The term "National Treasure" has been used in Japan to denote cultural properties since 1897,[1] although the definition and the criteria have changed since the introduction of the term. The crafts items in the list adhere to the current definition and have been designated National Treasures according to the Law for the Protection of Cultural Properties that came into effect on June 9, 1951.
The items are selected by the Ministry of Education, Culture, Sports, Science and Technology based on their "especially high historical or artistic value".[2] The list presents 132 entries from Classical to early modern Japan, spanning from the 7th century Asuka to the 18th century Edo period. The number of items is higher, however, since groups of related objects have been joined as single entries. The listed objects are of many types and include household goods, objects related to Buddhism, armour and harnesses. Some of the oldest objects were imported from China at the time.
The listed items consist of materials such as wood over clay or to bronze. Often the articles were decorated using a variety of artistic techniques like gilding of precious metals, line engraving, maki-e, mother of pearl inlay or lacquer. The objects are housed in Buddhist temples, Shinto shrines or museums.[3]
The objects in this list represent about half of the 254 National Treasures in the category "crafts". They are complemented by 110 swords and 12 Japanese sword mountings National Treasures of the .[3]
| Period[4] | National Treasures | |
|---|---|---|
| Silla dynasty | 1 | |
| Asuka period | 4 | |
| Sui dynasty | 1 | |
| Tang dynasty | 11 | |
| Nara period | 16 | |
| Heian period | 50 | |
| Southern Song dynasty | 7 | |
| Kamakura period | 27 | |
| Yuan dynasty | 1 | |
| Muromachi period | 2 | |
| Nanboku-chō period | 3 | |
| Joseon dynasty | 1 | |
| Momoyama period | 1 | |
| Edo period | 6 |
The table's columns (except for Remarks, Type and Image) are sortable pressing the arrows symbols. The following gives an overview of what is included in the table and how the sorting works. Not all tables have all of the following columns.
Japanese pottery is one of the country's oldest art forms dating to the neolithic period, and some of the world's oldest earthenware from about 14,000 BC has been discovered in Japan. Early pottery objects were made of clay, unglazed and without ornamentation. Later, during the Jōmon, Yayoi and Kofun periods, simple patterned designs and molded ornamentations were added. Such early techniques were formed by coiling or scratching and firing pieces at low temperatures.[5] High-fired Korean Sue ware, and with it the pottery wheel, arrived in Japan around the 6th century, marking the beginning of major technological advances imported from the mainland.[5] Stoneware originated in Japan with the development of green-glazed and other color glazed pottery in the second half of the 7th century. The oldest item in this list is a green-glazed funerary pot from the 12th century.[5]
The popularity of the tea ceremony among the ruling class had a significant influence on ceramic production. To satisfy the demand for high quality pottery items necessary to the tea ceremony a large number of celadon vases and tenmoku ash-glazed teabowls initially were imported from China from the mid-11th to the 16th centuries. These imported items were copied and produced locally at the Seto kiln in Owari Province.[6] Around the mid-16th century adjacent Mino took over as a production center of conservative Chinese inspired Seto style pottery. The Japanese invasions of Korea from 1592 to 1598, and subsequent relocation of Korean potters to Kyushu, brought new pottery styles to Japan. From the late-16th century, Mino potters developed new, distinctly Japanese techniques such as Shino ware or Raku ware. This was also motivated by a general shift of tastes among teamasters and others, who came to prefer simpler unglazed tea bowls formed by hand rather than on a pottery wheel. Of the 14 pottery items in this list, eight entries are chawan bowls used in the tea ceremony, three are flower vases, one is an incense burner, one a tea-leaf jar and one a funerary pot. Eight objects originated in China, five in Japan and one in Korea.[3]
| Name | Artist | Remarks | Date | Type | Present location | Image | |
|---|---|---|---|---|---|---|---|
| named [7] [8] | Honami Kōetsu | Thought to have been a wedding present by Honami Kōetsu | Edo period, 17th century | Chawan
| Sunritz Hattori Museum of Arts, Suwa, Nagano | ||
| [9] | Nonomura Ninsei | Life-sized, cock pheasant shaped incense burner composed of two parts; lifelike coloration with green, navy blue, red and gold pigments; used in the tea ceremony | Edo period, 17th century | Incense burner; Kyoto-ware, ; length:, width: 12.5cm (04.9inches), height: 18.1cm (07.1inches) | Ishikawa Prefectural Museum of Art, Kanazawa, Ishikawa | ||
| [10] | Nonomura Ninsei | Blooming wisteria flowers painted over a warm white glaze in enamels of red, purple, gold and silver; base is orange and has a stamp mark reading "Ninsei"; passed down in the Kyogoku family of the Marugame domain, present day Kagawa Prefecture | Edo period, 17th century | Tea-leaf jar; stoneware (Kyoto-ware) with overglaze enamels; height: 28.8cm (11.3inches), bore diameter: 10.1cm (04inches), trunk diameter: 27.3cm (10.7inches), bottom diameter: 10.5cm (04.1inches) | MOA Museum of Art, Atami, Shizuoka | ||
| named [11] | unknown | Distorted shape | Momoyama period | Chawan
| Mitsui Memorial Museum, Tokyo | ||
| [12] [13] | unknown | Discovered in the Hakusan Burial Mound; mouth bending slightly outward, bulging upper body, narrow base; covered with green glaze and drawings of autumn grasses (Japanese silver grass, melon) scratched in with a spatula; character "上" in the inside of the mouth | Heian period, second half of the 12th century | Funerary pot; Atsumi ware; height: 42cm (17inches), diameter at neck: 16cm (06inches), diameter at body 29cm (11inches), diameter at base 14cm (06inches) | Keio University, Tokyo; currently at Tokyo National Museum |
| Name | Remarks | Date | Type | Present location | Image | ||
|---|---|---|---|---|---|---|---|
| or [14] | One of four extant tea bowls in the yōhen tenmoku style (three are National Treasures); passed from the Tokugawa clan to Inaba Masayasu and handed down in the Inaba clan | Southern Song, 12–13th century | Chawan
| Seikadō Bunko Art Museum, Tokyo | |||
| [15] | One of four extant tea bowls in the yōhen tenmoku style (three are National Treasures); produced in the Jian kilns in Fujian (福建省建窯) in south China | Southern Song, 12–13th century | Chawan
| Fujita Art Museum, Osaka | |||
| One of four extant tea bowls in the yōhen tenmoku style (three are National Treasures) | Southern Song, 12–13th century | Chawan
