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 132 entries from Classical to early modern Japan, spanning from the 7th century Asuka to the 18th century Edo period. The number of items is higher, however, since groups of related objects have been joined as single entries. The listed objects are of many types and include household goods, objects related to Buddhism, armour and harnesses. Some of the oldest objects were imported from China at the time.
The listed items consist of materials such as wood over clay or to bronze. Often the articles were decorated using a variety of artistic techniques like gilding of precious metals, line engraving, maki-e, mother of pearl inlay or lacquer. The objects are housed in Buddhist temples, Shinto shrines or museums.[4]
Present location of non-sword craft National Treasures of Japan[nb 2]
Usage
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
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 to 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]
Japan
Name
Artist
Remarks
Date
Type
Present location
Image
White Raku (楽焼白片身変茶碗, rakuyaki shirokatamigawari chawan) named Fuji-san (不二山)[10][11]
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
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
Pot with design of autumn grasses (Akikusamon bottle) (秋草文壺, akikusamontsubo)[15][16]
unknown
Discovered in the Hakusan Burial Mound; mouth bending slightly outward, bulging upper body, narrow base; covered with green glaze and drawings of autumn grasses (Japanese silver grass, melon) scratched in with a spatula; character "上" in the inside of the mouth
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
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)
Gunma Shibukawa Hara Museum ARCcustody of 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), Tokyo
—
Celadon flower vase with Fenghuang ears (handle) (青磁鳳凰耳花生, seiji hōōmimi hanaike) or Bansei (万声)[21]
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
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
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
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 Shintokami.[28][29] Three early mirror icons with line engravings of various deities have been designated as National Treasures.[4]
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]
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
Decorated with lion, dragon, Chinese phoenix and dancing heavenly nymphs; previously located in the belfry (shōrō); one of the Three Great Bells of Japan.
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]
Name
Remarks
Date
Type
Present location
Image
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
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)
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
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
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
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
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
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)
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
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
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 Tokyo Tokyo National Museum The Gallery of Horyuji TreasuresThe Gallery of Hōryū-ji Treasures, Tokyo National Museum, Tokyo
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
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 Tokyo Tokyo National Museum The Gallery of Horyuji TreasuresThe Gallery of Hōryū-ji Treasures, Tokyo National Museum, Tokyo
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
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
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]
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
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]
Hexagonal three-storied pagoda in center of plaque; in top panel: Buddha triads surrounded by 1000 Buddhas; middle panel: two Buddhas on lotus seats, deities and monks; lower panel: 27 line inscription in center framed by two guardian gods; depicted is a scene from the Lotus Sutra, where Prabhutaratna resides and appears from within a "Many Treasure Pagoda"
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
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)
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
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]
Name
Remarks
Date
Type
Present location
Image
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)
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)
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
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
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)
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]
Name
Remarks
Date
Type
Present location
Image
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
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)
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]
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
Toiletry case with cart wheels in stream (片輪車蒔絵螺鈿手箱, katawaguruma makie raden tebako)[111]
unknown
Interior of box and lid with flying birds and floral motifs; similar design to the National Treasure box with designation number 64, this box has number 99
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
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
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)
Toiletry case with cart wheels in stream (片輪車螺鈿蒔絵手箱, katawaguruma raden makie tebako)[114]
unknown
Used to hold such things as cosmetics, paper, and writing materials; similar design to the National Treasure box with designation number 64, this box has number 99, but bigger size, higher intensity of gold color, regular placement of cart wheels and other designs
Marriage trousseau (婚礼調度類) (tokugawa mitsutomo fujin chiyohime shoyō (徳川光友夫人千代姫所用))[118]
unknown
Marriage outfit of Chiyohime, wife of Tokugawa Mitsutomo and eldest daughter of Tokugawa Iemitsu; includes: 47 pieces of Hatsune shelves and 10 pieces of butterfly maki-e furniture, 5 maki-e incense boxes, two large oblong chests, two hakama, a long sword and a set of maki-e aloes wood tools
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]
Name
Remarks
Date
Type
Present location
Image
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).
