"Pine Trees," an ink painting from the 16th century.

Bold brushstrokes use only ink gradations to create a mystical landscape of misty treetops.

Considered by some to be the ultimate masterpiece of Japanese aesthetics, it even carries suggestions of sound and atmosphere.

This is just one of many extraordinary artworks collected in one special location.

It's a location that is the pride of Japanese aesthetics: The Tokyo National Museum.

Around 120,000 items make up this exceptional collection.

89 are considered so valuable that they've been designated national treasures.

It is Japan's biggest, and greatest, museum.

It's head and shoulders
above other museums.

So it's definitely worth a visit for your time and your money.

You get everything good to see.

I would recommend it.

So many of our pieces
reach out and speak to you.

You can trace the evolution
of Japanese thought and technical creativity.

There's so much to explore
and enjoy here.

The exhibits here stretch far into the past, connecting around 30,000 years of history.

Today, we will explore them together.

Discover new ideas and new perspectives on Japan!

The Ueno neighborhood lies just north of central Tokyo.

The Tokyo National Museum looks over the expansive Ueno Park.

Today, the museum has two special visitors.

Andy and Shaula have presented a long-running Japanese design program on NHK WORLD-JAPAN.

We're going right now is going to be the Tokyo National Museum.

Right behind it right is my mother side's family's cemetery.

Since childhood, this has been the area where, you know, we would obviously visit.

And yeah, it brings back a lot of memories.

Wow.

And this is actually going to be my first time, so I'm really looking forward to it.

Oh, it's the first time you're visiting the museum?

Yeah, that's right.

- Well, let's go.
- Let's go.

The Tokyo National Museum stands on a vast plot of 120,000 square meters.

It's an enormous complex, divided into six different galleries, each dedicated to specific themes.

- We are here. Wow.
- It's impressive, isn't it?

Already from the approach from over there, we were walking through.

It's incredible.

They head for the main building - the Honkan - which serves as the impressive face of the museum.

It has a unique design that combines Western, concrete walls with traditional Japanese roof tiles.

Do you see the "onigawara," the figurines, let's say.

Yes, yes.

It's kind of like placed on the edges, aren't they?

- On the edges.
- Yeah.

And you see those in like, you know, in shrines and so forth, right?

Yeah you do.

And you know very well that those are like significant, it means a lot in terms of like it kicks off the bad energy.

- Yes, to ward off bad energy, to bring good luck.
- To good luck.

Inside, visitors are greeted by a magnificent staircase.

The impressive entrance hall is adorned with lavish decor and soaring marble walls.

Any visitor's first stop should be the second floor of the Honkan.

Here we are.

Oh, okay. Highlights of Japanese art.

Each room is designed to connect to other exhibits, providing a comprehensive tour of the history of Japanese art.

The journey begins!

First, a room dedicated to ancient art.

- 5000 years ago, Jomon period.
- Wow, 5000 years ago.

That's incredible.

This is Jomon pottery, made between 3000 and 2000 BC.

It's thought to have been an everyday item used for cooking and storing food.

So well designed, I would think that if it's...

- It's intricate, huh?
- Yeah, it's so intricate, in the designs, and I mean, I was wondering if this is kind of like a wave.

We have this similar kind of pattern in Japanese design now, right?

Yeah, yeah.

From the design, you can feel the, how do you say, the energy of the artists themselves, or the people who lived there enjoyed looking at something beautiful.

A coiled snake, or roiling ocean currents.

There are several theories about the pattern, but all see a connection to a long-standing love for the natural world.

Nature's beauty is at the root of Japanese art.

Other pieces offer very different colors and textures.

A bronze, bell-shaped vessel.

Made between 300 and 100 BC, these vessels are thought to have been rung for agricultural celebrations.

It was during this period that trade with East Asia began gaining momentum.

From rice-farming to iron, copper, and tin.

All kinds of new materials and technology started to arrive in Japan.

Another interesting sculpture.

Our next stop is a Buddha statue that reveals a major turning point in Japan's history.

Around the sixth century AD, Buddhism arrived in Japan.

This statue was carved during that very early period.

And it looks like metal, doesn't it?

But when you look really closely, you can tell that it's wood.

I'm amazed that it's been preserved so well.

