Beginning in the Nara period, painting, calligraphy, and sculpture flourished under strong Confucian and Buddhist influences from Korea and China. Among the architectural achievements of this period are the Hōryū-ji and the Yakushi-ji, two Buddhist temples in Nara Prefecture. After the cessation of official relations with the Tang dynasty in the ninth century, Japanese art and architecture gradually became less influenced by China. Extravagant art and clothing was commissioned by nobles to decorate their court life, and although the aristocracy was quite limited in size and power, many of these pieces are still extant. After the Todai-ji was attacked and burned during the Gempei War, a special office of restoration was founded, and the Todai-ji became an important artistic center. The leading masters of the time were Unkei and Kaikei.

Painting advanced in the Muromachi period in the form of ink and wash painting under the influence of Zen Buddhism as practiced by such masters as Sesshū Tōyō. Zen Buddhist tenets were also elaborated into the tea ceremony during the Sengoku period. During the Edo period, the polychrome painting screens of the Kano school were made influential thanks to their powerful patrons (including the Tokugawas). Popular artists created ukiyo-e, woodblock prints for sale to commoners in the flourishing cities. Pottery such as Imari ware was highly valued as far away as Europe.

In theater, Noh is a traditional, spare dramatic form that developed in tandem with kyogen farce. In stark contrast to the restrained refinement of noh, kabuki, an “explosion of color,” uses every possible stage trick for dramatic effect. Plays include sensational events such as suicides, and many such works were performed in both kabuki and bunraku puppet theaters.