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Kyoto National Museum
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Heisei Chishinkan Wing Inaugural Exhibition
KYOTO: SPLENDORS OF THE ANCIENT CAPITAL
September 13–November 16, 2014
(Part I through October 13, Part II from October 15)
After five years of construction, the long-awaited new wing of the
Kyoto National Museum, the Heisei Chishinkan, opens to the public on
September 13, 2014. In celebration of this new era in its history, the
museum will hold an unprecedented commemorative exhibition
entitled Kyoto: Splendors of the Ancient Capital, Parts I and II.
Kyoto was the capital of Japan for over a thousand years, beginning
in the Heian period (794–1185). It was also a fountainhead of
Japanese culture throughout Japanese history. From Kyoto came the
elaborate aesthetics and refined traditions of emperors and courtiers;
the powerful yet ethereal tastes of the
shoguns, as represented by the Kitayama
and Higashiyama cultures; the resplendent Momoyama culture,
reflecting the idiosyncrasies of ruler Toyotomi Hideyoshi (1537–1598);
and the culture of Kyoto’s merchants, influenced by the colorful lives of
the townspeople. These cultural spheres in each period did not emerge
independently but developed, to a greater or lesser extent, out of
traditions inherited from previous generations. In this regard, such
cultural developments are perhaps best viewed as being part of a single
large tree of “Kyoto culture.”
Museum visitors will be able to experience the essence of Kyoto culture firsthand through the
exhibition Kyoto: Splendors of the Ancient Capital, presenting approximately four hundred works of art
in two installments. The exhibition showcases the most significant masterpieces from the Kyoto
National Museum’s collections of paintings, calligraphy,
sculpture, decorative arts, and archaeological artifacts,
including 50 National Treasures and over 110 Important
Cultural Properties. This exhibition, unparalleled in the
history of the Kyoto National Museum, will fill the elegant
new galleries with treasures epitomizing the culture of the
ancient capital.
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Thematic Exhibitions Comprising Kyoto: Splendors of the Ancient Capital
SCULPTURE GALLERY:
Heian and Kamakura Sculpture from Kyoto (September 13–December 23, 2014)
The highlights of this exhibition of Heian (794–1185) and Kamakura (1185–1333) period sculptures are
the enormous Seated Dainichi Nyorai and its attendant figure
Seated Fudō Myōō from the temple of Kongō-ji in Osaka. The
Dainichi Nyorai has relaxed carving of a style favored by the Heian
period courtiers. The Fudō Myōō bears a seal of Gyōkai, a leading
disciple of the great sculpture Kaikei, and is a significant work of
Kamakura sculpture. Also on view will be the gentle Standing
Amida from Chion-in Temple, thought to have been the object of
personal worship by the priest Hōnen (1133–1212), as well as a
Standing Amida of stronger expression, which was made for the
one-year memorial of Hōnen’s death, and the Priest Baozhi (J:
Hōshi), from whom emerges the Eleven Headed Avalokitesvara
bodhisattva that he embodied. All these works are Important
Cultural Properties. Through these and the rest of the twenty
works in this exhibition, visitors will be able to come face to face
with icons of Heian and Kamakura sculpture.
Portrait Sculpture (Part I, September 13–November 9, 2014)
Japanese portrait sculptures are three-dimensional representations of actual historical figures. This
mini exhibition features a portrait of the priest Ryōgen (912–985), also known by his posthumous title
Ganzan Daishi, who was the eighteenth head priest of the Tendai sect. He was believed to have
performed miracles exorcizing evil, and his portrait depicts him with a formidable appearance befitting
a priest with special powers. A portrait of the priest Senkan (918–984), who along with Kūya spread
the practice of nenbutsu (chanting the name of the Amida Buddha) in the early Heian period, is
depicted with an open mouth, seemingly chanting the nenbutsu—a practice of Pure Land Buddhism.
