Khalili Collection of Japanese Art

File:Khalili_Collection_Japanese_Meijji_pair_of_samurai.jpg, 1890]]{{main|Meiji era}}

The Meiji era (1868–1912) was a period of modernisation and industrialisation, during which Japan opened itself to the world.{{sfn|Guth|2015|pp=106–107}} It saw a rapid introduction of Western culture to Japan, and also of Japanese culture into Europe and America.{{sfn|Iwao|2015|p=9}} Combining Western technology and government sponsorship, Japanese decorative arts reached a new level of technical sophistication.{{sfn|Earle|1999|p=31}} Decorative artists working in cloisonné enamel, lacquer or metal produced works which aimed to match Western oil paintings in detail, shading and subtlety.{{Cite book|last=Foxwell|first=Chelsea|url=https://books.google.com/books?id=JcEECgAAQBAJ&pg=PA241|title=Making Modern Japanese-Style Painting: Kano Hogai and the Search for Images|date=2015-07-20|publisher=University of Chicago Press|isbn=978-0-226-19597-1|pages=59}} The works received positive press reviews and shops in European capitals began to cater for a new demand for Japanese decorative art.{{Cite book|last=Pollard|first=Clare|chapter-url=https://books.google.com/books?id=sOJX4j533JoC&pg=PA24|title=Challenging Past And Present: The Metamorphosis of Nineteenth-Century Japanese Art|publisher=University of Hawaii Press|year=2006|isbn=978-0-8248-2937-7|editor-last=Conant|editor-first=Ellen P.|pages=135|chapter=Gorgeous with Glitter and Gold: Miyagawa Kōzan and the Role of Satsuma Export Ware in the Early Meiji Ceramic Industry}} The Khalili Collection has been used in research to study how the late 19th and early 20th century availability of Japanese art in Europe influenced European art, especially Vincent van Gogh and the impressionists.

During the embrace of Western influences, demand for Japanese art declined within Japan itself. At the same time, art objects came to be a large part of Japan's exports, actively promoted by the government which wanted to reduce the country's trade deficit with the West.{{Cite web|url=https://www.japansociety.org.uk/32963/japonisme-cortazzi/|title=[Review:] Japonisme and the Rise of the Modern Art Movement: The Arts of the Meiji Period, The Khalili Collection|last=Cortazzi|first=Sir Hugh|author-link=Hugh Cortazzi|date=2014-01-16|website=Japan Society of the UK|language=en-US|url-status=dead|archive-url=https://web.archive.org/web/20140814031113/https://www.japansociety.org.uk/32963/japonisme-cortazzi/|archive-date=2014-08-14|access-date=2020-03-19}} The government took an active interest in the standard of art exported, exerting quality control via the {{lang|ja-Latn|Hakurankai Jimukyoku}} (Exhibition Bureau).{{Cite web|url=https://www.japantimes.co.jp/culture/2013/12/14/books/book-reviews/japonisme-and-the-rise-of-the-modern-art-movement-the-arts-of-the-meiji-period/|title=[Review:] Japonisme and the Rise of the Modern Art Movement: The Arts of the Meiji Period|last=Liddell|first=C. B.|date=2013-12-14|website=The Japan Times|language=en-US|access-date=2020-03-19}} The major exhibitions to which Japan sent examples of its arts and crafts included the Vienna World Exhibition of 1873,{{sfn|Earle|1999|pp=42–44}} the Centennial International Exhibition of 1876 in Philadelphia, the World's Columbian Exposition in Chicago in 1893 and the Louisiana Purchase Exposition of 1901 in St. Louis.{{sfn|Earle|1999|p=10}}