It's interesting.

Can you check from the side?

It's also very interesting to see.

Oh, it's almost completely flat.

That is so interesting.

Over time, Buddhism spread further and Buddhist art flourished, refining its aesthetics to even greater heights.

These pitchers once carried holy water that monks used in a cleansing ritual.

In the late 1100s, Zen Buddhism arrived in Japan from China.

Zen is a stoic school of Buddhism that teaches that enlightenment can be reached through meditation and determination.

With Zen Buddhism came ink painting.

These paintings are known for their simplicity and symbolism.

One of the genre's greatest masters was 15th-century artist and Zen monk Sesshu.

This is one of his best-known works - and a national treasure.

Zen Buddhism coalesced with Japanese sensibilities to create and influence many new sub-cultures.

The tea ceremony, for example - a ritual in which guests are served tea in a tearoom.

Tea cups, and iron kettles for boiling water.

Decorative hanging scrolls.

Every detail became a way to express the host's welcome, and the tea ceremony became an artistic genre in its own right.

It naturally went on to develop its own unique aesthetics.

Beauty was found in simplicity, and items weathered by age were valued for their transience and imperfection.

Okay, what is this made out of, first of all?

I mean, at first glance, you would think this is made out of, I don't know, clay or metal, even.

But it's made out of gourd, dried gourd.

I mean, who would think that this is made out of gourd?

And what else is interesting to me is that a gourd, for example, I'm from Hawaii.

In Hawaiian and Polynesian culture, this is an instrument most of the time, a gourd.

And it's amazing that they took a gourd, dried it, and they turned it into a flower vase.

So, I mean, they've taken things that they use in normal daily life - and moved it into a really special setting, like a tea ceremony.

Next, a room of samurai arms and armor.

The samurai were warriors and soldiers.

As a class, they effectively ruled Japan for 700 years, beginning in the late 1100s.

While swords and armor are tools of war, the items in this room also reveal a unique sense of aesthetics.

You kind of imagine, when you see something like this, for example, you imagine who was behind it, who wore it, you know.

True.

And I also love the whole idea that, I mean, this is such a, I've actually never seen something like this.

That's a shell on...

Yeah, it's the turban shell, we eat this.

Turban shell on the helmet, right?

From what I know, you wear something that will scare the opponent, your...

Yeah, something, you know - - quite aggressive and... yeah.
- Aggressive.

So I am curious to know why it's a turban shell, to be honest.

The golden dye is a symbol of power.

It's thought that the motif expresses the tough, resilience of a turban shell.

After the ceaseless wars and noble rivalries of the 15th and 16th centuries, Japan finally found national peace in the 1600s, marking the beginning of the Edo Period.

Ordinary citizens took a larger role as new, elaborate works of art emerged.

One of the most popular new genres was 'ukiyo-e.' These artworks depicted popular places and people,

and became as familiar as picture-postcards in the West.

In the late 19th century, Japonisme began to take off in Europe.

The trend influenced Van Gogh, Monet, and other prominent figures of the art world.

It was a zapping tour, let's say.

Yeah, it definitely was.

They would incorporate foreign cultures and translate into it theirs.

And that's so important to keep in mind, you know, a lot of times we see something, whether it's art or food or whatever it may be, "oh, this is Japanese."

But when you kind of go back into history, you realize that it's influenced by another country.

That's probably the interesting thing to focus on also.

But again, from here on, we can break up and see also the different genres.

- That's right.
- In a specialized way, in a focused way.

So I guess we'll go for that.

Okay, are we going to explore on our own then?

Let's go for it.

The Tokyo National Museum is divided into galleries that focus on specific themes.

Visitors can dive deep into whichever topic draws their personal interest.

I wanted to learn more about ukiyo-e prints.

Ukiyo-e flourished during the late Edo period, but I'm looking for more recent works, which are on the first floor of the Honkan.

In the 1860s, Japan transitioned from a feudal state to a modern nation state.

This room exhibits artwork from that era through to the late 1900s.

Here is the one I was looking for.

"Twelve Scenes in Tokyo," made around 1919.

It's a series of twelve different ukiyo-e.

The artist, Kawase Hasui, was active from the late 1800s into the mid-1900s.