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
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
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
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]
Name
Remarks
Date
Type
Present location
Image
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)
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
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
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)
There are 15 craft National Treasures that do not fit in any of the above categories. Six of these are large collections of items of various type offered to shrines and two are sets of Buddhist items such as platforms, canopies or banners.[4]
Name
Remarks
Date
Type
Present location
Image
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
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
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
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)
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)
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)
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)
1183Heian 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)
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.
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
Tablet (牙笏, geshaku),[178] Round inkstone of blue and white porcelain (青白磁円硯, seihakujienken),[179] Tortoise shell comb (玳瑁装牙櫛, taimaisōge no kushi),[180] Small ornamental knife with rhinoceros horn handle (犀角柄刀子, saikakuetōzu),[181] Leather belt with silver plating (銀装革帯, ginsōkakutai),[182] Mirror with Bo Ya playing the koto (伯牙弾琴鏡, hakugadankinkyō)[183]
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
^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.
^"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)]. Archived from the original on 2010-08-22. Retrieved 2010-12-31.
^Murphy, Declan. "Yayoi Culture". Yamasa Institute. Archived from the original on 2016-03-03. Retrieved 2010-03-19.
^Keally, Charles T. (2006-06-03). "Yayoi Culture". Japanese Archaeology. Charles T. Keally. Archived from the original on 2016-03-03. Retrieved 2010-03-19.
^線刻千手観音等鏡 [Mirror with engraved image of Thousand-armed Goddess of Mercy] (in Japanese). Daisen. Archived from the original on 2011-07-22. Retrieved 2010-10-10.
^銅造梵鐘 [Bronze temple bell] (in Japanese). Kōfuku-ji. Archived from the original on 2009-09-28. Retrieved 2009-09-08.
^西光寺梵鐘 [Saikō temple bell]. Saikō-ji (in Japanese). Fukuoka/Hakata Tourist Information. Archived from the original on 2010-01-07. Retrieved 2009-09-08.
^金銅宝相華文磬 [Gilt bronze Buddhist ritual gong with hōsōge flower design] (in Japanese). Takidan-ji. Archived from the original on 2011-07-03. Retrieved 2009-09-08.
^金銅宝相華文磬 [Gilt bronze Buddhist ritual gong with hōsōge flower design] (in Japanese). Fukui Prefecture. Archived from the original on 2010-11-08. Retrieved 2009-09-08.
^孔雀文磬 [Buddhist ritual gong with peacock relief]. Usa Shrine (in Japanese). Archived from the original on 2010-04-01. Retrieved 2009-09-08.
^華原磬 [Buddhist ritual gong stand] (in Japanese). Kōfuku-ji. Archived from the original on 2009-08-22. Retrieved 2009-09-08.
^金銅錫杖頭 [Gilt bronze finial of a pilgrim's staff] (in Japanese). Zentsūji. Archived from the original on 2011-06-12. Retrieved 2009-09-08.
^金銅密教法具 [Gilt bronze ritual Objects of Esoteric Buddhism] (in Japanese). Hiroshima Prefecture. Archived from the original on 2011-07-19. Retrieved 2010-10-10.
^銅版法華説相図 [Bronze plaque depicting Shaka delivering a sermon] (in Japanese). Nara National Research Institute for Cultural Properties. Archived from the original on 2009-11-03. Retrieved 2009-09-10.
^銅版法華説相図 [Bronze plaque depicting Shaka delivering a sermon] (in Japanese). Nara National Museum. Archived from the original on 2011-07-19. Retrieved 2009-09-10.
^海賦蒔絵袈裟箱 [Kesa box] (PDF) (in Japanese). National Research Institute for Cultural Properties, Tokyo. Archived from the original(PDF) on 2011-07-16. Retrieved 2009-09-06.
