List of National Treasures of Japan (sculptures)

Ashura, a Japanese National Treasure sculpture from 734

In the mid-6th century, the introduction of Buddhism from Korea (Baekje) to Japan resulted in a revival of Japanese sculpture. Buddhist monks, artisans and scholars settled around the capital in Yamato Province (present day Nara Prefecture) and passed their techniques to native craftsmen. Consequently, early Japanese sculptures from the Asuka and Hakuhō periods show strong influences of continental art, which initially were characterized by almond-shaped eyes, upward-turned crescent-shaped lips and symmetrically arranged folds in the clothing. The workshop of the Japanese sculptor Tori Busshi, who was strongly influenced by the Northern Wei style, produced works which exemplify such characteristics. The Shakyamuni triad and the Guze Kannon at Hōryū-ji are prime examples. By the late 7th century, wood replaced bronze and copper. By the early Tang dynasty, greater realism was expressed by fuller forms, long narrow slit eyes, softer facial features, flowing garments and embellishments with ornaments such as bracelets and jewels. Two prominent examples of sculptures of this period are the Shō Kannon at Yakushi-ji and the Yumechigai Kannon at Hōryū-ji.^[1][2][3]

During the Nara period, from 710 to 794, the government established and supported workshops called zōbussho, the most prominent of which was located in the capital Nara at Tōdai-ji, which produced Buddhist statuary. Clay, lacquer and wood, in addition to bronze, were used. Stylistically, the sculptures were influenced by the high Tang style, showing fuller body modelling, more natural drapery and a greater sense of movement. Representative examples of Nara period sculpture include the Great Buddha and the Four Heavenly Kings at Tōdai-ji, or the Eight Legions at Kōfuku-ji.^[4]

Early Heian period works before the mid-10th century appear heavy compared to Nara period statues, carved from single blocks of wood, and characterised by draperies carved with alternating round and sharply cut folds. Stylistically, they followed high to later Tang style. In the Heian period the zōbussho were replaced with temple-run and independent workshops; wood became the primary medium; and a specific Japanese style emerged. By the mid-10th century, the style was refined presenting a more calm and gentle appearance, with attenuated proportions. Jōchō was the most important sculptor of this time, and he used the yosegi technique, in which several pieces of wood are joined to sculpt a single figure. He was the ancestor of three important schools of Japanese Buddhist statuary: the Enpa, Inpa and Keiha school. The Amida Nyorai at Byōdō-in is the only extant work by Jōchō.^[4][5][6] Japanese sculpture experienced a renaissance during the Kamakura period, led by the Kei school. Partially influenced by Song dynasty China, their sculpture is characterised by realism featuring elaborate top knots, jewelry, and wavy drapery. Although predominantly wooden, bronze was also used as a material for the statues. As a novelty, portrait sculptures of prominent monks were created adjacent to the depiction of Buddhist deities.^[7]

The term "National Treasure" has been used in Japan to denote cultural properties since 1897.^[8] The definition and the criteria have changed since the inception of the term. These sculptures adhere to the current definition, and have been designated national treasures since the Law for the Protection of Cultural Properties came into force on June 9, 1951. The items are selected by the Ministry of Education, Culture, Sports, Science and Technology based on their "especially high historical or artistic value".^[9][10] This list presents 131 entries of sculptures, including those from Classical and early Feudal Japan of the 7th-century Asuka period to the 13th-century Kamakura period, although the number of sculptures is higher, because groups of related sculptures have sometimes been joined to form single entries. The sculptures listed depict Buddhist and Shintō deities or priests venerated as founders of temples. Some of the most ancient sculptures were imported directly from China.^[10][11]

Statistics

Various materials have been used for the sculptures. Although most are wooden, 11 entries in the list are bronze, 11 are lacquer, 7 are made of clay and 1 entry, the Usuki Stone Buddhas, is a stone sculpture. Typically hinoki, Japanese nutmeg, sandalwood and camphorwood were the woods used for the wooden sculptures. Wooden sculptures were often lacquered or covered with gold-leaf. The smallest statue measures around 10 centimetres (3.9 in), whereas the Great Buddhas of Nara and Kamakura are about 13 metres (43 ft) and 15 metres (49 ft) high. The objects on the list are located in Buddhist temples, or in museums associated with temples. Some items are located in shrines, as well as in secular museums.^[10][11][12]

Nara Prefecture is home to the largest number of National Treasure sculptures, with 73 of the 131 entries. Together with the 38 entries located in Kyoto Prefecture, they constitute the bulk of sculptural National Treasures. Hōryū-ji and Kōfuku-ji are the locations with the most entries, at 17 each.

Map showing the location of sculptural National Treasures in Japan

Prefecture	City	National Treasures
Fukushima	Yugawa	1
Hyōgo	Ono	1
Iwate	Hiraizumi	1
Kanagawa	Kamakura	1
Kyoto	Kizugawa	3
	Kyōtanabe	1
	Kyoto	31
	Uji	3
Nara	Asuka	1
	Ikaruga	18
	Nara	48
	Sakurai	2
	Uda	3
	Yoshino	1
Ōita	Usuki	1
Osaka	Fujiidera	2
	Katano	1
	Kawachinagano	1
Shiga	Ōtsu	3
	Takatsuki	1
Shizuoka	Izunokuni	1
Tokyo	Tokyo	1
Wakayama	Hidakagawa	1
	Kōya	2
	Kudoyama	1
	Shingū	1

Period	National Treasures
Asuka period	14
Tang dynasty	3
Nara period	26
Heian period	62[nb 1]
Northern Song	1
Kamakura period	26[nb 1]

Usage

The table's columns (except for Remarks and Pictures) are sortable pressing the arrows symbols. The following gives an overview of what is included in the table and how the sorting works.

• Name: name as registered in the List of National Treasures
• Remarks: placement of statues (as a group, separately,...) and artist (if known)
• Date: period and year; The column entries sort by year. If only a period is known, they sort by the start year of that period.
• Material and technique: wood/bronze/..., lacquered/colored/...; The column entries sort by the main material (stone/clay/wood/lacquer/bronze).
• Pose: standing/seated Amida Nyorai/Yakushi Nyorai/...; The column entries sort by the name of the principal image or as "set" in the case of sets of sculptures that don't fall under a common group name.
• Height: height in cm; The column entries sort by the largest height if an entry is a group of statues.
• Present location: "building-name temple/museum/shrine-name town-name prefecture-name"; The column entries sort as "prefecture-name town-name temple/museum/shrine-name building-name".
• Image: picture of the statue or a characteristic statue in a group of statues

