TOKYO NATIONAL MUSEUM - Japanese Gallery (Honkan)

Ancient Art | Ca. 11,000 BC–7th century AD

Tue, 24 Mar 2026 00:00:00 +0900

Japan has some of the earliest pottery in the world, dating back about 13,000 years. It was created by the people of the Jōmon period (ca. 11,000–400 BC). These people built permanent settlements and relied on hunting, fishing, and gathering.

At the height of their culture, they made pottery with richly sculpted forms and figurines with distinctive shapes.

In the Yayoi period (ca. 4th century BC–first half of 3rd century AD), people from Northeast Asia (now China and Korea) immigrated to Japan. They brought knowledge of how to farm rice and make objects with bronze and iron. More food became available and people started making tools, weapons, and ritual objects with metal.

In the Kofun period (ca. second half of 3rd–7th century), regional rulers seized power and resources. They formed an early state and the imperial line became its central authority. These rulers had giant tomb mounds built for themselves, with clay sculptures placed outside and valuable objects buried inside to express the rulers’ authority even after death.

Japanese Gallery (Honkan) Room 11
April 8, 2026 (Wed)-June 28, 2026 (Sun)

The Arrival of Buddhism | 6th–8th century

Tue, 24 Mar 2026 00:00:00 +0900

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.

Japanese Gallery (Honkan) Room 11
April 8, 2026 (Wed)-April 19, 2026 (Sun)

Volume 3 of the Histories of the Founders of the Kegon School

Tue, 24 Mar 2026 00:00:00 +0900

From the 1200s onward, many picture scrolls celebrating the accomplishments of famous Buddhist monks were created in Japan. This one illustrates the deeds of Wonhyo (617–685). One of the most renowned scholar-monks in East Asia, he played a critical role in establishing the Flower Garland school of Buddhism in Korea.

Read from right to left, the scroll portrays a story in which Wonhyo performs a ritual centered on the Diamond Samadhi Sutra. According to legend, this sacred writing was brought from the mythical Dragon Palace and, through its spiritual power, healed the queen’s illness. The scroll was passed down through the generations at Kōzanji Temple in Kyoto, which was an important center for the study of the Flower Garland school in Japan.

Japanese Gallery (Honkan) Room 12
April 8, 2026 (Wed)-April 12, 2026 (Sun)

The Arts of Buddhism | 8th–16th century

Mon, 06 Apr 2026 00:00:00 +0900

The beliefs and arts of Buddhism, along with its followers, became more diverse over time. In the Heian period (794–1192), the emperor and court nobility practiced and supported Buddhism. They used their vast wealth to build temples and create images for worship, often in delicate styles reflecting their tastes.

In the Kamakura period (1192–1333), the samurai gained political power, also becoming patrons of Buddhism. They preferred Buddhist art that was clear and dynamic, which led artisans to develop new styles. Many common people also became followers of Buddhism at this time, blending this religion with local beliefs, especially in the Muromachi period (1392–1573).

During these centuries, monks brought new schools of Buddhist thought from China, and developed new schools in Japan based on older teachings. Buddhism also became more integrated with Shinto, the indigenous religion. The paintings, sculptures, ritual tools, and sacred calligraphy on display illustrate this diversity in Buddhism.

Japanese Gallery (Honkan) Room 13
April 8, 2026 (Wed)-May 24, 2026 (Sun)

The Arts of the Imperial Court | 8th–16th century

Mon, 06 Apr 2026 00:00:00 +0900

After emulating China for generations, the imperial court began to develop its own cultural identity around the 10th century. This movement was led by the court nobility serving the emperor. The body of work they produced — literature, calligraphy, painting, and elegantly decorated items for daily use — became one of Japan’s cultural foundations.

Even after the samurai gained more political power than the court in the 12th century, the court remained the home of high culture for centuries. The different art forms of the court were closely related, with literature playing a central role. Previously the nobility wrote in Chinese, but the creation of a new writing system (kana) helped Japanese literature to flourish. Both noblemen and noblewomen wrote some of Japan’s most celebrated poetry and stories, including by the court lady Murasaki Shikibu. Scenes from literature were also shown in paintings and on furnishings, which the nobility commissioned for their mansions.

