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
Tsutsugaki - Freehand Paste-Resist Dyeing[1]
This freely drawn design technique has a spontaneity not found in other textile design fields. Its bold, unique motifs, outlined in white, contrast with the deep indigo blue, and its bright colors are beautifully rendered on cotton. Unlike the repeated designs of stencil dyeing, large, freehand motifs dominate the overall design of tsutsugaki textiles.
A tsutsugaki wrapping cloth with auspicious motifs of pine, plum, and tortoise, with family crest.
Commoners have used tsutsugaki to decorate clothing, furoshiki, bedding, banners, and even children's towels since the Edo period. It was customary then for a bride to be given a trousseau by her family when she married, consisting of all the clothing and household textile items she would need during her married life. As commoners did not have access to expensive silks, these resourceful people used cotton to create beautifully designed utilitarian items. With indigo dye and paste resist, they had their family crests and symbols of good luck, such as the phoenix, lion, crane, turtle, pine trees and paulownia, dyed onto the trousseau items. The specialists who created these masterpieces worked long and hard to attain textiles of strength, beauty and durability.
Courtesy reference[1].
A bridal wrapping cloth to wrap and carry the new bedding that is part of her wedding-day trousseau. The patchwork bag with the string is a rice bag.
Courtesy reference[1].
Rice paste is once again the resist used to draw the white lines that delineate these vibrant designs. With a water proof paper cone (called a tsutsu), the paste is drawn onto the fabric, following lines previously laid out with albans. After a coating of liquid soybean extract has been brushed over the material, pigments are applied to the designs. These colored areas are then covered with paste and sprinkled with sawdust to protect them should they come in contact with other pasted areas in the dye vat. Then the fabric is put into the indigo vat.
Applying paste resist with a waterproof paper cone (tsutsu) along a line traced in aobana.
Courtesy reference[1].
When the indigo-dyed fabric first comes out of the vat, it is a light green, but contact with air causes the dye to oxidise, and its color changes to deep blue.
A happi coat with a rabbit motif by the Konjin Workshop.
Courtesy reference[1].
Additional dips in the dye vat are carried out until the desired depth of color is reached. After this dyeing process is finished, the fabric is soaked in water to remove the paste, and the piece is stretched on bamboo shinshi rods to dry. Where the paste lines were, white lines remain, outlining the pictures painted by the artists.
Sash to carry a baby on the back. The family crest can be seen on the fabric.
Courtesy reference[1].
The tsutsugaki technique was born from the use of three plants: cotton, brought from Korea; rice, Japan's staple food; and indigo, which was grown throughout the country. TsuTsugaki flourished over two hundred and sixty years of the Edo period. Fortunately, the recent movement to revive the Japanese folk craft is helping a number of artist-craftsmen to continue to create tsutsugaki textiles according to traditional techniques.
A tsutsugaki shop curtain (noren) by Konjin Kobo Tsutsugaki Workshop.
Courtesy reference[1].
A wrapping cloth decorated with a Chinese lion and peony (karajishi botan) motif by Konjin Workshop.
Courtesy 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
Tsutsugaki - Freehand Paste-Resist Dyeing[1]
This freely drawn design technique has a spontaneity not found in other textile design fields. Its bold, unique motifs, outlined in white, contrast with the deep indigo blue, and its bright colors are beautifully rendered on cotton. Unlike the repeated designs of stencil dyeing, large, freehand motifs dominate the overall design of tsutsugaki textiles.
Commoners have used tsutsugaki to decorate clothing, furoshiki, bedding, banners, and even children's towels since the Edo period. It was customary then for a bride to be given a trousseau by her family when she married, consisting of all the clothing and household textile items she would need during her married life. As commoners did not have access to expensive silks, these resourceful people used cotton to create beautifully designed utilitarian items. With indigo dye and paste resist, they had their family crests and symbols of good luck, such as the phoenix, lion, crane, turtle, pine trees and paulownia, dyed onto the trousseau items. The specialists who created these masterpieces worked long and hard to attain textiles of strength, beauty and durability.
Courtesy reference[1].
Courtesy reference[1].
Rice paste is once again the resist used to draw the white lines that delineate these vibrant designs. With a water proof paper cone (called a tsutsu), the paste is drawn onto the fabric, following lines previously laid out with albans. After a coating of liquid soybean extract has been brushed over the material, pigments are applied to the designs. These colored areas are then covered with paste and sprinkled with sawdust to protect them should they come in contact with other pasted areas in the dye vat. Then the fabric is put into the indigo vat.
Courtesy reference[1].
When the indigo-dyed fabric first comes out of the vat, it is a light green, but contact with air causes the dye to oxidise, and its color changes to deep blue.
Courtesy reference[1].
Additional dips in the dye vat are carried out until the desired depth of color is reached. After this dyeing process is finished, the fabric is soaked in water to remove the paste, and the piece is stretched on bamboo shinshi rods to dry. Where the paste lines were, white lines remain, outlining the pictures painted by the artists.
Courtesy reference[1].
The tsutsugaki technique was born from the use of three plants: cotton, brought from Korea; rice, Japan's staple food; and indigo, which was grown throughout the country. TsuTsugaki flourished over two hundred and sixty years of the Edo period. Fortunately, the recent movement to revive the Japanese folk craft is helping a number of artist-craftsmen to continue to create tsutsugaki textiles according to traditional techniques.
Courtesy reference[1].
Courtesy reference[1].
Reference:
[1] S. Yang and R. ZM. Narasin, Textile Art of Japan, Tokyo (1989).
No comments:
Post a Comment