Heian Buddhas of Mie
On the road between the capital and Ise, so small temples here keep an unusual number of Heian images.
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On the road between the capital and Ise, so small temples here keep an unusual number of Heian images.
The first public museum in Japan to make art brut a collecting pillar - work by makers who never trained, taken seriously.
Three pavilions seeming to float on water, including an underground tea room designed by the fifteenth Raku master himself.
Mass-produced roadside paintings sold to travellers, drawn fast to fixed subjects - later hailed by Yanagi as folk art.
One of the six ancient kilns; feldspar in the coarse clay bursts white through the surface, and fire and ash mark each pot differently.
Studio, gallery and research on one hill, hosting foreign artists to work in Shigaraki clay for over thirty years.
One of only seven National Treasure eleven-headed Kannon; villagers buried it in the earth to save it from war, and still keep it.
Where villagers, not monks, have kept the temples open and the images safe for centuries - an unusual form of custodianship.
Fine summer ramie whose kasuri patterns are made by pressing dye onto the threads with a comb.
Serving the demand of Mt Hiei and Kyoto, workshops here still handle single stages of the trade.
Armourers turned to altars in peacetime; seven separate trades now build each one.
Spread nationwide after an imperial visit; each of the eight things the badger carries stands for a virtue.
The cabinets that house the Kannon images survive village by village - the container itself a work of craft.
Lakeside reeds cut and woven into screens and thatch - wetland management and craft as a single job.
Floats decorated with merchant money, some hung with textiles brought from overseas.
Japan's oldest surviving public art museum building, updated by digging the ground away and sliding a glass entrance beneath it.
Treats craft as the equal of fine art; Fumihiko Maki's building sits quietly between a canal and a giant torii.
Three generations of collecting Rinpa and Jakuchu, in a building that descends underground away from the street.
Holds what Shokokuji and its sub-temples Kinkakuji and Ginkakuji kept, including Jakuchu's ink panels for the Golden Pavilion.
Shang and Zhou bronzes of a quality rarely found outside China, displayed close enough to read the casting.
A narrow Gion building used vertically, with a light court on the top floor as the only place the sky appears.
Four and a half centuries in one family line, from the bowls Chojiro made for Rikyu - all formed by hand, never on a wheel.
Tea utensils rearranged to the season's gathering, beside a modern sukiya house of the first rank.
A financier tea master's collection, holding the equipment of both tea and Noh in one place.