Blue Stone of Awa
A greenish schist that splits into flat slabs, shipped nationwide for gardens and stone monuments.
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12,708 entries / page 160 of 530
A greenish schist that splits into flat slabs, shipped nationwide for gardens and stone monuments.
Heian and Kamakura images survive along the pilgrim route - the pilgrimage itself acting as their protection.
Indigo money paid for the floats; the carving and embroidery record the merchants' wealth.
Salt fields once covered this shore; their divisions remain in the land, an industry that stood beside indigo.
The furnishings of a domain enriched by its indigo monopoly - the economy visible in the lacquer.
Stretches were deliberately left unbanked to let floods pass - villages and fields laid out on the assumption of inundation.
A town laid out along its rivers, with landing stages behind the storehouses.
Umbrellas and lanterns of bamboo and paper, some covered in indigo-dyed sheets.
Indigo-rich farming villages could afford altars, and so a whole trade grew to supply them.
Artist residencies opened the door to migrants and satellite offices - cultural policy that changed a village's demography.
The river cut down through crystalline schist; the layered rock faces repeat like a drawn pattern.
Blue schist set upright in ranks - an unusually forceful dry garden of the Momoyama period.
The house behind a famous puppet play, now performing it daily so the handling can be watched at close range.
Eighty-eight temples over 1,400 kilometres, with stone markers turning the distance itself into structure.
Buried entirely underground to spare the island's skyline, showing three artists only, and lit by daylight alone.
A museum you can sleep in; artists chose their own sites here and made the works for those places.
Empty houses and a shrine in a working village turned into artworks, with residents themselves acting as guides.
For an artist who works only in stone and steel plate, half-buried in a valley between hill and sea.
A polka-dotted pumpkin at the end of a pier became the island's emblem; washed away by a typhoon, it was repaired and returned.
A working public bath plastered with the artist's collected signage and tile - an artwork the islanders wash in.
An old house rebuilt with red glass in the garden so the whole site reads red, and a mirrored tower at its edge.
History and art in one institution, built around calligraphy and Buddhist art in the province that produced Kukai.
Postwar art and Sanuki lacquer as twin pillars - this province has produced an unusual number of Living National Treasures.
Noguchi's studio and stone yard kept exactly as he left them - finished and unfinished works standing side by side.