Sen-oku Hakukokan
Shang and Zhou bronzes of a quality rarely found outside China, displayed close enough to read the casting.
332 entries. Some places appear in more than one collection. Confirm visits with each facility.
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Shang and Zhou bronzes of a quality rarely found outside China, displayed close enough to read the casting.
A narrow Gion building used vertically, with a light court on the top floor as the only place the sky appears.
Four and a half centuries in one family line, from the bowls Chojiro made for Rikyu - all formed by hand, never on a wheel.
Tea utensils rearranged to the season's gathering, beside a modern sukiya house of the first rank.
A financier tea master's collection, holding the equipment of both tea and Noh in one place.
Japan's first private museum of Chinese art, under an octagonal pavilion roof by Goichi Takeda.
Meiji export craft only: metalwork so fine that every leg and wing of an insect is separately made.
Seventy-four Kyoto crafts under one roof, laid out by process to show the city's division of labour itself.
The potter designed his own house; wheel, kiln and furniture remain exactly as they were, work and life undivided.
Named for the camp of a 15th-century war where the weavers regrouped; still built on small runs and divided labour.
Paste is drawn along every outline to keep the colours apart, leaving the fine white line that identifies the technique.
Not tied to local clay: materials were brought in from everywhere to meet each commission, which is why the styles multiplied.
Mica pressed from woodblocks onto paper by hand, so the pattern appears and vanishes as the light moves.
Subject matter and ceiling height change with each room's rank, and every painting is composed for the shogun's own seat.
Six tiny Amida figures issue from the monk's mouth - the act of chanting itself rendered as sculpture.
Fifteen stones on 75 square metres of gravel, placed so that from any viewpoint one is always hidden.
Twenty sub-temples bound up with the tea ceremony; many National Treasure tea rooms and dry gardens are still kept closed to the public.
Shigemori Mirei laid gardens on all four sides; the checkerboard of moss and stone brought modern design into the dry garden.
A brick aqueduct runs through a Zen precinct - built after long argument, its design adjusted to sit with the temple.
Laid out by Muso Soseki and barely altered in 700 years, taking the mountains behind it into the garden itself.