| (Daitoku-ji), Kyoto | ||||
| Produced in the Jizhou kiln (吉州窯) in Yonghe, Ji'an County | Southern Song | Chawan
| Shōkoku-ji, Kyoto | ||||
| [16] | Formerly in possession of Toyotomi Hidetsugu; later handed down in Nishi Hongan-ji, the Mitsui family and the Sakai clan | Southern Song, 12–13th century | Chawan
| Museum of Oriental Ceramics, Osaka, Osaka | |||
| [17] | Produced in the kiln | Southern Song, 12th century | Flower vase; celadon; height: 23.5cm (09.3inches) | custody of, Shibukawa, Gunma; owned by, Tokyo | |||
| or [18] | Produced in the kiln | Southern Song, 13th century | Flower vase; celadon; height: 23.5cm (09.3inches), bore diameter: 10.8cm (04.3inches) | Kubosō Memorial Museum of Arts, Izumi, Osaka | |||
| [19] | Pear-shaped bottle; about 5mm of glaze at the foot has been scraped away and turned red in the fire; produced in the kiln; handed down through the Konoike family | Yuan dynasty, 13–14th century | Flower vase; celadon; height: 27.4cm (10.8inches) | Museum of Oriental Ceramics, Osaka, Osaka | |||
| or [20] | Name refers to Takeda Kizaemon, an Osaka merchant and former owner of the bowl; later in possession of Matsudaira Fumai; said to bring sickness and death to its owner | Joseon dynasty, 16th century | Chawan
| , Kyoto |
Bronze and iron casting were introduced to Japan from the mainland in the Yayoi period, initially bringing to Japan from Korea and China iron knives and axes, and later bronze swords, spears and mirrors.[21] Eventually all of these and other metal objects were produced locally.[22]
Mirror icons or kyōzō (鏡像) are drawings on the surface of a mirror. They first appeared around the mid-Heian period and are a representation of honji suijaku, fusing Buddhist deities with local Shinto kami.[23] [24] Three early mirror icons with line engravings of various deities have been designated as National Treasures.[3]
| Name | Remarks | Date | Type | Present location | Image | |
|---|---|---|---|---|---|---|
| [25] | Thousand-armed Goddess of Mercy surrounded by the ; waterfowl and butterfly on backside; shintai of Sui Shrine | late Heian period, end of the 11th century | Mirror; bronze, line engraving; diameter: 14.8cm (05.8inches), thickness: 6.6mm, weight: 520g | , Daisen, Akita | ||
| [26] | Shaka image on top, Samantabhadra, Manjusri and Acala on both sides and below Shaka | Heian period, 12th century | Mirror; cupronickel, line engraving; diameter: 15.1cm (05.9inches), weight: 777g | Sen-oku Hakuko Kan, Kyoto | ||
| [27] | with 32 family members; Sanskrit characters engraved on back | Heian period, 1001 | Mirror; cast bronze | Nishiarai Daishi Soji-ji, Tokyo |
The introduction of Buddhism to Japan in the mid-6th century led to the development of large hanging bronze bells without a clapper rung with a mallet or hanging beam. They are generally suspended in dedicated bell towers or shōrō. The oldest extant of these bells date to the late-7th century and have been designated as National Treasures. The bells were either engraved or cast in relief, with outer surfaces showing vertical and horizontal relief bands, a boss ornament on the upper wall that sometimes included text, and handles typically shaped in a dragon motif. Thirteen Japanese and one Korean temple bell have been designated as National Treasures.[3]
| Name | Artists | Remarks | Date | Type | Present location | Image | |
|---|---|---|---|---|---|---|---|
| [28] | Handed down in the subtemple; contains an inscription | Nara period, December 11, 727 | Bell; bronze; aperture: 89.2cm (35.1inches), height: 149cm (59inches) | Kōfuku-ji, Nara, Nara | |||
| [29] | Cast for in Hōki Province （in Tottori Prefecture）; moved in 1653 to Izumo-taisha, then in 1889 to, in Shimane Prefecture until being dedicated in 1897 to Saikō-ji | Heian period, 839 | Bell; aperture: 77.5cm (30.5inches), height: 136.4cm (53.7inches) | , Fukuoka, Fukuoka | |||
| Also called or (scale in gagaku, similar to Dorian mode on A) bell; fundamental frequency: 129 Hz; together with the bell at Kanzeon-ji, one of the oldest extant Japanese bells | Nara period, 698 | Bell; bronze; aperture: 87cm (34inches), height: 124cm (49inches) | at Myōshin-ji, Kyoto | ||||
| [30] | Without inscription; cast in, Kasuya District, Fukuoka, Chikuzen Province using the same mold as the National Treasure bell at Myōshin-ji; one of the oldest extant Japanese bells | Nara period, ca. 698 | Bell; bronze; aperture: 86cm (34inches), height: 106cm (42inches) | Kanzeon-ji, Dazaifu, Fukuoka | |||
| Without inscription； long and narrow shape； with cracks and Japanese Honeysuckle arabesque pattern | Nara period | Bell; bronze; aperture: 85cm (33inches), height: 150cm (60inches) | belfry (shōrō) at Taima-dera, Katsuragi, Nara | ||||
| Without inscription; biggest bell in Japan | Nara period, 752 | Bell; aperture: 271cm (107inches), height: 385cm (152inches), weight: 49t | belfry (shōrō) at Tōdai-ji, Nara, Nara | ||||
| [31] | Dedicated by Dōkyō together with a ; contains inscription | Nara period, September 11, 770 | Bell; aperture: 73.9cm (29.1inches), height: 109.9cm (43.3inches), width: 88.5cm (34.8inches), thickness at aperture: 5.8cm (02.3inches) | , Echizen, Fukui | |||
| With inscription by Fujiwara no Toshiyuki | Heian period, August 23, 875 | Bell; bronze; aperture: 80.5cm (31.7inches), height: 148cm (58inches) | belfry (shōrō) at Jingo-ji, Kyoto | ||||
| With calligraphy attributed to Ono no Michikaze | Heian period, November 3, 917 | Bell; bronze; diameter: 90cm (40inches), height: 150cm (60inches) | , Gojō, Nara | ||||
| Decorated with lion, dragon, Chinese phoenix and dancing heavenly nymphs; previously located in the belfry (shōrō); one of the Three Great Bells of Japan. | Heian period, c. 11th century | Bell; aperture: 123cm (48inches), height: 199cm (78inches), weight: 2t | , Byōdō-in, Uji, Kyoto | ||||
| [32] | Inscription in embossed carving by founder Lanxi Daolong; donated by Hōjō Tokiyori | Kamakura period, February 21, 1255 | Bell; height: 210cm (80inches) | belfry (shōrō) at Kenchō-ji, Kamakura, Kanagawa | |||
| [33] | Made by order of Hōjō Sadatoki; largest bell in Kantō; donated by Hōjō Tokiyori | Kamakura period, August 1301 | Bell; height: 260cm (100inches) | Engaku-ji, Kamakura, Kanagawa | |||
| [34] | Initially at the west pagoda of Enryaku-ji's ; contains a three line, 24 characters inscription | Heian period, August 9, 858 | Bell; aperture: 55.3cm (21.8inches), height: 116cm (46inches) | Sagawa Art Museum, Moriyama, Shiga | |||
| [35] | Head in dragon design, body decorated with clouds and celestial beings; oldest Korean bell in Japan | Silla, March 833 | Bell; aperture: 66.7cm (26.3inches), height: 112cm (44inches) | Treasure House at, Tsuruga, Fukui |
