Ishikawa Prefectural Museum of Art
Ninsei's pheasant incense burner is a National Treasure; the crafts the Kaga domain nurtured are all gathered here.
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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.
Ninety-nine percent of Japan's gold leaf, beaten to one ten-thousandth of a millimetre - the gilding of Kinkakuji and Nikko alike.
Three and a half centuries, father to son: bowls formed entirely by hand without a wheel, under an amber glaze.
Rooms divided by style, so the bold colour fields of old Kutani can be set against the later fine red painting.
Five overglaze colours covering the surface entirely; the kiln died out once, and each revival changed its style.
Kiln-site sherds trace the technique's changes, beside a working studio and climbing kiln.
Held to have Japan's finest woodturning: blanks cut with the grain, then scored on the lathe in hairline rings.
Where a young Rosanjin lodged and met the Kutani potters and lacquerers who shaped everything he made later.
At the centre of the Kutani district, on the twin industries of stone quarrying and pottery.
Japan's last agehama salt fields, where seawater is carried by bucket and scattered over sand by hand.
A Meiji bathhouse rebuilt from its original drawings, tiled in Kutani ware and glazed with stained glass.
The city takes in young craftspeople for three years; their workshops are open, so the daily work is visible.
Stacked geometric volumes laid out by feng shui, standing on an island hill.
A tumbler doll shaped as a swaddled infant, painted red to ward off smallpox.
Kanazawa turned flat paper cords into three-dimensional cranes and pines - the wrapping itself becoming the object.
Giant lacquered and gilded lanterns, up to fifteen metres tall, carried each summer by over 200 hamlets.