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DENSAN SearchTRADITIONAL CRAFTS
Yokkaichi Banko Yaki
Yokaichi Banko Ware
Business magnate who was in the middle of the Edo era had person called Rozan Nunami approximately 260 years ago. It is origin of the name of manko* that we load with wish so that one's work reaches forever, and playing mountain which made ceramic art hobby for tea ceremony in detail pushed seal of "mankofui" (bankofueki). We had suspended manko* born with death of playing mountain, but it became late in the Edo era and came to be baked again in this way.
Some 260 years ago there lived a wealthy merchant, Nunami Rozan. He was a knowledgeable exponent of tea and was interested in pottery. In fact, the name Banko-yaki or Banko ware originates from pieces he made himself. He stamped them with bankofueki, or literally "eternity, constancy", hoping they would be handed down through endless generations after he was gone.
Kyo Kanoko Shibori
Kyoto Kanoko Shibori
Tie-dyeing was performed for some time in Japan for one thousand several hundred years and has been used as pattern expression of Imperial Court clothes.
Shaped resist tie-dyeing, or shibori has been carried out for over a thousand years in Japan and was used for the patterns on court dress. It is known as kanoko shibori, or literally "fawn spot tie-dyeing" because of its resemblance to the spots on a young fawn.
Paper of Iyo comes out to "Engi era expression" (engishiki) written in the Heian era. When the making of paper prospered in historical fact as industry in feudal clan from place where Buddhist priest instructed technique as Rev. papermaking (he does) kino of Ozu feudal clan in the middle of Edo era, there is.
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.
Writing tools and Abacus
When most of farmers whom life could not support went to Kumano district of Kishu equal to current Wakayama and Yoshino district of Yamato equal to Nara to work only by agriculture for the agriculture shut period in the Edo era and returned to hometown, we laid in stock of writing brush and sumi made in those districts and peddled. Kumano and ties of writing brush came out of such a thing.
During the Edo period (1600-1868), many farmers found life very difficult. When there was no farm work, peasants went off in search of work to the Kumano district in Kishu corresponding to present-day Wakayama and the Yoshino area of Yamato, which is now Nara Prefecture. On returning to their homelands they sold writing brushes and ink they had acquired from these places. Ultimately, this led to the making of brushes in Kumano.
Hiroshima Household Buddhist Altars
Household Buddhist Altars and Fittings
Hiroshima was nature of the locality that the Jodo Shin sect of Buddhism was prosperous for a long time. Early in the Edo era, we assumed techniques such as decoration metal fittings worker and round chip box worker (in the case of string comb), painter (master) who moved from Kishu the cause, and Buddhist priest called *ko (tonkou) went to Kyoto, Osaka, and skills and techniques of Hiroshima Butsudan was established afterwards by learning high production technology of Household Buddhist Altars and Fittings, and having returned.
The Jodo Shinshu of Buddhism has found favor among the people in Hiroshima for any hundreds of years. At the beginning of the 17th century a number of artisans skilled in making decorative fittings, braided cords and lacquerers moved into the Hiroshima area from Kishu, and it was their skills that became the foundation of household altar making in this area.
Kamo Kiri Tansu
Kamo Paulowina Chests
Woodcraft, Bamboo Craftwork
Thing which carpenter produced at the beginning of the 19th century is informed with beginning of Kamo Kiri Tansu. "The 1814 (Bunka 11) purchase" and chest written down are used for ceiling of chest now in the city.
It seems that the making of Kamo Kiri Tansu began with one made by a carpenter in the early part of the 19th century. The very same chest is still being used in the city of Kamo today and it is inscribed on the back with ""Purchased 1814"".
Edo Cut Glass
It is said to be opening that person called Hisashi Kagaya soldier of the Imperial Guard who ran vidro shop in large Temmacho of Edo in 1834 (Tenpo 5) put sculpture for the surface of glass mimicking cut glass made in the U.K.
It is said that the origins of Edo Kiriko date back to 1834 when a Kagaya Kyubei, who was working in a small glass works in Edo (Tokyo), copied a piece of English cut glass. It also seems that Commodore Matthew Perry, who arrived in Japan toward the end of the Edo Period (1600-1868), was very surprised when he was presented with a splendid piece of Kagaya's cut glass.
Nagiso Rokuro Zaiku
Woodcraft, Bamboo Craftwork
According to the old documents of Nagiso-machi, beginning of Nagiso Rokuro Zaiku is the early 18th century.
According to an old document found in Nagiso, turnery began here sometime during the first half of the 18th century, when unfinished forms for trays and bowls were being sent to Nagoya and Osaka. For this to happen, it must be assumed that lathes were first turning sometime before.
In the origin of Hagi Yaki, we sail up in Terumoto Mori over the Korean Peninsula having gone back with local ceramist Shakuko Ri (rishakkou), brothers of sumomouyamai (rikei) with Hideyoshi Toyotomi 400 years ago.
Returning from a campaign with Toyotomi Hideyoshi on the Korean peninsular, the feudal lord, Mori Terumoto brought back with him to Japan two Korean potters, Li Sukkwang and Li Kyong. It was these two brothers who were responsible some 400 years ago for doing work, which marked the beginnings of Hagi Yaki.