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伝統的工芸品を探す

TRADITIONAL CRAFTS

京都府

京うちわ

Kyoto Round Fans

その他の工芸品

京うちわの始まりは、南北朝時代に遡ります。当時、明と呼ばれていた中国や朝鮮沿岸地を荒らし回っていた倭寇(わこう)という日本人の海賊によって、西日本にもたらされた朝鮮団扇(ちょうせんうちわ)が紀州から大和を経て、京都の貴族の別荘地であった深草に伝わったのが始まりと言われています。

Kyo Uchiwa go back to the period in Japanese history known as the Northern and Southern Dynasties (1333-92). It is said that round fans from Korea were brought back to western Japan by wako, Japanese pirates who were constantly raiding the coast of Ming dynasty China and Korea at the time. These imported fans then found their way up through the Kishu to Nara and then onto Fukakusa where aristocrats from Kyoto had their country villas.

沖縄県

喜如嘉の芭蕉布

Kijoka Banana Fiber Cloth

織物

芭蕉布は、13世紀頃にはすでに作られていたと考えられますが、人々の間に広まったのは近世になってからのことです。

It seems that banana fiber cloth was already being made around the 13th century but it was much later that it became popular. In the old days banana trees were planted in gardens and fields, and the womenfolk of a family wove it into fabric for home use. Silk and cotton became much more readily available during the 19th century but people still enjoyed wearing banana fiber cloth. Kijoka no Bashofu, which carries on these traditions, was designated as a cultural property by the Prefecture in 1972 and two years later in 1974 it was made an important intangible cultural property by the nation.

沖縄県

久米島紬

Kumejima Pongee

織物

14世紀頃、南方貿易によりインドをルーツとする製織法が伝えられました。

Originating in India, this method of weaving was introduced into Japan around the 14th century along eastern trade routes.

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.

沖縄県

読谷山ミンサー

Yuntanza Minsaa

織物

始まりは読谷山花織と同時期で、南国の影響が強い製品です。一時、生産が途絶えてしまいましたが、昔のことを良く知っているお年寄りによって復活されました。

The weaving of this cloth started about the same time as the Yomitanzan Hanaori Fabrics and is similarly characterized by its tropical feel and motifs. Production ceased for a time but was revived by elderly people who knew the techniques involved.

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.

徳島県

大谷焼

Otani Ware

陶磁器

安永9年(1780)徳島藩主から南京・唐津(磁器の焼成)をするよう命令がおり、九州より職人を多く雇い入れ、藩窯を造り、磁器の生産を開始しましたが、

When the head of the Tokushima fief ordained that porcelain in the style of Nanking and Karatsu Yaki should be produced in 1780, craftsman were brought in from the island of Kyushu, a kiln was built and production began.

兵庫県

豊岡杞柳細工

Toyooka Willow Basketry

木工品・竹工品

杞柳細工の始まりは1世紀の初めまで遡り、奈良正倉院御物の中には、今も「但馬国産柳箱」が残されています。

The craft can be traced back to the 1st century AD, and there is a willow basketwork box, the Tajima no Kunisan Yanagibako, among the treasures held at the Shoso-in Repository in Nara.

奈良県

奈良筆

Nara Brushes

文具

奈良の筆作りの歴史は、今から1200年程前、空海が唐に渡った時に筆作りの方法を極め、日本に帰った後その技法を大和国の住人に伝えたことに始まります。

When the monk Kukai journeyed to China some 1,200 years ago, he made a study of brush making there and on his return, he passed on his knowledge to people living in the province of Yamatokoku that is now called Nara Prefecture. This marked the beginnings of brush making here.

静岡県

駿河雛具

Suruga Hina Doll Fittings

人形・こけし

駿河雛具は、16世紀、今川氏が現在の静岡県の駿河の大名であった時代にすでに生産されていました。温暖多湿な気候と、久能山東照宮や浅間神社の造営等をきっかけに全国から導入された高度な技術を応用して、江戸時代に定着した漆器作りの一分野として雛具作りが発達しました。

Paraphernalia for the Hina Matsuri or doll festival was already being produced in Suruga in the 16th century when Imagawa was feudal lord of this province that corresponds to present-day Shizuoka Prefecture. With the construction of Kunosan Toshogu shrine and the Asama Shrine, many advanced craft techniques were introduced from all over the country and the production of Hina paraphernalia developed as part of the lacquer ware industry which, benefiting from the warm humid climate of the area, became established during the Edo period (1600 -1868).

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.

秋田県

川連漆器

Kawatsura Lacquer Ware

漆器

鎌倉時代にこの地方を支配していた領主の弟が、地元の山から切り出されたブナの木や漆を利用して、武具に漆を塗ることを内職として家臣に命じたのが始まりとされています。

The beginnings of this craft go back to the Kamakura period (1185-1333), when the younger brother of the lord of the fief who ruled this area, ordered the retainers to take up lacquering pieces of armor and weaponry as a job, using locally tapped lacquer and Japanese beech cut from the mountains in the area. The making of bowls began in earnest in the middle of the Edo period (1600-1868) and by the end of the period work was concentrated on the three districts of Kawatsura in what is now Inakawa-cho, Odate and Minashi and the making of everyday pieces of household goods flourished in what had become a production center.