A variety of Buddhist metal implements and objects have been designated as 19 National Treasures. These include five[36] decorated bronze or copper gongs, struck with wooden sticks during Buddhist rituals, a set of flower baskets (keko) used in the Buddhist flower-scattering ritual, six pagoda shaped reliquaries, an incense burner, a sutra container, a bowl for offerings, a banner for ceremonial use, the finial of a pilgrim's staff and two sets of implements used in Esoteric Buddhism.[3]
| Name | Remarks | Date | Type | Present location | Image | |
|---|---|---|---|---|---|---|
| [37] | Originally kept in Senju-dō; pair of peacock motif on both sides | Kamakura period, January 1, 1250 | Gong; cast bronze gilding; shoulder width: 32.4cm (12.8inches), chord length: 32.5cm (12.8inches) | , Chūson-ji, Hiraizumi, Iwate | ||
| [38] [39] | Hōsōge flower design | late Heian period | Gong; gilt bronze, line engraving; shoulder width: 23.8cm (09.4inches), fringe stretch: 27cm (11inches), height: 9.5cm (03.7inches); thickness: 0.7cm-0.9cmcm (00.3inches-00.4inchescm) | Takidan-ji, Sakai, Fukui | ||
| Lotus flower design | Heian period | Gong; gilt bronze | Eikan-dō Zenrin-ji, Kyoto | |||
| [40] | Motif of peacocks facing each other and lotus flower; contains an inscription; originally presented to temple | Kamakura period, 1209 | Gong | managed by Usa Shrine, Usa, Ōita; private owner | ||
| [41] | In 734 placed in front of the Buddha in the Western Golden Hall; gong is fitted in a gilt bronze stand with a lion at the base and two dragons (male and female) at the top; gong had been lost and reproduced in the late 12th-early 13th century; stand is original | Tang dynasty | Gong; copper; total height: 96cm (38inches) | Kōfuku-ji, Nara, Nara | ||
| [42] [43] | Decorated with Buddhist figures; front: Amida flanked by and (two of the Four Guardian Kings); back: Amida Nyorai flanked by and (two of the Four Guardian Kings); probably brought to Japan from China by Kūkai | Tang dynasty | Sistrum
| Zentsū-ji, Zentsūji, Kagawa | ||
| [44] | Square base with inscriptions on all sides; includes crystal Gorintō placed inside the iron pagoda | Kamakura period, November 22, 1197 | Two miniature pagodas; iron and crystal; height of crystal pagoda: 14cm (06inches) | , Hōfu, Yamaguchi | ||
| [45] | Topped by a three-sided flame and gem on a lotus pedestal; water jug shaped container with and lotus arabesque motif in line engraving | Kamakura period | Reliquary; gilt copper, silver plating; height: 26.3cm (10.4inches) | , Ikoma, Nara | ||
| [46] | Lion and hōsōge flower pattern; used for offerings; donated by Emperor Shōmu | Nara period, 8th century | Bowl; gilt bronze, line engraving; diameter: 27.5cm (10.8inches), height: 14.5cm (05.7inches) | Gokokushi-ji, Gifu, Gifu | ||
| [47] | used for the Buddhist flower-scattering rituals | Heian period (5 plates), Kamakura period (11 plates) | 16 plates; openwork, gold and silver plating | , Nagahama, Shiga | ||
| Decorated with arabesque pattern, dragon, lion, peony and chrysanthemum motifs; originally used as a lantern | Kamakura period, 13th century | Reliquary; gilt bronze, openwork; height: 37cm (15inches) | , Saidai-ji, Nara, Nara; entrusted to Nara National Museum | |||
| [48] [49] [50] | Three utensils used during ritual incantation and prayer in Esoteric Buddhism: a, a, a ; said to have been brought to Japan from China by Kūkai; kongōban is said to be the oldest example of its kind in Japan | Heian period | Utensils; gilt bronze | Tō-ji, Kyoto | ||
| [51] [52] [53] | Includes (i) a pagoda-shaped and lotus flower arabesque; (ii) a, with a seal of Emperor Go-Komatsu; (iii) wrapping the glass pot; oldest extant article of its kind | Tang dynasty and Kamakura period | Reliquary set; (i) wood covered with gold sheets (tortoise), gilt copper; (ii) white glass. (iii) knitwork, colored silk thread (navy blue, brown, etc.) | Tōshōdai-ji, Nara, Nara | ||
| [54] [55] [56] | Five utensils used during ritual incantation and prayer in Esoteric Buddhism: a, a, a, a, a | Kamakura period | Utensils; gilt bronze; kongōban: 6.2 × 21.8 × 28.6 cm (2.4 × 8.6 × 11.3 in); gokorei: height 20.9cm (08.2inches), aperture 9cm (04inches); tokkosho: length 18.5cm (07.3inches); sankosho: length 18.8cm (07.4inches); gokosho: length 19.4cm (07.6inches) | Itsukushima Shrine, Hatsukaichi, Hiroshima | ||
| [57] | Dedicated in 1031 to the in Yokawa Valley on Mount Hiei by Empress Shōshi; decorated with auspicious floral motifs and with an inscription; excavated in the Taishō period | late Heian period | Sutra container; forged bronze; 29 × 12 × 8 cm (11 × 5 × 3 in) | Enryaku-ji, Ōtsu, Shiga | ||
| [58] [59] | Used for the Buddhist abhiseka ceremony of sprinkling water on the head of a devotee; honeysuckle arabesque, clouds, Buddhas, bodhisattvas, celestial beings and other decorations; part of the Hōryū-ji Treasures | Asuka period, 7th century | Six big and small banners; cloth covered with gilt bronze, openwork, line engraving; canopy: 65cmx65cmcm (26inchesx26inchescm), body of banner: length 74.5cm-82.6cmcm (29.3inches-32.5inchescm), width 32.7cm-33.5cmcm (12.9inches-13.2inchescm) | The Gallery of Hōryū-ji Treasures, Tokyo National Museum, Tokyo | ||
| [60] [61] | With flower shaped pedestal and handle in shape of magpie tail; possibly associated with the Eastern Hall at Hōryū-ji and used by, the Buddhist master of Prince Shōtoku; part of the Hōryū-ji Treasures | Asuka period, 7th century | Incense burner; gilt brass; 39cmx10.2cmcm (15inchesx04inchescm), diameter of censer 13.3cm (05.2inches) | The Gallery of Hōryū-ji Treasures, Tokyo National Museum, Tokyo | ||
| and [62] | Pagoda with similar shape as the gilt bronze pagoda in the same temple; containers in the shape of water jug were placed inside the iron pagoda; included in the nomination is a wooden box | Kamakura period, 1284 | Miniature pagoda and five pots; iron (pagoda) and copper (pots); height of pagoda: 176cm (69inches) | , Saidai-ji, Nara, Nara; entrusted to Nara National Museum | ||
| and associated articles | Besides the gilt bronze pagoda the nomination includes: (i) placed in the lower part; (ii) ;(iii) ; (iv) with a small red brocade bag; (v) placed in the upper part | Kamakura period, 1270 | Height of pagoda: 91cm (36inches) | , Saidai-ji, Nara, Nara; entrusted to Nara National Museum |
Bronze mirrors arrived to Japan from China as early as the Yayoi period and continued to be imported through the Tang dynasty (618–907). During that period mirrors cast in Japan were imitations of Chinese prototypes and subsequently Japanese designs were established. All of these mirrors were generally circular, with a polished front, and a back decorated with molded or engraved reliefs, sometimes inlaid with gold or silver. Three mirrors or sets of mirrors[63] decorated with floral and animal motifs have been designated as National Treasures.
