• SASAKI, Jôhei
    Early Modern Japanese Painting
    I specialize in early modern Japanese painting, in particular I examine eighteenth-century literati painting (J.,bunjinga) and the Maruyama Shijō school. My research focuses on two groundbreaking Japanese artists—the medieval painter Sesshū Tōyō (1420–1506) and the early modern painter Maruyama ōkyo (1733–1795)—and how they influenced the periods in which they lived. I have also been closely involved in the overall administration of Japanese cultural properties in recent years.
  • ASAKA Hiroshi
    Chief Curator
    History of Japanese Medieval Religious Painting
    My research deals with Japanese medieval religious paintings, especially illustrated legends of the founders of Buddhist sects and portraits of Zen patriarchs. I am also interested in conservation and hand-painted replication of early artworks, as well as issues related to the salvage of artworks damaged in natural disasters. I hope to remind people that works of art cannot be preserved through the ages unless people have a strong will and intention to protect them.
  • YAMAMOTO, Hideo
    Research Curator
    Medieval Japanese Ink Painting and Zen Priest Portraiture
    My research is in medieval and early modern Japanese painting. My specialty primarily includes the Kano, Oguri, Sesshū, and Unkoku schools. My favorite paintings are those that demonstrate exceptional technique and skill. I do not care very much for works that stress spirituality or are amateurish.
    Chair of the Department of Exhibitions and Public Relations and Chair of the Department of Decorative and Applied Arts
    Costume, Textile, and Japanese Dolls
    My field of research is Japanese and Asian textiles. My specialty is religious textiles that have been preserved and passed down in Buddhist temples and Shinto shrines. I am also interested in the costume of performing arts that emerged and developed from temples and shrines. My mission is to study the bigger picture through the microcosms that can be viewed through the lens of a microscope and the window of textiles.
  • MIYAKAWA, Teiichi
    Special Research Chair
    My expertise lies in East Asian archaeology. Specifically, I have been doing research on the chronology of Sue ware from the Kofun period (ca. 250–538) in Japan, developments in stamped patterns on unglazed earthenware from the Unified Silla dynasty (668–935) in Korea, and the chronology of ancient bronze drums that spread from southern China to Southeast Asia. Recently, I have also been looking at the history of archaeology in Japan and materials on the revolutionary figure Sakamoto Ryōma (1836–1867) as they relate to period at the end of the Tokugawa government (1615–1868) and the beginning of the Meiji Restoration.
  • ASANUMA, Takeshi
    Chair of the Department of Cooperation and Education
    Japanese Sculpture
    I specialize in Asian sculpture in general with a focus on religious art. My research involves an expansive area from India to Southeast Asia to Japan and covers an extensive period from B.C. to early modern times. My current interests are Thai and Cambodian sculptures, Japanese Shinto images, and Buddhist statuary from the age of Kōshō and his disciple Jōchō (d. 1057). I often get excited about subject matters that most people generally do not.
  • NAGASHIMA, Meiko
    Chair of the Department of Education
    My primary area of research is Japanese makie (lacquerware decorated with metal powder) that were exported to Europe in the Edo period (1615–1868). I am also interested in Chinese, Korean, Ryukyu (Okinawan), and Southeast Asian lacquerware so I spent my days studying and surveying the collections of temples and shrines in Kyoto as well as those of collectors around the world. More than anything else, I enjoy being in contact with lacquer works during the surveys and when preparing for exhibitions. Nothing frightens me more than deadlines for papers.
  • ÔHARA, Yoshitoyo
    Chair of the Department of Conservation and Restoration
    Japanese Buddhist Painting
    My specialty is Buddhist painting. I try my best to present an overview of its history but my primary task, at the moment, is to reassess the historical view of style in Buddhist paintings from the Kamakura (1185–1333) to Muromachi period (1333–1573). Though not within the area of my duties at work, I also do research on Chinese and Korean Buddhist painting.
