Aikawa Craft Museum
Keeps Sado's pottery and its rag weaving - both born from using up what the island had.
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Keeps Sado's pottery and its rag weaving - both born from using up what the island had.
Swords dedicated to the first shrine of Echigo, including a two-metre blade forged not to fight but to be given.
Kites the size of 24 tatami mats, painted with warriors each year, flown across a river to tangle and tear.
Specialising in trick finishes - lacquer made to look exactly like bamboo, or stone, over a wooden body.
A dying market terrace taken over shop by shop by makers - regeneration without a public plan.
A festival themed on land reclaimed from marsh, asking through art how water and soil made this place.
Made only along this one river: cooking pots whose rims erupt into flame-like projections.
Among the world's oldest jade-working sites: 5,000 years ago people here were drilling and polishing the hardest stone.
Zen arrived early by sea trade; medieval ink paintings and calligraphy survive in temples across the province.
A village on the dunes, where the direction of every house and windbreak still follows the old rule.
Its turret roof is T-shaped and carries three shachi finials - the only such example in Japan.
A silk district working both weave and knit, its foundation the technique of twisting the yarn.
From ramie to silk kasuri and yuzen; the snow's humidity is what makes the dyeing work.
Nine river terraces stacked above one another - among Japan's largest, a staircase cut by water.
Contoured rice terraces covering a heavy-snow hillside - the ground on which the art festival places its works.
Rough-hewn smiling Buddhas by the wandering monk Mokujiki, rediscovered by Soetsu Yanagi.
A port of call for the Kitamae trading ships, keeping its highway townhouses and its beachfront market.
Art and design treated as equals, with a vast poster collection and a rooftop playground facing the Tateyama range.
A rare public museum devoted to ink painting alone, its low sukiya-like building shaping how the works are seen.
Shares a building with the library; Kengo Kuma's six-storey void is lined with local timber set on the slant.
Built when the city decided to become a glass town; three decades of training has kept the artists living here.
Inside the castle park, built around a businessman's gift of tea utensils and Asian antiquities.
Nine small museums on a hillside, treating even the tools and printing blocks of the medicine peddlers as craft.
A Kitamae shipping port whose main street still holds its merchant houses, the Mori residence among them.