A | B | C | D | E | F | G | H | CH | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z | 0 | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9
The term "National Treasure" has been used in Japan to denote cultural properties since 1897.[1] The definition and the criteria have changed since the inception of the term. These paintings adhere to the current definition, and were designated national treasures when the Law for the Protection of Cultural Properties was implemented on June 9, 1951. As such, they are restricted in transfer and may not be exported.[2] Owners are required to announce any changes to the National Treasures such as damage or loss and need to obtain a permit for changes in location, transfer of ownership or intended repairs.[3] The items are selected by the Ministry of Education, Culture, Sports, Science and Technology based on their "especially high historical or artistic value".[4][5] This list contains 166 paintings from 7th-century Asuka period to the early modern 19th-century Edo period. In fact the number of paintings presented is more than 166, because in some cases groups of related paintings are combined to form a single entry. The paintings listed show Buddhist themes, landscapes, portraits and court scenes. Some of the paintings were imported directly from China. The titles of the works are descriptive rather than the artists' titles; therefore it is possible to find alternate names in the literature for a given work.[5]
Beginning in the mid-6th century, as Buddhism was brought to Japan from Baekje, religious art was introduced from the mainland. The earliest religious paintings in Japan were copied using mainland styles and techniques, and are similar to the art of the Chinese Sui dynasty (581–618) or the late Sixteen Kingdoms around the early 5th century. They comprise the oldest extant non-primitive paintings in Japan. By the mid-Nara period (ca. 750) Japanese paintings showed influences of the Chinese Tang dynasty (618–907) and in the 9th century early Heian period evolved into the Kara-e genre. Wall murals in the Takamatsuzuka Tomb, the Kitora Tomb and the Portrait of Kichijōten at Yakushi-ji exemplify the Kara-e style. Generally, Nara period paintings show religious subjects, and the artists are unknown. During that period, sculptures rather than paintings were more prevalent.[6]
Mandalas became predominant in the paintings of the early Heian period as esoteric Buddhism emerged with the Shingon and Tendai sects in the 8th and 9th centuries. The evolution of Pure Land Buddhism caused raigō-zu to be developed as a genre, characterised by depictions of the Amida welcoming the souls of the faithful to his Western Paradise as seen in a 1053 painting in the Phoenix-Hall of Byōdō-in.[7] By the mid-Heian period, Chinese style kara-e painting was replaced with the classical Japanese yamato-e style, in which the images were painted primarily on sliding screens and byōbu folding screens.[8] At the close of the Heian period around 1185, the practice of adorning emakimono hand scrolls with yamato-e paintings flourished. Examples of illustrated hand scrolls include novels such as Genji Monogatari Emaki, historical writings like The Tale of Great Minister Ban, or religious works such as the Scroll of Hungry Ghosts.[9] These genres continued to be produced into the Kamakura period from 1185 to 1333. As during the Nara period, sculpture remained the preferred art form of the period.
Influenced by the Chinese Song and Yuan dynasties, Japanese monochrome ink painting called suibokuga largely replaced polychrome scroll paintings. By the end of the 14th century, monochrome landscape paintings (sansuiga) became the preferred genre for Zen painters, evolving to a unique Japanese style from the Chinese origin. Shūbun, who created Reading in a Bamboo Grove (1446), and his student Sesshū, author of Landscape of the Four Seasons, are the most well known priest-painters of the period. As with most of the early Japanese paintings, these works were created for Buddhist temples. At the end of the Muromachi period around 1573, ink painting had migrated out of the Zen monasteries, and was practised by artists from the Kanō school.[10]
In contrast to the previous period, the paintings of the Momoyama period (1573–1615) were characterised by a grandiose polychrome style with extensive use of gold and silver foil. Large scale paintings were commissioned to adorn the castles and palaces of the military rulers. The Kanō school, patronized by the ruling class, was the most influential school of the period and, with 300 years of dominance, endured for the longest period in the history of Japanese painting.[11][12] The trends of large polychrome paintings continued into the Edo period (1603–1868). The Rinpa school, best represented by Tawaraya Sōtatsu and Ogata Kōrin, used vibrant colors to depict classical themes from Japanese literature and Heian period poetry.[13] In the 18th century, paintings of Yuan dynasty scholar-amateur painters were brought to Japan and imitated, giving rise to the Nanga or Bunjinga style of painting. Two of the most prominent painters of this school were Ike no Taiga and Yosa Buson.[14]
Statistics
The 166 entries in the list consist of the following: 92 are hanging scrolls; 40 are hand scrolls or emakimono; 24 are byōbu folding screens or paintings on fusuma sliding doors; five are murals; and three are albums. Two items, the portrait of Kichijōten and Illustrated Biography of Prince Shōtoku do not fall in any of these categories. The paintings are located in museums, Buddhist temples, Shinto shrines, private collections, a university and two are located in tombs (Takamatsuzuka Tomb and Kitora Tomb). A large proportion of items are housed in the national museums of Tokyo, Kyoto and Nara. The city containing the greatest number of National Treasure paintings is Kyoto with 51 and Tokyo with 51 of which 28 are located in the Tokyo National Museum which is the structure housing the most painting National Treasures.
