Mitsui Memorial Museum
Three centuries of Mitsui family collecting; one of only two Japanese-made tea bowls designated National Treasure is here.
13,910 entries. Some places appear in more than one collection. Confirm visits with each facility.
443 entries / page 5 of 19
Three centuries of Mitsui family collecting; one of only two Japanese-made tea bowls designated National Treasure is here.
Its stated theme is beauty in daily life - lacquer, glass and textiles shown as art because they were made to be used.
An imperial prince who saw Art Deco in Paris brought French decorators home; Lalique's glass doors are still in place.
A private museum of postwar Japanese ceramics, its spiral glass staircase designed as part of the display.
Soetsu Yanagi built it to show anonymous craftsmen's work as art; he designed the building and even the display stands.
A private porcelain museum that lines up one vessel type by date, so technique can be watched changing.
Coloured glass cased over clear, then cut away to leave the pattern - a craft born of Edo townsman culture.
A museum with about 4,000 items centered on combs and hairpins - lacquer, tortoiseshell, coral - and the techniques poured into hair ornaments.
Ten thousand dolls from 140 countries, showing how far one shared form diverges between cultures.
One of Japan's great Impressionist collections, with 80 percent of the building buried to spare the forest.
Holds Utamaro's Deep Snow at Fukagawa, lost for seventy years, in one of Japan's largest private museums.
An actual Orient Express carriage with Lalique's glass panels, entered rather than viewed through a case.
Geometric patterns built from blocks of differently coloured woods and shaved into veneer - no dye is ever used.
Opened by a family of marquetry makers, tracing how the patterns grew more complex over generations.
Among Japan's most visited temples, with a rare octagonal pagoda and an approach ringing with candy-cutters' knives.
A major share of Japan's paulownia chests; the wood swells with humidity, sealing the drawers by itself.
Visitors drink from the collection's own bowls - a museum that hands over its objects rather than glazing them in.
Made from iron-rich earth taken from the gold mine, fired so hard the pots ring like metal.
Keeps Sado's pottery and its rag weaving - both born from using up what the island had.
Kites the size of 24 tatami mats, painted with warriors each year, flown across a river to tangle and tear.
A dying market terrace taken over shop by shop by makers - regeneration without a public plan.
Among the world's oldest jade-working sites: 5,000 years ago people here were drilling and polishing the hardest stone.
Shares a building with the library; Kengo Kuma's six-storey void is lined with local timber set on the slant.
Built when the city decided to become a glass town; three decades of training has kept the artists living here.