JP

A Yayoi-period ritual bronze bell (dōtaku), reportedly found in Kagawa Prefecture; the museum notes that its cast depictions convey how people of the time lived and prayed. Designated a National Treasure.

“Depictions seen on [dotaku] convey how people lived and prayed at the time.” In the museum’s words — tnm.jp ↗ · quotation verified against the live page

Meanwhile — Silver braided torc Europe · 2nd–1st century BC

Held by the Kyoto National Museum (JK232) and excavated at Yosano, Kyoto, this Yayoi-period bronze bell (dōtaku) stands 46.1 cm tall. The museum explains that ceremonial dōtaku were kept buried in hillside sanctuaries away from everyday village life and brought out only for certain agricultural rituals, and that such bells and their molds have been found in the Kinai (Kyoto–Osaka) district and along the Inland Sea. Its flowing-water (or maze) pattern, also found on pottery of the area, is a characteristic design motif of the mid-Yayoi period.

“The flowing-water (or maze) pattern on this specimen, also found on pottery of the area, is a characteristic design motif of the mid-Yayoi Period.” In the museum’s words — kyohaku.go.jp ↗ · quotation verified against the live page

Meanwhile — Loughnashade Horn Europe · 1st century BC

Held by the Kyoto National Museum (CK47), this schist head of a Nyorai (Tathagata) comes from Gandhara, the present-day Peshawar region of Pakistan along the upper Indus. The museum notes that its lightly curled hair, long nose, and sharply cut features are characteristic of late Greek sculpture, while the meditating eyes emphasize the Buddhist concept of enlightenment. Where a long-Buddhist populace met introduced Greek culture, the combination resulted in Buddhist sculptures in a Greco-Buddhist style; the piece was probably made in the late 2nd century, when production of Buddhist sculpture in the region was at its height.

“This combination of cultures resulted in the creation of Buddhist sculptures in a Greco-Buddhist style.” In the museum’s words — kyohaku.go.jp ↗ · quotation verified against the live page

Meanwhile — Crouching Venus Rome · 2nd century AD

A Kofun-period iron sword from the Eta Funayama Tumulus in Kumamoto, bearing a silver-inlaid inscription of 75 characters together with inlaid images of a bird, fish and horse; a National Treasure.

“This sword has an inscription with 75 characters and images of a bird, fish, and a horse, all of which were rendered in silver inlay.” In the museum’s words — tnm.jp ↗ · quotation verified against the live page

Meanwhile — Capital of a memorial column from Dvin Europe · Early Middle Ages, 5th–6th centuries

Held by the Kyoto National Museum (JK281) and excavated at Wakiya, Gunma Prefecture, this Kofun-period male haniwa figurine stands 75 cm tall. The museum notes that human-figured haniwa generally appear in tumuli after the mid-5th century, and that many—shamans, dancers, warriors, farmers, harpists—have been found in the Kantō district. This male figure wears a sedge hat and a necklace, dresses his hair in the mizura style, carries a short sword, and shoulders a hoe. Arranged in front of the stone burial chamber almost like attendants, such figurines are valuable for studying the costumes and customs of their time.

“This male figure wears a sedge hat and a necklace and dresses his hair in the mizura style.” In the museum’s words — kyohaku.go.jp ↗ · quotation verified against the live page

Meanwhile — Prestige of the Germanic world – Jewellery and ornaments Europe · 6th century AD

A Kofun-period tomb sculpture (haniwa) of a fully armed warrior in keikō lamellar armor, excavated at Ōta in Gunma; the museum describes it as the only figural (human-shaped) haniwa designated a National Treasure in Japan.

“This is the only human-shaped tomb sculpture, called [haniwa], that was designated as a National Treasure in Japan.” In the museum’s words — tnm.jp ↗ · quotation verified against the live page

Meanwhile — Prestige of the Germanic world – Jewellery and ornaments Europe · 6th century AD

An 8th-century (Nara-period) partial copy of the Sutra on the Wise and Foolish, long attributed to Emperor Shōmu and revered as an exceptional work of calligraphy known as Ōjōmu ("Great Shōmu"); once kept at Tōdaiji temple in Nara. Designated a National Treasure.

