Stone Buddhas of Nokogiriyama
A 31-metre Buddha and 1,553 rakan carved from the quarry face - an industry that turned into sculpture.
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A 31-metre Buddha and 1,553 rakan carved from the quarry face - an industry that turned into sculpture.
Quarrying left vertical walls and rectangular voids - a landform composed entirely of straight lines drawn by people.
A passage cut downward through sandstone by hand; chisel marks cover the walls as light falls vertically.
A 56-metre concrete Kannon raised for the war dead, climbable by 324 steps to shoulder height.
Three hundred and seventy-five rain-fed terraces drawing contour lines that change colour with the season.
A district dense in figural haniwa, each with its own face and hairstyle - the Kofun people made specific.
Ten kilometres of 50-metre cliffs, their horizontal strata standing like a folding screen.
Three hundred and eighty years of brewing; wooden vats and modern factory halls share one site.
A company town built on soy sauce, its skeleton formed by brick factories and brewers' mansions.
On the Satomi warlords and the sea-facing life of southern Boso.
Fishing hamlets packed into each cove, board-clad houses layered above stone revetments.
The temple of the tanuki drumming song; its badger statues have made a folktale into a local emblem.
Sixty kilometres of straight sand, shaped by the sardine seine nets and the huts that served them.
Thirty thousand dolls fill the town, and a shrine's sixty stone steps become a tiered display.
Seaside villas built by Tokyo's wealthy from the Meiji era, joining Western and Japanese wings.
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.
A 6.4-kilometre line whose wooden stations and cabbage-field track preserve a Showa landscape whole.
Taisho-era wooden stations survive along the whole line, listed together as cultural properties.
The lakeside where Yanagi, Shiga and Mushanokoji all lived - the landscape behind the birth of mingei.
A pilgrimage approach lined with three-storey wooden inns, layers of highway commerce.