Japanese Gallery (Honkan) Room 13
April 8, 2026 (Wed)-May 24, 2026 (Sun)

Zen and Ink Painting | 13th–16th century

Mon, 06 Apr 2026 00:00:00 +0900

Zen Buddhism was introduced from China, and had widespread influence on culture in Japan. Zen does not stress elaborate rituals or the study of sacred texts. Rather, it teaches that meditation and daily tasks, even cooking and cleaning, are the way to spiritual enlightenment. In the 13th century, monks brought Zen to Japan as a complete school of Buddhist thought.

These monks also brought the latest cultural practices from China. One of them was ink painting, which uses expressive lines and delicate gradations to portray nature and people. Ink painting spread beyond Zen temples and became a major artistic tradition in Japan.

Another practice was calligraphy by Zen masters, which was prized for its spiritual and aesthetic value. Along with the painting and calligraphy shown here, Zen Buddhism influenced tea ceremony, garden design, and many other forms of art.

Japanese Gallery (Honkan) Room 13
April 8, 2026 (Wed)-May 24, 2026 (Sun)

Tea Ceremony

Tue, 24 Mar 2026 00:00:00 +0900

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.

Japanese Gallery (Honkan) Room 14
April 8, 2026 (Wed)-April 19, 2026 (Sun)

Arms and Armor of the Samurai | 12th–19th century

Tue, 24 Mar 2026 00:00:00 +0900

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.

Japanese Gallery (Honkan) Rooms 15 & 16
April 8, 2026 (Wed)-April 12, 2026 (Sun)

Paintings on Folding Screens and Sliding Doors | 16th–19th century

Mon, 06 Apr 2026 00:00:00 +0900

The paintings here were not just for looking at — they served many other purposes, even that of furniture. Sliding doors divided rooms, while folding screens could be placed anywhere to create private spaces, reduce draftiness, or hide items from view. Sometimes artisans decorated the paintings with gold leaf, which reflected light and helped to brighten dim interiors.

A painting could also change the mood of a room. Ink paintings might create a relaxed or meditative atmosphere. Ones with bright colors and gold leaf might evoke an extravagant feel. The subject matter and style of a painting could also reflect the formality of a room, the current season, and the tastes of the owner. This gallery surrounds visitors with large-scale paintings to show how they create different moods.

Japanese Gallery (Honkan) Room 17
April 8, 2026 (Wed)-May 24, 2026 (Sun)

Decorative Arts | 16th–19th century

Mon, 06 Apr 2026 00:00:00 +0900

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.

Japanese Gallery (Honkan) Room 18
April 8, 2026 (Wed)-June 21, 2026 (Sun)

Painting and Calligraphy | 16th–19th century

Mon, 06 Apr 2026 00:00:00 +0900

A thriving economy, foreign trade, and better education invigorated the development of painting and calligraphy. Previously, ruling classes like the samurai and court nobility were the main patrons of art. But in the Edo period (1603–1868), more people started to benefit from the economy. Successful merchants in particular gained the wealth to support artists and buy their works.

Many painters continued working in traditional styles, while others started looking to outside sources for inspiration. Paintings and painting manuals imported from China were one source. Another was the books and prints that traders brought from Europe, which showed techniques like realistic shading and perspective. As a result, painting in Japan became more diverse in style and subject matter.

Meanwhile, the ancient custom of writing with a brush and ink continued. The literacy rate increased dramatically as schools for different social classes were established, particularly in cities and towns. The publishing industry thrived and more people took up the art of calligraphy.

