text:
List of National Treasures of Japan (crafts: others)
The term "National Treasure" has been used in Japan to denote cultural properties since 1897,[1][2] 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".[3][4] The list presents 131 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.[4]
The objects in this list represent about half of the 252 National Treasures in the category "crafts". They are complemented by 100 swords and 12 Japanese sword mountings National Treasures of the List of National Treasures of Japan (crafts: swords).[4]
- 1 Statistics
- 2 Usage
- 3 Treasures
- 4 See also
- 5 Notes
- 6 References
|Period[nb 1]
|National Treasures
|Silla Dynasty
|Asuka period
|Sui Dynasty
|Tang Dynasty
|Nara period
|Heian period
|Southern Song Dynasty
|Kamakura period
|Yuan Dynasty
|Muromachi period
|Nanboku-chō period
|Joseon Dynasty
|Momoyama period
|Edo period
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.
- Name: name as registered in the Database of National Cultural Properties[4]
- Artist: name of the artist if known
- Remarks: additional information such as style, special materials, techniques or notable owners
- Date: period and year; the column entries sort by year. If the entry can only be dated to a time-period, they sort by the start year of that period
- Type: general nature of object, main materials and dimensions
- Present location: "temple/museum/shrine-name town-name prefecture-name"; column entries sort as "prefecture-name town-name temple/museum/shrine-name"
- Image: a picture of the item
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][6][7] 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.[6][7] 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.[7]
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][8] 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 1592–1598, and subsequent relocation of Korean potters to Kyushu, brought new pottery styles to Japan.[6] From the late-16th century, Mino potters developed new, distinctly Japanese techniques such as Shino ware or Raku ware.[9] 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.[6] 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.[4]
|Present location
|White Raku (楽焼白片身変茶碗 rakuyaki shirokatamigawari chawan) named Fuji-san (不二山)[10][11]
|Honami Kōetsu
|Thought to have been a wedding present by Honami Kōetsu
|Edo period, 17th century
|Chawan; Raku ware; height: 8.6 cm (3.4 in), diameter: 11.5 cm (4.5 in)
|Sunritz Hattori Museum of Arts, Suwa, Nagano
|Incense burner in the shape of pheasant decorated with overglaze enamels (色絵雉香炉 iroe kijikōro)[12]
|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, polychrome overglaze (色絵 iroe); length: 48.3 centimetres (19.0 in), width: 12.5 cm (4.9 in), height: 18.1 cm (7.1 in)
|Ishikawa Prefectural Museum of Art, Kanazawa, Ishikawa
|Tea-leaf jar with a design of wisteria (色絵藤花文茶壺 iroe fujihanamon chatsubo)[13]
|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: 28.8 cm (11.3 in), bore diameter: 10.1 cm (4.0 in), trunk diameter: 27.3 cm (10.7 in), bottom diameter: 10.5 cm (4.1 in)
|MOA Museum of Art, Atami, Shizuoka
|Tea bowl, Shino ware (志野茶碗 shino chawan) named U no hanagaki (卯花墻)[14]
|Distorted shape
|Momoyama period
|Chawan; thick white glaze, red scorch marks, and texture of small holes
|Mitsui Memorial Museum, Tokyo
|Pot with design of autumn grasses (Akikusamon bottle) (秋草文壺 akikusamontsubo)[15][16]
|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: 42 cm (17 in), diameter at neck: 16 cm (6.3 in), diameter at body 29 cm (11 in), diameter at base 14 cm (5.5 in)
|Keio University, Tokyo; currently at Tokyo National Museum
China, Korea[edit]
|Present location
|Spotted tenmoku tea bowl (曜変天目茶碗 yōhen tenmoku chawan) or Inaba tenmoku (稲葉天目)[17]
|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; karamono (唐物), natural ash (yōhen) tenmoku glaze; height: 6.8 cm (2.7 in), mouth diameter: 12 cm (4.7 in), base diameter: 3.8 cm (1.5 in)
|Seikado Bunko Art Museum, Tokyo
|Spotted tenmoku tea bowl (曜変天目茶碗 yōhen tenmoku chawan)[18]
|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; karamono (唐物), natural ash (yōhen) tenmoku glaze; blue and green spot marks; height: 6.8 cm (2.7 in), mouth diameter: 12.3 cm (4.8 in), base diameter: 3.8 cm (1.5 in)
|Fujita Art Museum, Osaka
|Spotted tenmoku tea bowl (燿変天目茶碗 yōhen tenmoku chawan)
|One of four extant tea bowls in the yōhen tenmoku style (three are National Treasures)
|Southern Song, 12–13th century
|Chawan; karamono (唐物), natural ash (yōhen) tenmoku glaze; height: 6.6 cm (2.6 in), mouth diameter: 12.1 cm (4.8 in), base diameter: 3.8 cm (1.5 in)
|Ryūkō-in (龍光院) (Daitoku-ji), Kyoto
|Tea bowl with tortoise shell pattern (玳玻天目茶碗 taihi tenmoku chawan)
|Produced in the Jizhou kiln (吉州窯) in Yonghe, Ji'an County
|Southern Song
|Chawan; tenmoku glaze
|Shōkoku-ji, Kyoto
|Tea bowl with silvery (oil) spots (油滴天目茶碗 yuteki tenmoku chawan)[19]
|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; tenmoku glaze; diameter: 12.2 cm (4.8 in)
|Museum of Oriental Ceramics, Osaka, Osaka
|Celadon turnip-bottom flower vase (青磁下蕪花生 seiji shimokabura hanaike)[20]
|Produced in the Longquan (龍泉) kiln
|Southern Song, 12th century
|Flower vase; celadon; height: 23.5 cm (9.3 in)
|Hara Museum ARC (ハラミュージアムアーク), Shibukawa, Gunma; owned by Arukansheru Foundation for the Arts (アルカンシエール美術財団 arukanshiēru bijutsu zaidan), Tokyocustody of
|Celadon flower vase with Fenghuang ears (handle) (青磁鳳凰耳花生 seiji hōōmimi hanaike) or Bansei (万声)[21]
|Produced in the Longquan (龍泉) kiln
|Southern Song, 13th century
|Flower vase; celadon; height: 23.5 cm (9.3 in), bore diameter: 10.8 cm (4.3 in)
|Kubosō Memorial Museum of Arts, Izumi, Osaka
|Celadon flower vase with Iron Brown Spots (飛青磁花生 tobiseiji hanaike)[22]
|Pear-shaped bottle; about 5 mm (0.20 in) of glaze at the foot has been scraped away and turned red in the fire; produced in the Longquan (龍泉) kiln; handed down through the Konoike family
|Yuan Dynasty, 13–14th century
|Flower vase; celadon; height: 27.4 cm (10.8 in)
|Museum of Oriental Ceramics, Osaka, Osaka
|Ido chawan (井戸茶碗) or Kizaemon (喜左衛門)[23]
|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; bore diameter: 15.5 cm (6.1 in)
|Kohō-an (孤篷庵), 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.[5][24][25][26] Eventually all of these and other metal objects were produced locally.[27]
Mirror icons[edit]
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.[28][29] Three early mirror icons with line engravings of various deities have been designated as National Treasures.[4]
|Present location
|Mirror with engraved image of Thousand-armed Goddess of Mercy (線刻千手観音等鏡像 senkoku senjukannontō kyōzō)[30]
|Thousand-armed Goddess of Mercy surrounded by the eight legions (八部衆 hachibushū); waterfowl and butterfly on backside; shintai of Sui Shrine
|Heian period, end of the 11th centurylate
|Mirror; bronze, line engraving; diameter: 14.8 cm (5.8 in), thickness: 6.6 mm (0.26 in), weight: 520 g (18 oz)
|Sui Shrine (水神社 sui jinja), Daisen, Akita
|Mirror with engraved image of Shaka Nyorai flanked by two attendants (線刻釈迦三尊等鏡像 senkoku shakasanzontō kyōzō)[31]
|Shaka image on top, Samantabhadra, Manjusri and Acala on both sides and below Shaka
|Heian period, 12th century
|Mirror; cupronickel, line engraving; diameter: 15.1 cm (5.9 in), weight: 777 g (27.4 oz)
|Sen-oku Hakuko Kan, Kyoto
|Cast bronze plaque with line-engraved Zaō Gongen (鋳銅刻画蔵王権現像 chūdō kokuga Zaō Gongenzō)[32]
|Zaō Gongen (蔵王権現) with 32 family members; Sanskrit characters engraved on back
|Heian period, 1001
|Mirror; cast bronze
|Sōji-ji, Tokyo
Temple bells[edit]
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.[33][34] Thirteen Japanese and one Korean temple bell have been designated as National Treasures.[4]
|Present location
|Temple bell (梵鐘 bonshō)[35]
|Handed down in the Kanzen-in (観禅院) subtemple; contains an inscription
|Nara period, December 11, 727
|Bell; bronze; aperture: 89.2 cm (35.1 in), height: 149.0 cm (58.7 in)
|Kōfuku-ji, Nara, Nara
|Temple bell (梵鐘 bonshō)[36]
|Cast for Kinseki-ji (金石寺) in Hōki Province (in Tottori Prefecture); moved in 1653 to Izumo-taisha, then in 1889 to Tafuku-ji (多福寺), Matsubashi-ji (松林寺) in Shimane Prefecture until being dedicated in 1897 to Saikō-ji
|Heian period, 839
|Bell; aperture: 77.5 cm (30.5 in), height: 136.4 cm (53.7 in)
|Saikō-ji (西光寺), Fukuoka, Fukuoka
|Temple bell (梵鐘 bonshō)[33]
|Also called Tsurezuregusa (徒然草) or Ōjikichō (黄鐘調) (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: 87 cm (34 in), height: 124 cm (49 in)
|(法堂 hōdō) at Myōshin-ji, KyotoLecture Hall
|Temple bell (梵鐘 bonshō)[37]
|Without inscription; cast in Tatara (多々良), 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: 86 cm (34 in), height: 106 cm (42 in)
|Kanzeon-ji, Dazaifu, Fukuoka
|Temple bell (梵鐘 bonshō)
|Without inscription; long and narrow shape; with cracks and Japanese Honeysuckle arabesque pattern
|Nara period
|Bell; bronze; aperture: 85 cm (33 in), height: 150 cm (59 in)
|belfry (shōrō) at Taima-dera, Katsuragi, Nara
|Temple bell (梵鐘 bonshō)
|Without inscription; biggest bell in Japan
|Nara period, 752
|Bell; aperture: 271 cm (107 in), height: 385 cm (152 in), weight: 49 t (48 long tons; 54 short tons)
|belfry (shōrō) at Tōdai-ji, Nara, Nara
|Temple bell (梵鐘 bonshō)[38]
|Dedicated by Dōkyō together with a sacred horse (神馬 shinme); contains inscription
|Nara period, September 11, 770
|Bell; aperture: 73.9 cm (29.1 in), height: 109.9 cm (43.3 in), width: 88.5 cm (34.8 in), thickness at aperture: 5.8 cm (2.3 in)
|Tsurugi Shrine (劔神社), Echizen, Fukui
|Temple bell (梵鐘 bonshō)
|With inscription by Fujiwara no Toshiyuki
|Heian period, August 23, 875
|Bell; bronze; aperture: 80.5 cm (31.7 in), height: 148 cm (58 in)
|belfry (shōrō) at Jingo-ji, Kyoto
|Temple bell (梵鐘 bonshō)[39]
|With calligraphy attributed to Ono no Michikaze
|Heian period, November 3, 917
|Bell; bronze; diameter: 90 cm (35 in), height: 150 cm (59 in)
|Eisan-ji (栄山寺), Gojō, Nara
|Temple bell (梵鐘 bonshō)
|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: 123 cm (48 in), height: 199 cm (78 in), weight: 2 t (2.0 long tons; 2.2 short tons)