“The copy was named Ōjōmu (Great Shōmu) in honor of the emperor and came to be regarded as an exceptional work of calligraphy.” In the museum’s words — tnm.jp ↗ · quotation verified against the live page

Meanwhile — Wooden traps Europe · Early Middle Ages

An Important Cultural Property held by the Kyoto National Museum (GK161), this celadon ewer was excavated by chance, in perfect condition, from a tea plantation on the southwest slope of Mt. Okura in Kowata, Uji—an area where Fujiwara Michinaga established the family temple Jōmyō-ji in 1005, to which the museum suggests it may be connected. Its style and quality indicate it was made at the Yuezhou kilns in Zhejiang, China, between the Five Dynasties and the Northern Song. With a large body, round neck, precisely formed spout, and leaf-shaped handle, its mild, withered-leaf glaze color was produced by an oxidized flame particular to Yuezhou ware, with similar pieces held in the Palace Museum in Beijing.

“The mild, withered-leaf color of the glaze was produced by an oxidized flame particular to Yuezhou ware.” In the museum’s words — kyohaku.go.jp ↗ · quotation verified against the live page

Meanwhile — Plinth brick with the image of a trident Europe · 10th century

A National Treasure held by the Kyoto National Museum (AK227), this six-panel folding screen (senzui byōbu) was used in the Esoteric Shingon Buddhist tradition for the Abhiseka of the Dharma Transmission, an initiation ritual, and originally belonged to the temple of Tō-ji in Kyoto. Below an expansive landscape, an elderly man—believed to be the Tang poet Bai Juyi (772–846)—is secluded in a mountain hermitage composing poetry as a young nobleman and attendants come to visit. The museum describes it as a rare early example of kara-e, a Chinese-style painting that became popular in Heian-period Japan, with all figures shown in Tang-style garb and rendered in the gentle, refined aesthetic of the later Heian period.

“This painting is a rare early example of kara-e, a type of Chinese-style painting that became popular in Heian-period Japan.” In the museum’s words — kyohaku.go.jp ↗ · quotation verified against the live page

Meanwhile — Lead seal of Prince Yaroslav the Wise Europe · 11th century

A National Treasure held by the Kyoto National Museum (AK373), this Late Heian hanging scroll in color on silk depicts the resurrection scene from the Mahamaya Sutra: hearing of the Buddha's death, his mother Maya rushes to him, and Sakyamuni, by his divine power, opens the gold coffin, rises, and tells her of the transiency of life before lying down again. Thousands of rays radiate from his body, each containing thousands of Buddhas, as onlookers gaze in wonder at the miracle. The museum notes the skillful use of rich colors, kirikane gold, and lively ink brushwork to create a dramatic scene. It was donated by the Matsunaga Kinen-kan.

“Rich colors, kirikane gold, and lively ink brushwork are used skillfully to create a dramatic scene.” In the museum’s words — kyohaku.go.jp ↗ · quotation verified against the live page

Meanwhile — Lead seal of Prince Yaroslav the Wise Europe · 11th century

A National Treasure held by the Kyoto National Museum (BK 548), this surviving portion of Volume XII of the early-Heian imperial poetry anthology Kokin Wakashū contains forty-eight love poems. The poems are written on imported Chinese paper with mica-imprinted bamboo and peach-blossom designs, and the museum praises the remarkable characters, spacing, and continuous script. Its highly individual calligraphy, traditionally attributed to Ono-no-Michikaze, together with the decorative beauty of the paper, has led the scroll to be called 'the finest of the meibutsu-gire' (famous calligraphic fragments); it is also known as the 'Hon'ami gire' from its association with the Momoyama connoisseur-designer Hon'ami Kōetsu.