Treasures

Name	Remarks	Date	Material	Pose	Height	Present location	Image
Statues and canopy inside the Golden Hall (Konjiki-dō) (金色堂堂内諸像及天蓋 konjiki-dō dōnai shozō　oyobi tengai)[13]	32 statues in the three altars and another seated Amida Nyorai with fragments of a wooden halo-pedestal. The three canopies of the altars are part of the nomination.	Heian period, around 1124–1187	Joined wood-block sculpture (Hinoki wood for the Amida, katsura for the Jizō and Nitennō); lacquer with gold leaf embossing	Three seated Amida Nyorai, three sets of Amida attendants (Kannon and Seishi), three sets of Nitennō, 18 Jizō Bosatsu	50–78 cm (20–31 in)	Konjikidō (金色堂), Chūson-ji, Hiraizumi, Iwate
Yakushi Nyorai and two attendants (木造薬師如来及両脇侍像 mokuzō yakushi nyorai oyobi ryōkyōjizō)[14][15]	—	Heian period, c. 806–810	Zelkova wood, gold leaf over lacquer (shippaku (漆箔))	Seated Yakushi Nyorai (healing Buddha) flanked by standing Nikkō Bosatsu and Gakkō Bosatsu (Bodhisattvas of sun and moon light)	141.8 cm (55.8 in) (Yakushi), 169.4 cm (66.7 in), 173.9 cm (68.5 in)	Shōjō-ji, Yugawa, Fukushima	—
Fugen Bosatsu (Samantabhadra) on an elephant (木造普賢菩薩騎象像 mokuzō fugen bosatsu kizōzō)[16][17]	—	Heian period, first half of 12th century	Colored wood and cut-gold foil (kirikane (截金)) on wood	Seated statue of Fugen Bosatsu on elephant	140 cm (55 in) (whole sculpture), 55.2 cm (21.7 in) (statue)	Okura Museum of Art, Tokyo
Great Buddha (銅造阿弥陀如来坐像 dōzō amida nyoraizō)	Outdoor statue cast by Hisatomo Tanji and Ōno Gorōemon. The second largest statue in the list.	Kamakura period, 1252	Bronze cast, gold leaf over lacquer (shippaku (漆箔))	Seated Amida Nyorai	13.35 m (43.8 ft), 93 t (92 long tons; 103 short tons)	Kōtoku-in, Kamakura, Kanagawa
Amida Nyorai (木造阿弥陀如来坐像 mokuzō amida nyorai zazō), Fudō Myōō and two attendants (木造不動明王二童子立像 mokuzō fudō myōō oyobi ni dōji ritsuzō), Bishamonten (木造毘沙門天立像 mokuzō bishamonten ritsuzō) [18]	By Unkei	Kamakura period, 1186	Colored wood	Seated Amida Nyorai, standing Bishamonten, Fudō Myōō and two attendants	—	Ganjōju-in, Izunokuni, Shizuoka	—
Eleven-faced Goddess of Mercy (木造十一面観音立像 mokuzō jūichimenkannon ryūzō)[16][19]	—	Heian period, mid-9th century	Colored wood	Standing Jūichimen Kannon	177.3 cm (69.8 in)	Kōgen-ji (向源寺) (Dōgan-ji Kannondō (渡岸寺観音堂)}), Takatsuki, Shiga
Shinra Myōjin (木造新羅明神坐像 mokuzō shinra myōjin zazō)[20]	Statue of Mii-dera's guardian deity	Heian period, 11th century	Colored wood and cut-gold foil (kirikane (截金)) on wood	Seated Shinra Myōjin (新羅明神)	78 cm (31 in)	Shinra Zenshin Hall (新羅善神堂 shinra zenshindō), Mii-dera, Ōtsu	—
Chishō Daishi (Enchin) (木造智証大師坐像 mokuzō chishō daishi zazō) or Okotsu Daishi (御骨大師)[21]	—	Heian period, 9th century	Colored wood	Seated Chishō Daishi (Enchin)	86.3 cm (34.0 in)	Tō-in Daishi Hall (唐院大師堂 tōin daishidō), Mii-dera, Ōtsu	—
Chishō Daishi (Enchin) (木造智証大師坐像 mokuzō chishō daishi zazō) or Chūson Daishi (中尊大師)[22]	—	Heian period, 10th century	Colored wood	Seated Chishō Daishi (Enchin)	84.3 cm (33.2 in)	Tō-in Daishi Hall (唐院大師堂 tōin daishidō), Mii-dera, Ōtsu	—
Shakyamuni (Shaka Nyorai) (銅造釈迦如来坐像 dōzō shaka nyorai zazō)[19][23]	—	Asuka period, beginning of 8th century	Gilt bronze	Seated Shakyamuni (Shaka Nyorai)	240.3 cm (94.6 in)	Hon-dō, Kaniman-ji (蟹満寺), Kizugawa, Kyoto
Eleven-faced Goddess of Mercy (木心乾漆十一面観音立像 mokushin kanshitsu jūichimenkannon ryūzō)[24]	—	Nara period, second half of 8th century	Wood-core dry lacquer (木心乾漆 (mokushin kanshitsu)), gold leaf over lacquer (shippaku (漆箔))	Standing Jūichimen Kannon	172.7 cm (68.0 in)	Hon-dō, Kannon-ji (観音寺), Kyōtanabe, Kyoto
Fūjin and Raijin (木造〈風神／雷神〉像 mokuzō Fūjin-Raijin zō) or Wind God and Thunder God[19][25]	—	Kamakura period, mid-13th century	Colored wood and crystal eyes	Standing Fūjin and standing Raijin	111.5 cm (43.9 in) (Fūjin) and 100.0 cm (39.4 in) (Raijin)	Sanjūsangen-dō, Myōhō-in (妙法院), Kyoto
Bonten (木造梵天坐像 mokuzō bonten zazō)[26] and Taishakuten in half-lotus position (帝釈天半跏像 taishakuten hankazō)	—	Heian period, 839	Colored wood (faded)	Seated Bonten on a lotus pedestal carried by four geese and Taishakuten seated on an elephant in half-lotus position	101.1 cm (39.8 in) (Bonten) and 110 cm (43 in)	Lecture Hall (講堂 kō-dō), Tō-ji, Kyoto
Amida Nyorai and two sitting attendants (木造阿弥陀如来及両脇侍坐像 mokuzō amida nyorai oyobi ryōwakiji zazō)[27]	—	Heian period, 1148	Wood, gold leaf over lacquer (shippaku (漆箔))	Sitting Amida Nyorai and two sitting attendants (Kannon and Seishi)	233.0 cm (91.7 in) (Amida), 131.8 cm (51.9 in) (Kannon) and 130.9 cm (51.5 in) (Seishi)	Ōjō Gokuraku-in Amida Hall (往生極楽院 ōjō gokurakuin amidadō), Sanzen-in, Kyoto
Amida Nyorai and two sitting attendants (木造阿弥陀如来及両脇侍坐像 mokuzō amida nyorai oyobi ryōwakiji zazō)[28]	Former principal image of Seika-ji (棲霞寺)	Heian period, 896	Wood, gold leaf over lacquer (shippaku (漆箔))	Sitting Amida Nyorai and two sitting attendants (Kannon and Seishi)	172.2 cm (67.8 in) (Amida), 165.7 cm (65.2 in) (Kannon) and 168.2 cm (66.2 in) (Seishi)	Seiryō-ji, Kyoto	—
Amida Nyorai and two attendants (木造阿弥陀如来及両脇侍像 mokuzō amida nyorai oyobi ryōwakijizō)[29]	Originally enshrined in the kon-dō	Heian period, 888	Wood, gold leaf over lacquer (shippaku (漆箔))	Sitting Amida Nyorai and two standing attendants (Kannon and Seishi)	88.6 cm (34.9 in) (Amida), 123.4 cm (48.6 in) (Kannon) and 123.3 cm (48.5 in) (Seishi)	Treasure Hall (霊宝館 reihōkan), Ninna-ji, Kyoto	—
Amida Nyorai (木造阿弥陀如来坐像 mokuzō amida nyorai zazō)[30]	—	Heian period, end of 11th century	Wood, gold leaf over lacquer (shippaku (漆箔))	Sitting Amida Nyorai	280.0 cm (110.2 in)	Amida Hall (阿弥陀堂 amidadō), Hōkai-ji (法界寺), Kyoto
Amida Nyorai (木造阿弥陀如来坐像 mokuzō amida nyorai zazō)[31]	—	Heian period, 840	Wood, gold leaf over lacquer (shippaku (漆箔))	Sitting Amida Nyorai	263.6 cm (103.8 in)	Lecture Hall (講堂 kō-dō), Kōryū-ji, Kyoto
Nine Amida Nyorai (木造阿弥陀如来坐像 mokuzō amida nyorai zazō)[32]	Nine statues representing the nine stages of nirvana	Heian period, around 1100	Wood, gold leaf over lacquer (shippaku (漆箔))	One central sitting Amida Nyorai flanked by four sitting Amida Nyorai on both sides	224.2 cm (88.3 in) (central), 138.8–145.4 cm (54.6–57.2 in) (others)	Hon-dō, Jōruri-ji, Kizugawa, Kyoto	—
Amida Nyorai (木造阿弥陀如来坐像 mokuzō amida nyorai zazō)[33]	The principal image in the Phoenix Hall of Byōdō-in and only extant work by Jōchō	Heian period, 1053	Wood, gold leaf over lacquer (shippaku (漆箔))	Sitting Amida Nyorai	283.9 cm (111.8 in)	Phoenix Hall (鳳凰堂 hōō-dō), Byōdō-in, Uji, Kyoto
Bosatsu on clouds (木造雲中供養菩薩像 mokuzō unchū kuyō bosatsuzō)[34]	Thought to accompany departed believers to Amida's Pure Land.[35]	Heian period, 1053	Wood, gold leaf over lacquer (shippaku (漆箔)), colored, partially cut-gold foil (kirikane (截金)) on wood	52 Bosatsu on clouds attached to the wall	40.0–87.0 cm (15.7–34.3 in)	Phoenix Hall (鳳凰堂 hōō-dō), Byōdō-in, Uji, Kyoto
Tobatsu Bishamonten (木造兜跋毘沙門天立像 mokuzō tobatsu bishamonten ryūzō)[12][36]	Formerly enshrined in the Bishamon Hall (毘沙門堂 bishamon-dō)	Tang dynasty, 9th century	Wood, gold leaf over lacquer (shippaku (漆箔)), colored, nerimono (練物)	Standing Bishamonten	189.4 cm (74.6 in)	Treasure Hall (霊宝館 reihōkan), Tō-ji, Kyoto
Five Great Kokūzō Bosatsu (Akasagarbha) (木造五大虚空蔵菩薩坐像 mokuzō godai kokūzō bosatsu zazō)[12][37]	Five almost identical Great Kokūzō Bosatsu are enshrined in the two-storied pagoda.	Heian period, 9th century	Colored wood	Five sitting Kokūzō Bosatsu (Akasagarbha)	94.2–99.1 cm (37.1–39.0 in)	Tahōtō, Jingo-ji, Kyoto