{{Main|Khalili Collections}}

The collection is one of eight assembled by Nasser D. Khalili, each of which is considered among the most important in its field.{{Cite web|title=The Khalili Collections major contributor to "Longing for Mecca" exhibition at the Tropenmuseum in Amsterdam |publisher= United Nations Educational, Scientific and Cultural Organization|url=http://www.unesco.org/new/en/media-services/single-view/news/the_khalili_collections_major_contributor_to_longing_for/|access-date=2020-10-02|website=UNESCO|url-status=dead|archive-url=https://web.archive.org/web/20220407140326/http://www.unesco.org/new/en/media-services/single-view/news/the_khalili_collections_major_contributor_to_longing_for/|archive-date=7 April 2022}}{{Cite web|date=2019-10-11|last=Lawson-Tancred|first=Jo|title=Around the world in 35,000 objects – and a handful of clicks|url=https://www.apollo-magazine.com/khalili-collections-wikimedia-uk-partnership/|access-date=2020-10-02|website=Apollo Magazine|language=en-US}} Three of them include works from Japan: the collection of Japanese art, the Khalili Collection of Kimono, and the Khalili Collection of Enamels of the World.{{Cite web|title=The Khalili Collections {{!}} Enamels Of The World|url=https://www.khalilicollections.org/all-collections/enamels-of-the-world/|access-date=2020-05-27|website=Khalili Collections|language=en-US}}{{Cite web|title=The Khalili Family Trust {{!}} Collections Online {{!}} British Museum|url=https://www.britishmuseum.org/collection/term/BIOG247264|access-date=2020-06-05|website=www.britishmuseum.org}} Khalili observed that Japanese arts were less well-documented than European arts of the same period, despite being technically superior: "Whilst one could argue it is relatively easy to replicate a Fabergé, to replicate the work of the Japanese master is nigh on impossible."{{Cite web|last=Khalili|first=Nasser D.|author-link=Nasser Khalili|title=Editorial / In a way all my work is founded on Japanese art|url=https://www.guimet.fr/editorial/in-a-way-all-my-work-is-founded-on-japanese-art/|access-date=19 March 2020|website=guimet.fr|publisher=Guimet Museum}} As well as assembling these collections, Khalili founded the Kibo Foundation (from the Japanese word for "hope") to promote the study of art and design of the Meiji era, publishing scholarship about the collection and its historical context.

File:Khalili_Collection_Japanese_Meiji_Art_M159.jpg}}) by Ōshima Joun. Bronze, silver, gilt, shibuichi and shakudō. Circa 1900]]

The collection includes metalwork, enamels, ceramics, and lacquered objects, including works by artists of the imperial court that were exhibited at the Great Exhibitions of the late 19th century.{{sfn|Earle|1999|p=10}} With more than 1,400 objects in total, it is comparable only to the collection of the Japanese imperial family in terms of size and quality.{{Cite book|last=Gagarina|first=Elena|title=Beyond Imagination: Treasures of Imperial Japan from the Khalili collection, 19th to early 20th centuries|year=2017|isbn=978-5-88678-308-7|editor-last=Amelekhina|editor-first=Svetlana|location=Moscow|pages=7|chapter=Foreword|oclc=1014032691|quote=Comparable, as acknowledged by many scholars and museum directors, in terms of quality and size only to the collection of the Japanese imperial family, this celebrated collection comprises outstanding art works created during the "Great Change" when, after more than two hundred years of isolation, Japan began promoting itself internationally as a country of rich cultural traditions.|author-link=Yelena Gagarina|editor-last2=Elkvity|editor-first2=Dror|editor-last3=Panfilov|editor-first3=Fedor}} The collection catalogue published in 1995, {{lang|ja-Latn|Meiji No Takara}}, runs to eight volumes.{{Cite web|title=Bibliography|url=http://www.jameelcentre.ashmolean.org/collection/7/10227/10247|access-date=2020-10-14|website=www.jameelcentre.ashmolean.org|publisher=Ashmolean Museum, University of Oxford|language=en}} Rather than covering the whole range of Meiji-era decorative art, Khalili has focused on objects of the highest technical and artistic quality.{{Cite journal|last=Wylie|first=Hugh|date=Autumn 1998|title=Review: The Nasser D. Khalili Collection: Decorative Arts of Meiji Japan|journal=Monumenta Nipponica|volume=53|issue=3|pages=411|doi=10.2307/2385732|jstor=2385732}} Twenty-five of the objects have emblems showing that they were commissioned by the Emperor as gifts for foreign dignitaries and royalty.{{Cite web|url=https://www.khalilicollections.org/all-collections/japanese-art-of-the-meiji-period/|title=Japanese Art of the Meiji Period|website=Khalili Collections|language=en-US|access-date=2020-03-19}} Another twelve were made for international exhibitions around the turn of the 20th century.

