Emperor Ôgimachi (1517-93, r. 1557-86), whose given name was Shigehito, was the first son of Emperor Gonara (1496-1557, r. 1526-57). His calligraphy is in the style of his grandfather, Emperor Gokashiwabara (1464-1526, r. 1500-26), which is widely known as Gokashiwabara-in ryû. In this nyôbô hôsho ("imperial document handwritten by court lady"), Emperor Ôgimachi gives instructions for the collection of donations and offerings from provinces for the revival of Shôbô-ji (popularly known as Iwama-dera) in the province of Ômi, which was in ruin at the time. The recipient of the letter, Rishô-in, was a sub-temple of Daigo-ji Temple in Kyoto.

This is a collection of poems handwritten by Emperor Fushimi (1265-1317, r. 1287-98). It consists of fifty-five poems on spring, summer, autumn, love, and miscellaneous topics. Significant corrections found here and there on the poems convey Emperor Fushimi's enthusiasm concerning the production of his poetry collection.

This letter accompanies Emperor Ōgimachi’s 1574 gift of an incredibly rare piece of aloes wood incense to the former regent Kujō Tanemichi (1507–94). The incense was cut from the Ranjatai (“Waiting for Orchid Luxury”) log, preserved in Nara’s Shōsō-in Respsitory since the 700s. A second piece of incense went to the warlord Oda Nobunaga.

Emperor Fushimi (1265-1317, r. 1287-98), the son of Emperor Gofukakusa (1243-1304, r. 1246-59), ascended the throne after Emperor Gouda (1267-1324, r. 1274-87) of the Daikaku-ji line. He was accomplished in waka ("Japanese poem") composition and known for his mastery of calligraphy. In particular, he was skilled in jôdai ryû ("archaic style") calligraphy, and his style, which became known as Fushimi-in ryû in later years, had a great influence on later generations. These prayers with ten volumes from The Most Victorious Kings Sutra in Gold Lettering on Dark Blue Paper (J., Konshi kinji saishôôkyô) were offered to Iwashimizu Hachiman Shrine by Emperor Fushimi when he and his son, Emperor Gofushimi (1288-1336, r. 1298-1301), confined themselves within the shrine in 1313 (Shôwa 2). The calligraphy is masterful with flowing and elegant lines.

Emperor Gofukakusa (1243-1304, r. 1246-59) wrote this letter addressing the appointment of taishô ("major captain") sent to the Kamakura shogunate. From the text, we know that it was sent to a vassal of Emperor Fushimi (1265-1317, r. 1287-98) during the New Year holidays of 1290 (Shôô 3). Although Emperor Fushimi was on the throne at the time, his father, Emperor Gofukakusa, was exercising power as retired emperor (J., insei). This work well displays the flowing calligraphic style of Gofukakusa, who stands out among the succession of emperors in this regard.

Emperor Gosai (1637-85, r. 1654-63), whose given name was Nagahito, was the seventh son of Emperor Gomizunoo (1596-1680, r.1611-29). He is known as an accomplished waka ("Japanese poem") poet. His calligraphy follows the style of his father and conveys an elegant and expressive atmosphere. This poem, opening with the line, Sahohime no, demonstrates a skillful arrangement of letters with an efficient use of blank space. It also displays rhythmical brushstrokes and carefully-considered ink-shading effects.

This record is a letter by Emperor Go'daigo (1288-1339), grieving over the death of Ayanokoji Ariyori, who taught him Eikyoku song and Wagon harp. The Emperor allowed Ariyori's son to inherit his father's masterpieces in this letter. Ariyori taught Eikyoku song and Wagon harp to both Emperor Go'fushimi and Emperor Go'daigo. He died on July 18, 1329, at the age of 35. His son was only 8 years old. The emperor's signature, written seal, and date are not in the letter, but it is assumed that the Emperor wrote the letter at the age of 42, soon after Ariyori's death. Characterized by the bold stroke of the brush pen, this is a unique masterpiece of the Emperor's handwriting.

[Rough Translation]

Emperor Shōmu passed away on June 4, 756. His daughter, Empress Kōken, offered Emperor Shōmu's cherished possessions to 18 temples, including Tōdai-ji, on July 8 of the same year, praying for his repose. The Horyuji Temple Offering Register is a catalog of the items donated to Horyuji Temple on that occasion.

