Awaji Roof Tiles
Smoked at the end of firing so carbon turns them silver; the demon tiles on the ridge are the tiler's sculpture.
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443 entries / page 12 of 19
Smoked at the end of firing so carbon turns them silver; the demon tiles on the ridge are the tiler's sculpture.
Most of Japan's abacuses; the wood, the turning and the rods together decide how the beads feel and sound.
Hides tanned with nothing but salt and rapeseed oil - an ancient method that grew up supplying armour.
Among Japan's oldest spas; its woven bamboo baskets are said to have been used by Hideyoshi at tea.
A kiln that copied Chinese celadon, extinct for a century and now being revived.
Over ninety percent of Japan's ink; soot and glue kneaded by foot and hand, then dried for half a year.
Chisel facets are left raw and then painted in strong colour and gold - a technique born from shrine festival dolls.
Reddish clay under a milky glaze, painted with the naive figures known as Nara-e.
Five centuries of planted forest, grown dense and slow so the rings stay fine - the timber that lines sake barrels.
Built in paulownia with almost no metal; the fit is so tight that pushing one drawer pushes another out.
Bamboo from the Koyasan slopes joined through dozens of stages - treated less as tackle than as lacquerwork.
A domain-sponsored paper that died out and was reconstructed by local people from surviving records.
Fired above a thousand degrees until it rings like metal when struck; every maker draws the kiln differently.
Several kilns nurtured by the Kishu domain survive, among them a celadon imitation made for the lord's own use.
Founded by a doctor who did not merely collect folk craft but commissioned new designs from living potters.
Across the street from the museum, selling not the collection but what is being made now - the same doctor's experiment.
Most of Japan's calligraphy paper; the fibre blend is changed for each use to control how ink spreads.
Glazed in two colours split on the diagonal; Yanagi found it and made it a standard-bearer of the mingei movement.
Descended from Ushinoto, and shaped by the doctor's design instruction into forms that suit a modern table.
A former domain kiln still firing in a climbing kiln, using the same local clay and ash glaze.
Paper umbrellas hung with bells and foil, four thousand of them turned at once - a tool become a mass instrument of form.
Winter paper is made in freezing water; the speed and angle of the shaking mould decide how even the sheet will be.
Glazed Sekishu tiles resist snow and salt, and their red is what gives this coast's towns their colour.