|(平等院ミュージアム鳳翔館), Byōdō-in, Uji, KyotoByōdō-in Museum Hōshōkan
|Temple bell (梵鐘 bonshō)[40]
|Mononobe Shigemitsu (物部重光)
|Inscription in embossed carving by founder Lanxi Daolong; donated by Hōjō Tokiyori
|Kamakura period, February 21, 1255
|Bell; height: 210 cm (83 in)
|belfry (shōrō) at Kenchō-ji, Kamakura, Kanagawa
|Temple bell (梵鐘 bonshō)[41]
|Mononobe Kunimitsu (物部国光)
|Made by order of Hōjō Sadatoki; largest bell in Kantō; donated by Hōjō Tokiyori
|Kamakura period, August 1301
|Bell; height: 260 cm (100 in)
|Engaku-ji, Kamakura, Kanagawa
|Temple bell (梵鐘 bonshō)[42]
|Initially at the west pagoda of Enryaku-ji's Hōdō-in (宝幢院); contains a three line, 24 characters inscription
|Heian period, August 9, 858
|Bell; aperture: 55.3 cm (21.8 in), height: 116.0 cm (45.7 in)
|Sagawa Art Museum, Moriyama, Shiga
|Korean bell (朝鮮鐘 chōsenshō)[43]
|Head in dragon design, body decorated with clouds and celestial beings; oldest Korean bell in Japan
|Silla, March 833
|Bell; aperture: 66.7 cm (26.3 in), height: 112 cm (44 in)
|Jōgū Shrine (常宮神社 Jōgū jinja), Tsuruga, FukuiTreasure House at
Buddhist items[edit]
A variety of Buddhist metal implements and objects have been designated as 19 National Treasures. These include five[nb 3] 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.[4]
|Present location
|Buddhist ritual gong with peacock relief (孔雀文磬 kujakumon kei)[44]
|Originally kept in Senju-dō; pair of peacock motif on both sides
|Kamakura period, January 1, 1250
|Gong; cast bronze gilding; shoulder width: 32.4 cm (12.8 in), chord length: 32.5 cm (12.8 in)
|(地蔵院), Chūson-ji, Hiraizumi, IwateJizō-in
|Gilt bronze Buddhist ritual gong with hōsōge flower design (金銅宝相華文磬 kondō hōsōgemon kei)[45][46]
|Hōsōge flower design
|Heian periodlate
|Gong; gilt bronze, line engraving; shoulder width: 23.8 cm (9.4 in), fringe stretch: 27.0 cm (10.6 in), height: 9.5 cm (3.7 in); thickness: 0.7–0.9 cm (0.28–0.35 in)
|Takidan-ji (瀧谷寺), Sakai, Fukui
|Gilt bronze Buddhist ritual gong with lotus flower design (金銅蓮花文磬 kondō rengemon kei)
|Lotus flower design
|Heian period
|Gong; gilt bronze
|Eikan-dō Zenrin-ji, Kyoto
|Buddhist ritual gong with peacock relief (孔雀文磬 kujakumon kei)[47]
|Motif of peacocks facing each other and lotus flower; contains an inscription; originally presented to Miroku-ji (弥勒寺) temple
|Kamakura period, 1209
|Usa Shrine, Usa, Ōita; private ownermanaged by
|Buddhist ritual gong stand (華原磬 kagenkei)[48]
|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: 96.0 cm (37.8 in)
|Kōfuku-ji, Nara, Nara
|Gilt bronze finial of a pilgrim's staff (sistrum) (金銅錫杖頭 kondō shakujō-tō)[49][50]
|Decorated with Buddhist figures; front: Amida flanked by Dhrtarastra (持国天) and Virudhaka (増長天) (two of the Four Guardian Kings); back: Amida Nyorai flanked by Virupaksa (広目天) and Vaisravana (多聞天) (two of the Four Guardian Kings); probably brought to Japan from China by Kūkai
|Tang Dynasty
|Sistrum; gilt bronze; length: 55 cm (22 in)
|Zentsū-ji, Zentsūji, Kagawa
|Iron pagoda (鉄宝塔 teppōtō)[51]
|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: 14 cm (5.5 in)
|Amida-ji (阿弥陀寺), Hōfu, Yamaguchi
|Gilt copper reliquary for Buddha's ashes (金銅能作生塔 kondō nōsashōtō)[52]
|Topped by a three-sided flame and gem on a lotus pedestal; water jug shaped container with fish roe pattern (魚々子 nanako) and lotus arabesque motif in line engraving
|Kamakura period
|Reliquary; gilt copper, silver plating; height: 26.3 cm (10.4 in)
|Chōfuku-ji (長福寺), Ikoma, Nara
|Gilt bronze bowl with hōsōge flower pattern (金銅獅子唐草文鉢 kondō shishikarakusamon)[53]
|Lion and hōsōge flower pattern; used for offerings; donated by Emperor Shōmu
|Nara period, 8th century
|Bowl; gilt bronze, line engraving; diameter: 27.5 cm (10.8 in), height: 14.5 cm (5.7 in)
|Gokokushi-ji, Gifu, Gifu
|Flower baskets in openwork gold and silver plating (金銀鍍透彫華籠 kinginto sukashibari keko)[54]
|Plates (華籠 keko) used for the Buddhist flower-scattering rituals
|Heian period (5 plates), Kamakura period (11 plates)
|16 plates; openwork, gold and silver plating
|Jinshō-ji (神照寺), Nagahama, Shiga
|Gilt bronze reliquary in openwork (金銅透彫舎利塔 kondō sukashibari sharitō)
|Decorated with arabesque pattern, dragon, lion, peony and chrysanthemum motifs; originally used as a lantern
|Kamakura period, 13th century
|Reliquary; gilt bronze, openwork; height: 37 cm (15 in)
|(聚宝館), Saidai-ji, Nara, Nara; entrusted to Nara National MuseumShūhōkan
|Ritual Objects of Esoteric Buddhism (密教法具 mikkyō hōgu)[55][56][57]
|Three utensils used during ritual incantation and prayer in Esoteric Buddhism: a stand for vajra pestle and bell (金剛盤 kongōban), a five-pronged bell (五鈷鈴 gokorei), a five-pronged short club (vajra) (五鈷杵 gokosho); 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
|Reliquary (舎利容器 shari yōki)[58][59][60]
|Includes (i) a pagoda-shaped gold reliquary with tortoise base (金亀舎利塔 kinki sharitō) and lotus flower arabesque; (ii) a white glass (hu-)pot for the bones of Buddha (白瑠璃舎利壺 shiroruri shariko), with a seal of Emperor Go-Komatsu; (iii) Lace with square and round shapes (方円彩糸花網 hōensaishikamō) 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
|Gilt bronze ritual Objects of Esoteric Buddhism (金銅密教法具 kondō mikkyō hōgu)[55][56][57][61][62][63]
|Five utensils used during ritual incantation and prayer in Esoteric Buddhism: a stand for vajra pestle and bell (金剛盤 kongōban), a five-pronged bell (五鈷鈴 gokorei), a five-pronged short club (vajra) (五鈷杵 gokosho), a three-pronged pestle (三鈷杵 sankosho), a pestle with a single sharp blade at each end (独鈷杵 tokkosho)
|Kamakura period
|Utensils; gilt bronze; kongōban: 6.2 × 21.8 × 28.6 cm (2.4 × 8.6 × 11.3 in); gokorei: height 20.9 cm (8.2 in), aperture 9 cm (3.5 in); tokkosho: length 18.5 cm (7.3 in); sankosho: length 18.8 cm (7.4 in); gokosho: length 19.4 cm (7.6 in)
|Itsukushima Shrine, Hatsukaichi, Hiroshima
|Gilt bronze sutra container (金銅経箱 kondō kyōbako)[64]
|Dedicated in 1031 to the Nyōhō-dō (如法堂) in Yokawa Valley on Mount Hiei by Empress Shōshi; decorated with auspicious floral motifs and with an inscription; excavated in the Taishō period
|Heian periodlate
|Sutra container; forged bronze; 29 × 12 × 8 cm (11 × 5 × 3 in)
|Enryaku-ji, Ōtsu, Shiga
|Gilt bronze banner (金銅灌頂幡 kondō kanjōban)[65]
|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: 65.0 cm × 65.0 cm (25.6 in × 25.6 in), body of banner: length 74.5–82.6 cm (29.3–32.5 in), width 32.7–33.5 cm (12.9–13.2 in)
|Tokyo National Museum, TokyoThe Gallery of Hōryū-ji Treasures,
|Incense burner with handle in shape of magpie tail (金銅柄香炉 kondō egōrō)[67][68]
|With flower shaped pedestal and handle in shape of magpie tail; possibly associated with the Eastern Hall at Hōryū-ji and used by Eji (慧慈), the Buddhist master of Prince Shōtoku; part of the Hōryū-ji Treasures
|Asuka period, 7th century
|Incense burner; gilt brass; 39.0 cm × 10.2 cm (15.4 in × 4.0 in), diameter of censer 13.3 cm (5.2 in)
|Tokyo National Museum, TokyoThe Gallery of Hōryū-ji Treasures,
|Iron pagoda (鉄宝塔 teppōtō) and containers for Buddha's bones (舎利瓶 sharihei)[69]
|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: 176 cm (69 in)
|(聚宝館), Saidai-ji, Nara, Nara; entrusted to Nara National MuseumShūhōkan
|Gilt bronze pagoda (金銅宝塔 kondō hōtō) and associated articles[69]
|Besides the gilt bronze pagoda the nomination includes: (i) gilt bronze gem-shaped reliquary (金銅宝珠形舎利塔 kondō hōjugata sharitō) placed in the lower part; (ii) gilt bronze cylindrical container (金銅筒形容器 kondō tsutsugata yōki);(iii) (赤地二重襷花文錦小袋); (iv) crystal gorintō (水晶五輪塔 suishō gorintō) with a small red brocade bag; (v) piece of textile for wrapping the crystal gorintō (水晶五輪塔(織物縫合小裹共)) placed in the upper part
|Kamakura period, 1270
|Height of pagoda: 91 cm (36 in)
|(聚宝館), Saidai-ji, Nara, Nara; entrusted to Nara National MuseumShūhōkan
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[nb 4] decorated with floral and animal motifs have been designated as National Treasures.[70]
|Present location
|Mirrors with sea and islands (海磯鏡 kaiki-kyō)[71]
|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: 46.5 cm (18.3 in) and 46.2 cm (18.2 in)
|Tokyo National Museum, Tokyo
|Mirror with birds, animals and grape design (禽獣葡萄鏡 kinjū budōkyō)
|Dedicated by Empress Kōgyoku
|Tang Dynasty
|Cupronickel; diameter: 27 cm (11 in)
|Ōyamazumi Shrine, Imabari, Ehime
|Mirror with marine animals and grape design (海獣葡萄鏡 kaijū budōkyō)[72]
|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; diameter: 29.6 cm (11.7 in), width at edge: 2 cm (0.79 in), weight: 4,560 g (161 oz)
|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.[4]
|Present location
|Dragon-head pitcher (金銀鍍龍首水瓶 kinginto ryūshu suibyō)[73]
|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: 18.9 cm (7.4 in), overall height: 49.9 cm (19.6 in)
|Tokyo National Museum, Tokyo
|Gilt bronze lantern (金銅燈籠 kondō tōrō)[74]
|Originally placed in front of the South Octagonal Hall at Kōfuku-ji
|Heian period, 816
|Lantern; gilt bronze; height: 236 cm (93 in)
|Kōfuku-ji, Nara, NaraNational Treasure Hall,
|Bronze plaque depicting Shaka delivering a sermon (銅版法華説相図 kondō hokke sessōzu)[75][76]
|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
|Nara period
|Plaque; bronze; 84.0 cm × 75.0 cm (33.1 in × 29.5 in)
|Hase-dera, Sakurai, Nara
|Octagonal gilt bronze lantern (金銅八角燈籠 kondō hakkaku tōrō)
|Decoration of bodhisattva playing musical instruments; conical jewel top
|Nara period, 8th century
|Lantern; gilt bronze
|(大仏殿 daibutsuden), Tōdai-ji, Nara, Narain front of Great Buddha Hall
|Gilt bronze Chinese phoenix (金銅鳳凰 kondō hōhō)
|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
|Gilt bronze water dropper (pot) (金銅水注 kondō suichū), Gilt bronze spoon (金銅匙 kondō saji) and Gilt bronze sumi (ink-cake) rest (金銅墨床 kondō bokushō)[77]
|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: 3.8 cm (1.5 in) (sumi rest), 7.5 cm (3.0 in) (water dropper), length of spoons: 11.7–13.3 cm (4.6–5.2 in)
|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.[78][79] Initially lacquer was used to enhance properties of utilitarian objects such as watertight drinking vessels, cooking and household goods.[80] 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.[78][80][81][82]