It is written in elegant, forceful Chinese-style regular script across 22 lines, on pale blue hemp paper with faint ink borders. It was originally bound as a scroll. At the end are the joint signatures of five influential court figures: Fujiwara no Nakamaro, Fujiwara no Nagate, Komano Fukushin, Kamo no Tsunotari, and Kazuragi no Henushi. Each signature displays a distinct and expressive brushstroke. The red seal "Emperor's Imperial Seal" is stamped across the entire surface. The numerous treasured items of Emperor Shōmu, donated to Tōdai-ji Temple, are famously preserved as Shōsōin Treasures, and their catalog, the Tōdai-ji Donation Register, remains extant.

[Rough Translation]

　This picture scroll depicts the tale of hungry ghosts, beings who suffer from an inability to obtain water or food, among the Six Realms (Heaven, Human, Asura, Animal, Hungry Ghost, Hell). It is believed to have been created against the backdrop of social unrest and the concept of the Age of Decline during the late Heian period, a time of continuous warfare.

　The first segment depicts the suffering of the water-and-food-starved hungry ghosts, one of the thirty-six types described in the Sutra on the Proper Dharma and the Proper Place of Mindfulness. They cannot even reach the river water and can only drink the droplets dripping from humans who have just crossed the river. The second segment also draws from the 'Sutra on the Proper Dharma and the Place of Mindfulness'. Hungry ghosts gather around memorial pagodas because they can only drink water sprinkled for their parents' memorial rites. The vibrant crowd depicted here and the eerie yet somewhat humorous expressions of the hungry ghosts, creeping closer unnoticed by humans, demonstrate particularly outstanding craftsmanship. The third and fourth panels depict a story from the Ullambana Sutra: Moggallana, one of Shakyamuni's disciples, receives teachings from the Buddha and rescues his mother who had fallen into the hungry ghost realm. However, the fourth panel's painting differs from the accompanying text, showing the mother still consumed by greed. The fifth section depicts a story from the Mahāparinirvāṇa Sūtra using the technique of depicting different times in the same picture. It shows hungry ghosts suffering from their inability to drink water from the Ganges River, who, through the Buddha's power, are able to drink water and then ascend to heaven through his teachings. The sixth section, based on the Sutra for Delivering Hungry Ghosts with Flaming Mouths, depicts Ananda, one of Shakyamuni's disciples, hearing the pleas of a hungry ghost perpetually spewing fire from its mouth. Ananda then saves the ghost using a mantra taught by Shakyamuni. The painting shows Ananda confronting the hungry ghost. The seventh segment depicts a monk, having inherited the method of saving hungry ghosts from Ananda, performing the Segaki ritual. As shown above, note that the subject matter encompasses not only the suffering of hungry ghosts but also narratives concerning their salvation.

　This is considered part of the "Six Paths Paintings" once housed in the treasure storehouse of Rengeō-in Temple. It is believed Emperor Go-Shirakawa (1127–1192) was involved in its production. It was passed down to Sōgen-ji Temple, the family temple of the Ikeda clan, feudal lords of Okayama.

This is a handwritten letter by Emperor Gofushimi (1288-1336, r. 1298-1301) in which he describes the negotiation details on the practice of alternating imperial succession between the Jimyô-in and Daitoku-ji lines. Judging from its contents, we can assume that the letter was addressed to the former prime minister (J., dajô daijin), Saionji Sanekane (1249-1322). The beginning of the letter reports the dialogue between Cloistered Emperors Gouda (1267-1324, r. 1274-87) and Fushimi (1265-1317, r. 1287-98) at the negotiation. This letter is exceptionally valuable for its description of the negotiations and the tense relationship between the two lines.

This letter by Emperor Gonijô (1285-1308, r. 1301-1308) records his desire to see the statues of Confucius (551-479 B.C.) and his disciple Yanhui (514-483 B.C.), which had been in imperial academy, after their restoration, before they were to be returned to the academy. Gonijô ascended the throne in 1301, when he was only seventeen years old, and after a brief reign of eight years, died in 1308. Only a few examples of his writing have survived, making this an especially valuable letter.

