An, as defined by the Japanese government's Law for the Protection of Cultural Properties (1950), is a part of the Cultural Properties of high historical or artistic value such as drama, music, and craft techniques. The term refers exclusively to human skills possessed by individuals or groups which are indispensable to produce Cultural Properties.[1]
Items of particular importance can be designated as .[1] Recognition is also given to the owners of an item to encourage its transmission. There are three types of recognition: individual recognition, collective recognition, and group recognition. Special grants of two million yen a year are given to individual holders (the so-called Living National Treasures) to help protect their properties. The government also contributes part of the expenses incurred either by the holder of an Intangible Cultural Property during training of his successor, or by a recognized group for public performances.[2]
To promote the understanding, and therefore the transmission across generations, of Cultural Properties, exhibitions concerning them are organized. The government through the Japan Arts Council also holds training workshops and other activities to educate future generations of Noh,, and kabuki personnel.[2]
Type | Name | Comments | Registered | Image |
---|---|---|---|---|
[3] | 1960 | |||
[4] [5] | Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2009 | 1955 | ||
[6] | 1967 | |||
[7] | 1955 | |||
[8] | 1994 | |||
[9] [10] | Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 | 1957 | ||
[11] | 1998 | |||
[12] | 1992 | |||
[13] | 1998 | |||
[14] | 2009 | |||
[15] [16] | Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 | 1955 | ||
[17] | 1985 | |||
[18] | 1977 | |||
[19] | 1971 | |||
[20] [21] | Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 | 1965 | ||
[22] | 1998 | |||
[23] | 1998 | |||
[24] | 1960 | |||
[25] | 1997 | |||
[26] [27] | Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2010 | 1972 | ||
[28] | 2005 | |||
[29] | 2006 | |||
[30] | 1993 | |||
[31] | 2001 | |||
[32] | 1999 | |||
[33] | 1993 | |||
[34] | 1993 | |||
[35] | 2009 | |||
[36] | 1994 | |||
[37] | 1980 | |||
[38] | 1998 | |||
[39] | 1999 | |||
[40] | 1993 | |||
[41] | 2007 | |||
[42] | 1982 | |||
[43] | 2007 | |||
[44] | 1992 | |||
[45] | 1995 | |||
[46] | 2001 | |||
[47] | 2001 | |||
[48] | 2003 | |||
[49] | 2003 | |||
[50] | 2009 | |||
[51] | 1974 | |||
[52] | 1987 | |||
[53] | 1993 | |||
[54] | 2000 | |||
[55] | 1993 | |||
[56] | 1955 | |||
2015 | ||||
[57] | 2009 | |||
[58] | 1995 | |||
[59] | 2002 | |||
See also: Japanese craft.
Medium | Name | Comments | Region | Registered | Image |
---|---|---|---|---|---|
[60] [61] [62] [63] | High-fired, unglazed stoneware; one of the six ancient kilns; production in and around Imbe village from the twelfth century | 2004 | |||
[64] | Undecorated white porcelain; influenced by Chinese examples; production began in the Arita area in the first half of the seventeenth century | 1995 | |||
[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 | 1976 | |||
[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 | 1971 | |||
[69] [70] [71] | Mumyōi is the red ferrous clay of Sado island; production in Aikawa from the early nineteenth century | 2003 | |||
[72] [73] [74] | 1995 | ||||
[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 | ||||
[77] | The pale-green colour of celadon is obtained from a feldspathic glaze and reduction firing; introduced from the continent | 2007 | |||
[78] [79] [80] | Stoneware with a white feldspathic glaze; production in Mino Province from the late sixteenth century | 1994 | |||
[81] | Iron-glaze stoneware | 2005 | |||
[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 | |||
[83] | 1993 | ||||
[84] [85] | 1974 | ||||
[86] | 2004 | ||||
[87] | 1957 | ||||
[88] | 1978 | ||||
[89] | Vertical brocade of ancient origin, revived by Kitamura Takeshi | 2000 | |||
[90] [91] | Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2010 | 1956 | |||
[92] | 2003 | ||||
[93] | 1978 | ||||
[94] | Stencil or resist paste weave; in the eighteenth century its use by commoners was restricted | 1996 | |||
[95] | Brocade that developed in the early nineteenth century and was widespread by the early twentieth | 1994 | |||
[96] | 1997 | ||||
[97] | 1998 | ||||
[98] [99] | Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2009 | 1955 | |||
[100] | 2002 | ||||
[101] | Woven from hand-spun silk floss | 1990 | |||
[102] | Bashō-fibre cloth | 2000 | |||
[103] | 2008 | ||||
[104] [105] | Figured gauze weave silk | ||||
[106] [107] | 1955 | ||||
[108] | 1999 | ||||
[109] [110] | 1995 | ||||
[111] [112] [113] | 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 | |||
[114] [115] | 1985 | ||||
[116] [117] | Sequential lacquering technique with four main phases: substrate, priming, intermediate coating, and top coating | 1974 | |||
[118] [119] | 1955 | ||||
[120] [121] | 1999 | ||||
[122] [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 | 1977 | |||
[125] [126] | 1978 | ||||
[127] [128] | 1993 | ||||
1975 | |||||
[129] | Gongs | 2002 | |||
[130] [131] | 1995 | ||||
[132] | 1982 | ||||
[133] | 1984 | ||||
[134] [135] | Costume dolls, dressed in tailored clothing made from dyed and woven textiles | 1986 | |||
[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 | |||
[137] [138] [139] | 2000 | ||||
[140] [141] | 1969 | ||||
[142] | 1978 | ||||
[143] [144] | Made from the ganpi plant | 2002 | |||
[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 | 1969 | |||
[147] [148] | A very fine, strong paper developed around 1900 by Genta Yoshii | 2001 | |||