The Museum of Modern Art, Wakayama
Among Japan's great print collections, in a Kurokawa building of stacked tile-like eaves beside the castle.
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Among Japan's great print collections, in a Kurokawa building of stacked tile-like eaves beside the castle.
The treasures of the whole mountain; Unkei's eight youthful attendants are unmatched as wrathful figures in boyish form.
Over 200,000 memorials under ancient cedars - two kilometres in which the whole history of Japanese stone monuments is ranked.
A thousand objects made for the gods and never used - Muromachi craft surviving as if new.
Red lacquer over black, so wear reveals the black beneath - a craft that treats use itself as the finishing process.
Built in paulownia with almost no metal; the fit is so tight that pushing one drawer pushes another out.
Bamboo from the Koyasan slopes joined through dozens of stages - treated less as tackle than as lacquerwork.
A domain-sponsored paper that died out and was reconstructed by local people from surviving records.
Fired above a thousand degrees until it rings like metal when struck; every maker draws the kiln differently.
Lacquer from a hot-spring valley, made from timber and sap taken off the same mountains.
Made by monks for their own use; stripped of ornament and built only for strength, the utility became the style.
Furnishings made for one of the three Tokugawa houses; the wedding sets were designed as a single coordinated suite.
Many images here were carved for the mountain by the capital's leading sculptors, so the workshops can be traced.
Several kilns nurtured by the Kishu domain survive, among them a celadon imitation made for the lord's own use.
Cotton raised into a pile until it reads as fur; most of Japan's pile fabric is woven in this valley.
Nuns walked all Japan explaining a painted mandala of heaven and hell - pictures used as the instrument of preaching.
Metal implements for esoteric ritual - made to be used, yet every form is a symbol.
Kishu lacquerware from Kuroe, Kainan. Begun in the Muromachi period, it is a production area that has supplied everyday lacquerware in volume.
Uruwashi-kan in Kainan. It exhibits Kishu lacquerware, and visitors can try maki-e.
Kumiko work from Koya. Thin pieces of wood are fitted together to form patterns.
Sanji paper from Kozagawa. Washi paper made by hand.
Temari from Kishu. Silk thread is wound, and patterns handed down in the castle town of Wakayama are stitched.