The Genealogy of Japanese Museums: From the Shōsōin Treasury in Nara to the Östasiatiska Museet in Stockholm

This paper re-examines the Shōsōin from a global perspective, comparing it with the Western “Kunstkammer” to clarify differences in their functions and ideologies. While the Dresden Kunstkammer, established by Elector August of Saxony, aimed for an encyclopedic visualization of world order through the systematic classification of natural and man-made objects, the Shōsōin’s primary characteristic lies in its longterm sealing and non-public nature. For over a millennium, the Shōsōin preserved the cherished items of Emperor Shōmu, maintaining the “sacredness” of the Imperial family. The study further explores the intersection of Eastern and Western exhibition ideologies by tracing the influence of Japanese aesthetics on the Museum of Far Eastern Antiquities in Stockholm. Crown Prince Gustaf Adolf’s 1926 visit to the Shōsōin and the subsequent adoption of Japanese spatial concepts, such as “ma” (interval), by Director Bo Gyllensvärd, mark a transition from “exotic decoration” to a serene, subjective viewing experience. Ultimately, the Shōsōin’s evolution from a sacred treasury to a modern cultural property demonstrates a unique circulation of spirituality and aesthetics in global art history.