Five Great Bosatsu (木造五大菩薩坐像 mokuzō godai bosatsu zazō)[19]	The central figure is excluded from the nomination being a later work.	Heian period, 839	Wood	Four seated Bosatsu	96.4 cm (38.0 in)	Lecture Hall (講堂 kō-dō), Tō-ji, Kyoto
Five Wisdom Kings (木造五大明王像 mokuzō godai myōōzō)[19][38]	—	Heian period, 839	Colored wood	Five Wisdom Kings: sitting Acala, standing Trilokavijaya, Kundali and Vajrayaksa, Yamantaka riding a bull	173.0 cm (68.1 in) (Acala), 174.0 cm (68.5 in) (Trilokavijaya), 201.0 cm (79.1 in) (Kundali), 143.0 cm (56.3 in) (Yamantaka), 172.0 cm (67.7 in) (Vajrayaksa)	Lecture Hall (講堂 kō-dō), Tō-ji, Kyoto
Kōbō Daishi (Kūkai) (木造弘法大師坐像 mokuzō Kōbō Daishi zazō)	By Kōshō (康勝)	Kamakura period, 1233	Colored wood, crystal eyes	Seated Kōbō Daishi (Kūkai)	69.0 cm (27.2 in)	Miei Hall (御影堂 mieidō), Tō-ji, Kyoto	—
Four Heavenly Kings (木造四天王立像 mokuzō shitennō ryūzō)[39]	—	late Heian period, 11th–12th century	Colored wood and cut-gold foil (kirikane (截金)) on wood	Standing Four Heavenly Kings	169.7 cm (66.8 in) (Jikoku-ten), 169.7 cm (66.8 in) (Zōjō-ten), 168.8 cm (66.5 in) (Kōmoku-ten), 167.0 cm (65.7 in) (Tamon-ten)	Jōruri-ji, Kizugawa, Kyoto	—
Four Heavenly Kings (木造四天王立像 mokuzō shitennō ryūzō)[12]	—	Heian period, 839	Wood	Standing Four Heavenly Kings	183.0 cm (72.0 in) (Jikoku-ten), 184.2 cm (72.5 in) (Zōjō-ten), 171.8 cm (67.6 in) (Kōmoku-ten), 197.9 cm (77.9 in) (Tamon-ten)	Lecture Hall (講堂 kō-dō), Tō-ji, Kyoto	—
Shakyamuni (Shaka Nyorai) (木造釈迦如来立像 mokuzō shaka nyorai ryūzō) and objects found within the statue[12][40]	Copy of lost Udayana Buddha by the Chinese sculptors and brothers Zhāng Yánjiǎo and Zhāng Yánxí. Brought to Japan from China in 986 by the monk Chōnen (奝然). Includes a model of the internal organs, made of silk and other materials, a paper with the seal of Chōnen and other items. Inscription of repair dated 1218	Northern Song, 985	Wood, natural wood surface (素地 kiji), cut-gold foil (kirikane (截金)) on wood	Standing Shakyamuni (Shaka Nyorai)	160.0 cm (63.0 in)	Hon-dō, Seiryō-ji, Kyoto
Eleven-faced Goddess of Mercy (木造十一面観音立像 mokuzō jūichimenkannon ryūzō)	—	Heian period, 951	Wood	Standing Jūichimen Kannon	258.0 cm (101.6 in)	Hon-dō, Rokuharamitsu-ji, Kyoto	—
Twelve Heavenly Generals (木造十二神将立像 mokuzō jūni shinshō ryūzō)[12][41]	By Chōsei (長勢)	Heian period, 1064	Colored wood	Standing Twelve Heavenly Generals	123.0 cm (48.4 in) (Kumbhira), 115.1 cm (45.3 in) (Andira)	Treasure House (霊宝殿 reihōden), Kōryū-ji, Kyoto
Thousand-armed Kannon (木造千手観音坐像 mokuzō senjū kannon zazō)[12][42]	The principal image of Sanjūsangen-dō. By Tankei.	Kamakura period, 1251–1254	Wood, gold leaf over lacquer (shippaku (漆箔)), crystal eyes	Seated Thousand-armed Kannon	334.8 cm (131.8 in)	Sanjūsangen-dō, Myōhō-in (妙法院), Kyoto
Thousand-armed Kannon (木造千手観音立像 mokuzō senjū kannon ryūzō)[12][19][43]	—	Heian period, around 934	Colored wood (faded)	Standing Thousand-armed Kannon	109.7 cm (43.2 in)	Hosshō-ji, Kyoto
Thousand-armed Kannon (木造千手観音立像 mokuzō senjū kannon ryūzō)[12][44]	—	Heian period, before 873	Colored wood (faded)	Standing Thousand-armed Kannon	266.0 cm (104.7 in)	Lecture Hall (講堂 kō-dō), Kōryū-ji, Kyoto	—
Hachiman in the guise of a seated monk (木造僧形八幡神坐像 mokuzō sōgyō hachimanjin zazō) and two Goddesses (木造女神坐像 mokuzō joshin zazō)[45]	—	Heian period, 9th century	hinoki wood-core dry lacquer (木心乾漆 (mokushin kanshitsu)), painted or gilded	Seated Hachiman and two seated attendant goddesses	c. 110 cm (43 in) each	Tō-ji, Kyoto	—
Canopy (木造天蓋 mokuzō tengai)	—	Heian period, 1053	Wood	n/a	—	Phoenix Hall (鳳凰堂 hōō-dō), Byōdō-in, Uji, Kyoto
Twenty eight attendants (木造二十八部衆立像 mokuzō nijūhachi bushū ryūzō)[12][46]	—	Kamakura period, mid 13th century	Colored wood (faded)　and cut-gold foil (kirikane (截金)) on wood, crystal eyes	Standing 28 attendants of the Thousand-armed Kannon (千手観音 senjū kannon).	153.6–169.7 cm (60.5–66.8 in)	Sanjūsangen-dō, Myōhō-in (妙法院), Kyoto
Bishamonten, Kichijōten, Zennishi Dōji (木造毘沙門天及〈吉祥天／善膩師童子〉立像〉 mokuzō bishamonten kichijōten zennishi dōji ryūzō)[12][19][47]	—	Heian period, 1127	Wood, natural wood surface (素地 kiji)	Bishamonten accompanied by his wife Kichijōten and her son Zennishi Dōji (all standing)	175.7 cm (69.2 in) (Bishamonten)	Hon-dō, Kurama-dera, Kyoto
Fukū Kensaku Kannon (木造不空羂索観音立像 mokuzō fukū kensaku kannon ryūzō)[48]	Formerly enshrined in the Lecture Hall (講堂 kō-dō)	Heian period, around 800	Colored wood (faded)	Standing Fukū Kensaku Kannon	313.6 cm (123.5 in)	Treasure House (霊宝殿), Kōryū-ji, Kyoto
Fudō Myōō (Acala) (木造不動明王坐像 mokuzō fudō myōō zazō) and Canopy (木造天蓋 mokuzō tengai)[19]	—	Heian period, second half of 9th century	Wood	Seated Acala and canopy	123.0 cm (48.4 in)	Miei Hall (御影堂 miei-dō), Tō-ji, Kyoto
Bodhisattva in half-lotus position (木造菩薩半跏像 mokuzō bosatsu hankazō) or Nyoirin Kannon (如意輪観音)[49][50]	—	Heian period, 9th century, Jōgan era	Wood, natural wood surface (素地 kiji)	Nyoirin Kannon in half-lotus position	88.2 cm (34.7 in)	Hon-dō, Gantoku-ji (願徳寺), Kyoto	—
Miroku Bosatsu in half-lotus position (木造弥勒菩薩半跏像 mokuzō miroku bosatsu hankazō) or hōkan miroku (宝冠弥勒)[51]	Possibly imported to Japan from Korea. One of the oldest items in the list.	Asuka period, 7th century	Japanese Red Pine wood, gold leaf over lacquer (shippaku (漆箔))	Miroku Bosatsu in half-lotus position	84.2 cm (33.1 in)	Treasure House (霊宝殿 reihōden), Kōryū-ji, Kyoto
Miroku Bosatsu in half-lotus position (木造弥勒菩薩半跏像 mokuzō miroku bosatsu hankazō) or Weeping Miroku (泣き弥勒 naki miroku)[52]	Possibly made in Japan	Asuka period, around 700	Camphorwood, gold leaf over lacquer (shippaku (漆箔))	Miroku Bosatsu in half-lotus position	66.4 cm (26.1 in)	Treasure House (霊宝殿 reihōden), Kōryū-ji, Kyoto
Yakushi Nyorai and two attendants (木造薬師如来及両脇侍像 mokuzō yakushi nyorai oyobi ryōkyōjizō)[53]>[16]	Formerly enshrined in the Yakushi Hall (薬師堂)	Heian period, 913	Hinoki wood, gold leaf over lacquer (shippaku (漆箔))	Seated Yakushi Nyorai (healing Buddha) and two standing attendants: Nikkō Bosatsu and Gakkō Bosatsu (Bodhisattvas of sun and moon light)	176.5 cm (69.5 in) (Yakushi)	Treasure House (霊宝館 reihōkan), Daigo-ji, Kyoto	—
Kokūzō Bosatsu (Akasagarbha) (木造虚空蔵菩薩立像 mokuzō kokūzō bosatsu ritsuzō)[54][55]	Also known as Shō Kannon; notable for its complex heavenly garment	early Heian period, 9th century	Colored wood	Standing Kokūzō Bosatsu (Akasagarbha)	51.5 cm (20.3 in)	Daigo-ji, Kyoto	—
Yakushi Nyorai (木造薬師如来坐像 mokuzō yakushi nyorai zazō)[12][56]	By Ensei (円勢) and Chōen (長円). Halo with Seven Buddhas of healing (七仏薬師 shichibutsu yakushi), Nikkō Bosatsu and Gakkō Bosatsu. Pedestal with Twelve Heavenly Generals (十二神将 jūni shinshō)	Heian period, 1103	Sandalwood, natural wood surface (素地 kiji), cut-gold foil (kirikane (截金)) on wood	Seated Yakushi Nyorai	10.7 cm (4.2 in)	Reimeiden (霊明殿), Ninna-ji, Kyoto	—
Yakushi Nyorai (木造薬師如来立像 mokuzō yakushi nyorai ryūzō)[57]	Principal image of Jingo-ji's predecessor temple Jingan-ji (神願寺)	Heian period, end of 8th century	Wood, natural wood surface (素地 kiji)	Standing Yakushi Nyorai	169.7 cm (66.8 in)	Kon-dō, Jingo-ji, Kyoto
Thousand-armed Kannon (乾漆千手観音坐像 kanshitsu senjū kannon zazō)[58]	The statue has a total of 1041 arms: 2 main arms with the hand palms facing each other in front of the statue, 38 large and 1001 small arms extending from behind the body.	Nara period, middle of 8th century	Dry lacquer (乾漆 kanshitsu), Gold leaf over lacquer (漆箔 shippaku)	Seated Thousand-armed Kannon	131.3 cm (51.7 in)	Hon-dō, Fujii-dera (葛井寺), Fujiidera, Osaka	—