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.[78][83][84] 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.[78] 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.[78] 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.[85] Starting in the Kamakura period, larger and more solid objects such as toiletry chests were decorated with realistic images.[85] Towards the end of the medieval period (late-16th century), simpler designs were favoured in decorations.[78][85] Honami Kōetsu who lived around this time is the earliest lacquer artist known by name.[86][87] 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.[78][82][85] The most famous artist of this time was the lacquerer painter Ogata Kōrin.[88][89] He was the first to use mother of pearl and pewter in larger quantities for decorating lacquerware.[89][90]
Buddhist items[edit]
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.[4]
|Present location
|Octagonal Buddhist platform with mother of pearl inlay (螺鈿八角須弥壇 raden hakkaku shumidan)[91]
|Struts decorated with bells and canopy; top and bottom with pestle and flower pattern; foliate panels (格狭間 kōzama) 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: 52.4 cm (20.6 in), diameter: 193.9 cm (76.3 in), side length : 74.5 cm (29.3 in)
|Chūson-ji, Hiraizumi, Iwate
|Sutra box with maki-e hōsōge motif (宝相華蒔絵経箱 hōsōge makie kyōbako)
|With arabesque pattern of hōsōge flowers
|Heian period, around 1100
|Sutra box; black lacquered wood, rough maki-e; 20.3 cm × 17.0 cm (8.0 in × 6.7 in)
|Enryaku-ji, Ōtsu, Shiga
|Sutra Box with Lotus Arabesques (蓮唐草蒔絵経箱 hasu karakusa makie kyōbako)[92][93]
|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
|Kesa box (海賦蒔絵袈裟箱 kaibu makie kesabako)[94][95]
|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
|shitannuri raden kondōsō shariren (紫檀塗螺鈿金銅装舎利輦)
|Palanquin similar to a mikoshi used in the sharie (舎利会) ceremony (dedication of the bones of Buddha)
|Heian period
|Palanquin; black lacquered rosewood, mother of pearl inlay
|Tō-ji, Kyoto
|Sutra box with maki-e decorations (仏功徳蒔絵経箱 butsukudoku makie kyōbako)[96]
|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
|Jewel box with maki-e hōsōge motif (宝相華蒔絵宝珠箱 hōsōge makie hōjubako)[97]
|Decorated with hōsōge flowers, phoenix (chicken) and cranes on the outside and the Four Heavenly Kings inside
|Heian periodearly
|Jewel box; lacquer, maki-e
|Ninna-ji, Kyoto
|Tamamushi Shrine (玉虫厨子 tamamushi no zushi, "Beetle wing Shrine")[98]
|Decorated with paintings, lotus petal mouldings and embossed figures of Buddhas
|Asuka period, 7th century
|Miniature shrine; camphor and cypress wood; height: 226.6 cm (89.2 in)
|Hōryū-ji, Ikaruga, Nara
|Black lacquer table with mother of pearl inlay (黒漆螺鈿卓 kokushitsu radenshoku)[99]
|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
|Taima Mandala shrine (当麻曼荼羅厨子 taima mandara no zushi)
|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
|Sutra box decorated with Kurikara Dragon in maki-e (倶利伽羅竜蒔絵経箱 kurikararyū makie kyōbako)[100]
|Lid decorated with Kurikara dragon flanked by two attendants: Kongara Dōji (矜羯羅童子) and Seitaka Dōji (制た迦童子)
|Heian period
|Sutra box; black lacquer, maki-e; 31 cm × 19 cm (12.2 in × 7.5 in)
|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.[4]
|Present location
|Mikoshi with gilt bronze fittings and mother of pearl inlay on chiriji maki-e ground (塵地螺鈿金銅装神輿 chiriji raden kondōsō mikoshi)[101]
|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 pearskin (梨子地 nashiji) decoration, gilt bronze fittings
|Konda Hachimangū (誉田八幡宮), Habikino, Osaka
|Mikoshi with gilt bronze fittings and mother of pearl inlay on ikakeji maki-e ground (沃懸地螺鈿金銅装神輿 ikakeji raden kondōsō mikoshi)[102]
|Oldest extant Japanese mikoshi
|Heian period, 12th century
|Lacquered wood, gilt bronze fittings; total height: 226.0 cm (89.0 in), bay: 98.2 cm (38.7 in), shafts: 364.0 cm (143.3 in), stand width: 141.0 cm (55.5 in)
|Tomobuchi Hachiman Shrine (鞆淵八幡神社 Tomobuchi Hachiman jinja), 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.[103] 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.[104] 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.[104] 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.[4]
|Present location
|Saddle with oak tree and horned owl design (柏木兎螺鈿鞍 kashiwamimizuku raden kura)[105][106]
|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
|Heian period, 12th centurylate
|Saddle; lacquered wood with mother of pearl inlay; height 30.0 cm (11.8 in) (saddle fork) and 35.0 cm (13.8 in) (cantle)
|Eisei Bunko Museum, Tokyo
|Saddle with ivy and poem characters design (時雨螺鈿鞍 shigure raden kura)[107][108]
|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: 43.0 cm (16.9 in), height 29.7 cm (11.7 in) (saddle fork) and 35.0 cm (13.8 in) (cantle)
|Eisei Bunko Museum, Tokyo
|Saddle and stirrups with circular motifs in mother of pearl inlay (円文螺鈿鏡鞍 enmon raden no kagamikura)[109]
|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)
|Musashi Mitake Shrine (武蔵御嶽神社 musashimitake jinja), Ōme, Tokyo
|Chinese-style ritual saddle (唐鞍 karakura)
|Includes one saddle, one neck tassel, ten flanchards (八子 hane), a pair of stirrups, a pair of leather stirrups, one crupper (尻繋 shirigai),[nb 5] a girth, one tail sack, two braided reins (差縄 sashinawa),[nb 6] one saddle cushion, a pair of 障泥, two ornaments (雲珠 uzu),[nb 7] a bit, a secondary rein, halter, one breastplate (胸繋 munagai)[nb 8] and one champron (銀面 ginmen)[nb 9]
|Kamakura period
|Saddle of black lacquer and mother of pearl inlay and accessories of various type
|Tamukeyama Hachiman-gū (手向山八幡宮), Nara, Nara
Furniture, boxes, musical instruments[edit]
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.[4]
|Present location
|Seven-Stringed Zither (黒漆七絃琴 kokushitsu shichigenkin)[110]
|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; paulownia wood with black lacquer and mother of pearl inlay; length: 109 cm (43 in)
|Tokyo National Museum, Tokyo
|Toiletry case with cart wheels in stream (片輪車蒔絵螺鈿手箱 katawaguruma makie raden tebako)[111]
|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
|Writing Box with Eight Bridges (八橋蒔絵螺鈿硯箱 yatsuhashi makie raden suzuribako)[112]
|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
|Writing Box with pontoon bridge (舟橋蒔絵硯箱 funahashi makie suzuribako)[113]
|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[nb 10] 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
|Toiletry case with floating thread twill motif (浮線綾螺鈿蒔絵手箱 fusenryō raden makie tebako)
|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; 36.1 cm × 26.1 cm (14.2 in × 10.3 in), height: 23 cm (9.1 in) (total), 6.6 cm (2.6 in) (lid), 16.5 cm (6.5 in) (body)
|Suntory Museum of Art, Tokyo
|Toiletry case with cart wheels in stream (片輪車螺鈿蒔絵手箱 katawaguruma raden makie tebako)[114]
|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
|Jinkō mokugabako (沈香木画箱)[115]
|Rectangular box
|Nara period, 8th century
|Box; magnolia (Magnolia obovata) wood covered with slabs of agarwood; 19.7 cm × 37.6 cm (7.8 in × 14.8 in)
|Tokyo National Museum, Tokyo
|Box with butterfly design in mother of pearl inlay and maki-e (蝶螺鈿蒔絵手箱 chō raden makie tebako)
|Rectangular box with butterfly and peony design
|Kamakura period
|Box; maki-e and mother of pearl inlay
|Hatakeyama Memorial Museum of Fine Art, Tokyo
|Lacquered inkstone case decorated with laminae of mother of pearl (籬菊螺鈿蒔絵硯箱 magakinikiku raden makie suzuri bako)[116]
|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; 26.0 cm × 24.1 cm (10.2 in × 9.5 in)
|Kamakura Museum of National Treasures (owned by Tsurugaoka Hachiman-gū), Kamakura, Kanagawa
|Toiletry case with plum blossom design (梅蒔絵手箱 ume makie tebako)[117]
|Includes 30 items
|Kamakura period, 13th century
|Toiletry case; maki-e
|Mishima Taisha, Mishima, Shizuoka
|Marriage trousseau (婚礼調度類) (tokugawa mitsutomo fujin chiyohime shoyō (徳川光友夫人千代姫所用))[118]
|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
|Tokugawa Art Museum, Nagoya, Aichi
|Arm rest decorated in maki-e with design of flowers and butterflies (花蝶蒔絵挾軾 kachō makie kyōshoku)
|Decorated with flower and butterfly motifs
|Heian periodlate
|Arm rest; maki-e
|Fujita Art Museum, Osaka
|Box with flower and bird design (花鳥彩絵油色箱 kachō saieyushokubako)
|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
|Small Chinese style chest with maki-e and mother of pearl inlay (澤千鳥螺鈿蒔絵小唐櫃 sawachidori raden makie kokarabitsu)
|Small legged Chinese style chest (karabitsu) with plover motifs
|Heian period, 12th century
|Chest; maki-e, mother of pearl
|Reihōkan, Kongōbu-ji, Kōya, Wakayama
|Toiletry case with autumn field and deer design (秋野鹿蒔絵手箱 akinoshika makie tebako)[119]
|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
Dyeing and weaving[edit]
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.[120] Chinese and Korean weavers were encouraged to exhibit their fabrics bringing new techniques such as those used to make brocades or delicate silk gauzes.[121] 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.[121][122] 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.[122] The Japanese aristocracy preferred plain silks over woven or dyed designs.[121] A total of seven National Treasures have been designated in the weaving and dyeing category, including: two mandalas, two monk's surplices or kesa, one brocade, one embroidery with a Buddhist motif and a set of garments presented to a shrine.[4]
|Present location
|Old sacred treasures (古神宝類 koshinpōrui)[123][124]
|Uwagi with phoenix on white koaoi floral scrolling plants ground in double pattern weave (白小葵地鳳凰文二重織 shirokoaoiji hōōmon futaeori), two uchiki (wide-sleeved undergarment) with triple-crane roundels on purple ground in karaori weave (紫地向鶴三盛丸文唐織 murasakiji mukaizuru mitsumori marumon karaori), usukōji saiwaibishimon ayaori (淡香地幸菱文綾織), kōchiki (wide-sleeved robe) with kamon (flower-in-nest pattern) on yellow "hail" checkered ground in double pattern weave (黄地窠霰文二重織 kiji kaniararemon futaeori).
