Kazuki Yasuo Museum
A painter who rendered his Siberian captivity as 57 canvases in black and ochre alone, shown in his home village.
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A painter who rendered his Siberian captivity as 57 canvases in black and ochre alone, shown in his home village.
Senior retainers' houses, where the height of the gate and wall states the family's rank.
Chambered kilns stepped up the hillside; the slope and the number of chambers decide how the ware comes out.
Home of the folklorist who walked all Japan; his hundred thousand photographs record a way of life now gone.
A married pair in Ouchi lacquer, their faces barely drawn - the form and the vermilion do the work.
A population of white rat snakes bred here; the animal itself is both a natural monument and an object of worship.
A Taisho garden for a former daimyo house, its stones and water placed for the view from the reception rooms.
A port facing the continent, keeping a British consulate and a trading company's block with a Japanese garden on its roof.
Tea seeps into the crazing and the colour keeps changing - the maker does not decide when the bowl is finished.
Citrus planted to give jobless samurai a livelihood now defines how the whole town looks.
An undersea coalfield that became a chemical industry; its plant structures now line the inland sea.
A performing tradition that died out entirely and was reconstructed in the 1970s, costumes and all.
Basalt cut by wind and wave into arches and stacks, most of it visible only from a boat.
The families of the abducted Korean potters still run kilns here - a transfer of technique preserved as lineage.
One strait crossed four ways - bridge, rail, road and a pedestrian tunnel walked beneath the seabed.
Empty townhouses turned into inns and studios - an ongoing test of how to preserve by using.
Ouchi patronage left many medieval images here, showing how the capital's style shifted in provincial hands.
Collecting on three axes - the human figure, this province, and the present - centred on how the body was depicted in the 20th century.
Indigo leaves composted into sukumo; only a handful of makers remain, and most Japanese indigo dyeing still depends on them.
In an indigo merchant's mansion, with the fermenting beds and the whole composting process shown at full size.
Woven at uneven tension and then shrunk, so the surface puckers and touches the skin less - a cloth for heat.
On a dance four centuries old, where each troupe's matched coats and hats work as its emblem.
A Momoyama garden built from the province's blue-green schist, composed from the colour and shape of the stone alone.
Indigo wealth planted puppet theatre in the villages; dozens of their open-air stages still survive and still perform.