“The poems are written on imported Chinese paper with mica-imprinted bamboo and peach blossom designs.” In the museum’s words — kyohaku.go.jp ↗ · quotation verified against the live page

Meanwhile — Hoa Hakananai'a Americas & Oceania · c. 1000–1200 AD

Held by the Kyoto National Museum (CK 21), this seated Amida in meditation is carved from lacquered and gilt cypress wood and stands 152.5 cm tall. Formerly owned by the Sairinji temple south of Kyoto, it is said to have been removed in 1870 from a temple called Yakurenji in a neighboring village. About ten centimeters taller than a normal 'Half-Sized Great Buddha,' its intentionally lengthened torso gives the work a loose feeling. The museum notes that its gentle facial features, richly varying robe folds, and balanced form closely resemble Jōchō's celebrated Seated Amida of 1053 in the Phoenix Hall of Byōdō-in at Uji, suggesting it too was made in the mid-11th century.

“The intentionally lengthened torso gives a loose feeling to the work.” In the museum’s words — kyohaku.go.jp ↗ · quotation verified against the live page

Meanwhile — Wari funerary bundle with gold mask (Fardo Huari) Americas & Oceania · Wari (Huari), Fusional Era (800 – 1300 CE)

Held by the Kyoto National Museum (GK219), this Chinese tenmoku-type teabowl was fired at a kiln in Jizhou, Jiangxi province, and is, as the museum notes, a standout example of its kind. Long cherished in Japan as one of the prized possessions of the powerful Maeda lords of Kaga, it is characterized as a taihi tenmoku ('tortoiseshell tenmoku') bowl. Its exterior bears distinctive tortoiseshell markings, while the interior shows phoenix and plum branches made with cut-paper stencils as resist designs, layering a black glaze and an ash glaze into subtly blending blues, yellows, and reds. The museum records that it is stored in a wooden box said to be inscribed by the tea master Kanamori Sōwa (1584–1657).

“This Chinese tenmoku-type bowl, fired at a kiln in Jizhou (Jiangxi province), is a standout example of its kind.” In the museum’s words — kyohaku.go.jp ↗ · quotation verified against the live page

Meanwhile — Male human figure (Manta culture) Americas & Oceania · 800–1500 CE

A National Treasure held by the Kyoto National Museum (AK679), the Scroll of Diseases and Deformities (Yamai no sōshi) depicts sundry ailments and abnormalities; the museum owns nine illustrated sections, including 'Treatment of an Eye Disease,' 'Man with Pubic Lice,' and 'Palsy.' Rather than presenting each illness clinically, the scenes draw on the anecdotal appeal of such stories, often set within the everyday surroundings of the sick, giving valuable insight into the customs of the late Heian period. Originally part of a single handscroll stylistically akin to paintings of the Six Paths of Transmigration, its brushwork is relaxed and carefree, supplemented with light colors, lending the work the appeal of genre painting.

“The Scroll of Diseases and Deformities (J. Yamai no sôshi) depicts sundry ailments and abnormalities.” In the museum’s words — kyohaku.go.jp ↗ · quotation verified against the live page

Meanwhile — Male human figure (Manta culture) Americas & Oceania · 800–1500 CE

Translated from Japanese: The oldest surviving manuscript to preserve the Kokin Wakashū poetry anthology complete from its kana preface through Book 20 — a luxurious bound booklet on Japanese-made decorated Chinese paper, its calligraphy attributed by the leading theory to Fujiwara no Sadazane. Heian period, 12th century; a National Treasure.

“『古今和歌集』の仮名序から巻第20までを完存するなかで現存最古の遺品。” In the museum’s words — tnm.jp ↗ · quotation verified against the live page

Meanwhile — Muteran Treasure Hoard South Asia · 10th–14th century (Sindok to Majapahit era)

Translated from Japanese: Gaki (hungry ghosts) are the spirits of the dead who, in retribution for greedy misdeeds in life, are forever tormented by hunger and thirst. Painted against the late-Heian belief in Pure Land salvation, this handscroll depicts the eerie hungry ghosts in fine detail. Heian period, 12th century; a National Treasure.