Eleven-faced Goddess of Mercy (木造十一面観音立像 mokuzō jūichimenkannon ryūzō)[59]	—	Heian period, beginning of 9th century	Wood, natural wood surface (素地 kiji)	Standing Jūichimen Kannon	99.4 cm (39.1 in)	Hon-dō, Dōmyō-ji, Fujiidera, Osaka
Nyoirin Kannon (木造如意輪観音坐像 mokuzō nyoirin kannon zazō)[60]	One of three masterpiece images of Nyoirin Kannon called San Nyoirin (三如意輪).[61]	Heian period, around 840	Colored wood	Seated Nyoirin Kannon with one knee pulled up	108.8 cm (42.8 in)	Kon-dō, Kanshin-ji, Kawachinagano, Osaka
Yakushi Nyorai (木造薬師如来坐像 mokuzō yakushi nyorai zazō)[62]	—	Heian period, around 900	Wood, natural wood surface (素地 kiji)	Seated Yakushi Nyorai	92.9 cm (36.6 in)	Hon-dō, Shishikutsu-ji (獅子窟寺), Katano, Osaka
Amida Nyorai and two standing attendants (木造阿弥陀如来及両脇侍立像 mokuzō amida nyorai oyobi ryōwakiji ryūzō)[63]	The wooden core of the statues was covered with lacquer on which gold foil was pressed.	Kamakura period, 1195	Wood, gold leaf over lacquer (shippaku (漆箔))	Standing Amida Nyorai and two standing attendants	530.0 cm (208.7 in) (Amida), 371.0 cm (146.1 in) (each attendant)	Hon-dō (Amida Hall (阿弥陀堂) or Jōdo-dō (浄土堂)), Jōdo-ji, Ono, Hyōgo
Bonten (乾漆梵天立像 kanshitsu bonten ryūzō) and Taishakuten (乾漆帝釈天立像 kanshitsu taishakuten ryūzō)[12][64]	—	Nara period, 8th century	Hollow dry lacquer (脱活乾漆造 dakkatsu kanshitsu zukuri), colored	Standing Bonten and standing Taishakuten	403.0 cm (158.7 in) (Bonten), 378.8 cm (149.1 in) (Taishakuten)	Hokke-dō (法華堂), Tōdai-ji, Nara, Nara	—
Priest Ganjin (Jianzhen) (乾漆鑑真和上坐像 kanshitsu ganjin wajō zazō)	—	Nara period, 8th century	Hollow dry lacquer (脱活乾漆造 dakkatsu kanshitsu zukuri), colored	Seated Ganjin	80.1 cm (31.5 in)	Founder's Hall (開山堂 kaisan-dō), Tōshōdai-ji, Nara, Nara
Kongōrikishi (Niō) (乾漆金剛力士立像 kanshitsu kongōrikishi ryūzō)[65]	Niō in armour. There is another pair of Kongōrikishi (National Treasure) in Nandaimon (南大門), Tōdai-ji.	Nara period, 8th century	Hollow dry lacquer (脱活乾漆造 dakkatsu kanshitsu zukuri), colored, gold leaf over lacquer (shippaku (漆箔))	Standing pair of Niō: Agyō (阿形) and Ungyō (吽形)	326.3 cm (128.5 in) (Agyō) and 306.0 cm (120.5 in) (Ungyō)	Hokke-dō (法華堂), Tōdai-ji, Nara, Nara
Priest Gyōshin (乾漆行信僧都坐像 kanshitsu gyōshin sōzu zazō)	Statue of the founder of the Hall of Dreams (夢殿 yumedono)	Nara period, second half of 8th century	Dry lacquer (乾漆 kanshitsu)	Seated Gyōshin	89.7 cm (35.3 in)	Hall of Dreams (夢殿 yumedono), Hōryū-ji, Ikaruga, Nara
Four Heavenly Kings (乾漆四天王立像 kanshitsu shitennō ryūzō)[66]	—	Nara period, 8th century	Hollow dry lacquer (脱活乾漆造 dakkatsu kanshitsu zukuri), colored	Standing Four Heavenly Kings	308.5 cm (121.5 in) (Jikoku-ten), 300.0 cm (118.1 in) (Zōjō-ten), 315.1 cm (124.1 in) (Kōmoku-ten), 312.1 cm (122.9 in) (Tamon-ten)	Hokke-dō (法華堂), Tōdai-ji, Nara, Nara
The ten principal disciples (乾漆十大弟子立像 kanshitsu jū daideshi ryūzō)[67]	Four statues of the group of 10 are lost. Originally enshrined in the Western Golden Hall (西金堂) surrounding the principal Shaka Nyorai image there	Nara period, 734	Hollow dry lacquer (脱活乾漆造 dakkatsu kanshitsu zukuri), colored	Standing six of The ten principal disciples: Furuna, Mokuren, Sharihotsu, Kasennen, Ragora, Shubodai	148.8 cm (58.6 in) (Furuna), 149.1 cm (58.7 in) (Mokuren), 154.8 cm (60.9 in) (Sharihotsu), 146.0 cm (57.5 in) (Kasennen), 148.8 cm (58.6 in) (Ragora), 147.6 cm (58.1 in) (Shubodai)	Kōfuku-ji, Nara, Nara
The eight legions (乾漆八部衆立像（内一躯下半身欠失） kanshitsu hachibushū ryūzō)[68]	Of one figure, Gobujō, only the upper part of the body remains. The Ashura of this group is among the most famous sculptures in Japan.	Nara period, 734	Hollow dry lacquer (脱活乾漆造 dakkatsu kanshitsu zukuri), colored	Standing Eight Legions: Ashura, Gobujō (五部浄), Kinnara, Sakara/Shakara (沙羯羅), Hibakara (畢婆迦羅), Kubanda (鳩槃荼), Kendatsuba, Garuda	153.0 cm (60.2 in) (Ashura), 48.8 cm (19.2 in) (fragments of Gobujō), 149.1 cm (58.7 in) (Kinnara), 153.6 cm (60.5 in) (Shakara), 156.0 cm (61.4 in) (Hibakara), 151.2 cm (59.5 in) (Kubanda), 160.3 cm (63.1 in) (Kendatsuba), 149.7 cm (58.9 in) (Garuda)	Kōfuku-ji, Nara, Nara
Fukū Kensaku Kannon (乾漆不空羂索観音立像 kanshitsu fukū kensaku kannon ryūzō)[69]	—	Nara period, 8th century	Hollow dry lacquer (脱活乾漆造 dakkatsu kanshitsu zukuri), gold leaf over lacquer (shippaku (漆箔))	Standing Fukū Kensaku Kannon	362.1 cm (142.6 in)	Hokke-dō (法華堂), Tōdai-ji, Nara, Nara
Yakushi Nyorai (乾漆薬師如来坐像 kanshitsu yakushi nyorai zazō)[70]	Principal image of the West Octagonal Hall (西円堂, saien-dō). One of three National Treasure Yakushi Nyorai at Hōryū-ji. The others are located in the Kon-dō and in the Large Lecture Hall (大講堂, daikō-dō).	Nara period, 8th century	Hollow dry lacquer (脱活乾漆造 dakkatsu kanshitsu zukuri), gold leaf over lacquer (shippaku (漆箔))	Seated Yakushi Nyorai (healing Buddha)	244.5 cm (96.3 in)	West Octagonal Hall (西円堂, saien-dō), Hōryū-ji, Ikaruga, Nara
Rushana Buddha (乾漆盧舎那仏坐像 rushanabutsu zazō)[71]	—	Nara period, 8th century	Hollow dry lacquer (脱活乾漆造 dakkatsu kanshitsu zukuri), gold leaf over lacquer (shippaku (漆箔))	Seated Rushana Buddha	304.5 cm (119.9 in)	Kon-dō, Tōshōdai-ji, Nara, Nara
Nikkō Bosatsu (塑造日光仏立像 sozō nikkō butsu ryūzō) and Gakkō Bosatsu (塑造月光仏立像 sozō gakkō butsu ryūzō)[72]	—	Nara period, 8th century	Colored clay, cut-gold foil (kirikane (截金)) on clay	Standing Nikkō Bosatsu and Gakkō Bosatsu (Bodhisattvas of sun and moon light)	206.3 cm (81.2 in) (Nikkō), 206.8 cm (81.4 in) (Gakkō)	Hokke-dō (法華堂), Tōdai-ji, Nara, Nara
Four Heavenly Kings (塑造四天王立像 sozō shitennō ryūzō)[73]	—	Nara period, 8th century	Colored clay	Standing Four Heavenly Kings	160.6 cm (63.2 in) (Jikoku-ten), 165.4 cm (65.1 in) (Zōjō-ten), 162.7 cm (64.1 in) (Kōmoku-ten), 164.5 cm (64.8 in) (Tamon-ten)	Kaidan Hall (戒壇堂 kaidan-dō), Tōdai-ji, Nara, Nara
Shukongōshin (塑造執金剛神立像 sozō shukongōshin ryūzō)[12][74]	Mentioned in the Nihon Ryōiki as the statue which aided the priest Rōben	Nara period, mid 8th century	Colored clay	Standing Shukongōshin	173.9 cm (68.5 in)	Hokke-dō (法華堂), Tōdai-ji, Nara, Nara
Twelve Heavenly Generals (塑造十二神将立像 sozō jūni shinshō ryūzō)[12][75][nb 2]	Statues are placed in a circle surrounding Yakushi Nyorai. Oldest extant sculptures of the Twelve Heavenly Generals. One statue, Haira (波夷羅), dated 1931 is excluded from the nomination. Each of the twelve statues' heads is adorned with one of the twelve animals of the zodiac.[76]	Nara period, 729–749	Colored clay	Standing eleven of the Twelve Heavenly Generals: Bazara (伐折羅), Anira (頞儞羅), Bigyara (毘羯羅), Makora (摩虎羅), Kubira (宮毘羅), Shōtora (招杜羅), Shintara (真達羅), Santera (珊底羅), Meikira (迷企羅), Antera (安底羅), Indara (因達羅)	162.9 cm (64.1 in) (Bazara), 154.2 cm (60.7 in) (Anira), 162.1 cm (63.8 in) (Bigyara), 170.1 cm (67.0 in) (Makora), 165.1 cm (65.0 in) (Kubira), 167.6 cm (66.0 in) (Shōtora), 165.5 cm (65.2 in) (Shintara), 161.8 cm (63.7 in) (Santera), 159.5 cm (62.8 in) (Meikira), 153.6 cm (60.5 in) (Antera), 155.2 cm (61.1 in) (Indara)	Hon-dō, Shin-Yakushi-ji, Nara, Nara
