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伝統的工芸品を探す

TRADITIONAL CRAFTS

東京都

江戸木版画

Edo Mokuhanga

その他の工芸品

江戸木版画は、墨一色の版画の上に色を筆で彩色していくようになり、これらは丹絵、紅絵、漆絵として進歩してきましたが、色を板木で摺る工夫がなされ、二、三色の色摺版画(紅摺絵)ができました。さらに、明和2年(1765 年)には、金や銀まで摺り込み、中間色も木版で刷り上げることができるようになり、多色摺りのスタイルが確立されました。

Edo Mokuhanga are woodblock prints that began with a black print that was then colored with a brush.

京都府

京表具

Kyoto Art Mountings

その他の工芸品

始まりは平安時代に遡ります。当時、表具は経や書画に布地を貼って補強するためのものでした。それがその後、保存や鑑賞のために、書画等に布や紙等で縁取や裏打ち等をして、掛軸や額に仕立てたり、屏風や衝立、襖にする「表装」一般を扱うようになりました。

Art mounting dates back to the Heian period (794-1185), when pieces of artwork, calligraphy and the Sutras were strengthened by backing them with fabric. Later, calligraphy and paintings were backed or edged with paper or fabric for display or to help protect them.

岐阜県

飛騨春慶

Hida Shunkei Lacquer Ware

漆器

江戸時代の初め、高山城下で神社や寺作りをしていた大工の棟梁(とうりょう)が、たまたま打ち割ったサワラの木の美しい木目を発見し、

The origins of this distinctive lacquer ware were the result of a chance discovery. At the beginning of the 17th century, a head carpenter who worked on the building of temples and shrines in the castle town of Takayama, was surprised to find that when he literally peeled a piece of sawara cypress apart, it produced an interesting textural effect. He made it up into a tray and lightly lacquered the surfaces.

愛媛県

砥部焼

Tobe Ware

陶磁器

江戸時代中期に、藩主が地元の陶石を原料に磁器を生産させて藩の財政の助けにしようと考え、磁器の産地として知られていた現在の長崎県の肥前から陶工を連れてきたのが始まりです。

In the middle of the 18th century, the local clan head felt that it would be possible to improve clan finances by producing porcelain using a locally found kaolin. Potters experienced in the making of porcelain from the region of present-day Nagasaki Prefecture were brought to the area and this marked the beginning of porcelain making in Tobe.

山形県

置賜紬

Oitama Pongee

織物

置賜紬の始まりは、8世紀初めに遡ります。江戸時代初めに、領主の上杉景勝が奨励したことで産地としての体制が整いました。

While dating back to the 8th century, the weaving of this cloth did not become firmly established in this area of Yamagata Prefecture until the beginning of the 17th century. This was when Uesugi Keisho, the lord of the fief, encouraged its weaving.

新潟県

塩沢紬

Shiozawa Pongee

織物

新潟県の塩沢産地の織物の歴史は古く、奈良時代に織られた当地方の麻布(現在の越後上布)が奈良の正倉院に保存されています。

The history of weaving in the Shiozawa area is very long and an example of a linen cloth--now Echigo linen--woven during the Nara period (710-794) is preserved in the Shosoin Repository in Nara. The skills and techniques used to weave this linen cloth were adopted for the weaving of a silk cloth that became Shiozawa Tsumugi and was first woven during the Edo period (1600-1868).

石川県

七尾仏壇

Nanao Household Buddhist Altars

仏壇・仏具

古文書等には、蒔絵道具や金粉、切金道具、金銀箔等仏壇作りに関係のある言葉が、書かれていました。

Various words associated with the making of household Buddhist altars appear in an ancient document called Ofuregaki between 1613 and 1703. In one dating back to 1688, there is mention of maki-e-dogu, kinpun and kirigane, all things associated with maki-e decorative lacquer techniques or gilding. There is also a reference to silver leaf in the same document dating back to 1669.

熊本県

肥後象がん

Higo Inlay

金工品

寛永9(1632)年肥後国主として入国した細川忠利侯に仕えた林又七が、鉄砲や刀の鐔に象がんを施したのが祖とされます。

The roots of this craft go back to Hayashi Matashichi. With the support of the local feudal lord Hosokawa and his family, Hayashi was doing inlaid metal work on firearms and sword guards during the first half of the 17th century. Subsequently, as this craft became established, fine Higo sword guards were produced by generation after generation of the Hayashi family as well as by other families such as the Hiratas, Nishigakis, Shimizus and Kamiyoshis right through the Edo period (1600-1868), and many pieces of their work are still in existence. When the carrying of swords was outlawed in 1876, the Higo craftsmen turned their hand to decorative work and began making everyday items in line with the new social conditions.

愛媛県

大洲和紙

Ozu Paper

和紙

伊予の紙は平安時代に書かれた「延喜式(えんぎしき)」に出てきます。史実では、江戸時代中期に僧が大洲藩の紙漉(す)きの師として、技術を指導したところから藩内産業として紙作りが栄えたとあります。

While mention is made of an Iyo paper in the Engishiki, an official document on court protocol written in the Heian period (794-1185), hard facts about Ozu Washi do not exist until the 18th century. The monk, Zennoshin was responsible for teaching people how to make paper, when he came to one of the villages of the Ozu clan, and what developed into a craft industry flourished under the protection and patronage of the clan.

京都府

京黒紋付染

Kyoto Black Dyeing

染色品

黒染の歴史はたいへん古く、10世紀まで遡りますが、黒紋付染として確立したのは、17世紀の初めと見られています。

Although the dyeing of cloth black has a very long history dating back to the 10th century, it seems that it was not until the 17th century that it became established as a recognized craft to include family crests.

京都府

京小紋

Kyoto Fine-Pattern Dyeing

染色品

京小紋の始まりは、基本となる型紙が作られた1200年前に遡ります。室町時代に起きた応仁の乱の後、様々な絹織物が生産されると辻ヶ花染や茶屋染が発達し、京都の堀川を中心として染色の職人町が出来ました。

Kyo Komon dates back more than 1,200 years, when the all-essential stencil papers were first made.

東京都

江戸節句人形

Edo Sekku Ningyo

人形・こけし

江戸の人形製作は、京都の影響を受けて江戸時代初期に始まりましたが、江戸独自のスタイルが確立されたのは、約250年前の宝暦頃と考えられています。この頃から、雛人形や五月人形は、写実的で洗練された江戸前の姿となりました。江戸時代後期の文化文政期に江戸の人形文化は最盛期を迎え、江戸時代初期に戸外に飾っていた甲飾りは屋内に飾られ、五月人形や実物の甲冑をモデルにした精巧な飾りの江戸甲冑が作られました。

Edo doll production began in the early Edo period (1600s) due to influence from Kyoto, but the unique Edo style is said to have begun 250 years ago in the Horeki era.