Okinawa Prefectural Museum and Art Museum
Walled in limestone like a Ryukyuan castle, holding both the kingdom's record and the systematic collection of postwar Okinawan art.
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Walled in limestone like a Ryukyuan castle, holding both the kingdom's record and the systematic collection of postwar Okinawan art.
A private museum on land reclaimed from a US base; its roof stair splits into six steps and twenty-three, for the 23rd of June.
A palace mixing Chinese and Japanese form into something Ryukyuan; burned in 1945, rebuilt, burned again in 2019, and now rising a third time.
The royal mausoleum, its stone roof carved to imitate wooden shingles - the first building in Okinawa designated National Treasure.
Shaped as a gate but never walked through - a structure built purely so the king could pray at it before leaving the castle.
The quarter where the kingdom gathered all its kilns; it escaped the war, and workshops still line the paved street.
A kiln found during construction was left in place and built around, shown underground beneath the galleries.
Stencilled paste resist with pigment rubbed in - a meeting of Chinese, Southeast Asian and Japanese dyeing, in colours built for southern light.
Woven for the royal house; one of its weaves could be worn only by the queen and princesses.
Its tsuikin technique - lacquer kneaded with pigment and applied like clay - exists nowhere else; the court ran the workshops.
Part of a royal highway; 238 metres survived the war, walled in stone between great trees.
One of the few gentry houses to survive the war intact, its walls and windbreak trees complete against the typhoons.
Three different masonry techniques stand in one castle; Perry's expedition surveyed it and recorded their astonishment at the fit.
Terraced up a headland; excavation turned up Roman and Ottoman coins, reopening the question of how far its trade reached.
It holds Okinawa's oldest stone arch, and its walls curve continuously - almost no straight line anywhere.
A kilometre and a half of wall following the limestone terrain rather than correcting it, so the whole line undulates.
A sacred site with no building: two fallen rocks lean into a triangular passage, and the sacred island appears at its end.
Potters left Naha for this village over smoke restrictions; a Living National Treasure built the first kiln, and nineteen studios are now gathered here, with shared climbing kilns and more.
Geometric flowers raised by floating threads; the craft died out and was reconstructed in 1964 from old cloth and older memories.
The village grows the plants, strips the fibre, splits it, spins and weaves - two hundred stems for a single bolt of cloth.
It began with melting down bottles the US military threw away; the bubbles the impurities caused were kept as the point.
Founded by the surviving students themselves, who gathered the testimony and wrote the wall texts in their own words.