“餓鬼とは、生前に、欲望のままに悪い行いをした報いにより、常に飢えや渇きの苦しみに悩まされる死者の霊のことである。” In the museum’s words — tnm.jp ↗ · quotation verified against the live page

Meanwhile — Muteran Treasure Hoard South Asia · 10th–14th century (Sindok to Majapahit era)

Translated from Japanese: The Thousand-Armed Kannon is a form emphasizing the many-sided saving power of the bodhisattva Kannon. Combining the graceful, ornate manner of late-Heian Buddhist painting with a more robust, animated Kamakura-era sensibility, this hanging scroll is regarded as a representative example from the latter half of the 12th century. A National Treasure.

“千手観音は観音菩薩の持つ多面的な救済力が強調された姿。” In the museum’s words — tnm.jp ↗ · quotation verified against the live page

Meanwhile — Muteran Treasure Hoard South Asia · 10th–14th century (Sindok to Majapahit era)

A National Treasure held by the Kyoto National Museum (AK229), this late Heian handscroll depicts the Realm of the Hungry Ghosts (gaki), one of the Six Realms of Transmigration in Buddhist thought, and belongs to a period of increasing interest in the Six Paths amid ideas of the 'latter days of the law' (mappō). Its seven sections, drawn from different textual sources, gather tales of the salvation of hungry ghosts—including the monks Maudgalyayana and Ananda learning from Shakyamuni how to free the suffering. The museum notes distinct variations in the painting styles, suggesting several groups of artists worked on the scroll, and that it may have been part of a set of Paintings of the Six Realms once kept at Rengeō-in (Sanjūsangendō).

“In this manner, the various sections of the scroll bring together tales from different textual sources. There are also distinct variations in the style and composition of the paintings.” In the museum’s words — kyohaku.go.jp ↗ · quotation verified against the live page

Meanwhile — Lewis Chessmen Europe · c. 1150–1200

A National Treasure held by the Kyoto National Museum (BK598), this handscroll transmits the Wakan Rōeishū, an anthology of Chinese and Japanese verse compiled by the mid-Heian poet Fujiwara Kintō. According to its inscription, the copy was written in 1160 by Sesonji Koreyuki on an ashide-e ground—a late-Heian technique combining decorative motifs and script. Here the ashide-e includes reeds, water fowl, flying birds, rocks, and wheels in navy blue, greenish-blue, brownish-red, and silver. The museum values it both as a complete edition of the Wakan Rōeishū and as a rare example of calligraphy on an ashide-e ground.

“This ashide-e includes reeds, water fowl, flying birds, rocks and wheels, in navy blue, greenish-blue, brownish-red and silver.” In the museum’s words — kyohaku.go.jp ↗ · quotation verified against the live page

Meanwhile — Muteran Treasure Hoard South Asia · 10th–14th century (Sindok to Majapahit era)

A pair of Southern Song album leaves (dated 1197) of white and red hibiscus by the Chinese court painter Li Di — a rare signed 12th-century work; a National Treasure held in TNM's Asian collection (Toyokan).

“This set of paintings by the court painter Li Di is a rare example of a signed work from the 12th century.” In the museum’s words — tnm.jp ↗ · quotation verified against the live page

Meanwhile — Aquamanile Europe · 12th–13th centuries

An Important Cultural Property held by the Kyoto National Museum (AK233), this handscroll depicts fifty-seven court nobles—including a regent, a chancellor, and ministers—in two rows: the figures in the upper row face forward, while those in the lower row show their backs with faces turned to the side or rear. Once titled Nenjū Gyōji Chakuza Zukan (Illustrated Scroll of the Seating Order at Annual Events), it presents seated portraits of historical officials rather than an actual event, running from Regent Fujiwara Tadamichi (1097–1164) to ministers appointed in 1252. The museum notes it is traditionally attributed to the nise-e portraitist Fujiwara Nobuzane (1177–1265), and that unusual motifs such as radishes and turnips suggest it may have been a preliminary underdrawing.