|Kamakura period, 13th century
|Various woven garments
|Tsurugaoka Hachiman-gū, Kamakura, Kanagawa
|Embroidery illustrating Sakyamuni Preaching (刺繍釈迦如来説法図 shishū shaka nyorai seppōzu) or "Kajū-ji embroidery"[125]
|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; 208 cm × 58.0 cm (81.9 in × 22.8 in)
|Nara National Museum, Nara, Nara
|Brocade with lion hunting (四騎獅子狩文錦 shiki shishi karimonkin)[126]
|Stylistically resembling western, Persian art; thought to originate in western China
|Tang Dynasty, 7th century
|Weft brocade; 250.0 cm × 134.5 cm (98.4 in × 53.0 in)
|Hōryū-ji, Ikaruga, Nara
|Taima Mandala (綴織当麻曼荼羅図 tsuzureori taima mandarazu)[127]
|Image based on Contemplation Sutra; according to legend woven by Chūjō-hime from lotus stems
|Nara period, 8th century
|Taima-dera, Nara, Nara
|Quilted seven-strip Surplice (七条刺納袈裟 shichijō shinō kesa)[128][129][130]
|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
|Kesa; quilted, linen ground of white, navy blue, brown and other colored fibres; 132 cm × 260 cm (52 in × 102 in)
|Enryaku-ji, Ōtsu, Shiga
|Kenda Kokushi monk's surplice (犍陀穀糸袈裟 Kenda kokushi kesa) and stole (横被 ōhi)[131][132]
|Brought back by Kūkai from Tang Dynasty China; "kenda" is said to indicate its yellowish-red color and "kokushi" means tapestry weave; silk threads of various colors create tapestry weave pattern of clouds meant to resemble stains of funzo-e robes – the original kesa made of rags; worn by generation of elders at important ceremonies
|Tang Dynasty, 8th century
|Kesa; dyed and woven silk; 116.8 cm × 237.0 cm (46.0 in × 93.3 in)
|Tō-ji, Kyoto
|Tenjukoku Shūchō Mandala (天寿国繡帳 tenjukoku shūchō) fragments[133][134]
|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
|Tapistry fragments; embroidery; various size
|Chūgū-ji, Ikaruga, Nara
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.[135][136][137] 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).[138] 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.[136][138][139][140] 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.[141][142]
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 dō-maru that wrapped around the body and was initially worn by lower-ranking foot soldiers.[143][144][145] The ō-yoroi was made of leather and iron lames bound together in horizontal layers, ornamented and reinforced with leather, silk and gilt metal.[140] It originated around the 10th century but was only commonly used starting with the Genpei War at the end of the 12th century.[146] Being the most complete and elaborate Japanese armour, it was also worn for ceremonies.[147] 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.[145][146] In many cases its armour plates were replaced with scales of metal, leather or whalebone laced together with silk or leather cords.[148] 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.[143][146][149] 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.[4]
|Present location
|Armour laced with red threads (赤絲威鎧 akaitōdoshi yoroi)[150][151][152]
|Helmet and large sleeves with chrysanthemum motif; also known as kiku ichimonji no yoroikabuta (菊一文字の鎧兜); nomination includes the helmet and a Chinese style chest (唐櫃 karabitsu)
|Kamakura periodlate
|Kushibiki Hachiman-gū (櫛引八幡宮), Hachinohe, Aomori
|Armour with white triangular-pattern thread lacing (白絲威褄取鎧 shiroitōdoshi tsumadori yoroi)[109][151][153][154]
|Nomination includes the helmet, cuirass, skirt and a Chinese style chest (唐櫃 karabitsu)
|Nanboku-chō period, 14th centurylate
|Ō-yoroi; iron, copper, gold, leather, lacquer, and silk; height of helmet bowl: 13.5 cm (5.3 in), cuirass height: 32.5 cm (12.8 in), skirt height: 29.5 cm (11.6 in)
|Kushibiki Hachiman-gū (櫛引八幡宮), Hachinohe, Aomori
|Armour laced with red threads (赤絲威鎧 akaitōdoshi yoroi)
|Nomination includes the helmet; dedicated by Hatakeyama Shigetada in 1191
|Heian periodlate
|Musashi Mitake Shrine (武蔵御嶽神社), Ōme, Tokyo
|Black dōmaru armour laced with leather cords (黒韋威胴丸 kuro kawaodoshi dōmaru)[155][156]
|Nomination includes the helmet and ōsode (大袖) (long sleeves)
|Muromachi period, 15th century
|Kasuga-taisha, Nara, Nara
|Armour laced with red threads (赤絲威鎧 akaitōdoshi yoroi)[157]
|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
|Nara, NaraKasuga-taisha,
|Armour laced with red threads (赤絲威鎧 akaitōdoshi yoroi)
|With plum and Japanese bush-warbler motif; nomination includes the helmet; one of two similar armours at Kasuga-taisha.
|Kamakura period
|Kasuga-taisha, Nara, Nara
|Armour laced with red threads (赤絲威鎧 akaitōdoshi yoroi)
|Nomination does not include the helmet; said to have been dedicated by Minamoto no Yoshitsune
|Heian period
|Ōyamazumi Shrine, Imabari, Ehime
|Black dōmaru armour laced with leather cords (黒韋威矢筈札胴丸 kuro kawaodoshi yahazuzane dōmaru)[157]
|Offered by Kusunoki Masashige; nomination includes the helmet
|Nanboku-chō periodlate
|Dō-maru; laced with leather cords (kawaodoshi)
|Kasuga-taisha, Nara, Nara
|Armour laced with white threads (白絲威鎧 shiroitōdoshi yoroi)
|Nomination includes the helmet
|Kamakura periodlate
|Hinomisaki Shrine (日御碕神社), Izumo, Shimane
|Armour with cherry-patterned leather lacing (小桜韋威鎧 kozakura kawaodoshi yoroi)
|Handed down in the Takeda clan; also called tatenashi yoroi (楯無鎧, lit. "nospear cuirass" or "shieldless" or "armour that needs not shield"); nomination includes the helmet
|Heian periodlate
|Ō-yoroi; lacing pattern of cherry blossoms printed on leather (kozakura), laced with leather cords (kawaodoshi)
|Kandaten Shrine (菅田天神社), Kōshū, Yamanashi
|Red leather armour laced with leather cords (赤韋威鎧 aka kawaodoshi yoroi)[158]
|Nomination includes the helmet
|Heian periodlate
|Ō-yoroi; black lacquered iron and leather kozane (小札) (c. 1800 small scales laced together with leather cords (kawaodoshi)), metal plates for the helmet; torso height: 40 cm (16 in) (front), 44 cm (17 in) (back); circumference: 91 cm (36 in), tassets height: 27 cm (11 in), helmet height: 13.3 cm (5.2 in), diameter: 20 cm (7.9 in), large sleeves: 46 cm × 33 cm (18 in × 13 in), weight c. 25 kg (55 lb)
|Okayama Prefectural Museum, Okayama, Okayama
|Armour with cherry-patterned yellow leather lacing (小桜韋黄返威鎧 kozakura kawa kigaeshi odoshi yoroi)[159]
|Formerly belonged to Minamoto no Tametomo; nomination includes the helmet
|Heian periodlate
|Itsukushima Shrine, Hatsukaichi, Hiroshima
|Armour laced with light light green silk braided threads (浅黄綾威鎧 asagi ayaodoshi yoroi)[160]
|Nomination includes the helmet
|Kamakura period, 12th century
|Ō-yoroi; black lacquered iron and leather kozane (小札) (small scales laced together)
|Itsukushima Shrine, Hatsukaichi, Hiroshima
|Armour laced with navy blue threads (紺絲威鎧 konitoodoshi yoroi)[161]
|Nomination includes the helmet; offered by Taira no Shigemori
|Heian period
|Ō-yoroi; black lacquered iron and leather scales (小札 kozane) laced together with a thick navy blue thread; silver plating
|Itsukushima Shrine, Hatsukaichi, Hiroshima
|Black dōmaru armour laced with leather cords (黒韋威胴丸 kuro kawaodoshi dōmaru)[162]
|Nomination includes the helmet
|Heian period
|Dō-maru; black lacquered iron and leather scales (小札 kozane) laced together with leather cords (kawaodoshi)
|Itsukushima Shrine, Hatsukaichi, Hiroshima
|Armour laced with navy blue threads (紺絲威鎧 konitoodoshi yoroi)
|Belonged to Kōno Michinobu (河野通信); nomination includes the helmet
|Heian period
|Ō-yoroi; scales (小札 kozane) laced together with a thick navy blue thread
|Ōyamazumi Shrine, Imabari, Ehime
|Armour laced in omodaka (water plantain) pattern (沢瀉威鎧 omodaka odoshi yoroi)
|Triangular lacing pattern resembling the leaves of the water plantain; nomination includes the helmet; oldest ō-yoroi armour
|Heian periodearly
|Ōyamazumi Shrine, Imabari, Ehime
|Armour laced with purple silk braided threads (紫綾威鎧 murasaki ayaodoshi yoroi)
|Offered by Minamoto no Yoritomo; nomination does not include a helmet
|Kamakura period
|Ōyamazumi Shrine, Imabari, Ehime
|Gauntlet (籠手 kote)[109][163]
|Formerly in possession of Minamoto no Yoshitsune
|Kamakura period, 13th century
|Pair of gauntlets or armored sleeves; iron, copper, gold, silk; length of each: 66.6 cm (26.2 in)
|Kasuga-taisha, Nara, Nara
There are 14 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.[4]
|Present location
|Old sacred treasures (古神宝類 koshinpōrui)[164][165]
|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: 32.7 cm (12.9 in), length of long swords: 105.8 cm (41.7 in)
|Kamakura Museum of National Treasures (owned by Tsurugaoka Hachiman-gū), Kamakura, Kanagawa
|Sacred Treasures of Asuka Shrine (阿須賀神社伝来 古神宝類 asuka jinja denrai gojinpōrui)[166]
