Sekisui Museum
Holds the tea bowls of Kawakita Handeishi, a banker-potter ranked in his day beside Rosanjin.
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Holds the tea bowls of Kawakita Handeishi, a banker-potter ranked in his day beside Rosanjin.
A Western building by the architect of the Akasaka Palace, holding the robes and treasures replaced at each rebuilding.
The rebuilding shown stage by stage, with a full-size section of the sanctuary that makes the roof's thickness real.
The wholesalers' quarter that supplied the pilgrim trade, its storehouses opening straight onto the river.
Stencils for dyeing kimono, sometimes cut with over a hundred holes per square centimetre - admired abroad as art in themselves.
On stencil cutting and inkstick making, with carvers working in front of visitors.
Soot from burnt rapeseed oil kneaded with glue; the fineness of the particles decides the ink's colour and bleed.
Eighty percent of Japan's clay pots; the district developed a heat-proof body, and its unglazed teapots fire purple-brown.
The Banko district's own hall, showing mould forming and the cutting of a teapot's built-in strainer.
Casting since the Edo period, from cooking pots to - today - a large share of Japan's manhole covers.
Multiple cranes folded from one sheet, still joined; a 1797 book records 49 different configurations.
Permanently shows Masuo Ikeda's late ceramic Heart Sutra series, in a sculpture garden facing the Suzuka range.
A cotton merchant's home town house: plain to the street, lavish within - the merchant code in built form.
The scholar who spent 35 years deciphering the Kojiki; his manuscripts survive, and the study he hung with bells.
The man who walked Ezo six times and proposed the name Hokkaido; he built a one-mat study from old timbers gathered nationwide.
Striped cotton that swept Edo: sober enough to slip past sumptuary law, but luxurious in the quality of its thread.
Silk threads crossed on a wooden stand; the craft moved from sword cords to kimono sashes and survived.
Its stone wall rises thirty metres straight from the moat, among the highest in Japan.
In Basho's birthplace, showing his poem cards and travel drafts as calligraphy.
The building that made Hiroshi Naito's name: timber-framed storehouses standing as strongly as what they hold.
Where cultured pearls first succeeded; its Meiji exhibition pieces come apart and reassemble into different ornaments.