Ouchi Lacquerware
Made by the Ouchi lords for trade with Ming China: gold lozenges and autumn grasses on vermilion.
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Made by the Ouchi lords for trade with Ming China: gold lozenges and autumn grasses on vermilion.
Said to have been started to fund the rebuilding of Todaiji, and made here for over eight centuries.
The traditional furnace that supplied iron for the shipyard - old technology feeding a new industry.
In the birthplace of Kano Hogai, who pushed Nihonga into the modern era; the museum traces how he got there.
Japan's first international open-air sculpture competition; sixty years of prize works have filled the park.
Cut from a fine-grained local stone that grinds ink smoothly, its edges carved with dragons and pines.
Striped cotton that sold widely in the Edo period, lost, and reconstructed from surviving samples.
Two pillars: a painter of Siberian internment, and the photographer who took the famous portrait of the novelist Dazai.
A painter who rendered his Siberian captivity as 57 canvases in black and ochre alone, shown in his home village.
Chambered kilns stepped up the hillside; the slope and the number of chambers decide how the ware comes out.
A married pair in Ouchi lacquer, their faces barely drawn - the form and the vermilion do the work.
Tea seeps into the crazing and the colour keeps changing - the maker does not decide when the bowl is finished.
A performing tradition that died out entirely and was reconstructed in the 1970s, costumes and all.
The families of the abducted Korean potters still run kilns here - a transfer of technique preserved as lineage.
Ouchi patronage left many medieval images here, showing how the capital's style shifted in provincial hands.
Collecting on three axes - the human figure, this province, and the present - centred on how the body was depicted in the 20th century.
Indigo leaves composted into sukumo; only a handful of makers remain, and most Japanese indigo dyeing still depends on them.
Woven at uneven tension and then shrunk, so the surface puckers and touches the skin less - a cloth for heat.
Indigo wealth planted puppet theatre in the villages; dozens of their open-air stages still survive and still perform.
Carved larger than Bunraku's so they read from a distance outdoors; the master Tengukyu's heads are still in use.
Great jars thrown on a wheel kicked by a man lying on his back while another shapes the clay - a method born of indigo vats.
Kept the hand technique and developed washi for inkjet printing - an old craft finding a current use.