|Offers presented by worshippers to the Asuka Shrine (阿須賀神社 asuka jinja) 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
|Objects and Equipments in Golden Hall (中尊寺金色堂堂内具 chūsonji konjikidōdō naigu)[167]
|(i) Three canopies, (ii) a platform, (iii) three tables (螺鈿平塵案 raden hirachirian), (iv) a rack (磬架 keika), (v) three banners (金銅幡頭 kondō bantō), (vi) six garlands (金銅華鬘 kondō keman) of three types, (vii) a gong (孔雀文磬 kujaku monkei) 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: 81.8 cm (32.2 in), inner circle plate diameter: 59 cm (23 in), 52 cm (20 in), 13 cm (5.1 in); (ii) height: 15.8 cm (6.2 in), 66.2 cm (26.1 in) square. (iii) mother of pearl, height: 42.7 cm (16.8 in), length: 25.1 and 25.4 cm (9.9 and 10.0 in), width: all 52.1 cm (20.5 in); (iv) 59 cm × 56 cm (23 in × 22 in); (v) gilt bronze openwork with arabesque pattern of vines; height: 90.9 cm (35.8 in), 11.6 cm (4.6 in), 9.3 cm (3.7 in), rhombus length: 29.0 and 22.4 cm (11.4 and 8.8 in); (vi) length: 29 cm (11 in), width: 33 and 57.5 cm (13.0 and 22.6 in); (vii) cast bronze; width at (top) 15.1 cm (5.9 in), (bottom) 16.9 cm (6.7 in)
|(金色院), Chūson-ji, Hiraizumi, IwateKonjiki-in
|Equipments in Sutra repository (中尊寺経蔵堂内具 chūsonji kyōzōdō naigu)[168]
|(i) Platform, (ii) table (螺鈿平塵案 raden hirachirian), (iii) rack (磬架 keika) for gong, (iv) candlestick (螺鈿平塵燈台 raden hirachiri shokudai), (v) gong (孔雀文磬 kujaku monkei)
|Heian period
|Various; (i) black lacquered wood with metal ornaments and mother of pear inlay; height: 15.4 cm (6.1 in), 65.4 cm (25.7 in) 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; 57.8 cm × 55.1 cm (22.8 in × 21.7 in); (iv) gold lacquer with metal ornaments and mother of pearl inlay; height: 80.9 cm (31.9 in), bottom diameter : 24.8 cm (9.8 in); (v) cast bronze; width at (top) 13.4 cm (5.3 in), (bottom) 15.4 cm (6.1 in)
|(大長寿院), Chūson-ji, Hiraizumi, IwateDaichōju-in
|Painted fan (彩絵桧扇 saie hiōgi)[169][170]
|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), 30 by 45 cm (12 by 18 in),
|Itsukushima Shrine, Hatsukaichi, Hiroshima
|Leather with grape arabesque pattern (葡萄唐草文染韋 budō karakusamon somekawa)
|Contains also drawings of people and monks
|Nara period, 8th century
|Deer leather; drawings in wax and smoked in pine needles; 76.7 cm × 66.7 cm (30.2 in × 26.3 in)
|Tōdai-ji, Nara, Nara
|Stylized Garlands (牛皮華鬘 gohikeman)[171]
|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: 33.5–57.0 cm (13.2–22.4 in), width: 39.0–59.7 cm (15.4–23.5 in)
|Nara National Museum, Nara, Nara
|Bamboo cabinet (竹厨子 takezushi)[172][173]
|Repository for sutra scrolls; part of the Hōryū-ji treasures
|Nara period, 8th century
|Wooden shelf board; bamboo; height: 55.1 cm (21.7 in), 40.0 cm × 75.1 cm (15.7 in × 29.6 in)
|Tokyo National Museum, Tokyo
|Old sacred treasures of Itsukushima Shrine (厳島神社古神宝類 itsukushima jinja koshinpōrui)[174]
|Includes long swords with boxes, garments, three folding fans, a scepter, arrows and chests and a ceremonial leather belt (石帯 sekitai)
|Heian period, 1183 (long sword box, small chest)
|Various; metalworks, wood; long sword: 64 cm (25 in), arrow: 18 cm (7.1 in), sekitai: 34 cm (13 in), scepter: 34 cm (13 in), folding fan: 16 cm (6.3 in)
|Itsukushima Shrine, Hatsukaichi, HiroshimaTreasure Hall,
|Old sacred treasures (本宮御料古神宝類 hongū goryō koshinpōrui)[175]
|292 items, including: a staff (幣 nusa), 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: 153 cm (60 in) long
|Kasuga-taisha, Nara, Nara
|Old sacred treasures (若宮御料古神宝類 wakamiya goryō koshinpōrui)[175]
|49 items, including: bows, a spear, cranes, crystal pearls, a koto, swords, a shō, a six-stringed zither (和琴 wagon), arrows, guardian lion-dogs, figures
|Heian period, 12th century
|Various; metalworks, lacquer, wood
|Kasuga-taisha, Nara, Nara
|Old sacred treasures (古神宝類 koshinpōrui)
|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
|Amulet cases (懸守 kakemamori)[176]
|Worn by women as accessory around their neck; design of: lions, shippō-hanabashi (七宝花菱) pattern, cherry-circles, cherry branches, pine tree-crane (two cases), incense burners respectively
|Heian periodlate
|Seven amulet cases
|Shitennō-ji, Osaka
|Tablet (牙笏 geshaku),[177]
Round inkstone of blue and white porcelain (青白磁円硯 seihakujienken),[178]
Tortoise shell comb (玳瑁装牙櫛 taimaisōge no kushi),[179]
Small ornamental knife with rhinoceros horn handle (犀角柄刀子 saikakuetōzu),[180]
Leather belt with silver plating (銀装革帯 ginsōkakutai),[181]
Mirror with Bo Ya playing the koto (伯牙弾琴鏡 hakugadankinkyō)[182]
|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
See also[edit]
- Nara Research Institute for Cultural Properties
- Tokyo Research Institute for Cultural Properties
- Independent Administrative Institution National Museum
- ^ Only the oldest period is counted, if a National Treasure consists of items from more than one period.
- ^ This includes all items in this list, that is, all craft National Treasures of Japan that are neither swords nor sword mountings.
- ^ In fact four gongs and one gong stand are National Treasures. The gong associated with the gong stand is a later replacement and not part of the National Treasure.
- ^ Two National Treasures consist of one mirror each, one National Treasure is a set of two mirrors.
- ^ Strap running from the cantle of the saddle to the horse's dock.
- ^ Straps attached to the bit for controlling the horse.
- ^ A type of metal fittings.
- ^ NDL: 胸繋; Straps used to secure the saddle fork in relation to the horse's breast.
- ^ Headpiece resting over the poll and along the nose ridge, supported by browband.
- ^ On Azuma Road/Crossing the boat-bridge of Sano,/Crossing my mind/Thoughts that no one knows.[113]
- ^ Coaldrake, William Howard (2002) [1996]. Architecture and authority in Japan. London, New York: Routledge. p. 248. ISBN 0-415-05754-X. Retrieved 2010-08-28.
- ^ Enders & Gutschow 1998, p. 12
- ^ "Cultural Properties for Future Generations" (PDF). Tokyo, Japan: Agency for Cultural Affairs, Cultural Properties Department. March 2011. Retrieved 2011-06-06.
- ^ a b c d e f g h i j k l m n o p 国指定文化財 データベース [Database of National Cultural Properties] (in Japanese). Agency for Cultural Affairs. 2008-11-01. Retrieved 2009-04-16.
- ^ a b Kleiner 2008, p. 208
- ^ a b c d e Deal 2007, p. 298
- ^ a b c "The evolution of Japanese ceramics". History of Oriental Ceramics. Osaka: The Museum of Oriental Ceramics. Retrieved 2010-10-14.
- ^ "Tenmoku Teabowls". Ceramic Stories. Kyoto National Museum. Retrieved 2010-10-14.
- ^ Pitelka 2003, p. 75
- ^ 楽焼白片身変茶碗 [White Raku] (in Japanese). Sunritz Hattori Museum of Arts. Archived from the original on 2009-02-27. Retrieved 2009-08-27.
- ^ 楽焼白片身変茶碗 [White Raku] (in Japanese). Hachijuni Culture Foundation. Retrieved 2009-08-27.
- ^ "Cock Pheasant Incense Burner". Ishikawa Prefectural Museum of Art. Retrieved 2009-08-27.
- ^ "Tea-leaf Jar with a design of wisteria". MOA Museum of Art. Retrieved 2009-08-27.
- ^ コレクション [Collection] (in Japanese). Mitsui Memorial Museum. Retrieved 2009-08-27.
- ^ "The Cultural Properties of Keio University". Keio University. Retrieved 2009-08-27.
- ^ 秋草文壺 [Pot with design of autumn grasses (Akikusamon bottle)] (in Japanese). Kawasaki. Retrieved 2009-08-27.
- ^ 曜変天目茶碗 [Spotted tenmoku tea bowl] (in Japanese). Seikado Bunko Art Museum. Retrieved 2011-05-08.
- ^ 曜変天目茶碗 [Spotted tenmoku tea bowl] (in Japanese). Fujita Art Museum. Retrieved 2009-08-27.
- ^ "Tenmoku Glaze with Silvery Spots". From Our Collection. Museum of Oriental Ceramics, Osaka. Chinese Ceramics: Song – Yuan Dynasty, Acc. No. 10633. Retrieved 2010-12-31.
- ^ "Hara Museum ARC". Kankai Pavilion. Hara Museum of Contemporary Art. Retrieved 2011-02-25.
- ^ "青磁鳳凰耳花生" [Celadon flower vase with Fenghuang ears (handle)]. Digital Museum. Izumi Memorial Museum of Arts. 簡易検索 [Simple search]: 鳳凰耳花生 [Flower vase with Fenghuang ears (handle)]. Retrieved 2010-12-31.
- ^ "Celadon with Iron Brown Spots". From Our Collection. Museum of Oriental Ceramics, Osaka. Chinese Ceramics: Song – Yuan Dynasty, Acc. No. 10630. Retrieved 2010-12-31.
- ^ Yanagi, Soetsu; Yanagi, Muneyoshi; Leach, Bernard (1989). Leach, Bernard, ed. The unknown craftsman: a Japanese insight into beauty (revised, illustrated ed.). Kodansha International. p. 190. ISBN 0-87011-948-6. Retrieved 2010-01-02.
- ^ Noma 2003, pp. 13–14
- ^ Shiveley, McCullough & Hall 1993, pp. 80–107
- ^ Murphy, Declan. "Yayoi Culture". Yamasa Institute. Retrieved 2010-03-19.
- ^ Keally, Charles T. (2006-06-03). "Yayoi Culture". Japanese Archaeology. Charles T. Keally. Retrieved 2010-03-19.
