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伝統的工芸品を探す

TRADITIONAL CRAFTS

愛知県

名古屋黒紋付染

Nagoya Black Dyeing

染色品

江戸時代の初め頃、現在の名古屋市を中心にした地域をおさめていた尾張藩の藩士が、徳川家康から尾張の紺屋頭に認められ、尾張藩の旗印や幟(のぼり)等の染色品を作るようになったことに始まります。

At the beginning of the 17th century, the Owari clan controlled the area centered on present-day Nagoya. It was then that the Kosakai family--one of the families of retainers--was recognized as clan dyer by the Shogun, Tokugawa Ieyasu, and the making of clan flags and banners at this time led to the establishment of this craft.

新潟県

十日町明石ちぢみ

Tokamachi Akashi Crepe

織物

19世紀の終わり頃、京都の西陣の夏用の反物の見本を持ち帰り、もともとあった十日町透綾(とおかまちすきや)という織物の技術に応用して、新商品の試作研究が行われました。

Towards the end of the 19th century a sample roll of summer-weight kimono cloth was brought back to Tokamachi from Nishijin in Kyoto. Work then began on adapting an existing local weave called Tokamachi sukiya with a view to producing something new. A great deal of effort was then put into developing and improving the ways of tightly twisting up weft threads, resulting in improvements to another existing cloth, yorisukiya.

沖縄県

琉球びんがた

Ryukyu Bingata Dyeing

染色品

琉球びんがたの始まりは、15世紀中頃にまで遡ることができます。

The origins of Ryukyu Bingata dyeing can be traced back to the middle of the 15th century, when King Shoen was on the thrown. The court gave its unfailing patronage to the craft and according to a 1802 chronicle, Ryukyu Bingata was called a "floral cloth of the east" and was highly regarded at the market in Fuchien, China.

愛知県

有松・鳴海絞

Arimatsu Narumi Shibori

染色品

絞の技法そのものは、奈良時代に始まったものですが、有松・鳴海絞が始められたのは、江戸時代の初め頃です。

Although the sophisticated technique of tie-dyeing called shibori itself dates back to the Nara period (710-794), the history of the craft here only goes back some 400 years, to when the feudal lord from the province of Bungo--now Oita Prefecture--was ordered to assist in the building of Nagoya castle.

東京都

東京手描友禅

Tokyo Yuzen Dyeing

染色品

江戸時代中期、武家政治の中心として文化や経済がともに栄えた江戸には、「くだりもの」と言われる関西方面からの産物が、たくさん集まってきました。こうした時代の流れにのって大名のおかかえ染師(そめし)等が多く江戸に移り住むようになり、

By the 18th century, Edo was the center of political power of the Shogunate and the culture and economy of this metropolis that later became Tokyo flourished.

長野県

木曽漆器

Kiso Lacquer Ware

漆器

始まりは17世紀の初頭です。もともと豊富な木曽のヒノキを使った木地作りが盛んな土地柄で、江戸時代に尾張徳川藩の手厚い庇護を受けて発達しました。

It was the beginning of the 17th century when this craft got its start, very much founded on the plentiful supplies of local Japanese cypress for the production of carcasses for goods rich in local color. Subsequently the craft developed under firm patronage from the Owari Tokugawa clan through the Edo Period (1603-1868) and this craft became popular with those travelling along the Nakasendo Highway.

山形県

山形鋳物

Yamagata Metal Casting

金工品

平安時代の中頃に、山形地方で起こった乱を治めるため、源頼義がこの地方を転戦しました。

In the middle of the Heian period (794-1185), Minamoto Yoriyoshi fought a number of battles in the Yamagata area in an effort to quell various uprisings. The metal casters, who were part and parcel of the army and operations, discovered that the quality of the sand in the river flowing through Yamagata city and the earth in present-day Chitose park were ideal for casting. Some of those casters settled in the area and became the founders of Yamagata metal casting.

新潟県

村上木彫堆朱

Murakami Carved and Lacquered Ware

漆器

新潟県の村上地方は、平安時代から天然の漆の生産地として、広く知られています。

The Murakami area of Niigata Prefecture has been well known since the Heian period (794-1185) as a natural lacquer producing area. Using this refined sap, Murakami Kibori Tsuishu dates back to the beginning of the 15th century.

東京都

江戸和竿

Edo Fishing Rods

木工品・竹工品

江戸和竿は、天然の竹を用いて作られる継ぎ竿で、江戸時代中期に江戸で作られ始めました。江戸時代の後期には、美術工芸と呼べる域にまで達し、今日の江戸和竿が完成しました。

Edo Wazao have always been made from natural culms (stems) of bamboo and were first made in Edo (Tokyo) in the middle of the Edo period (1600-1868). By the end of this era, they had taken on their present-day form and can truly be called works of art. With the sea on their doorstep and some beautiful rivers, too, these rods were a crystallization of research into the needs of those who lived in Edo and loved to fish.

岩手県

秀衡塗

Hidehira Lacquer Ware

漆器

平安時代の末期に岩手県平泉町において、権力や財力を欲しいままにし、中尊寺金色堂(ちゅうそんじこんじきどう)をはじめとする仏教美術をこの地にもたらした奥州藤原氏のもとで、秀衡塗は始められました。

This lacquer craft really began when Ohshu Fujiwara wielded power over Hiraizumi in Iwate Prefecture toward the end of the Heian period (794-1185). It was he who lent this support to the building of the temple, Chusonji with its famous Konjikido and many fine pieces of Buddhist art in general.

福島県

奥会津編み組細工

Okuaizu Basketry

木工品・竹工品

福島県大沼郡三島町の荒屋敷遺跡において、縄や籠の編み組等の断片が発掘されており、縄文時代より編み組の技術・技法が存在したことが明らかとなっています。

Fragments of simple basketry and rope were discovered at the Arayashiki archeological dig in the town of Mishima, Ohnuma county in Fukushima Prefecture, proving that the skills and techniques of weaving and twisting ropes existed in the area as far back as the Jomon period, which covers the period of Japanese history from about 10,000 B.C. to 300 B.C. Then, in one ancient local chronicle about farming, reference is made of the fact that baskets were being made from vegetable and plant material in the Aizu region.

京都府

京漆器

Kyoto Lacquer Ware

漆器

奈良時代に唐の影響を受け、蒔絵のもとである技法が生み出されました。この技法が平安遷都とともに京都に受け継がれ発展していきました。

The maki-e technique of laying down gold and silver powders was preceded by techniques which first came into being during the Nara period (710-794), when Japan was under the influence of Tang dynasty China. The same techniques continued to be used and were developed during the Heian period (794-1185), when the capital was moved to Heian-kyo, now Kyoto.