| Name | Remarks | Date | Type | Present location | Image | |
|---|---|---|---|---|---|---|
| [64] | Dedicated to Hōryū-ji by Empress Kōmyō in 736 on the anniversary of the death of Prince Shōtoku; patterns in Chinese style on both mirrors similar: four mountainous islands around the circumference with lions, deer, birds and a seated figure and two fishermen in small boats on the sea; place of production unknown either China or Japanese copies of Chinese originals | Tang dynasty or Nara period, 8th century | Two mirrors; cast nickel; diameters: 46.5cm (18.3inches) and 46.2cm (18.2inches) | Tokyo National Museum, Tokyo | ||
| Dedicated by Empress Kōgyoku | Tang dynasty | Cupronickel
| Ōyamazumi Shrine, Imabari, Ehime | |||
| [65] | Grape arabesque pattern; handle in lion shape surrounded by various animal motifs: lion, deer, horse, giraffe, peafowl, mandarin duck, Chinese phoenix, chicken, insects | Tang dynasty | Cupronickel
| Katori Shrine, Katori, Chiba |
Six National Treasures made of metal are not covered by the above categories. They are two gilt bronze lanterns, a plaque, a pair of phoenix sculptures, a pitcher and a calligraphy set consisting of a water dropper, spoons and an ink rest.[3]
| Name | Remarks | Date | Type | Present location | Image | |
|---|---|---|---|---|---|---|
| [66] | Lid and handle in dragon shape, body with engraved pegasus design; part of the Hōryū-ji treasures | Tang dynasty or Nara period, 7th century | Pitcher; gold- and silver-plated bronze, line engraving; body diameter: 18.9cm (07.4inches), overall height: 49.9cm (19.6inches) | Tokyo National Museum, Tokyo | ||
| [67] | Originally placed in front of the South Octagonal Hall at Kōfuku-ji | Heian period, 816 | Lantern; gilt bronze; height: 236cm (93inches) | National Treasure Hall, Kōfuku-ji, Nara, Nara | ||
| [68] [69] | Hexagonal three-storied pagoda in center of plaque; in top panel: Buddha triads surrounded by 1000 Buddhas; middle panel: two Buddhas on lotus seats, deities and monks; lower panel: 27 line inscription in center framed by two guardian gods; depicted is a scene from the Lotus Sutra, where Prabhutaratna resides and appears from within a "Many Treasure Pagoda" | Nara period | Plaque; bronze; 84cmx75cmcm (33inchesx30inchescm) | Hase-dera, Sakurai, Nara | ||
| Decoration of bodhisattva playing musical instruments; conical jewel top | Nara period, 8th century | Lantern; gilt bronze | in front of, Tōdai-ji, Nara, Nara | |||
| Formerly placed on both ends of the roof of the main hall (Phoenix Hall) at Byōdō-in | Heian period | Phoenix (pair); gilt plated copper | Byōdō-in, Uji, Kyoto | |||
| , and [70] | Utensils for calligraphy: (i) Water pot with oval window on each side and three legs; lid in flower-shape with jewel-shaped knob; (ii) Hexagonal pedestal-shaped rest for the ink stick; engraved with fish-egg circles; (iii) Spoons for drawing water from the pot, in the shape of a lotus flower, a gourd and a willow leaf; all items part of the Hōryū-ji treasures | Nara period or Tang dynasty, 8th century | Water dropper, three spoons, rest; gilt bronze; height: 3.8cm (01.5inches) (sumi rest), 7.5cm (03inches) (water dropper), length of spoons: 11.7cm-13.3cmcm (04.6inches-05.2inchescm) | Tokyo National Museum, Tokyo |
Japanese lacquerware has a long history, back as far as the Jōmon period, because of decorative value and the quality as protective finish. Initially lacquer was used to enhance properties of utilitarian objects such as watertight drinking vessels, cooking and household goods. The oldest extant decorated item dates to the 6th century; in the medieval and early modern period lacquer was used in the manufacture of many products such as toiletry boxes, inkstone cases, eating utensils, plates, bowls, containers, furniture, saddles, stirrups or armour.
Lacquerware is produced in a three-step process: first the base is prepared. Most often the base consists of wood, but it can also be of paper or leather. Next is the application of lacquer, which hardens while drying, thereby sealing the base. Generally several layers of lacquer are applied. The lacquer is then decorated with a variety of methods. In the maki-e technique, a powdered metal (usually gold or silver) is sprinkled on the lacquer before completely hardened. This technique was developed and popular in the Heian period but continued to be used with refinements into the early modern period. Over the next centuries various other methods that employ precious metals were developed, such as the ikakeji technique originating in the Kamakura period in which a finely ground gold powder was spread in sufficient quantities to mimic solid gold. The use of metallic powders was complemented with other techniques such as polished shell inlay or gold leaf (kirikane). The former was used in the Heian and Kamakura periods and popular motifs included water, rocks, trees or flowers. Starting in the Kamakura period, larger and more solid objects such as toiletry chests were decorated with realistic images. Towards the end of the medieval period (late-16th century), simpler designs were favoured in decorations. Honami Kōetsu who lived around this time is the earliest lacquer artist known by name.Japanese lacquerwork reached its apogee in the 17th century Edo period when lacquer was used for decorative objects as well as everyday items such as combs, tables, bottle, headrests, small boxes or writing cases. The most famous artist of this time was the lacquerer painter Ogata Kōrin. He was the first to use mother of pearl and pewter in larger quantities for decorating lacquerware.
