Korekawa Jomon Museum
Holds the National Treasure clay figure with its hands pressed together, and lacquer work showing how far Jomon craft had gone.
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Holds the National Treasure clay figure with its hands pressed together, and lacquer work showing how far Jomon craft had gone.
Two 13th-century suits of armour, both National Treasures; the red-laced one is among the most ornamented to survive anywhere.
On the site of a medieval fortress, with the extravagant hats of the Enburi harvest rite as its most striking objects.
Built as a gateway to the city in a former department store, showing its food stalls and back alleys through people rather than displays.
Each artwork gets its own white box, linked by glass corridors; the works spill outdoors until the whole street is the exhibition.
A public square opposite the museum, with no fence and no ticket, where children walk to school between the sculptures.
For the theatre and film provocateur Shuji Terayama; documents emerge from giant desks and drawers, so the museum is itself a staging.
A Surrealist-inflected painter from this town, shown beside the collection of lamps from around the world he assembled.
Unglazed stoneware coloured only by wood ash, using local clay and earth dug from a former reservoir.
Where the goggle-eyed clay figure was found; the domain prized pots turned up here as early as the 1600s.
Finds from the Kamegaoka site shown locally, and evidence of how elaborate late Jomon vessels had become.
Wooden arcades built out over the street against snow, surviving as they were in the Edo period.
A rice merchant's house of 1763, its roof kept low throughout to shed the weight of snow.
Four thousand kokeshi from across Japan; only by lining them up does it become clear how differently each lineage draws a face.
An August festival in Hirakawa. Among Tsugaru's Neputa, this one fields the large fan-shaped floats.
Ship votive paintings hung beside framed topknots cut off in thanks for surviving the sea - folk art produced by maritime faith.
Rice of different colours planted as seedlings to draw a picture in one paddy; the practice began in this village and spread nationwide.
A ferry from the eighty-year Aomori-Hakodate route, kept at its berth as a museum you can enter down to the engine room.
A seaside facility with a bathhouse looking over the bay, quietly running small exhibitions of local artists.
The coast where Kaii Higashiyama found the subject of his best-known painting - rock, turf and sea in bands.
The counterpart to Tsugaru kogin: counted on even threads, so its diamonds are built on a different geometry.