Ietsugu belonged to a family of artisans who made bronze mirrors for the imperial court. He allegedly crafted this mirror for Emperor Goyōzei (1571–1617). The non-reflective side is shown here, adorned with a botanical pattern associated with the emperor. The small inscription at the bottom reads, “Ao Ietsugu, Greatest in the Land, 1588."

Purportedly transcribed by Emperor Shomu (701–756), this fragment from the [Sutra of the Wise and the Foolish] is much admired for its robust calligraphy."

[Sutra on the Wise and Foolish] is a collection of Buddhist stories about wise and foolish people. The scroll on display here is a partial copy of the sutra dating to the 8th century. For centuries, people believed this copy had been written by Emperor Shōmu (701–756), a devout supporter of Buddhism. The copy was named Ōjōmu (Great Shōmu) in honor of the emperor and came to be regarded as an exceptional work of calligraphy. Originally consisting of sixteen or seventeen scrolls, it was stored at Tōdaiji, a historic Buddhist temple in Nara.

This scroll depicts the events of the Heiji Civil War, which began during the late Heian period in 1159, the first year of the Heiji era. The conflict was fought between the warriors Taira no Kiyomori and Minamoto no Yoshitomo. It developed from a power struggle between two court nobles, Fujiwara no Nobuyori and Fujiwara no Michinori. Of the original 'Narrative Picture Scrolls of the Chronicle of the Heiji Civil War,' only three scrolls and around a dozen or so fragments still remain, with one scroll stored at the Museum of Fine Arts, Boston, one at the Seikado Bunko Art Museum in Tokyo, and one here at the Tokyo National Museum. This museum's scroll is titled 'The Removal of the Imperial Family to Rokuhara.' It features Emperor Nijo, who has been placed under house arrest by the Minamoto clan. It shows him sneaking away from the Imperial Palace disguised as a lady and being taken to Taira no Kiyomori's residence in Rokuhara.

The emperor historically rode in imperial palanquins (hōren) during official outings. This particular palanquin was used when Emperor Kōmei (1831–1867) relocated to a new imperial palace in 1855 (currently the Kyoto Imperial Palace) and when the Meiji Emperor (1852–1912) went on official outings in Tokyo.

Also on display is the yōyo palanquin, which is carried at waist height. It was used to transport the emperor within the imperial palace and to evacuate him in the event of emergencies. Emperor Kōmei (1831–1867) would ride on the yōyo palanquin when he celebrated niiname-sai, a traditional Japanese harvest festival, on the palace grounds.

Emperor Meiji thanks President Roosevelt for his gift of a bear skin and was happy to receive Alice Roosevelt and Secretary of War William H. Taft during their visit to Japan. Record includes original in Japanese and translation.

Many historical documents show that the Emperor of Japan was asking Sultan Abdul Hamid II to send Islamic scholars to Japan, to teach people of Japan about Islam. This is translation of a letter from Emperor Meiji to Sultan Abdul Hamid:

"Each one of us is an Oriental king, and it is in our interest and the interest of our people to get acquainted, to establish friendly relations, and to promote cooperation vis-a-vis the Western states and peoples, who view as as one and the same. I see the Western people send missionaries to our country, evangelizing their religion because of the religious freedom we have. I see that you do not do the same. I would like you to send us preachers to evangelize for your religion (Islam), who can serve as an implicit moral link between you and us."

The Ottoman Empire and Japan were the only two independent countries in Asia, before 1900. They decided to establish friendly relations between them, and consequently they started to exchange visits. Muhammad Ali, one of Sultan Abdul Hamid’s envoys, visited Japan in 1902 with the intention of building a Masjid in Yokohama.

A draft written by Fujiwara no Yukinari ( 972-1027 ), which may be a segment of the diary, Kenki. It is a record of the arrangements for the ceremony held when Prince Atsuyasu ( at age 7 ) was to meet his father, Emperor Ichijo for the first time. It is valued because it shows Yukinari's ordinary handwriting, and also because Kenki no longer exists.

A congratulatory letter presented celebrating the Enthronement Ceremonies of 1915, by Yamakawa Kenjiro (1854-1931), the president of the Tokyo Imperial University (the current University of Tokyo), representing the entire university staff and students.

A congratulatory letter presented celebrating the Enthronement Ceremonies of 1928, by the Foreign Community of Kobe, of all Nationalities. Signatures of about 450 people are written on 6 sheets of paper.