This article discusses the hierarchical and the chronological displays of the Japanese sections in the 1910 Japanese-British Exposition. Previous research indicates that the Japanese notion of culture, which was not introduce to Japan until Meiji Restoration, revealed a relatively dynamic and fluent understanding toward the power relation between Japan, its Asian neighbors and its western counterparts(Kikuchi 2004:76; Hu 2004; Qian 2006). In the case of Japanese sections in the 1910 Japanese-British Exposition, elements such as eastern vs. western, viewing vs. being viewed, mobility vs. immobility were rearrange according to situations. Western cultural elements, such as western style of clothes and industrial equipment, were adopted as imperialist connotations for Japan's higher status and domination. In these exhibitions, an independent Asian-centered evolutionist theory was demonstrated, in which Japan occupied the top of the pyramid, while its' colonies, including Taiwan, Manchurian, and Korean, as well as Ainu, an indigenes people living in Hokkaido, were depicted as cultural Others living in less modernized and lower cultural conditions. Besides hierarchical displays, Japanese also managed to demonstrate the depth of its history through chronological arrangements of scenario displays of its different historical periods. By this chronological scenario exhibitions Japan aimed not only to illustrate the achievements of its civilization but also to construct an historical discourse which took the country's modernization as a consequence of isolated development without western influence.