Eleven items related to Buddhism, including four boxes for sutra scrolls made with a wood or leather base, two miniature shrines, one table, a jewel box, a box for a monk's robe (kesa), a palanquin and a Buddhist platform, have been designated as lacquered Buddhist National Treasures. With one exception all of these items date to the Heian period.[3]
| Name | Remarks | Date | Type | Present location | Image | |
|---|---|---|---|---|---|---|
| [71] | Struts decorated with bells and canopy; top and bottom with pestle and flower pattern; framed with gilt bronze border; eight Karyobinga (winged female angels) on each panel holding a percussion instrument (on front panel) or flower pots (on other panels) | Heian period | Platform; lacquered wood with mother of pearl inlay, gold and silver; height: 52.4cm (20.6inches), diameter: 193.9cm (76.3inches), side length : 74.5cm (29.3inches) | Chūson-ji, Hiraizumi, Iwate | ||
| With arabesque pattern of hōsōge flowers | Heian period, around 1100 | Sutra box; black lacquered wood, rough maki-e; 20.3cmx17cmcm (08inchesx07inchescm) | Enryaku-ji, Ōtsu, Shiga | |||
| [72] [73] | Arabesque lotus flower design and butterflies in maki-e | Heian period, 12th century | Sutra box; black lacquered leather, maki-e; 31.8 × 17.6 × 12.1 cm (12.5 × 6.9 × 4.8 in) | Nara National Museum, Nara, Nara | ||
| [74] [75] | Box in which a kesa brought back from Tang dynasty China by Kūkai was stored; decorated with a sea motif: marine animals (fish, birds, turtles) in gold and waves in silver maki-e | Heian period, 10th century, before 940 | Kesa box; lacquered hinoki wood, togidashi (burnished) maki-e; 7.9 × 39.1 × 11.5 cm (3.1 × 15.4 × 4.5 in) | Tō-ji, Kyoto | ||
| Palanquin similar to a mikoshi used in the ceremony (dedication of the bones of Buddha) | Heian period | Palanquin; black lacquered rosewood, mother of pearl inlay | Tō-ji, Kyoto | |||
| [76] | Box for eight scrolls of the Lotus Sutra; decorated with five scenes from the lotus sutra in maki-e | Heian period, around 1000 | Sutra box; black lacquer on thin wood, gold and silver maki-e; 23.7 × 32.7 × 16.7 cm (9.3 × 12.9 × 6.6 in) | Fujita Art Museum, Osaka | ||
| [77] | Decorated with hōsōge flowers, phoenix (chicken) and cranes on the outside and the Four Heavenly Kings inside | early Heian period | Jewel box; lacquer, maki-e | Ninna-ji, Kyoto | ||
| [78] | Decorated with paintings, lotus petal mouldings and embossed figures of Buddhas | Asuka period, 7th century | Miniature shrine; camphor and cypress wood; height: 226.6cm (89.2inches) | Hōryū-ji, Ikaruga, Nara | ||
| [79] | Incense burner, candlestick and other items were placed on this table in front of the spirit of the deceased | Heian period, mid 12th century | Table; black lacquer, mother of pearl inlay | Hōryū-ji, Ikaruga, Nara | ||
| Decorations of lotus lake (door panels), celestial musicians (underside of roof), butterflies, ducks, cranes, pheasants, wild geese (inside); hōsōge flowers on the ceiling; used to store a Taima Mandala | Heian period | Miniature shrine; wood | Taima-dera, Nara, Nara | |||
| [80] | Lid decorated with Kurikara dragon flanked by two attendants: and | Heian period | Sutra box; black lacquer, maki-e; 31cmx19cmcm (12inchesx07inchescm) | Taima-dera, Nara, Nara |
Two 12th-century lacquer-coated mikoshi, portable shrines for use in festivals of Shinto shrines have been designated as National Treasures.[3]
| Name | Remarks | Date | Type | Present location | |
|---|---|---|---|---|---|
| [81] | Mythical firebird (Fenghuang) on the roof; fretwork flags hanging from the corners of the roof and three fretwork mirrors and cloths on each side | Kamakura period, Kenkyū era (1190–1199) | Lacquered wood with mother of pearl decoration, gilt bronze fittings | , Habikino, Osaka | |
| [82] | Oldest extant Japanese mikoshi | Heian period, 12th century | Lacquered wood, gilt bronze fittings; total height: 226cm (89inches), bay: 98.2cm (38.7inches), shafts: 364cm (143inches), stand width: 141cm (56inches) | , Kinokawa, Wakayama |
Saddles were made of wood and were designed as a standing platform for archers. They were not suited for riding long distances or at high speed. Early saddles of the Nara period were of Chinese style karagura and later modified for local tastes, resulting in Japanese style saddles from the Heian period onward. Artisans and carpenters became involved in the saddle production as saddles became more elaborate in the Kamakura period, with decorations in mother of pearl inlay, gold leaf and multiple coats of lacquer. Saddles ceased to be primarily utilitarian, instead serving as adornment showing the owner's status in processions. Three Japanese style lacquered wooden saddles and a complete set of a Chinese style ritual saddle, dating to the late Heian and Kamakura periods, have been designated as National Treasures.[3]
| Name | Remarks | Date | Type | Present location | Image | |
|---|---|---|---|---|---|---|
| [83] [84] | Exterior of ends of saddle decorated with images of oak trees and horned owls; interior decorated with broken oak tree branches; typical saddle design of a warrior of the late Heian and Kamakura period | late Heian period, 12th century | Saddle; lacquered wood with mother of pearl inlay; height 30cm (10inches) (saddle fork) and 35cm (14inches) (cantle) | Eisei Bunko Museum, Tokyo | ||
| [85] [86] | Decorated with images of pines, vines twining around the pines and characters forming a love poem | Kamakura period | Saddle; lacquered wood with mother of pearl inlay; seat length: 43cm (17inches), height 29.7cm (11.7inches) (saddle fork) and 35cm (14inches) (cantle) | Eisei Bunko Museum, Tokyo | ||
| Includes a saddle with stirrups, bit and swing | Kamakura period, 13th century | Saddle; lacquered wood with mother of pearl inlay; saddle: wood, lacquer, mother of pearl, and gilt copper 30.3 × 43.3 × 29.7 cm (11.9 × 17.0 × 11.7 in); stirrups: iron, lacquer, and wood 27 × 28 × 12 cm (10.6 × 11 × 4.7 in) | , Ōme, Tokyo | |||
| Includes one saddle, one neck tassel, ten, a pair of stirrups, a pair of leather stirrups, one,[87] a girth, one tail sack, two,[88] one saddle cushion, a pair of 障泥, two,[89] a bit, a secondary rein, halter, one [90] and one [91] | Kamakura period | Saddle of black lacquer and mother of pearl inlay and accessories of various type | Tamukeyama Hachiman Shrine, Nara, Nara |
Box-like items, including five toiletry cases, two writing boxes, four other boxes, a chest, a zither, an arm rest and a marriage trousseau containing many items of furniture, boxes and others have been designated as 15 National Treasures.[3]