Four sculpted scenes in the pagoda (塑造塔本四面具 sozō tōhon shimengu)[19][77]	Four groups in the cardinal directions depicting scenes from the life of Buddha	Nara period, 711	Colored clay, gold leaf over lacquer (shippaku (漆箔))	Total of 78 statues and two other objects: Miroku Bosatsu leaning against an elephant (S); seated Yuimakoji, seated Monju Bosatsu and 14 attendants (E); Dying Buddha (涅槃釈迦 nehan shaka) (Shaka Nyorai) and 31 attendants (N); Gold coffin, reliquary and 29 attendants (W)	81.0 cm (31.9 in) (Miroku Bosatsu), 98.0 cm (38.6 in) (Shaka Nyorai), 45.2 cm (17.8 in) (Yuimakoji), 52.4 cm (20.6 in) (Monju Bosatsu), 25.6 cm (10.1 in) (gold coffin), 37.3 cm (14.7 in) (reliquary)	Five-storied pagoda (五重塔 gojūnotō), Hōryū-ji, Ikaruga, Nara
Priest Dōsen (塑造道詮律師坐像 sozō dōsen risshi zazō)[19]	—	Heian period, around 873	Colored clay	Seated Dōsen	88.2 cm (34.7 in)	Hall of Dreams (夢殿 yumedono), Hōryū-ji, Ikaruga, Nara
Miroku Bosatsu (塑造弥勒仏坐像 sozō miroku butsu zazō)[19][78]	Oldest extant Miroku Bosatsu statue in Japan	Asuka period, second half of 7th century	Clay, gold leaf over lacquer (shippaku (漆箔))	Seated Miroku Bosatsu	219.7 cm (86.5 in)	Kon-dō, Taima-dera, Nara, Nara
Amida Nyorai and two attendants (銅造阿弥陀如来及両脇侍像 dōzō amida nyorai oyobi ryōwakijizō) and miniature shrine (木造厨子 mokuzō zushi)[12][19][79]	Buddhist image for personal daily worship (nenjibutsu (念持仏)), dedicated by Lady Tachibana (橘夫人 tachibana fujin)	Asuka period, end of 7th century	Gilded bronze, yuga (油画) oil painting on wood for the shrine	Seated Amida Nyorai and two standing attendants (Kannon and Seishi)	33.3 cm (13.1 in) (Amida), 27.0 cm (10.6 in) (each attendant)	Treasure House (大宝蔵殿 daihōzōden), Hōryū-ji, Ikaruga, Nara
Kannon (銅造観音菩薩立像 dōzō kannon bosatsu ryūzō) or Shō Kannon (聖観音)[19][80][81]	Influenced by Indian sculpture of the Gupta period	Asuka period, early 8th century	Gilded bronze	Standing Kannon	188.9 cm (74.4 in)	Tōin-dō (東院堂), Yakushi-ji, Nara, Nara
Kannon (銅造観音菩薩立像 dōzō kannon bosatsu ryūzō) or Yumechigai Kannon (夢違観音)[19][82]	Its common name derives from the belief that the statue could change bad dreams into good dreams. Formerly the principal statue of the Tōin eden (東院絵殿). One of four National Treasure standing Kannon Bosatsu statues at Hōryū-ji. Two more are also in the Great Treasure Gallery (大宝蔵院 daihōzō-in), while the third Kannon Bosatsu is enshrined in the Hall of Dreams (夢殿 yumedono).	Asuka period, around 700	Gilded bronze	Standing Kannon	87.0 cm (34.3 in)	Great Treasure Gallery (大宝蔵院 daihōzō-in), Hōryū-ji, Ikaruga, Nara
Shakyamuni (Shaka Nyorai) and two attendants (銅造釈迦如来及両脇侍像 dōzō shaka nyorai oyobi ryōwakijizō)[19][83]	By Tori Busshi. One of the most treasured pieces of early Japanese bronze sculpture. It is said to be modelled after Prince Shōtoku.[1]	Asuka period, 623	Gilded bronze	Seated Shaka Nyorai and two standing attendants	86.4 cm (34.0 in) (Shaka), 90.7 cm (35.7 in)　(left att.), 92.4 cm (36.4 in) (right att.)	Kon-dō, Hōryū-ji, Ikaruga, Nara
Shaka at Birth (銅造誕生釈迦仏立像 dōzō tanjō shaka butsu ryūzō) and ablution basin (銅造灌仏盤 dōzō kanbutsuban)[19][84]	—	Nara period, second half of 8th century	Gilded bronze	Standing Shaka at birth in ablution basin	47.5 cm (18.7 in) (Shaka), diameter of bowl: 89.4 cm (35.2 in)	Kōkei-dō (公慶堂), Tōdai-ji, Nara, Nara
Buddha head (Buttō) (銅造仏頭 ｄōzō buttō)[85]	Former principal image in the Lecture Hall (講堂 kō-dō) of Yamada-dera (山田寺)	Asuka period, 668	Gilded bronze	Buttō	98.3 cm (38.7 in)	National Treasure House (国宝館 kokuhōkan), Kōfuku-ji, Nara, Nara
Yakushi Nyorai and two attendants (銅造薬師如来及両脇侍像 dōzō yakushi nyorai oyobi ryōkyōjizō)[19][80][86]	Yakushi Nyorai is placed on a 150 cm (59 in) high pedestal combining elements of different cultures of the world: grape-vine (Greek), lotus flower pattern (Mideast), crouching barbarians (India), dragon, tiger and tortoise (China). Unusually, the Yakushi does not carry a medicine pot in his hand.[80]	Nara period, around 718	Gilded bronze	Seated Yakushi Nyorai (healing Buddha) and two standing attendants: Nikkō Bosatsu and Gakkō Bosatsu (Bodhisattvas of sun and moon light)	254.7 cm (100.3 in) (Yakushi), 317.3 cm (124.9 in) (Nikkō), 315.3 cm (124.1 in) (Gakkō)	Kon-dō, Yakushi-ji, Nara, Nara
Yakushi Nyorai (銅造薬師如来坐像 dōzō yakushi nyorai zazō)[87]	One of three National Treasure Yakushi Nyorai at Hōryū-ji. The others are located in the West Octagonal Hall (西円堂, saien-dō) and in the Large Lecture Hall (大講堂, daikō-dō).	Asuka period, 607	Gilded bronze	Seated Yakushi Nyorai	63.0 cm (24.8 in)	Kon-dō, Hōryū-ji, Ikaruga, Nara
Rushana Buddha (銅造盧舎那仏坐像 dōzō rushanabutsu zazō) or Great Buddha of Nara[12][88]	The largest statue in this list and the largest gilt bronze statue in the world, and the main hall of Tōdai-ji, in which it is located, is the largest wooden structure in the world.[89]	Nara period, 752. Head is a recast from the Edo period, hands date to the Momoyama period	Gilded bronze	Seated Rushana Buddha	14.868m	Kon-dō, Tōdai-ji, Nara, Nara
Miroku Bosatsu (木造弥勒仏坐像 mokuzō miroku butsu zazō)[55][90]	—	early Heian period	Wood	Seated Miroku Bosatsu	39.0 cm (15.4 in)	Hokke-dō (法華堂), Tōdai-ji, Nara, Nara	—
Twelve Heavenly Generals (板彫十二神将立像 itabori jūni shinshō ryūzō)[91]	—	Heian period, 11th century	Wooden tablets, relief carving (板彫 itabori), coloring, cut-gold foil (kirikane (截金)) on wood	Standing Twelve Heavenly Generals	87.9–100.3 cm (34.6–39.5 in)	National Treasure House (国宝館 kokuhōkan), Kōfuku-ji, Nara, Nara
Priest Gien (木心乾漆義淵僧正坐像 mokushin kanshitsu gien sōjō zazō)[19]	Priest Gien was the founder of Oka-dera.	Nara period, 8th century	Wood-core dry lacquer (木心乾漆 mokushin kanshitsu), colored	Seated Gien	93.0 cm (36.6 in)	Oka-dera, Asuka, Nara
Four Heavenly Kings (木心乾漆四天王立像 mokushin kanshitsu shitennō ryūzō)[92]		Nara period, 791	Wood-core dry lacquer (木心乾漆 mokushin kanshitsu), colored	Standing Four Heavenly Kings	138.2 cm (54.4 in) (Jikoku-ten), 136.0 cm (53.5 in) (Zōjō-ten), 139.1 cm (54.8 in) (Kōmoku-ten), 134.5 cm (53.0 in) (Tamon-ten)	North Octagonal Hall (北円堂 hokuen-dō), Kōfuku-ji, Nara, Nara
Monju Bosatsu and attendants (木造騎獅文殊菩薩及脇侍像 mokuzō kishi monjubosatsu oyobi kyōjizō)[93][94]	By Kaikei. Largest Monju image in Japan	Kamakura period, 1203	Colored wood	Monju Bosatsu riding a lion and four attendants	198.0 cm (78.0 in) (Monju Bosatsu), 134.7 cm (53.0 in) (Zenzai Dōji), 268.7 cm (105.8 in) (Utennō), 187.2 cm (73.7 in) (Butsudahari Sanzō),	Abe Monju-in, Sakurai, Nara	—
Eleven-faced Goddess of Mercy (木心乾漆十一面観音立像 mokushin kanshitsu jūichimenkannon ryūzō)[95]	—	Nara period, second half of 8th century	Wood-core dry lacquer (木心乾漆 mokushin kanshitsu), gold leaf over lacquer (shippaku (漆箔))	Standing Jūichimen Kannon	209.1 cm (82.3 in)	Daibiden (大悲殿), Shōrin-ji (聖林寺), Sakurai, Nara
Thousand-armed Kannon (木心乾漆千手観音立像 mokushin kanshitsu senjū kannon ryūzō)[19][96]	—	Nara period, second half of 8th century	Wood-core dry lacquer (木心乾漆 mokushin kanshitsu), gold leaf over lacquer (shippaku (漆箔))	Standing Thousand-armed Kannon	535.7 cm (210.9 in)	Kon-dō, Tōshōdai-ji, Nara, Nara
Yakushi Nyorai (木心乾漆薬師如来立像 mokushin kanshitsu yakushi nyorai ryūzō)[19][97]	—	Heian period, 796–815	Wood-core dry lacquer (木心乾漆 mokushin kanshitsu), gold leaf over lacquer (shippaku (漆箔))	Standing Yakushi Nyorai	369.7 cm (145.6 in)	Kon-dō, Tōshōdai-ji, Nara, Nara
Hachiman in the guise of a Buddhist monk (木造僧形八幡神坐像 mokuzō sōgyō hachimanjin zazō), Empress Jingū (木造神功皇后坐像 mokuzō jingūkōgō zazō), Nakatsuhime (木造仲津姫命坐像 mokuzō nakatsuhime)[19]	Oldest statues of their kind in Japan	Heian period, 889–898	Colored wood	Seated Hachiman, Empress Jingū and Nakatsuhime	38.8 cm (15.3 in) (Hachiman), 33.9 cm (13.3 in) (Jingū), 36.8 cm (14.5 in) (Nakatsuhime)	Chinju Hachimangu (鎮守八幡宮), Yakushi-ji, Nara, Nara
