Tsugaru Kanayama Ware
Unglazed stoneware coloured only by wood ash, using local clay and earth dug from a former reservoir.
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Unglazed stoneware coloured only by wood ash, using local clay and earth dug from a former reservoir.
An August festival in Hirakawa. Among Tsugaru's Neputa, this one fields the large fan-shaped floats.
Ship votive paintings hung beside framed topknots cut off in thanks for surviving the sea - folk art produced by maritime faith.
A seaside facility with a bathhouse looking over the bay, quietly running small exhibitions of local artists.
The coast where Kaii Higashiyama found the subject of his best-known painting - rock, turf and sea in bands.
The counterpart to Tsugaru kogin: counted on even threads, so its diamonds are built on a different geometry.
Nicknamed the fool's lacquer for its 48 coats, ground back to reveal a mottling made by eggshell and rapeseed.
Fan-shaped lanterns painted with a warrior on the front and a woman on the back - a festival that compares the painter's two sides.
Next year's giant lantern is built inside the building all year, from frame to paper, wax and paint.
Built around three artists from Iwate: the avant-gardist Yorozu Tetsugoro, the urban painter Shunsuke Matsumoto, and the marble sculptor Yasutake Funakoshi.
It stands in the hometown of a painter who helped pioneer Japan's reception of Fauvism and Cubism. From the hill in Tsuchizawa, you can see the same mountains he painted.
Watercolours of wild flowers, shown in a former bank on the Nakatsu river.
Four centuries of cast ironware; the hailstone pattern on each kettle is punched by hand.
Fourteen workshops under one roof, where visitors watch and try the crafts themselves.
A hall entirely covered in gold leaf, inlaid with mother-of-pearl - the sum of Heian craft in one building.
Stone sculptures scattered over a hillside, framed against the Kitakami mountains.
In the town that taps over 70 percent of Japan's lacquer, including the sap used to repair national treasures.
A workshop that revived the lost Appi lacquer tradition, working from raw wood to final coat.
Armour dedicated by the Nambu lords, and the carved heads of the autumn festival floats.
Chests of zelkova wood fitted with hand-forged iron mounts, made by two trades working in tandem.