Kyotoites have lived in kyo-machiya townhouses for centuries. Each year, 1,000 are demolished, but Kyo-machiya Sakujigumi, a group of craftsmen skilled in machiya restoration, use natural materials and traditional methods to preserve them. Megumi Hata, whose family kyo-machiya was built in 1869, discusses how living in a machiya means living comfortably in harmony with nature. Within their walls, the wisdom, the way of life and the spirit of Kyotoites remain unchanged through the generations.

Stimulating all five senses, kaiseki-ryori is a Kyoto culinary work of art. Eiichi Takahashi, 14th generation owner of Hyotei, stresses kaiseki's roots in cha-kaiseki meals served at tea ceremonies. Leading chefs and researchers explore new potential for kaiseki. Takuji Takahashi, 3rd generation owner of Kyo-ryori Kinobu, creates novel dishes using Western methods while preserving the form of Japanese cuisine. These inquisitive minds pursue the ultimate in culinary hospitality.

Kyoto has about 2,700 temples where an array of benevolent, meek, and ferocious Buddhist statues are worshipped. World Heritage temple Toji has a configuration of statues in an imposing, 3D mandala and a beautifully woven mandala, which captures the cosmos. The jizo statues standing on street corners have a special place in the lives and hearts of Kyotoites. Today, sculptors continue to breathe life into Buddhist statues, and skilled craftsmen create magnificent works using gold leaf in microns.

Various locations in Kyoto have been famous cherry-blossom-viewing spots for 1,200 years. As spring approaches, the locals' actions revolve around thoughts of hanami. The cherries keep family ties strong; 3 generations gather once a year for hanami festivities. A 3rd-generation cherry gardener who conserves cherry trees and a photographer who has snapped Kyoto's cherries for about 40 years talk about the enduring allure of these flowers, which feature in bento meals and embroidery designs.

Japanese-style paintings are the embodiment of Kyoto aesthetics. Their delicate scenes are created using unique mineral pigments. Flower artist Rieko Morita emphasizes life in her work. She infuses it with the vitality she feels within the flowers. Modern artists, like her, are grounded in a history that stretches back 1,000 years to the dynastic paintings of the Heian Period. All kinds of schools with distinctive styles were born throughout the long history. The Kano School of painting was favored by samurai. The Rimpa School was characterized by decorativeness. The Maruyama School stressed realism. Various traditions give Kyoto paintings diversity and allure.

The quality of hospitality found at accommodations in Japan's old capital, Kyoto, is known worldwide. They exude a time-honored culture and uniqueness. The entrances are cleansed with sprinkled water and the rooms have peaceful atmospheres with a seasonal touch of flowers. This ingrained sensibility is drawn from Shinto and Buddhist teachings. Once billeting monks, a Zen temple offers pilgrims' lodgings - the roots of Kyoto lodgings. Established inns uphold their founding standards. The essence of consideration that soothes travelers exists in diverse lodgings around the city.

The main stage for hospitality in the glittering kagai entertainment district is the ozashiki function. Geiko and maiko refine their skills over years in dance and other performing arts to present at ozashiki. In this world, shikitari customs and etiquette are dictated by strict protocol drilled into the girls by their elders in their daily lives. A shidashiya caters meals for ozashiki. A yuzenshi dyer creates unique maiko kimono. Many people live within the culture at the heart of the kagai.

The origin of Aoi Matsuri, one of Kyoto's 3 great festivals, goes back more than 1,500 years. Diviners advised the people to ride horses in prayer for bumper crops and to appease the Kamo deities, who were causing storms and floods. Emperors thereafter paid homage to Shimogamo Jinja Shrine and Kamigamo Jinja, and solemnly performed these now-ancient rituals that are reminiscent of the dynastic culture. Aoi Matsuri, its splendid parade and rare customs are full of mystery, even for Japanese.

Sen-no-Rikyu (1522-1591) began the chanoyu, or tea ceremony, that is practiced today, 400 years ago. His simple, rustic wabi philosophy is still discernable in the designs, movements and mindset. In Uji, Kyoto, the year's first shoots from shaded tea plants are ground into a fine powder to make the koicha tea used in the ceremonies. Artisans use time-honored methods to craft the chanoyu utensils. People immerse themselves in this art in which each bowl of tea is considered a once in a lifetime encounter.

Gion Matsuri began as a prayer for the country's health when 66 halberds were erected and 3 mikoshi shrines were paraded through plague-ravaged Heian-kyo in 869. The 33 yamahoko floats in today's climactic procession on July 17 are "moving museums". Revived in 1952, the Kikusui-hoko float was adorned this year with a new tapestry in gratitude to the ancestors. The festival music is traditionally taught orally. The floats are assembled with age-old technics. The streets are alive with revelry on the eve of the parade.

In the 1200's, the monk Dogen brought shojin-ryori, a vegetarian cuisine, from China along with Zen Buddhism, which forbids the killing of animals and the eating of meat. He once said, "Meals and their preparation are part of aesthetic training". Kaiseki-ryori and other Japanese cuisine have their base in and developed from shojin-ryori, which wastes nothing of the seasonal vegetables and cereals used. Chefs, including a chef at a Michelin-rated restaurant, work to spread shojin-ryori worldwide.

Kyoto has many mountain springs, rivers and groundwater. The capital relocated here about 1,200 years ago for the water supply that enriched the citizens' lives and gave rise to Kyoto's culture. Farmers grow vegetables in the fertile delta. Craftspeople continue the kurozome dying traditions. A namafu wheat-gluten store relies on quality groundwater. Supporting them are well sinkers with an extensive knowledge of groundwater arteries. Ever grateful, the locals use water as their livelihood.

