Change of Exhibits, Regular Exhibitions: Starting from April 23, 2024 (Tue)
Regular exhibitions at Tokyo National Museum are rotated almost every week. This page provides the latest information on the change of exhibits.
* Some works are exhibited for a longer period of time.
Japanese Gallery (Honkan)
Japan's leaders transformed their society by adopting Buddhism and other foreign cultures and practices. Buddhism was founded by Gautama Buddha in ancient India around 500 BC. Later it spread throughout Asia and was introduced to Japan from the Korean Peninsula in the 6th century AD.
In the Asuka period (593–710), people from the Korean Peninsula brought advanced knowledge to Japan. They included monks, scholars, and artisans, who brought technology, scholarship, artistic traditions, and Buddhist teachings. Under the leadership of the emperor and powerful clans, Buddhism began to flourish as temples were built and sacred images created.
In the Nara period (710–794), Japan’s leaders emulated the Buddhist culture that was thriving in China. In the capital of Nara, the emperor oversaw the creation of a giant buddha sculpture at Tōdaiji Temple, the symbol of a state now unified under Buddhism. The sculptures, ritual tools, sacred texts, and other works on display illustrate these two periods of rapid change.
Tea drinking and its role in society changed over time. In the 12th century, Zen monks introduced a new kind of tea drinking from China: green tea was ground into a powder and mixed with hot water. Monks drank this tea as a medicine and to stay awake during meditation.
Before long, the samurai also began to drink tea and competed for prizes in blind tasting competitions. In the 14th and 15th centuries, the elite samurai who ruled Japan focused on the aesthetics of tea drinking. They collected valuable Chinese works like paintings and tea bowls, displaying and using them during tea gatherings.
A century later, Sen no Rikyū (1522–91) established the foundations of the tea ceremony. When serving tea, he used valuable Chinese works together with simple utensils. He also stressed humility and the beauty of imperfection. Elite samurai practiced his style and its variations as a social, aesthetic, and spiritual pursuit.
The samurai ruled Japan for nearly 700 years, from the late 12th to the 19th century. They emulated the imperial court, which was the home of high culture, but also borrowed from the practices of common people. Wishing for divine protection in this life and salvation in the next, they worshipped both Shinto and Buddhist deities. The culture of the samurai was complex and ever–changing, but always reflected their authority as the warrior class of Japan.
This gallery focuses on the most prominent symbols of samurai authority: swords, armor, and other military equipment. These had many purposes. Through diverse colors and materials, they showed the tastes of their owners. Differences in shape and construction reflected differences in rank and social standing. Many samurai passed down this equipment as heirlooms, while high–ranking samurai exchanged it as diplomatic gifts. Swords and armor were also donated to Buddhist temples and Shinto shrines in prayer for victory in battle.
From the late 16th century, changes in society helped artisans to develop the decorative arts. In the Azuchi–Momoyama period (1573–1603), samurai warlords united Japan after more than a century of fighting. The following Edo period (1603–1868) saw economic growth under a new samurai government, with merchants and other people gaining the wealth to buy art.
Potters succeeded in making Japan's first porcelain in the early 17th century. Methods for decorating porcelain and other ceramics then became more diverse, as shown by works with gold, silver, and color enamels. Meanwhile, textiles saw rapid technical advances. The loom was improved to make complex weaves possible, while dyeing became as detailed and expressive as painting.
Items like furniture and dining sets were coated with lacquer and decorated with metal powders, most often gold. Lacquer workers refined this technique, called maki–e, and combined it with new materials for more elaborate designs. Metalworkers also began using a wider variety of base metals and alloys, creating works with greater detail and precision.
The noh play Utou is a story about the suffering of a hunter in the afterlife. The first act introduces the hunter, who makes his living by hunting baby birds. He wears an asakurajō mask and a light mizugoromo costume, which is typically used for working-class roles.
In the second act, the hunter appears as a ghost with a frightful yase otoko mask. This mask represents his tragic fate in the afterlife, which he suffers because he had taken many lives of baby birds. This exhibition explores the story’s development through costumes and masks feauturing contrasting decoration and facial expressions.
Japan's traditional clothing, kimono, are based on kosode — the outer wear of the Edo period (1603–1868). At first, the court nobility and samurai wore kosode under other clothing. But from about the 15th century, the samurai began using them as daily outer wear. In the 17th century, kosode became the most common clothing for men and women of all classes.
Wealthy women placed orders for custom-made kosode at luxury clothing stores. They often chose the patterns from clothing design books that were published and widely circulated. Together with these kosode, they wore hairpins and combs to accent their elaborate hairstyles.
In contrast, men wore kosode with understated patterns like stripes or checks.
Their usual fashion accessories were a small case (inrō) and a toggle (netsuke) for securing the case to the sash. This gallery features kosode and accessories, together with prints and paintings (ukiyo-e) showing how people wore them and how fashions changed over time.
“Important Cultural Property” is a designation given to tangible cultural properties including paintings, sculptures, decorative arts, calligraphy, books, historical documents, archaeological objects, historical materials, and buildings that have been deemed historically or artistically important to Japan. They are designated by the Minister of Education, Culture, Sports, Science and Technology as items of national heritage that should be preserved for future generations. From among these items, those that are inherently superior or have high artistic value even from a global perspective are designated “National Treasures.”
