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Murayama Oshima Tsumugi
Murayama Oshima Fabrics
Beginning of Murayama Oshima Tsumugi is said to be in the latter half of the Edo era.
While the history of this kimono cloth only seems to date back to the middle of the 19th century, it was in 1920 that the techniques associated with two different cloths were combined to produce the silk cloth known as Murayama Oshima Tsumugi.
Silk pongee thing was founded with sericulture that began in the middle of Edo era. Late in the Edo era, it was production center as raw silk merchant came for business talk from prosperous place of Woven textiles of Joshu or Kyoto equal to current Gunma.
Pongee was first produced here in the middle of the Edo period (1600-1868), when sericulture began. By the end of the same era, production had increased to such an extent that silk merchants came to do business from places which had their own flourishing weaving industry such as Kyoto and Joshu, the area that now corresponds to present-day Gunma prefecture.
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.
Hikone Household Buddhist Altars
Household Buddhist Altars and Fittings
Because it was in the middle of the Edo era and recommended to armorer, painter (master), worker with high technique in Hikone feudal clan to leave production of arms, and to be engaged in production of Household Buddhist Altars , the making of Household Buddhist Altars began as small household industry from that time.
Gradually during the 18th century, highly skilled armorers, lacquerers and other artisans were encouraged by the Hikone clan to work on the making of household altars, at first more or less as a ""cottage industry"". Subsequently with the rise in popularity of Buddhism and the patronage of the Hikone clan, a production center became established, forming the foundations of the small craft industry as it exists today.
Marugame Round Fans
Tan-painted round fan with Marukin mark was devised as souvenir of visit to Konpira Shrine (kompira) of Shikoku.
This type of coated, ridged fan with a round gold seal on it was devised a something pilgrims going to the well-known temple of Konpira on the island of Shikoku could buy. During the 18th century, the Marugame clan made their production a part-time job for clan warriors and this became the foundation of today's craft. At present, almost 90% of all round fans made in Japan are produced in the area.
Honba Oshima Tsumugi
Beginning of Oshima pongee in Amami dates back to the about seventh century. It was about the early 18th century that production center was formed, and technique reached Kagoshima afterwards. We close, and splashed pattern is made using unique opportunity called plane (shimehata). Technique of "mud dyeing" to dye thread is particularly famous.
The origins of this cloth woven on the Amami islands near Okinawa dates back to the 7th century. It was not until the beginning of the 18th century, however, that the craft took on the guise of an industry and its techniques were subsequently handed on to those working in Kagoshima Prefecture.
Tadatoshi Hosokawa becomes change seal in Higo country from Buzen country in 1632 (Kanei 9) and ceramist source seven (the female alley house first generation) and eight Court Security Office (the Katsuragi house first generation) which followed this are ordered potter and are broken including Shodai Yaki.
When Hosokawa Tadatoshi moved from the fief of Buzen to take control of the fief of Higo in 1632, two master potters were appointed. One of these was Genhichi, the first of a long line of potters of the Hinkoji family, and the other was Hachizaemon, the first of successive generations of potters from the Katsuragi family. It was the appointment of these two men that is said to have marked the beginnings of the making of Shodai Yaki.
Because record that family register paper of the Nara era was Mino Washi remains in "Shoso-in document", it is thought that beginning of Mino Washi is the Nara era.
It is thought that Mino Washi dates back to the Nara period (710-794), because records at the Shoso-in Repository show that it was used for a census during the 8th century. By the Muromachi period (1392-1573) the Rokusaiichi paper market was being held. This was set up by the locally influential Toki Nariyori and Mino Washi were shipped to Kyoto, Osaka and Ise, making it one of the best known papers of its times.
Edo Mokuhanga came to color color by writing brush on the print of one color of sumi, and these progressed as black and white woodcut with simple colors added, rouge color print, lacquer block, but invention to print color on in woodcut was done, and it was possible for two or three colors of shokusuribankaku (printed ukiyoe). Furthermore, in 1765 (Meiwa 2), we printed to money and silver and were crowded and came to be able to print off intermediate color with xylograph, too, and style of polychromatic woodcut print was established.
Edo Mokuhanga are woodblock prints that began with a black print that was then colored with a brush.
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.
Tosa Forged Blades
It is written down in long sect me part District Public Prosecutor's Office book who performed total land surveying of Tosa alone in 1590 (Tensho 18) that there were 399 blacksmith'ses. The full-scale prosperity of Tosa Uchihamono begins with Genna reform (1621) by initial Tosa feudal clan in the Edo era.
Records show that at the end of the 16th century there were some 400 smiths at work in Tosa. While they were skilled in the making of the samurai sword, they also seem to have made sickles and knives at the request of local farmers. Subsequently, with the promotion of forestry and the development of new fields in the area, bladed tools for agriculture and forestry were made in large quantities and a production center for forged goods came into being.
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.