2024

45April 13 – May 26 2024
Special Exhibition

67

Heisei
Chishinkan
Wing

89Heisei
Chishinkan
Wing

June 18–August 4 2024

Galleries

1F-2,3,4Feature Exhibition Commemorating
the 430th Memorial of Toyotomi Hidetsugu

The Legend of Sesshuˉ
Birth of a Master PainterSesshū (1420–1506?) is widely acknowledged to be one of the most pivotal ﬁgures in thehistory of Japanese art. The fact that an unprecedented six of his paintings have been
designated National Treasures underscores the profound admiration he commands inmodern Japan. Yet, this recognition is not based solely upon the excellence of hisartworks; it also stems from the ways in which Sesshū’s reputation evolved over time.
This exhibition traces perceptions of Sesshū during the early modern period (latesixteenth through late nineteenth century) to examine how the enduring reverence forthis “saint of painting” was shaped. During the Momoyama period (1573–1615), theUnkoku and Hasegawa schools proudly identiﬁed themselves as artistic successors ofSesshū. In the Edo period (1615–1868), artists of the preeminent Kano school eagerly
integrated Sesshū’s techniques into the very foundation of their own signature painting
style. Sesshū’s artistic charisma inspired not only these major schools ofChinese-inﬂuenced ink painting (kanga), but also inﬂuenced a diverse range of paintersworking outside these traditions, who learned from Sesshū’s works in order to chart new
frontiers in Japanese painting.
Conceptualizing the reception of Sesshū’s legacy is inherently complex and requires anuanced understanding that synthesizes multiple perspectives. Through an explorationof the manifold ways in which Sesshū was perceived and interpreted over time,
this exhibition seeks to shed light on the intricate journey that culminated in
Sesshū’s emergence as a legendary “saint of painting.”

Toyotomi Hidetsugu and Zuisen-ji Temple
Toyotomi Hidetsugu (1568–1595) was born as the nephew of the military ruler
Toyotomi Hideyoshi. He gradually rose to the position of kanpaku (chief adviser tothe emperor); however, over time, Hidetsugu grew apart from his powerful uncle andwas eventually forced to commit suicide. Calamity also befell Hidetsugu’s wife andchildren: they were executed on the Sanjō Kawara riverbank in Kyoto along with all
his other family members. The temple of Zuisen-ji was built on their execution site tomourn the souls of Hidetsugu and his family. This exhibition commemorates the 430thmemorial of Toyotomi Hidetsugu’s death by showcasing artworks related to hisfamily, which are still preserved at Zuisen-ji to this day.

Pair of Cranes,
Bamboo, and Plum
By Itō Jakuchū (1716–1800)
Idemitsu Museum of Arts, Tokyo(on view April 30–May 26, 2024)

1011122025

Heisei
Chishinkan
Wing

October 8–December 1 2024
Special Exhibition

Hoˉ nen and Pure Land Buddhism
The Japanese priest Hōnen (also known as Hōnen-bō Genkū, 1133–1212) was thefounder of the Jōdo Shū, Japan’s ﬁrst Pure Land school of Buddhism. He lived amid aturbulent era spanning from the end of the Heian period (794–1185) to the beginningof the Kamakura period (1185–1333). During this age of upheaval, Hōnen gainedwidespread support by advocating that anyone, regardless of their rank orcircumstances in life, has the potential to attain salvation and be born into the Pure
Land paradise of Amida (Amitābha) Buddha after death. Hōnen taught that themeans of achieving this is to repeatedly chant the prayerful invocation Namu Amida
Butsu (“I take refuge in Amitābha Buddha”), known as the “nenbutsu.”
This exhibition celebrates the 850th anniversary of the founding of Jōdo Shū
through an exploration of the history of Japanese Pure Land Buddhism, beginningwith Hōnen's founding of the school and extending through to the creation ofvarious denominations by his disciples and the establishment of their respective
doctrines. The exhibition also examines how Jōdo Shū grew and expanded
signiﬁcantly through the patronage of the Tokugawa shogunate during
the Edo period (1615–1868). This historical journey will be traced throughprecious artworks, including numerous National Treasures and Important
Cultural Properties associated with this school of Pure Land Buddhism.
National Treasure
Illustrated Biography ofMaster Hōnen(Hōnen Shōnin e-den),Volume 6 (detail)
Chion-in Temple, Kyoto(on view Oct. 8–Oct. 20, 2024)

