Nominated for the EMYA2026 awardAbout the museum
Europe’s Premier Samurai Museum Experience
Discover one of the largest private Samurai collections in the world in the heart of Berlin — interactive, immersive, unforgettable.
Historitcal objects and multimedia installations lead visitors on an interactive journey of discovery into the world of the samurai on a museum parcours spread over 1,500 square metres. For centuries, the samurai shaped the history of Japan, both on the battlefield and at the imperial court. In the permanent exhibition, over 1,000 objects bring the way of life, art and traditions of feudal Japan to life. Interactive installations, touchscreens, gigapixel images, CT scans, and rotating display cases, offer unique insights into the extraordinary artistry of traditional Japanese craftsmanship. Not only armour and weapons, but also decorative sword fittings, woodblock prints, sculptures, and tea utensils illuminate cultural influences of the samurai that continue to this day.
Temporary exhibitions bridge the gap to the present and explore the influence of the samurai on contemporary culture, both in and outside Japan. The Samurai Museum Berlin is designed as a space open to all, encouraging unexpected discoveries and cross-cultural encounters.
A Cultural Landmark
The Samurai Museum Berlin houses one of the most distinguished collections of authentic Samurai art and artifacts outside Japan.
Set within an architecturally refined exhibition space in Berlin Mitte, the museum presents over 1,000 years of Japanese warrior culture across 1,500 square meters.
Original armor of exceptional craftsmanship, masterfully forged swords, rare ceremonial objects and immersive installations create an experience that transcends the traditional museum visit — a dialogue between history, aesthetics and contemporary exhibition design.
Masterpieces of Power and Aesthetics
The collection brings together museum-quality armor, exquisite kabuto helmets and finely balanced katana that embody the precision and discipline of the Samurai class.
Beyond martial heritage, the exhibition reveals a world shaped by philosophy, ritual and artistic refinement — from Zen-influenced design to the subtle ceremony of tea culture and the symbolism of myth.
Each object is presented with curatorial depth and enhanced through state-of-the-art technology, allowing visitors to encounter these works not as relics, but as enduring cultural icons.
An Exclusive Cultural Experience
Located in Berlin’s historic center, the museum offers an intimate yet world-class cultural encounter for international visitors.
Designed for a contemplative 60–90 minute visit, the experience combines quiet reflection with immersive staging, multilingual interpretation and curated guided tours.
Private tours, cultural performances and a carefully selected museum boutique complete a visit that positions the Samurai Museum among Europe’s most refined emerging institutions.
Peter Janssen Collection
White-laced gomai dō armour, Early to mid-Edo period (17th – 18th century). Mask signed: Myōchin Nagato no Kami Ki no. This exceptionally fine armour is a representative example of the types of armour made for wealthy patrons.
Mizusashi (freshwater containter) of the Iga type yaburebukuro, lit. ‘bursted bag’, ca. 1600. In the style of Furuta Oribe (1544-1615), tea master of the second imperial unifier of Japan Toyotomi Hideyoshi (1537-1598) and made in the Iga kilns, one of Japan’s six ancient kilns (rokkoyō) active till this day.
Gold-lacquered saddle and stirrups with phoenix motif. Edo period (1615-1868). The saddle and stirrups are made of wood, which is lacquered in gold nashiji, a technique resulting in a coat of lacquer that resembles the skin of a pear (nashi).
Bergamot – yuzu, dating late Muromachi to Momoyama period. Artist: Umetada Mitsutada. The sword guard (tsuba) shows two branches of the citrus fruit bergamot (yuzu) on the front and back respectively; the fruits are depicted with large leaves with strong contour lines.
Armour with embossed ironwork Edo period (18th – 19th century). Signed by Myōchin Munesuke. This elaborately decorated armour is an excellent example of the embossed ironwork that was produced for the wealthy samurai of high rank.
Nō mask of the type shojo, 20th century. Despite its innocent expression reminiscent of a young man’s face, this shojo mask belongs to the demonic type, kijin. This visualisation of a cheerful sea spirit goes back to Chinese folklore, with adaptations not only on the nō and kyōgen stages, but also in kabuki theatre.
GREAT BATTLE BETWEEN THE TROOPS OF THE FISHES AND THE VEGETABLES, 1859. Artist: Utagawa Hirokage. The woodblock print shows an unusual battle. The triptych gathers a lively selection of of fish and fruit and vegetables in samurai armour. Satire was often used to circumvent censorship and address social and political issues.
Bamen helmet, Edo period (17th century). Signed by Bamen Tomotsugu. This extraordinary, ridged helmet bowl (suji kabuto bachi) is made of 136 iron plates with a russet iron finish.
Full mask of a crow tengu, Early Edo period. This full face mask (sōmen), made of finely forged and patinated iron, has a striking crow-like shaped nose (karasu) resembling the mystical birdlike creature, the tengu.