Japanese Gallery (Honkan) Room 18
April 8, 2026 (Wed)-May 24, 2026 (Sun)

Masks and Costumes of the Noh Play The Kasuga Dragon God

Mon, 06 Apr 2026 00:00:00 +0900

The noh play The Dragon God of Kasuga tells the story of an eminent monk named Myōe who is a devout follower of the buddha Śākyamuni. He visits Kasuga Shrine and receives a divine message from the deities there. Today’s exhibition features costumes that offer a glimpse of how the play looked on stage, with a particular focus on the striking masks and attire worn by the actor playing the Dragon God in the second part of the play. This exhibition also invites you to compare the costumes and masks with the handscroll Illustrated Scenes from Noh and Kyōgen Plays, which depicts how the performances were staged.

Japanese Gallery (Honkan) Room19
April 8, 2026 (Wed)-June 28, 2026 (Sun)

The Art of Fashion | 17th–19th century

Mon, 06 Apr 2026 00:00:00 +0900

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.

Japanese Gallery (Honkan) Room 20
April 8, 2026 (Wed)-June 28, 2026 (Sun)

The Art of Ukiyo–e | 17th–19th century

Mon, 06 Apr 2026 00:00:00 +0900

Prints and paintings called ukiyo-e were the first genre of art enjoyed by common people on a large scale. Economic growth contributed to the creation of this genre in the 17th century. As living standards improved, common people developed an urban culture that was passionate about trends, fashion, and entertainment.

At first, ukiyo-e depicted the celebrities of the day, especially actors of the kabuki theater and courtesans of the pleasure quarters (the legal brothel district). The subject matter later expanded to include topics like seasonal festivals, travel spots, and landscapes.Techniques for making ukiyo-e also changed over time. Early ukiyo-e were painted by hand. Artisans later started carving images into blocks of wood and used these blocks to print ukiyo-e in large numbers. These black-and-white prints were much more affordable. As carving and printing techniques were refined, prints with a brilliant range of colors became possible.

Japanese Gallery (Honkan) Room 20
April 8, 2026 (Wed)-May 10, 2026 (Sun)

The Japanese Emperor's Palanquins

Fri, 27 Mar 2026 00:00:00 +0900

The emperor historically rode in imperial palanquins (hōren) during official outings. This particular palanquin was used when Emperor Kōmei (1831–1867) relocated to a new imperial palace in 1855 (currently the Kyoto Imperial Palace) and when the Meiji Emperor (1852–1912) went on official outings in Tokyo.

Also on display is the yōyo palanquin, which is carried at waist height. It was used to transport the emperor within the imperial palace and to evacuate him in the event of emergencies. Emperor Kōmei (1831–1867) would ride on the yōyo palanquin when he celebrated niiname-sai, a traditional Japanese harvest festival, on the palace grounds.

Japanese Gallery (Honkan) the Imperial Lounge
April 8, 2026 (Wed)-March 31, 2027 (Wed)

Netsuke: The Prince Takamado Collection

Mon, 09 Mar 2026 00:00:00 +0900

This exhibition displays contemporary netsuke, which was collected by the late Prince Takamado with her Imperial Highness Princess.

Japanese Gallery (Honkan) The Prince Takamado Collection Room
March 10, 2026 (Tue)-May 24, 2026 (Sun)

Special Exhibition
A Treasure Trove from Ireland: Japanese Picture Scrolls and Books
from the Chester Beatty Collection

Wed, 07 Jan 2026 00:00:00 +0900

　Dublin, the capital of Ireland located in north-western Europe, is home to a museum called the Chester Beatty. This museum houses the collection of Sir Alfred Chester Beatty (1875–1968), who achieved success in mining business, and amassed artworks, from across the globe. Beatty visited Japan in 1917, and his collection of Japanese narrative paintings is among the finest in Europe. This exhibition presents 25 exceptional Japanese narrative paintings from the Chester Beatty Collection, rarely seen outside Ireland.

