Medium
|
Name
|
Comments
|
Region
|
Registered
|
Image
|
Ceramics |
Bizen-yaki (備前焼)[60][61][62][63] |
High-fired, unglazed stoneware; one of the six ancient kilns; production in and around Imbe village from the twelfth century |
Okayama Prefecture |
2004 |
|
Ceramics |
Hakuji (白磁)[62][64] |
Undecorated white porcelain; influenced by Chinese examples; production began in the Arita area in the first half of the seventeenth century |
|
1995 |
|
Ceramics |
Iro-Nabeshima (色鍋島)[65][66] |
A type of iro-e overglaze enamel, often with a blue under-glaze; from the domain of the Nabeshima clan; production from the second half of the seventeenth century |
Saga Prefecture |
1976 |
|
Ceramics |
Kakiemon (nigoshide) (柿右衛門 (濁手))[62][66][67][68] |
A type of iro-e overglaze enamel; created by Sakaida Kakiemon in the 1640s; nigoshide, the white ground against which the enamels are applied, was revived by Sakaida Kakiemon XII in the 1950s |
Saga Prefecture |
1971 |
|
Ceramics |
Mumyōi-yaki (無名異焼)[69][70][71] |
Mumyōi is the red ferrous clay of Sado island; production in Aikawa from the early nineteenth century |
Niigata Prefecture |
2003 |
|
Ceramics |
Onta ware (小鹿田焼)[72][73][74] |
Thick slipware; production in Hita from the early eighteenth century; one of the 100 Soundscapes of Japan |
Ōita Prefecture |
1995 |
|
Ceramics |
Seto-guro (瀬戸黒)[62][75][76] |
Black Seto; the colour is obtained by removing the glazed vessel from the kiln at the height of firing and cooling it rapidly; production in Mino Province from the late sixteenth century |
Gifu Prefecture |
|
|
Ceramics |
Seiji (青磁)[62][77] |
The pale-green colour of celadon is obtained from a feldspathic glaze and reduction firing; introduced from the continent |
|
2007 |
|
Ceramics |
Shino (志野)[62][78][79][80] |
Stoneware with a white feldspathic glaze; production in Mino Province from the late sixteenth century |
Gifu Prefecture |
1994 |
|
Ceramics |
Tetsuyū-tōki (鉄釉陶器)[81] |
Iron-glaze stoneware |
|
2005 |
|
Ceramics |
Yūri-kinsai (釉裏金彩)[62][82] |
Gold leaf or gold enamel is applied to a glazed surface which is then glazed and fired again, enhancing the durability of the decoration |
|
2001 |
|
Textiles |
Ise-katagami (伊勢型紙)[83] |
Paper stencils |
Mie Prefecture |
1993 |
|
Textiles |
Kijōka-bashōfu (喜如嘉の芭蕉布)[84][85] |
banana fibre cloth |
Okinawa Prefecture |
1974 |
|
Textiles |
Kumejima-tsumugi (久米島紬)[86] |
pongee/kasuri |
Okinawa Prefecture |
2004 |
|
Textiles |
Kurume-kasuri (久留米絣)[87] |
|
Fukuoka Prefecture |
1957 |
|
Textiles |
Miyako-jōfu (宮古上布)[88] |
|
Okinawa Prefecture |
1978 |
|
Textiles |
Tate-nishiki (経錦)[85][89] |
Vertical brocade of ancient origin, revived by Kitamura Takeshi |
|
2000 |
|
Textiles |
Yūki-tsumugi (結城紬)[90][91] |
Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2010 |
|
1956 |
|
Textiles |
Kenjō Hakata weave (献上博多織)[92] |
|
Fukuoka Prefecture |
2003 |
|
Textiles |
Edo komon (江戸小紋)[85][93] |
Edo fine pattern; stencil resist dyeing technique popular in the Edo period |
|
1978 |
|
Textiles |
Bingata (紅型)[85][94] |
Stencil or resist paste weave; in the eighteenth century its use by commoners was restricted |
Okinawa Prefecture |
1996 |
|
Textiles |
Saga-nishiki (佐賀錦)[85][95] |
Brocade that developed in the early nineteenth century and was widespread by the early twentieth |
Saga Prefecture |
1994 |
|
Textiles |
Embroidery (刺繍, Shishū)[96] |
|
|
1997 |
|
Textiles |
Shuri weave (首里の織物)[97] |
|
Okinawa Prefecture |
1998 |
|
Textiles |
Ojiya-chijimi - Echigo-jōfu (小千谷縮・越後上布)[98][99] |
Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2009 |
Niigata Prefecture |
1955 |
|
Textiles |
Seigō Sendai-hira (精好仙台平)[100] |
|
Miyagi Prefecture |
