全国くらしの工芸展 11/25（金）〜11/27（日）　会場：サンドーム福井

江戸木版画

Edo Mokuhanga

諸工芸

Various crafts

東京都

Tokyo

江戸木版画は、墨一色の版画の上に色を筆で彩色していくようになり、これらは丹絵、紅絵、漆絵として進歩してきましたが、色を板木で摺る工夫がなされ、二、三色の色摺版画（紅摺絵）ができました。さらに、明和2年（1765 年）には、金や銀まで摺り込み、中間色も木版で刷り上げることができるようになり、多色摺りのスタイルが確立されました。
江戸木版画の製造の技術・技法は江戸時代に確立し、その技術・技法は改良を重ねながら発展して今日まで継承され、東京都を中心として伝統的に製造されています。

Edo Mokuhanga are woodblock prints that began with a black print that was then colored with a brush.
They evolved into "tane", "benie", and "urushie", eventually resulting in a printing technique where the colors were applied to the wood print and printed directly, followed by two and three-color prints (benizurie). Further in 1765, gold and silver began being printed, and secondary colors also began to be printed, and the multicolored style was established.
The techniques and skills used in Edo Mokuhanga wood block printing were established in the Edo period, and these techniques have continued to be improved upon, carrying on the present day where they are still produced mainly in the Tokyo region.

東京銀器

Tokyo Silversmithery

金工品

東京都

Tokyo

江戸時代中期に、彫金師の彫刻する器物の生地の作り手として、銀師（しろがねし）と呼ばれる銀器職人や、櫛、かんざし、神興（みこし）金具等を作る金工師と呼ばれる飾り職人が登場したことが「東京銀器」の始まりでした。
江戸でこれらの金工師が育った背景には、貨幣を作る金座・銀座の存在、また各大名が集まる政治経済、文化の中心であったことが挙げられます。

This craft began during the 18th century with the emergence of three kinds of skilled workers of precious metals. First there was the shirogane-shi, who fashioned articles that were then skillfully chased by masters of this technique; and then there were skilled metal workers who made such things as combs, hairpins (kanzashi) and the decorative metal fittings for the portable shrines or mikoshi. The gold and silver mints in Edo contributed significantly to raising the level of skills of such artisans. Moreover, Edo was the center of politics, finance and culture, and were feudal lords were required to live for long periods. Consequently, silversmithery in particular developed with their patronage. Nowadays, many fine articles are being produced, mostly to traditional patterns.A confluence of so many skills, Tokyo silversmithery is of the highest quality, the epitome of beauty and durable besides. Also, because it is not made of a harmful substance, it can be used for so many kinds of containers, ornaments and other everyday household articles. Both wrought and chased articles are made. There are silver tea caddies, sake flasks, flower vases, ornaments and many other small household articles being made by 131 firms employing 417 people, 36 of whom are government recognized Master Craftsmen.

江戸指物

Edo Joinery

木竹品

東京都

Tokyo

江戸時代、徳川幕府は多くの職人を全国から呼び寄せて、神田・日本橋周辺に、大工町、鍛冶町、紺屋町などの職人町をつくり手工業を発達させました。
江戸時代の中頃には消費生活の発達につれて、大工職の仕事は楢物師（ひものし）、戸障子師、宮殿師などの職業に分かれていきました。その一つが指物師で、現在に続いています。

Many skilled individuals were encouraged to live and work in Edo (Tokyo) by the Shogunate right from the outset of the Edo period (1600-1868), and craft industries developed as a result of the formation of enclaves within the districts of Kanda and Nihonbashi for such specialists as carpenters, smiths, and dyers. The emergence of a consumer society that took place in Japan from about the middle of the Edo period in turn led to a specialization among carpenters, with some producing bentwood goods, others making fine screens and doors, and still others who constructed religious and palace architecture. Fine cabinet makers and joiners also emerged and are still active to this day.While fine cabinetry and joinery in Kyoto developed as a result of supplying the needs of the Imperial court and the tea ceremony, the style which still characterizes Edo joinery developed by meeting the requirements of the warrior classes, merchants and Kabuki actors resident in Edo. In essence this distinctive Edo style is expressed through sturdy construction and a brevity of form, while avoiding unnecessary ornamentation and maximizing the effects of an attractive grain. Perhaps the best and most highly acclaimed of all the woods used is the so-called shimakuwa, a mulberry from the island of Mikurajima.The range of goods produced today includes chests, desks, various kinds of stands and shelves. Boxes are also part of a repertoire which is completed by hibachi, items for the tea ceremony and pieces associated with the playing of Japanese music. There are now 23 firms with 39 staff, among whom 9 are government recognized Master Craftsmen perpetuating the reputation of this fine work.

村山大島紬

Murayama Oshima Fabrics

織物

東京都

Tokyo

村山大島紬の始まりは、江戸時代後期と言われています。
1920年頃、正藍染め（しょうあいぞめ）による錦織物の「村山紺絣」と玉繭による絹織物の「砂川太織（ふとおり）」の2つが合流して、絹織物としての村山大島紬が生産の中心となりました。この素晴らしい品質や丈夫さが高く評価され、東京都指定無形文化財として認められています。

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 pongee. One of these was an indigo dyed, figured ikat called Murayama Kongasuri, and the other was a silk cloth called Sagawa Futoori woven from a dupion thread. Its sheer quality and durability have always given Murayama Oshima pongee a large following and it has been recognized by Metropolitan Tokyo as an intangible cultural property.Kimono made of this light comfortable cloth is often handed down from mother to daughter and on to granddaughter, and the unfailing traditions and quality of this cloth are still recognized today. With 48 firms and 88 working on the cloth now, it is still a thriving industry. And 26 nationally recognized Master Craftsmen among those doing the work make a significant contribution to the continuance of this craft.