As demand for lacquerware grew in the political and cultural hub of Kyoto, artisans refined their designs and techniques with a distinctive approach to aesthetic beauty. This became kyo-shikki, or Kyoto-style lacquerware. The maki-e drawing technique uses sprinkled gold dust on a jet-black background to reproduce dazzling Kyoto scenes. Modern sensibilities combined with traditional techniques produce innovative pieces. Lacquer and gold dust engender the lavish world of this traditional craft.

A pointed boulder with a large stone at its foot reaches for the heavens. The white gravel between them represents a swift flowing river, without the use of water. Karesansui is a unique dry-gardening style that developed in the 14th century from ascetic practices at Kyoto's Zen temples. Monks aim for enlightenment within a world of rippling patterns that run between curious rock arrangements. Enter the infinite Zen cosmos through the karesansui gardens at Tenryu-ji, Daisen-in and Ryoan-ji.

Nishijin-ori symbolizes the ancient capital's elegance and luxury. The obi-weaving process is divided into detailed tasks, such as mon-template design and yarn dying. Each artisan has a specialist role. With a deep sense of responsibility and a mutual trust, they strive for higher levels of perfection. Noh costumes have unsurpassable beauty. Some artisans weave with their fingernails. This magnificent textile meshes the city's 1,200 year-old history and the fervor of artisans through the ages.

The ancient capital has many shinise, or established businesses, with unbroken histories. Kyoto Prefecture classes a firm founded at least a century ago as shinise. Over generations, more than 1,100 Kyoto shinise have maintained imperial court culture and life; and provided for temples, shrines, samurai clans and the common people. Through the ups and downs, they have upheld their trade, reputations and family mottos; and kept the Kyoto entrepreneurial spirit of status and trust alive.

The changing leaves vividly color Kyoto, which lies in a basin and has marked temperature differences. For more than a millennium, people have delighted in their beauty and picnicked under the trees. Today, the changing leaves continue to enchant Kyotoites, who live within the changing seasons. The exquisite leaves adorn traditional kaiseki cuisine dishes, and the trees lit up at night are a magical sight. Some are so captured by their magnificence they express it in waka poetry and the arts.

Kyoto confections are wagashi, or traditional confections, infused with Kyoto's charm and influenced by the tea ceremony. With beautiful designs and names that subtly reflect the seasons, tea confections are an art form to be appreciated with the 5 senses. When making these confections, importance is placed on the semblance and name they are given. Inspiration is drawn from local nature, art, music and literature. Feel Japan's culture, nature and climate through flavorsome Kyoto confections.

Traditional washi paper flourished in the temples, shrines and palaces of the ancient capital. Enduring today, this versatile paper is used to decorate interiors, such as sliding doors and hanging scrolls. Kurotani has been the papermaking center of Kyoto washi for 800 years. Katazome-washi is dyed with traditional yuzen-dyeing patterns. Useless washi and centuries-old books are used in recycle-themed artworks. The efforts of Kyoto's artisans and artists nurture Kyoto's washi culture.

Obanzai are the frugal side dishes that grace dinner tables daily in Kyoto - the home of washoku, or Japanese cuisine. Cooked to make the staple dish of rice taste delicious, they use only simple ingredients. The wisdom in the preparation is eco-friendly; scraps are reused, none are discarded. The menu handed down in the Sugimoto clan for more than 200 years embodies the spirit of obanzai. Washoku was added to UNESCO's Intangible Cultural Heritage list in 2013, and obanzai is in the spotlight.

Ikebana is the traditional art of flower arranging. Developed in Kyoto it merges Asian naturalism with the floral offerings to Buddhist altars. The Ikenobo headmaster upholds the school's 550-year-old tradition. A potter imagines vases as extensions of the flowers they hold. A practitioner creates progressive arrangements steeped in tradition. Plants are not mere ornaments. Practitioners impose their lives on that of the flowers. Ikebana's quintessence is in the representation of life as beauty.

Calligraphy is the art of writing characters with a brush. The use of kanji characters, which entered from China, spread with the practice of copying sutras. In temples and shrines, the art projects the state of the practitioner's mind. Calligraphy developed independently through the kana syllabary 1,200 years ago. Kana calligrapher Koho Hibino, master of a flowing style, says it embodies Japanese emotional and aesthetic sensibilities. Discover the essence of the black-and-white realm of calligraphy.

The butsudan Buddhist family altar was built as a miniature of the temple dais upon which the main image stands, so families could worship at home. Reflecting the Pure Land in this world, butsudan not only hold Buddhist images but are also vehicles for people to communicate with their ancestors. Kyoto altars, called kin-butsudan, are decked with gold metalwork and maki-e lacquer. Their beauty is an unparalleled work of art. Strongholds of the heart, kin-butsudan show the core of Kyoto culture.

Tawaraya Sotatsu, who emerged from Kyoto's merchant class, was one pioneer of the Rimpa School in the early Edo Period, and Ogata Korin consolidated it in the mid-Edo Period. The school is not hereditary but is propagated by artists, who admire Sotatsu and Korin, and follow their styles. Rimpa is characterized by a notable use of space; abstract, vibrant designs; and creative playfulness. The works of Kyoto-based Nihonga artists continue the Rimpa style 400 years after its inception.

Kyoto has long-been a leading bamboo-growing region. Bamboo was considered holy in ancient times for its strong vitality. It is used at shrines and palaces as the barrier between the sacred and secular worlds. Gagaku music for the deities is played on bamboo instruments. Since Heian times, this durable, pliable material was important in the development of Japanese architecture in Kyoto, such as garden gates and fences. Bamboo also appears in various capacities in the diet and clothing of Kyoto.