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Naruko Lacquer Ware
Early in the Edo era, feudal lord who ruled over area equal to current Narukocho, Miyagi sends local Laquer Ware craftsman and lacquer work craftsman out for ascetic practices in Kyoto and is called that we planned promotion of Naruko Shikki.
At the beginning of the 17th century, the lord of the fief in the area where Naruko is situated, dispatched lacquerers and maki-e craftsmen to Kyoto to develop their skills, in an attempt to raise the popularity of the local product. According to a late 18th century document various household items were being produced and by then the production of lacquer ware was the main employment for the people of Naruko.
It is industrial art object which developed as industry around Tokyo, and Edo glass is made with three manufacturing methods of "glassblowing" "blowing" "direct copy" mainly by Meiji Western expression glass production technology that firstly was introduced in government control factory (Shinagawa glass factory) of Tokyo, Shinagawa.
Edo glass began in the early Meiji period when the Shinagawa Glass Works, a government managed factory in Shinagawa Tokyo, imported glass manufacturing technology from the west.
Yame Fukushima Butsudan
Yamefukushima Household Buddhist Altars
Household Buddhist Altars and Fittings
The following talk is had for beginning of Yame Fukushima Butsudan. It was in the middle of the Edo era and one armor-back held-flag carpenter had a dream of solemn gorgeous Buddhist temple at a certain night and thought and wanted to be Household Buddhist Altars production for cooperation to person in the same profession.
One night in early 19th century, a cabinet maker dreamt about an extremely beautiful, majestic Buddhist building. Inspired by his dream, he enlisted the help of work mates and together they built a Buddhist household altar. This is the story behind the origins of the Yamefukushima Butsudan.
It began under the influence of middle part, Kasama Yaki of the 19th century. Early Mashiko Yaki caught support of feudal clan and baked daily necessities, and thing made in that way was used in kitchen of Edo.
The distinctive Mashiko style of pottery developed sometime about the middle of the 19th century having come under the influence of Kasama Yaki. In the early days, everyday articles were made with the support of the local clan and many of the pieces found their way into the kitchens of Edo.
Tokyo antimony industrial art object
Tokyo Antimony Craft
It was casting product which assumed antimony which was alloy of lead, antimony, tin raw materials, and technique established Tokyo antimony as local industry of Tokyo early in the Meiji era. We make use of delicate design and sculpture, and accessories, prize cup, ornament are made.
Tokyo Antimony is a cast metal craft that uses an alloy made from lead, antimony, and tin. This craft was established in Tokyo as a local industry in the early Meiji period (1868 - 1912). The detailed patterns and engravings are used for decorations, trophies, ornaments, and more.
Nambu Cast Ironwork
The beginning of 17th century, it does by opening that southern part feudal clan which ruled area around current Morioka-shi, Iwate invited teakettle craftsman to Morioka from Kyoto.
Present-day Morioka is at the center of an area which was controlled by the Nambu clan at the beginning of the 17th century. It was then that craftsmen practiced in the art of making chagama or pots used to heat water for the tea ceremony were invited to Morioka from Kyoto. Many more casters were subsequently engaged by the clan and the production of weapons, chagama , and other pots began in earnest.
Dolls and Kokeshi
It is event that the Doll's Festival and the Boy's Festival when are in the latter half of the Edo era are important, and is lively, and it is doll that played a big role there.
These dolls played a large role in the important and lively events of the annual Girl's Day and Boy's Day celebrations in the late Edo period.
Suruga Takesensuji Zaiku
Suruga Bamboo Ware
Woodcraft, Bamboo Craftwork
Early in the Edo era, it mainly began as side job of samurai.
Suruga Takesensuji Zaiku dates back to the beginning of the Edo period (1600-1868) when warriors almost exclusively made bamboo goods as a side job in more peaceful times. In the 19th century, the feudal lord in Okazaki, who was skilled in the art of bamboo weaving, passed on his techniques to Shimizu Inobei. Using these techniques, he made candy bowls and insect cages to sell to travelers on the Tokaido, the main road between Kyoto and Edo.
Mikawa Household Buddhist Altars
Household Buddhist Altars and Fittings
Beginning of Mikawa Butsudan dates back to the middle of Edo era. maridato is said to be master of Household Buddhist Altars having made Household Buddhist Altars as materials with lacquer produced in pine, cedar, good timber and the foot of hinoki provided using transportation by water of the Yahagi River of Sanage (there does not seem to be monkey) in northern Mikawa at the beginning.
Mikawa Butsudan date back to the middle of the 18th century. It was then that a certain altar maker made an altar using good pine, cedar and cypress that was brought down the Yasakugawa river and finished his work using natural lacquer tapped from trees at the foot of Mt. Sarunage in the north of Mikawa.
Aizu Lacquer Ware
What recommended that the whole families who had power in this district in the Muromachi era plant lacquered tree does by opening.
It was the planting of lacquer trees promoted by a powerful local family during the Muromachi period (1392-1573) that led to the making of Aizu Nuri. Then, when Gamo Ujisato who hailed from present-day Shiga Prefecture arrived to head the Aizu clan in the Momoyama period (1573-1600), he brought skilled lacquerers to this northern region from Shiga. Their skills were disseminated and as a result of fostering the development of techniques in crafts using lacquer, Aizu soon became a production center for all kinds of lacquer ware.
Beginning of Oitama Tsumugi dates back to the early eighth century. Firstly the system as production center was set in what Kagekatsu Uesugi of feudal lord recommended in the Edo era.
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.
In the late 17th century, Chibana kiln (Chiba friend) of Misato, treasure mouth kiln (takaraguchigama) of Shuri, *denkama (wakutagama) of Naha were unified in current Tsuboyacho by King of Ryukyu prefecture and were born.
In the second half of the 17th century, the scattered potteries of Chibana in Misato, Takaraguchi in Shuri and Wakuta in Naha were brought together by the King of Ryukyu and a new center was established in what is now Tsuboya.