2002 |
|
Textiles |
Tsumugi weave (紬織)[85][101] |
Woven from hand-spun silk floss |
|
1990 |
|
Textiles |
Bashōfu (芭蕉布)[85][102] |
Bashō-fibre cloth |
Okinawa Prefecture |
2000 |
|
Textiles |
Mokuhanzuri-sarasa (木版摺更紗)[103] |
|
|
2008 |
|
Textiles |
Monsha (紋紗)[104][105] |
Figured gauze weave silk |
|
|
|
Textiles |
Yūzen (友禅)[85][106][107] |
Paste-resist dyeing; perfected around 1700 by Miyazaki Yūzen |
|
1955 |
|
Textiles |
Yūsoku weave (有職織物)[108] |
|
|
1999 |
|
Textiles |
Ra (羅)[85][109][110] |
A form of gauze weave; examples are found in the Shōsōin |
|
1995 |
|
Lacquerware |
Chinkin (沈金)[111][112][113][114] |
Incised and filled with gold leaf or powder applied over wet lacquer; popular in China from the Song dynasty and particularly associated with Wajima ware |
|
1999 |
|
Lacquerware |
Kinma (蒟醤)[112][115][116] |
Incised and colour-filled; introduced from the continent, prized in the Muromachi period, and perfected around Takamatsu in the Edo period |
|
1985 |
|
Lacquerware |
Kyūshitsu (髹漆)[117][118] |
Sequential lacquering technique with four main phases: substrate, priming, intermediate coating, and top coating |
|
1974 |
|
Lacquerware |
Maki-e (蒔絵)[112][119][120] |
Sprinkled picture decoration using metallic powder or pigment; dates to the Heian period |
|
1955 |
|
Lacquerware |
Raden (螺鈿)[112][121][122] |
Shell (Mother-of-pearl, abalone, nautilus) inlay |
|
1999 |
|
Lacquerware |
Wajima-nuri (輪島塗)[114][123][124] |
A mixture of burned diatomaceous earth, rice paste, and lacquer is used for the layers of undercoat; the earliest example, the doors of Juzo Jinja, date to 1524 |
Ishikawa Prefecture |
1977 |
|
Metalwork |
Metal chasing (彫金, chōkin)[125][126] |
Several engraving techniques have been practised since the dōtaku of the Yayoi period |
|
1978 |
|
Metalwork |
Metal casting (鋳金, chūkin)[127][128] |
Several casting techniques have been practised since the dōtaku of the Yayoi period, including lost-wax casting |
|
1993 |
|
Metalwork |
Sword Polishing (刀剣研磨, tōken kenma) |
|
|
1975 |
|
Metalwork |
Dora (銅鑼)[129] |
Gongs |
|
2002 |
|
Metalwork |
Repoussé (鍛金, tankin)[130][131] |
|
|
1995 |
|
Woodworking |
Bamboo-work (竹工芸, [ちくこうげい] Error: {{nihongo}}: transliteration text not Latin script (pos 1: ち) (help))[132] |
|
|
1982 |
|
Woodworking |
Wood-work (木工芸, [もくこうげい] Error: {{nihongo}}: transliteration text not Latin script (pos 1: も) (help))[133] |
|
|
1984 |
|
Dolls |
Ishō-ningyō (衣裳人形)[134][135] |
Costume dolls, dressed in tailored clothing made from dyed and woven textiles |
|
1986 |
|
Dolls |
Tōso-ningyō (桐塑人形)[135][136] |
Paulownia sawdust, mixed with wheat starch and plum paste, is used to form a plaster for casting; once dry it is hard enough to be sculpted |
|
2002 |
|
Washi |
Echizen-hōsho (越前奉書)[137][138][139] |
High-quality paper, used for official orders since the Muromachi period; paper-making in the region is known from the Engishiki |
Fukui Prefecture |
2000 |
|
Washi |
Hon-Minogami (本美濃紙)[140][141] |
Mulberry paper from Mino Province; records in the Shōsō-in refer to three paper-making regions: Chikuzen Province, Buzen Province, and Mino Province |
Gifu Prefecture |
1969 |
|
Washi |
Hosokawa-shi (細川紙)[142] |
|
|
1978 |
|
Washi |
Najio-ganpishi (名塩雁皮紙)[143][144] |
Made from the ganpi plant |
Hyōgo Prefecture |
2002 |
|
Washi |
Sekishū-banshi (石州半紙)[145][146] |
The strongest paper produced in Japan; used for shōji, calligraphy, and conservation-restoration; inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2009 |
Shimane Prefecture |
1969 |
|
Washi |
Tosa-tengujōshi (土佐典具帖紙)[147][148] |
A very fine, strong paper developed around 1900 by Genta Yoshii |
Kōchi Prefecture |
2001 |
|