Tentōki (木造天燈鬼立像 mokuzō tentōki ryūzō) and Ryūtōki (木造竜燈鬼立像 mokuzō ryūtōki ryūzō)[98]	Tentoki attributed to Kōben (康弁), Ryūtoki by Kōben. Tentōki is a creature unique to Japan and Ryūtōki carries a lantern as offering to the Historical Buddha.[99]	Kamakura period, 1216	Colored wood, crystal eyes	Standing Tentōki (lantern on hand/shoulder) and Ryūtōki (lantern on head)	77.9 cm (30.7 in) (Tentōki), 77.3 cm (30.4 in) (Ryūtōki)	Kōfuku-ji, Nara, Nara
Muchaku (木造無著菩薩立像 mokuzō muchaku bosatsu ryūzō) and Seshin (木造世親菩薩立像 mokuzō seshin bosatsu ryūzō)[19][100]	By Unkei	Kamakura period, 1208	Colored wood, crystal eyes	Standing Muchaku and Seshin.	193.0 cm (76.0 in) (Muchaku), 190.9 cm (75.2 in) (Seshin)	North Octagonal Hall (北円堂 hokuen-dō), Kōfuku-ji, Nara, Nara
Bonten (木造梵天立像 mokuzō bonten ryūzō) and Taishakuten (木造帝釈天立像 mokuzō taishakuten ryūzō)[19][101]	—	Nara period, second half of 8th century	Colored wood	Standing Bonten and standing Taishakuten	186.2 cm (73.3 in) (Bonten), 188.8 cm (74.3 in) (Taishakuten)	Kon-dō, Tōshōdai-ji, Nara, Nara
Yuima (木造維摩居士坐像 mokuzō yuima koji zazō)[76][102]	Carved by Jōkei over a period of 56 days and painted by Kōen in 50 days	Kamakura period, 1196	Colored wood in assembled wood-block (yosegi) technique, crystal eyes	Seated Yuima	88.6 cm (34.9 in)	Eastern Golden Hall (東金堂, tōkon-dō), Kōfuku-ji, Nara, Nara
Kannon (木造観音菩薩立像 mokuzō kannon bosatsu ryūzō) or Nine-faced Kannon (九面観音 kumen kannon)[19][103]	One of four National Treasure standing Kannon Bosatsu statues at Hōryū-ji. Two more are also in the Great Treasure Gallery (大宝蔵院 daihōzō-in), while the third Kannon Bosatsu is enshrined in the Hall of Dreams (夢殿 yumedono).	Tang dynasty, 7th century	Sandalwood, natural wood surface (素地 kiji)	Standing Kannon	37.6 cm (14.8 in)	Great Treasure Gallery (大宝蔵院 daihōzō-in), Hōryū-ji, Ikaruga, Nara
Kannon (木造観世音菩薩立像 mokuzō kanzeon bosatsu ryūzō) or Kudara Kannon (百済観音)[19][104]	One of four National Treasure standing Kannon Bosatsu statues at Hōryū-ji. Two more are also in the Great Treasure Gallery (大宝蔵院 daihōzō-in), while the third Kannon Bosatsu is enshrined in the Hall of Dreams (夢殿 yumedono). It has been conjectured to be a work of Korean artisans.[1]	Asuka period, mid 7th century	Colored wood	Standing Kannon	209.4 cm (82.4 in)	Great Treasure Gallery (大宝蔵院 daihōzō-in), Hōryū-ji, Ikaruga, Nara
Kannon (木造観世音菩薩立像 mokuzō kanzeon bosatsu ryūzō) or Guze Kannon (救世観音)[1]	Oldest extant wooden statue in Japan. One of four National Treasure standing Kannon Bosatsu statues at Hōryū-ji. The others are located in the Great Treasure Gallery (大宝蔵院 daihōzō-in).	Asuka period, first half of 7th century, 620 or so	Single block of camphor wood, stitched gold foil (箔押 hakuoshi)	Standing Kannon	178.8 cm (70.4 in)	Hall of Dreams (夢殿 yumedono), Hōryū-ji, Ikaruga, Nara
Tamayorihime (木造玉依姫命坐像 mokuzō tamayorihime no mikoto zazō)[105]	Probably by a Kei school sculptor	Kamakura period, 1251	Wood, yosegi-zukuri (寄木造) technique, crystal eyes	Seated Tamayorihime	83 cm (33 in)	Yoshino Mikumari Shrine, Yoshino, Nara
Kongōrikishi (Niō) (木造金剛力士立像 mokuzō kongōrikishi ryūzō)[106]	—	Kamakura period, 1288	Colored wood, crystal eyes	Standing pair of Niō: Agyō (阿形) and Ungyō (吽形)	154.0 cm (60.6 in) (Agyō) and 153.7 cm (60.5 in) (Ungyō)	National Treasure House (国宝館 kokuhōkan), Kōfuku-ji, Nara, Nara
Kongōrikishi (Niō) (木造金剛力士立像 mokuzō kongōrikishi ryūzō)[107]	By Kaikei and Unkei. There is another pair of Kongōrikishi (National Treasure) in hokkedō (法華堂), Tōdai-ji.	Kamakura period, 1203	Colored wood	Standing pair of Niō: Agyō (阿形) and Ungyō (吽形)	836.3 cm (329.3 in) (Agyō) and 842.3 cm (331.6 in) (Ungyō)	Nandaimon (南大門), Tōdai-ji, Nara, Nara
Four Heavenly Kings (木造四天王立像（金堂安置） mokuzō shitennō ryūzō)[19][108]	By Yamaguchi no Ōguchi atai (山口大口費) et al.	Asuka period, around 650	Colored wood and cut-gold foil (kirikane (截金)) on wood	Standing Four Heavenly Kings	133.3 cm (52.5 in) (Jikoku-ten), 134.8 cm (53.1 in) (Zōjō-ten), 133.3 cm (52.5 in) (Kōmoku-ten), 134.2 cm (52.8 in) (Tamon-ten)	Kon-dō, Hōryū-ji, Ikaruga, Nara
Four Heavenly Kings (木造四天王立像（金堂安置） mokuzō shitennō ryūzō)[19][109]	—	Nara period, second half of 8th century	Colored wood	Standing Four Heavenly Kings	185.0 cm (72.8 in) (Jikoku-ten), 187.2 cm (73.7 in) (Zōjō-ten), 186.3 cm (73.3 in) (Kōmoku-ten), 188.5 cm (74.2 in) (Tamon-ten)	Kon-dō, Tōshōdai-ji, Nara, Nara
Four Heavenly Kings (木造四天王立像 mokuzō shitennō ryūzō)[19][76][110]	There are three sets of Four Heavenly Kings designated as National Treasure at Kōfuku-ji. The others are located in the North Octagonal Hall (北円堂 hokuen-dō) and South Octagonal Hall (南円堂 nan'endō).	Heian period, early 9th century	Colored wood in single-block (ichiboku) technique and cut-gold foil (kirikane (截金)) on wood	Standing Four Heavenly Kings	162.5 cm (64.0 in) (Jikoku-ten), 161.0 cm (63.4 in) (Zōjō-ten), 164.0 cm (64.6 in) (Kōmoku-ten), 153.0 cm (60.2 in) (Tamon-ten)	Eastern Golden Hall (東金堂, tōkon-dō), Kōfuku-ji, Nara, Nara
Four Heavenly Kings (木造四天王立像 mokuzō shitennō ryūzō)[19][111]	By Kōkei. There are three sets of Four Heavenly Kings designated as National Treasure at Kōfuku-ji. The others are located in the North Octagonal Hall (北円堂 hokuen-dō) and Eastern Golden Hall (東金堂, tōkon-dō).	Kamakura period, 1189	Colored wood	Standing Four Heavenly Kings	206.6 cm (81.3 in) (Jikoku-ten), 197.5 cm (77.8 in) (Zōjō-ten), 200.0 cm (78.7 in) (Kōmoku-ten), 197.2 cm (77.6 in) (Tamon-ten)	South Octagonal Hall (南円堂 nanendō), Kōfuku-ji, Nara, Nara
Shakyamuni (Shaka Nyorai) and two attendants (木造釈迦如来及両脇侍坐像 mokuzō shaka nyorai oyobi ryōwakiji zazō)[112]	—	Heian period, 925–931	Cherry wood, single tree, gold leaf over lacquer (shippaku (漆箔))	Seated Shaka Nyorai and two seated attendants.	227.9 cm (89.7 in) (Shaka), 155.7 cm (61.3 in)　(left att.), 153.9 cm (60.6 in) (right att.)	Inner Sanctuary (上御堂 Kami no mi-dō), Hōryū-ji, Ikaruga, Nara
Shakyamuni (Shaka Nyorai) (木造釈迦如来坐像 mokuzō shaka nyorai zazō)[113]	—	Heian period, end of 8th century	Colored wood	Seated Shaka Nyorai	105.7 cm (41.6 in)	Miroku Hall (弥勒堂 miroku-dō), Murō-ji, Uda, Nara
Shakyamuni (Shaka Nyorai) (木造釈迦如来立像 mokuzō shaka nyorai ryūzō)[114]	—	Heian period, end of 9th century	Colored wood	Standing Shaka Nyorai	237.7 cm (93.6 in)	Kon-dō, Murō-ji, Uda, Nara
Eleven-faced Goddess of Mercy (木造十一面観音立像 mokuzō jūichimenkannon ryūzō)[19][115]	—	Heian period, end of 9th century	Colored wood	Standing Jūichimen Kannon	195.1 cm (76.8 in)	Kon-dō, Murō-ji, Uda, Nara
Eleven-faced Goddess of Mercy (木造十一面観音立像 mokuzō jūichimenkannon ryūzō)[19][116]	—	Heian period, first half of 9th century	Wood, natural wood surface (素地 kiji)	Standing Jūichimen Kannon	100.0 cm (39.4 in)	Hon-dō, Hokke-ji, Nara, Nara
Twelve Heavenly Generals (木造十二神将立像 mokuzō jūni shinshō ryūzō)[76][117]	Supposedly each of the statues was carved by a different sculptor	Kamakura period, 1207	Colored wood and cut-gold foil (kirikane (截金)) on wood	Standing Twelve Heavenly Generals	113.0–126.4 cm (44.5–49.8 in)	Eastern Golden Hall (東金堂 tōkon-dō), Kōfuku-ji, Nara, Nara
Priest Shunjō (木造俊乗上人坐像 mokuzō shunjō shōnin zazō)[19]	—	Kamakura period, around 1206	Colored hinoki wood	Seated priest Chōgen	81.4 cm (32.0 in)	Shunjō-dō (俊乗堂), Tōdai-ji, Nara, Nara