- ^ Moerman, D. Max; Moerman, David Max (2005). Localizing paradise: Kumano pilgrimage and the religious landscape of premodern Japan. Harvard University Asia Center. p. 88. Retrieved 2010-01-02.
- ^ "Mirror with Incised Image of Amida-nyorai (Amitabha)". Emuseum. Tokyo National Museum. Retrieved 2010-10-29.
- ^ 線刻千手観音等鏡 [Mirror with engraved image of Thousand-armed Goddess of Mercy] (in Japanese). Daisen. Retrieved 2010-10-10.
- ^ 線刻釈迦三尊等鏡像 [Mirror with engraved figures of Buddhas] (in Japanese). Sen-oku Hakuko Kan. Archived from the original on 2007-10-16. Retrieved 2010-10-10.
- ^ 鋳銅刻画蔵王権現像 [Cast bronze plaque with line-engraved Zaō Gongen] (in Japanese). Sōji-ji. Retrieved 2009-09-08.
- ^ a b Rossing 2000, p. 179
- ^ Frédéric 2005, p. 81
- ^ 銅造梵鐘 [Bronze temple bell] (in Japanese). Kōfuku-ji. Retrieved 2009-09-08.
- ^ 西光寺梵鐘 [Saikō temple bell]. Saikō-ji (in Japanese). Fukuoka/Hakata Tourist Information. Retrieved 2009-09-08.
- ^ 宝物は語る/観世音寺梵鐘 (in Japanese). Nishinippon Shimbun. Retrieved 2009-09-08.
- ^ 劔神社 [Tsurugi Shrine] (in Japanese). Tsurugi Shrine. Retrieved 2010-10-10.
- ^ Frédéric 2005, p. 173
- ^ "Kita-Kamakura". Kamakura. Retrieved 2009-09-08.
- ^ "Kita-Kamakura". Kamakura. Retrieved 2009-09-08.
- ^ 佐川美術館コレクション [Sagawa Art Museum Collection] (in Japanese). Sagawa Art Museum. Archived from the original on 2009-07-20. Retrieved 2009-09-08.
- ^ "常宮神社" [Jōgū Shrine]. Romantic Tsuruga. Tsuruga Tourist Association. Retrieved 2010-10-10.
- ^ "Kujaku-Monkei". List of National Cultural Heritage in Hiraizumi. Iwate Prefecture. Retrieved 2009-09-08.
- ^ 金銅宝相華文磬 [Gilt bronze Buddhist ritual gong with hōsōge flower design] (in Japanese). Takidan-ji. Retrieved 2009-09-08.
- ^ 金銅宝相華文磬 [Gilt bronze Buddhist ritual gong with hōsōge flower design] (in Japanese). Fukui Prefecture. Retrieved 2009-09-08.
- ^ 孔雀文磬 [Buddhist ritual gong with peacock relief]. Usa Shrine (in Japanese). Retrieved 2009-09-08.
- ^ 華原磬 [Buddhist ritual gong stand] (in Japanese). Kōfuku-ji. Retrieved 2009-09-08.
- ^ 金銅錫杖頭 [Gilt bronze finial of a pilgrim's staff] (in Japanese). Zentsūji. Retrieved 2009-09-08.
- ^ 総本山善通寺 » 宝物館 [Zentsū-ji treasure house] (in Japanese). Zentsū-ji. Retrieved 2009-09-08.
- ^ 阿弥陀寺 [Amida-ji] (in Japanese). Hōfu. Archived from the original on 2009-04-21. Retrieved 2010-10-10.
- ^ 金銅能作生塔 [Gilt copper reliquary for Buddha's ashes] (in Japanese). Ikoma. Retrieved 2009-09-08.
- ^ 金銅獅子唐草文鉢 [Gilt bronze bowl with hōsōge flower pattern] (in Japanese). Gifu. Retrieved 2009-09-08.
- ^ 金銀鍍透彫華籠 [Flower plates in openwork gold and silver plating] (in Japanese). Nagahama. Retrieved 2009-09-08.
- ^ a b "密教法具" [Mikkyouhougu]. Japanese Architecture and Art Net Users System. Retrieved 2009-09-08.
- ^ a b "金剛盤" [Kongouban]. Japanese Architecture and Art Net Users System. Retrieved 2009-09-08.
- ^ a b "五鈷杵" [Gokosho]. Japanese Architecture and Art Net Users System. Retrieved 2009-09-08.
- ^ "舎利容器" [Reliquary]. Japanese Architecture and Art Net Users System. Retrieved 2009-09-08.
- ^ 舎利容器1 [Reliquary] (in Japanese). Tokyo Broadcasting System. Retrieved 2009-09-08.
- ^ 舎利容器2 [Reliquary] (in Japanese). Tokyo Broadcasting System. Retrieved 2009-09-08.
- ^ "三鈷杵" [Sankosho]. Japanese Architecture and Art Net Users System. Retrieved 2009-09-08.
- ^ "独鈷杵" [Tokkosho]. Japanese Architecture and Art Net Users System. Retrieved 2009-09-08.
- ^ 金銅密教法具 [Gilt bronze ritual Objects of Esoteric Buddhism] (in Japanese). Hiroshima Prefecture. Retrieved 2010-10-10.
- ^ "The Milieu of The Tale of Genj:Archaeological Discoveries from the Heian Period". Kyoto National Museum. Retrieved 2009-09-08.
- ^ "灌頂幡" [Kanjōban]. Japanese Architecture and Art Net Users System. Retrieved 2009-09-08.
- ^ "Banner for the Kanjo (Buddhist initiation ceremony)". Emuseum. Tokyo National Museum. Retrieved 2010-10-10.
- ^ "Incense burner with handle in shape of "magpie's tail"". Tokyo National Museum. Retrieved 2009-09-08.
- ^ "Censer with Handle in the Shape of a Magpie Tail". Emuseum. Tokyo National Museum. Retrieved 2010-10-10.
- ^ a b 工芸 [Crafts]. Naranet – Saidaiji (in Japanese). Nara. Retrieved 2009-09-08.
- ^ Frédéric 2005, p. 445
- ^ "Mirrors with sea and islands". Emuseum. Tokyo National Museum. Retrieved 2009-09-08.
- ^ 海獣葡萄鏡 [Mirror with marine animals and grape design] (in Japanese). Katori Shrine. Retrieved 2009-09-08.
- ^ "Dragon-head pitcher". Tokyo National Museum. Retrieved 2009-09-10.
- ^ 金銅燈籠 (in Japanese). Kōfuku-ji. Retrieved 2009-09-10.
- ^ 銅版法華説相図 [Bronze plaque depicting Shaka delivering a sermon] (in Japanese). Nara National Research Institute for Cultural Properties. Retrieved 2009-09-10.
- ^ 銅版法華説相図 [Bronze plaque depicting Shaka delivering a sermon] (in Japanese). Nara National Museum. Retrieved 2009-09-10.
- ^ "Ink-cake Rest, Water Pot, and Spoons". Emuseum (in Japanese, Chinese, Korean, English, and French). Tokyo National Museum. Archived from the original on 2007-08-14. Retrieved 2009-09-10.
- ^ a b c d e f g Deal 2007, p. 301
- ^ Habu 2004, p. 233
- ^ a b Dick 1906, p. 123
- ^ Huish 2008, p. 268
- ^ a b Dick 1906, p. 124
- ^ Huish 2008, p. 249
- ^ Huish 2008, p. 252
- ^ a b c d Frédéric 2005, p. 591
- ^ Huish 2008, p. 258
- ^ Dick 1906, p. 133
- ^ Huish 2008, p. 260
- ^ a b Dick 1906, p. 134
- ^ Huish 2008, p. 261
- ^ "Octagon-shaped Buddhisit Platform with mother pearl inlay". List of National Cultural Heritage in Hiraizumi. Iwate Prefecture. Retrieved 2009-09-06.
- ^ "Sutra Box with Lotus Arabesques". Emuseum. Tokyo National Museum. Retrieved 2009-09-06.
- ^ 蓮唐草蒔絵経箱 [Sutra Box with Lotus Arabesques] (in Japanese). Nara National Museum. Retrieved 2009-09-06.
- ^ 海賦蒔絵袈裟箱 [Kesa box] (PDF) (in Japanese). National Research Institute for Cultural Properties, Tokyo. Retrieved 2009-09-06.
- ^ 寺宝 [Temple treasures] (in Japanese). Tō-ji. Retrieved 2009-09-06.
- ^ 仏功徳蒔絵経箱 [Sutra box with maki-e decorations] (in Japanese). Fujita Art Museum. Retrieved 2009-09-06.
- ^ 文化財 [Cultural Assets] (in Japanese). Ninna-ji. Retrieved 2010-10-10.
- ^ "Tamamushinozushi". Japanese Architecture and Art Net Users System. Retrieved 2009-09-06.
- ^ 黒漆螺鈿卓 [Black lacquer table with mother of pearl inlay] (in Japanese). Ishikawa Prefecture. Retrieved 2009-09-06.
- ^ "Kurikara". Japanese Architecture and Art Net Users System. Retrieved 2009-09-06.
- ^ 塵地螺鈿金銅装神輿 [Mikoshi with gilt bronze fittings and mother of pearl inlay on chiriji maki-e ground] (in Japanese). Konda Hachimangū. Retrieved 2009-08-27.
- ^ 紀の川市 [Kinokawa City] (in Japanese). Wakayama Prefecture Tourism Association. Retrieved 2011-01-14.
- ^ Deal 2007, p. 155
- ^ a b Deal 2007, p. 156
- ^ 柏木兎螺鈿鞍 [Saddle with oak tree and horned owl design] (in Japanese). Eisei Bunko Museum. Retrieved 2009-09-02.
- ^ 柏木兎螺鈿鞍 [Saddle with oak tree and horned owl design] (in Japanese). Miho Museum of Art. Retrieved 2009-09-02.
- ^ 時雨螺鈿鞍 [Saddle with ivy and poem characters design] (in Japanese). Eisei Bunko Museum. Retrieved 2009-09-02.
- ^ 時雨螺鈿鞍 [Saddle with ivy and poem characters design] (in Japanese). Miho Museum of Art. Retrieved 2009-09-02.
- ^ a b c "Art of the Samurai, Japanese Arms and Armor, 1156–1868, Exhibition Checklist" (PDF). New York: Metropolitan Museum of Art. 2009.
- ^ "Seven-Stringed Zither". Emuseum (in Japanese, Chinese, Korean, English, and French). Tokyo National Museum. Archived from the original on 2007-08-15. Retrieved 2009-08-27.
- ^ "Toiletry Case with Cart Wheels in Stream". Emuseum. Tokyo National Museum. Retrieved 2009-08-27.
- ^ "Writing Box with Eight Bridges". Emuseum. Tokyo National Museum. Retrieved 2009-08-27.
- ^ a b "Writing Box with Pontoon Bridge". Emuseum. Tokyo National Museum. Retrieved 2009-08-27.
- ^ "Toiletry Case with Cart Wheels in Stream". Emuseum. Tokyo National Museum. Retrieved 2009-08-27.
- ^ 沈香木画箱 [Jinkō mokugabako]. Ishikawa Prefecture (in Japanese). Retrieved 2009-08-27.
