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DENSAN SearchTRADITIONAL CRAFTS
Iiyama Household Buddhist Altars
Household Buddhist Altars and Fittings
As for the making of Household Buddhist Altars which rooted in town Iiyama of temple from the early period of Edo era, work is subdivided and is produced from parts to assembling consistently in area. Around Household Buddhist Altars shop which should be called production wholesale dealer of Household Buddhist Altars which served as master of finish, production center is comprised.
The making of Buddhist household altars became firmly established in the thriving religious community of Iiyama during the beginning of the 17th century. All of the work was done in the area by different craftsmen and then the whole thing was assembled.
Niigata Shirone Butsudan
Niigata Shirone Household Buddhist Altars
Household Buddhist Altars and Fittings
It is in the middle of the Edo era and expert building temple called master of Buddhist monastery (do ding-dong) adopts skills and techniques from Kyoto and makes Household Buddhist Altars of Kyoto form, and what completed "unvarnished wood (shiraki) Household Buddhist Altars " which we put sculpture easy by hand of oneself for more does by opening.
A specialist, who was responsible for building a temple, introduced various skills and techniques from Kyoto to the area in the middle of the Edo period (1600-1868) and made Kyoto style household Buddhist altars. He also made a plain wooden altar, carving it in a simple manner himself. This was to be the forerunner of Niigata Shirone Butsudan.
The history of Woven textiles of Shiozawa production center of Niigata is old, and our local hemp cloth (current fine linen) woven in the Nara era is stored in Shoso-in of Nara.
The history of weaving in the Shiozawa area is very long and an example of a linen cloth--now Echigo linen--woven during the Nara period (710-794) is preserved in the Shosoin Repository in Nara. The skills and techniques used to weave this linen cloth were adopted for the weaving of a silk cloth that became Shiozawa Tsumugi and was first woven during the Edo period (1600-1868).
Miyagi Dento Kokeshi
Miyagi Kokeshi Dolls
Dolls and Kokeshi
After the middle of Edo era, it is informed that we were born as hot spring souvenir of the Tohoku district.
It is said that these dolls were made to sell to people visiting the hot springs in the north east of the country from the middle of the Edo period (1600-1868). Five kinds of traditional dolls are produced in Miyagi Prefecture itself, namely naruko kokeshi, sakunami kokeshi, toogatta kokeshi, yajiro kokeshi, and hijiori kokeshi.
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.
Banshu Miki Uchihamono
Banshu Miki Forged Blades
For last years of the Azuchimomoyama era, Miki Castle was attacked by Hideyoshi Hashiba and fell, and town of Miki was destroyed.
After the siege and final fall of Miki castle toward the end of the Momoyama period (1573-1600), carpenters from various parts were drawn here to rebuild the town. Along with them came many smiths to forge the tools they needed and forging developed as a craft here.
Kyoto Yuzen Dyeing
Dyeing technique reaches from the eighth century, and it is informed that freehand drawing yuzen was established in the Edo era by eshikyusakitomozen* of Kyoto. Popular kyusakitomozen* adopted own style of painting in design as Ougi illustrator, and "Yuzen process" was born in field of design dyeing in what we made use of.
Although dyeing techniques had existed since the 8th century, it is said that the yuzen technique of painting dye directly onto cloth was established by Miyazaki Yuzensai, a popular fan painter living in Kyoto toward the end of the 17th century. He introduced his own style of painting as a way of rendering pattern and this led to the birth of this handpainted dyeing technique.
Kaga Yuzen Dyeing
Beginning of Kaga Yuzen sails up to "umesen" (umezome) which is dyeing technique peculiar to Kaga. It is written down for documents that there has been already "umesen" in middle part of the 15th century.
The origins of Kaga Yuzen go back to a type of dyeing called ume-zome, which was unique to the area. This dyeing technique already existed in the middle of the 15th century and can be verified through written records. Besides ume-zome, other very old methods of dyeing called kenbo-zome and iro-emon are also part of Kaga's legacy of dyeing and went under the general heading of okuni-zome.
Skills and techniques already established in the late 19th century, and utchaki (jacket), tisaji (handkerchief) for sacred rites, do gin (life jacket), kimono were continued weaving with kind of fabric with a mosaic waving pattern thing which Chibana Hanaori woven flourishingly for a long time in former Misatomura (areas such as Chibana, Noborikawa, Ikehara of current Okinawa-shi) passed, and made full use of technique of empty show texture after the Meiji era. They received crushing blow in World War II, but clothes of Chibana Hanaori are worn by traditional event (usudeku) to pray for staple grains abundant harvest and perfect state of health now.
Since ancient times, Chibana Hanaori has been woven in the former Misato-son (currently the Chibana, Noborikawa, and Ikehara regions of Okinawa City).
Koshu Lacquered Deerhide
In last years of Edo era, production center was formed around area equal to Kofu-shi of current Yamanashi.
Deerhide craft products were being made in the area centered on the city of Kofu in present-day Yamanashi Prefecture during the 19th century. By the end of the same century, it is known that deerhide draw-string money bags and purses were well known among people at large as reference is made to them in Tokaidochu Hizakurige, a humorous book published in the 19th century.
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.
It is written down in "Engi era ceremony" (engishiki) written in the Heian era that Washi Paper was given to the Imperial Court by country of Inaba (inaba) namely Inaba. It is done with opening as production center afterwards what it is Aoya-cho in the early 17th century, and was made as paper which feudal clan uses more in Sajison in the early 18th century.
The fact that the imperial court was supplied with paper from the province of Inaba (Inshu) is noted in the Engishiki, the Heian period (794-1185) document on official court dealings. By the beginning of the 18th century, the making of Inshu Washi had become centered on two villages and a paper for the exclusive use of the local clan was being produced.