National Museum of Modern Art, Kyoto
Treats craft as the equal of fine art; Fumihiko Maki's building sits quietly between a canal and a giant torii.
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Treats craft as the equal of fine art; Fumihiko Maki's building sits quietly between a canal and a giant torii.
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.
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.
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.
Tadao Ando buried a concrete cylinder beside a Taisho English villa; Monet's water lilies hang inside the circle.
Head, hair, limbs and costume are each made by a different specialist - the division of labour on which nearly all Kyoto craft runs.