it acquired few Japanese modern paintings, and many of these were lent to other institutions instead of being exhibited on site.
In recent years, however, a substantial number of donations have made it easier to show works at the museum itself and enabled more effective use of the collection. The Hakujusai Collection, comprising approximately 130 paintings from the early modern and modern periods, is one of the most important recent gifts. This exhibition introduces outstanding folding screens newly acquired as part of the Hakujusai Collection.

Fan-Tossing
By Kamenaga Gorō
Kyoto National Museum

The term youhua (oil painting) refers to works in oil created in modern China through the study of Western painting. In contrast, traditional ink painting came to be known as guohua (national painting). In the early twentieth century, the low status of guohua within the Chinese art world became a cause of growing concern, leading to a movement advocating for its revival by incorporating the strengths of Western painting. In 1911, figures including Liu Haisu (1896–1994), then still in his teens, helped found China’s first private art school, the Shanghai Drawing and Art School (later the Shanghai Academy of Fine Arts). Through such institutions, as well as study abroad in Europe and the United States, Chinese painters began to engage seriously with oil painting, while seeking new directions for traditional styles. This exhibition presents the practices of three such artists, the contemporaries Liu Haisu, Xu Beihong (1895–1953), and Wang Jiyuan (1893–1975).

Portrait of Jiang Biwei
By Xu Beihong
Kyoto National Museum

Some of the most renowned Kamakura period (1185–1333) Buddhist sculptures came from Nara, crafted by Kei school sculptors such as Unkei and Kaikei for the reconstruction of temples. Other famous statues were made in the Kanto region, following the Kamakura shogunate’s establishment in present-day Kanagawa. Kyoto is often overlooked in comparison, yet Buddhist sculptures were continuously being produced in the capital. Three major lineages—the In school, En school, and Kei school—carried on traditions established during the late Heian period (794–1185).
From the Kamakura period onward, it became increasingly common for sculptors to inscribe production dates and their own signatures onto their works, though many statues are unsigned. There is much left to learn about the development of sculpture in Kamakura-period Kyoto—the works here offer important insight into this compelling era.

Buddhist sculptures are often produced in response to someone’s prayers. In order to eternally preserve these wishes, or to ensure the efficacy of the spiritual benefits, information such as the circumstances and date of production, along with the commissioner and sculptor, may be recorded inside the statues. Though originally carved on upplementary elements such as mandorlas (halos) or pedestals, these dedicatory inscriptions came to be engraved inside a given statue or on supports for its feet.
Additionally, objects are sometimes deposited within sculptures. These may include relics of the Buddha, small images, sutras and written prayers (ganmon)—the names of those with spiritual links (kechien) to the creation of the statue. Other votive items include the hair of the deceased and representations of internal organs made of silk or metal. This exhibition introduces the wishes and prayers embodied within Buddhist sculptures.

In Ancient China, burial goods (minqi) made of clay or wood were interred in tombs so that the deceased could continue to live after death just as they had in life. Such burial goods included human figures, known as yong, along with household furnishings and animals. Yong tomb figures were first interred in the Shang dynasty (ca. 1600–1050 BCE), and this custom continued through the Ming (1368–1644) and Qing (1644–1912) dynasties. Tomb figures reflect the clothing and customs of various periods, making them particularly intriguing within the realms of history and art.
Primarily centered around works from the Han (206 BCE–220 CE) through Song (960–1279) dynasties, this exhibition presents an array of tomb figures, dynamically capturing the vibrancy of their time.

*Under Construction

Up through Japan’s medieval era, daily life was closely intertwined with faith, and the spaces and implements used for prayer were adorned with the utmost care. Vermillion has long been used in ritual contexts—perhaps because its vivid red tone contrasts with the colors of the earth, grass, sky, and water, imbuing it with special meaning. Offering stands and wooden esoteric Buddhist implements were likely coated in vermillion lacquer in order to express their sacred nature. Lacquered wooden objects are distinguished by both their lustrous sheen and exceptional durability. They are at times decorated using makie, the technique of sprinkling gold or silver powder to form intricate designs. Furnishings believed to be used by the gods—adorned with resplendent makie—along with items such as boxes storing wish-granting jewels, thought to fulfill all desires, reflect the lives and aspirations of those who bequeathed them.
This exhibition presents an array of sacred lacquers carefully preserved over time to the present day.

*Under Construction

Although the Kyoto National Museum’s collections primarily focus on cultural properties dating through the Edo period (1615–1868), the museum has also collected fine and decorative arts of the modern era from an early stage. Yet historically it acquired few Japanese modern paintings, and many of these were lent to other institutions instead of being exhibited on site.
In recent years, however, a substantial number of donations have made it easier to show works at the museum itself and enabled more effective use of the collection. The Hakujusai Collection, comprising approximately 130 paintings from the early modern and modern periods, is one of the most important recent gifts. This exhibition introduces outstanding folding screens newly acquired as part of the Hakujusai Collection.

Fan-Tossing
By Kamenaga Gorō
Kyoto National Museum

The term youhua (oil painting) refers to works in oil created in modern China through the study of Western painting. In contrast, traditional ink painting came to be known as guohua (national painting). In the early twentieth century, the low status of guohua within the Chinese art world became a cause of growing concern, leading to a movement advocating for its revival by incorporating the strengths of Western painting. In 1911, figures including Liu Haisu (1896–1994), then still in his teens, helped found China’s first private art school, the Shanghai Drawing and Art School (later the Shanghai Academy of Fine Arts). Through such institutions, as well as study abroad in Europe and the United States, Chinese painters began to engage seriously with oil painting, while seeking new directions for traditional styles. This exhibition presents the practices of three such artists, the contemporaries Liu Haisu, Xu Beihong (1895–1953), and Wang Jiyuan (1893–1975).

Portrait of Jiang Biwei
By Xu Beihong
Kyoto National Museum

Some of the most renowned Kamakura period (1185–1333) Buddhist sculptures came from Nara, crafted by Kei school sculptors such as Unkei and Kaikei for the reconstruction of temples. Other famous statues were made in the Kanto region, following the Kamakura shogunate’s establishment in present-day Kanagawa. Kyoto is often overlooked in comparison, yet Buddhist sculptures were continuously being produced in the capital. Three major lineages—the In school, En school, and Kei school—carried on traditions established during the late Heian period (794–1185).
From the Kamakura period onward, it became increasingly common for sculptors to inscribe production dates and their own signatures onto their works, though many statues are unsigned. There is much left to learn about the development of sculpture in Kamakura-period Kyoto—the works here offer important insight into this compelling era.

Buddhist sculptures are often produced in response to someone’s prayers. In order to eternally preserve these wishes, or to ensure the efficacy of the spiritual benefits, information such as the circumstances and date of production, along with the commissioner and sculptor, may be recorded inside the statues. Though originally carved on upplementary elements such as mandorlas (halos) or pedestals, these dedicatory inscriptions came to be engraved inside a given statue or on supports for its feet.
Additionally, objects are sometimes deposited within sculptures. These may include relics of the Buddha, small images, sutras and written prayers (ganmon)—the names of those with spiritual links (kechien) to the creation of the statue. Other votive items include the hair of the deceased and representations of internal organs made of silk or metal. This exhibition introduces the wishes and prayers embodied within Buddhist sculptures.

