Satsuma Kiriko
Thick coloured glass is cut back to produce a graded shading. Production died out once and was revived.
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Thick coloured glass is cut back to produce a graded shading. Production died out once and was revived.
At 700 metres, where artists chose their own sites; when the fog comes in, the sculptures appear and vanish.
This province sent an unusual number of painters into Japanese modern art; the museum collects them systematically.
On a hill facing the bay and the volcano, holding both Satsuma ware and European modern painting.
Begun by abducted Korean potters, and split into white ware for the lord and black for everyone else - class made into pottery.
The village where the abducted potters were settled; families that never changed their Korean names still fire kilns here.
A painter who moved here at fifty, worked as a dyer to fund his painting, sold almost nothing, and was recognised only after death.
Thread dyed with a local shrub and then trodden into iron-rich mud to blacken; the kasuri threads are themselves woven first on a separate loom.
Plant dye and mud alternated more than twenty times to reach a black no chemical dye can match.
Only stumps left by Edo-period logging may be used; no living tree is cut, and the timber is three centuries old before it starts.
Satsuma banned Buddhism outright for a time; altars were made in secret, and when the ban lifted that skill became an industry.
Gunsmithing turned to scissors; steel is forge-welded to soft iron to shape the blades and handles.
A technique lost for 120 years, reverse-engineered from surviving pieces - the reconstruction itself the achievement.
Fibre stripped from banana stems, split fine and spun by hand; a single bolt takes two hundred plants.
The kasuri threads are first woven into a temporary cloth, dyed, then unpicked for the real weaving - two weavings for one fabric.
Domain metalwork that found an export market in the Meiji era, prized abroad for the fineness of its inlay.
Thin ivory-white ware painted in gold and colour for the lord's use; world's fairs made it an export line called simply SATSUMA.
The black ware ordinary people used - undecorated, its shape decided entirely by what it had to do.
Each hamlet keeps its own bull; the harness and rope designs work as the village's emblem.
The lords set pottery, glass and metal workshops in their own castle town and directed them personally.
Oshima Tsumugi Village in Amami. Visitors can try mud dyeing and weaving.
The mud-dyeing park in Amami. It exhibits mud-dyeing techniques.
The Oshima Tsumugi Art Museum in Amami. It collects and preserves textiles.
Honba Oshima Tsumugi no Sato in Kagoshima City. It displays the production area.