Khalili's collection and documentation of Meiji era metalwork is a factor in the resurgence of interest in the topic in recent decades.{{Cite book|last=Seton|first=Alistair|title=Collecting Japanese Antiques|date=2012|publisher=Tuttle Publishing|isbn=978-1-4629-0588-1|location=New York|pages=235|oclc=798535552|quote=During the last few decades, however, interest has again surged in Meiji era metalwork, perhaps due in large measure to the great collections amassed, published, and exhibited by Dr Nasser Khalili of the Kibo Foundation, London, but also to strong New York attraction for articulated dragons [...], for example, and multi-art pieces.}} The 1995 catalogue lists 161 items of metalwork, showing a variety of techniques and with themes from the history and legends of both Japan and China.{{Cite web|url=https://www.khalilicollections.org/portfolio/meiji-no-takara-treasures-of-imperial-japan-metalwork-part-one/|title=Meiji No Takara – Treasures of Imperial Japan; Metalwork Parts One & Two|website=Khalili Collections|language=en-US|access-date=2020-03-27}} Meiji era metalworkers created ambitious works in cast bronze for display at world's fairs.{{sfn|Earle|1999|p=64}} One such artist, eventually appointed an Artist to the Imperial Household, was Suzuki Chokichi, whose art name was Kako.{{sfn|Earle|1999|pp=36, 65}} Several of his works, including two intricately decorated incense burners, are in the collection.{{sfn|Earle|1999|pp=37–43}}

File:Khalili Collection Japanese Meiji Art E40.jpg enamel panels, 1900–1905]]

The past history of samurai weaponry equipped Japanese metalworkers to create metallic finishes in a wide range of colours. By combining and finishing copper, silver and gold in different proportions they could give the impression of full-colour decoration.{{sfn|Earle|1999|p=66}} Some of these metalworkers were appointed Artists to the Imperial Household, including Kano Natsuo, Unno Shomin, Namekawa Sadakatsu, and Jomi Eisuke II, each of whom is represented in the collection.{{sfn|Earle|1999|pp=66, 70, 237, 370, 372}} Other works include an elephant incense burner by Shoami Katsuyoshi, a sculpture of the deity Susanoo-no-Mikoto by Otake Norikuni, and a group of iron pieces by the Komai family of Kyoto, decorated with gold in a process known in the West as damascening.{{Cite web|url=https://www.khalilicollections.org/portfolio/meiji-no-takara-treasures-of-imperial-japan-metalwork-part-two/|title=Meiji No Takara – Treasures of Imperial Japan; Metalwork Part Two|website=Khalili Collections|language=en-US|access-date=2020-03-27}}{{sfn|Earle|1999|p=67}}