In Ancient China, burial goods (minqi) made of clay or wood were interred in tombs so that the deceased could continue to live after death just as they had in life. Such burial goods included human figures, known as yong, along with household furnishings and animals. Yong tomb figures were first interred in the Shang dynasty (ca. 1600–1050 BCE), and this custom continued through the Ming (1368–1644) and Qing (1644–1912) dynasties. Tomb figures reflect the clothing and customs of various periods, making them particularly intriguing within the realms of history and art.
Primarily centered around works from the Han (206 BCE–220 CE) through Song (960–1279) dynasties, this exhibition presents an array of tomb figures, dynamically capturing the vibrancy of their time.

*Under Construction

Up through Japan’s medieval era, daily life was closely intertwined with faith, and the spaces and implements used for prayer were adorned with the utmost care. Vermillion has long been used in ritual contexts—perhaps because its vivid red tone contrasts with the colors of the earth, grass, sky, and water, imbuing it with special meaning. Offering stands and wooden esoteric Buddhist implements were likely coated in vermillion lacquer in order to express their sacred nature. Lacquered wooden objects are distinguished by both their lustrous sheen and exceptional durability. They are at times decorated using makie, the technique of sprinkling gold or silver powder to form intricate designs. Furnishings believed to be used by the gods—adorned with resplendent makie—along with items such as boxes storing wish-granting jewels, thought to fulfill all desires, reflect the lives and aspirations of those who bequeathed them.
This exhibition presents an array of sacred lacquers carefully preserved over time to the present day.

*Under Construction

Although the Kyoto National Museum’s collections primarily focus on cultural properties dating through the Edo period (1615–1868), the museum has also collected fine and decorative arts of the modern era from an early stage. Yet historically it acquired few Japanese modern paintings, and many of these were lent to other institutions instead of being exhibited on site.
In recent years, however, a substantial number of donations have made it easier to show works at the museum itself and enabled more effective use of the collection. The Hakujusai Collection, comprising approximately 130 paintings from the early modern and modern periods, is one of the most important recent gifts. This exhibition introduces outstanding folding screens newly acquired as part of the Hakujusai Collection.

Fan-Tossing
By Kamenaga Gorō
Kyoto National Museum

The term youhua (oil painting) refers to works in oil created in modern China through the study of Western painting. In contrast, traditional ink painting came to be known as guohua (national painting). In the early twentieth century, the low status of guohua within the Chinese art world became a cause of growing concern, leading to a movement advocating for its revival by incorporating the strengths of Western painting. In 1911, figures including Liu Haisu (1896–1994), then still in his teens, helped found China’s first private art school, the Shanghai Drawing and Art School (later the Shanghai Academy of Fine Arts). Through such institutions, as well as study abroad in Europe and the United States, Chinese painters began to engage seriously with oil painting, while seeking new directions for traditional styles. This exhibition presents the practices of three such artists, the contemporaries Liu Haisu, Xu Beihong (1895–1953), and Wang Jiyuan (1893–1975).

Portrait of Jiang Biwei
By Xu Beihong
Kyoto National Museum

Some of the most renowned Kamakura period (1185–1333) Buddhist sculptures came from Nara, crafted by Kei school sculptors such as Unkei and Kaikei for the reconstruction of temples. Other famous statues were made in the Kanto region, following the Kamakura shogunate’s establishment in present-day Kanagawa. Kyoto is often overlooked in comparison, yet Buddhist sculptures were continuously being produced in the capital. Three major lineages—the In school, En school, and Kei school—carried on traditions established during the late Heian period (794–1185).
From the Kamakura period onward, it became increasingly common for sculptors to inscribe production dates and their own signatures onto their works, though many statues are unsigned. There is much left to learn about the development of sculpture in Kamakura-period Kyoto—the works here offer important insight into this compelling era.

Buddhist sculptures are often produced in response to someone’s prayers. In order to eternally preserve these wishes, or to ensure the efficacy of the spiritual benefits, information such as the circumstances and date of production, along with the commissioner and sculptor, may be recorded inside the statues. Though originally carved on upplementary elements such as mandorlas (halos) or pedestals, these dedicatory inscriptions came to be engraved inside a given statue or on supports for its feet.
Additionally, objects are sometimes deposited within sculptures. These may include relics of the Buddha, small images, sutras and written prayers (ganmon)—the names of those with spiritual links (kechien) to the creation of the statue. Other votive items include the hair of the deceased and representations of internal organs made of silk or metal. This exhibition introduces the wishes and prayers embodied within Buddhist sculptures.

In Ancient China, burial goods (minqi) made of clay or wood were interred in tombs so that the deceased could continue to live after death just as they had in life. Such burial goods included human figures, known as yong, along with household furnishings and animals. Yong tomb figures were first interred in the Shang dynasty (ca. 1600–1050 BCE), and this custom continued through the Ming (1368–1644) and Qing (1644–1912) dynasties. Tomb figures reflect the clothing and customs of various periods, making them particularly intriguing within the realms of history and art.
Primarily centered around works from the Han (206 BCE–220 CE) through Song (960–1279) dynasties, this exhibition presents an array of tomb figures, dynamically capturing the vibrancy of their time.

*Under Construction

Up through Japan’s medieval era, daily life was closely intertwined with faith, and the spaces and implements used for prayer were adorned with the utmost care. Vermillion has long been used in ritual contexts—perhaps because its vivid red tone contrasts with the colors of the earth, grass, sky, and water, imbuing it with special meaning. Offering stands and wooden esoteric Buddhist implements were likely coated in vermillion lacquer in order to express their sacred nature. Lacquered wooden objects are distinguished by both their lustrous sheen and exceptional durability. They are at times decorated using makie, the technique of sprinkling gold or silver powder to form intricate designs. Furnishings believed to be used by the gods—adorned with resplendent makie—along with items such as boxes storing wish-granting jewels, thought to fulfill all desires, reflect the lives and aspirations of those who bequeathed them.
This exhibition presents an array of sacred lacquers carefully preserved over time to the present day.

*Under Construction

Although the Kyoto National Museum’s collections primarily focus on cultural properties dating through the Edo period (1615–1868), the museum has also collected fine and decorative arts of the modern era from an early stage. Yet historically it acquired few Japanese modern paintings, and many of these were lent to other institutions instead of being exhibited on site.
In recent years, however, a substantial number of donations have made it easier to show works at the museum itself and enabled more effective use of the collection. The Hakujusai Collection, comprising approximately 130 paintings from the early modern and modern periods, is one of the most important recent gifts. This exhibition introduces outstanding folding screens newly acquired as part of the Hakujusai Collection.

Fan-Tossing
By Kamenaga Gorō
Kyoto National Museum

The term youhua (oil painting) refers to works in oil created in modern China through the study of Western painting. In contrast, traditional ink painting came to be known as guohua (national painting). In the early twentieth century, the low status of guohua within the Chinese art world became a cause of growing concern, leading to a movement advocating for its revival by incorporating the strengths of Western painting. In 1911, figures including Liu Haisu (1896–1994), then still in his teens, helped found China’s first private art school, the Shanghai Drawing and Art School (later the Shanghai Academy of Fine Arts). Through such institutions, as well as study abroad in Europe and the United States, Chinese painters began to engage seriously with oil painting, while seeking new directions for traditional styles. This exhibition presents the practices of three such artists, the contemporaries Liu Haisu, Xu Beihong (1895–1953), and Wang Jiyuan (1893–1975).

