The "Wind God and Thunder God Screen" by Mitsuru Ogata is an important cultural property of the Edo period in the 18th century and is currently housed in the Tokyo National Museum. It was created by Mitsunari Ogata imitating the national treasure of Muneda Biaya. Using paper-based gold coloring techniques. One of the prominent features of this work is the intersection of the gaze of the Wind God and the Thunder God. The images of the Wind God and the Thunder God are vivid and powerful, with the Wind God holding a wind bag and the Thunder God holding a drum, both of which have dynamic movements and expressions. In addition, after the death of Mitsuhide, Sakai Takaichi added the "Summer Autumn Sketch Screen" to the back of the screen, but for preservation reasons, these two works are now stored separately in different screens.

The "Wind God and Thunder God Screen" by Mitsuru Ogata is an important cultural property of the Edo period in the 18th century and is currently housed in the Tokyo National Museum. It was created by Mitsunari Ogata imitating the national treasure of Muneda Biaya. Using paper-based gold coloring techniques. One of the prominent features of this work is the intersection of the gaze of the Wind God and the Thunder God. The images of the Wind God and the Thunder God are vivid and powerful, with the Wind God holding a wind bag and the Thunder God holding a drum, both of which have dynamic movements and expressions. In addition, after the death of Mitsuhide, Sakai Takaichi added the "Summer Autumn Sketch Screen" to the back of the screen, but for preservation reasons, these two works are now stored separately in different screens.

It is an iconic annex building of Japanese shrines, mainly used to distinguish the divine realm from the secular realm where humans reside, symbolizing the entrance to the divine realm. It usually consists of two pillars and two crossbeams, and sometimes hangs a plaque with inscriptions on it. It is usually made of wood and painted with raw paint. The color is usually vermilion, which is believed to have the power to dispel demons, like a monk's barrier. In Japan, people believe that torii can fulfill their wishes, so the custom of worshipping torii has been popular since the Edo period. Torii is not only a part of the shrine, but also an important symbol of Japanese culture.

Also known as Japanese armor, it was a type of armor in Japan during the Edo period (1603-1868). It is part of the collection of Romero Ortiz, and its 1888 catalog is related to the background of Daniel Dato and the Philippine War. In ancient Japan, warriors or samurai were military elites who served daimyos or feudal lords. Their armor, as the foundation of their defensive clothing, consisted of different components covering the entire body, which evolved into forms of great display and precious decoration, especially during the Edo period. It is currently housed in the National Army Museum of Spain.

Satsuma yaki is named after its place of origin, located in the Satsuma region of Kyushu Island, Japan (now Kagoshima Prefecture). This ceramic art form reached its peak in the late Edo period (1603-1868). Satsuma yaki is known for its exquisite cracked glaze (known as "Kintsugi") and complex handmade carvings. They are usually decorated with traditional Japanese patterns such as flowers, birds, landscapes, and figures. The production of Satsuma yaki involves multiple steps, including molding, carving, glazing, and firing. The carving technique is particularly delicate, often carving details on white or beige cracked glazes.

A samurai of ancient Japan, belonging to the military elite who served dame or feudal lords. Their armor is the basis of defensive suits, consisting of different parts covering the whole body, which evolved into very ornate and precious decorative forms, especially in the Edo period (1603-1868). The samurai armor is currently in the collection of the Spanish National Army Museum.