| Prefecture | City | National Treasures |
|---|---|---|
| Aichi | Nagoya | 1 |
| Tokoname | 1 | |
| Fukuoka | Dazaifu | 1 |
| Kurume | 1 | |
| Hiroshima | Hatsukaichi | 1 |
| Onomichi | 1 | |
| Hyōgo | Kasai | 1 |
| Kobe | 1 | |
| Iwate | Hiraizumi | 1 |
| Kanagawa | Fujisawa | 1 |
| Kamakura | 4 | |
| Yokohama | 1 | |
| Kyoto | Kyoto | 51 |
| Uji | 1 | |
| Maizuru | 1 | |
| Nara | Asuka | 2 |
| Heguri | 1 | |
| Nara | 15 | |
| Uda | 1 | |
| Okayama | Kurashiki | 2 |
| Osaka | Kawachinagano | 1 |
| Osaka | 5 | |
| Shimamoto | 1 | |
| Shiga | Hikone | 1 |
| Ōtsu | 3 | |
| Shizuoka | Atami | 1 |
| Tokyo | Tokyo | 51 |
| Tottori | Chizu | 1 |
| Wakayama | Kinokawa | 1 |
| Mount Kōya | 8 | |
| Yamagata | Yonezawa | 1 |
| Yamaguchi | Hōfu | 1 |
| Yamanashi | Kōshū | 1 |
| Minobu | 1 |
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| Period | National Treasures |
|---|---|
| Tang dynasty | 1[nb 1] |
| Asuka period | 1 |
| Nara period | 5 |
| Heian period | 52[nb 1] |
| Northern Song | 3 |
| Southern Song | 17 |
| Kamakura period | 43[nb 1] |
| Nanboku-chō period | 3 |
| Yuan dynasty | 6 |
| Muromachi period | 15 |
| Momoyama period | 7 |
| Edo period | 17 |
- ^ a b c Several entries in the list date to multiple periods: The Portraits of Seven Shingon Patriarchs (Tang dynasty and Heian period), The Five Abhisambodhi (Tang dynasty and Heian period), Scrolls of Frolicking Animals and Humans (Heian and Kamakura period), The Coming of Amida Buddha and Saints of the Pure Land (Heian and Kamakura period). All of these are counted double in this table. For instance, the National Treasure "Portraits of Seven Shingon Patriarchs" appears twice in this table: under "Tang dynasty" and under "Heian period".
Usage
An overview of what is included in the table and the manner of sorting is as follows: the columns (with the exceptions of Remarks and Pictures) are sortable by pressing the arrows symbols.
- Name: the name as registered in the Database of National Cultural Properties[5]
- Author: the name of the artist and—if applicable—name of the person who added an inscription
- Remarks: detailed location, provenance, general remarks
- Date: period and year; The column entries sort by year. If only a period is known, they sort by the start year of that period.
- Format: primary type of painting, technique and dimensions; The column entries sort by the main type and in some cases further by subcategories: album; byōbu (2 section -> pair or single, 6 section -> pair or single, 8 section -> pair or single); hand scroll (emakimono other); hanging scroll (mandala, portrait, deity, landscape, other); mural; other.
- Present location: "building-name temple/museum/shrine-name town-name prefecture-name"; The column entries sort as "prefecture-name town-name temple/museum/shrine-name building-name".
