The Museum of Modern Art, Hayama
Successor to Japan's first public museum of modern art, set where the galleries open straight onto the sea.
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34 entries / page 1 of 2
Successor to Japan's first public museum of modern art, set where the galleries open straight onto the sea.
An annex behind the great shrine, kept low behind walls and hedges to sit inside the town's grain.
An 11-metre bronze Buddha that lost its hall to a tsunami; sitting in the open, its casting seams are visible inside and out.
On the site of the home of Kiyokata, the last great painter of bijinga, who drew the ordinary streets of Meiji Tokyo.
Wood carved first, then lacquered - a Japanese answer to Chinese carved lacquer, arrived at by splitting the trades.
Among the first Japanese museums to collect photography seriously, and the symmetrical anchor of the Minato Mirai axis.
In Taro Okamoto's home city, where his 30-metre Tower of Mother breaks out above the trees.
Collects around a single theme - the light of this coast - and the artists who worked in it.
A small museum in a pine grove, building the record of a town where writers and painters settled.
Prints narrowed to three local subjects, so the changing way one place was seen can be followed.
The treasury of the head temple of Jishu, keeping material on the scrolls of the dancing monk Ippen.
Turned bowls of Hakone timber finished so the grain still shows - lacquer that displays the wood, not itself.
One of Japan's great Impressionist collections, with 80 percent of the building buried to spare the forest.
Japan's first open-air museum: 120 sculptures over seven hectares, each set against the mountain skyline.
Holds Utamaro's Deep Snow at Fukagawa, lost for seventy years, in one of Japan's largest private museums.
An actual Orient Express carriage with Lalique's glass panels, entered rather than viewed through a case.
Four thousand works of contemporary Nihonga, and a window framing Mt Fuji across the lake by design.
Geometric patterns built from blocks of differently coloured woods and shaved into veneer - no dye is ever used.
Opened by a family of marquetry makers, tracing how the patterns grew more complex over generations.
For a painter who returned to the same harbour and mountain for decades, working in oils, calligraphy and clay.
A double shell of glass and steel punched with circles, so the sea is visible from almost anywhere inside.
Sea caves turned into places of worship, filled with stone images and drawn again and again in ukiyo-e.
Wood inlay from Odawara. A cut-out inlay in which pieces of wood cut with a fretsaw are fitted into place.
Puzzle boxes from Hakone. Trick boxes that will not open unless the panels are moved in a set sequence.