“The figures in the upper row face forward to the viewer, while those in the lower row have their backs with their faces turned to the side or to the back.” In the museum’s words — kyohaku.go.jp ↗ · quotation verified against the live page

Meanwhile — Mihrab from the Beyhekim Mosque, Konya Islamic world · 13th century

An Important Cultural Property held by the Kyoto National Museum (AK379), this Southern Song hanging scroll in ink on silk depicts Yuima (Vimalakirti), the eloquent Vaisali layman who, though never a priest, had a deep understanding of Buddhism. It shows a dramatic scene from the Yuima-kyō (Vimalakirti) sutra: the elderly Yuima reclines on a bed, mouth slightly open, as an angel scatters sacred flowers beside him. The museum notes that his gentle expression and the elaborate patterns of the bed are characteristic of Song painting, and that the artist followed the ink-painting style of the late Northern Song painter Li Gonglin, known for his portraits of Yuima.

“This painting is a dramatic scene out of the Yuima-kyo (Vimalakirti) sutra.” In the museum’s words — kyohaku.go.jp ↗ · quotation verified against the live page

Meanwhile — Mihrab from the Beyhekim Mosque, Konya Islamic world · 13th century

Translated from Japanese: A fine, representative example among battle handscrolls, this is part of a large illustrated scroll based on the war chronicle Tale of Heiji, which recounts the Heiji Rebellion of 1159; this scroll depicts Taira no Kiyomori and others receiving Emperor Nijō at Kiyomori's Rokuhara mansion. Kamakura period, 13th century; a National Treasure (gift of Matsudaira Naoaki).

“これは合戦絵巻を代表する優品で、平治の乱(1159)を題材とする軍記物語『平治物語』を描いた大部な絵巻の一部。” In the museum’s words — tnm.jp ↗ · quotation verified against the live page

Meanwhile — Blacksmith's tongs Europe · 1100–1400 AD

Translated from Japanese: Liang Kai was a court painter of the Southern Song. This painting shows Shakyamuni emerging from the deep mountains after long ascetic practice without attaining enlightenment; its bold composition of diagonally projecting cliffs and the rough brushwork of the banks and withered trees show striking originality, while the emaciated Buddha is rendered with fine realism. Southern Song dynasty, 13th century; a National Treasure held in TNM's Asian collection (Toyokan).

“梁楷【りょうかい】は南宋の宮廷画家です。本図は長きにわたる修行でも悟りを得られず、深山を出る釈迦の姿を描きます。” In the museum’s words — tnm.jp ↗ · quotation verified against the live page

Meanwhile — Blacksmith's tongs Europe · 1100–1400 AD

Translated from Japanese: Said to be a detached segment of a Zen-themed handscroll (zenki-zukan) illustrating anecdotes of Zen monastics and figures around them; from its inscription the painter Yin Tuoluo is known to have been an eminent monk of the Daguangjiao Zen temple in Kaifeng. Formerly in the Asano family collection; inscription by Chushi Fanqi. Yuan dynasty, 14th century; a National Treasure held in TNM's Asian collection (Toyokan).

“本図は禅林とその周辺の人物にかかわる逸話を主題にした禅機図巻(ぜんきずかん)の断巻といわれます。” In the museum’s words — tnm.jp ↗ · quotation verified against the live page

Meanwhile — Celengan (Terracotta Money Box) South Asia · 13th–15th century (Majapahit)

A tachi (long sword) blade dated 1322 by Kagemitsu of the Osafune school in Bizen (present-day Okayama); the museum praises its texture and temper pattern of exceptional brilliance. A National Treasure.