His hands, however, are positioned into a mudra (hand gesture) associated with Esoteric Buddhist
practice. Both these sculptures are Important Cultural Properties. A portrait probably representing the
priest Itchin (1277–1356), who was a member of the Ji sect founded by Ippen (1234–1289), has a
distinctive face that appears remarkably real, almost alive. The seated portrait from Daitsū-ji Temple of
shogun Minamoto no Sanetomo (1192–1219) is normally kept hidden away and will be on view only
for the duration of this exhibition. Don’t miss the rare opportunity to come and encounter these great
figures in person.
ILLUSTRATED HANDSCROLL GALLERY:
National Treasure Emaki: Japan’s Most Cherished Illustrated Handscrolls (Part I, September
13–October 13, 2014)
The distinctive compositions of illustrated handscrolls, called emaki in Japanese, relate to the way in
which these paintings are meant to be viewed: with scenes unfurling in a continuous stream as they
are unrolled from right to left. The masterworks on view in this exhibition—including Illustrated
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Biography of the Priest Ippen (Shōjōkō-ji, Yugyō-ji) Illustrated Biography of the Priest Hōnen (Chion-in),
and Tales of Hungry Ghosts (KNM)—offer a unique opportunity to consider depictions of Kyoto’s
temples and shrines, which bring together architectural grandeur, the beauty of natural scenery, and
the bustle of people gathered outside their gates. As you virtually pass through the front gate of a
temple or the torii gate of a shrine and move towards the main hall of worship, you may find yourself
forgetting the real world around and entering instead into the temporal and spatial realm of the
emaki.
The Faith and Aesthetics of the Aristocracy (Part II, October 15–November 16, 2014)
Throughout the Heian period, the aristocracy became increasingly obsessed with Pure Land Buddhism,
especially with ways to avoid the Buddhist hells and to find salvation in the Pure Land paradise. They
also avidly worshiped the Lotus Sutra, which exhorts the building of temples, the production of
Buddhist statues, and the copying of sutras as direct ways to gain merit. This religious fervor fed the
constant production of exquisite Buddhist paintings, sculptures, decorative sutra manuscripts, and
other objects used for Buddhist worship. Aristocrats also patronized a great quantity of widely varied
Buddhist rituals. The masterworks featured in this exhibition—including National Treasures Legends of
Kokawa-dera Temple and Illustrated Biography of the Priest Hōnen (Chion-in)—exemplify the
aspirations of Heian period elites to achieve rebirth in paradise and to accumulate merits in this life.
CALLIGRAPHY GALLERY:
Early Works of Calligraphy (Kohitsu) and Albums of Exemplary Calligraphy (Tekagami)(Part I,
September 13–October 13, 2014)
Handwritten words can be viewed not only as
linguistic symbols conveying meaning but also as
graphic forms to be appreciated visually. The
Japanese have always especially prized the
aesthetic and associative qualities of handwriting,
as seen in the practice of collecting examples, even
fragments, of the writings of early masters (kohitsu). Collections of handwriting samples would often
be pasted into exemplary albums known as tekagami. This exhibition—which includes the National
Treasures Moshiogusa Album of Exemplary Calligraphy (KNM), Hon’ami gire edition (KNM) and
Manshu-in edition (Manshu-in) of Kokin wakashū—presents the absolute finest examples of both
categories, allowing visitors to revel in the visual art of calligraphy.
Decorative Elegance: Calligraphy Papers (Part II, October 15–November 16, 2014)
One of the great appeals of calligraphy for many people is the chance to see the elegant papers upon
which the words are brushed. The combination of these papers, evoking both high craftsmanship and
sophistication, together with the brushwork of early masters creates a truly composite art form. In
this exhibition—which includes National Treasures Hon’nō-ji gire by Fujiwara Yukinari (972–1028) and
Wakan rōeishū with ashida-e underdrawings by Fujiwara Koreyuki (1139?–1179?)—visitors will have
the opportunity to view decorative papers of various types and from different periods, allowing them
to experience firsthand the development of this refined Japanese aesthetic.
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TEXTILE AND COSTUME GALLERY:
Capital Style: The Elegance of Kosode Robes (Part I, September 13–October 19, 2014)
The kimono has become a quintessential symbol of Japan. The origin of this shape of garment is the
kosode—a robe that was first worn by aristocratic women as an under-layer beneath their formal
court costumes, known as jūnihitoe (“twelve layer robes”). The term kosode (literally “small sleeves”)
refers to the robe’s small sleeve openings, which were just big enough to fit an arm through. These
contrasted with the large, loose sleeve openings of court costume sleeves, which were also so wide
that they often covered the wearer’s hands.
