Kanuma Buttsuke
Carved floats face one another and compete in music, in a contest called buttsuke.
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Carved floats face one another and compete in music, in a contest called buttsuke.
One of Japan's first public modern art museums, and unusually strong in the English Pre-Raphaelites.
A low building set in woodland, collecting 20th-century design and posters on equal footing with fine art.
A Kannon carved straight into the cave wall and once modelled in clay - among Japan's oldest rock-cut images.
The heart of Nikko's mountain worship, keeping a National Treasure sword in its treasury.
A Nikko-born painter who began in oils and crossed into Nihonga, working both to the end.
Begun by the craftsmen who built Toshogu, using a hooked blade that draws curves by dragging.
Some seventy mossy stone Jizo along a gorge, said never to give the same count twice.
Holds the potters at the centre of the mingei movement, with Hamada's relocated house in the grounds.
Heavy everyday ware that became the face of mingei once Shoji Hamada settled here; nearly 400 kilns remain.
Called Japan's oldest school, keeping National Treasure Chinese classics and a Confucian hall.
The world's largest museum devoted solely to Imari and Nabeshima porcelain, spread over a wooded hill.
Built around the local painter Riichiro Kawashima, and known for the sharpness of its temporary shows.
Three 200-year-old earthen storehouses turned into galleries, exhibiting under their original beams.
Geometric lattices assembled without a single nail, a trade descended from the Toshogu craftsmen.
Shadow pictures shown as they were meant to be seen - cut paper lit from behind in a darkened room.
Nineteenth-century English stained glass reinstalled in purpose-built stone chapels.
A rice merchant's storehouse and residence converted into galleries, the buildings themselves listed.
In Edo, cotton meant Mooka; the trade died out and was revived from hand-spinning up.
A thousand years of casting; tea masters ranked its kettles second only to Ashiya in the west.
Thick Hodomura paper, used for mounting scrolls and formal certificates.
Not a craft district but a scattering of individual studios, built up by artists who moved here.
Five hundred stalls twice a year, the model on which Japan's other pottery fairs were built.