Ino Tadataka Museum
The man who began surveying Japan on foot at 55; his National Treasure maps are beautiful for their sheer accuracy.
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The man who began surveying Japan on foot at 55; his National Treasure maps are beautiful for their sheer accuracy.
In the city where the great postwar Nihonga painter lived, built to echo the German architecture he studied among.
Where the Shirakaba writers gathered by the lake - and where Soetsu Yanagi first conceived the mingei movement.
The home of a Taisho-era journalist, preserved with his photographs and papers.
A district dense in figural haniwa, each with its own face and hairstyle - the Kofun people made specific.
On the Satomi warlords and the sea-facing life of southern Boso.
Photographs taken by Tokugawa Akitake, who went to the Paris Exposition - a key body of early Japanese photography.
Built over an early Jomon site, preserving its hearth pits in place.
The pre-reclamation fishing town rebuilt at full size outdoors, with its narrow wooden boats.
Japan's oldest museum and holder of the most National Treasures; its buildings alone span Meiji to the present.
Forty-eight seventh-century gilt bronzes ranged in darkness, inside Yoshio Taniguchi's glass-and-water pavilion.
A sculptor's own house and studio, joining a concrete workshop to a sukiya residence around a stone-and-water court.
The house where Taikan lived and painted, its studio arranged to look out over the garden.
The imperial collection, including Jakuchu's thirty bird-and-flower scrolls - the outer limit of precision in Japanese painting.
Japan's only national film institution, restoring near-lost prints to projectable condition.
Taro Okamoto's studio of nearly fifty years, left with paints and brushes as they were, its garden crowded with his sculpture.
A million volumes of Asian studies; its centrepiece is a two-storey wall of books, the Morrison Library.
On the history of reproducing text, with a working letterpress studio visitors can use.
A block of 1840s Fukagawa rebuilt at full size, cycling through a day in light and sound.
Designed from Miyazaki's own sketches, deliberately without a fixed route, so visitors get lost on purpose.
Junzo Sakakura's 1951 building, a light box lifted over a pond - the starting point of postwar Japanese modernism.
Built after the 1923 earthquake to safeguard the temples' treasures, strong in realist Kamakura sculpture.
Housed in a 1904 bank whose dome, burned in the 1923 earthquake, was rebuilt; an Important Cultural Property.
Raw silk shipped from this port funded Japan's modernisation; the museum follows the whole process.