During the Meiji era, Japanese cloisonné enamel reached a technical peak, producing items more advanced than any that had existed before.{{sfn|Earle|1999|p=252}}{{Cite book|last=Till|first=Barry|title=The arts of Meiji Japan, 1868–1912 : changing aesthetics|publisher=Art Gallery of Greater Victoria|year=1995|isbn=0-88885-145-6|location=Victoria, B.C.|pages=30|oclc=35885262|quote=Meiji period cloisonné differed greatly from the earlier Edo period works in shape, design, colour and techniques and was noted for its marvellous minute detailing and high standard of production.}} Artists experimented with pastes and the firing process to produce ever larger blocks of enamel, with less need for cloisons (enclosing metal strips).{{sfn|Earle|1999|p=252}} Many enamel objects were exhibited in the Fine Art section of the National Industrial Exposition of 1895.{{sfn|Earle|1999|p=255}} There are enamels from this period, including some in the Khalili Collection, that could not be replicated with today's technology.{{sfn|Earle|1999|p=252}} Designs went from copies of Chinese objects to a distinctively Japanese style.{{sfn|Earle|1999|p=254}} The collection's near-300 cloisonné enamel objects include many works by each of three notable artists: Namikawa Yasuyuki, Namikawa Sōsuke, and Ando Jubei.{{Cite web|url=https://www.khalilicollections.org/portfolio/meiji-no-takara-treasures-of-imperial-japan-enamel/|title=Meiji No Takara – Treasures of Imperial Japan: Enamel|website=Khalili Collections|access-date=27 March 2020}} These are regarded as the three great innovators of the golden age of Japanese cloisonné; they developed new firing techniques and reduced the visibility of wires.{{Cite web|title=How It's Made: Japanese Cloisonné|url=https://blog.dma.org/2012/06/26/how-its-made-japanese-cloisonne/|last=Leonard|first=Loryn|date=2012-06-26|website=Dallas Museum of Art Uncrated|language=en-US|access-date=2020-05-06|archive-date=13 August 2020|archive-url=https://web.archive.org/web/20200813123538/https://blog.dma.org/2012/06/26/how-its-made-japanese-cloisonne/|url-status=dead}} Namikawa Yasuyuki and Namikawa Sōsuke are known for introducing pictorial styles of cloisonné.{{sfn|Earle|1999|p=255}} An example in the collection is an incense burner by Namikawa Yasuyuki, created for presentation to the Emperor, that combines enamel with gold and shakudō to depict a landscape scene.{{sfn|Earle|1999|pp=255, 364}} Researchers have used the collection to establish a chronology of the development of Japanese enamelling.{{sfn|Earle|1999|p=254}}

Among the cloisonné enamel works is a trio of vases that have become known as the Khalili Imperial Garniture. Exhibited at the World's Columbian Exposition in Chicago, United States, in 1893, they were described as "the largest examples of cloisonné enamel ever made".{{sfn|Earle|1999|p=234}}{{Cite web|url=https://www.antiquestradegazette.com/news/2019/renowned-collector-nasser-khalili-revealed-as-buyer-of-lost-monumental-meiji-vase-as-he-reunites-it-with-original-set/|title=Renowned collector Nasser Khalili revealed as buyer of 'lost' monumental Meiji vase as he reunites it with original set|last=Arkell|first=Roland|date=1 March 2019|website=Antiques Trade Gazette|access-date=2020-04-03|issn=0306-1051}} From the early 1990s to 2019, Khalili acquired the three pieces, including the third which had been considered 'lost' to the art trade.{{Cite web|url=https://www.khalilicollections.org/islamic-art/the-khalili-collections-reunites-landmark-imperial-japanese-garniture-said-to-be-the-largest-examples-of-cloisonne-enamel-ever-made-after-over-120-years/|title=News {{!}} The Khalili Collections Reunites Landmark Imperial Japanese Garniture – Said to be The Largest Examples of Cloisonné Enamel Ever Made – After Over 120 Years|date=2019-04-12|website=Khalili Collections|language=en-US|access-date=2020-04-03}} The design of the vases includes the symbolic use of a dragon, chickens, and eagles, on scenes representing the four seasons of the year.{{sfn|Earle|1999|p=234}}

File:Khalili_Collection_Japanese_Meijji_waves_panel.jpg panel by Shibata Zeshin, 1888–1890]]

