Nara National Museum
The most systematic display of Japanese Buddhist art; its 1894 building is an Important Cultural Property, and the Shosoin treasures are shown here each autumn.
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The most systematic display of Japanese Buddhist art; its 1894 building is an Important Cultural Property, and the Shosoin treasures are shown here each autumn.
So rich in Heian armour it is called a second Shosoin; three thousand donated lanterns stand in its grounds.
Founded by Ganjin, who reached Japan blind on his sixth attempt; its main hall is the only Nara-period one surviving complete.
Twelve guardian figures ringing the icon on a circular platform, some still bearing their 8th-century paint.
The muse of the arts: her head is 8th-century dry lacquer, her body a Kamakura replacement - one figure of two eras.
For a photographer who spent fifty years on Nara alone; Kurokawa buried most of the building to protect the view.
Built by a railway company for its jubilee; Isoya Yoshida's low building rings a courtyard, and holds four National Treasures.
Reached through a garden that borrows the Todaiji gate and the hills behind it as its own scenery.
A quarter grown inside a vanished temple precinct, its townhouses narrow at the street and deep behind.
An entire capital lay under farmland; its gate and throne hall have been rebuilt in timber at full size.
The mound is gone and the stone chamber stands bare in a field; how its 77-tonne capstone was raised is still unknown.
A hundred and fifty-four living painters were each given one ancient poem to paint; below lies the workshop that cast Japan's first coins.
The only thirteen-storey wooden pagoda in the world, seventeen metres of stacked roofs on a mountainside.
There is no inner sanctuary: past the worship hall stands the mountain itself, the oldest form of Japanese shrine.