Pottery

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]

Metalwork

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]

Buddhist items

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]

More information Name, Remarks ...

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	1250-01-01Kamakura period, January 1, 1250	Gong; cast bronze gilding; shoulder width: 32.4 cm (12.8 in), chord length: 32.5 cm (12.8 in)	Iwate Hiraizumi Chusonji JizoinJizō-in (地蔵院), Chūson-ji, Hiraizumi, Iwate
Gilt bronze Buddhist ritual gong with hōsōge flower design (金銅宝相華文磬, kondō hōsōgemon kei)[45][46]	Hōsōge flower design	1100late Heian period	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)	Fukui Sakai TakidanjiTakidan-ji, Sakai, Fukui
Gilt bronze Buddhist ritual gong with lotus flower design (金銅蓮花文磬, kondō rengemon kei)	Lotus flower design	0794Heian period	Gong; gilt bronze	Kyoto Kyoto EikandoEikan-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	1209Kamakura period, 1209	Gong	Oita Usa Usa Shrinemanaged by Usa Shrine, Usa, Ōita; private owner	—
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	0734Tang dynasty	Gong; copper; total height: 96.0 cm (37.8 in)	Nara Nara KofukujiKōfuku-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	0618Tang dynasty	Sistrum; gilt bronze; length: 55 cm (22 in)	Kagawa Zentsuji ZentsujiZentsū-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	1197-11-22Kamakura period, November 22, 1197	Two miniature pagodas; iron and crystal; height of crystal pagoda: 14 cm (5.5 in)	Yamaguchi Hofu AmidajiAmida-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	1185Kamakura period	Reliquary; gilt copper, silver plating; height: 26.3 cm (10.4 in)	Nara Ikoma ChofukujiChōfuku-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	0710Nara period, 8th century	Bowl; gilt bronze, line engraving; diameter: 27.5 cm (10.8 in), height: 14.5 cm (5.7 in)	Gifu Gifu GokokushijiGokokushi-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	0794Heian period (5 plates), Kamakura period (11 plates)	16 plates; openwork, gold and silver plating	Shiga Nagahama JinshojiJinshō-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	1200Kamakura period, 13th century	Reliquary; gilt bronze, openwork; height: 37 cm (15 in)	Nara Nara Saidaiji　ShuhokanShūhōkan (聚宝館), Saidai-ji, Nara, Nara; entrusted to Nara National Museum
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	0794Heian period	Utensils; gilt bronze	Kyoto Kyoto TojiTō-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	0618Tang 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.)	Nara Nara ToshodaijiTōshōdai-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)	1185Kamakura 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)	Hiroshima Hatsukaichi Itsukushima ShrineItsukushima 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	1031late Heian period	Sutra container; forged bronze; 29 × 12 × 8 cm (11 × 5 × 3 in)	Shiga Otsu EnryakujiEnryaku-ji, Ōtsu, Shiga
Gilt bronze banner (金銅灌頂幡, kondō kanjōban)[65] [66]	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	0600Asuka 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 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	0600Asuka 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 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	1284Kamakura period, 1284	Miniature pagoda and five pots; iron (pagoda) and copper (pots); height of pagoda: 176 cm (69 in)	Nara Nara Saidaiji ShuhokanShūhōkan (聚宝館), Saidai-ji, Nara, Nara; entrusted to Nara National Museum	—
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	1270Kamakura period, 1270	Height of pagoda: 91 cm (36 in)	Nara Nara Saidaiji　ShuhokanShūhōkan (聚宝館), Saidai-ji, Nara, Nara; entrusted to Nara National Museum	—

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Lacquer

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]

Dyeing and weaving

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]

Armour

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]

Others

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]