Prince Shōtoku and four attendants (木造聖徳太子坐像 mokuzō shōtoku taishi zazō)[12][19]	—	Heian period, 1121	Colored wood and cut-gold foil (kirikane (截金)) on wood	Seated Prince Shōtoku flanked by four seated figures: younger brother Eguri (山背), first son Yamashiro (殖栗), priest Eji and Somaro (卒末呂)	84.2 cm (33.1 in) (Shōtoku), 53.9 cm (21.2 in) (Eguri), 63.9 cm (25.2 in) (Yamashiro), 63.9 cm (25.2 in) (Eji), 52.4 cm (20.6 in) (Somaro)	Shōryō-in (聖霊院), Hōryū-ji, Ikaruga, Nara
Thousand-armed Kannon (木造千手観音立像 mokuzō senjū kannon ryūzō)[19][118]	By a sculptor of the Keiha (慶派) school. Formerly the principal image of the Refectory (食堂 jiki-dō)	Kamakura period, around 1220	Hinoki wood, gold leaf over lacquer (shippaku (漆箔)), crystal eyes	Standing Thousand-armed Kannon	520.5 cm (204.9 in)	National Treasure House (国宝館 kokuhōkan), Kōfuku-ji, Nara, Nara	—
Hachiman in the guise of a seated monk (木造僧形八幡神坐像 mokuzō sōgyō hachimanjin zazō)[19]	By Kaikei	Kamakura period, 1201	Colored hinoki wood	Seated Hachiman	87.1 cm (34.3 in)	Hachiman-dono (八幡殿), Tōdai-ji, Nara, Nara
Dainichi Nyorai (木造大日如来坐像 mokuzō dainichi nyorai zazō)[119]	By Unkei.	Heian period, 1176	Wood, gold leaf over lacquer (shippaku (漆箔)), crystal eyes	Seated Dainichi Nyorai	98.8 cm (38.9 in)	Tahōtō, Enjō-ji, Nara, Nara
Jizō Bosatsu (木造地蔵菩薩立像 mokuzō jizō bosatsu ryūzō)[19][120]	—	Heian period, 9th century	Wood	Standing Jizō Bosatsu	172.7 cm (68.0 in)	Great Treasure Gallery (大宝蔵院 daihōzō-in), Hōryū-ji, Ikaruga, Nara
Bishamonten (木造毘沙門天立像（金堂安置） mokuzō bishamonten ryūzō) and Kichijōten (木造吉祥天立像（金堂安置） mokuzō kichijōten ryūzō)[19]	—	Heian period, 1078	Colored wood and cut-gold foil (kirikane (截金)) on wood	Standing Jizō Bosatsu	123.2 cm (48.5 in) (Bishamonten), 116.7 cm (45.9 in) (Kichijōten)	Kon-dō, Hōryū-ji, Ikaruga, Nara
Fukū Kensaku Kannon (木造不空羂索観音立像 mokuzō fukū kensaku kannon ryūzō)[121]	By Kōkei	Kamakura period, 1189	Wood, gold leaf over lacquer (shippaku (漆箔))	Seated Fukū Kensaku Kannon	341.5 cm (134.4 in)	South Octagonal Hall (南円堂 nan'endō), Kōfuku-ji, Nara, Nara
Monju Bosatsu (木造文殊菩薩坐像 mokuzō monju bosatsu zazō)[76][122]	A work of a sculptor of the Kokei school	Kamakura period, 1196	Colored hinoki wood in assembled wood-block (yosegi) technique, gold paint, crystal eyes	Seated Monju Bosatsu	93.9 cm (37.0 in)	Eastern Golden Hall (東金堂 tōkon-dō), Kōfuku-ji, Nara, Nara
Bodhisattva in half-lotus position (木造菩薩半跏像 mokuzō bosatsu hankazō) or Nyoirin Kannon (如意輪観音)[19][123]	It had been wrongly venerated as Nyoirin Kannon.[61]	Asuka period, second half of 7th century	Colored Camphorwood	Nyoirin Kannon in half-lotus position	87.0 cm (34.3 in)	Hon-dō, Chūgū-ji, Ikaruga, Nara
Six Patriarchs of the Hossō sect (木造法相六祖坐像 mokuzō hossō rokuso zazō)[12][124]	By Kōkei	Kamakura period, 1188–1189	Colored hinoki wood, crystal eyes	Six Patriarchs of the Hossō sect: Jōtō (常騰), Shinei (神叡), Zenshu (善珠), Genbō (玄昉), Genpin (玄賓), Gyōga (行賀)	73.3 cm (28.9 in) (Jōtō), 81.2 cm (32.0 in) (Shinei), 83.0 cm (32.7 in) (Zenshu), 84.8 cm (33.4 in) (Genbō), 77.2 cm (30.4 in) (Genpin), 74.8 cm (29.4 in) (Gyōga)	South Octagonal Hall (南円堂 nan'endō), Kōfuku-ji, Nara, Nara
Miroku Bosatsu (木造弥勒仏坐像 mokuzō miroku butsu zazō)[19][125]	By Unkei	Kamakura period, 1212	Wood, gold leaf over lacquer (shippaku (漆箔))	Seated Miroku Bosatsu	141.5 cm (55.7 in)	North Octagonal Hall (北円堂 hokuen-dō), Kōfuku-ji, Nara, Nara
Yakushi Nyorai and two attendants (木造薬師如来及両脇侍坐像 mokuzō yakushi nyorai oyobi ryōkyōji zazō)[19][126]	—	Heian period, end of 10th century	Hinoki wood, single tree, gold leaf over lacquer (shippaku (漆箔))	Seated Yakushi Nyorai (healing Buddha) and two seated attendants: Nikkō Bosatsu and Gakkō Bosatsu (Bodhisattvas of sun and moon light)	247.2 cm (97.3 in) (Yakushi), 172.1 cm (67.8 in) (each attendant)	Lecture Hall (講堂 Kō-dō), Hōryū-ji, Ikaruga, Nara	—
Yakushi Nyorai (木造薬師如来坐像 mokuzō yakushi nyorai zazō)[19][127]	—	Heian period, 9th century	Colored Japanese nutmeg wood, single tree	Seated Yakushi Nyorai	49.7 cm (19.6 in)	Nara National Museum, Nara, Nara
Yakushi Nyorai (木造薬師如来坐像 mokuzō yakushi nyorai zazō)[19][128]	—	Heian period, end of 8th century	Japanese Nutmeg-yew wood, single tree, natural wood surface (素地 kiji)	Seated Yakushi Nyorai	191.5 cm (75.4 in)	Hon-dō, Shin-Yakushi-ji, Nara, Nara
Yakushi Nyorai (木造薬師如来立像 mokuzō yakushi nyorai ryūzō)[19][129]	—	Heian period, early 9th century	Japanese nutmeg wood, single tree, natural wood surface (素地 kiji)	Standing Yakushi Nyorai	164.8 cm (64.9 in)	Hon-dō, Gangō-ji, Nara, Nara
Priest Rōben (木造良弁僧正坐像 mokuzō rōben sōjō zazō)[19]	—	Heian period, end of 9th century	Colored hinoki wood, single tree	Seated Rōben	92.4 cm (36.4 in)	Founder's Hall (開山堂 kaisan-dō), Tōdai-ji, Nara, Nara
Priest Eison (木造叡尊坐像 mokuzō eison zazō)[130][131]	By Zenshun. The designation includes items enshrined with Eison.	Kamakura period, 1280	Wood	Seated Eison	88.0 cm (34.6 in)	Saidai-ji, Nara, Nara
Hayatama (木造熊野速玉大神坐像 mokuzō kumano hayatama ōkami zazō), Fusumi (木造夫須美大神坐像 mokuzō fusumi ōkami zazō), Ketsumiko (木造家津御子大神坐像 mokuzō ketsumiko ōkami zazō), Kunitokotachi (木造国常立命坐像 mokuzō kunitokotachi no mikoto zazō)[19][132]	—	early Heian period, 9th century	Colored wood	Four seated Shintō gods: Hayatama, Fusumi, Ketsumiko, Kunitokotachi	101.2 cm (39.8 in) (Hayatama), 98.5 cm (38.8 in) (Fusumi), 81.2 cm (32.0 in) (Ketsumiko), 80.3 cm (31.6 in) (Kunitokotachi)	Kumano Hayatama Taisha, Shingū, Wakayama	—
Miniature Buddhist shrine (木造諸尊仏龕 mokuzō shoson butsugan)[19]	Brought back from China by Kūkai	Tang dynasty, 8th century	Sandalwood, natural wood surface (素地, kiji)	various Buddhist images	23.1 cm (9.1 in)	Treasure Hall (霊宝館 reihōkan), Kongōbu-ji, Kōya, Wakayama
Thousand-armed Kannon (木造千手観音立像 mokuzō senjū kannon ryūzō) and two Bodhisattvas (木造菩薩立像 mokuzō bosatsu ryūzō)[19][133]	Unusual combination of deities in this triad	Heian period, second half of 9th century	Wood, single tree, gold leaf over lacquer (shippaku (漆箔))	Standing Thousand-armed Kannon and two standing Bodhisattvas, believed to be Nikkō Bosatsu and Gakkō Bosatsu (Bodhisattvas of sun and moon light)	294.2 cm (115.8 in) (Kannon), 241.5 cm (95.1 in) (Nikkō), 242.4 cm (95.4 in) (Gakkō)	Hōbutsuden (宝佛殿), Dōjō-ji (道成寺), Hidakagawa, Wakayama
Eight Attendants of Fudō Myōō (木造八大童子立像 mokuzō hachidai dōji ryūzō)[12][19][134]	Only six of the eight statues date to the Kamakura period and are National Treasures. The remaining two (Anokuda (阿耨達), Shitoku (指徳)) were produced in the 14th century and are not included in this nomination. By Unkei. Formerly enshrined in the Fudō-dō (不動堂)	Kamakura period, 1197	Colored hinoki wood, crystal eyes	Six of the Eight Attendants of Fudō Myōō: Ekō (慧光), Eki (慧喜), Ukubaga (烏倶婆誐), Shōjō Biku (清浄比丘), Kongara (矜羯羅), Seitaka (制多迦)	96.6 cm (38.0 in) (Ekō), 98.8 cm (38.9 in) (Eki), 95.1 cm (37.4 in) (Ukubaga), 97.1 cm (38.2 in) (Shōjō), 95.6 cm (37.6 in) (Kongara), 103.0 cm (40.6 in) (Seitaka)	Treasure Hall (霊宝館 reihōkan), Kongōbu-ji, Kōya, Wakayama
Miroku Bosatsu (木造弥勒仏坐像 mokuzō miroku butsu zazō)[19]	—	Heian period, 892	Colored hinoki wood, single tree	Seated Miroku Bosatsu	91.0 cm (35.8 in)	Jison-in, Kudoyama, Wakayama	—
Usuki Stone Buddhas (臼杵磨崖仏 Usuki magaibutsu)[19][135]	Only National Treasure sculptures of stone.	late Heian period–early Kamakura period	Colored stone	59 statues in total in four groups. (i) Furuzono group (古園石仏 furuzono sekibutsu): 13 statues; (ii) Sannō group (山王山石仏 sannōzan sekibutsu): 3 statues; (iii) Hoki group (ホキ石仏 hoki sekibutsu), 1st cave: 25 statues (iv) Hoki group, 2nd cave: 18 statues	26.8–280.0 cm (10.6–110.2 in)	Usuki, Ōita

