諸工芸
甲州手彫印章
Engravings (stippling) / Koshu Seal
ホールB7
Hall B7
諸工芸
山梨県
江戸時代末期の「甲州買物独案内」には、甲府市内に御印版を扱う版木師の存在を示す記載があり、当時から既に職人が存在し、印章の商売を営んでいたことがわかります。
同じ時期の別の文献には、極上草入六角（草等が混入した水晶で印材として珍重された）や水牛の印材の注文記載があり、当時から各種印材による印章が甲府市内で造られていたと判断できます。
尾張七宝
Owari Cloisonne
ホールB7
Hall B7
諸工芸
愛知県
Aichi
尾張七宝の起こりは、江戸時代後期に、現在の名古屋市を中心とした地域にあたる尾張の梶常吉（かじつねきち）が作ったのが始まりとされ、常吉によって技術・技法が確立されました。
尾張七宝として確認できる作品としては、天保4年（1833年）の梶常吉作による七宝ぐい呑みが最も古いものとされています。
It was not until the latter part of the Edo period (1600-1868) that Owari cloisonne got its start. The area centered on present-day Nagoya was the domain of the Owari clan. The first pieces were made here and the skills and techniques of this craft gradually became established. The oldest piece of authenticated Owari cloisonne is a sake cup made in 1833.In a sense, cloisonne is a form of glazed ware utilizing the fact that enamels will melt under extreme heat, rather in the way that glazes for pottery melt in a kiln. The main difference is that metal is the base material of cloisonne. The birds, butterflies, flowers and plants depicted on Owari cloisonne give it its distinctive character. There are now 21 firms supporting 165 staff engaged in producing a variety of cloisonne flower vases, incense holders, dishes and jewelry boxes.
京表具
Kyoto Art Mountings
ホールB7
Hall B7
諸工芸
京都府
Kyoto
始まりは平安時代に遡ります。当時、表具は経や書画に布地を貼って補強するためのものでした。それがその後、保存や鑑賞のために、書画等に布や紙等で縁取や裏打ち等をして、掛軸や額に仕立てたり、屏風や衝立、襖にする「表装」一般を扱うようになりました。
京表具のうち掛軸、巻物、額装は、床の間等の和室の装飾用として、また屏風や衝立、襖は部屋の仕切り、風よけ、目隠し用として一般家庭の日常生活に使われています。
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. Gradually mounting came into much more general use for fusuma, hanging scrolls and frames as well as for folding and single-leaf freestanding screens. Hanging scrolls, hand scrolls and frames are used to decorate the tokonoma or alcove in a traditional Japanese room; and fusuma, folding and single-leaf freestanding screens are used on a daily basis in the home as partitions, screens or simply to cutout draughts.Sustained by Kyoto's beautiful environment and the refined aesthetic taste of its people, the development of art mounting here was also help by the climate conditions of the Kyoto basin with its high levels of humidity. Mounting techniques which reflected the aesthetic taste of the tea masters were perfected with the appearance of the tokonoma and when the tea ceremony became popular from the end of the 16th century and on into the Edo period (1600-1868). Screens of many kinds are even today one of the main items made, along with the mounting of hanging scrolls and hand scrolls. Sustaining these age-old techniques are 406 firms employing 853 people of various skill, including 24 government recognized Master Craftsmen.