中世鎌倉の地では、「宋」時代の中国禅宗文化を積極的に取り入れ、武士独特の文化が形成されていきました。13世紀以降、建長寺（1253年）や円覚寺（1282年）などの禅宗寺院が建立され、唐物の彫漆器（漆を何度も塗り重ねて彫刻した漆器）が仏具として珍重されました。このなかで仏像や仏具制作に携わっていた仏師らが、高度な木彫技術を基盤とし、舶来した彫漆に影響を受けて考案した木彫漆塗が鎌倉彫のはじまりと考えられています。禅宗寺院における須弥壇や前机などの仏具類に鎌倉彫の祖形をみることができます。
The production of Kamakurabori started when the military government was established and active absorption of Chinese culture began
The Shogun, Minamoto-no-Yoritomo, established a military government in Kamakura, and later a unique warrior’s culture formed. In this period, the Chinese Song dynasty culture and Zen Buddhist culture were actively adopted and Kenchoji Temple (1253) and Engakuji Temple (1282) were established in Kamakura. Also, the choshikki (lacquer-ware, applying urushi lacquer several times and sculpting the designs) imported from Song dynasty China were highly prized as Buddhist altar fittings. It is said the origin of the Kamakurabori was started by the busshi, the sculptors specializing in Buddhist images and Buddhist alter fittings, based on their high skill at wood sculpturing with the great influence of choshitsu, the imported technique of carved lacquer-ware. The origin of he distinctive Kamakurabori technique can be observed in the Buddhist alter fittings, such as Sumeru altars and altar tables in Zen Buddhist Temples.
鎌倉幕府滅亡後も引き続き禅宗寺院では唐物の需要があり、唐物を意識した鎌倉彫の仏具が制作されました。主に屈輪（ぐり）と呼ばれる渦巻文様や牡丹文様の香合類が多く、まとまった数が現存しています。なかでも、金蓮寺所蔵の大香合は、文明13年（1481年）と刻まれ在銘中最古の作例です。他にも南禅寺、知恩寺、円覚寺所蔵の大香合などが伝わっています。これらの作品からは、唐物の影響を受けつつも、和様化が進み、鎌倉彫として確立したことが伺えます。
一方、室町後期から桃山時代には、修験道で用いる木彫漆塗の笈が関東より北に伝わっています。そのほとんどは大胆に椿が意匠化され、中尊寺や示現寺に伝わる笈をはじめとした多くの優れた作例が知られています。
During Muromachi period, many Buddhist altar fittings were produced. During the early period of his time, the style was greatly influenced by the imported Chinese goods but later, as the style gradually developed, the unique Japanese style of Kamakurabori was established
Even after the fall of the Kamakura military government, the demand for imported Chinese goods continued among Zen temples. Many Buddhist alter fittings of Kamakurabori style, with the great influence of the imported goods, were created. There were many incense cases with the pattern mainly of guri (spiral pattern), and peony patterns, and a large sum of works still exist today. Among these works, on the surface of the large incense case with guri design from the collection of Konrenji Temple, the year of production “Bunmei 13 (1481)” was engraved and it is the oldest Kamakurabori work that has an inscription. Also the large incense cases of Nanzenji Temple, Chionji Temple, and Engakuji-Temple have been passed down throughout the generations even to this day.
From these works, it is obvious that while the works were greatly influenced by the imported goods from China, the Japanese style was also cultivated, and eventually, the unique Japanese Kamakurabori was established.
From late Muromachi to Momoyama period, the colored wood engraving oi, or carry boxes for the mountaineering ascetics were spread from fukushima area to the northen Japan, and almost all of them have bold camellia design. The existing oi works are recognized as important works demonstrating the typical example of camellia pattern.
これまで、鎌倉彫は寺社に関わるものを中心に作られていましたが、財力を持った商人をはじめ各階層にまで浸透し、火鉢や手焙などの生活雑器も制作されるようになりました。さらにこの時代、茶道文化の普及と共に香合、茶器、盆、茶箱などといった鎌倉彫茶道具の需要も増大し、茶人好みのものが多く制作されました。元禄７年(1694年)に成立した『万宝全書』という美術工芸品の解説本には、「鎌倉雕」の名称と解説がみられ、少なくともこの頃には鎌倉彫が世に広まっていたことがわかります。
During Edo period, as the culture of commoners prospered, Kamakurabori was also popularized, and a large number of everyday commodities and utensils for tea ceremony were produced.
