Zensanji Pagoda
A pagoda finished without its balconies or railings - called the perfect unfinished tower, its lack read as its virtue.
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A pagoda finished without its balconies or railings - called the perfect unfinished tower, its lack read as its virtue.
Said to last three generations; its striped and checked colourways follow local conventions.
Hokusai came here four times in his eighties; the waves he painted on a festival float ceiling are shown still in the float.
A contemporary Nihonga painter shown alongside the town's festival floats, carved in Hokusai's own era.
Private plots were opened for walking through, turning the whole town into one circuit - a landmark of Japanese townscape work.
Postwar Western and Japanese art collected in parallel, in galleries merged into a garden below Mt Asama.
A glass box in the middle of the resort, programming only Japanese art made after 1945.
Alternating arches of stone and glass drop bands of light and dark - organic architecture in the Wright lineage.
A full Western hotel designed and built entirely by Japanese hands, once called the Rokumeikan of Karuizawa.
Iron-rich local earth in the ground coat makes it exceptionally tough; it grew as souvenirs for travellers on the highway.
Kiso hardwoods turned on the lathe and often left unlacquered, so choosing the timber is the real skill.
The moon reflected in each separate paddy - a subject for painters since the Edo period.
In a Meiji silk merchant's house, hanging Nihonga in the same rooms as its collection of old kimono.
Storehouses built on silk money, now kept alive by conversion into shops and galleries.
Two families keep two separate moulds and palettes in the same town - an unusual survival of parallel lineages.
Takato's masons travelled the country carving; one of them, Sadaji Moriya, recorded 336 images in his lifetime.
Fifteen hundred trees of a cherry unique to this place, flowering along the line of the old earthworks.
The Sanada castle town, where the domain school, the lord's residence and the samurai houses all stand within a short walk.
Baskets woven from bamboo bent by snow, made at the gate of a mountain of ascetics for the pilgrims who came.
A small municipal museum in the hills, centred on the painter Ikuma Arishima.
Fields fed by Alpine groundwater, their stone channels and water wheels making a landscape out of farm equipment.
Over five hundred paired stone deities stand along these roads - holding hands, pouring wine, no two alike.
Villages and fields ranked on river terraces - the steps of the terrain become the steps of land use.