^寺宝 [Temple treasures] (in Japanese). Tō-ji. Archived from the original on 2009-09-08. Retrieved 2009-09-06.
^黒漆螺鈿卓 [Black lacquer table with mother of pearl inlay] (in Japanese). Ishikawa Prefecture. Archived from the original on 2011-07-22. 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.
^柏木兎螺鈿鞍 [Saddle with oak tree and horned owl design] (in Japanese). Eisei Bunko Museum. Archived from the original on 2011-07-24. Retrieved 2009-09-02.
^柏木兎螺鈿鞍 [Saddle with oak tree and horned owl design] (in Japanese). Miho Museum of Art. Archived from the original on 2002-06-24. Retrieved 2009-09-02.
^時雨螺鈿鞍 [Saddle with ivy and poem characters design] (in Japanese). Eisei Bunko Museum. Archived from the original on 2011-07-24. Retrieved 2009-09-02.
^時雨螺鈿鞍 [Saddle with ivy and poem characters design] (in Japanese). Miho Museum of Art. Archived from the original on 2002-06-24. Retrieved 2009-09-02.
^籬菊螺鈿蒔絵硯箱 [Lacquered inkstone case decorated with laminae of mother of pearl] (in Japanese). Kamakura. Archived from the original on 2011-07-22. Retrieved 2009-05-22.
^梅蒔絵手箱 [Toiletry case with plum blossom design] (in Japanese). Mishima Taisha. Archived from the original on 2011-10-07. Retrieved 2011-06-06.
^秋野鹿蒔絵手箱 [Toiletry case with autumn field and deer design] (in Japanese). Izumo-taisha. Archived from the original on 2011-07-22. Retrieved 2009-09-02.
^中宮寺天寿国繡帳 [Chūgū-ji Tenjukoku Shūchō Mandala] (PDF) (in Japanese). Waseda University. Archived from the original(PDF) on 2011-08-15. Retrieved 2010-10-14.
^浅黄綾威鎧 [Armour laced with light light green silk braided threads] (in Japanese). Hiroshima Prefecture. Archived from the original on 2009-11-26. Retrieved 2009-09-11.
^黒韋威胴丸 [Black dōmaru armour laced with leather cords] (in Japanese). Hiroshima Prefecture. Archived from the original on 2009-11-28. Retrieved 2009-09-11.
^国宝・重要文化財（美術工芸品）の指定について～ [Designation of National Treasures and Important Cultural Properties in the arts and crafts category] (PDF) (in Japanese). Agency for Cultural Affairs. 2020-03-19. Archived(PDF) from the original on 2020-03-19. Retrieved 2020-03-22.
^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.
^青白磁円硯 [Round inkstone of blue and white porcelain] (in Japanese). Domyoji Tenmangu. Archived from the original on 2009-09-01. Retrieved 2009-09-10.
^玳瑁装牙櫛 [Tortoise shell comb] (in Japanese). Domyoji Tenmangu. Archived from the original on 2009-09-01. Retrieved 2009-09-10.
^犀角柄刀子 [Small ornamental knife with rhinoceros horn handle] (in Japanese). Domyoji Tenmangu. Archived from the original on 2009-09-02. Retrieved 2009-09-10.
^銀装革帯 [Leather belt with silver plating] (in Japanese). Domyoji Tenmangu. Archived from the original on 2009-09-01. Retrieved 2009-09-10.
^伯牙弾琴鏡 [Mirror with Bo Ya playing the koto] (in Japanese). Domyoji Tenmangu. Archived from the original on 2009-09-02. Retrieved 2009-09-10.
Habu, Junko (2004). Ancient Jomon of Japan. Case studies in early societies. Vol. 4 (illustrated ed.). Cambridge University Press. ISBN0-521-77670-8. Archived from the original on 2023-11-25. Retrieved 2010-03-19.
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