Kanjō-ban (Banner for Kanjō ceremony)
1st floor Room 1
April 13, 2021 (Tue) -
April 17, 2022 (Sun)
August 1, 2021 (Sun), The Gallery of Horyuji Treasures
The building was designed by Yoshio Taniguchi and has been furnished with the latest in conservation technology. The reference room on the 2nd floor mezzanine has the "digital archive" which allows visitors to view the entire collection of Horyuji Treasures on computer with explanations provided in Japanese, Chinese, Korean, English, and French. A restaurant is located on the ground floor.
* The Horyuji Treasures consist of over 300 valuable objects, mainly from the 7th - 8th century, which were donated to the Imperial Household by Horyuji Temple in 1878.
1st floor
Kanjoban, banner with canopy for Kanjo Ceremony (detail), Asuka period, 7th century (National Treasure)
Kanjō-ban (Banner for Kanjō ceremony)
1st floor Room 1
April 13, 2021 (Tue) - April 17, 2022 (Sun)
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".
Queen Maya and Heavenly Beings (detail), Treasures from Horyu-ji, Asuka period, 7th century (Important Cultural Property)
Gilt Bronze Buddhist Statues, Halos and Repoussé Buddhist Images
1st floor Room 2
April 13, 2021 (Tue) - April 17, 2022 (Sun)
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 Mask Chidō, Asuka period, 7th century (Important Cultural Property)
Gigaku Masks
1st floor Room 3
April 13, 2021 (Tue) - April 17, 2022 (Sun)
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 Horyuji 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.
This room is open on Fridays and Saturdays.
2nd floor
Jinsuikō (Incense Wood), Asuka–Nara period, 7th–8th century (Important Cultural Property)
Wooden and Lacquer Works: Incense Woods and Measuring Instruments
2nd floor Room 4
July 20, 2021 (Tue) - October 10, 2021 (Sun)
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.
Incense Burner with Handle and Lion-shaped Weight
Nara period, 8th century (Important Cultural Property)
Metalwork
2nd floor Room 5
April 13, 2021 (Tue) - April 17, 2022 (Sun)
The majority of metalwork objects are Buddhist implements, which are classified into various categories according to their use. Kuyôgu are objects used for offerings and Sôgu 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), Cupronickel Mirrors with Seashore Designs which were donated by Empress Kômyô to Hôryû-ji Temple in 736, and the Set of an Ink Cake Stand, Water Holder, and Spoon which are said to have been used by Prince Shôtoku when he wrote the Hokke Gisho annotations on the Lotus Sutra.
Tandai Mat, With parrot design in rōkechi (wax resist) (detail), Nara period, 8th century (Important Cultural Property)
Textiles: Large Buddhist Ritual Banners (Ban) and Dyeing Techniques
2nd floor Room 6
July 20, 2021 (Tue) - August 22, 2021 (Sun)
The textiles held in the collection date from the mid-7th to 8th century and consist mainly of Buddhist ritual banners (ban), table mats (joku), and robes or other clothing worn by monks. The textiles also include fragments whose original uses are unknown, including rare ancient textiles, such as warp-faced compound weaves, tapestries, warp ikat fragments, complex gauze (ra), and plain- and twill- weave silks.