　The Chester Beatty Collection was exhibited in Tokyo, Kobe and Nagoya from 1988 to 1989. Moreover, the scroll of “Song of lasting sorrow” by a prominent painter who was active in the early Edo period, Kano Sansetsu (1590–1651), depicting the tragic romance of Emperor Xuanzong and Yang Guifei is considered a jewel of the collection. This work was restored through the program granted by the Japanese Government. In this way, Japan and Ireland have maintained exchanges through the arts. In 2025, the Ireland House, a hub for diplomatic, economic and cultural exchange between Japan and Ireland, opened in Tokyo. It is expected that cultural exchange between the two nations will become increasingly vibrant. We hope this exhibition would also prompt you to reflect on the long-held friendly relations between Japan and Ireland, connected through art.

Japanese Gallery (Honkan) 2nd floor
April 27, 2026 (Mon)-July 20, 2026 (Mon)

The Door to Japanese Art

Tue, 24 Mar 2026 00:00:00 +0900

Welcome to the Tokyo National Museum (TNM)!
Open the door to interactive exhibits and have fun with Japanese art

*From May 18, 2026 to June 29, 2026, Room B ( The Door to Japanese Art ) of the Japanese Gallery (Honkan) will be closed due to maintenance work.

Japanese Gallery (Honkan) Room B
April 8, 2026 (Wed)-May 17, 2026 (Sun)

Japanese Culture Plaza

Tue, 24 Mar 2026 00:00:00 +0900

Here at the Tokyo National Museum, you can get in touch with Japanese culture through items created and treasured by people long ago, known as “cultural properties.” This exhibition is like a “plaza” where all kinds of people can gather and have fun before and after viewing these cultural properties, thereby experiencing the appeal and joy of Japanese culture.

Japanese Gallery (Honkan) Room C
April 8, 2026 (Wed)-March 31, 2027 (Wed)

Education Space

Fri, 27 Mar 2026 00:00:00 +0900

This Education Space is for educational displays/activities. They include " Let's Explore National Treasures at TNM," an enhanced version of the "e-Museum" website; and "Let's Rotate Artworks at TNM," a hands-on space where you can rotate 3D images of artworks as you like.

Japanese Gallery (Honkan) Room 9
April 8, 2026 (Wed)-March 31, 2027 (Wed)

Sculpture

Mon, 06 Apr 2026 00:00:00 +0900

Japan has three main traditions of sculpture: Buddhist deities, Shinto deities, and portraits of people. Buddhism was introduced to Japan from the Korean Peninsula in the 6th century, together with sculptures of Buddhist deities. These sculptures were made primarily for worship. Making a sculpture was also an “act of spiritual merit” that would help one’s prayers to be answered.

In contrast, Shinto is the indigenous religion of Japan. Since ancient times, people believed that Shinto deities dwell in natural features like mountains and rivers, and rarely depicted them as humanlike sculptures. Even when a Shinto shrine had a sculpture for worship, the priests usually kept it hidden from view out of respect.

Some portrait sculptures were also worshipped, as they showed deified monks or samurai. Others were made to remember the dead and pray for their salvation. This gallery features works mainly from the Heian (794–1192) and Kamakura (1192–1333) periods, when many of Japan’s most admired sculptures were created.

Japanese Gallery (Honkan) Room 1
April 8, 2026 (Wed)-June 28, 2026 (Sun)

Lacquerware

Tue, 24 Mar 2026 00:00:00 +0900

Lacquer is the sap of the lacquer tree, which grows in East and Southeast Asia. Naturally sticky, it can be brushed onto different materials, and hardens into a durable coating that is waterproof and resistant to acids, alkalis, and heat. Because of its versatility and beauty, lacquer has been central to daily life in parts of Asia for over 9,000 years.

In Japan, artisans coated everyday items with lacquer, including furniture, boxes, dining sets, and cosmetic and writing tools. The base material could be wood, pottery, cloth, leather, or paper. To decorate these items, artisans painted designs with a mixture of lacquer and pigment, or used lacquer like a glue to inlay metal and mother-of-pearl.