Some lacquer works in the collection date from the 17th century. A hundred works are by Shibata Zeshin, who has been called Japan's greatest lacquerer.{{cite journal|last=Earle |first= Joe |title=Zeshin Redux |journal=Orientations |volume=29 |issue=2 |date= March 2008 |page=136| issn=0030-5448|quote=The article examines the works and life story of Japanese artist Shibata Zeshin, known as Japan's greatest lacquerer and a key figure in the artistic transition from the Edo period to the Meiji era.}} His works have an idiosyncratic, highly decorative style and the hundred works in the Khalili Collection of Japanese Art had a dedicated volume in the 1995 catalogue.{{Cite web|url=https://www.khalilicollections.org/portfolio/meiji-no-takara-treasures-of-imperial-japan-masterpieces-by-shibata-zeshin/|title=Meiji No Takara – Treasures of Imperial Japan; Masterpieces by Shibata Zeshin|website=Khalili Collections|access-date=2020-03-27}} Another lacquer item is a cabinet by Harui Komin, commissioned by the Japanese Crown Prince for presentation to the future King Edward VIII of the United Kingdom.{{Cite web|url=https://www.khalilicollections.org/portfolio/meiji-no-takara-treasures-of-imperial-japan-lacquer-part-one/|title=Meiji No Takara – Treasures of Imperial Japan; Lacquer Part One|website=Khalili Collections|language=en-US|access-date=2020-03-27}} Other lacquer works are by Nakayama Komin and Shirayama Shosai, who along with Shibata Zeshin are considered the three great late lacquerers of Japan.{{cite web |title=Writing box (suzuribako), 1860s |url=https://collections.artsmia.org/art/99242/writing-box-nakayama-komin |website=collections.artsmia.org |publisher=Minneapolis Institute of Art |access-date=27 March 2020}} There are many examples of shibayama technique, in which designs are carved into natural materials which are inlaid in the lacquer.{{Cite book|last=Miller|first=Judith|url=https://books.google.com/books?id=l1U_DQAAQBAJ&pg=PA113|title=Miller's Antiques Handbook & Price Guide 2018–2019|publisher=Octopus|year=2017|isbn=978-1-78472-267-8|pages=113}}

File:Khalili Collection Japanese Meiji Art P21.jpg, circa 1910]]

The collection includes, among other porcelain works, more than eighty by Miyagawa (Makuzu) Kozan, described in 1910 as Japan's greatest living ceramic artist.{{Cite web|url=https://www.khalilicollections.org/portfolio/meiji-no-takara-treasures-of-imperial-japan-ceramics-part-one-porcelain/|title=Meiji No Takara – Treasures of Imperial Japan; Ceramics Part One: Porcelain|website=Khalili Collections|language=en-US|access-date=2020-03-27}}{{sfn|Earle|1999|p=333}} Kozan was the second ceramicist ever to be appointed Artist to the Imperial Household.{{sfn|Earle|1999|p=333}} He and his workshop transformed underglaze blue porcelain, decorating with subtleties of colour that had not previously been possible.{{sfn|Earle|1999|p=332}} He also made award-winning objects with flambé or crystalline glaze.{{sfn|Earle|1999|p=331}} Some of his works showed the influence of European graphic design, while he combined traditional Japanese and Chinese techniques with new technologies from the West.{{sfn|Earle|1999|pp=331–2}} The collection illustrates how he and his son Hanzan became increasingly ambitious, introducing new colours, designs and sculptural effects in works sent to international exhibitions.{{sfn|Earle|1999|p=332}}

File:Khalili Collection Japanese Meiji Art S30.jpg, circa 1910]]

The 171 earthenware objects in the collection include some by Yabu Meizan and his contemporaries, typically decorated with enamel and gold.{{Cite web|url=https://www.khalilicollections.org/portfolio/meiji-no-takara-treasures-of-imperial-japan-ceramics-part-two-earthenware/|title=Meiji No Takara – Treasures of Imperial Japan; Ceramics Part Two: Earthenware|website=Khalili Collections|access-date=2020-03-27}} Meizan was not only a prolific producer but won multiple awards at national and international exhibitions, where his creations were exhibited as works of art.{{sfn|Earle|1999|pp=117–118}} The collection shows that Meizan used Chinese as well as Japanese motifs in his decoration, drawing from sources including Buddhist imagery and the prints of Hiroshige.{{sfn|Earle|1999|p=118}} His designs became more intricate, sometimes using a thousand motifs in a single art work; towards the end of his career, however, he took a different approach, covering whole vases in a single motif.{{sfn|Earle|1999|pp=118–119}} Kinkozan Sobei VII and Takbe Shoko are other distinctive decorators represented in the collection.{{sfn|Earle|1999|pp=119, 132}}