Having emerged as a more simplified form of dress and having been elevated from undergarment
to outerwear, the kosode went on to become a platform for a rich variety of textile designs. This
exhibition introduces the diversity of fashionable kosode from Kyoto, the trendsetting capital of Japan.
Featured works include the Important Cultural Properties Kosode with Alternating Blocks of Flowers
and Plants; Kosode with Small Motifs and Pine Bark Lozenge Bands; and Katabira (Summer Kimono)
with Chrysanthemums and Fan Palm Leaves.
Shinto and Buddhist Textiles (Part II, October 21–November 16, 2014)
The veneration and affection that Japanese people of the past felt for gods and buddhas gave rise to a
wide range of textile genres. In Japan’s ancient tradition of Shinto, it was believed that
offerings—brand new costumes, accouterments, and furnishings, incorporating the newest and most
lavish techniques—should be given at regular intervals the deities to revitalize them. In Buddhism, it
was considered a virtue to worship the three treasures of Buddhism—the Buddha, the Dharma, and
the Sangha—whose sacred adornment required the production of numerous decorative textiles. This
exhibition features a wide range of works—including textiles from the Ancient Shrine Treasures of
Asuka Shrine (KNM) and Ancient Shrine Treasures of Kumano Hayatama Shrine, and Heian period
Seven Panel Kasaya (Priest’s Robes) worn by priests Saichō (Enryaku-ji) and Kūkai (Tō-ji), all National
Treasures—bespeaking the significance of textiles in Shinto and Buddhist worship.
METALWORK GALLERY:
Buddhist Ritual Utensils (Part I, September 13–October 13, 2014)
Buddhist art has been produced in Kyoto since the Heian period and is deeply rooted in the city’s
devotional culture. This exhibition introduces metalwork objects from the Heian (794–1185) and
Kamakura (1185–1333) periods, which were used to decorate Buddhist sculptures and the interior of
temple halls, recreating the shining golden world of the buddhas. With a focus on Esoteric Buddhist
ritual implements and priestly accoutrements—including National Treasure Openwork Ritual Flower
Basket (Jinshō-ji) and Important Cultural Properties Flaming Buddhist Jewel Sutra Reliquary (Ninna-ji)
and Head of a Priest’s Staff (KNM)—this exhibition examines the ancient art of Buddhist sacred
adornment.
Hideyoshi’s Favorite Swordsmiths: Yoshimitsu, Masamune, and Yoshihiro (Part II, October
15–November 16, 2014)
Toyotomi Hideyoshi (1537–1598), the unifier of Japan, was also a collector of famous swords. Among
these, he was particularly partial to blades forged by the Kamakura period (1185–1333) smiths
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Yoshimitsu of Kyoto, Masamune of Kamakura, and Yoshihiro of Etchū—who collectively
became known as the “Three Masters under Heaven” (tenka sansaku). This exhibition
features swords by these Three Masters, including a katana (long sword) blade known as
Shimazu Masamune, which was handed down through history within the Konoe family and
was recently donated to the Kyoto National Museum by Mr. Okuda Befumon. This sword is
listed in the early eighteenth century catalogue of Japan’s most famous swords Kyōho
meibutsu chō but had been thought lost since the early part of the modern era. As part of
this exhibition, it debuts to the public for the first time in a century.
LACQUERWARE GALLERY:
Shinto Offerings and Buddhist Adornments in Lacquer (Part I, September 13–October 19, 2014)
In Shinto worship, deities are likened to humans and are given sacred offerings of the clothing,
accouterments, and furnishings needed for daily life. These objects are known as shrine treasures
(shinpō). Shrine treasures need to be replaced from time to time, at which point the old shrine
treasures are usually removed from the shrines. In cases when the treasures had been donated by
important people, however, they were often saved and carefully preserved over time. These are called
ancient shrine treasures (koshinpō).
