Kyushu Ceramic Museum
The largest systematic collection of Kyushu ceramics, tracing Arita porcelain unbroken from the 1600s to now.
297 entries. Some places appear in more than one collection. Confirm visits with each facility.
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The largest systematic collection of Kyushu ceramics, tracing Arita porcelain unbroken from the 1600s to now.
Japanese porcelain began when a Korean potter found the right stone here in 1616; within decades it was shipping to Europe.
Two kilometres of kiln town, its alleys walled with tonbai - broken kiln brick and shards set in clay.
Its milk-white body and sparing use of colour were copied across Europe and shaped Meissen's own style.
Hereditary enamellers to the Nabeshima lords, keeping a technique where ink drawn on the glaze burns away and leaves white.
To stop the technique leaking, the potters were gathered in a valley ringed by sheer rock mountains and controlled by a checkpoint, firing items for the clan lord and gifts for the shogun and other daimyo.
Made as presentation and gift ware, never for sale, so nothing was compromised; red, yellow and green are layered over underglaze blue, and even the underside and foot ring follow a fixed standard.
Ranked third among tea wares after Raku and Hagi; its coarse clay and quick iron-drawn grasses were chosen for their plainness.
Floats built from hundreds of layers of paper finished in lacquer and gold - light, strong, and still hauled after two centuries.
All fourteen floats on permanent view, close enough to read the depth of the lacquer.
A coal baron's house with a Noh stage built into it, and 72 painted cedar doors, no two rooms alike.
Kingo Tatsuno, born here, oversaw this for his home town, and his pupil drew it in the master's manner.
A million pines planted as a windbreak four centuries ago, now a designated Place of Special Scenic Beauty.
A private museum built by the Nabeshima family, holding photographs the domain itself took in the 1860s.
Where Japan's first working steamship was built; the timber dock survives underground and is deliberately left buried.
Tatsuno built this vermilion gate at home; eight zodiac animals are carved in its ceiling - the missing four turned up in Tokyo Station.
A river port whose merchant houses raise their upper floors high and seal their walls thick against fire.
A district with no fixed house style, and lately one that works with outside designers rather than tradition.
Gold-leafed paper slit into warp threads and woven with silk - said to have been conceived by a lord's wife studying her ceiling.
Said to descend from Mongol prisoners of the 13th-century invasions; its dove whistles died out and were revived.
Large, strongly coloured clay dolls in the Hakata manner, kept going by a single workshop and its moulds.
Walls built from demolished kiln brick and rejected pots set in clay - industrial waste become a townscape.
Four kilometres of stalls and half a million visitors - the whole district's output visible in one week.