Portrait of Jiang Biwei
By Xu Beihong
Kyoto National Museum

Some of the most renowned Kamakura period (1185–1333) Buddhist sculptures came from Nara, crafted by Kei school sculptors such as Unkei and Kaikei for the reconstruction of temples. Other famous statues were made in the Kanto region, following the Kamakura shogunate’s establishment in present-day Kanagawa. Kyoto is often overlooked in comparison, yet Buddhist sculptures were continuously being produced in the capital. Three major lineages—the In school, En school, and Kei school—carried on traditions established during the late Heian period (794–1185).
From the Kamakura period onward, it became increasingly common for sculptors to inscribe production dates and their own signatures onto their works, though many statues are unsigned. There is much left to learn about the development of sculpture in Kamakura-period Kyoto—the works here offer important insight into this compelling era.

Buddhist sculptures are often produced in response to someone’s prayers. In order to eternally preserve these wishes, or to ensure the efficacy of the spiritual benefits, information such as the circumstances and date of production, along with the commissioner and sculptor, may be recorded inside the statues. Though originally carved on upplementary elements such as mandorlas (halos) or pedestals, these dedicatory inscriptions came to be engraved inside a given statue or on supports for its feet.
Additionally, objects are sometimes deposited within sculptures. These may include relics of the Buddha, small images, sutras and written prayers (ganmon)—the names of those with spiritual links (kechien) to the creation of the statue. Other votive items include the hair of the deceased and representations of internal organs made of silk or metal. This exhibition introduces the wishes and prayers embodied within Buddhist sculptures.

In Ancient China, burial goods (minqi) made of clay or wood were interred in tombs so that the deceased could continue to live after death just as they had in life. Such burial goods included human figures, known as yong, along with household furnishings and animals. Yong tomb figures were first interred in the Shang dynasty (ca. 1600–1050 BCE), and this custom continued through the Ming (1368–1644) and Qing (1644–1912) dynasties. Tomb figures reflect the clothing and customs of various periods, making them particularly intriguing within the realms of history and art.
Primarily centered around works from the Han (206 BCE–220 CE) through Song (960–1279) dynasties, this exhibition presents an array of tomb figures, dynamically capturing the vibrancy of their time.

*Under Construction

Up through Japan’s medieval era, daily life was closely intertwined with faith, and the spaces and implements used for prayer were adorned with the utmost care. Vermillion has long been used in ritual contexts—perhaps because its vivid red tone contrasts with the colors of the earth, grass, sky, and water, imbuing it with special meaning. Offering stands and wooden esoteric Buddhist implements were likely coated in vermillion lacquer in order to express their sacred nature. Lacquered wooden objects are distinguished by both their lustrous sheen and exceptional durability. They are at times decorated using makie, the technique of sprinkling gold or silver powder to form intricate designs. Furnishings believed to be used by the gods—adorned with resplendent makie—along with items such as boxes storing wish-granting jewels, thought to fulfill all desires, reflect the lives and aspirations of those who bequeathed them.
This exhibition presents an array of sacred lacquers carefully preserved over time to the present day.

*Under Construction

Although the Kyoto National Museum’s collections primarily focus on cultural properties dating through the Edo period (1615–1868), the museum has also collected fine and decorative arts of the modern era from an early stage. Yet historically it acquired few Japanese modern paintings, and many of these were lent to other institutions instead of being exhibited on site.
In recent years, however, a substantial number of donations have made it easier to show works at the museum itself and enabled more effective use of the collection. The Hakujusai Collection, comprising approximately 130 paintings from the early modern and modern periods, is one of the most important recent gifts. This exhibition introduces outstanding folding screens newly acquired as part of the Hakujusai Collection.

Fan-Tossing
By Kamenaga Gorō
Kyoto National Museum

The term youhua (oil painting) refers to works in oil created in modern China through the study of Western painting. In contrast, traditional ink painting came to be known as guohua (national painting). In the early twentieth century, the low status of guohua within the Chinese art world became a cause of growing concern, leading to a movement advocating for its revival by incorporating the strengths of Western painting. In 1911, figures including Liu Haisu (1896–1994), then still in his teens, helped found China’s first private art school, the Shanghai Drawing and Art School (later the Shanghai Academy of Fine Arts). Through such institutions, as well as study abroad in Europe and the United States, Chinese painters began to engage seriously with oil painting, while seeking new directions for traditional styles. This exhibition presents the practices of three such artists, the contemporaries Liu Haisu, Xu Beihong (1895–1953), and Wang Jiyuan (1893–1975).

Portrait of Jiang Biwei
By Xu Beihong
Kyoto National Museum

Some of the most renowned Kamakura period (1185–1333) Buddhist sculptures came from Nara, crafted by Kei school sculptors such as Unkei and Kaikei for the reconstruction of temples. Other famous statues were made in the Kanto region, following the Kamakura shogunate’s establishment in present-day Kanagawa. Kyoto is often overlooked in comparison, yet Buddhist sculptures were continuously being produced in the capital. Three major lineages—the In school, En school, and Kei school—carried on traditions established during the late Heian period (794–1185).
From the Kamakura period onward, it became increasingly common for sculptors to inscribe production dates and their own signatures onto their works, though many statues are unsigned. There is much left to learn about the development of sculpture in Kamakura-period Kyoto—the works here offer important insight into this compelling era.

Buddhist sculptures are often produced in response to someone’s prayers. In order to eternally preserve these wishes, or to ensure the efficacy of the spiritual benefits, information such as the circumstances and date of production, along with the commissioner and sculptor, may be recorded inside the statues. Though originally carved on upplementary elements such as mandorlas (halos) or pedestals, these dedicatory inscriptions came to be engraved inside a given statue or on supports for its feet.
Additionally, objects are sometimes deposited within sculptures. These may include relics of the Buddha, small images, sutras and written prayers (ganmon)—the names of those with spiritual links (kechien) to the creation of the statue. Other votive items include the hair of the deceased and representations of internal organs made of silk or metal. This exhibition introduces the wishes and prayers embodied within Buddhist sculptures.

In Ancient China, burial goods (minqi) made of clay or wood were interred in tombs so that the deceased could continue to live after death just as they had in life. Such burial goods included human figures, known as yong, along with household furnishings and animals. Yong tomb figures were first interred in the Shang dynasty (ca. 1600–1050 BCE), and this custom continued through the Ming (1368–1644) and Qing (1644–1912) dynasties. Tomb figures reflect the clothing and customs of various periods, making them particularly intriguing within the realms of history and art.
Primarily centered around works from the Han (206 BCE–220 CE) through Song (960–1279) dynasties, this exhibition presents an array of tomb figures, dynamically capturing the vibrancy of their time.