| Name | Artists | Remarks | Date | Type | Present location | Image | |
|---|---|---|---|---|---|---|---|
| [92] | unknown | Imported from China during the Nara period; thirteen circular markers of mother of pearl, two elliptical sound-holes and rosewood fittings at the ends; ink inscription inside the body states the year and place (Jiulong County) of production | Tang dynasty, 724 | Zither
| Tokyo National Museum, Tokyo | ||
| [93] | unknown | Interior of box and lid with flying birds and floral motifs; similar design to the National Treasure box with designation number 64, this box has number 99 | Heian period, 12th century | Toiletry case; black lacquered wood, aogin togidashi maki-e and mother of pearl inlay, openwork silver fittings; 22.4 × 30.6 × 13.5 cm (8.8 × 12.0 × 5.3 in) | Tokyo National Museum, Tokyo | ||
| [94] | Ogata Kōrin | Rectangular two-tier box with rounded corners and lid; upper tier holds inkstone and water dropper; lower tier is for paper; eight bridges design after chapter 9 of The Tales of Ise; irises and plank bridges | Edo period, 18th century | Writing box; black lacquered wood, gold, maki-e, abalone shells, silver and corroded lead strips (bridges); 27.3 × 19.7 × 14.2 cm (10.7 × 7.8 × 5.6 in) | Tokyo National Museum, Tokyo | ||
| [95] | Honami Kōetsu | Square box with rounded corners and a high, domed lid which fits over the body; boats lined up in a wave pattern and bridge; characters on box quote a poem by Minamoto Hitoshi from the Gosen Wakashū | Edo period, 17th century | Writing box; black lacquered wood sprinkled with gold powder, tsukegaki technique (waves), usuniku takamakie (boats), raised characters from silver strips, bridge from thick lead strip; 24.2 × 11.8 × 22.9 cm (9.5 × 4.6 × 9.0 in) | Tokyo National Museum, Tokyo | ||
| unknown | Inside of the lid with drawings of flowers of the four seasons such as: plum, pine tree, wisteria, cherry and chrysanthemum | Kamakura period, 13th century | Toiletry case; lacquered wood with mother of pearl inlay and maki-e; 36.1cmx26.1cmcm (14.2inchesx10.3inchescm), height: 23cm (09inches) (total), 6.6cm (02.6inches) (lid), 16.5cm (06.5inches) (body) | Suntory Museum of Art, Tokyo | |||
| [96] | unknown | Used to hold such things as cosmetics, paper, and writing materials; similar design to the National Treasure box with designation number 64, this box has number 99, but bigger size, higher intensity of gold color, regular placement of cart wheels and other designs | Heian period, 12th century | Toiletry case; black lacquered wood, maki-e and mother of pearl inlay; 27.3 × 35.5 × 20.9 cm (10.7 × 14.0 × 8.2 in) | Tokyo National Museum, Tokyo | ||
| [97] | unknown | Rectangular box | Nara period, 8th century | Box; magnolia (Magnolia obovata) wood covered with slabs of agarwood; 19.7cmx37.6cmcm (07.8inchesx14.8inchescm) | Tokyo National Museum, Tokyo | ||
| unknown | Rectangular box with butterfly and peony design | Kamakura period | Box; maki-e and mother of pearl inlay | Hatakeyama Memorial Museum of Fine Art, Tokyo | |||
| [98] | unknown | Decorations of chrysanthemum flowers, flying birds and a bamboo hedge; the case was a gift to Minamoto no Yoritomo from Emperor Go-Shirakawa | Kamakura period | Box; lacquer with maki-e decorations; 26cmx24.1cmcm (10inchesx09.5inchescm) | Kamakura Museum of National Treasures (owned by Tsurugaoka Hachiman-gū), Kamakura, Kanagawa | ||
| [99] | unknown | Includes 30 items | Kamakura period, 13th century | Toiletry case; maki-e | Mishima Taisha, Mishima, Shizuoka | ||
| [100] | unknown | Marriage outfit of Chiyohime, wife of Tokugawa Mitsutomo and eldest daughter of Tokugawa Iemitsu; includes: 47 pieces of Hatsune shelves and 10 pieces of butterfly maki-e furniture, 5 maki-e incense boxes, two large oblong chests, two hakama, a long sword and a set of maki-e aloes wood tools | Edo period | Various | Tokugawa Art Museum, Nagoya, Aichi | ||
| unknown | Decorated with flower and butterfly motifs | late Heian period | Arm rest; maki-e | Fujita Art Museum, Osaka | |||
| unknown | Design of flowers and birds; red, yellow and blue colors remain | Nara period, 8th century | Box; wood colored with oil colors; 70 × 25 × 60 cm (27.6 × 9.8 × 23.6 in) | Tōdai-ji, Nara, Nara | |||
| unknown | Small legged Chinese style chest (karabitsu) with plover motifs | Heian period, 12th century | Chest; maki-e, mother of pearl | Reihōkan, Kongōbu-ji, Kōya, Wakayama | |||
| [101] | unknown | Motifs of deer (parent and child) playing in autumn fields, small birds and more; assembled of 298 pieces | Kamakura period | Toiletry case; black lacquer, maki-e, mother of pearl; 22.8 × 29.7 × 16.0 cm (9.0 × 11.7 × 6.3 in) | Izumo-taisha, Izumo, Shimane |
By the late 3rd century, sewing, followed later by weaving, was introduced to Japan from Korea. Early textiles were made of simple twisted cords from wisteria, mulberry, hemp or ramie fibres. Following a gift of silk clothes and silk worms from the Chinese court, the Japanese court started to support textile and silk production from the 4th century onward. Chinese and Korean weavers were encouraged to exhibit their fabrics bringing new techniques such as those used to make brocades or delicate silk gauzes. In the 8th century Nara period, Japanese weavers employed a variety of techniques such as tie-dyeing, stenciling, batik, and embroidery. They skillfully imitated continental weaves, including rich damasks, many types of brocades and chiffon-like gauzes. Because of a general change in aesthetics in the Heian period weaving and dyeing techniques became less varied with less colourful brocades, smaller patterns, and less elaborate gauzes. The Japanese aristocracy preferred plain silks over woven or dyed designs. A total of seven National Treasures have been designated in the weaving and dyeing category, including: two mandalas, two monk's surplices or, one brocade, one embroidery with a Buddhist motif and a set of garments presented to a shrine.[3]
| Name | Remarks | Date | Type | Present location | Image | |
|---|---|---|---|---|---|---|
| [102] [103] | , two,, . | Kamakura period, 13th century | Various woven garments | Tsurugaoka Hachiman-gū, Kamakura, Kanagawa | ||
| or "Kajū-ji embroidery"[104] | Preserved in Kajū-ji, Kyoto; depicts Shaka Nyorai preaching the Lotus Sutra on Griddhraj Parvat; Shaka is depicted wearing a red robe seated on a lion throne beneath a jeweled tree and canopy. He is surrounded by the ten principal disciples and lay people. Heavenly musicians and immortals riding on birds float above the clouds; probably produced in China | Nara period or Tang dynasty, early 8th century | Embroidery; embroidered silk: white plain-weave silk for the ground, French knots and chain stitch; | Nara National Museum, Nara, Nara Prefecture | ||