See also

• Japanese sculpture
• Shinjo Ito
• Nara Research Institute for Cultural Properties
• Tokyo Research Institute for Cultural Properties
• Independent Administrative Institution National Museum

Notes

1. The Usuki Stone Buddhas date to the late Heian, early Kamakura period and are therefore counted double in this table.
2. The temple uses a different association of statues with names of the generals than the national treasure nomination. Here the temple scheme is used.

References

1. Schumacher, Mark (2009). "Buddhist sculpture in Asuka and Hakuho era". Japanese Buddhist Statuary. Retrieved 2009-09-16.
2. "Other Buddhist images of the Asuka period". Asuka Historical Museum. 1995. Retrieved 2009-09-16.
3. Schumacher, Mark (2009). "Buddhist sculpture in Hakuho era". Japanese Buddhist Statuary. Retrieved 2009-09-16.
4. Schumacher, Mark (2009). "Buddhist sculpture in Nara era". Japanese Buddhist Statuary. Retrieved 2009-09-16.
5. Schumacher, Mark (2009). "Buddhist sculpture in Heian era". Japanese Buddhist Statuary. Retrieved 2009-09-16.
6. F. Moran, Sherwood (1972). "Early Heian Sculpture at Its Best: Three Outstanding Examples". Artibus Asiae. Artibus Asiae Publishers. 34 (2/3): 119–161. doi:10.2307/3249644. JSTOR 3249644.
7. Schumacher, Mark (2009). "Buddhist sculpture in Kamakura era". Japanese Buddhist Statuary. Retrieved 2009-09-16.
8. Coaldrake, William Howard (2002) [1996]. Architecture and authority in Japan. London, New York: Routledge. p. 248. ISBN 0-415-05754-X.
9. "Cultural Properties for Future Generations" (PDF). Tokyo, Japan: Agency for Cultural Affairs, Cultural Properties Department. March 2011. Retrieved 2011-05-08.
10. The Agency for Cultural Affairs (2008-11-01). 国指定文化財 データベース (in Japanese). Database of National Cultural Properties. Retrieved 2009-04-16.
11. Ogawa, Seki & Yamazaki 2009
12. Mary Neighbour Parent (2001). "JAANUS - Japanese Architecture and Art Net Users System". Japanese Architectural and Art Historical Terminology (online ed.). Retrieved 2009-04-20.
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