But the pinnacle of lacquer decoration in Japan is maki-e (sprinkled picture). It consists of painting a design with lacquer, and then sprinkling metal powders onto the sticky lacquer before it hardens. Artisans first used maki-e techniques in the 8th century. As shown in this gallery, they developed them to an extraordinary degree over the centuries.

Japanese Gallery (Honkan) Room 2
April 8, 2026 (Wed)-May 24, 2026 (Sun)

Metalwork

Tue, 24 Mar 2026 00:00:00 +0900

This exhibition provides a historical overview of Japanese metalwork from the Heian (794–1192) to the Edo (1603–1868) period. Objects are displayed by category, such as Buddhist ritual implements, mirrors, tea kettles, objects with designs in cloisonné, decorative fittings, and okimono ornaments. Visitors are invited to view the beauty of metals such as gold, silver, copper, and iron, as well as the shapes they were crafted into, and the designs they were freely embellished with.

Japanese Gallery (Honkan) Room 3
April 8, 2026 (Wed)-May 31, 2026 (Sun)

Swords

Tue, 24 Mar 2026 00:00:00 +0900

This exhibition explores the historical evolution and regional characteristics of Japanese swords from the Heian period through the Meiji era, presenting works from various provinces and sword-making traditions. Highlights include the National Treasure Demon-Cutter Yasutsuna, renowned as one of the Five Greatest Swords of Japan. Additionally, the sword fittings on display feature motifs inspired by the spring season and traditional Japanese culture.

Japanese Gallery (Honkan) Room 3
April 8, 2026 (Wed)-May 17, 2026 (Sun)

Ceramics

Tue, 24 Mar 2026 00:00:00 +0900

Early Japanese ceramics were heavily influenced by techniques and processes originating in China and Korea. Over time, a more diverse range of forms and styles came to be embraced in Japan. This increased diversity was driven by economic and political factors, including foreign trade and the changing preferences of disparate social classes.

Throughout Japanese history, people of different social classes—emperors, nobles, samurai, and townspeople like merchants—held political or economic power at different times. Potters responded by creating regionally distinct ceramics that met the needs and tastes of each set of clientele.

This gallery traces the history of Japanese ceramics from around the 12th century onwards, beginning with storage jars for daily use, which highlight the unique colors and textures of local clays. It continues with tea bowls and other utensils for the tea ceremony, a practice that greatly influenced ceramic production. The ceramic traditions of Kyoto are then presented, followed by porcelain made in Arita, and other works from regional kilns.

Japanese Gallery (Honkan) Room 3
April 8, 2026 (Wed)-May 31, 2026 (Sun)

Researching and Conserving Artifacts of Early Japanese Christianity

Mon, 23 Mar 2026 00:00:00 +0900

The current exhibition presents artifacts related to Christianity from Japan’s early modern period. The religion was introduced to Japan in the mid-1500s, but it was outlawed at the beginning of the Edo period (1603–1868). On display here are objects from the 1500s, including those that had been stored at the Nagasaki Magistrate’s Office in southern Japan. These consist of items that were confiscated from Christians in various parts of Nagasaki, as well as “stepping images” known as fumi-e, which were used by the Edo-period government to identify Christians for persecution.

Among these objects are glazed porcelain figures of the bodhisattva Kannon, which were made in Dehua, southern China. To escape persecution, it is believed that Japanese Christians at the time worshipped these figures as

representations of the Virgin Mary. The present exhibition introduces these Kannon figures as well as other sculptures that are thought to have been objects of worship.

Also featured here are the museum’s recent efforts to improve the storage conditions of Christian-related objects, which also include pieces of cloth called scapulars that Christians carried around for protection.

Japanese Gallery (Honkan) Room 4
April 8, 2026 (Wed)-May 10, 2026 (Sun)

Historical Records

Tue, 24 Mar 2026 00:00:00 +0900

Tokyo National Museum has more than artworks and archeological artifacts. The collection also includes records, which provide valuable insights into history and the cultures of different ethnic groups. This diversity stems from the Museum’s origins as a comprehensive institution in 1872. It was even home to animal, plant, and mineral specimens, although these were moved to the National Museum of Nature and Science in 1925.