- Image: picture of the painting, or of a characteristic painting in a group of paintings
Treasures
| Name | Author | Remarks | Date | Format | Present location | Image |
|---|---|---|---|---|---|---|
| Buddhist Paradise with Golden Pagoda (紺紙著色金光明最勝王経金字宝塔曼荼羅図, konshichakushoku konkōmyō saishō ōkyō kinji hōtō mandarazu)[15][16] | —
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Heian period | Ten hanging scrolls (mandalas), gold paint on indigo blue paper, 139.7 cm × 54.8 cm (55.0 in × 21.6 in) | Chūson-ji, Hiraizumi, Iwate | 
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| Scenes in and around the capital (紙本金地著色洛中洛外図, shihonkinji chakushoku rakuchū rakugaizu)[17] | Kanō Eitoku | —
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Momoyama period, not later than 1574 | One pair of six-section folding screens (byōbu), ink and color on paper with gold leaf background, 160.5 cm × 364.5 cm (63.2 in × 143.5 in) | Yonezawa City Uesugi Museum, Yonezawa, Yamagata | _-_left_screen.jpg)
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| Kasuga Gongen Genki E (綾本著色春日権現験記絵, kenpon chakushoku kasuga gongen genki e)[18] | Takashina Nakakane (高階隆兼) | —
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Kamakura period, 1309 | 20 hand scrolls (emakimono), color on silk, width: 40.0–41.5 cm (15.7–16.3 in), length: 767.3–1,306.6 cm (302.1–514.4 in) | Museum of the Imperial Collections, Tokyo | .JPG)
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| The Mongol Invasion (紙本著色蒙古襲来絵詞, shihon chakushoku mōko shūrai ekotoba)[18] | —
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Kamakura period, second half of 13th century | Two hand scrolls (emakimono), color on paper, 39.8 cm × 2,351.8 cm (15.7 in × 925.9 in) and 39.8 cm × 2,013.4 cm (15.7 in × 792.7 in) | Museum of the Imperial Collections, Tokyo | 
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| Chinese Lions (紙本金地著色唐獅子図, shihonkinji chakushoku karajishi-zu)[18] | Kanō Eitoku | —
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Momoyama period, 16th century | A six-section folding screen (byōbu), ink and color on paper with gold leaf background, 223.6 cm × 451.8 cm (88.0 in × 177.9 in) | Museum of the Imperial Collections, Tokyo | 
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| Colorful Realm of Living Beings (絹本著色動植綵絵, kenpon chakushoku dōshoku sai-e)[18] | Itō Jakuchū | —
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Edo period, ca. 1757--1766 | Set of 30 hanging scrolls, color on silk, width: 78.9–80.1 cm (31.1–31.5 in), height: 141.8–143.4 cm (55.8–56.5 in) | Museum of the Imperial Collections, Tokyo |  .jpg)
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| Illustrated Biography of Prince Shōtoku (綾本著色聖徳太子絵伝, kenpon chakushoku shōtoku taishi eden)[19] | Hata no Chitei (秦致貞) | Originally on fixed doors at Hōryū-ji, later during the Edo period on freestanding screens and in recent times remounted on panels | Heian period, 1069 | Ten panels (five pairs), color on figured silk, 189.2–190.5 cm x 137.2–148.2 cm (74.5–75 in x 54–58.3 in) | Tokyo National Museum, Tokyo | 
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| Portrait of Takami Senseki (絹本淡彩鷹見泉石像, kenpon tansai Takami Senseki zō)[20] | Watanabe Kazan | —
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Edo period, 1837 | Hanging scroll, light color on silk, 115.1 cm × 57.1 cm (45.3 in × 22.5 in) | Tokyo National Museum, Tokyo | 
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| Illustrated Biography of the Priest Ippen： Volume 7 (絹本著色一遍上人絵伝, kenpon chakushoku ippen shōnin eden)[21][22] | En'i (円伊) | Also known as Ippen Hijiri-e (一遍聖絵) | Kamakura period, 1299 | Hand scroll (emakimono), color on silk, 37.8 cm × 802.0 cm (14.9 in × 315.7 in) | Tokyo National Museum, Tokyo | 
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| Kokūzō Bosatsu (Ākāśagarbha) (絹本著色虚空蔵菩薩像, kenpon chakushoku kokūzō bosatsuzō)[23] | —
