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The earliest forms of art found from Japanese culture are forms of pottery that date back to the Jōmon period. The name Jōmon means "cord pattern," which is what made these pieces so distinct. These pots were suspected to be used primarily for cooking. This specific pot, only titled "Beaker", is dated back to 2000-1000 B.C.E. The piece is smaller at the base and widens towards the rim of the vessel. It is decorated in intricate cord patterns. It is currently located in the British Museum. 

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Early clay figurines, typically feminine in appearance, are called dogū. This piece has large eyes, a wide upper torso, a slim waist, and large hips. It bears resemblance to fertility figures from other cultures. It is adorned with the same "cord pattern" techniques that many clay pieces in the Jōmon period have. While it did not serve the purpose of cooking or eating like pottery in this era, formal analysis hints at fertility and faith being a cause for this piece's creation. This specific piece is located in the Tokyo National Museum in Japan.

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Labeled as the first Japanese Emperor, Jimmu was believed to have been a descendant of the Sun Goddess, Amaterasu. He became Emperor in 660 BC, establishing a narrative of royal connection to the divine. While he was not idolized as intensely as modern-day god-kings would be, he was the beginning of divine kingship in Japan. Before the era of Buddhism in Japan, the country was heavily under Shinto practice. This practice placed royalty as direct descendants of gods, more specifically, Amaterasu. Shinto beliefs state that the Sun Goddess sent her grandson to lead the mortal realms. This started the religious representation of divine kingship, which only lasted until the rise of Buddhism in the 6th Century. While the Emperor remained in power and linked to divinity, Buddhism brought Chinese ideologies with political authority to provide better solutions for administration.

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The Shaka Triad is a bronze statue located in Hōryūji temple. It was created by the artist Tori Busshi in 623 C.E. It was commissioned by the Empress as a tribute to Prince Shotoku Taishi, as the prince was ill. It was believed that the statue would cure him of his illness, however the prince passed before the statue was complete. It was created using his likeness. The statue was placed within the temple in hopes that the Prince's spirit would enter and pass into the Pure Land. While it does not directly fortify any form of divine kingship, it symbolizes royalty's connection to the Buddhist religion in the form of memorial and prayer through sculpture.

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One of the oldest Buddhist temples in Japan, and the oldest wooden building in the country. Its name means "Temple of the Flourishing Law (or Buddhism), having been supposedly created by Emperor Yōmei in an attempt to cure his own illness - to which he had passed before it was constructed. His family fulfilled his final wishes by building the temple, along with a Buddhist statue, next to a palace of the imperial family during the Asuka period. There are three primary structures: The main hall, a five-story pagoda, and the lecture hall. This temple is where Buddhism began in Japan, making it the most important building in Japanese religious culture. It houses one of the oldest Buddhist statues - The Shaka Triad.

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Also known as the "White Heron Castle" for its white coloration. It was built in the 1400s, but never finished until the early 1600s. It is unique among Japanese architecture as it is one of the few remaining castles that were not destroyed during Japan's numerous wars. This large complex was home to one of the largest forces of Samurai that Japan ever produced. The castle's keep resembles a classic pagoda with slanted rooftops and multiple floors. The outer walls of the complex stand several feet off the ground, protecting the numerous buildings that sit atop a tall hill with three moats surrounding the keep: one on the outside, one in the center, and one around the keep itself. The design was intended to cause confusion in foreign attackers, as the multitudes of buildings and multi-layered design would be difficult to navigate for those unfamiliar with the castle's layout - which has proved successful, given that the structure still stands today.

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This temple is located in Kyoto, Japan. It is a Zen-Buddhist temple, which is a branch of Buddhism that pursues enlightenment through personal experience. It contains one of the most popular rock gardens in Japan. It originally used to be a villa but was converted into a Buddhist temple in 1450. The structure was inspired by both Chinese and Japanese culture, taking religious inspirations from both Chinese Buddhism and Japanese Shinto - the worship of nature deities. While there is little information known about the temple's creator or what date it was created, the temple itself is one of the most important structures for Zen-Buddhist monks in modern-day Kyoto.

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Module 4: Ryōan-ji (Peaceful Dragon Temple)

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Module 4: Ryōan-ji (Peaceful Dragon Temple)

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One of the five primary Zen temples in Kyoto during the medieval period. It is a complex located in northern Kyoto, Japan and consists of multiple buildings such as a kitchen, the living quarters, the Founder's Hall, and the Abbot's Quarters. The shogun Ashikaga Yoshimitsu requested the temple be constructed after his conversion and commitment to Zen. The temple contains multiple buildings, each with their own purpose similar to many other Zen temples throughout Japan. It suffered through multiple fires afterward and was quickly rebuilt - most of the buildings survive today, and are open for tours.

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This work was created right after the Edo period in Japan. This watercolor image depicts a Shinto funeral cortège departing a house, heading to the temple. The Shinto priest is indicated by the black clothing in the far left of the image. Several monks carry what appears to be a casket, which holds the body or ashes of the deceased. Historically, Shinto monks would bring the dead to temples in order to allow proper care underneath the watch of the Kami. Shinto would deliberately exclude Buddhism as there was often conflict between the two religions - despite the two performing many of the same services in similar ways. 