- ^ 籬菊螺鈿蒔絵硯箱 [Lacquered inkstone case decorated with laminae of mother of pearl] (in Japanese). Kamakura. Retrieved 2009-05-22.
- ^ 梅蒔絵手箱 [Toiletry case with plum blossom design] (in Japanese). Mishima Taisha. Retrieved 2011-06-06.
- ^ 婚礼調度類 [Marriage trousseau] (in Japanese). MEXT. Retrieved 2009-09-01.
- ^ 秋野鹿蒔絵手箱 [Toiletry case with autumn field and deer design] (in Japanese). Izumo-taisha. Retrieved 2009-09-02.
- ^ Greene 2005, p. 11
- ^ a b c Greene 2005, p. 12
- ^ a b Hall, Shively & McCullough 1999, p. 394
- ^ 古神宝類 [Old sacred treasures] (in Japanese). Tsurugaoka Hachiman-gū. Retrieved 2009-09-02.
- ^ Ise Jingu and Treasures of Shinto. Tokyo National Museum. 2009.
- ^ "Embroidery illustrating of Sakyamuni Preaching". Emuseum. Tokyo National Museum. Retrieved 2009-09-06.
- ^ 四騎獅子狩文錦 [Brocade with lion hunting] (in Japanese). Nara National Museum. Retrieved 2009-09-07.
- ^ 綴織当麻曼荼羅図 [Taima Mandala] (in Japanese). Taima-dera. Archived from the original on 2008-05-09. Retrieved 2009-09-07.
- ^ "The World of Buddhist Kasaya". Kyoto National Museum. Retrieved 2010-10-14.
- ^ "Faith and Syncretism: Saicho and the treasures of Tendai". Kyoto National Museum. Retrieved 2010-01-07.
- ^ 七条刺納架裟 [Quilted seven-strip Surplice] (in Japanese). Ōtsu City Museum of History. Retrieved 2010-01-07.
- ^ Mrázek, Jan; Pitelka, Morgan (2008). What's the use of art?: Asian visual and material culture in context. University of Hawaii Press. p. 160. ISBN 0-8248-3063-6. Retrieved 2010-01-02.
- ^ "Kenda Kokushi Kesa". Kyoto National Museum. Retrieved 2009-09-07.
- ^ プレスリリース [Press Release] (PDF) (in Japanese). Tokyo National Museum. Retrieved 2010-10-14.
- ^ 中宮寺天寿国繡帳 [Chūgū-ji Tenjukoku Shūchō Mandala] (PDF) (in Japanese). Waseda University. Retrieved 2010-10-14.
- ^ Bryant & McBride 1991, p. 28
- ^ a b Deal 2007, p. 169
- ^ Robinson 2002, p. 167
- ^ a b Bryant & McBride 1991, p. 46
- ^ Robinson 2002, p. 173
- ^ a b Deal 2007, p. 170
- ^ Frédéric 2005, p. 1058
- ^ Park & Love 2009, p. 12
- ^ a b Park & Love 2009, p. 13
- ^ Bryant & McBride 1991, p. 48
- ^ a b Park & Love 2009, p. 14
- ^ a b c Bryant & McBride 1991, p. 49
- ^ Stone 1999, p. 478
- ^ Stone 1999, p. 210
- ^ Robinson 2002, p. 186
- ^ 赤絲威鎧 [Armour laced with red threads] (in Japanese). Aomori Prefecture. Retrieved 2009-09-11.
- ^ a b 櫛引八幡宮の宝物館 [Treasures of Kushibiki Hachiman-gū] (in Japanese). Hachinohe. Retrieved 2009-09-11.
- ^ 赤絲威鎧 [Armour laced with red threads] (in Japanese). Kushibiki Hachiman-gū. Retrieved 2009-09-11.
- ^ 白絲威褄取鎧 [Armour laced with white threads] (in Japanese). Aomori Prefecture. Retrieved 2009-09-11.
- ^ 白絲威褄取鎧 [Armour laced with white threads] (in Japanese). Kushibiki Hachiman-gū. Retrieved 2009-09-11.
- ^ 【国宝(美術工芸品)の指定 [Designation of arts and crafts national treasures] (PDF) (in Japanese). Agency for Cultural Affairs. 2016. Archived from the original (PDF) on 2016-11-23. Retrieved 2016-11-23.
- ^ "2016 Newly Designated National Treasures and Important Cultural Properties". Tokyo National Museum. 2016. Archived from the original on 2016-11-23. Retrieved 2016-11-23.
- ^ a b 宝物殿 [Shrine repository] (in Japanese). Kasuga-taisha. Retrieved 2009-09-11.
- ^ 赤韋威鎧 [Red leather armour] (in Japanese). Okayama Prefecture. Archived from the original on 2007-07-03. Retrieved 2009-09-11.
- ^ 小桜韋黄返威鎧 (in Japanese). Hiroshima Prefecture. Retrieved 2009-09-11.
- ^ 浅黄綾威鎧 [Armour laced with light light green silk braided threads] (in Japanese). Hiroshima Prefecture. Retrieved 2009-09-11.
- ^ 紺絲威鎧 [Armour laced with navy blue threads] (in Japanese). Hiroshima Prefecture. Retrieved 2009-09-11.
- ^ 黒韋威胴丸 [Black dōmaru armour laced with leather cords] (in Japanese). Hiroshima Prefecture. Retrieved 2009-09-11.
- ^ 春日大社 籠手 [Kasuga Taisha Gauntlet] (in Japanese). Kasuga Taisha. Retrieved 2011-01-13.
- ^ 沃懸地杏葉螺鈿平やなぐい [Quiver] (in Japanese). Kamakura city. Retrieved 2009-05-22.
- ^ "沃懸地杏葉螺鈿太刀 かまくら GreenNet" [Long sword] (in Japanese). Kamakura city. Retrieved 2009-05-22.
- ^ "Sacred Treasures of Asuka Shrine". Emuseum (in Japanese, Chinese, Korean, English, and French). Tokyo National Museum. Archived from the original on 2007-12-16. Retrieved 2009-09-09.
- ^ "Naigu (Objects and Equipments) in Konjiki-do Hall, Chuson-ji". Iwate Prefecture. Retrieved 2009-09-10.
- ^ "Naigu (equipments) in Kyozo (Sutra Repository), in Chuson-ji". Iwate Prefecture. Retrieved 2009-09-10.
- ^ 彩絵桧扇 [Painted fan] (in Japanese). Hiroshima Prefecture. Retrieved 2011-01-13.
- ^ "uta-e". JAANUS – Japanese Architecture and Art Net User System. Retrieved 2011-01-13.
- ^ "Stylized Garlands". Emuseum. Tokyo National Museum. Retrieved 2009-09-10.
- ^ 竹厨子 [Bamboo cabinet] (in Japanese). Ishikawa Prefecture. Retrieved 2009-09-10.
- ^ "Bamboo cabinet". Emuseum. Tokyo National Museum. Retrieved 2010-10-10.
- ^ 厳島神社古神宝類 [Old sacred treasures of Itsukushima Shrine] (in Japanese). Hiroshima Prefecture. Retrieved 2009-09-10.
- ^ a b 本宮御料古神宝類 [Old sacred treasures] (in Japanese). Kasuga Taisha. Retrieved 2009-09-10.
- ^ 新春名宝展 [Special New Year Exhibition Treasures from Shitennō-ji] (in Japanese). Shitennō-ji. Archived from the original on 2004-12-05. Retrieved 2009-09-10.
- ^ 牙笏 [Tablet] (in Japanese). Dōmyōji Tenmangū. Retrieved 2009-09-10.
- ^ 青白磁円硯 [Round inkstone of blue and white porcelain] (in Japanese). Domyoji Tenmangu. Retrieved 2009-09-10.
- ^ 玳瑁装牙櫛 [Tortoise shell comb] (in Japanese). Domyoji Tenmangu. Retrieved 2009-09-10.
- ^ 犀角柄刀子 [Small ornamental knife with rhinoceros horn handle] (in Japanese). Domyoji Tenmangu. Retrieved 2009-09-10.
- ^ 銀装革帯 [Leather belt with silver plating] (in Japanese). Domyoji Tenmangu. Retrieved 2009-09-10.
- ^ 伯牙弾琴鏡 [Mirror with Bo Ya playing the koto] (in Japanese). Domyoji Tenmangu. Retrieved 2009-09-10.
- Bryant, Anthony J.; McBride, Angus (1991). Early Samurai: 200–1500 AD. Osprey Publishing. ISBN 978-1-85532-131-1. Retrieved 2011-07-20.
- Deal, William E. (2007) [1973]. Handbook to life in medieval and early modern Japan (illustrated, revised ed.). New York: Oxford University Press. ISBN 0-19-533126-5. Retrieved 2011-07-20.
- Dick, Stewart (1906). Arts and crafts of old Japan. T. N. Foulis. Retrieved 2010-12-04.
- Dresser, Christopher (2009). Japan - Its Architechure, Art and Art Manufactures. READ BOOKS. p. 345. ISBN 978-1-4437-9099-4. Retrieved 2010-12-04.
- Enders, Siegfried R. C. T.; Gutschow, Niels (1998). Hozon: Architectural and Urban Conservation in Japan (illustrated ed.). Edition Axel Menges. ISBN 3-930698-98-6. Retrieved 2011-07-20.
- Frédéric, Louis (2005). Japan encyclopedia (illustrated ed.). Harvard University Press. ISBN 0-674-01753-6. Retrieved 2011-07-20.
- Greene, Meg (2005). The Technology of Ancient Japan. The Rosen Publishing Group. ISBN 978-1-4042-0559-8. Retrieved 2011-07-20.
- Habu, Junko (2004). Ancient Jomon of Japan. Case studies in early societies. 4 (illustrated ed.). Cambridge University Press. ISBN 0-521-77670-8. Retrieved 2010-03-19.
- Hall, John Whitney; Shively, Donald H.; McCullough, William H. (1999). The Cambridge History of Japan: Heian Japan. Cambridge University Press. ISBN 978-0-521-22353-9. Retrieved 2011-07-20.
- Huish, Marcus B. (2008). Japan and Its Art. READ BOOKS. ISBN 978-1-4437-7194-8. Retrieved 2010-12-02.
- Kleiner, Fred S. (2008). Gardner's Art Through the Ages: A Global History (13, illustrated ed.). Cengage Learning. ISBN 0-495-09307-6. Retrieved 2011-07-20.
- Noma, Seiroku (2003). The Arts of Japan: Ancient and medieval. The Arts of Japan. 1 (illustrated ed.). Kodansha International. ISBN 4-7700-2977-2. Retrieved 2011-07-20.
- Park, Louise; Love, Timothy (2009). The Japanese Samurai. Marshall Cavendish. ISBN 978-0-7614-4448-0. Retrieved 2011-07-20.
- Pitelka, Morgan (2003). Japanese tea culture: art, history, and practice (illustrated ed.). Routledge. ISBN 0-415-29687-0. Retrieved 2011-07-20.
- Robinson, H. Russell (2002). Oriental Armour. Courier Dover Publications. ISBN 978-0-486-41818-6. Retrieved 2011-07-20.
- Rossing, Thomas D. (2000). Science of percussion instruments. Series in popular science. 3 (reprint ed.). World Scientific. ISBN 981-02-4158-5. Retrieved 2011-07-20.
