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TRADITIONAL CRAFTS

Ishikawa

Ushikubi Tsumugi

Ushikubi Pongee

Woven textiles

The name of Ushikubi Tsumugi comes from the place name of Ushikubi-mura (current Shiramine-mura, Ishikawa) of the foot of Hakusan that is the straight production center. When defeated soldier Ohata of Genji which lost in revolt of terminal Heiji in the Heian era flees into Ushikubi-mura and held Yamashiro, we are informed by place that told women of village the skill so that wives of Ohata who went together weave plane (hata) because it was superior when it began. Description of "mo*so" of the early period of Edo era is beginning by documents. Is said that was sold to the whole country widely late in the Edo era, around 1935 of production peaked.

Ushikubi Tsumugi is named after a village called Ushikubi, which lies at the foot of Mount Hakuzan, where this fabric is produced. This village is now called Shiramineson and is in present-day Ishikawa Prefecture.

Fukui

Echizen Yaki

Echizen Ware

Ceramics

Echizen Yaki is counted in one of Japanese six old kilns, and the history is very old.

Echizen Yaki ranks among Japan's six old kilns and therefore has a history dating back many centuries. First fired toward the end of the Heian period (794-1185), upward of 200 old kilns sites have been discovered in the area to date. It was in these massive old kilns that all manner of everyday articles such as pots, jars, mortars, flasks, and jars in which to keep a black tooth dye fashionable at the time were fired.

Okinawa

Kijoka No Bashofu

Kijoka Banana Fiber Cloth

Woven textiles

It is thought that abaca cloth has been already made in the about thirteenth century, but it becomes in the early modern times to have spread out among people and is after.

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.

Kyoto

Kyo Nui

Kyoto Embroidery

Other textiles

When Heiankyo was made, as for the Kyo Nui, it is assumed opening that section called textiles office (oribenotsukasa) having craftsman to embroider was put.

Kyo Nui probably dates back to 794 when the new capital of Heian Kyo (Kyoto) was established and a department of weaving were many embroiders worked was set up at the imperial court.

Kyoto

Kyo Kanoko Shibori

Kyoto Kanoko Shibori

Dyed Textiles

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.

Okinawa

Shuri Ori

Shuri Fabrics

Woven textiles

Ryukyu kingdom of the 14th to the 15th century traded with with Southeast Asia and Chugoku flourishingly and learned technique of texture by the interchange. Ryukyu Woven textiles with various individuality that repeated time of the next several hundred years, and were brought up in climate climate of Okinawa was brought about.

Trade flourished between the kingdom of Ryukyu and China and South East Asia during the 14th and 15th centuries and weaving techniques were learned through these exchanges. Nurtured by the Okinawan climate and developed over the centuries, a number of textiles, each with their own characteristic traits, came into being. One of these was a cloth produced in Shuri.

Gifu

Mino Yaki

Mino Ware

Ceramics

The history of Mino Yaki is old and will date back to 1300 until the above now. At first, technique of earthen vessel was introduced from the Korean Peninsula. Earthenware which gave ash glaze (buy, and say) which was said to be haku* (inform) when it was the Heian era (the tenth century) came to be baked.

The history of Mino Yaki goes back some 1,300 years. The techniques of making a Sueki ware were introduced from Korea and then in the 10th century, an ash glaze called shirashi started to be used. This simply amounted to the glazing of the Sue ware with the glaze. It was about this time that the number of kilns increased and a production center for this ware became established.

Aichi

Mikawa Butsudan

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.

Ishikawa

Nanao Butsudan

Nanao Household Buddhist Altars

Household Buddhist Altars and Fittings

Words to be connected with the making of Household Buddhist Altars such as lacquer work tool and gold dust, coloring with thin gold leaf tool, gold silver foil were written in ancient documents.

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.

Fukui

Wakasa Nuri

Wakasa Lacquer Ware

Laquer Ware

As for the Wakasa Nuri, craftsman of lacquering of Kohama feudal clan located near Wakasa-wan Bay at the beginning of the Edo era got hint in technique of the making of Laquer Ware of Chugoku and we graphically designed state of the bottom of the sea and began. "Seaweed-patterned lacquering" (isokusanuri) was begun to knit by "chrysanthemum dust coat" (work pitch a camp paint) what repeated invention improved by this, and was born by pupil of the designer.

The making of Wakasa Nuri began at the beginning of the Edo period (1600-1868), when lacquerers of the Obama clan near Wakasa Bay started decorating their work with designs depicting elements of the ocean floor, having got the idea from techniques used in Chinese lacquer ware.

Aichi

Okazaki Stonework

Okazaki Stone Carving

Stonework

Opening dates back late in the Muromachi era. In the Azuchimomoyama era, the Okazaki lord of a castle whom there was in current Aichi invited Kawachi, mason of Izumi for maintenance of castle town and let you make stone wall and moat afterwards.

The origins of this craft date back to the latter part of the Muromachi period (1391-1573). It was during the following Momoyama period (1573-1600), however, that the lord of Okazaki castle brought in skilled stone masons from Kawachi and Izumi to carry out some improvements to the surrounding town and had stone walls and moats built.

Fukuoka

Hakata Ori

Hakata Textiles

Woven textiles

In the Kamakura era, Hakata merchant passes to Chugoku of the times of Soong with priest, and it does by opening to have taken Woven textiles technology home with.

During the Kamakura period (1185-1333), merchants from Hakata journeyed to Sung dynasty China with the founder of Joten-ji temple, Shoichi Kokushi, and the weaving techniques they brought back with them laid the foundations of Hakata Ori.