A wave of modernization was changing the city and its scenery dramatically, but Kawase captured historic aspects of Tokyo,

and preserved them in these woodprints that brim with seasonal expression.

For me, they're the epitome of 20th-century ukiyo-e.

I met Tokyo National Museum researcher Matsushima Masato.

This shows us a glimpse of Tokyo's historic cityscape, doesn't it?

Yes, from a century ago.

Right.

How about "Daikongashi" - where is that today?

This is the Horikawa River, which once flowed through central Tokyo.

At the time, this city had countless canals and streams.

Cargo was transported by canal.

The word "Daikon" suggests this was where vegetables were stored or brought for sale.

Most landscape prints before this focused on famous locations.

Kasugayama in Nara, or Arashiyama in Kyoto.

Artists didn't choose places like this; they weren't part of that tradition.

So for Kawase to choose to immortalize very ordinary locations like these - unglamorous, unfamous places - was a real departure.

There's a real sense of humanity in all these images.

You can feel people brushing up behind you, or sense them living behind the doors and windows.

They're alive and breathing, aren't they?

It was Kawase's style to actually go to all of the places he depicted.

You can see that he has added his experiences to each artwork.

Right, I see.

I think it's the conversations, the relationships he formed in each place that underpin these cityscapes.

He often doesn't depict human figures directly, instead allowing the viewer to feel their presence, to feel their everyday lives from his images.

I think there's a kind of drama and lyricism in these snapshots of his travels.

I'm really in love with these images.

You often see comparisons with old photos of what the city used to look like.

But I'd love to take these prints and find the same locations today and compare them.

Like how you find the exact angle of a mountain peak from a landscape scene.

Is this it? Or here?

It's a kind of artistic pilgrimage.

I think it's great fun.

Definitely!

I headed to the first floor of the Heiseikan.

There's a room here I regularly check in on, and I'd love to share it with you.

It's the Japanese Archaeology exhibition.

It's a vast collection of ritual items, terracotta tomb figures and more, made from around 11,000 BC onwards.

It just excites me to see, to feel when I come here the actual, let's say, I can feel the heat of these people.

I can see their existence, I can see them making these objects, you know, can imagine that with so much feelings.

When I come here and stand in front of the haniwas, you know, made from, I would say, my ancestors also, it's a very emotional thing for me now, especially what we're going through in this present day.

And we're all in search of a new way of life.

Over here I feel like there is an answer.

When I see these objects and see how they were living, for me it's a hint, it gives me hints, and it's a very thoughtful moment.

Here, seventh-century Buddhist cultural treasures from
the World Heritage-listed Horyuji Temple are housed.

This gallery provides a comprehensive look at Eastern art,
including art, crafts, and archaeological pieces from China,
the Korean peninsula, India, and Egypt.

Works by the 'father of Western-style painting' Kuroda Seiki
(1866-1924) are exhibited here.

Special exhibitions are held in this imposing, neo-Baroque building.

In 2022, the Tokyo National Museum celebrated its 150th anniversary.

It's been an eventful history.

An ukiyo-e print.

It depicts Japan's very first national exposition, which was held at a shrine, sponsored by the government in 1872.

It was an opportunity to promote Japan's power to the world.

620 historic artworks and biological specimens were put on exhibition.

The exposition culminated in the founding of a museum that later became the Tokyo National Museum.

A decade later, it moved to its current location in Ueno and redoubled its focus on history and artworks.

Over the years, the museum has exhibited legendary items such as the golden mask of Tutankhamun and the Mona Lisa.

Time has solidified its reputation as Japan's greatest museum.

Autumn 2022.

A revolutionary special exhibition was held at the museum.

"Tokyo National Museum: Its History and National Treasures."

From the delicate beauty of urushi lacquer.

To the perfect marriage of form and function.

Texts written a thousand years ago, testament to extraordinary washi paper craftsmanship.

This is the first time in history that all 89 national treasures have been exhibited at once.

Let's explore some of Japan's greatest national treasures.

Look at that.

Wow, these are incredible.

- Wow, it's so detailed.
- You can like feel the energy coming out of it, can't you?

If you look at the details, it's, there's people everywhere, huh?

I mean, I don't, how many people do you think are in this?

So many.

