Kitaichi Glass Hall 3
A glassworks that made fishing floats and oil lamps; a hall lit by 167 of those lamps became the image of the whole town.
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A glassworks that made fishing floats and oil lamps; a hall lit by 167 of those lamps became the image of the whole town.
Kogin stitching filled scarce hemp cloth with cotton thread; the workshop still does it by hand, inside Maekawa's very first building.
Unglazed stoneware coloured only by wood ash, using local clay and earth dug from a former reservoir.
The counterpart to Tsugaru kogin: counted on even threads, so its diamonds are built on a different geometry.
Nicknamed the fool's lacquer for its 48 coats, ground back to reveal a mottling made by eggshell and rapeseed.
Next year's giant lantern is built inside the building all year, from frame to paper, wax and paint.
Four centuries of cast ironware; the hailstone pattern on each kettle is punched by hand.
Fourteen workshops under one roof, where visitors watch and try the crafts themselves.
In the town that taps over 70 percent of Japan's lacquer, including the sap used to repair national treasures.
A workshop that revived the lost Appi lacquer tradition, working from raw wood to final coat.
Chests of zelkova wood fitted with hand-forged iron mounts, made by two trades working in tandem.
Nine workshops in one hamlet, where the three trades behind a Sendai chest can be watched separately.
Colour lacquer over silver powder, shifting like a jewel beetle's wing; developed for export in the 1930s.
Zelkova grain glowing through lacquer, dressed in hand-forged iron mounts; its size came from storing swords.
Black slate inkstones made here for six centuries, once the source of most inkstones in Japan.
The only kokeshi lineage whose heads squeak when turned, still turned and painted in the hot-spring street.
Wiped lacquer that keeps the grain visible, grown from the same woodturning trade as kokeshi.
Yajiro kokeshi wear thick lathe-turned rings on the head, recognisable at a glance.
Paper strong enough to be sewn into clothing, supplied to the Todaiji Omizutori rites.
Silver wire finer than hair, coiled into spirals - a mine technology turned into jewellery.
Unglazed clay dolls painted in mud pigments, a folk tradition brought back from near extinction.
A kiln extinct for a century, revived in 1975; known for its blue namako glaze.
Baskets woven from split Itaya maple, a winter craft of farming households that became a traditional craft of Akita Prefecture.