| [105] | Stylistically resembling western, Persian art; thought to originate in western China | Tang dynasty, 7th century | Weft brocade; | Hōryū-ji, Ikaruga, Nara | ||
| [106] | Image based on Contemplation Sutra; according to legend woven by Chūjō-hime from lotus stems | Nara period, 8th century | Mandala | Taima-dera, Nara, Nara Prefecture | ||
| [107] [108] [109] | Oldest clothing item in Japan as for items handed down from generation to generation; brought back by Saichō from Tang dynasty China | Tang dynasty, 8th century |
| Enryaku-ji, Ōtsu, Shiga | ||
| and [110] [111] | Brought back by Kūkai from Tang dynasty China; is said to indicate its yellowish-red color and means tapestry weave; silk threads of various colors create tapestry weave pattern of clouds meant to resemble stains of robes – the original made of rags; worn by generation of elders at important ceremonies | Tang dynasty, 8th century |
| Tō-ji, Kyoto | ||
| fragments[112] [113] | Commissioned by Empress Suiko to commemorate Prince Shōtoku's death and likely used as part of funerary paraphernalia; depicting figures of one hundred tortoise shells bearing the names of deceased persons | Asuka period, 7th century, likely between 622 and 628 | Tapestry fragments; embroidery; various sizes | Chūgū-ji, Ikaruga, Nara Prefecture |
Armour has been employed in battles in Japan since the Yayoi period. Some of the oldest extant items from the 4th to the 7th centuries were excavated from kofun and have been designated as archaeological National Treasures. These ancient armours were of two types: a tight fitting solid plate cuirass (tankō) and a skirted lamellar type (keikō), both believed to be based on Chinese or Korean prototypes. This list includes more recent pieces of armour, developed as result of a trend toward (lamellar) scale armour that began in Japan in the 6th to the 7th centuries and matured in the mid-Heian period (9th to 10th centuries). Combining materials such as leather and silk with iron or steel parts, these armours had the advantage of being light, flexible, foldable and shock absorbent. They were generally lacquered to protect them from the humid climate and were used widely from the late Heian period to the mid-14th century. A complete set consisted of a helmet, mask, neck guard, throat protector, breastplate with shoulder guards, sleeve armour, skirt, greaves, shoes and a pennant attached to the back.
During this time, there were two popular kinds of armour: the ō-yoroi (lit. "great armour") with a boxlike appearance, mainly worn by high-ranking samurai on horseback, and the lighter and more flexible Japanese: [[dō-maru]] that wrapped around the body and was initially worn by lower-ranking foot soldiers. The ō-yoroi was made of leather and iron lames bound together in horizontal layers, ornamented and reinforced with leather, silk and gilt metal. It originated around the 10th century but was only commonly used starting with the Genpei War at the end of the 12th century. Being the most complete and elaborate Japanese armour, it was also worn for ceremonies. The tighter fitting dō-maru, developed in the 11th century, was generally made of a combination of leather and metal and did not include a solid breastplate or sleeves. In many cases its armour plates were replaced with scales of metal, leather or whalebone laced together with silk or leather cords. Even though it was a plainer armour compared to the ō-yoroi, upper class samurai started to adopt it around 1300, as battles began to be fought on foot favouring a more comfortable suit. Three dō-maru, fifteen ō-yoroi armours and one pair of gauntlets have been designated as National Treasures. Most of the items include a helmet and large sleeve protectors.[3]
| Name | Remarks | Date | Type | Present location | Image | |
|---|---|---|---|---|---|---|
| [114] [115] [116] | Helmet and large sleeves with chrysanthemum motif; also known as ; nomination includes the helmet and a | late Kamakura period | Ō-yoroi | , Hachinohe, Aomori | ||
| [117] [118] | Nomination includes the helmet, cuirass, skirt and a | late Nanboku-chō period, 14th century | Ō-yoroi
| , Hachinohe, Aomori | ||
| Nomination includes the helmet; dedicated by Hatakeyama Shigetada in 1191 | late Heian period | Ō-yoroi | , Ōme, Tokyo | |||
| [119] [120] | Nomination includes the helmet and (long sleeves) | Muromachi period, 15th century | Dō-maru | Kasuga-taisha, Nara, Nara | ||
| [121] | With bamboo, tiger, sparrow motif; nomination includes the helmet; said to have been dedicated by Minamoto no Yoshitsune; one of two similar armours at Kasuga-taisha | Kamakura period | Ō-yoroi | Kasuga-taisha, Nara, Nara | ||
| With plum and Japanese bush-warbler motif; nomination includes the helmet; one of two similar armours at Kasuga-taisha. | Kamakura period | Ō-yoroi | Kasuga-taisha, Nara, Nara | |||
| Nomination does not include the helmet; said to have been dedicated by Minamoto no Yoshitsune | Heian period | Ō-yoroi | Ōyamazumi Shrine, Imabari, Ehime | |||
| Offered by Kusunoki Masashige; nomination includes the helmet | late Nanboku-chō period | Dō-maru
| Kasuga-taisha, Nara, Nara | |||
| Nomination includes the helmet | late Kamakura period | Ō-yoroi | , Izumo, Shimane | |||
| Handed down in the Takeda clan; also called ; nomination includes the helmet | late Heian period | Ō-yoroi
| , Kōshū, Yamanashi | |||
| [122] | Nomination includes the helmet | late Heian period | Ō-yoroi
| Okayama Prefectural Museum, Okayama, Okayama | ||
| [123] | Formerly belonged to Minamoto no Tametomo; nomination includes the helmet | late Heian period | Ō-yoroi | Itsukushima Shrine, Hatsukaichi, Hiroshima | ||
| [124] | Nomination includes the helmet | Kamakura period, 12th century | Ō-yoroi
| Itsukushima Shrine, Hatsukaichi, Hiroshima | ||
| [125] | Nomination includes the helmet; offered by Taira no Shigemori | Heian period | Ō-yoroi
| Itsukushima Shrine, Hatsukaichi, Hiroshima | ||
| [126] | Nomination includes the helmet | Heian period | Dō-maru
| Itsukushima Shrine, Hatsukaichi, Hiroshima | ||
| Belonged to ; nomination includes the helmet | Heian period | Ō-yoroi
| Ōyamazumi Shrine, Imabari, Ehime | |||
| Triangular lacing pattern resembling the leaves of the water plantain; nomination includes the helmet; oldest ō-yoroi armour | early Heian period | Ō-yoroi | Ōyamazumi Shrine, Imabari, Ehime | |||