“A prominent work of Kagemitsu, a member of the Osafune school in present-day Okayama prefecture, this sword features a texture and temper pattern of exceptional brilliance.” In the museum’s words — tnm.jp ↗ · quotation verified against the live page

Meanwhile — Alhambra Dome Islamic world · c. 1320

A National Treasure held by the Kyoto National Museum (IK68-3), this kaibu no mo (women's formal pantaloon-skirt with seashore motif) comes from the collection of the Asuka Shrine in Wakayama, a subsidiary of the great Kumano-Hayatama Shrine that received many treasures donated by the Ashikaga Shogunate and provincial military commissioners. The museum notes that because the approximate dates and circumstances of such donated objects are known, they are important data for Japanese art historians. This mo, in an unusual hitoe-hakama (single-layer skirt) style, is painted with kaibu seashore designs and is believed to be a replica of a noblewoman's costume.

“This mo (formal pantaloon-skirt), in a unusual hitoe-hakama (single layer skirt) style, is painted with kaibu seashore designs.” In the museum’s words — kyohaku.go.jp ↗ · quotation verified against the live page

Meanwhile — Beautiful Madonna from Wrocław Europe · c. 1390

An Important Cultural Property held by the Kyoto National Museum (HK24), this inkstone box depicts a flock of plovers flying near a seashore and formerly belonged to the family of Viscount Tsuchiya. Among the pictorial motif appear characters in reed script (ashidegaki) from a poem in the Kokin Wakashū about singing plovers by the sea. The museum describes it as an exemplary Muromachi-period lacquerwork that masterfully combines the varied and complex techniques of maki'e—nashiji, ikakeji, gold hiramaki'e and togidashi maki'e, silver inlay, cut foil, and more—while noting that the wave design's maki'e on the lid, inkstone, and brush rack appears to be a later Edo-period addition.

“A flock of plovers fly near a seashore on this inkstone case, which formerly belonged to the family of Viscount Tsuchiya.” In the museum’s words — kyohaku.go.jp ↗ · quotation verified against the live page

Meanwhile — Annunciation Triptych (Merode Altarpiece) Europe · ca. 1427–32

An Important Cultural Property held by the Kyoto National Museum (EK205), this dōmaru armor is composed of alternately arranged black-lacquered leather and iron kozane scales, laced with purple, red, and white cords above and black leather thongs below. The museum notes its classic armor style—paired gyōyō ornaments on the breast and a seven-piece kusazuri skirt—while the narrow, thickly lacquered scales and the lions-and-peonies decoration are characteristic of the Muromachi period. Dōmaru, sometimes called tsutsu (cylindrical) armor, fastened around the body on the right side and was a practical armor for active soldiers, replacing the heavier ōyoroi.

“Domaru was a practical armor for active soldiers, replacing the heavy oyoroi armor.” In the museum’s words — kyohaku.go.jp ↗ · quotation verified against the live page

Meanwhile — São Jerônimo penitente no deserto (St Jerome Penitent in the Desert) Europe · 1448–51

A National Treasure held by the Kyoto National Museum (AK228), this hanging scroll gives a bird's-eye view of Ama-no-hashidate, the famous sandbar in Tango province and one of the Three Famous Scenic Spots of Japan. The museum dates it by the coexistence of the two-storied Chion-ji temple pagoda, built in 1501, and the buildings of Nariai-ji temple, which burned down in 1507. Combining soft, wet ink tones, precise brushwork, and a sublime composition, the museum considers it the masterpiece of Sesshū Tōyō (1420–1506), who studied painting in China and sought the unity of Zen and art throughout his life.