In Buddhism, the term sacred adornment (shōgon) refers to the symbolic decoration of the
Buddha’s body or Pure Land paradise with wisdom or meritorious virtues; in practice, it means the
adorning of Buddhist sculptures and temple halls with sacred decorations. This exhibition features
lacquer shrine treasures and sacred adornments that were offered to temples and shrines by the
nobility of times gone by—a concrete manifestation of their sincere devotion. National Treasures
include Sutra Box with Flowers and Karyobinga and Buddhist Jewel Box with Flowers (both Ninna-ji)
and Sutra Box with Flowers (Enryaku-ji), as well as seven boxes from the Ancient Shrine Treasures from
Asuka Shrine.
Kōdai-ji Makie Lacquer: Gems of Momoyama Culture (Part II, October 21–November 16, 2014)
In the sixteenth century, the warlords who emerged out of the long
era of civil war began competing among themselves again, this time
in the building of temples and castles. They decorated the interiors
of these structures with golden paintings and lacquered surfaces
embellished with makie—pictorial decoration made with sprinkled
metallic powder. Everything, even daily tableware, was decorated
with gold, creating a rapidly escalating demand for makie lacquers.
One way in which this demand was fulfilled was with a type of
lacquer now called Kōdai-ji makie, which incorporated clean designs
and simple techniques. This lacquer style typically features a black lacquer background with sprinkled
gold designs in hiramakie (flat makie designs), enashiji (design areas filled with the sprinkled “pear
skin” pattern usually reserved for backgrounds), harikaki (patterns incised with wire into the wet
lacquer), and other techniques to bring out the contrast between the black lacquer and the gold. The
name Kōdai-ji makie refers to Hideyoshi’s family temple of Kōdai-ji in Kyoto, which houses many
lacquer works executed in this technique.
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FEATURE EXHIBITION GALLERY:
Portraiture (Part I, September 13–October 13, 2014)
Many of the most important portrait paintings in Japan are owned by Buddhist temples and Shinto
shrines in and around the city of Kyoto, which served as Japan’s capital for over a thousand years.
Today, for preservation purposes, many of these treasures are stored the Kyoto National Museum. This
first exhibition in the museum’s new wing features an extraordinary selection of oversized portrait
paintings together with renowned portraits of Japan’s shoguns from the Muromachi period
(1392–1573). Every single painting on view has been designated either a National Treasure or an
Important Cultural Property. This rich array of masterworks of early Japanese portraiture would be
impossible to display in any other museum.
Among these paintings are some of the most celebrated works in the history of Japanese art, such
as the courtly portraits thought to represent shogun Minamoto no Yoritomo (1147–1199) and warrior
general Taira no Shigemori (1138–1179). Other treasures from the Kamakura (1185–1333) through
Muromachi periods include representations of Emperor Toba (1103–1156), Cloistered Emperor
Hanazono (1297–1348), Emperor Gouda (1267–1324), as well as the Zen master Enni (posthumously
known as Shōichi Kokushi, 1202–1280) and other eminent Japanese and Chinese Buddhist priests. This
exhibit presents a rare chance to meet in person some of the most famous likenesses of Japan’s
historical figures.
Momoyama: The Age of Hideyoshi (Part II, October 15–November 16, 2014)
Kyoto has been a bustling center of Japanese culture since the
beginning of the Heian period (794–1185). Evidence of its long and
storied history can be found in many places around this ancient
capital, including in and around the Kyoto National Museum. The
massive stone wall girding the west side of the museum was once
part of Hōkō-ji, a temple for which the ruler Toyotomi Hideyoshi
(1537–1598) commissioned a colossal Great Buddha statue, even
larger than those that still stand today in Nara and Kamakura.
Surviving parts of Hōkō-ji as well as the Toyotomi family memorial
Toyokuni Shrine are still located on the northwest side of the
museum.
This exhibition acknowledges the close relationship between the
Kyoto National Museum’s location and Hideyoshi through a presentation of objects associated with
this historic figure, including portraiture, handwritten letters, and elaborate costumes. This
assemblage of works, combining art and history, should provide deeper understanding of Hideyoshi,
not only as a ruler with a grandiose vision, but also as a devoted parent and family man.
