Oita Prefectural Art Museum
Its ground-floor glass folds fully open so street and gallery become one floor, under a timber lattice copying the province's basketry.
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443 entries / page 18 of 19
Its ground-floor glass folds fully open so street and gallery become one floor, under a timber lattice copying the province's basketry.
Begun as souvenirs for spa visitors and now producing Living National Treasures, built from eight basic weaves.
Water-driven hammers crushing clay along the valley; their sound is listed among Japan's hundred soundscapes worth keeping.
A papier-mache daruma in female form, drawn from a samurai wife's story and still made by one family.
Cedar planted under direct shogunal management; at one point this town made more wooden clogs than anywhere in Japan.
Artists here moved from weaving into free sculpture in bamboo - a craft district that crossed into contemporary art.
Twenty thousand bamboo lanterns cut and lit along the streets, so the town's plan appears as lines of light.
Bamboo and sumac laminated with hide glue through over two hundred steps; most Japanese bamboo bows are made here.
Clay dolls counted among the sources of the Kyushu tradition, still made from Edo-period moulds.
A town that paired forest protection with taking in craftspeople; woodworkers and weavers have gathered here.
Cut paper hung on four sides of the dancing floor, its patterns diagramming a whole cosmology.
On a hill facing the bay and the volcano, holding both Satsuma ware and European modern painting.
Begun by abducted Korean potters, and split into white ware for the lord and black for everyone else - class made into pottery.
The village where the abducted potters were settled; families that never changed their Korean names still fire kilns here.
Thick coloured glass cut so the edges gradate; the craft died with the domain and was reconstructed in 1985.
Only stumps left by Edo-period logging may be used; no living tree is cut, and the timber is three centuries old before it starts.
A technique lost for 120 years, reverse-engineered from surviving pieces - the reconstruction itself the achievement.
Thin ivory-white ware painted in gold and colour for the lord's use; world's fairs made it an export line called simply SATSUMA.
The black ware ordinary people used - undecorated, its shape decided entirely by what it had to do.
Sheds along the harbour where fish are smoked for months into what is said to be the hardest food in the world.
Fermenting jars are sunk into the floor, so the surrounding earth holds the temperature steady.
The lords set pottery, glass and metal workshops in their own castle town and directed them personally.