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Formerly owned by Mitsui Gomei Co. | Heian period, 12th century | Hanging scroll, color on silk, 132.0 cm × 84.4 cm (52.0 in × 33.2 in) | Tokyo National Museum, Tokyo | 
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| Kujaku Myoo (Mahamayuri) (絹本著色孔雀明王像, kenpon chakushoku kujaku myōōzō)[24] | —
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Formerly owned by the Hara family. | Heian period, 12th century | Hanging scroll, color on silk, 147.9 cm × 98.9 cm (58.2 in × 38.9 in) | Tokyo National Museum, Tokyo | 
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| Red and white hibiscuses (絹本著色紅白芙蓉図, kenpon chakushoku kōhaku fuyōzu)[25] | Li Di | —
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Southern Song dynasty, 1197 | Set of two hanging scrolls, color on silk, each 25.2 cm × 25.5 cm (9.9 in × 10.0 in) | Tokyo National Museum, Tokyo |  
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| Sixteen Arhats (絹本著色十六羅漢像, kenpon chakushoku jūroku rakanzō)[26] | —
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Formerly owned by the Shōjuraigō-ji temple. | Heian period, 11th century | Set of 16 hanging scrolls, color on silk, 95.9–97.2 cm x 57.8–52.2 cm (37.8–38.3 cm x 22.8–20.6 cm) | Tokyo National Museum, Tokyo | 
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| Senju Kannon (Sahasrabhuja) (絹本著色千手観音像, kenpon chakushoku senjukannonzō)[27] | —
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Formerly owned by the Kawasaki family. | Heian period, 12th century | Hanging scroll, color on silk, 138.0 cm × 69.4 cm (54.3 in × 27.3 in) | Tokyo National Museum, Tokyo | 
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| Scenes in and around Kyoto (紙本金地著色洛中洛外図, shihonkinji chakushoku rakuchū rakugaizu)[28][29][30] | Iwasa Katsumochi (Matabei) | Known as Funaki version after the Funaki family in whose possession it was handed down | Edo period, 17th century | One pair of six-section folding screens (byōbu), ink and color on paper with gold leaf background, each 162.2 cm × 341.8 cm (63.9 in × 134.6 in) | Tokyo National Museum, Tokyo | 
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| Pigeon on a peach branch (絹本著色桃鳩図, kenpon chakushoku momohatozu)[31] | Emperor Huizong of Song | —
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Northern Song dynasty, 1108 or 1109 | Hanging scroll, color on silk, 28.5 cm × 26.1 cm (11.2 in × 10.3 in) | private (Isao Setsu (瀬津勲), Gatōdō (雅陶堂)), Tokyo | 
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| Nachi Falls (絹本著色那智滝図, kenpon chakushoku nachi no taki zu)[32] | —
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Kamakura period, 13th–14th century | Hanging scroll, color on silk, 160.7 cm × 58.8 cm (63.3 in × 23.1 in) | Nezu Art Museum, Tokyo | 
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| Fugen Bosatsu (Samantabhadra) (絹本著色普賢菩薩像, kenpon chakushoku fugenbosatsuzō)[33] | —
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Heian period, 12th century | Hanging scroll, color on silk, 159.1 cm × 74.5 cm (62.6 in × 29.3 in) | Tokyo National Museum, Tokyo | 
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| Apple Blossoms (絹本著色林檎花図, kenpon chakushoku ringo no hana zu)[34][35] | Attributed to Zhao Chang (趙昌, Chō Shō) | —
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Southern Song dynasty | Hanging scroll, color on silk, 23.6 cm × 25.5 cm (9.3 in × 10.0 in) | Hatakeyama Memorial Museum of Fine Art, Tokyo | 
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| Quail (絹本著色鶉図, kenpon chakushoku uzura zu)[36][37] | Attributed to Li An-Zhong | Marked with the zakkeshitsu-in seal found on Chinese paintings imported to Japan by the Ashikaga | Southern Song dynasty, 12th–13th century | Hanging scroll, color on silk, 24.4 cm × 27.8 cm (9.6 in × 10.9 in) | Nezu Art Museum, Tokyo | 
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| Sakyamuni descending the mountain after asceticism (絹本墨画淡彩出山釈迦図, kenpon bokuga tansai shussan shuka zu) (I) Snowy Landscape (絹本墨画淡彩雪景山水図, kenpon bokuga tansai sekkei sansui zu) (II) Snowy Landscape (絹本墨画淡彩雪景山水図, kenpon bokuga tansai sekkei sansui zu) purportedly by Liang Kai (III)[38][39] |