At some world's fairs where Japan exhibited, textile art works outnumbered all other categories. These include the World's Columbian Exposition, where textile art works were displayed alongside paintings and sculpture in the Palace of Fine Arts.{{Cite book|last=Sapin|first=Julia|chapter-url=https://books.google.com/books?id=v_0yDAAAQBAJ&pg=PT206|title=Kyoto Visual Culture in the Early Edo and Meiji Periods: The arts of reinvention|date=2016-05-20|publisher=Routledge|isbn=978-1-317-28689-9|editor-last=Pitelka|editor-first=Morgan|pages=206|chapter=Naturalism fusing past and present: the reconfiguration of the Kyoto School of Painting and the revival of the textile industry|editor-last2=Tseng|editor-first2=Alice Y.}} The collection includes over 200 examples of silk textile work from the latter half of the Meiji era,{{Cite web|title=Embroidered Wonders Meiji era textiles in the Khalili Collections...|url=https://www.khalilicollections.org/portfolio/embroidered-wonders-meiji-era-textiles-in-the-khalili-collections/|website=Khalili Collections|access-date=2020-05-27}} mostly produced by workshops in Kyoto.{{sfn|Earle|1999|p=322}} One of these was presented to Nicholas II of Russia by the Emperor during the former's visit to Japan in 1891.{{sfn|Earle|1999|p=322}} Other items were exhibited at Japan's fifth National Industrial Exposition of 1903.{{sfn|Earle|1999|pp=323, 326}} These included works by Nishimura Sozaemon, whose embroidery firm was appointed by the Imperial household.{{sfn|Earle|1999|p=323}}

File:Khalili Collections A Composite Imaginary View of Japan.jpg|A composite imaginary view of Japan

File:Khalili_Collections_Lion_and_Lioness_in_Long_Grasses.jpg|A lion and lioness in long grass

File:Khalili Collections Set of four padded silk panels 1.jpg|Padded silk panel from a set of four

File:Khalili Collections Publications Japan Catalogues.jpg]]

In 1995, the collection was documented in a multi-volume catalogue by Oliver Impey, reader in Japanese Art at the University of Oxford, and Malcolm Fairley, co-owner of the Asian Art Gallery in London. A separate volume of essays uses the collection to explore the phenomenon of Japonisme: the enthusiasm for Japanese arts in late 19th century Europe. There are also catalogues from various exhibitions.