*Under Construction

Up through Japan’s medieval era, daily life was closely intertwined with faith, and the spaces and implements used for prayer were adorned with the utmost care. Vermillion has long been used in ritual contexts—perhaps because its vivid red tone contrasts with the colors of the earth, grass, sky, and water, imbuing it with special meaning. Offering stands and wooden esoteric Buddhist implements were likely coated in vermillion lacquer in order to express their sacred nature. Lacquered wooden objects are distinguished by both their lustrous sheen and exceptional durability. They are at times decorated using makie, the technique of sprinkling gold or silver powder to form intricate designs. Furnishings believed to be used by the gods—adorned with resplendent makie—along with items such as boxes storing wish-granting jewels, thought to fulfill all desires, reflect the lives and aspirations of those who bequeathed them.
This exhibition presents an array of sacred lacquers carefully preserved over time to the present day.

*Under Construction

Although the Kyoto National Museum’s collections primarily focus on cultural properties dating through the Edo period (1615–1868), the museum has also collected fine and decorative arts of the modern era from an early stage. Yet historically it acquired few Japanese modern paintings, and many of these were lent to other institutions instead of being exhibited on site.
In recent years, however, a substantial number of donations have made it easier to show works at the museum itself and enabled more effective use of the collection. The Hakujusai Collection, comprising approximately 130 paintings from the early modern and modern periods, is one of the most important recent gifts. This exhibition introduces outstanding folding screens newly acquired as part of the Hakujusai Collection.

Fan-Tossing
By Kamenaga Gorō
Kyoto National Museum

The term youhua (oil painting) refers to works in oil created in modern China through the study of Western painting. In contrast, traditional ink painting came to be known as guohua (national painting). In the early twentieth century, the low status of guohua within the Chinese art world became a cause of growing concern, leading to a movement advocating for its revival by incorporating the strengths of Western painting. In 1911, figures including Liu Haisu (1896–1994), then still in his teens, helped found China’s first private art school, the Shanghai Drawing and Art School (later the Shanghai Academy of Fine Arts). Through such institutions, as well as study abroad in Europe and the United States, Chinese painters began to engage seriously with oil painting, while seeking new directions for traditional styles. This exhibition presents the practices of three such artists, the contemporaries Liu Haisu, Xu Beihong (1895–1953), and Wang Jiyuan (1893–1975).

Portrait of Jiang Biwei
By Xu Beihong
Kyoto National Museum

Some of the most renowned Kamakura period (1185–1333) Buddhist sculptures came from Nara, crafted by Kei school sculptors such as Unkei and Kaikei for the reconstruction of temples. Other famous statues were made in the Kanto region, following the Kamakura shogunate’s establishment in present-day Kanagawa. Kyoto is often overlooked in comparison, yet Buddhist sculptures were continuously being produced in the capital. Three major lineages—the In school, En school, and Kei school—carried on traditions established during the late Heian period (794–1185).
From the Kamakura period onward, it became increasingly common for sculptors to inscribe production dates and their own signatures onto their works, though many statues are unsigned. There is much left to learn about the development of sculpture in Kamakura-period Kyoto—the works here offer important insight into this compelling era.

Buddhist sculptures are often produced in response to someone’s prayers. In order to eternally preserve these wishes, or to ensure the efficacy of the spiritual benefits, information such as the circumstances and date of production, along with the commissioner and sculptor, may be recorded inside the statues. Though originally carved on upplementary elements such as mandorlas (halos) or pedestals, these dedicatory inscriptions came to be engraved inside a given statue or on supports for its feet.
Additionally, objects are sometimes deposited within sculptures. These may include relics of the Buddha, small images, sutras and written prayers (ganmon)—the names of those with spiritual links (kechien) to the creation of the statue. Other votive items include the hair of the deceased and representations of internal organs made of silk or metal. This exhibition introduces the wishes and prayers embodied within Buddhist sculptures.

In Ancient China, burial goods (minqi) made of clay or wood were interred in tombs so that the deceased could continue to live after death just as they had in life. Such burial goods included human figures, known as yong, along with household furnishings and animals. Yong tomb figures were first interred in the Shang dynasty (ca. 1600–1050 BCE), and this custom continued through the Ming (1368–1644) and Qing (1644–1912) dynasties. Tomb figures reflect the clothing and customs of various periods, making them particularly intriguing within the realms of history and art.
Primarily centered around works from the Han (206 BCE–220 CE) through Song (960–1279) dynasties, this exhibition presents an array of tomb figures, dynamically capturing the vibrancy of their time.

*Under Construction

Up through Japan’s medieval era, daily life was closely intertwined with faith, and the spaces and implements used for prayer were adorned with the utmost care. Vermillion has long been used in ritual contexts—perhaps because its vivid red tone contrasts with the colors of the earth, grass, sky, and water, imbuing it with special meaning. Offering stands and wooden esoteric Buddhist implements were likely coated in vermillion lacquer in order to express their sacred nature. Lacquered wooden objects are distinguished by both their lustrous sheen and exceptional durability. They are at times decorated using makie, the technique of sprinkling gold or silver powder to form intricate designs. Furnishings believed to be used by the gods—adorned with resplendent makie—along with items such as boxes storing wish-granting jewels, thought to fulfill all desires, reflect the lives and aspirations of those who bequeathed them.
This exhibition presents an array of sacred lacquers carefully preserved over time to the present day.

*Under Construction

Although the Kyoto National Museum’s collections primarily focus on cultural properties dating through the Edo period (1615–1868), the museum has also collected fine and decorative arts of the modern era from an early stage. Yet historically it acquired few Japanese modern paintings, and many of these were lent to other institutions instead of being exhibited on site.
In recent years, however, a substantial number of donations have made it easier to show works at the museum itself and enabled more effective use of the collection. The Hakujusai Collection, comprising approximately 130 paintings from the early modern and modern periods, is one of the most important recent gifts. This exhibition introduces outstanding folding screens newly acquired as part of the Hakujusai Collection.

Fan-Tossing
By Kamenaga Gorō
Kyoto National Museum

The term youhua (oil painting) refers to works in oil created in modern China through the study of Western painting. In contrast, traditional ink painting came to be known as guohua (national painting). In the early twentieth century, the low status of guohua within the Chinese art world became a cause of growing concern, leading to a movement advocating for its revival by incorporating the strengths of Western painting. In 1911, figures including Liu Haisu (1896–1994), then still in his teens, helped found China’s first private art school, the Shanghai Drawing and Art School (later the Shanghai Academy of Fine Arts). Through such institutions, as well as study abroad in Europe and the United States, Chinese painters began to engage seriously with oil painting, while seeking new directions for traditional styles. This exhibition presents the practices of three such artists, the contemporaries Liu Haisu, Xu Beihong (1895–1953), and Wang Jiyuan (1893–1975).

Portrait of Jiang Biwei
By Xu Beihong
Kyoto National Museum

Some of the most renowned Kamakura period (1185–1333) Buddhist sculptures came from Nara, crafted by Kei school sculptors such as Unkei and Kaikei for the reconstruction of temples. Other famous statues were made in the Kanto region, following the Kamakura shogunate’s establishment in present-day Kanagawa. Kyoto is often overlooked in comparison, yet Buddhist sculptures were continuously being produced in the capital. Three major lineages—the In school, En school, and Kei school—carried on traditions established during the late Heian period (794–1185).
From the Kamakura period onward, it became increasingly common for sculptors to inscribe production dates and their own signatures onto their works, though many statues are unsigned. There is much left to learn about the development of sculpture in Kamakura-period Kyoto—the works here offer important insight into this compelling era.

