Lalique Museum Hakone
An actual Orient Express carriage with Lalique's glass panels, entered rather than viewed through a case.
13,910 entries. Some places appear in more than one collection. Confirm visits with each facility.
351 entries / page 7 of 15
An actual Orient Express carriage with Lalique's glass panels, entered rather than viewed through a case.
Four thousand works of contemporary Nihonga, and a window framing Mt Fuji across the lake by design.
Opened by a family of marquetry makers, tracing how the patterns grew more complex over generations.
For a painter who returned to the same harbour and mountain for decades, working in oils, calligraphy and clay.
A double shell of glass and steel punched with circles, so the sea is visible from almost anywhere inside.
Unusual among prefectural museums for its Western modern holdings, shared with its sister museum in Niigata city.
On the fifth floor of a tower by the river mouth, sharing one collection with the museum in Nagaoka.
A late work by Kunio Maekawa, its tiled walls kept low along the edge of the park.
Hiroshi Hara's cloister of galleries around a square pool, the building working as a frame for the art.
A raised building for looking at rice terraces; Kabakov's figures stand in the real field, overlaying poem on landscape.
Visitors drink from the collection's own bowls - a museum that hands over its objects rather than glazing them in.
For a Nihonga painter who reduced everything to line; his house and studio by Isoya Yoshida stand restored beside it.
Art and design treated as equals, with a vast poster collection and a rooftop playground facing the Tateyama range.
A rare public museum devoted to ink painting alone, its low sukiya-like building shaping how the works are seen.
Shares a building with the library; Kengo Kuma's six-storey void is lined with local timber set on the slant.
Inside the castle park, built around a businessman's gift of tea utensils and Asian antiquities.
Collecting around metalwork, as befits a casting town - and working the border between craft and sculpture.
A 1926 hydroelectric plant turned gallery, keeping its penstocks and turbine beds; artists make work for that space.
Seven contemporary Nihonga painters were commissioned to paint one gorge; the results hang here permanently.
A circular glass building with no front or back; large free zones let people cross through as if it were a park.
Ninsei's pheasant incense burner is a National Treasure; the crafts the Kaga domain nurtured are all gathered here.
The national crafts collection, moved from Tokyo into two relocated Meiji army buildings.
A sake brewer's tea utensils, shown in his relocated house so the bowls are seen from a tea room.
Masks and robes of the Kaga Hosho school, with masks visitors may wear to feel how narrow the sight becomes.