• {{cite book|last1=Harris |first1=Victor |title=Japanese imperial craftsmen : Meiji art from the Khalili collection |date=1994 |publisher=British Museum Press |location=London |isbn=0714114634 |ref=none}}
• {{Cite book|last1=Impey|first1=Oliver|title=Treasures of Imperial Japan: Ceramics from the Khalili Collection|last2=Fairley|first2=Malcolm|publisher=Kibo Foundation|year=1994|isbn=978-1-874780-12-0|ref=none}}
• {{cite book|first1=Oliver|last1=Impey|first2=Malcolm|last2=Fairley|title=Volume I – Meiji No Takara – Treasures of Imperial Japan; Selected Essays|year=1995|publisher=Kibo Foundation|isbn=9781874780014|ref=none}}
• {{cite book|first1=Oliver|last1=Impey|first2=Malcolm|last2=Fairley|title=Volume II – Meiji No Takara – Treasures of Imperial Japan; Metalwork Parts One & Two|year=1995|publisher=Kibo Foundation|isbn=9781874780021|ref=none}}
• {{cite book|first1=Oliver|last1=Impey|first2=Malcolm|last2=Fairley|title=Volume III – Meiji No Takara – Treasures of Imperial Japan; Enamel|year=1995|publisher=Kibo Foundation|isbn=9781874780038|ref=none}}
• {{cite book|first1=Oliver|last1=Impey|first2=Malcolm|last2=Fairley|first3=Joe|last3=Earle|title=Volume IV – Meiji No Takara – Treasures of Imperial Japan; Lacquer Parts One & Two|year=1995|publisher=Kibo Foundation|isbn=9781874780045|ref=none}}
• {{cite book|first1=Oliver|last1=Impey|first2=Malcolm|last2=Fairley|title=Volume V, Part I – Meiji No Takara – Treasures of Imperial Japan; Ceramics Part One: Porcelain|year=1995|publisher=Kibo Foundation|isbn=9781874780052|ref=none}}
• {{cite book|first1=Oliver|last1=Impey|first2=Malcolm|last2=Fairley|title=Volume V, Part II – Meiji No Takara – Treasures of Imperial Japan; Ceramics Part Two: Earthenware|year=1995|publisher=Kibo Foundation|isbn=9781874780069|ref=none}}
• {{cite book|author1=Earle|first=Joe|title=Volume VI – Meiji No Takara – Treasures of Imperial Japan; Masterpieces by Shibata Zeshin|year=1995|publisher=Kibo Foundation|isbn=9781874780083|ref=none}}
• {{Cite book|last=Earle|first=Joe|title=Shibata Zeshin : masterpieces of Japanese lacquer from the Khalili Collection|date=1997|publisher=National Museums of Scotland|isbn=1-874780-09-9|location=Edinburgh|oclc=37794363|ref=none}}
• {{Cite book|title=Splendors of Meiji : treasures of imperial Japan : masterpieces from the Khalili Collection|last=Earle|first=Joe|publisher=Broughton International Inc|year=1999|isbn=1874780137|location=St. Petersburg, Fla.|oclc=42476594|ref=none}}
• {{Cite book|last=Earle|first=Joe|title=Splendors of Imperial Japan : arts of the Meiji period from the Khalili Collection|date=2002|publisher=Khalili Family Trust|isbn=1-874780-19-6|location=London|oclc=49043675|ref=none}}
• {{Cite book|last=Schiermeier|first=Kris|title=Wonders of imperial Japan : Meiji art from the Khalili collection|date=2006|publisher=Waanders Publishers|isbn=90-400-8234-0|location=Zwolle|oclc=71522673|ref=none}}
• {{Cite book|last=Schiermeier|first=Kris|title=Japan : Meiji-Kunst & Japonismus : Aus der Sammlung Khalili|date=2006|publisher=Kunsthalle|isbn=3-901261-34-6|location=Krems|oclc=150163591|ref=none}}
• {{Cite book|editor1-last=Irvine|editor1-first=Gregory|year=2013|title=Japonisme and the rise of the modern art movement : the arts of the Meiji period : the Khalili collection|isbn=978-0-500-23913-1|location=New York|oclc=853452453|publisher=Thames & Hudson|ref=none}}
• {{Cite book|last1=Amelëkhina|first1=S. A.|title=Za granʹi︠u︡ voobrazhenii︠a︡ : sokrovishcha imperatorskoĭ I︠A︡ponii XIX - nachala XX veka iz kollekt︠s︡ii professora Khalili|last2=Амелёхина|first2=С. А.|publisher=Moscow Kremlin Museums|year=2017|isbn=978-5-88678-308-7|location=Moscow|trans-title=Beyond Imagination: Treasures of Imperial Japan from the Khalili collection, 19th to early 20th centuries|oclc=1014032691|ref=none}}

The following exhibitions were drawn exclusively from the Khalili Collection of Japanese Art.{{Cite web|url=https://www.nasserdkhalili.com/the-eight-collections/|title=The Eight Collections|website=nasserdkhalili.com |access-date=13 June 2024}}

• Japanese Imperial Craftsmen: Meiji Art from the Khalili Collection
• September 1994 – January 1995, British Museum, London, UK
• Treasures of Imperial Japan: Ceramics from the Khalili Collection
• October 1994 – January 1995, National Museum of Wales, Cardiff, UK
• Shibata Zeshin: Masterpieces of Japanese Lacquer from the Khalili Collection
• April – October 1997, National Museums of Scotland, Edinburgh, UK
• Splendors of Meiji: Treasures of Imperial Japan
• April – October 1999, First USA Riverfront Arts Centre, Wilmington, Delaware, USA
• Shibata Zeshin: Masterpieces of Japanese Lacquer from the Khalili Collection
• October – November 1999, Toyama Sato Art Museum, Toyama, Japan
• November 2000 – March 2001, Roemer and Pelizaeus Museum, Hildesheim, Germany
• Splendors of Imperial Japan: Arts of the Meiji Period from the Khalili Collection
• June – September 2002, Portland Art Museum, Portland, Oregon, USA
• Splendors of Imperial Japan: Masterpieces from the Khalili Collection
• September 2004 – February 2005, Israel Museum, Jerusalem, Israel
• Wonders of Imperial Japan: Meiji Art from the Khalili Collection
• July – October 2006, Van Gogh Museum, Amsterdam, Netherlands
• Meiji-Kunst & Japonismus: Aus der Sammlung Khalili
• February – June 2007, Kunsthalle Krems, Krems, Austria
• Beyond Imagination: Treasures of Imperial Japan from The Khalili Collection, 19th to early 20th century
• July – October 2017, Moscow Kremlin Museums, Moscow, Russia{{Cite web|url=https://www.themoscowtimes.com/2017/09/14/the-moscow-fall-art-season-sizzles-a58947|title=The Moscow Fall Art Season Sizzles|last=Muchnik|first=Andrei|date=2017-09-14|website=The Moscow Times|language=en|access-date=2020-03-19}}

