Saga Prefectural Art Museum and Museum
An architecturally awarded building, holding the painter Okada Saburosuke and the province's porcelain.
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An architecturally awarded building, holding the painter Okada Saburosuke and the province's porcelain.
Japanese porcelain began when a Korean potter found the right stone here in 1616; within decades it was shipping to Europe.
Torii, guardian lions and railings are all porcelain - a pottery town built even its shrine from its own material.
Its milk-white body and sparing use of colour were copied across Europe and shaped Meissen's own style.
Hereditary enamellers to the Nabeshima lords, keeping a technique where ink drawn on the glaze burns away and leaves white.
To stop the technique leaking, the potters were gathered in a valley ringed by sheer rock mountains and controlled by a checkpoint, firing items for the clan lord and gifts for the shogun and other daimyo.
Made as presentation and gift ware, never for sale, so nothing was compromised; red, yellow and green are layered over underglaze blue, and even the underside and foot ring follow a fixed standard.
Ranked third among tea wares after Raku and Hagi; its coarse clay and quick iron-drawn grasses were chosen for their plainness.
Floats built from hundreds of layers of paper finished in lacquer and gold - light, strong, and still hauled after two centuries.
A district with no fixed house style, and lately one that works with outside designers rather than tradition.
Gold-leafed paper slit into warp threads and woven with silk - said to have been conceived by a lord's wife studying her ceiling.
Said to descend from Mongol prisoners of the 13th-century invasions; its dove whistles died out and were revived.
Large, strongly coloured clay dolls in the Hakata manner, kept going by a single workshop and its moulds.
Four kilometres of stalls and half a million visitors - the whole district's output visible in one week.
A strongly Pure Land region kept the altar trade alive, its lacquering, gilding and metalwork divided between hands.
Cotton rugs knotted one stitch at a time as domain tribute; the craft lapsed and was reconstructed.
At its 400th anniversary the district began pairing kilns with foreign designers - a tradition deliberately updating itself.
Clay compacted by beating with a paddle rather than thrown - a Korean method still in use here.
Arita Ceramic Art Museum. It covers the history of the production area.
Koransha in Arita. It shows painting techniques at its Akaemachi Studio.
Fukagawa-Seiji in Arita. It opens its factory and exhibits its manufacturing.