Takeda Castle Ruins
Only the stonework survives on a 353-metre summit - the outline of a castle drawn in stone along a ridge.
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Only the stonework survives on a 353-metre summit - the outline of a castle drawn in stone along a ridge.
A state mine where French engineers installed modern plant; the tunnels and their Western-style housing remain.
Stairs descend through the middle of a lotus pond into a hall beneath the water, its vermilion interior filled by the setting sun.
Built where a hill was quarried away for landfill: a hundred stepped flower beds attempting to remake the destroyed terrain.
Where light soy sauce was invented; white-walled brewhouses line the river and make the town's face.
Tidal salt fields once covered this coast; their divisions still show in how the land is parcelled.
The old foreign settlement keeps its office blocks, most now reinforced after the earthquake but outwardly unchanged.
Farmhouses whose roofs were raised for silkworms; snow load and the worms' temperature together set the shape.
A brick spinning mill converted into a library and shops - a case of industrial reuse.
Among Japan's oldest spas; its woven bamboo baskets are said to have been used by Hideyoshi at tea.
Churches of many denominations arrived with the port; many fell in 1995, and their rebuilding shows its own era.
Nine separate gardens divided by earthen walls, laid over the excavated foundations of samurai houses.
Roofs shaped to catch even north light for weaving, running along the river - form dictated by the trade.
The most systematic display of Japanese Buddhist art; its 1894 building is an Important Cultural Property, and the Shosoin treasures are shown here each autumn.
So rich in Heian armour it is called a second Shosoin; three thousand donated lanterns stand in its grounds.
Founded by Ganjin, who reached Japan blind on his sixth attempt; its main hall is the only Nara-period one surviving complete.
Twelve guardian figures ringing the icon on a circular platform, some still bearing their 8th-century paint.
The muse of the arts: her head is 8th-century dry lacquer, her body a Kamakura replacement - one figure of two eras.