Katsuyama Bamboo Craft
Farm baskets with no ornament at all - the form held entirely by the strength of the weave.
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Farm baskets with no ornament at all - the form held entirely by the strength of the weave.
Named for the castle's nickname: flowers and birds carved in relief on trays and boxes, finished in lacquer.
Recorded in 8th-century documents; a handful of workshops still make it.
The largest of Japan's five sword traditions; roughly half of all National Treasure blades were forged here.
The painter who bought the Ohara collection was a painter first; his own canvases show what his eye was trained on.
Beside a designated scenic garden, and built around artists connected to Hiroshima and the crafts of Asia.
Japan's first public museum devoted to contemporary art, on a hilltop in a Kurokawa building of tile and aluminium.
Founded by a local bank as a memorial to those killed by the bomb; its Impressionist holding is among western Japan's best.
Said to begin with rice paddles shaped after a goddess's lute; the trade covers both turning and carving.
Tadao Ando wrapped an existing building; from the galleries the strait and the island opposite are in view.
Unusual in Japan for collecting 20th-century Italian art, and standing next to the castle.
For a painter and a doll artist, husband and wife; on full-moon nights it stays open so the moon can be watched in its pond.
Called shining dolls for their gloss; one family still makes them, using moulds from the Edo period.
Eight in ten Japanese brushes; the hair tips are never cut, so the point forms itself.
Hair blended in water rather than dry; a brush town specialising in calligraphy alongside Kumano.
A wedding-furniture town where the trades divide the work and compete on the precision of the joinery.
One of Japan's three great kasuri districts; its toughness made it workwear, and the town later turned to denim.
Over sixty percent of Japan's koto; the sound is cut into the paulownia body as a pattern of grooves inside the lid.
Born on this island and a survivor of the bomb; the museum runs from his boyhood sketches to his last large works.
Descended from the Iwami tradition, with serpents and demons whose robes cost millions and whose masks are made of paper.
Filmed again and again from Ozu onward; the same slope and level crossing keep reappearing in different decades.
Gilded altars grown from a strongly Pure Land region, finished by six separate trades in sequence.
Printmaking was chosen to carry the memory of the bomb precisely because prints can be multiplied and sent out.
In the province where Sesshu spent his last years, and also built around Kazuki Yasuo's Siberian internment paintings.