This exhibition introduces the 42 newly designated objects in 2024. Those 42 objects include 6 objects that were designated as National Treasures and 36 objects as Important Cultural Properties. We hope that visitors will enjoy this rare opportunity to view these invaluable objects.
Agency for Cultural Affairs
Tokyo National Museum
Asian Gallery (Toyokan)
Buddhism began to spread in China around the turn of the first millennium, about 500 years after its founding in India. In the 5th and 6th centuries, the number of Chinese Buddhists rapidly increased and numerous temples were established. This gallery presents Buddhist statues created from the 5th to 9th century, a golden age in the history of Chinese sculpture.
This section of the gallery explores the history of Chinese ceramics, spanning the 7th to 19th century. The objects on view are rotated on a regular basis, but typically feature examples of fine porcelain made for the imperial household at the Jingdezhen imperial kilns alongside objects produced for commercial purposes in private kilns and elsewhere.
This exhibition features Chinese landscape paintings that are composed in the style of past masters. On display are works that mainly emulate the work of Wang Meng (1308–1385), a literati painter from the late Yuan dynasty (1271–1368). Wang was renowned for his use of gentle and delicate brushstrokes that depicted huge, impressive mountains which usually filled the entire composition. Many artists from the Ming and Qing dynasties (1368–1644 and 1644–1911 respectively) grew interested in Wang’s highly otherworldly landscapes and sought to emulate his style in their own way. Immerse yourself in these rich and varied interpretations of Wang’s work.
The Gallery of Horyuji Treasures
The Kanjō-ban (gilt bronze banner for the Kanjō ceremony) is one of the most outstanding items of The Hōryūji Treasures. It is believed to be the item listed as "one gilded Kanjō ceremony article" in The History of the Buildings of Hōryūji and The Inventory of the Temple’s Properties compiled in 747. The original is displayed here together with another metal banner, the “Small Gilt Bronze Ban”.
All of the 48 works of gilt bronze Buddhist statues in the Hōryūji Treasures are no more then 30–40 cm in height, and many of them are believed to have been used for private worship by local rulers. The halos date from around the same time as these gilt bronze statues, but they are displayed separately.
Repoussé Buddhist images could be mass-produced by placing a thin sheet of bronze over a relief image of a Buddhist divinity and hammering it into shape. In Japan, repoussé images flourished from the second half of the 7th to the early 8th century and were mostly hung on the walls of temple halls or kept in small shrines for private worship. The repoussé Buddhist images among the Hōryūji Treasures are a very important collection, not only in terms of age and number, but also for the variety of images.
Gigaku was an outdoor Buddhist ceremony in which actors wearing large masks performed skits while parading to the accompaniment of music. Gigaku was introduced into Japan from the Korean kingdom of Baekje in the first half of the 7th century. After flourishing in the 7th and 8th centuries, however, it lost popularity and eventually ceased to be performed. The Hōryūji Treasures include 19 Gigaku masks made from camphor wood, nine made from paulownia wood, and three made with the dry lacquer technique. The camphor masks were most likely created between the second half of the 7th and the beginning of the 8th century, while the rest are thought to have been made in the 8th century.
On display only on Fridays and Saturdays
Wooden and lacquered objects include examples of Buddhist ritual implements, furnishings, musical instruments, stationery, measuring tools, and arms & armor, which range in date from the 7th to 17th century. Among these are notable pieces from the 8th century like the Bamboo Cabinet, which was donated by the famous Hōryūji priest Gyōshin, and a sutra box decorated with marquetry that shows the beautiful grain patterns of its jinkō wood. The Seven-stringed Zither is also valuable for its ink inscription, which tells us it was produced in China’s Sichuan Province in 724. The inscriptions on the pieces of incense wood in this collection also have revealed important facts about Persia’s involvement in the trade of such wood. Through these works one can not only see the culture of Japanese decorative art but can also get a sense of the cultural exchanges that occurred within East Asia centuries ago.
The majority of metalwork objects are Buddhist implements, which are classified into various categories according to their use. Kuyōgu are objects used for offerings and Sōgu are items used daily by priests. There are also ritual implements used exclusively at Esoteric Buddhist temples and bon’ongu used to strike the hours or to give a signal. They mainly date from the Asuka and Nara periods with later examples reaching up to the Edo period. A significant number of pieces were made in China and the Korean Peninsula or were strongly influenced by works from these regions. The shape and decorative design of the Dragonhead Pitcher are evidence of an active cultural exchange between Tang China and Persia. Other masterpieces include the Incense Burner with a "Magpie Tail"-shaped Handle (which is the oldest example of an incense burner with a handle in Japan), Bronze Mirrors with Seashore Designs which were donated by Empress Kōmyō to Hōryūji Temple in 736, and the Set of an Ink Cake Stand, Water Holder, and Spoon which are said to have been used by Prince Shōtoku when he wrote the Hokke Gisho annotations on the Lotus Sutra.