  • HADA, Satoshi
    Chair of the Department of Registration and Image Archives and Chair of the Department of Fine Arts
    Japanese Historical Documents and Calligraphy
    I specialize in medieval Japanese history (specifically, the political history of the Muromachi period) and the study of Japanese documents. Recently, I have been engaged in various studies based on my fields of expertise. I have especially been interested in clarifying the processes of how historical sources have been collected, scattered and lost, and transmitted through the writings of emperors and other primary handwritten sources, and reconstructing the original "form" and "shape" of these manuscripts.
  • FURIHATA, Junko
    Chair of the Department of Conservation Science
    The Science of Art Conservation
    I am interested in discerning the production and processing techniques of ancient glazed ceramics and glass using materials analysis and other methods. At the museum, I am in charge of overseeing the climatic conditions in the galleries and art storage as well as of gathering information on the materials and production techniques used in cultural properties. I have a special interest in how to preserve such information into the future. Recently, I have also become involved in research on the preservation and conservation of ancient wall paintings such as those from the tumuli Takamatsuzuka Kofun and Kitora Kofun.
  • KURE, Motoyuki
    Chinese Painting and Calligraphy
    I am interested in works that have been created through the encounter with that which was considered "other" in China. Although my research theme until now has involved the relationship of Chinese painting to modern Western art, I would like to examine paintings from periods of dynastic change such as from the end of the Yuan dynasty (1271–1368) to the beginning of the Ming (1368–1644) or the end of the Ming to the beginning of the Qing (1644–1911). As an overseas Chinese born in Japan, I hope to present a new image of ‘China’ through exhibitions and such.
  • FURUYA, Takeshi
    My research deals with the ancient age between the Kofun period and Nara period during which the Japanese islands developed as a nation. Most of my research involves the kinds of artifacts that were important during this time, including metalwork, objects with inscriptions, and haniwa, but I am also interested in the history of archaeological study and the visual methods of recording archaeological findings (such as artifact illustrations). In recent years, I have been involved in a group research project that utilizes and analyzes data obtained through 3D measurement techniques and CT scanning.
  • SUEKANE, Toshihiko
    Art History and History of Japanese Metalware
    My research pertains to issues of ornamentation and color techniques in metalware, primarily from the Heian (794-1185) to Edo (1600-1868) periods. Recently, I have been especially interested in developments in gilding from the Heian to Nanbokucho (1336-1392) periods and in casting techniques in Japan and abroad during the Momoyama period (1583-1600).
    Associate Curator
    I am currently thinking about and experimenting with ways to make encounters with artworks more enjoyable for adults and children seeing such objects for the first time. I am also interested in how such works have stimulated communication over time, from when they were made to the present.
  • FUKUSHI, Yūya
    Associate Curator
    Early Modern Japanese Painting
    My past research has dealt primarily with the history of Edo-period painting; but my current aim is to gain a comprehensive understanding of the paintings of the entire early modern period, beginning in the late sixteenth century. In addition to studying the stylistic trends of different periods and the styles of individual painters and schools, I am also interested in the related subjects of production, patronage, and provenance; and I have become increasingly aware of the necessity of expanding my research to include such peripheral but closely related topics.
  • FURIYA, Tetsuo
    Associate Curator
    My research focuses on ceramics from all parts of East Asia. I am interested in the historical context in which ceramics were produced as well as in their distribution routes and in the places and ways in which they were used.
  • INAMI, Rintarō
    Associate Curator
    Illustrated Handscrolls
    My specialty is in the history of Japanese painting from the end of the Heian period (794–1185) through the medieval period, with a focus on works categorized as yamato-e. My curatorial responsibilities at the museum encompass illustrated handscrolls and portraiture. Going forward, I hope to do careful studies one-by-one of artworks in this area and to expand my area of expertise into the early modern period.
  • UESUGI, Tomofusa
    Research Fellow for Buddhist Manuscripts
    Buddhist Manuscripts
    My specialty is Buddhist philology. Buddhist sutras contain the sacred teachings of the Buddha Shakyamuni for which reason their every word ought to be treated with precision; nevertheless, for various reasons these texts have changed over time. My research aims to clarify when and how they were altered by comparing Japanese manuscripts of the Buddhist canon from the Heian and Kamakura periods with Chinese woodblock-printed editions of the canon and hand-copied manuscripts from Dunhuang.

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