Buddhist sculptures are often produced in response to someone’s prayers. In order to eternally preserve these wishes, or to ensure the efficacy of the spiritual benefits, information such as the circumstances and date of production, along with the commissioner and sculptor, may be recorded inside the statues. Though originally carved on upplementary elements such as mandorlas (halos) or pedestals, these dedicatory inscriptions came to be engraved inside a given statue or on supports for its feet.
Additionally, objects are sometimes deposited within sculptures. These may include relics of the Buddha, small images, sutras and written prayers (ganmon)—the names of those with spiritual links (kechien) to the creation of the statue. Other votive items include the hair of the deceased and representations of internal organs made of silk or metal. This exhibition introduces the wishes and prayers embodied within Buddhist sculptures.

In Ancient China, burial goods (minqi) made of clay or wood were interred in tombs so that the deceased could continue to live after death just as they had in life. Such burial goods included human figures, known as yong, along with household furnishings and animals. Yong tomb figures were first interred in the Shang dynasty (ca. 1600–1050 BCE), and this custom continued through the Ming (1368–1644) and Qing (1644–1912) dynasties. Tomb figures reflect the clothing and customs of various periods, making them particularly intriguing within the realms of history and art.
Primarily centered around works from the Han (206 BCE–220 CE) through Song (960–1279) dynasties, this exhibition presents an array of tomb figures, dynamically capturing the vibrancy of their time.

*Under Construction

Up through Japan’s medieval era, daily life was closely intertwined with faith, and the spaces and implements used for prayer were adorned with the utmost care. Vermillion has long been used in ritual contexts—perhaps because its vivid red tone contrasts with the colors of the earth, grass, sky, and water, imbuing it with special meaning. Offering stands and wooden esoteric Buddhist implements were likely coated in vermillion lacquer in order to express their sacred nature. Lacquered wooden objects are distinguished by both their lustrous sheen and exceptional durability. They are at times decorated using makie, the technique of sprinkling gold or silver powder to form intricate designs. Furnishings believed to be used by the gods—adorned with resplendent makie—along with items such as boxes storing wish-granting jewels, thought to fulfill all desires, reflect the lives and aspirations of those who bequeathed them.
This exhibition presents an array of sacred lacquers carefully preserved over time to the present day.

*Under Construction

Although the Kyoto National Museum’s collections primarily focus on cultural properties dating through the Edo period (1615–1868), the museum has also collected fine and decorative arts of the modern era from an early stage. Yet historically it acquired few Japanese modern paintings, and many of these were lent to other institutions instead of being exhibited on site.
In recent years, however, a substantial number of donations have made it easier to show works at the museum itself and enabled more effective use of the collection. The Hakujusai Collection, comprising approximately 130 paintings from the early modern and modern periods, is one of the most important recent gifts. This exhibition introduces outstanding folding screens newly acquired as part of the Hakujusai Collection.

Fan-Tossing
By Kamenaga Gorō
Kyoto National Museum

The term youhua (oil painting) refers to works in oil created in modern China through the study of Western painting. In contrast, traditional ink painting came to be known as guohua (national painting). In the early twentieth century, the low status of guohua within the Chinese art world became a cause of growing concern, leading to a movement advocating for its revival by incorporating the strengths of Western painting. In 1911, figures including Liu Haisu (1896–1994), then still in his teens, helped found China’s first private art school, the Shanghai Drawing and Art School (later the Shanghai Academy of Fine Arts). Through such institutions, as well as study abroad in Europe and the United States, Chinese painters began to engage seriously with oil painting, while seeking new directions for traditional styles. This exhibition presents the practices of three such artists, the contemporaries Liu Haisu, Xu Beihong (1895–1953), and Wang Jiyuan (1893–1975).

Portrait of Jiang Biwei
By Xu Beihong
Kyoto National Museum

Some of the most renowned Kamakura period (1185–1333) Buddhist sculptures came from Nara, crafted by Kei school sculptors such as Unkei and Kaikei for the reconstruction of temples. Other famous statues were made in the Kanto region, following the Kamakura shogunate’s establishment in present-day Kanagawa. Kyoto is often overlooked in comparison, yet Buddhist sculptures were continuously being produced in the capital. Three major lineages—the In school, En school, and Kei school—carried on traditions established during the late Heian period (794–1185).
From the Kamakura period onward, it became increasingly common for sculptors to inscribe production dates and their own signatures onto their works, though many statues are unsigned. There is much left to learn about the development of sculpture in Kamakura-period Kyoto—the works here offer important insight into this compelling era.

Buddhist sculptures are often produced in response to someone’s prayers. In order to eternally preserve these wishes, or to ensure the efficacy of the spiritual benefits, information such as the circumstances and date of production, along with the commissioner and sculptor, may be recorded inside the statues. Though originally carved on upplementary elements such as mandorlas (halos) or pedestals, these dedicatory inscriptions came to be engraved inside a given statue or on supports for its feet.
Additionally, objects are sometimes deposited within sculptures. These may include relics of the Buddha, small images, sutras and written prayers (ganmon)—the names of those with spiritual links (kechien) to the creation of the statue. Other votive items include the hair of the deceased and representations of internal organs made of silk or metal. This exhibition introduces the wishes and prayers embodied within Buddhist sculptures.

In Ancient China, burial goods (minqi) made of clay or wood were interred in tombs so that the deceased could continue to live after death just as they had in life. Such burial goods included human figures, known as yong, along with household furnishings and animals. Yong tomb figures were first interred in the Shang dynasty (ca. 1600–1050 BCE), and this custom continued through the Ming (1368–1644) and Qing (1644–1912) dynasties. Tomb figures reflect the clothing and customs of various periods, making them particularly intriguing within the realms of history and art.
Primarily centered around works from the Han (206 BCE–220 CE) through Song (960–1279) dynasties, this exhibition presents an array of tomb figures, dynamically capturing the vibrancy of their time.

*Under Construction

Up through Japan’s medieval era, daily life was closely intertwined with faith, and the spaces and implements used for prayer were adorned with the utmost care. Vermillion has long been used in ritual contexts—perhaps because its vivid red tone contrasts with the colors of the earth, grass, sky, and water, imbuing it with special meaning. Offering stands and wooden esoteric Buddhist implements were likely coated in vermillion lacquer in order to express their sacred nature. Lacquered wooden objects are distinguished by both their lustrous sheen and exceptional durability. They are at times decorated using makie, the technique of sprinkling gold or silver powder to form intricate designs. Furnishings believed to be used by the gods—adorned with resplendent makie—along with items such as boxes storing wish-granting jewels, thought to fulfill all desires, reflect the lives and aspirations of those who bequeathed them.
This exhibition presents an array of sacred lacquers carefully preserved over time to the present day.

*Under Construction

Although the Kyoto National Museum’s collections primarily focus on cultural properties dating through the Edo period (1615–1868), the museum has also collected fine and decorative arts of the modern era from an early stage. Yet historically it acquired few Japanese modern paintings, and many of these were lent to other institutions instead of being exhibited on site.
In recent years, however, a substantial number of donations have made it easier to show works at the museum itself and enabled more effective use of the collection. The Hakujusai Collection, comprising approximately 130 paintings from the early modern and modern periods, is one of the most important recent gifts. This exhibition introduces outstanding folding screens newly acquired as part of the Hakujusai Collection.