BUDDHIST PAINTING GALLERY:
Masterworks of Pure Land Buddhist Painting (Part I, September 13–October 13, 2014)
Genshin (942–1017) was a Heian period Tendai-sect Buddhist priest who lived in the Yokawa temple
complex on Mt. Hiei, northeast of Kyoto. In the year 985, he wrote The Essentials of Birth in the Pure
Land (J: Ōjōyōshū), a guide to attaining salvation in the Pure Land paradise. The book promotes
“loathing the defiled realm, and longing for the Pure Land,” and it juxtaposes the horrors of the
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Buddhist hells with the wonders of Buddhist paradise.
Genshin’s descriptions of these realms influenced the
paintings of the day, which in turn expedited the
dissemination of Pure Land beliefs into society at large.
This exhibition features masterworks of Pure Land
painting from Kyoto, which was a fountainhead of Pure
Land Buddhist faith. National Treasures include Shaka
Rising from the Golden Coffin (KNM), The Six Realms of
Birth (Shōjuraigō-ji), and Amida Coming over the
Mountains (KNM).
Masterworks of Esoteric Buddhist Painting (Part II, October 15–November 16, 2014)
In the first half of the ninth century, the Buddhist priests Kūkai (774–835) of the Shingon sect and
Saichō (767–822) of the Tendai sect returned from China bringing with them to Japan new Esoteric
(mikkyō) sects of Buddhism. Mikkyō, which advocates the performance of secret rituals in order to
acquire virtue and benefits in this life, quickly became popular with the Heian period aristocracy. The
painted images used in such rituals held closely to Indian prototypes, giving them an exotic feel that
still comes through today. This exhibition features masterworks of Esoteric painting—including The
Twelve Devas (KNM), Kujaku Myōō (Anrakuju-in), and The Star Mandala (Kumeida-dera)—allowing us
to explore the visual forms born out of this school of Buddhism.
MEDIEVAL INK PAINTING GALLERY:
The Subtle Beauty of Japanese Ink Painting (Part I, September
13–October 13, 2014)
This exhibition aims to please even the most discriminating visitors with a
selection of some of Japan’s greatest ink landscapes from the Muromachi
period (1392–1573), the peak of this genre. These scenic depictions by
artistic luminaries such as Josetsu (active 15th century), Shūbun, Sesshū
(1420–1506?), and Shōkei naturally draw viewers into their vast expanses
or into their canorous depths. You are invited to imagine yourself as a
figure within and to take a stroll through these paintings, almost all of
which have been designated as National Treasures and Important Cultural
Properties.
Transcendent Beauty: Colorful Bird-and-Flower Painting (Part II, October 15–November 16, 2014)
Birds and flowers are a standard subject for painters. Though often depicted in monochrome ink,
these scenes of lushly flowering plants and trees surrounded by frolicking birds are especially
delightful when depicted in the vivid tones of colored mineral pigments. This exhibition sets Sesshū’s
(1420–1506?) masterwork screens Birds and Flowers of the Four Seasons up against some of Japan’s
most famous bird and flower paintings—including Geiai’s Birds and Flowers of the Four Seasons and
Small Birds and Camellia inscribed by Zuikei Shūhō—in a vibrant display of color. Which painting will
win the prize for your attention?
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MOMOYAMA–EDO PAINTING GALLERY:
Amusements in Kyoto (Part I, September 13–October 13, 2014)
Some of the best images of city life in Edo period (1615–1868) Kyoto are genre paintings depicting the
daily lives of its people. Lively depictions of Kyoto’s residents can be found in paintings of the Gion
Festival, the city’s largest and most important annual event, as well as in scenes showing people
gathered at famous places around the capital. This thematic exhibition features outstanding examples
of genre painting from the Kyoto National Museum’s collection, including the recently discovered
screens Amusements at Famous Places around the Capital, by Kanō Eitoku (1543–1590), and the
famous screen of an early female kabuki dancer, Okuni Kabuki.
