Museum

The white lacing gives this armour a distinctive, elegant appearance. It exemplifies the finely crafted equipment made for wealthy samurai during the Edo period, when armour increasingly served to display rank and status as well as offering protection. The face mask bears the signature of the armour maker Myōchin Nagato no Kami Ki no Kunimichi.

This helmet brings together elements from two distinct periods. The helmet bowl dates to the Nanbokuchō period, while the ornamentation and neck guard, known as a shikoro, belong to the Edo period. Particularly striking are the gilded leaves of the Japanese holly. They were believed to ward off evil spirits, revealing how craftsmanship and spiritual beliefs could converge in samurai equipment.

The scabbard is the most striking feature of this sword mounting, known as a koshirae. Its black lacquer surface was decorated with powdered mother-of-pearl while still wet, creating a greenish shimmer. Beneath the intricately wrapped handle, the textured ray skin and one of the decorative ornaments known as menuki are visible. Even the smallest details of a sword’s mounting reveal the exceptional skill of Japanese craftspeople.

A glossy black iron-oxide glaze covers almost the entire surface of this tea bowl. One unglazed area reveals a group of stylised plovers. Made from clay from Mino Province, the bowl is classified as Oribe ware, associated with the tea master Furuta Oribe. Its restrained decoration demonstrates how a single motif can shape the character of a carefully crafted everyday object.

The Yukinoshita style developed in the 16th century to provide samurai with improved protection against firearms. The helmet of this armour was signed by a maker from the renowned Saotome school. It also bears the crest of the Hattori clan, associated with Hattori Hanzō, a figure whose name remains familiar through ninja legends and popular culture. The object connects the history of armour with a story that continues to capture the imagination today.

A samurai, a tiger and a war far from home: this painting depicts Katō Kiyomasa (1562–1611), who was said to have killed a tiger during the Imjin War in Korea (1592–1598). The scene belongs to the legends surrounding the celebrated military commander. It illustrates how stories of extraordinary deeds shaped the image of the samurai for generations.

The mask’s almost innocent expression contrasts intriguingly with its supernatural identity. In Nō theatre, Shōjō represents a cheerful water spirit whose depiction derives from Chinese folklore. At the same time, the mask belongs to the demonic Kijin type. It demonstrates how traditional Japanese theatre masks combine human expression with fantastical characters.

This richly gilded and lacquered wooden sculpture depicts Amida, the Buddha of Infinite Light and Eternal Life. His worship is closely associated with Pure Land Buddhism, one of the major traditions of Japanese Buddhism. The figure’s hand gesture, known as Gebon Jōshō, refers to birth in a higher level of the Pure Land. The sculpture offers a glimpse into Japan’s religious visual culture.

Fish, fruit and vegetables march into battle dressed in samurai armour. In this unusual print, Utagawa Hirokage transforms the visual language of warfare into humorous satire. During the Edo period, satirical imagery was also used to address social and political issues and explore the limits of censorship. The work reveals a surprisingly playful side of Japanese printmaking.

This sword guard, known as a tsuba, depicts Raijin, the god of thunder and storms. He is a familiar figure in Japanese folk belief. The fully rounded relief, a technique known as sukidashi takabori, gives the figure a striking three-dimensional presence. The object illustrates how a functional component of the sword became a canvas for elaborate artistic expression.

The distinctive crow-like nose gives this full-face mask, made of forged and patinated iron, its striking appearance. It evokes the tengu, a supernatural being in Japanese folklore often depicted with birdlike features. The mask demonstrates how metalworkers transformed forms drawn from nature into compelling representations of Japan’s mythological world.

Komainu are traditional Japanese guardian figures displayed in pairs. One has its mouth open and is known as a-gyō; its counterpart, with its mouth closed, is called un-gyō. In the traditional arrangement, the open-mouthed figure stands on the right and the closed-mouthed figure on the left. Together, they form a distinctive pair within Japan’s religious visual tradition.