Fan-Tossing
By Kamenaga Gorō
Kyoto National Museum

The term youhua (oil painting) refers to works in oil created in modern China through the study of Western painting. In contrast, traditional ink painting came to be known as guohua (national painting). In the early twentieth century, the low status of guohua within the Chinese art world became a cause of growing concern, leading to a movement advocating for its revival by incorporating the strengths of Western painting. In 1911, figures including Liu Haisu (1896–1994), then still in his teens, helped found China’s first private art school, the Shanghai Drawing and Art School (later the Shanghai Academy of Fine Arts). Through such institutions, as well as study abroad in Europe and the United States, Chinese painters began to engage seriously with oil painting, while seeking new directions for traditional styles. This exhibition presents the practices of three such artists, the contemporaries Liu Haisu, Xu Beihong (1895–1953), and Wang Jiyuan (1893–1975).

Portrait of Jiang Biwei
By Xu Beihong
Kyoto National Museum

Some of the most renowned Kamakura period (1185–1333) Buddhist sculptures came from Nara, crafted by Kei school sculptors such as Unkei and Kaikei for the reconstruction of temples. Other famous statues were made in the Kanto region, following the Kamakura shogunate’s establishment in present-day Kanagawa. Kyoto is often overlooked in comparison, yet Buddhist sculptures were continuously being produced in the capital. Three major lineages—the In school, En school, and Kei school—carried on traditions established during the late Heian period (794–1185).
From the Kamakura period onward, it became increasingly common for sculptors to inscribe production dates and their own signatures onto their works, though many statues are unsigned. There is much left to learn about the development of sculpture in Kamakura-period Kyoto—the works here offer important insight into this compelling era.

Buddhist sculptures are often produced in response to someone’s prayers. In order to eternally preserve these wishes, or to ensure the efficacy of the spiritual benefits, information such as the circumstances and date of production, along with the commissioner and sculptor, may be recorded inside the statues. Though originally carved on upplementary elements such as mandorlas (halos) or pedestals, these dedicatory inscriptions came to be engraved inside a given statue or on supports for its feet.
Additionally, objects are sometimes deposited within sculptures. These may include relics of the Buddha, small images, sutras and written prayers (ganmon)—the names of those with spiritual links (kechien) to the creation of the statue. Other votive items include the hair of the deceased and representations of internal organs made of silk or metal. This exhibition introduces the wishes and prayers embodied within Buddhist sculptures.

In Ancient China, burial goods (minqi) made of clay or wood were interred in tombs so that the deceased could continue to live after death just as they had in life. Such burial goods included human figures, known as yong, along with household furnishings and animals. Yong tomb figures were first interred in the Shang dynasty (ca. 1600–1050 BCE), and this custom continued through the Ming (1368–1644) and Qing (1644–1912) dynasties. Tomb figures reflect the clothing and customs of various periods, making them particularly intriguing within the realms of history and art.
Primarily centered around works from the Han (206 BCE–220 CE) through Song (960–1279) dynasties, this exhibition presents an array of tomb figures, dynamically capturing the vibrancy of their time.

*Under Construction

Up through Japan’s medieval era, daily life was closely intertwined with faith, and the spaces and implements used for prayer were adorned with the utmost care. Vermillion has long been used in ritual contexts—perhaps because its vivid red tone contrasts with the colors of the earth, grass, sky, and water, imbuing it with special meaning. Offering stands and wooden esoteric Buddhist implements were likely coated in vermillion lacquer in order to express their sacred nature. Lacquered wooden objects are distinguished by both their lustrous sheen and exceptional durability. They are at times decorated using makie, the technique of sprinkling gold or silver powder to form intricate designs. Furnishings believed to be used by the gods—adorned with resplendent makie—along with items such as boxes storing wish-granting jewels, thought to fulfill all desires, reflect the lives and aspirations of those who bequeathed them.
This exhibition presents an array of sacred lacquers carefully preserved over time to the present day.

*Under Construction

Although the Kyoto National Museum’s collections primarily focus on cultural properties dating through the Edo period (1615–1868), the museum has also collected fine and decorative arts of the modern era from an early stage. Yet historically it acquired few Japanese modern paintings, and many of these were lent to other institutions instead of being exhibited on site.
In recent years, however, a substantial number of donations have made it easier to show works at the museum itself and enabled more effective use of the collection. The Hakujusai Collection, comprising approximately 130 paintings from the early modern and modern periods, is one of the most important recent gifts. This exhibition introduces outstanding folding screens newly acquired as part of the Hakujusai Collection.

Fan-Tossing
By Kamenaga Gorō
Kyoto National Museum

The term youhua (oil painting) refers to works in oil created in modern China through the study of Western painting. In contrast, traditional ink painting came to be known as guohua (national painting). In the early twentieth century, the low status of guohua within the Chinese art world became a cause of growing concern, leading to a movement advocating for its revival by incorporating the strengths of Western painting. In 1911, figures including Liu Haisu (1896–1994), then still in his teens, helped found China’s first private art school, the Shanghai Drawing and Art School (later the Shanghai Academy of Fine Arts). Through such institutions, as well as study abroad in Europe and the United States, Chinese painters began to engage seriously with oil painting, while seeking new directions for traditional styles. This exhibition presents the practices of three such artists, the contemporaries Liu Haisu, Xu Beihong (1895–1953), and Wang Jiyuan (1893–1975).

Portrait of Jiang Biwei
By Xu Beihong
Kyoto National Museum

Some of the most renowned Kamakura period (1185–1333) Buddhist sculptures came from Nara, crafted by Kei school sculptors such as Unkei and Kaikei for the reconstruction of temples. Other famous statues were made in the Kanto region, following the Kamakura shogunate’s establishment in present-day Kanagawa. Kyoto is often overlooked in comparison, yet Buddhist sculptures were continuously being produced in the capital. Three major lineages—the In school, En school, and Kei school—carried on traditions established during the late Heian period (794–1185).
From the Kamakura period onward, it became increasingly common for sculptors to inscribe production dates and their own signatures onto their works, though many statues are unsigned. There is much left to learn about the development of sculpture in Kamakura-period Kyoto—the works here offer important insight into this compelling era.

Buddhist sculptures are often produced in response to someone’s prayers. In order to eternally preserve these wishes, or to ensure the efficacy of the spiritual benefits, information such as the circumstances and date of production, along with the commissioner and sculptor, may be recorded inside the statues. Though originally carved on upplementary elements such as mandorlas (halos) or pedestals, these dedicatory inscriptions came to be engraved inside a given statue or on supports for its feet.
Additionally, objects are sometimes deposited within sculptures. These may include relics of the Buddha, small images, sutras and written prayers (ganmon)—the names of those with spiritual links (kechien) to the creation of the statue. Other votive items include the hair of the deceased and representations of internal organs made of silk or metal. This exhibition introduces the wishes and prayers embodied within Buddhist sculptures.

In Ancient China, burial goods (minqi) made of clay or wood were interred in tombs so that the deceased could continue to live after death just as they had in life. Such burial goods included human figures, known as yong, along with household furnishings and animals. Yong tomb figures were first interred in the Shang dynasty (ca. 1600–1050 BCE), and this custom continued through the Ming (1368–1644) and Qing (1644–1912) dynasties. Tomb figures reflect the clothing and customs of various periods, making them particularly intriguing within the realms of history and art.
Primarily centered around works from the Han (206 BCE–220 CE) through Song (960–1279) dynasties, this exhibition presents an array of tomb figures, dynamically capturing the vibrancy of their time.