Liang Kai | "III" was cut later to make the three paintings into a triad likely during the time of Ashikaga Yoshimitsu. Passed down from the Ashikaga shogunate as part of the Higashiyama Treasure. Marked with the zakkeshitsu-in seal found on Chinese paintings imported to Japan by the Ashikaga. Originally designated as three distinct National Treasures, they came to be designated as a single National Treasure in 2007. | Southern Song dynasty, 13th century | Three hanging scrolls, ink and light color on silk, 110.3 cm × 49.7 cm (43.4 in × 19.6 in) (I), 110.8 cm × 50.1 cm (43.6 in × 19.7 in) (II), 117.6 cm × 52.0 cm (46.3 in × 20.5 in) (III) | Tokyo National Museum, Tokyo | 
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| Wind and Rain, landscape painting (絹本墨画淡彩風雨山水図, kenpon bokuga tansai fuu sansui zu)[40] | Attributed to Ma Yuan | —
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Southern Song dynasty, 13th century | Hanging scroll, ink on silk, 111.0 cm × 55.8 cm (43.7 in × 22.0 in) | Seikadō Bunko Art Museum, Tokyo | 
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| Irises screen (紙本金地著色燕子花図, shihonkinji chakushoku kakitsubata zu)[41][42] | Ogata Kōrin | Formerly held by the Nishi Honganji, Kyoto. | Edo period, c. 1705 | One pair of six-section folding screens (byōbu), ink and color on paper with gold leaf background, each 150.9 cm × 338.8 cm (59.4 in × 133.4 in) | Nezu Art Museum, Tokyo | 
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| Painting of the chapters Sekiya and Miotsukushi from The Tale of Genji (紙本金地著色源氏物語関屋及澪標図, shihonkinji chakushoku genji monogatari sekiya oyobi miotsukushi zu)[43] | Tawaraya Sōtatsu | —
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Edo period | One pair of six-section folding screens (byōbu), ink and color on paper with gold leaf background, each 152.3 cm × 355.6 cm (60.0 in × 140.0 in) | Seikadō Bunko Art Museum, Tokyo | 
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| Painting of a Cypress (紙本金地著色桧図, shihonkinji chakushoku hinoki zu)[44][45] | Kanō Eitoku | —
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Momoyama period | Eight-section folding screen (byōbu), ink and color on paper with gold leaf background, 170.0 cm × 461.0 cm (66.9 in × 181.5 in) | Tokyo National Museum, Tokyo | 
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| Chinese landscape (紙本金地著色楼閣山水図, shihonkinji chakushoku rōkakusan suizu)[46] | Ike no Taiga | —
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Edo period, 18th century | One pair of six-section folding screens (byōbu), ink and color on paper with gold leaf background, 168.0 cm × 372.0 cm (66.1 in × 146.5 in) | Tokyo National Museum, Tokyo | 
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| Imperial Guard Cavalry (紙本淡彩随身庭騎絵巻, shihontansai zuishin teiki emaki)[47][48] | attributed to Fujiwara Nobuzane | —
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Kamakura period, 1247 | Hand scroll (emakimono), light color on paper, 28.7 cm × 237.5 cm (11.3 in × 93.5 in) | Okura Museum of Art, Tokyo | 
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| Pine trees in snow (紙本淡彩雪松図, shihontansai yukimatsuzu)[45] | Maruyama Ōkyo | —
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Edo period, 1773 | One pair of six-section folding screens (byōbu), light color on paper, 155.5 cm × 362.0 cm (61.2 in × 142.5 in) | Mitsui Memorial Museum, Tokyo | 
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| Family enjoying the evening cool (紙本淡彩納涼図, shihontansai nōryōzu)[49] | Kusumi Morikage | —
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Edo period, 17th century | A two-section folding screen (byōbu), light color on paper, 149.7 cm × 166.2 cm (58.9 in × 65.4 in) | Zdroj:https://en.wikipedia.org?pojem=List_of_National_Treasures_of_Japan_(paintings)
_-_right_screen.jpg)
