Kyoto National Museum
The central repository for what Kyoto's temples and shrines have handed down, in Katayama's French Baroque halls.
332 entries. Some places appear in more than one collection. Confirm visits with each facility.
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The central repository for what Kyoto's temples and shrines have handed down, in Katayama's French Baroque halls.
Japan's oldest surviving public art museum building, updated by digging the ground away and sliding a glass entrance beneath it.
Treats craft as the equal of fine art; Fumihiko Maki's building sits quietly between a canal and a giant torii.
Three generations of collecting Rinpa and Jakuchu, in a building that descends underground away from the street.
Holds what Shokokuji and its sub-temples Kinkakuji and Ginkakuji kept, including Jakuchu's ink panels for the Golden Pavilion.
Its annex is Tatsuno's former Bank of Japan branch, red brick banded in white stone, still on Sanjo street.
Traces Buddhism's route from India to Japan, and rebuilds the lost Bezeklik cave murals at full size.
Shang and Zhou bronzes of a quality rarely found outside China, displayed close enough to read the casting.
A narrow Gion building used vertically, with a light court on the top floor as the only place the sky appears.
Four and a half centuries in one family line, from the bowls Chojiro made for Rikyu - all formed by hand, never on a wheel.
Tea utensils rearranged to the season's gathering, beside a modern sukiya house of the first rank.
A financier tea master's collection, holding the equipment of both tea and Noh in one place.
Japan's first private museum of Chinese art, under an octagonal pavilion roof by Goichi Takeda.
Meiji export craft only: metalwork so fine that every leg and wing of an insect is separately made.
Seventy-four Kyoto crafts under one roof, laid out by process to show the city's division of labour itself.
The potter designed his own house; wheel, kiln and furniture remain exactly as they were, work and life undivided.
Named for the camp of a 15th-century war where the weavers regrouped; still built on small runs and divided labour.
Paste is drawn along every outline to keep the colours apart, leaving the fine white line that identifies the technique.
Not tied to local clay: materials were brought in from everywhere to meet each commission, which is why the styles multiplied.
Mica pressed from woodblocks onto paper by hand, so the pattern appears and vanishes as the light moves.
Subject matter and ceiling height change with each room's rank, and every painting is composed for the shogun's own seat.
A 120-metre hall holding 1,001 life-size Kannon; 124 survive from the 1100s, and no two faces are the same.