- Shiveley, Donald H.; McCullough, William H.; Hall, John Whitney (1993). The Cambridge history of Japan: Ancient Japan. 1. Cambridge University Press. ISBN 0-521-22352-0. Retrieved 2011-07-20.
- Stone, George Cameron (1999). A glossary of the construction, decoration, and use of arms and armor in all countries and in all times: together with some closely related subjects. Courier Dover Publications. ISBN 978-0-486-40726-5. Retrieved 2011-07-20.
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AUGUSTA, Maine — In the aftermath of the devastating Oklahoma tornadoes, Gov. Paul R. LePage and the Maine Emergency Management Agency remind Mainers that the best way to help with recovery efforts is to support the voluntary agencies working in the disaster area with monetary donations.
"When we see the pictures of the devastation in Oklahoma, we immediately want to help," the governor said in a press release. "We need to focus that generosity in a way that can be effective immediately. That means supporting the agencies that are already active in the relief effort. "
Monetary donations enable the relief agencies to purchase items locally as they are needed. This cuts down on transportation costs, helps the local economy and allows the agencies to meet the rapidly changing needs in the disaster area.
"There are many relief organizations already working in the disaster area," MEMA Director Rob McAleer said in the release. "We urge all those who want to help to pick up a phone, send a check or visit a website to make a cash donation."
The United Way of Central Oklahoma has activated a Tornado Relief Fund. Proceeds will be distributed to United Way partner agencies working on tornado relief. Donations may be made three ways:
- Give online to the May Tornadoes Relief Fund located on the United Way of Central Oklahoma's home page at http://www.unitedwayokc.org. If you are having trouble donating online:
- Give by credit card: Call 405-523-3598, 405-523-3597, or 405-236-8441.
- Give by mailing a check to United Way of Central Oklahoma, P.O. Box 837, Oklahoma City, OK 73101 with notation for May Tornado Relief.
For those wishing to donate to a specific relief group, the National Donations Management Network maintains a list of voluntary agencies working in Oklahoma, including local faith-based groups and well-known national organizations such as the American Red Cross and the Salvation Army, at:
These volunteer agencies provide a wide variety of services after disasters, such as clean up, childcare, housing repair, crisis counseling, sheltering and food.
Gov. LePage also said that Maine will monitor any requests from Oklahoma that are made under the Emergency Management Assistance Compact (EMAC), a mutual-aid agreement among states.
"If there is a request that Maine can meet, we will offer our help," the governor said.
Under EMAC, Maine sent trained teams to Vermont after Hurricane Irene and to New York and New Jersey following Superstorm Sandy.

subset: commoncrawl


text:
Book Review: Dangerously Funny: The Uncensored Story of "The Smother Brothers Comedy Hour" by David Bianculli
Updated 1:09 pm, Tuesday, April 26, 2011
"Don't grab, Hass." Got cut by the CBS censors from one of the most talked about sketches ever aired on The Smothers Brothers Comedy Hour. In a spoof of Bonanza, the late Cass Elliott was playing the character "Hass", modeled after Dan Blocker's "Hoss". She snatched a piece of paper from another actor's hand and that was his reply, "Don't grab, Hass."
If you think our world political situation is tense today, you should have been a teenager in 1969. We thought we were on the brink of nuclear war when Khrushchev pounded on the table and said "We will bury you!" My generation was the one that had learned in previous years to "duck and cover" in school -- and you can't say "ass" on TV?
Dangerously Funny: The Uncensored Story of The Smothers Brothers Comedy Hour is David Bianculli's tribute to the brothers Smothers . Writing this book was a project that was interrupted several times, but Bianculli always persisted and always with the full support of Tom and Dick Smothers . It is essentially an authorized biography, not only of the brothers (and one sister), but also of the Comedy Hour and many of the stars and supporting characters.
The brothers became interested in music and folk songs early and sang often on road trips to visit their grandmother. (Their cover of "Down in the Valley" was the only song on their first album done with no interruptions.) Burl Ives and George Gobel are credited as early influences in both music and comedy respectively. The Kingston Trio's number-one hit, "Tom Dooley," introduced them to a format they would later use to shape and perfect their stage act — a spoken introduction.
Dangerously Funny: The Uncensored Story of the Smothers Brothers Comedy Hour is an immensely fun book to read and full of memories for the boomer generation. It also serves as a reminder of how we got to where we are today and why we shouldn't blush when we hear words broadcast that couldn't be when we were young.


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The sub-species of santorum left behind by anti-gay politicians who have been caught in a gay tryst. The same frothy, seminal, fecal goodness with a whiff of hypocrisy.
Have you guys seen the pictures that just leaked from the Minneapolis police department of Larry Craig and his Senator Santorum?
by PAfunk March 23, 2011
The Urban Dictionary Mug
One side has the word, one side has the definition. Microwave and dishwasher safe. Lotsa space for your liquids.Buy the mug


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Kroger Thinking Big to Fight Big Foes
NEW YORK -- Kroger Co. intends to throw its own weight around to compete against big supercenter competition, said the chain's c.f.o., Michael Schlotman, yesterday at the Banc of America Securities 2005 Consumer Conference here.
NEW YORK -- Kroger Co. intends to throw its own weight around to compete against big supercenter competition, said the chain's c.f.o., Michael Schlotman, yesterday at the Banc of America Securities 2005 Consumer Conference here.
"Kroger's financial strength is an important competitive advantage," noted Schlotman. He also cited the company's broad geographic diversity (spanning 32 states) and multiple formats, which enable the retailer to reach an increasingly diverse customer base, including not only different ethnic groups, but also various income levels and purchasing patterns.
Cincinnati-based Kroger holds the leading market share -- either the No. 1 or No. 2 position -- in 40 of the 52 major markets where it operates, Schlotman pointed out.
However, Wal-Mart and other supercenters have encroached upon Kroger's presence in many markets, and fighting back is especially difficult where Kroger also shares turf with leading rivals Albertsons and Safeway, Schlotman admitted.
"We have over 13 years of experience competing with Wal-Mart supercenters, so we have a pretty good game plan in place. We've factored Wal-Mart's growth into our business strategy," he explained. "One advantage we have, however, is that in 32 of the markets where we compete with Wal-Mart, we're now the only other large grocer. When we're all there, it's tougher." He added that it wouldn't surprise him if these over-muscled markets continue to have fewer players.
Overall, Schlotman emphasized, Kroger grew sales and maintained market share in 2004 despite the substantial supercenter expansion, due to factors such as sharper customer loyalty data, and an unmatchable private label program. "Our partnership with Dunnhumby [a company that worked with Tesco in the UK] has been key to unlocking insight," he noted. "We're now working on segmenting our customer bases and targeting them, and connecting with our most profitable customers. It's clear to us that loyalty data is of enormous importance to the future." Kroger is also working on rewarding its customers who buy fuel, Schlotman said.
Citing Kroger's "industry-leading private label program," Schlotman said that in 2004, the retailer introduced 765 items among its three product tiers -- good, better, and best. Kroger's private label items now account for 24.6 percent of grocery dollars and 31.72 percent of its grocery units, he said.
"We're entering 2005 with our strongest sales momentum yet," Schlotman said at the end of his presentation. He noted that better-quality seasonal products are expected to help drive top-line growth in the company's second quarter.
In other Kroger news, the retailer said it plans to launch a new custom monthly publication on July 1, to educate shoppers about natural products, organics, and nutritional supplements. "Optimum Wellness" will initially be distributed in more than 300 Kroger-owned stores in Southern California, Washington, Northern Oregon and Denver.
The magazine will be produced by Active Interest Media, Inc., the Los Angeles-based publisher of leading special interest consumer magazines such as "Vegetarian Times."
-- Jenny McTaggart


text:
A MARLOW school is calling on former pupils to get back in touch as it announces a series of reunions.
Sir William Borlase's Grammar School is holding a special day of celebrations for the class of 2004 on Saturday, May 17 to mark a decade since the year group of Old Borlasians left the school.
And for the slightly older Old Borlasians, a day of reunions will be held on Thursday, June 19 for alumni who finished their studies between the 1930s and the 1960s.
The get togethers at the West Street academy will include an afternoon tea, tours of the school, an assembly service and displays.
School development director Celia Blakeway-Phillips said: "We are so excited to welcome back our Old Borlasians from particular eras. There are still some Old Borlasians we are not in touch with and we hope to re-connect with them soon.
"Through our communications and reunions we are re-creating a sense of nostalgia and the Borlase community."
Borlase plans to mark the 20, 30 and 40-year anniversaries of its alumni and will announce dates of reunions for the classes of 1974, 1984 and 1994 at a later date.
After reaching out to its former pupils, the school has now connected with over 5,500 Old Borlasians and is urging others to get back in touch.
And the school, which was one of the first in the county to become an academy, wants to encourage alumni to give talks or offer careers advice to Sixth Formers or young leavers.
For more details contact Mrs Blakeway-Phillips firstname.lastname@example.com or 01628 816519.


text:
I'm involved in not one, not two, but THREE poetry events this weekend. Hope you can join me for one or all of them.
Rhina P. Espaillat, Fred Marchant, and Afaa Michael Weaver
March 23, 7 p.m.
The House of the Seven Gables, 115 Derby Street, Salem
These three great poets will read their own work in support of Mass Poetry. Suggested donation is $35 per person or $60 for two. Donations accepted online (go to Mass Poetry's website and click on Donate) or at the door.
Free Poetry Workshop
Brooksby Farm
Saturday, March 24 at 10 a.m.-2 p.m.
Peabody, MA
Sponsored by Peabody Historical Society
Let your writing be inspired by authentic Colonial-era tools, documents and lives at historic Brooksby Farm. Then, create handmade books of your poetry with book artist Sarah Smith at Montserrat College of Art on April 1. Open to all levels of writing/art experience.
Poetry Workshop Instructors
January Gill O'Neil
Author of Underlife (CavanKerry Press), Assistant Professor, Salem State University, Executive Director of the Massachusetts Poetry Festival
Dawn Paul
Author of The Country of Loneliness (Marick Press), Assistant Professor, Montserrat College of Art
Contact Colleen Michaels at 978-921-4242 x1254 or email@example.com to register or for more info.
Poetic Convergence
March 25, 2 p.m.
Forest Hills Cemetery
95 Forest Hills Ave
Jamaica Plain, MA 02130-3714
Join Kathleen Spivack, John Hodgen, Daniel Tobin, and me at Forest Hills Cemetery and the Forest Hills Educational Trust for Poetic Convergence, a new poetry series in Forsyth Chapel
Talk about overbooking myself? Hard to turn down three great events back to back to back. Photos to come!


text:
In my opinion,
the letter in the Jan. 27 Letters to the Editor section is good advice ("Says a new high school should be built," Page 9).
Silver Lake and Cuyahoga Falls residents should speak out on the need for a new high school to be built. You only have to visit a new school for say a basketball game to realize how much our children and grandchildren are missing out on. Ask your children just about how bad the bathrooms are alone that they deal with every day. The letter writer is correct concerning if we were to build a new high school, the latest technology for teaching would be incorporated into the design. A great security system would give parents peace of mind when sending their children off to school each day. Write letters, speak out. It is the only way it will happen.
Mary Lou Van Sise,
Silver Lake