“It can be dated by the coexistence in the painting of the two-storied Chionji temple pagoda, which was built in 1501, and the buildings of Nariaiji temple, which burned down in 1507.” In the museum’s words — kyohaku.go.jp ↗ · quotation verified against the live page

Meanwhile — Madonna and Child (The Conestabile Madonna) Europe · circa 1504

A pair of ink-on-paper screens of windswept pines emerging from mist by Hasegawa Tōhaku (1539–1610), built from rough brushwork and delicate gradations rather than firm outlines; the museum notes he brought new life to the traditional pine-forest subject through his mastery of Chinese-style ink painting. A National Treasure.

“Tōhaku created this atmospheric scenery through his mastery of Chinese-style ink painting, breathing new life into the traditional subject of a pine forest.” In the museum’s words — tnm.jp ↗ · quotation verified against the live page

Meanwhile — Hercules' Fight with the Centaurs Europe · c. 1550

A monumental screen painting of cypress trees in vivid color and gold leaf by Kanō Eitoku (1543–90), created in the final year of his life and thought to have decorated sliding doors in a Hachijō-no-miya mansion; the massive, twisting branches seem to burst beyond the edges of the composition. An Azuchi-Momoyama-period National Treasure.

“Massive cypress trees with powerful, twisting branches seem to burst beyond the edges of the composition.” In the museum’s words — tnm.jp ↗ · quotation verified against the live page

Meanwhile — The Massacre of the Innocents Europe · 1590

An Important Cultural Property held by the Kyoto National Museum (EK187), this tachi sword bears an inscription dated August 1598 and is the work of Umetada Myoju, known as the Father of Shintō ('the modern sword'), who lived in the Nishijin district of Kyoto. The museum highlights his metal-carving talent in the relief carvings of Fudōmyō'ō in a shrine on the front and a dragon on the back, which prove the sword is not of the shortened osuriage type. Made during the transition from longer swords to shorter uchigatana, it is, as the museum notes, one of the few extant long swords known to be Myoju's work.

“There are not many long swords by the master Myoju in existence.” In the museum’s words — kyohaku.go.jp ↗ · quotation verified against the live page

Meanwhile — Bacchus Europe · c. 1598

A National Treasure held by the Kyoto National Museum (AK261), this hanging scroll shows two grebes and two lotus flowers painted entirely in black ink, giving the work a clean, simple feeling. The museum notes that the artist exquisitely expresses the contrast between the blooming white lotus and its ripening fruit, and between the two birds—one swimming ahead with a half-open, upturned bill as if seeking bait, the other quietly floating. Although the painting bears no signature, only a red 'Inen' seal in the lower-left corner, the museum states it represents the technical perfection of Sōtatsu's ink painting.

“the artist exquisitely expresses the contrast between the blooming, white lotus and its ripening fruit.” In the museum’s words — kyohaku.go.jp ↗ · quotation verified against the live page

Meanwhile — Concert of Birds Europe · 1620–1630

Translated from Japanese: Beneath the eaves of a moonflower trellis, a family of three take the evening cool, all silently gazing at the moon; the calm expression of the child beside the father conveys the parents' love. Its painter, Kusumi Morikage — one of the "four heavenly kings" among Kanō Tan'yū's pupils — displays his outstanding skill here. Edo period, 17th century; a National Treasure.

“夕顔棚の軒端(のきば)の下で、夕涼みをする三人の家族。” In the museum’s words — tnm.jp ↗ · quotation verified against the live page

Meanwhile — Alegoría de la Fortuna y la Virtud Europe · Siglo XVII (17th century)

Translated from Japanese: A pair of screens depicting the city and outskirts of Kyoto. Whereas most rakuchū-rakugai ("scenes in and around the capital") screens pair an eastern half seen from the west with a western half seen from the east, here only the central city is shown, viewed from the south. Handed down in the Funaki family of Shiga, it is affectionately known as the Funaki version. Attributed to Iwasa Matabei; Edo period, 17th century; a National Treasure.