Master Painters of the Momoyama Period (Part II, October 15–November 16, 2014)
The grand scale and dynamic expression found in ink paintings from Japan’s Momoyama period
(1573–1615) reflect the expansive, lavish atmosphere that developed under the rule of warlords Oda
Nobunaga (1534–1582) and Toyotomi Hideyoshi (1537–1598). The artists who assumes leading role in
this age were Kanō Eitoku (1543–1590) and his rival Hasegawa Tōhaku (1539–1610). And we cannot
forget the lofty individualist Kaihō Yūshō (1533–1615), who developed his own distinctive style of
painting; or Unkoku Tōgan (1547–1618), spiritual successor to the great Muromachi master Sesshū
(1420–1506?). This
exhibition of works by
the luminaries of ink
painting should give
viewers a feel for the
magnificent energy
resonating through this
golden age,
Momoyama.
CHINESE PAINTING GALLERY:
Song and Yuan Paintings in Kyoto (Part I, September 13–October 13, 2014)
Paintings from China’s Song (960–1279) and Yuan (1271–1368) dynasties, with their unwaveringly
meticulous brushwork and profound spirituality, served as models for Japanese painters, especially in
the Heian (794–1185), Kamakura (1185–1333), and Muromachi (1392–1573) periods. Many Chinese
paintings that were brought into Japan—including landscapes and bird-and-flower paintings from
China’s Imperial Painting Bureau—found their ways into the collections of the shogunate government
and temples. In Kyoto, the Ashikaga shoguns assembled a collection known as the Higashiyama
Gomotsu, whose Chinese artworks (karamono) were used chanoyu, the Way of Tea. Some of the most
prized among these treasures were paintings by Muqi Fachang (1210?-1269?), a Southern Song
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priest-painter whose pale ink brushwork greatly influenced the development in Japan of a distinctive,
refined aesthetic that differed from the tastes of Continental Chinese.
Ming and Qing Paintings in Kyoto (Part II, October 15–November 16, 2014)
Landscapes with dynamic compositions and new styles of literati painting were among the Ming and
Qing paintings brought into Japan after the earlier import of Song and Yuan examples. These works
influenced Japanese paintings of the Muromachi and Edo periods, such as the kanga (Chinese-themed
painting) of the Kanō school and the Nanga (literati painting) popular in Edo and Kyoto painting circles.
Later, beginning in the Meiji (1868–1912) and Taishō (1912–1926) periods, numerous
masterworks by the Four Wangs, Wu Li (c. 1632–1718), and Yun Shouping (1633–1690) found their
way into the private collections of industrialists based in the Kansai area. Behind this phenomenon
was the fact that the collectors were maintaining close relationships with the erudite Sinologists Luo
Zhenyu (1866–1940), Nagao Uzan (1864–1942) and Naitō Konan (1866–1934), all of whom lived in
Kyoto.
CERAMICS GALLERY:
Kyoto Ware (September 13–December 23, 2014)
Until the sixteenth century, the ceramics prized for use in chanoyu—the Way of Tea—were usually
antiquities that had been carefully handed down over generations. By the Momoyama period
(1573–1615), newly produced ceramics had come into vogue, and
tea connoisseurs began commissioning new tea ceramics to suit
their personal tastes. In order keep their favorite potters close at
hand, patrons sometimes would have them move their operations
to the capital of Kyoto. This exhibition, featuring an extraordinary
variety of Kyoto ware ceramics, evidences the range of works that
these potters made to fulfill the demands of their patrons.
ARCHAEOLOGICAL RELICS GALLERY:
Archaeological Treasures in Gold, Silver, and Bronze (September 13–December 23, 2014)
This exhibition features Japanese archaeological artifacts made from bronze and decorated with silver
plate and gilding. Most of these works came from the votive deposits placed in sutra mounds by
members of the Heian period aristocracy. Highlights include the Heian period gilt bronze sutra
container of Fujiwara Michinaga from Kinpu Shrine and the silver and gold plated sutra box with
paired birds and composite flowers from Kinpusen-ji Temple, both National Treasures. These sutra
containers and boxes resonate with the hopes and prayers of the Heian courtiers.
###
June 25, 2014
(Translation by Melissa M. Rinne, Kyoto National Museum)
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