Fukiya Bengara Museum
The making of red iron-oxide pigment, which went into Kutani porcelain and Wajima lacquer alike.
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380 entries / page 11 of 16
The making of red iron-oxide pigment, which went into Kutani porcelain and Wajima lacquer alike.
Farm baskets with no ornament at all - the form held entirely by the strength of the weave.
Named for the castle's nickname: flowers and birds carved in relief on trays and boxes, finished in lacquer.
Recorded in 8th-century documents; a handful of workshops still make it.
The largest of Japan's five sword traditions; roughly half of all National Treasure blades were forged here.
Said to begin with rice paddles shaped after a goddess's lute; the trade covers both turning and carving.
Called shining dolls for their gloss; one family still makes them, using moulds from the Edo period.
Eight in ten Japanese brushes; the hair tips are never cut, so the point forms itself.
Hair blended in water rather than dry; a brush town specialising in calligraphy alongside Kumano.
A wedding-furniture town where the trades divide the work and compete on the precision of the joinery.
One of Japan's three great kasuri districts; its toughness made it workwear, and the town later turned to denim.
Over sixty percent of Japan's koto; the sound is cut into the paulownia body as a pattern of grooves inside the lid.
Gilded altars grown from a strongly Pure Land region, finished by six separate trades in sequence.
Made by the Ouchi lords for trade with Ming China: gold lozenges and autumn grasses on vermilion.
Said to have been started to fund the rebuilding of Todaiji, and made here for over eight centuries.
Cut from a fine-grained local stone that grinds ink smoothly, its edges carved with dragons and pines.
Striped cotton that sold widely in the Edo period, lost, and reconstructed from surviving samples.
Chambered kilns stepped up the hillside; the slope and the number of chambers decide how the ware comes out.
A married pair in Ouchi lacquer, their faces barely drawn - the form and the vermilion do the work.
Tea seeps into the crazing and the colour keeps changing - the maker does not decide when the bowl is finished.
The families of the abducted Korean potters still run kilns here - a transfer of technique preserved as lineage.
Indigo leaves composted into sukumo; only a handful of makers remain, and most Japanese indigo dyeing still depends on them.
Woven at uneven tension and then shrunk, so the surface puckers and touches the skin less - a cloth for heat.