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This piece was created in the Edo period of Japan. It depicts six men around a bath house cleaning what appears to be a deceased male. This piece was made with ink and watercolor, painted on to a cloth. While it is uncertain as to the artist that created this painting, it tells a significant part of funerary practices in Japan. Most of the men wear typical attire that one would see in a bath house, however the man in the center of the painting wears what appears to be dark monk robes. The dark coloration is a staple of Shinto monks and is found in many paintings done around this time. Japanese people took great care in tending to their dead, often times cleaning the body and preparing for a final funeral similar to modern open-casket funeral services. They make sure that the deceased is tended to in an almost gentle and meticulous manner, suggesting extreme care and respect for the dead.

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Module 5: Men Washing the Body of a Recently Deceased Man in a Japanese Bath-House

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Module 5: Men Washing the Body of a Recently Deceased Man in a Japanese Bath-House

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This map was created during the Edo period of Japan. It depicts the layout of the Edo Castle, which was located in modern-day Tokyo. The castle itself was home to many Tokugawa shoguns and the Tokugawa shogunate, meaning it was an extremely important castle within Edo-era Japan. The map itself shows major defenses that the castle possessed, marked in red. This map could signify either a plan of attack on the castle - the map potentially having been created by an opposing army - or a blueprint of plans for further reinforcement of the complex. Japan was involved in numerous wars during the Edo period, meaning it was crucial for important structures to be well-defended at all times. This map demonstrates the careful planning and execution of defenses in order to protect Japanese nobility.

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This is a star map created by the artist Shibukawa Harumi in 1677. It was crafted using paper and silk, surrounded by a wooden casing. It depicts Shibukawa's own observations of the stars alongside influence from Chinese astrology. Japan retained many Chinese influences, primarily the introduction of Buddhism, and alongside it came Chinese astrology. By looking at this chart we can see many constellations, some easily recognizable thanks to modern media and the idea of the zodiac. The star map itself combines Shibukawa's observations with Chinese mythology. It is theorized that the map was used as a divination tool in order to predict events in varying regions of Japan.

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Module 6: Tenmon Bun'ya No Zu (Map Showing Divisions of the Heavens and Regions They Govern)

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Module 6: Tenmon Bun'ya No Zu (Map Showing Divisions of the Heavens and Regions They Govern)

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This is a handscroll that dates back to the Heian period. It depicts two women, one of which appears to be lying down, while the other stands nearby. There are windows in the background, suggesting that these two figures are indoors. They both are nearly identical in appearance with long, straight black hair and porcelain colored faces. During the Heian period, it was common practice for Japanese women to powder their face with pure white color. This showed status by implying the ability to lounge indoors all day instead of working in the sun. Women also wore straight black hair and small red lips, to create appearances of youthfulness and beauty. Some of these beauty standards are thought to have been a reaction to Chinese influence, which was prevalent among the early era Japan.

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Module 7: Scroll Titled Genji Monogatari

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Module 7: Scroll Titled Genji Monogatari

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This sculpture dates back to the Edo period of Japan. It is a ceramic figurine of a woman in a layered kimono. While it is dated later than the scroll mentioned previously, it still shares characteristics of an idea "beautiful" woman in Japanese culture: pale white skin, a round face, and slick black hair. However, her hair is styled instead of laying flat; a result of shifting tradition in Japan, thanks to the growing acceptance of Chinese influence throughout the country. The pose that the figure has been given provides a welcoming and positive attitude, perhaps to further the idea that women in the Edo period were polite and dainty. The kimono itself contributes to this idea, as the colors and patterns are floral, which is typically associated with soft and feminine traits.

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Module 7: Standing Figure of a Beauty / 色絵婦人立像

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Module 7: Standing Figure of a Beauty / 色絵婦人立像

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Kamakura is one of the oldest cities located in eastern Japan. Historically, it was the political capitol of the country - being home to the Minamoto shogun in the 12th century. Once the Kamakura government began to fail two centuries later (primarily due to multiple Mongol invasions), the city was no longer the de facto capitol of Japan. Today, the city houses hundreds of historical relics and is home to several Buddhist temples and statues, such as the Great Buddha statue. It is also one of the most popular tourist spots in Japan due to its historical relevance and sandy beaches.

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The city of Kyoto became Japan's capitol moved to Heian-kyō, known today as Kyoto. The city became home to extreme developments in culture and fine arts during the Heian period. It was here where numerous temples and shrines would be built, including but not limited to the temples listed previously. Buddhism developed separate branches, much like how Christianity has Catholicism, Orthodoxy, etc. Two schools were built in Kyoto to teach monks about these Buddhist branches, thus resulting in the widespread growth of the religion. Today, Kyoto is known as the cultural capitol of Japan, and is home to over half of the Kyoto Prefecture's population.