Preamble
For your convenience I have listed other posts on Japanese textiles on this blogspot:
Discharge Thundercloud
The Basic Kimono Pattern
The Kimono and Japanese Textile Designs
Traditional Japanese Arabesque Patterns (Part I)
Textile Dyeing Patterns of Japan
Traditional Japanese Arabesque Patterns (Part II)
Sarasa Arabesque Patterns (Part III)
Contemporary Japanese Textile Creations
Shibori (Tie-Dying)
History of the Kimono
A Textile Tour of Japan - Part I
A Textile Tour of Japan - Part II
The History of the Obi
Japanese Embroidery (Shishu)
Japanese Dyed Textiles
Aizome (Japanese Indigo Dyeing)
Stencil-Dyed Indigo Arabesque Patterns (Part V)
Japanese Paintings on Silk
Tsutsugaki - Freehand Paste-Resist Dyeing
Street Play in Tokyo
Birds and Flowers in Japanese Textile Designs
Japanese Colors and Inks on Paper From the Idemitsu Collection
Yuzen: Multicolored Past-Resist Dyeing - Part 1
Yuzen: Multi-colored Paste-Resist Dyeing - Part II
Introduction
The forces that combine to define a culture are language, creed, food, clothing and shelter. The first two reflect the human condition; that is, the condition of a collective mindfulness. The last three reflect a more basic animal need; that is, the need to live.
The kimono, like other national costumes, has a practical aspect assigned to it; namely, it protects the body, decorates it and it expresses social status. This blogspot contains two posts that centers on this costume alone namely: The Kimono and Japanese Textile Designs and The Basic Kimono Pattern. The Japanese kimono, like the clothing from other cultures, was woven from vegetable or animal fibers. Nowadays most kimonos are made from man-made fibers.
Today's post will concentrate on one aspect of embellishing the kimono, namely, Shishu (Japanese embroidery).
Japanese Embroidery (Shishu) [1]
The oldest embroidered cloth in Japan, the Tenjukoku Mandala (Heavenly Paradise Mandala) in Chuguji Temple at Nara, is a piece of silk ra executed during the first part of the seventh century. Only a small piece of the original embroidered silk remains intact. It is in the form of Chinese characters stitched in parallel lines of twisted silk thread on the back of two tortoises. This national treasure gives us a glimpse into the long history of the art of embroidery in Japan.
Tenjukoku Shucho Mandala, Chuguji Temple, Nara.
Embroidered Shakyamuni preaching to the disciples surrounding him.
Tang Dynasty (7th to 10th Century), China.
National Treasure.
Tokyo National Museum.
Courtesy of Reference [1].
As early as the Jomon Period, people used fishbone needles for simple stitchery. By the seventh century, creative stitching decorated ceremonial robes for the emperor and the nobility. However, most of the early embroideries were used for Buddhist banners, sewn by friends and relatives of the deceased for the purpose of helping him along his way to heaven.
Gorgeous embroidery work on the back rinzu kosode with motifs of pine, bamboo, chrysanthemums, rippling water, snowy herons and baskets in rich colors. The family crest is done by gold couching.
Edo Period.
Tokyo National Museum.
Courtesy of reference [1].
During the Muromachi Period (1336 - 1573) embroidery was used as a substitute for expensive brocades. This versatile form of fabric decoration appeared on kosode and Noh costumes, which glittered with niihau (the combination of embroidery and imprinted gold or silver leaf).
Magnificent Noh costume embroidered with exceptionally dainty autumn-flowered motifs on a black background.
EiseiBunk Collection.
Courtesy of reference [1].
The softer silks of the Momoyama period (1573 - 1615) were embellished with stitchery., using untwisted silk and gold or silver thread to create small, simple designs. By the end of this affluent era, embroidery had reached its height. Under the patronage of Toyotomi Hideyoshi, fabulous Not costumes and kimono entirely covered with embroidered designs were created.
In the isolation of the Edo period (1603 - 1868) embroidered motifs became more Japanese in style and the popularity of this decoration increased. Embroidery was in such high demand that one shogun ordered thirty-two elaborately embroidered kimono over a period of sixteen years. The popularity of this decorative form soon declined, however, because of its extravagance, and the simpler and less expensive method of appliqué emerged.
Japanese embroidery employs several stitches, some of which are: French knot (sagaranui) dating from the Nara period (710 AD to 794 AD); the outline satin stitch (nuikiri); back-stitch outline (matsuinui); and long couch stitches (watashinui). The gold or silver thread used for couching is made by wrapping silk thread with gold- or silver-covered paper. The thread is applied to the fabric by stitch (Kamon) used on the outer garment for family identification.
With a thinner thread careful couching is done over the silver or gold thread [1].
Courtesy of reference[1].
Roundels of plum, chrysanthemum, pine, maple, peony, bamboo and bellflower in a basketvpattern by Mitsuko Kashimura [1].
Courtesy of reference[1].
Flying birds, weeping cherry tree in bloom, and ocean wave on an obi by Shizuka Kusano[1].
Courtesy of reference[1].
Embroidered forewoman's headgear with gold thread couching[1].
