京都府
西陣織
Nishijin Textiles
ホールB7
Hall B7
織物
京都府
Kyoto
西陣という名は、室町時代の応仁の乱の時、西軍が本陣とした場所に、乱の後、職人が集まって織物をしたことから付けられました。織物の歴史としては、平安時代以前に秦氏によってもたらされた織技術にまで遡ることができます。西陣織は宮廷文化を中心に、織文化の担い手として発展してきました。
The name Nishijin was given to these textiles because weavers settled in the area which had been the headquarters of the west camp or Nishijin at the time of the Onin War. Lasting eleven years, these hostilities took place during the Muromachi period (1392-1573) from 1467 to 1477, when lords from many provinces divided into east and west factions. The history of Nishijin textiles themselves, however, can be traced back to weaving techniques fostered by the Hata family before the Heian period (794-1185), and this accumulation of skills developed as a weaving art centered on the culture of the imperial court in Kyoto.Nishijin textiles are yarn dyed figured cloths made in relatively small amounts but have the distinction of being able to offer a wide variety of different products, including a tightly woven tapestry cloth, damask, brocade, ikat, and pongee. The multicolored figured cloths in particular boast a rich and dazzling use of fine yarns to produce equally rich patterns. Many of these are made into kimono or obi, and tapestry. There are now 1,759 firms employing 22,258 people, among whom there are 329 government recognized Master Craftsmen sustaining one of Japan's most distinguished crafts.
京友禅・京小紋
Kyoto Yuzen Dyeing / Kyoto Fine-Pattern Dyeing
ホールB7
Hall B7
染色
京都府
Kyoto
京友禅
染色技法は8世紀から伝わり、手描友禅は江戸時代に京都の絵師宮崎友禅斉によって確立されたと伝えられています。扇絵師として人気の高かった宮崎友禅斉が、自分の画風をデザインに取り入れ、模様染めの分野に生かしたことで「友禅染め」が生まれました。
色数が多く絵画調の模様を着物に染める友禅染は、町人文化の栄えた江戸時代の中期に盛んに行われるようになりました。明治時代には、型紙によって友禅模様を染める「写し友禅染め」が開発されました。京小紋
京小紋の始まりは、基本となる型紙が作られた1200年前に遡ります。室町時代に起きた応仁の乱の後、様々な絹織物が生産されると辻ヶ花染や茶屋染が発達し、京都の堀川を中心として染色の職人町が出来ました。
上杉謙信の紋付小紋帷子（もんつきこもんかたびら）や徳川家康の小花紋小紋染胴服（こばなもんこもんぞめどうふく）等は、小紋の技法を駆使して作られています。この頃に、防染糊を置いたあと引染めする小紋の技術が完成されました。
Kyoto Yuzen DyeingAlthough 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. A multicolored yuzen was used to apply painterly designs to kimono cloths and grew in stature from the middle of the 18th century as merchant culture flourished. In the Meiji period (1868-1912), utsushi yuzen was developed using stencils to create these distinctive designs.It would not be an exaggeration to say that Kyoto yuzen, with its rich variety of motifs drawn from nature has become synonymous with the Japanese kimono. And, despite an extensive use of color, there is still within the noble tenor of the designs a special aesthetic quality that has been nurtured over the thousand years of the history of Kyoto. There are now 253 government recognized Master Craftsmen among the 13,695 employed by the 2,280 firms sustaining this elegant craft.Kyoto Fine-Pattern DyeingKyoto fine-pattern dyeing dates back more than 1,200 years, when the all-essential stencil papers were first made. After the Onin War which occurred during the Muramachi period (1333-1568), a number of different kinds of silk cloths were produced. This led to the development of two forms of stencil dyeing, tsujigahana and chaya-zome around the area of Horikawa in Kyoto and became a dyeing center. Fine-pattern dyeing can be found on a number of important garments includin
g a coat belonging to Uesugi Kenshin bearing his crest, and on a waistcoat worn by Tokugawa Ieyasu also bearing his crest. It was about this time that rice-paste resist techniques were perfected.This form of fine-pattern dyeing was a method of stencil dyeing small patterns in a single color on such garments as a kamishimo, the ceremonial robe worn by the warrior classes. These days just as in the past fine patterns are still being dyed using stencil papers but much bolder western florals have now been added to its repertoire. Cloth is mainly produced for kimono and coats these days, and 121 firms employing 605 staff of which 37 are government recognized Master Craftsmen, still maintain the traditional techniques of this ancient craft.