This piece is called "Scenes in and around Kyoto."

It depicts life in the capital in the early 1600s.

It's the work of Iwasa Matabei, sometimes called the progenitor of ukiyo-e.

The painting includes around 2500 people, enjoying festivals, engaging in trade, and living ordinary 17th-century lives.

Each detailed figure is astonishingly vibrant.

It's a prized historical resource.

This is the seventh-century "Dragon-Head Pitcher."

It's a bronze vessel, plated with gold and silver.

- This must have been like the avant-garde design at the time, right?
- Oh, it must have been. Absolutely, yeah.

What intrigues me is that, of course, the head is a dragon.

- So more or less, we have that image of the dragon coming from China.
- China, yeah.

But then you have the Pegasus engraved onto the picture, which, Pegasus is a Greek mythology, right?

Decorations that employ traditional Persian and Chinese motifs.

It's testament to Japan's connections to international trade and the Silk Road 1400 years ago.

This exhibition has one item that Andy has been particularly looking forward to.

The 18th-century "Writing Box with the Yatsuhashi Bridge."

It is considered the pinnacle of Japanese craftsmanship.

This is something I wanted to see because I've never seen the real one.

- I've only saw it on pictures.
- Right, right.

It's pretty incredible how three-dimensional this design is.

A writing box to house brushes, ink, and paper.

This everyday tool was elevated into an exceptional work of art.

It was created by Ogata Korin, one of the most prominent artists of the late 1600s and early 1700s.

The design motif includes irises blooming in a lake, and a bridge crossing the water.

The bottom layer is coated in black urushi lacquer, while the flower petals are embedded mother of pearl.

A special lacquering technique using gold flakes was employed for the leaves.

The boards of the bridge are made with lead, an extremely unusual material for this time period.

Curator Fukushima Osamu.

The lacquer, the gold, and the mother of pearl used here are all very light, very shiny materials.

In contrast, the lead is a rather dull color.

It creates a very heavy and slow impression.

By using it so boldly among the exquisite gold lacquering, it draws attention to the exceptional quality of the other materials on display.

I think this was the reasoning behind the choice to use lead here.

It was almost unheard for lead to be used in this way up to and during the Edo period.

As a material, it decays quite quickly, and is very easily damaged.

It can often become deformed, or it can flake away over time.

To keep it looking as pristine as this for so many years requires special processing.

The lead is just beautiful, isn't it?

It gives off a subtle gleam.

It really does.

Korin maintained close relationships with a number of craftsmen who had the skills and knowledge necessary to treat the metal with chemicals to stop it rusting.

It's quite possible that they taught him ways to treat the lead and preserve it.

It really was cutting-edge technology for the time, pushing the envelope.

Ogata Korin's work was greatly influenced by Hon'ami Koetsu, who was another prominent artist during the early 17th century.

We actually have another gold-lacquered writing box in our national treasure collection.

It's an extraordinary shape that curves up into a pontoon bridge.

It's amazing, and it overturns every expectation of a writing box design.

That sounds incredible.

That also uses a lot of lead.

I believe that Korin may have found inspiration in this box as well.

I feel that a lot of Korin's works, especially this one, break the mold in some way.

It's the same with Koetsu.

I'm struck by the boldness of his work.

I think he paid very close attention to design, and to technique.

This technique is often subtle, but quite clear when you look for it.

I think it was with those elements that he really looked to excel.

And that was a source of pride for him.

I find those details really fascinating.

Sure.

Our next stop is the centerpiece of the current exhibition.

Curator Sato Hirosuke shares his expertise.

So many!

This is incredible.

I feel like I have to hold my breath just stepping inside this room.

This exhibit houses the Tokyo National Museum's nineteen swords that have received a national treasure designation.

The space is called the Room of National Treasure Swords.

Let's begin by examining this sword.

It's a national treasure known as "Dojigiri Yasutsuna."

Yasutsuna is the name of the smith who forged the blade.

"Dojigiri" means "to cut a doji," and here the word "doji" means a demon.

- "Demon-slayer."
- Interesting.

There's a legend about this blade.

They say it was once used to kill a demon called "Shuten Doji."

It was this event that led to its name, "Dojigiri Yasutsuna."

Because of this, it was long believed to have powers that were beyond human comprehension.