*Under Construction

Up through Japan’s medieval era, daily life was closely intertwined with faith, and the spaces and implements used for prayer were adorned with the utmost care. Vermillion has long been used in ritual contexts—perhaps because its vivid red tone contrasts with the colors of the earth, grass, sky, and water, imbuing it with special meaning. Offering stands and wooden esoteric Buddhist implements were likely coated in vermillion lacquer in order to express their sacred nature. Lacquered wooden objects are distinguished by both their lustrous sheen and exceptional durability. They are at times decorated using makie, the technique of sprinkling gold or silver powder to form intricate designs. Furnishings believed to be used by the gods—adorned with resplendent makie—along with items such as boxes storing wish-granting jewels, thought to fulfill all desires, reflect the lives and aspirations of those who bequeathed them.
This exhibition presents an array of sacred lacquers carefully preserved over time to the present day.

*Under Construction

Although the Kyoto National Museum’s collections primarily focus on cultural properties dating through the Edo period (1615–1868), the museum has also collected fine and decorative arts of the modern era from an early stage. Yet historically it acquired few Japanese modern paintings, and many of these were lent to other institutions instead of being exhibited on site.
In recent years, however, a substantial number of donations have made it easier to show works at the museum itself and enabled more effective use of the collection. The Hakujusai Collection, comprising approximately 130 paintings from the early modern and modern periods, is one of the most important recent gifts. This exhibition introduces outstanding folding screens newly acquired as part of the Hakujusai Collection.

Fan-Tossing
By Kamenaga Gorō
Kyoto National Museum

The term youhua (oil painting) refers to works in oil created in modern China through the study of Western painting. In contrast, traditional ink painting came to be known as guohua (national painting). In the early twentieth century, the low status of guohua within the Chinese art world became a cause of growing concern, leading to a movement advocating for its revival by incorporating the strengths of Western painting. In 1911, figures including Liu Haisu (1896–1994), then still in his teens, helped found China’s first private art school, the Shanghai Drawing and Art School (later the Shanghai Academy of Fine Arts). Through such institutions, as well as study abroad in Europe and the United States, Chinese painters began to engage seriously with oil painting, while seeking new directions for traditional styles. This exhibition presents the practices of three such artists, the contemporaries Liu Haisu, Xu Beihong (1895–1953), and Wang Jiyuan (1893–1975).

Portrait of Jiang Biwei
By Xu Beihong
Kyoto National Museum

Some of the most renowned Kamakura period (1185–1333) Buddhist sculptures came from Nara, crafted by Kei school sculptors such as Unkei and Kaikei for the reconstruction of temples. Other famous statues were made in the Kanto region, following the Kamakura shogunate’s establishment in present-day Kanagawa. Kyoto is often overlooked in comparison, yet Buddhist sculptures were continuously being produced in the capital. Three major lineages—the In school, En school, and Kei school—carried on traditions established during the late Heian period (794–1185).
From the Kamakura period onward, it became increasingly common for sculptors to inscribe production dates and their own signatures onto their works, though many statues are unsigned. There is much left to learn about the development of sculpture in Kamakura-period Kyoto—the works here offer important insight into this compelling era.

Buddhist sculptures are often produced in response to someone’s prayers. In order to eternally preserve these wishes, or to ensure the efficacy of the spiritual benefits, information such as the circumstances and date of production, along with the commissioner and sculptor, may be recorded inside the statues. Though originally carved on upplementary elements such as mandorlas (halos) or pedestals, these dedicatory inscriptions came to be engraved inside a given statue or on supports for its feet.
Additionally, objects are sometimes deposited within sculptures. These may include relics of the Buddha, small images, sutras and written prayers (ganmon)—the names of those with spiritual links (kechien) to the creation of the statue. Other votive items include the hair of the deceased and representations of internal organs made of silk or metal. This exhibition introduces the wishes and prayers embodied within Buddhist sculptures.

In Ancient China, burial goods (minqi) made of clay or wood were interred in tombs so that the deceased could continue to live after death just as they had in life. Such burial goods included human figures, known as yong, along with household furnishings and animals. Yong tomb figures were first interred in the Shang dynasty (ca. 1600–1050 BCE), and this custom continued through the Ming (1368–1644) and Qing (1644–1912) dynasties. Tomb figures reflect the clothing and customs of various periods, making them particularly intriguing within the realms of history and art.
Primarily centered around works from the Han (206 BCE–220 CE) through Song (960–1279) dynasties, this exhibition presents an array of tomb figures, dynamically capturing the vibrancy of their time.

*Under Construction

Up through Japan’s medieval era, daily life was closely intertwined with faith, and the spaces and implements used for prayer were adorned with the utmost care. Vermillion has long been used in ritual contexts—perhaps because its vivid red tone contrasts with the colors of the earth, grass, sky, and water, imbuing it with special meaning. Offering stands and wooden esoteric Buddhist implements were likely coated in vermillion lacquer in order to express their sacred nature. Lacquered wooden objects are distinguished by both their lustrous sheen and exceptional durability. They are at times decorated using makie, the technique of sprinkling gold or silver powder to form intricate designs. Furnishings believed to be used by the gods—adorned with resplendent makie—along with items such as boxes storing wish-granting jewels, thought to fulfill all desires, reflect the lives and aspirations of those who bequeathed them.
This exhibition presents an array of sacred lacquers carefully preserved over time to the present day.

*Under Construction

Although the Kyoto National Museum’s collections primarily focus on cultural properties dating through the Edo period (1615–1868), the museum has also collected fine and decorative arts of the modern era from an early stage. Yet historically it acquired few Japanese modern paintings, and many of these were lent to other institutions instead of being exhibited on site.
In recent years, however, a substantial number of donations have made it easier to show works at the museum itself and enabled more effective use of the collection. The Hakujusai Collection, comprising approximately 130 paintings from the early modern and modern periods, is one of the most important recent gifts. This exhibition introduces outstanding folding screens newly acquired as part of the Hakujusai Collection.

Fan-Tossing
By Kamenaga Gorō
Kyoto National Museum

The term youhua (oil painting) refers to works in oil created in modern China through the study of Western painting. In contrast, traditional ink painting came to be known as guohua (national painting). In the early twentieth century, the low status of guohua within the Chinese art world became a cause of growing concern, leading to a movement advocating for its revival by incorporating the strengths of Western painting. In 1911, figures including Liu Haisu (1896–1994), then still in his teens, helped found China’s first private art school, the Shanghai Drawing and Art School (later the Shanghai Academy of Fine Arts). Through such institutions, as well as study abroad in Europe and the United States, Chinese painters began to engage seriously with oil painting, while seeking new directions for traditional styles. This exhibition presents the practices of three such artists, the contemporaries Liu Haisu, Xu Beihong (1895–1953), and Wang Jiyuan (1893–1975).