Edo Period (1603 - 1868).
Tokyo National Museum.
Courtesy of reference[1].
Lower part of a kimono embroidered in motifs of pretty flowers, grass, and shippo tsunagi (interlocking rings) in bright colors by Shizuka Kusano[1].
Courtesy of reference[1].
Four obi embroidered with different techniques by Hyakutei Hashio. The flowers almost seem to be dyed[1].
Courtesy of reference[1].
Reference:
[1] S. Yang and R. ZM. Narasin, Textile Art of Japan, Tokyo (1989).
For your convenience I have listed other posts on Japanese textiles on this blogspot:
Discharge Thundercloud
The Basic Kimono Pattern
The Kimono and Japanese Textile Designs
Traditional Japanese Arabesque Patterns (Part I)
Textile Dyeing Patterns of Japan
Traditional Japanese Arabesque Patterns (Part II)
Sarasa Arabesque Patterns (Part III)
Contemporary Japanese Textile Creations
Shibori (Tie-Dying)
History of the Kimono
A Textile Tour of Japan - Part I
A Textile Tour of Japan - Part II
The History of the Obi
Japanese Embroidery (Shishu)
Japanese Dyed Textiles
Aizome (Japanese Indigo Dyeing)
Stencil-Dyed Indigo Arabesque Patterns (Part V)
Japanese Paintings on Silk
Tsutsugaki - Freehand Paste-Resist Dyeing
Street Play in Tokyo
Birds and Flowers in Japanese Textile Designs
Japanese Colors and Inks on Paper From the Idemitsu Collection
Yuzen: Multicolored Past-Resist Dyeing - Part 1
Yuzen: Multi-colored Paste-Resist Dyeing - Part II
Introduction
The forces that combine to define a culture are language, creed, food, clothing and shelter. The first two reflect the human condition; that is, the condition of a collective mindfulness. The last three reflect a more basic animal need; that is, the need to live.
The kimono, like other national costumes, has a practical aspect assigned to it; namely, it protects the body, decorates it and it expresses social status. This blogspot contains two posts that centers on this costume alone namely: The Kimono and Japanese Textile Designs and The Basic Kimono Pattern. The Japanese kimono, like the clothing from other cultures, was woven from vegetable or animal fibers. Nowadays most kimonos are made from man-made fibers.
Today's post will concentrate on one aspect of embellishing the kimono, namely, Shishu (Japanese embroidery).
Japanese Embroidery (Shishu) [1]
The oldest embroidered cloth in Japan, the Tenjukoku Mandala (Heavenly Paradise Mandala) in Chuguji Temple at Nara, is a piece of silk ra executed during the first part of the seventh century. Only a small piece of the original embroidered silk remains intact. It is in the form of Chinese characters stitched in parallel lines of twisted silk thread on the back of two tortoises. This national treasure gives us a glimpse into the long history of the art of embroidery in Japan.
Tang Dynasty (7th to 10th Century), China.
National Treasure.
Tokyo National Museum.
Courtesy of Reference [1].
As early as the Jomon Period, people used fishbone needles for simple stitchery. By the seventh century, creative stitching decorated ceremonial robes for the emperor and the nobility. However, most of the early embroideries were used for Buddhist banners, sewn by friends and relatives of the deceased for the purpose of helping him along his way to heaven.
Edo Period.
Tokyo National Museum.
Courtesy of reference [1].
During the Muromachi Period (1336 - 1573) embroidery was used as a substitute for expensive brocades. This versatile form of fabric decoration appeared on kosode and Noh costumes, which glittered with niihau (the combination of embroidery and imprinted gold or silver leaf).
EiseiBunk Collection.
Courtesy of reference [1].
The softer silks of the Momoyama period (1573 - 1615) were embellished with stitchery., using untwisted silk and gold or silver thread to create small, simple designs. By the end of this affluent era, embroidery had reached its height. Under the patronage of Toyotomi Hideyoshi, fabulous Not costumes and kimono entirely covered with embroidered designs were created.
In the isolation of the Edo period (1603 - 1868) embroidered motifs became more Japanese in style and the popularity of this decoration increased. Embroidery was in such high demand that one shogun ordered thirty-two elaborately embroidered kimono over a period of sixteen years. The popularity of this decorative form soon declined, however, because of its extravagance, and the simpler and less expensive method of appliqué emerged.
Japanese embroidery employs several stitches, some of which are: French knot (sagaranui) dating from the Nara period (710 AD to 794 AD); the outline satin stitch (nuikiri); back-stitch outline (matsuinui); and long couch stitches (watashinui). The gold or silver thread used for couching is made by wrapping silk thread with gold- or silver-covered paper. The thread is applied to the fabric by stitch (Kamon) used on the outer garment for family identification.
Courtesy of reference[1].
Courtesy of reference[1].
Courtesy of reference[1].
Edo Period (1603 - 1868).
Tokyo National Museum.
Courtesy of reference[1].
Courtesy of reference[1].
Courtesy of reference[1].
Reference:
[1] S. Yang and R. ZM. Narasin, Textile Art of Japan, Tokyo (1989).
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