A very special sword.

Now, if you step a little closer and lower your eyeline...

Look from a certain angle.

Yes, if you have your eyes at the same height as the blade.

Lower down...

Down here... Oh!

You'll see the lower edge of the blade.

Do you see it?

See how it's shining white?

Yeah.

If you follow that with your eyes, you'll see that it's not a simple line.

The blade actually features a complex pattern of waves.

- Like clouds.
- Exactly.

That line is called the "hamon," and it's the most distinctive characteristic of a Japanese sword.

It's essentially a signature that reveals the era, location, and maker of the blade, along with his distinct style.

That's all on display.

You can see all that.

All of that is primarily visible in the hamon.

Where was this particular sword made?

In Tottori prefecture, in the southwest of the main Japanese island.

It's famous for the quality of its iron, and for its excellent swords.

The next sword is one of Sato's top recommendations for museum visitors.

The "Meibutsu Mikazuki Munechika."

The hamon on this blade is especially famous.

It reveals a pattern of crescent moons.

It's a legendary sword known for its beauty and clean lines.

It's so stylish. Look at that elegance.

It seems so refined, don't you think?

Yes. Elegance is a good word for it.

It has a graceful and sophisticated presence.

It's stunning.

It's thought that this sword is a reflection of the regional culture that shaped it.

Interesting.

This sword was made in Kyoto, the capital at the time.

- Kyoto?
- A different region.

Exactly.

I think the sword reflects the aesthetics of the historic capital, and of the aristocracy.

It truly is supremely elegant.

A reflection.

Sophistication and grace. This is an expression of both.

So, beyond the obvious need for a sharp blade, it seems as though aesthetics were a key element in sword-making.

Absolutely.

Of course, swords were weapons of war.

But they were also more than that.

They were recognized as artworks as well.

Samurai of high standing would seek out quality swords.

And it was understood that this also meant beautiful swords.

True Japanese aesthetics.

Yes, the Japanese sword is a symbol of Japanese culture and aesthetics.

It's symbolic.

Sato is also on the team managing the National Treasure exhibition.

But he takes them to another special exhibit - one that isn't a national treasure.

Oh wow!

These Buddhist statues are gate guardians.

They're called "Ni-oh" in Japanese.

You can see that they're both very muscular, with angry expressions.

They stand outside temples to guard the buddhas and bodhisattvas within.

These were actually damaged in the 1934 Muroto typhoon.

In fact, they were so badly damaged that they were in pieces.

From the typhoon!

Broken apart, completely?

That's right.

After the typhoon had passed, the locals collected all of the fragments and kept them safe.

It was only in 2019 that they underwent proper reconstruction and repair.

So recently!

Yes. The repairs were completed in 2022.

They became the latest addition to the Tokyo National Museum's collection.

This is their first ever exhibition.

The very first?

Now the repairs are complete.

It feels very symbolic for people to have protected these two archetypal guardians.

I think it adds another layer to the importance of their restoration.

I hope that going forward, they'll become guardians for the museum itself.

And I hope that all of our visitors can enjoy their presence.

Protecting these priceless treasures for the future is a key function of any museum.

The Tokyo National Museum's restoration and conservation department handles repairs while also developing and training for new technology and techniques.

We gather a lot of data to
appraise the collection's condition.

We look into its history and
past conservation.

And work out what's necessary
to maintain it into the future.

We traverse the present,
past, and future.

And record the entire conservation
process, not just the result.

It's vital that we pass the collection on
in the best possible condition.

Another key function of the museum is education.

It provides a rare opportunity to get children interested in cultural artefacts.

The museum holds a monthly "Kids' Day."

Anyone can come and take part.

Visitors can become researchers for a day and study Buddhist statues, or work with beautifully copied replicas.

Other programs offer families a chance to explore together.

This has the name of a certain bird.

A penguin?

Oh, an owl!

Yes, an owl. It has an "owl-like face."

Be gentle.

It's heavier than I thought.

650 grams!

Some kids are bored when they
get here because it's a school trip.

I get to interest and excite
them with all we have to offer.

It's great to see them go home
starry-eyed and eager to come back.

Recently, the Tokyo National Museum has collaborated with NHK and a number of organizations on projects that leverage the latest digital technology.

