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Yamagata Metal Casting
Yoriyoshi Minamotono fought in one place after another in this district to settle revolt that happened in middle part of the Heian era in Yamagata region.
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.
Kyo Ishi Kogeihin
Kyoto Stone Carving
Stone and relationship with human life begin distantly from the Stone Age. It was in the latter half of the Nara era, and stone culture was born by transmission of Buddhism.
Although man's relationship with stone began long ago in the Stone Age, it was not until the end of the Nara period (710-794) when Buddhism was introduced into Japan that stone became more than just a utilitarian material.
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.
Ojiya Ramie Crepe
The history of hemp cloth in Ojiya is old, and trace of the texture is left to earthenware vessel thought to be last part of Jomon period.
The history of linen weaving in Ojiya goes back a very long time. A piece of pottery which is thought to have been made at the end of the Jomon period (ca.10000-ca.200 BC) has been discovered bearing the imprint of some woven fabric. Well suited to the climate of Ojiya, woven linen was valued highly and was presented to the Shogun.
Kyoto Art Mountings
Opening dates back to the Heian era. We were intended that mounting passed and put cloth on ya painting and calligraphic work, and to reinforce in those days. For preservation and appreciation, we did hemming or lining with cloth or paper in painting and calligraphic works and prepared to hanging scroll and sum, and it came to treat the "mounting" to do on screen and screen, sliding paper-door public afterwards.
Art mounting dates back to the Heian period (794-1185), when pieces of artwork, calligraphy and the Sutras were strengthened by backing them with fabric. Later, calligraphy and paintings were backed or edged with paper or fabric for display or to help protect them.
In Japan, we made thread with fiber which we took out of the trees and plants such as course (we die), Paper mulberry (we ask), elm (similar), wisteria (wisteria), kudzu (waste), ramie (choma) which grew wild distantly in the fields and mountains from Jomon and Yayoi period and we finished weaving on cloth as private use and used to clothes or accessories.
In Japan, ever since the Jomon and Yayoi periods, people have made thread from fiber derived from plants and trees that grow naturally in the mountains such as Japanese linden, mulberry, elm, wisteria, kudzu, and ramie, and used this thread to weave fabric and make clothing and ornaments for private home use.
Ryukyu Bingata Dyeing
Beginning of Ryukyu Bingata can date back to the mid-15th century.
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.
Kyoto Household Buddhist Altars
Household Buddhist Altars and Fittings
Household Buddhist Altars was thing which varied from Buddhist altar (zushi) to, but was used as thing of samurai exclusively.
Household Buddhist altars were a variation of miniature shrines called zushi and were originally used exclusively by the warrior classes. It is thought that the production of ordinary household altars began in earnest with an increase in the numbers of people requiring one at the beginning of the Edo period (1600-1868), when the Tokugawa Shogunate introduced new religious policies.
Kyoto Lacquer Ware
We were affected by Tang in the Nara era, and a certain technique was brought about under the lacquer work. This technique was inherited with peaceful capital relocation in Kyoto and developed.
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.