The extensive collection of historical records at Tokyo National Museum now includes maps, diagrams, texts, photographs, ink rubbings, and copies of artworks. These items, dating mainly from the 17th to 20th century, shed light on politics, society, culture, transportation, and scenery in Japan. Here we display a selection of these items under different themes throughout the year.

Japanese Gallery (Honkan) Room 5
April 8, 2026 (Wed)-April 19, 2026 (Sun)

The Prayers of the Ainu and Decorative Art Objects of Ryukyu

Tue, 24 Mar 2026 00:00:00 +0900

Stretching from north to south, the Japanese archipelago is home to diverse cultures that haveflourished in its rich natural environments. Representing such cultures from northern Japan, thisgallery sheds light on forms of prayer among the Ainu people. Exhibits consist of a range of spiritualand ritualistic objects, including libation sticks and accessories such as necklaces which were wornduring rituals.

Representing a culture from the south, decorative art objects from the Ryukyu Kingdom —musical instruments and textiles — are also on display in this gallery. The Ryukyu Kingdom developed its unique culture through trade with regions in Asia including China, Japan, the Korean Peninsula, and Southeast Asia.

Japanese Gallery (Honkan) Room 6
April 8, 2026 (Wed)-May 10, 2026 (Sun)

Art of the Modern Era | Late 19th–first half of 20th century

Tue, 24 Mar 2026 00:00:00 +0900

Drastic changes in the late 19th century created new challenges for artists. The samurai government that had strictly regulated contact with the outside world collapsed in a civil war. Japan's new leaders announced the start of the Meiji era (1868–1912), engaging with the world and reforming their nation to be more like “the West” (mainly Europe and the United States).

These leaders soon realized that works produced in Japan were not seen as “fine art” in the West. Artisans often mounted paintings on sliding doors and folding screens, but this practice made them look like furniture to Europeans and Americans. Japan's ceramics, lacquerware, metalwork, and textiles were also labeled as “decorative art” rather than “fine art.”

In response, artistic traditions were changed to meet Western standards. Japan's leaders established schools of fine art, organized national exhibitions, and urged artists to participate in world fairs. They intended to show the world that Japan was a “modern” nation with sophisticated arts and culture. The works on display reflect how Japanese artists met these challenges.

Japanese Gallery (Honkan) Room 8
April 8, 2026 (Wed)-April 19, 2026 (Sun)

TOKYO NATIONAL MUSEUM - Japanese Gallery (Honkan)

Ancient Art | Ca. 11,000 BC–7th century AD

The Arrival of Buddhism | 6th–8th century

Volume 3 of the Histories of the Founders of the Kegon School

The Arts of Buddhism | 8th–16th century

The Arts of the Imperial Court | 8th–16th century

Zen and Ink Painting | 13th–16th century

Tea Ceremony

Arms and Armor of the Samurai | 12th–19th century

Paintings on Folding Screens and Sliding Doors | 16th–19th century

Decorative Arts | 16th–19th century

Painting and Calligraphy | 16th–19th century

Masks and Costumes of the Noh Play The Kasuga Dragon God

The Art of Fashion | 17th–19th century

The Art of Ukiyo–e | 17th–19th century

The Japanese Emperor's Palanquins

Netsuke: The Prince Takamado Collection

Special Exhibition A Treasure Trove from Ireland: Japanese Picture Scrolls and Books from the Chester Beatty Collection

The Door to Japanese Art

Japanese Culture Plaza

Education Space

Sculpture

Lacquerware

Metalwork

Swords

Ceramics

Researching and Conserving Artifacts of Early Japanese Christianity

Historical Records

The Prayers of the Ainu and Decorative Art Objects of Ryukyu

Art of the Modern Era | Late 19th–first half of 20th century

Special Exhibition
A Treasure Trove from Ireland: Japanese Picture Scrolls and Books
from the Chester Beatty Collection