Cultural artefacts were captured with a super high-definition camera to create 3D graphical data.

Combining this with digital tools creates new ways to examine these items.

As part of the anniversary celebration, the museum also hosted a special exhibition titled "Museum of the Future."

First we'll visit the Yume Hall at Horyuji Temple.

Over here?

Oh wow.

Wow!

Incredible!

The Mysterious Golden Bodhisattva housed in Horyuji Temple's Yume Hall in Nara appears on a screen 4.5 meters high and eight meters across.

The 3D data captured from the statue gives the image all the impact of the real object.

The real bodhisattva is not open to the public, so many of these angles and close-up views are entirely new.

The project was also a huge breakthrough for researchers.

Very few people are permitted access, even for research purposes.

Now ordinary folks can see it too.

Exactly, yes.

And we get to see it in so much detail - that's completely unheard of.

- It's very new.
- So much potential.

Awaiting them in the next room is an unexpected journey.

Now we'll visit the Kyoto of 400 years ago.

This is a digital version of the "Scenes from Kyoto" that Andy and Shaula saw earlier.

Oh, what a difference!

Look at how crowded the streets are.

This is wonderful!

So beautiful. And so detailed!

I can't believe how clear this is.

I'm sure you saw the original work.

The figures in it are only about four centimeters high.

Very small.

Now we see their expressions.

Exactly - their clothing, tools, and even their facial expressions.

Extraordinary.

You can see people known as "horomusha" carrying large balloons.

At this tiny scale, most artists would surely never draw such complex patterns.

Or the girls, partying over here.

Are they having a girls' night out?

Yes, drinking sake, eating good food.

I can almost hear them talking.

I know what you mean!

- It's a lavish event.
- Glamorous.

It's an amazing glimpse at all the lifestyles of the era.

The whole work is endlessly fascinating.

That's partly the power of the original work, but also the extraordinary details that the 8K technology allows us to discover.

It's a wonderful idea.

I really enjoy how we can look at them both in combination.

Seeing the original, then seeing the details on this huge screen is a different experience.

Yes, seeing the original again is a shock - you realize just how much is compressed into that space.

Absolutely.

Another exhibit allows visitors to get a feel for the museum's national treasures.

Literally.

The national treasure collection contains several bowls.

These items perfectly replicate their shape, weight, and texture.

Andy, please choose one to try for yourself.

May I? Okay...

Which would you like?

There's a few.

I've already decided on this one.

I can pick it up?

- Go ahead.
- Thank you.

Now please stand in front of the screen.

- It's moving!
- Oh wow!

Yes, the screen reacts to your movements.

So you can feel the shape and weight with your hands while seeing the real thing on the screen.

- Distance, too?
- Let's see.

Try bringing it in closer.

That makes it bigger.

I can even feel the crack too.

Amazing.

You can't see inside the actual bowl.

Because of how it's exhibited.

Artisans created their works to be used.

Half their beauty lies in the sensation of holding them.

But naturally, that's not possible in a museum, so we wanted to do the next best thing.

It's a wonderful idea.

I hope museums of the future will have exhibits like this.

I do hope so.

- That would be amazing.
- Definitely.

The Tokyo National Museum is continually evolving to offer visitors new experiences.

Each new project is a step closer to becoming the ideal museum.

Museums are for self-discovery,
and self-realization.

I want our museum to enrich people's lives.

To be a companion along their journey.

- So that's it, huh?
- What a day.

What a day. What a day. What an experience.

What an experience, you know, I have to say, I'm a little bit ashamed that I've never been here before, considering that I've been here for 16 years.

And I do wish that I came sooner because I feel like I have a better understanding of the culture that I've been living in for so long.

And what I would suggest that for all those travelers coming to Japan from here on is when they arrive in Tokyo, come here come, to the Tokyo National Museum.

You know, and just kind of accumulate, feel the culture over here through the arts and then go out towards Kyoto or Kanazawa, go, you know, to the countryside of Japan

and actually experience the culture over there.

And that's the best way to kind of enjoy this country, enjoy the culture and in the end, enjoy the people.

Yeah, that's right.

We hope to see you all here in Tokyo National Museum.

- We'll probably be here, right?
- I think so.