京焼・清水焼
ホールB7
Hall B7
陶磁器
京都府
始まりは平安時代以前に遡りますが、平安京の造営と同時に本格的に焼き物作りが始まりました。それ以来、京都は優れた陶工と名品を次々に輩出しています。17世紀には仁清（にんせい）や乾山（けんざん）という名陶工が現われ、19世紀には頴川（えいせん）が磁器の焼成に成功し、加えて木米（もくべい）、保全（ほぜん）、仁阿弥（にんなみ）等の名工らがめざましく活躍しました。
明治時代に入り、ドイツ人の工芸家ワグネルを招いたことを機に、諸外国の技術が取り入れられ、京焼・清水焼はどんどん発達していきました。
京指物
Kyoto Joinery
ホールB7
Hall B7
木工品
京都府
Kyoto
始まりは平安時代に遡ります。室町時代以後には専門の指物師が現れ、茶道文化の確立とともに、京指物も発展しました。
無垢板（むくいた）を用いた高級和家具の調度指物と、キリ、スギ、クワ、ケヤキ等の木の素材を生かした挽物（ひきもの）、曲物、板物等の茶道具指物があります。
Although this craft dates back to the Heian period (794-1185), specialist cabinet makers did not appear until during the Muromachi period (1392-1573), when this form of joinery developed in step with the ceremonial drinking of tea. Beside a range of the finest traditional household furniture made in solid wood, many pieces of turnery, bentwood work and items made from boards are also fashioned from such woods as paulownia (Paulownia tomentosa), Japanese cedar (Cryptomeria japonica), mulberry (Morus) and zelkova (Zelkova serrata).Perhaps the most representative of the woods used is paulownia. Being both moisture and heat resistant, products made of this wood represent the very best in household storage. Great care is taken with its preparation by ensuring that it is well seasoned and that any impurities are removed before the wood is worked. Apart from the many items which are made for use in association with the tea ceremony, some very finely crafted chest-of-drawers and wardrobes are also made. Freestanding shelves are also produced, sometimes for the display of fine china. In all, there are now 17 firms employing 80 people, 10 of whom are government recognized Master Craftsmen, all dedicated to sustaining this craft.
京仏壇 京仏具
Kyoto Household Buddhist Altars / Kyoto Buddhist Paraphernalia
ホールB7
Hall B7
仏壇・仏具
京都府
Kyoto
仏壇は厨子（ずし）から変化したものですが、もっぱら武士階級のものとして用いられていました。
これが一般に広まったのは、江戸時代初期からで、徳川幕府が行った宗門改（しゅうもんあらため）によって、各家庭での仏壇を必要とする人々が増えたため、一般家庭用仏壇の生産が本格化したと考えられます。
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.Besides being home to the headquarters of some one hundred or so different sects, Kyoto has nearly 3,000 temples as well as countless national treasures and cultural assets. Kyoto Household Buddhist Altars are direct copies of the inner sanctuary of the main temple of each sect, faithfully reproduced in miniature. A great deal of pride is attached to the degree of quality and approach demanding a level of craftsmanship applied right down to the finest detail to make a craft object that is so indicative of the city and its craftspeople. Representing different individual skills, there are now 31 government recognized Master Craftsmen among the 1,960 staff now employed by 330 firms maintaining the making of these altars.
京石工芸品
Kyoto Stone Carving
ホールB7
Hall B7
石・貴石
京都府
Kyoto
石と人間生活との関わり合いは、遠く石器時代から始まります。奈良時代後期、仏教の伝来によって石造文化が生まれました。
その後の石造美術の発展とともに、貴重な文化的石造工芸品が作り出されました。比叡山麓、白川の里からは良質の花崗岩（かこうがん）が切り出される等、材料にも恵まれた京石工芸品は、千年もの間文化の中心であった京都の土地柄に支えられて、他の地方には見られない石工芸の技術を築き上げ、現在にまで伝えています。
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. Gradually, as the art of stone work developed, pieces of stone craft of real cultural value appeared. Being blessed with fine raw materials such as the good quality granite available from the village of Shirakawa at the foot of Mount Hiei, Kyoto stone carving has been sustained by the very nature of the cultural of Kyoto, which has been at the center of Japanese culture for over a thousand years. Stone carving techniques, which cannot be found in any other part of the country, have been acquired here over the years and are still in use to this day.Almost everything that is made is for use in the traditional Japanese garden. A mason is responsible for carrying out all of the work on a piece, making each and everyone according to its function and form. Inevitably though, it is the stone lantern that has been an indispensable component of any traditional garden since the Momoyama period (1568-1600) in step with the fashion for tea. Besides lanterns and various kinds of tubs and pots, some pieces of sculpture are also made. The traditions of this ancient craft are being maintained by 84 firms employing 374 staff, 11 of whom are government recognized Master Craftsmen.
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.