Portrait of Jiang Biwei
By Xu Beihong
Kyoto National Museum

Some of the most renowned Kamakura period (1185–1333) Buddhist sculptures came from Nara, crafted by Kei school sculptors such as Unkei and Kaikei for the reconstruction of temples. Other famous statues were made in the Kanto region, following the Kamakura shogunate’s establishment in present-day Kanagawa. Kyoto is often overlooked in comparison, yet Buddhist sculptures were continuously being produced in the capital. Three major lineages—the In school, En school, and Kei school—carried on traditions established during the late Heian period (794–1185).
From the Kamakura period onward, it became increasingly common for sculptors to inscribe production dates and their own signatures onto their works, though many statues are unsigned. There is much left to learn about the development of sculpture in Kamakura-period Kyoto—the works here offer important insight into this compelling era.

Buddhist sculptures are often produced in response to someone’s prayers. In order to eternally preserve these wishes, or to ensure the efficacy of the spiritual benefits, information such as the circumstances and date of production, along with the commissioner and sculptor, may be recorded inside the statues. Though originally carved on upplementary elements such as mandorlas (halos) or pedestals, these dedicatory inscriptions came to be engraved inside a given statue or on supports for its feet.
Additionally, objects are sometimes deposited within sculptures. These may include relics of the Buddha, small images, sutras and written prayers (ganmon)—the names of those with spiritual links (kechien) to the creation of the statue. Other votive items include the hair of the deceased and representations of internal organs made of silk or metal. This exhibition introduces the wishes and prayers embodied within Buddhist sculptures.

In Ancient China, burial goods (minqi) made of clay or wood were interred in tombs so that the deceased could continue to live after death just as they had in life. Such burial goods included human figures, known as yong, along with household furnishings and animals. Yong tomb figures were first interred in the Shang dynasty (ca. 1600–1050 BCE), and this custom continued through the Ming (1368–1644) and Qing (1644–1912) dynasties. Tomb figures reflect the clothing and customs of various periods, making them particularly intriguing within the realms of history and art.
Primarily centered around works from the Han (206 BCE–220 CE) through Song (960–1279) dynasties, this exhibition presents an array of tomb figures, dynamically capturing the vibrancy of their time.

*Under Construction

Up through Japan’s medieval era, daily life was closely intertwined with faith, and the spaces and implements used for prayer were adorned with the utmost care. Vermillion has long been used in ritual contexts—perhaps because its vivid red tone contrasts with the colors of the earth, grass, sky, and water, imbuing it with special meaning. Offering stands and wooden esoteric Buddhist implements were likely coated in vermillion lacquer in order to express their sacred nature. Lacquered wooden objects are distinguished by both their lustrous sheen and exceptional durability. They are at times decorated using makie, the technique of sprinkling gold or silver powder to form intricate designs. Furnishings believed to be used by the gods—adorned with resplendent makie—along with items such as boxes storing wish-granting jewels, thought to fulfill all desires, reflect the lives and aspirations of those who bequeathed them.
This exhibition presents an array of sacred lacquers carefully preserved over time to the present day.

*Under Construction

Although the Kyoto National Museum’s collections primarily focus on cultural properties dating through the Edo period (1615–1868), the museum has also collected fine and decorative arts of the modern era from an early stage. Yet historically it acquired few Japanese modern paintings, and many of these were lent to other institutions instead of being exhibited on site.
In recent years, however, a substantial number of donations have made it easier to show works at the museum itself and enabled more effective use of the collection. The Hakujusai Collection, comprising approximately 130 paintings from the early modern and modern periods, is one of the most important recent gifts. This exhibition introduces outstanding folding screens newly acquired as part of the Hakujusai Collection.

Fan-Tossing
By Kamenaga Gorō
Kyoto National Museum

The term youhua (oil painting) refers to works in oil created in modern China through the study of Western painting. In contrast, traditional ink painting came to be known as guohua (national painting). In the early twentieth century, the low status of guohua within the Chinese art world became a cause of growing concern, leading to a movement advocating for its revival by incorporating the strengths of Western painting. In 1911, figures including Liu Haisu (1896–1994), then still in his teens, helped found China’s first private art school, the Shanghai Drawing and Art School (later the Shanghai Academy of Fine Arts). Through such institutions, as well as study abroad in Europe and the United States, Chinese painters began to engage seriously with oil painting, while seeking new directions for traditional styles. This exhibition presents the practices of three such artists, the contemporaries Liu Haisu, Xu Beihong (1895–1953), and Wang Jiyuan (1893–1975).

Portrait of Jiang Biwei
By Xu Beihong
Kyoto National Museum

Some of the most renowned Kamakura period (1185–1333) Buddhist sculptures came from Nara, crafted by Kei school sculptors such as Unkei and Kaikei for the reconstruction of temples. Other famous statues were made in the Kanto region, following the Kamakura shogunate’s establishment in present-day Kanagawa. Kyoto is often overlooked in comparison, yet Buddhist sculptures were continuously being produced in the capital. Three major lineages—the In school, En school, and Kei school—carried on traditions established during the late Heian period (794–1185).
From the Kamakura period onward, it became increasingly common for sculptors to inscribe production dates and their own signatures onto their works, though many statues are unsigned. There is much left to learn about the development of sculpture in Kamakura-period Kyoto—the works here offer important insight into this compelling era.

Buddhist sculptures are often produced in response to someone’s prayers. In order to eternally preserve these wishes, or to ensure the efficacy of the spiritual benefits, information such as the circumstances and date of production, along with the commissioner and sculptor, may be recorded inside the statues. Though originally carved on upplementary elements such as mandorlas (halos) or pedestals, these dedicatory inscriptions came to be engraved inside a given statue or on supports for its feet.
Additionally, objects are sometimes deposited within sculptures. These may include relics of the Buddha, small images, sutras and written prayers (ganmon)—the names of those with spiritual links (kechien) to the creation of the statue. Other votive items include the hair of the deceased and representations of internal organs made of silk or metal. This exhibition introduces the wishes and prayers embodied within Buddhist sculptures.

In Ancient China, burial goods (minqi) made of clay or wood were interred in tombs so that the deceased could continue to live after death just as they had in life. Such burial goods included human figures, known as yong, along with household furnishings and animals. Yong tomb figures were first interred in the Shang dynasty (ca. 1600–1050 BCE), and this custom continued through the Ming (1368–1644) and Qing (1644–1912) dynasties. Tomb figures reflect the clothing and customs of various periods, making them particularly intriguing within the realms of history and art.
Primarily centered around works from the Han (206 BCE–220 CE) through Song (960–1279) dynasties, this exhibition presents an array of tomb figures, dynamically capturing the vibrancy of their time.

*Under Construction

Up through Japan’s medieval era, daily life was closely intertwined with faith, and the spaces and implements used for prayer were adorned with the utmost care. Vermillion has long been used in ritual contexts—perhaps because its vivid red tone contrasts with the colors of the earth, grass, sky, and water, imbuing it with special meaning. Offering stands and wooden esoteric Buddhist implements were likely coated in vermillion lacquer in order to express their sacred nature. Lacquered wooden objects are distinguished by both their lustrous sheen and exceptional durability. They are at times decorated using makie, the technique of sprinkling gold or silver powder to form intricate designs. Furnishings believed to be used by the gods—adorned with resplendent makie—along with items such as boxes storing wish-granting jewels, thought to fulfill all desires, reflect the lives and aspirations of those who bequeathed them.
This exhibition presents an array of sacred lacquers carefully preserved over time to the present day.