“多くの洛中洛外図は、街の東半分を西から見て描いたものと西半分を東から見たもので一組となっているが、ここでは京都の中心部だけを南から見て描いている。” In the museum’s words — tnm.jp ↗ · quotation verified against the live page

Meanwhile — Alegoría de la Fortuna y la Virtud Europe · Siglo XVII (17th century)

Translated from Japanese: A writing box with a high, mountain-shaped domed lid in the distinctive form of Hon'ami Kōetsu, scattered with characters from a Gosen Wakashū poem evoking the Sano pontoon bridge. Lavish yet spare in effect, it is counted among the most refined of Kōetsu's maki-e works. Edo period, 17th century; a National Treasure.

“蓋(ふた)を山形に高く盛り上げた、本阿弥(ほんあみ)光悦(こうえつ)独特の形の硯箱。” In the museum’s words — tnm.jp ↗ · quotation verified against the live page

Meanwhile — Alegoría de la Fortuna y la Virtud Europe · Siglo XVII (17th century)

An Important Cultural Property held by the Kyoto National Museum (AK546), this six-fold gold-ground screen depicts an early kabuki performance. The Okuni kabuki troupe came from Izumo Province and began performing their kabuki odori on the Noh stage of Kitano Shrine in 1603; because the stage shown is thought to be the Kitano stage, the museum dates the work after 1603. On stage a sword-bearing actor, a teahouse woman, and a saruwaka clown indicate a performance of Chaya Asobi (Spree at the Teahouse), the troupe's representative play, and the musicians play only flutes and drums—not shamisen—marking an early performance. The museum suggests the strong possibility that the screen was painted by the Hasegawa school.

“Because the stage depicted on this screen is thought to be the Kitano stage, the work is assumed to have been painted after 1603.” In the museum’s words — kyohaku.go.jp ↗ · quotation verified against the live page

Meanwhile — The Elevation of the Cross Europe · 1609

Translated from Japanese: A lacquer writing box depicting the famous Yatsuhashi (Eight-Plank Bridge) scene from Episode 9 of the Tales of Ise, its bold composition showing overwhelming design power. Its maker, Ogata Kōrin (1658–1716), returned repeatedly to this theme — also the subject of his celebrated iris screens — and made it thoroughly his own. Lacquered wood with maki-e, lead and mother-of-pearl; Edo period, 18th century; a National Treasure.

“有名な『伊勢物語』第九段、三河国八橋の情景を描いた硯箱。” In the museum’s words — tnm.jp ↗ · quotation verified against the live page

Meanwhile — Glass bracelets, Al Huailah Islamic world · 1700–1800 CE (18th century)

Held by the Kyoto National Museum (AK355), this set of nine ink-on-paper panels was painted by Itō Jakuchū (1716–1800) in 1790 for the Hōjō Hall of Kaihō-ji Zen Temple (Ōbaku sect) in Fushimi, Kyoto. Including panels now missing, the set as a whole was about ten meters long—even longer than another Cocks and Hens set Jakuchū painted the same year for Saifuku-ji Temple in Osaka. While the Saifuku-ji set is in color on gold leaf, this one is in ink on white paper; the museum calls it a quintessential mature masterpiece of Jakuchū.

“This set of panels is a quintessential mature masterpiece of Ito Jakuchu.” In the museum’s words — kyohaku.go.jp ↗ · quotation verified against the live page

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Translated from Japanese: Watanabe Kazan was a senior Edo-resident retainer of the Tahara domain who worked at late-Edo domain reform while pursuing painting to help his hard-pressed household. This portrait depicts Takami Senseki, a senior retainer of the Koga domain and Kazan's senior in Dutch (Western) learning, and is counted a masterpiece among Kazan's portraits. Edo period, dated 1837; a National Treasure.

“渡辺崋山は田原藩の江戸詰め家老。幕末の藩政改革に尽力する一方、苦しい家計を助けるため画業にも精進した。” In the museum’s words — tnm.jp ↗ · quotation verified against the live page

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