Shogawa Turned Woodwork
Turning begun with timber floated down the river; the blanks it makes go to lacquer towns across Japan.
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Turning begun with timber floated down the river; the blanks it makes go to lacquer towns across Japan.
A 1926 hydroelectric plant turned gallery, keeping its penstocks and turbine beds; artists make work for that space.
Seven contemporary Nihonga painters were commissioned to paint one gorge; the results hang here permanently.
The main image is carved straight into a boulder; the hall was built around the rock, so image and terrain are one.
Holds Tateyama mandalas - paintings that mapped the mountain as heaven and hell, produced in numbers for pilgrims.
Women barred from the sacred peak crossed a bridge laid with white cloth instead; the revived procession is itself a form.
Built during recovery from wartime bombing, one of a cluster of postwar modernist civic buildings.
A mayor had the town's schools and offices built as copies of famous world architecture - some thirty of them stand.
Fishing boats moor at the front doors along this canal, each of its twelve bridges designed differently.
Floats dressed in flowers by day are re-hung with lanterns at night - one object with two forms in a day.
Four centuries of fixed nets laid out across the bay - an invisible structure drawn on water.
Two-thousand-year-old cedar stumps displayed still submerged - natural masses presented as sculpture.
Power stations deep in the gorge, built to a level of design nobody was expected to see.
Townhouses raised on stone retaining walls above a cliff - silk and paper wealth expressed as vertical construction.
The peddlers who walked all Japan handed out woodblock-printed papers and prints - a channel that carried pictures to ordinary homes.
Japan's highest waterfall, painted into the Tateyama mandalas as the boundary between hell and paradise.
A disused canal kept as water and made into a park - industrial remains recomposed as landscape.
Cast over thirty years by the town's own founders - a great bronze made entirely with local technique.
Bulb fields divided by colour for production become, unintentionally, a vast composition in flat colour.
Carving studios line the temple approach, and even the shop signs are carved - the whole town a display.
A 1930 training barque preserved afloat, its rigging standing as pure structure.
Woodworker, carver, metalsmith, lacquerer and gilder each take a part - the town's whole craft in one object.
Over a hundred lion dances survive in one city, each hamlet's carved head differing enough to trace its lineage.
Merchant houses at a Kitamae port, opening to the sea with their storehouses ranked behind.