| Offered by Minamoto no Yoritomo; nomination does not include a helmet | Kamakura period | Ō-yoroi | Ōyamazumi Shrine, Imabari, Ehime | |||
| [127] [128] | Formerly in possession of Minamoto no Yoshitsune | Kamakura period, 13th century | Pair of gauntlets or armored sleeves; iron, copper, gold, silk; length of each: 66.6cm (26.2inches) | Kasuga-taisha, Nara, Nara |
There are 15 craft National Treasures that do not fit in any of the above categories. Six of these are large collections of items of various type offered to shrines and two are sets of Buddhist items such as platforms, canopies or banners.[3]
| Name | Remarks | Date | Type | Present location | Image | |
|---|---|---|---|---|---|---|
| [129] [130] | 35 items, including one red lacquer bow, 30 black lacquer arrows (one arrow shaft is missing), two quivers and two long swords both with gold maki-e in ikakeji technique inlaid with mother of pearl decorations of apricot leaves | Kamakura period | Height of quiver: 32.7cm (12.9inches), length of long swords: 105.8cm (41.7inches) | Kamakura Museum of National Treasures (owned by Tsurugaoka Hachiman-gū), Kamakura, Kanagawa | ||
| [131] | Offers presented by worshippers to the such as robes, a headdress, boxes, fans, shoes, a clothes rack, a toiletry case and mirrors | Nanboku-chō period/Muromachi period, 14th–15th century | Various; metalworks, metalworks, lacquer, textiles, leather, wood | Kyoto National Museum, Kyoto | ||
| [132] | (i) Three canopies, (ii) a platform, (iii) three, (iv) a, (v) three, (vi) six of three types, (vii) a with eight petaled flower relief and pair of peacocks | Heian period | Various; (i) lacquered wood with gold leaf stamping and eight-petaled openwork; frame diameter: 81.8cm (32.2inches), inner circle plate diameter: 59cm (23inches), 52cm (20inches), 13cm (05inches); (ii) height: 15.8cm (06.2inches), 66.2cm (26.1inches) square. (iii) mother of pearl, height: 42.7cm (16.8inches), length: 25.1cmand25.4cmcm (09.9inchesand10inchescm), width: all 52.1cm (20.5inches); (iv) 59cmx56cmcm (23inchesx22inchescm); (v) gilt bronze openwork with arabesque pattern of vines; height: 90.9cm (35.8inches), 11.6cm (04.6inches), 9.3cm (03.7inches), rhombus length: 29cmand22.4cmcm (11inchesand08.8inchescm); (vi) length: 29cm (11inches), width: 33cmand57.5cmcm (13inchesand22.6inchescm); (vii) cast bronze; width at (top) 15.1cm (05.9inches), (bottom) 16.9cm (06.7inches) | , Chūson-ji, Hiraizumi, Iwate | ||
| [133] | (i) Platform, (ii), (iii) for gong, (iv), (v) | Heian period | Various; (i) black lacquered wood with metal ornaments and mother of pear inlay; height: 15.4cm (06.1inches), 65.4cm (25.7inches) square; (ii) lacquered wood with mother of pearl, height×length×width: 77.6 × 34.8 × 66.3 cm (30.6 × 13.7 × 26.1 in); (iii) wood with faded mother of pearl inlay; 57.8cmx55.1cmcm (22.8inchesx21.7inchescm); (iv) gold lacquer with metal ornaments and mother of pearl inlay; height: 80.9cm (31.9inches), bottom diameter : 24.8cm (09.8inches); (v) cast bronze; width at (top) 13.4cm (05.3inches), (bottom) 15.4cm (06.1inches) | , Chūson-ji, Hiraizumi, Iwate | ||
| [134] [135] | Painting in the ashide uta-e style that alludes to a poem through pictorialized kana and allegorical natural imagery forming a kind of rebus code | Heian period, late 12th century | Color and gold on wood (Japanese cypress), 30cmby45cmcm (10inchesby18inchescm), | Itsukushima Shrine, Hatsukaichi, Hiroshima | ||
| Contains also drawings of people and monks | Nara period, 8th century | Deer leather; drawings in wax and smoked in pine needles; 76.7cmx66.7cmcm (30.2inchesx26.3inchescm) | Tōdai-ji, Nara, Nara | |||
| [136] | Originally belonged to Tō-ji; with Karyōbinga (winged female angels) motifs | Heian period, 11th century | 13 ornaments and fragments; openwork cow leather, color, and cut gold leaf; height: 33.5cm-57cmcm (13.2inches-22inchescm), width: 39cm-59.7cmcm (15inches-23.5inchescm) | Nara National Museum, Nara, Nara | ||
| [137] [138] | Repository for sutra scrolls; part of the Hōryū-ji treasures | Nara period, 8th century | Wooden shelf board; bamboo; height: 55.1cm (21.7inches), 40cmx75.1cmcm (20inchesx29.6inchescm) | Tokyo National Museum, Tokyo | ||
| [139] | Includes long swords with boxes, garments, three folding fans, a scepter, arrows and chests and a | Heian period, 1183 (long sword box, small chest) | Various; metalworks, wood; long sword: 64cm (25inches), arrow: 18cm (07inches), sekitai: 34cm (13inches), scepter: 34cm (13inches), folding fan: 16cm (06inches) | Treasure Hall, Itsukushima Shrine, Hatsukaichi, Hiroshima | ||
| [140] | 292 items, including: a, spears, swords, a bow, a maki-e koto, boxes, a dresser, toiletry cases, a vase, assorted trees | Heian period | Various; metalworks, lacquer, wood, pottery; maki-e koto: 153cm (60inches) long | Kasuga-taisha, Nara, Nara | ||
| 49 items, including: bows, a spear, cranes, crystal pearls, a koto, swords, a shō, a, arrows, guardian lion-dogs, figures | Heian period, 12th century | Various; metalworks, lacquer, wood | Kasuga-taisha, Nara, Nara | |||
| [141] | Largest set of its type used in gagaku. It consists of a dragon drum for tōgaku and a phoenix drum for komagaku. | Kamakura period | Wood, lacquer, 658cm (259inches) (dragon) and 645cm (254inches) (phoenix) | Dadaiko Hall, Kasuga-taisha, Nara, Nara | ||
| Offers presented by worshippers to the Kumano Hayatama Taisha; includes garments, mirrors, boxes, tweezers, scissors, combs, plates, writing brushes, vases, crystal balls, bags, desks, chests, a saddle, a whip, folding fans, swords, shoes, pestles, bows and arrows, etc. | Muromachi period | Various (c. 1000 items) | Kumano Hayatama Taisha, Shingū, Wakayama | |||
| [142] | Worn by women as accessory around their neck; design of: lions, pattern, cherry-circles, cherry branches, pine tree-crane (two cases), incense burners respectively | late Heian period | Seven amulet cases | Shitennō-ji, Osaka | ||
| ,[143] ,[144] ,[145] ,[146] ,[147] [148] | Reportedly the relics of Sugawara no Michizane; despite its name the inkstone is made of white (not blue) porcelain and lacks its feet; comb with seven carved flowers and a red color from tortoise shell; mirror with eight floral patterns with a person on the left (possibly not Bo Ya) playing the koto and on the right a Chinese phoenix spreading its wings | Heian period | Various; ivory (tablet), porcelain (inkstone), ivory (comb), rhinoceros horn (knife handle) and silver fittings (around knife handle), leather with silver plating (belt), cast copper (mirror) | Dōmyōji Tenmangū, Fujiidera, Osaka |