“Katō Kiyomasa Kills a Tiger in Korea”, Edo period / Meiji period. Signed by Kawada Shōryō (1824-1898). The painting tells the legendary story of the samurai warrior Katō Kiyomasa (1562-1611). He killed a tiger in Korea during the seven-year Imjin War (1592-1598), the Japanese invasion of the Korean Joseon Dynasty (1392-1910).
“Komainu”, wood. By the early Heian period (794-1185), the general term komainu referred to two paired and standardized lion-dogs: the a-gyō (open-mouthed) lion dog is placed on the right and its un-gyō (closed-mouthed) counterpart on the left.
Rüstung. Armour in the yukinoshita style, which was established in the 16th century to protect against firearms bullets. The helmet was signed by a Saotome armourer who was active in the late Momoyama period (1573-1603) and the early Edo period (1603-1868). The Saotome school is considered one of the most famous schools of armourers in the Edo period. The helmet is also emblazoned with the crest of the Hattori clan, also known for the ninja Hattori Hanzo, also famous in pop culture.
Teeschale. This tea bowl (chawan) dates from the very early Edo period (1603-1868) and was made of clay from the province of Mino. It is categorised as Oribe pottery. The bowl is almost entirely covered with a shiny black iron oxide glaze. Only one area is exposed, which is decorated with a small flock of stylised plovers. These birds adorn not only ceramics, but also lacquerware, textiles, paper design and metalwork.
Schwert. The scabbard of this sword mount (koshirae) for a handachi (literally ‘thin long sword’) was covered with black lacquer and decorated with powdered mother-of-pearl while it was still wet to give it a greenish shimmer. The grainy ray skin and one of two decorative plates (menuki) can be seen underneath the handle winding, which is wrapped with elaborate lacing in this example.
Maske. Nō mask of the shōjō type, which dates back to the 20th century. Its innocent expression is reminiscent of the face of a young man in a drunken condition. The shōjō masks nevertheless belong to the demonic kijin type. The visualisation of a cheerful water spirit goes back to Chinese folklore.
Tsuba. This sword guard (tsuba), made and signed in the middle Edo period (18th century), depicts the thunder and storm god Raijin, a popular figure in Japanese folk belief and local Shintoism. Raijin is depicted in a full-round relief, the so-called sukidashi takabori. It was made by Tsuchiya Yagohachi (1670-1744).
Religion. The wooden sculpture of a standing Amida Buddha, also known as the ‘Buddha of immeasurable light’ or ‘eternal life’, is richly gilded and covered in fine lacquer. The worship of Amida has its roots in ‘Pure Land Buddhism’, which is still considered one of the most influential forms of Japanese Buddhism today. The sculpture shows the hand gesture Gebon Jōshō, which means ‘higher level, lower birth’.
Schwertschmuck. The kozuka is a small by-knife that is attached to the outside of the sword sheath and can be classified as sword fitting. This example is made of shakudō, a copper-gold alloy. Because it is unsigned, the artist is unknown. Nevertheless, it is captivating with its filigree motif of two chicks in grasses, which were designed with gold and silver inlays as well as shakudō.
Bild. ‘Great battle between the troops of fish and vegetables’. The colour woodcut by Utagawa Hirokage from 1859 shows an unusual battle. The triptych brings a lively selection of fish, fruit and vegetables in samurai armour together. Satire was often used to circumvent the censorship of the Edo period (1603-1868) and to address social and political issues.
Helm. This helmet is composed of a helmet shell from the Nanbokuchō period (1336-1392) and decorations and the neck guard (shikoro) from the Edo period (1603-1868). The impressive decoration depicts gilded leaves of the Japanese evergreen holly, which is supposed to protect against evil spirits.
The Collector – A Vision Realised
Inspired by his passion for martial arts and Japanese culture, Peter Janssen acquired his first katana over forty years ago and has been collecting samurai artefacts ever since. What began with a find at a flea market in Berlin, has now grown into a collection of more than 4,000 objects that is unique outside Japan in terms of variets and scope.
The pieces date from the late Kofun to the early Meiji period (6th - 19th century) and offer a fascinating insights into the development of Japanese culture and craftsmanship. The collection includes not only weapons and armour, but also textiles, paintings, woodblock prints, tea utensils, and Buddhist sculptures.
Highlights of the collection are an 18th-century palanquin, a 17th-century armour of the Matsudaira clan and tea utensils from the time of Sen no Rikyū (1522–1591).
Driven by the desire to share his passion and fascination for these exceptional examples of traditional Japanese craftsmanship, Peter Janssen opene the Samurai Art Museum in Villa Clay in 2017. Only a few years later, the continuous growth of the collection called for a new location. This was found in Auguststraße at the former location of the me Collectors Room in the centre of Berlin. With contemporary museum presentation and the multimedia staging of exhibits. Peter Janssen opens up the fascinating world of the samurai to visitors of all ages. Children and young people are addresses just as much as laypeople and experts. In the future, the Research Centre of the Samurai Museum Berlin will remain in the former rooms of the Villa Clay.
Memberships of the Samurai Museum Berlin