Items from the collection were lent to the following exhibitions:

• Kyoto–Tokyo: from Samurai to Manga
• July – September 2010, Grimaldi Forum, Monaco
• Meiji, splendeurs du Japon impérial (Splendours of Imperial Japan)
• October 2018 – January 2019, Guimet Museum, Paris{{Cite web|url=https://www.khalilicollections.org/japanese-art-of-the-meiji-period/splendours-of-imperial-japan-guimet-museum-paris/|title=Splendours of Imperial Japan, Guimet Museum, Paris|date=2018-10-17|website=Khalili Collections|language=en-US|access-date=2020-03-19}}{{Cite web|url=https://www.guimet.fr/event/meiji-1868-1912/|title=Meiji, Splendeurs du Japon impérial (1868–1912)|website=guimet.fr|publisher=Guimet Museum|access-date=19 March 2020}}

In June 2014, the Khalili Foundation made two donations of Japanese art to the UNESCO art collection. A pair of {{convert|145|cm|in}} high cloisonné enamel vases were accompanied by a pair of bronze vases depicting birds in high relief.{{cite web |title=Pair of bronze vases, Meiji period (Japan, 1868–1912) |url=http://www.unesco.org/artcollection/DetailAction.do?idOeuvre=3157&critere=PAYS_ORIGINE&index=all |website=unesco.org |publisher=UNESCO |access-date=26 March 2020}}{{cite web |title=Pair of vases, Meiji period (Japan, 1868–1912) |url=http://www.unesco.org/artcollection/DetailAction.do?idOeuvre=3158&critere=PAYS_ORIGINE&index=all |website=unesco.org |publisher=UNESCO |access-date=26 March 2020}}

• List of collections of Japanese art

{{Free-content attribution

|title= The Eight Collections

|author = Khalili Foundation

|source=

|documentURL= https://www.nasserdkhalili.com/the-eight-collections-2/

|license statement URL=

|license= CC-BY-SA 3.0

}}

{{reflist}}

• {{Cite book|title=Splendors of Meiji: treasures of Imperial Japan: Masterpieces from the Khalili Collection|last=Earle|first=Joe|publisher=Broughton International Inc|year=1999|isbn=1874780137|location=St. Petersburg, Florida|oclc=42476594}}
• {{cite book |last=Guth |first=Christine M. E. |chapter=The Meiji era: the ambiguities of modernization|editor1-last=Jackson |editor1-first=Anna |title=Kimono: the art and evolution of Japanese fashion |date=2015 |publisher=Thames & Hudson |location=London |isbn=9780500518021|oclc=990574229|pages=106–111}}
• {{cite book |last=Iwao |first=Nagasaki |chapter=Clad in the aesthetics of tradition: from kosode to kimono|editor1-last=Jackson |editor1-first=Anna |title=Kimono: the art and evolution of Japanese fashion |date=2015 |publisher=Thames & Hudson |location=London |isbn=9780500518021|oclc=990574229|pages=8–11}}

• {{Cite book |last=Khalili |first=David |title=The Art of Peace: Eight collections, one vision |publisher=Penguin Random House |year=2023 |isbn=978-1-52991-818-2 |location=London |pages=111–129 |chapter=Japan}}

{{commons category|Khalili Collection of Japanese Art}}

• {{Official website}}
• [https://vimeo.com/21159678 Video of an exhibition at the Israel Museum] (Vimeo)

{{Nasser Khalili}}

{{Authority control}}

Category:Japanese art

Japanese Art