Japanese Textile designs

August 17, 2016
Akira Isogawa at WA Museum

Japanese doll in balloon routine Japanese Textile IMG_8525Infant aloft in balloon
Silk, report, wadding, gofun (powdered shell), material, hair
Hand painted; most likely safflower dye and chemical purple dye

Goodbye to 2015!

On this, the last day's 2015, everyday Japanese Textile wish to thank all its visitors, and desire every person a pleased and healthier 2016.

Boy’s kimono
Cotton, cotton padding
Double kasuri, stenciling (?)

This boy’s kimono features an extremely old-fashioned double kasuri outer, but a charming western-flavored liner.

The western impact notwithstanding, puppies in snowfall are an old Japanese design motif, plus the Japanese snowmen are known as yuki daruma – snowfall daruma – and so will never possess american top hats, carrot noses, scarves or tree branch hands.

The undated photo below provides some idea of the interest in kasuri kimonos such as this one for youthful males’ each and every day wear.

Ordinarily, these kimonos would have an unpatterned lining. This liner had been most likely an unique treat that both the mother or father therefore the youngster liked.

Just on arms regarding the lining are a few slap-dash stitches noticeable.

A detailed up associated with double kasuri.

An in depth up regarding the liner material.

Undated image of younger kid in photo studio using comparable kasuri kimono and matching hat.

Hokusai’s painting of puppies in snowfall.

Fukusa (present cover)
Silk, gilt thread
Colored, embroidered, couching

Fukusa are placed over gifts included in the presentation procedure. Usually the design regarding fukusa holds a relationship towards nature associated with the gift. Because this fukusa depicts the seven treasures, it would likely have-been supposed to cover a wedding gift, as an example. This is a little fukusa – just 11″ x 12″, so it is interesting to consider just what present or gift suggestions it may have covered.

The rich deep purple is apparently hon murasaki, a dye produced by the gromwell root which was much loved, but tough to process, costly, and fugitive. Much details about this fukusa remains unknown, including whether it had been initially a fukusa, or is a skillfully recycled fragment from a very luxurious dress.

But the opposite associated with fukusa (below), likely dyed with what is really faded and tarnished safflower, contains some information.

This inscription shows it was donated to a temple after the owner’s demise. The following, on the first line to the right, may be the time associated with the inscription: 7th year of Kansei (a period inside the Edo period), the seventh lunar month, which places the contribution at around 1796. As noted in a previous posting, here is the most recent possible date of fukusa. If the fukusa ended up being on the list of owner’s possessions since youth, or section of an inheritance, it could be significantly older.

The following part (below) is created in fragments of sentences [right to left]:
This temple’s twentieth
Genchi-in Hakudou (priestess’s title)
Recognition of the providing
Twenty disciples

In the left side of the fukusa, the inscription goes on:
This temple’s twenty-fifth (priest)
Reishin Nikkai (perhaps Reishin Gekkai)

A possible explanation is that in commemoration for the loss of Genchi-in Hakudou, the 20th priestess, twenty of her disciples donated the fukusa towards the temple (or were present at contribution), and twenty-fifth priest (or priestess) took fee of officially accepting the contribution.

The stitches inside cap of invisibility tend to be sewn in such a way as to hint within surface and three dimensionality of hat. Easy satin stitch has been used to complete the space, but some associated with stitchwork is organized to focus on the hat’s conical shape.

The smooth, loose, untwisted threads seen here lost appeal in the later Edo duration.

The cloves, though really small, tend to be minutely detailed.

When it comes to reading for the inscription, day-to-day Japanese Textile had been very lucky to really have the priceless help of an individual who wants to stay anonymous.

Cotton (homespun)
Sashiko, stenciling

Like lots of the firemen’s clothes already shown right here, this hanten is layered and sashiko-stitched, but it is perhaps not obviously labeled as owned by any firemen’s group.

Consistent with the strong visual design of many happi and hanten, there clearly was an individual large crest at center as well as a design that encircles the hemline. In the crest could be the character hi – 比 – and also at the hem the type ta – 田 – is placed on an angle, disguising its useful purpose. The name Hida isn't unusual in Japan.

The jacket is wholly reversible. Whenever switched inside out, the style is totally various. The character at the very top, 富, is most likely read tomi.

All three figures being rendered with a few artistic license. The remaining ‘foot’ associated with term hi turns up to allow for the circle; the ‘bracket’ near the top of tomi enfolds almost your whole character. Craftsmen had guide books showing just how to compose figures in various styles. The design below tomi has-been harder to recognize.

Man’s juban

This shibori technique is referred to as mino shibori since the outlines that radiate through the neck look like the straw raincoats, or mino, used in traditional Japan.

This juban is an underneath level, although mino method, noticed in exterior wear, is associated with event use.

Nagabakama (long hakama)
Asa, whalebone, koyori (paper thread)
Edo komon (small scale stenciling); pigment, hand-painted

For formal events, samurai might wear hakama (separated top) whoever feet had been as long as to actually trail behind the user. Because of the ensuing trouble of navigation, the result for the extra length was not simply to advertise the slow, dignified movement appropriate to a formal occasion, additionally to impede feasible assassination efforts. In this two piece ensemble, called a kamishimo (virtually, top and lower), along the kataginu from throat to waist is more or less 28 inches, as the length of the hakama from waistline to hem is 64 inches.

Preceding, the feet have now been drawn to their widest to give some notion of the volume of fabric. They're near to 20 ins large.

Here, the kataginu happens to be raised being better tv show the length of the hakama. Leading of the kataginu (unseen) has light report reinforcement; the winged model of the kataginu is maintained by long, thin, versatile material. Occasionally bamboo is used; in this situation whale bone tissue has been employed.

This angled piece goes against the small of this back. The Edo komon product is covered around a light, tough wooden core, most likely paulownia. The folds at each and every side are typical of hakama.

Under is a close-up associated with the crest in the folded front side associated with kataginu. Note the fine paint run the crest.

Right here, the fact the fibers tend to be obscured unevenly because of the color suggests that pigment, perhaps not dye, was applied.

Marriage futon cover
Cotton (homespun)
Tsutsugaki (rice paste resist), painted by hand; dyes and pigments

This really colorful sleep address is embellished using the seven treasures, an auspicious design supposed to bring good fortune towards the newlywed few. Pride of place is given to the cape of invisibility, whoever filaments are employed as a device to unify the scattered treasures.