During the previous period, Kamakurabori ware was produced only for temples and shrines. However, during the Edo period, people such as wealthy merchants started to use Kamakurabori, and eventually every class of people used it. Everyday commodities such as braziers and hand warmers were produced in the style of Kamakurabori. Also during this period, as the culture of a tea ceremony became widely popular, the Kamakurabori utensils for tea ceremony, such as incense cases, tea ware, trays and tea boxes were produced with tea masters’ tastes. The names and descriptions of Kamakurabori appeared in the manual of arts and crafts, “Manpo Zensho”, published Genroku 7 (1694) and this suggests, Kamakurabori was already widely recognized at least at this point.
明治維新後、新政府による神仏分離令によって廃仏毀釈の動きが広まりました。その影響で、それまで鎌倉で造仏に携わっていた多くの仏師は職を失い、後藤家、三橋家を残すのみとなりました。これを転機に両家の仏師は、生活の中で使われる鎌倉彫制作に力を注ぎました。鎌倉彫は国内外の博覧会へ積極的に出品され、その魅力が高評を得たことで、需要が拡大します。意匠においては特に写実を意識した表現が顕著になっていきます。また、乾口塗をはじめ様々な塗りや彫りの技法が誕生し、現代鎌倉彫の基礎が確立されていきました。さらに、横須賀線開通に伴い、鎌倉は別荘地として注目が集まり、愛好家も増加して、鎌倉彫制作はより幅広く展開することになりました。
After the policy of “The Separation of Shinto from Buddhism” passed and as anti-Buddhist circumstances prevailed, the sculptors of Buddhist images changed their jobs to the production of Kamakurabori, establishing the foundations of contemporary Kamakurabori by pursuing innovative designs and techniques
After the Meiji Restoration, as a result of the Separation of Shinto from Buddhism policy, many sculptors engaged in the production of Buddhist statues lost their jobs. In the case of Kamakurabori, only the Goto and Mitsuhashi families survived. The sculptors of the two families pursued a new style of Kamakurabori which could be used for everyday life in the midst of this turning point. The sculptors actively presented their works through both domestic and international exhibitions. As a result, these works were highly acclaimed and people were attracted by the distinctive characteristic of Kamakurabori, which led to the re-evaluation of Kamakurabori. As a consequence, Kamakurabori enlarged its market. In the design, the consciously realistic expression became distinctive. Also, by experimenting with various techniques of applying urushi and carving, such as hikuchi-nuri, the foundation of contemporary Kamakurabori was established. As the Yokosuka train line started to operate, Kamakura as a resort, attracted people’s interest, increasing the fun, and eventually, the production of Kamakurabori was broadly developed.
戦後復興を経て、高度経済成長期の日本は、多くの物に溢れ豊かな時代を迎えていました。鎌倉彫は、明治期に考案された技術を基礎に、生産の規模が拡大したほか、従事者に加えて趣味で彫り技法を習得する人口も著しく増加しました。そして、昭和54年(1979年)には、当時の通産省から伝統的工芸品として指定を受けました。生活様式の西洋化が益々進む中、新たなデザインや彫り、塗り表現による製品を生み出すとともに、美術工芸としての地位も築くなど、さらなる可能性の広がりをみせています。
With the rapid economic growth of the post war period, Kamakurabori was established as an industry, searching for new designs and expressions.
Going through the postwar recovery period, during the years of rapid economic growth, Japan prospered with material goods. During this period and based on the skills established during Meiji period, Kamakurabori heightened its production. Alongside the professionals, common people started to enjoy Kamakurabori as a hobby, and as a result the population who produced Kamakurabori increased. In 1979, Kamakurabori was recognized as a Japanese Traditional Handicraft by the Ministry of International Trade and Industry. While the lifestyle of Japanese people is more and more westernized, Kamakurabori broadens its possibility with the products created with new designs, carvings and lacquering expressions and establishing its status as a celebrated artistic craft.
