Important Cultural Property of Nara

A National Important Cultural Property held privately in Nara Prefecture, this set of six color-on-paper fusuma panels was painted in 1751 by Sakaki Hyakusen (1697–1752), one of the four founding figures of Japanese Nanga literati painting, just one year before his death. Depicting Mount Tiantai's legendary stone bridge and its abode of five hundred arhats, the work is part of the 41-panel cycle known as the Former Jimon-in Wall Paintings — the largest surviving program of architectural painting by Hyakusen and a milestone in the adaptation of Chinese Southern School painting to Japanese fusuma format.

An Important Cultural Property held privately in Nara Prefecture, the four-scroll Shihon Chakushoku Ippen Shōnin Emaki depicts the life of Ippen Shōnin (1239–1289), founder of the Ji-shū sect. As a transcribed copy of the Sōshun-bon tradition, it preserves the spirit of Kamakura-period yamato-e painting and Japan's medieval Pure Land devotion.

Discover the Kumano Junisha Gongen Mishōtai, an Important Cultural Property featuring thirteen Buddhist deities on a gilded bronze mirror disc. Explore the beauty of Shinto-Buddhist syncretism at Nara National Museum.

A middle Muromachi hall at Uda Mikumari Shrine, Nara, repeating the sumigi-iri Kasuga form of the 1320 main hall at a smaller scale for a deity from Kasuga Taisha.

The only nagare-style hall among the five medieval halls of Uda Mikumari Shrine, Nara: a late Muromachi subordinate hall showing the long slope of its roof in front.

A late Kamakura shrine hall at Enjoji near Nara, kept inside a shed beside the Kasugado and Hakusando: an early Kasuga-style shrine with a karahafu porch.

A stone five-ring pagoda dated 1321 in a village cemetery near Enjoji, Nara, bearing the oldest date of any gorinto in the prefecture, raised by a band of believers.

A stone five-ring memorial to warlord Tsutsui Junsho at Enshoji in Ikoma, carved with his name, his death date in 1550 and Sanskrit letters on each face.

The Amida hall of Enjoji in the hills east of Nara, rebuilt in 1472 on the plan of the Heian hall lost in 1466, with a stage on its front deck and painted pillars.

The main hall of Enshoji in Ikoma, built in 1552 for the memorial temple of warlord Tsutsui Junsho: a plain square hall moved here from central Nara city.

The vermilion gate of Enjoji near Nara, rebuilt in 1468 and designated in 1906, with an Amida seed syllable carved on the front and a peony on the back.

Two late Kamakura hokyoin pagodas side by side at Enpukuji in Ikoma: one dated 1293 with Sanskrit letters for four Buddhas, the other carved with Buddha figures.

The main hall of Enpukuji in the Ikoma hills, dated to 1371 by ink on its altar wall frame, with shutters across its front and six groups of old parts kept with it.

Once the main hall of Daigorinji, Omiwa Shrine's Buddhist temple, this tiled hall keeps a Nara-period inner sanctum and early Kamakura outer space in one building.

Rebuilt in 1664 by shogun Tokugawa Ietsuna, the Omiwa Shrine Worship Hall is where visitors pray toward Mount Miwa, as the shrine itself has no main sanctuary.

Behind the worship hall of Omiwa Shrine stands the Mitsu Torii, three torii joined as one. Revered in place of a sanctuary, the 1883 gate marks the sacred mountain.

The shoin of Okadera in Asuka, Nara, a study hall of 1644 with four rooms in an L-shape and a kitchen once inside, is among the few shoin with Momoyama roots.

The Niomon Gate of Okadera in Asuka, Nara, a two-storey gate of 1612 under a tiled hip-and-gable roof, stands at the temple of the Saigoku Kannon pilgrimage.

Kashihara Jingu's Main Hall began as a Kyoto Imperial Palace sanctuary of 1855, moved here in 1890. On its bracketless detailing and what visitors can actually see.

The East Gate of Gangoji is a late Kamakura four-legged gate moved from Todaiji's Sainan'in around 1411, marking the moment the temple turned to face east.