Tale of Lord Hidetsugu (detail)
Zuisen-ji Temple, Kyoto

12January 2–February 2 2025

Serpentine Delights

Celebrating the Year of the Snake
Every January, the Kyoto National Museum presents a New Year’s
exhibition featuring the Chinese zodiac theme of that year. Inhonor of the Year of the Snake, the zodiac sign for 2025, themuseum will showcase a variety of snake-themed artworks. This
exhibition is designed to be enjoyed by visitors of all ages.

Textile with Lions, Snakes, and Flowering Plants
Kyoto National Museum

HeiseiHeisei
Chishinkan
Wing

Feature ExhibitionDoˉ maru Armor with Blue Lacing

Important Cultural Property
Dōmaru Armor with Blue LacingKyoto National Museum

特集展示
Chishinkan
Wing

Gallery
1F-2

Celebrating the Japanese DollFestivalGalleries
1F-2, 3The Artistry of Esoteric Buddhist Iconography

Special Viewing Commemorating the Completion of Conservation

Mount Fuji, Miho no Matsubara, and Seiken-ji Temple
Attributed to Sesshū Tōyō (1420–1506?),
inscription by Zhan Zhonghe (dates unknown)
Eisei Bunko Museum, Tokyo

Heisei
Chishinkan
Wing

Feature Exhibition Commemorating
the Acquisition of the Ueda Collection

Gallery
1F-5This ﬁfteenth-century Dōmaru Armor with Blue Lacing has long been renownedfor its reﬁned coloration and classical appeal, as evidenced by its inclusion in
the book of celebrated artworks, Shūko jisshu (Collected Antiquities in TenCategories), published in the year 1800 by the daimyo connoisseur Matsudaira
Sadanobu. Armor is inherently a composite art form, comprising not only
metal ﬁttings, but also silk braided cords, woven silk textiles, lacquer, andleather. As some of these organic materials exhibited pronounced signs ofdegradation, the conservation of this armor was essential for it to be passed on
to future generations. It is being exhibited for the ﬁrst time following thecompletion of a monumental conservation project.

Gallery
1F-2

Important Cultural Property
Standing Amida (Amitābha) Buddha
Jōdo Shū (on view Oct. 8 – Nov. 4, 2024)

August 7–September 8 2024

June 18–August 4 2024

Heisei
Chishinkan
Wing

Feature Exhibition

February 15–March 23 2025

Important Cultural Property
Birds and Flowers of the Four Seasons (right screen)
By Sesshū Tōyō (1420–1506?)
Kyoto National Museum3

The medical doctor Ueda Osamu began acquiring Esoteric
Buddhist iconographic drawings following World War II.
Over time, he amassed one of the largest private collections inJapan. To commemorate the recent donation of the majority ofthis valuable collection by Ueda’s family, the museum will
exhibit a selection of these masterpieces, many of which havenever been shown to the public before. Primarily composed ofworks dating from the Heian (794–1185) to Kamakura(1185–1333) periods that are distinguished by their clear
provenances and high historical and artistic value, the Ueda
Collection elegantly captures the allure of Esoteric Buddhist art.

Nīlakanthaka Dhāranī and Iconographic
Drawings of the Forty-Two Armed Figure
Kyoto National Museum

The Kyoto National Museum’s annual exhibition of Japanesedolls features a variety of hina dolls traditionally displayed forthe Doll Festival (Hina Matsuri) on March 3. The exhibits include
lavish model palaces that that were popular in the Kansai
region, as well as various other dolls (ningyō) made in Kyoto.

Hina Dolls,
Kyōho bina Type,known as Ōuchi bina
Kyoto National Museum* Exhibition dates are subject to change, and visitor numbers may be limited.
Please check www.kyohaku.go.jp and the Kyoto National Museum’s Twitter feed (@KyotoNatMuseum) for the latest information.