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
Yuzen: Multi-colored Paste-Resist Dyeing - Part II [1]
Yuzen is classified into two basic types, namely freehand paste drawing (tegaki) yuzen and stencil (kata) yuzen, according to the method of paste application used (see post Yuzen: Multicolored Paste-Resist Dyeing - Part I). Yuzen is also categorized according to the places in which it is dyed. Each locale gives its own flavor and feeling to its work. Kyo (Kyoto) yuzen is aristocratic in design and motifs. Its bright colors contrast with the deeper and more subtly shaded colors of Kaga yuzen, dyed in the Kaga Province using a special plum-juice dye produced there. Another characteristic of Kaga yuzen is the realism of its designs. For example, autumn leaves depicted in Kaga yuzen may show even the brownish stains or holes of insect damage.
Iris flowers in a variety of hues depicted by the Kaga yuzen dyer Uzan Kimura - a living national treasure.
Section of a Kaga yuzen kimono entitled - Poetry of Flowers, by Uzan Kimura. The huge bouquet of blossoms is arranged in a Kutani ceramic vase.
Kaga yuzen always stands alone - it is never combined with embroidery, gold or slver imprint, or other embellishment. The Edo yuzen of Tokyo is more flamboyant and bolder in color and design, reflecting the world of the theatre and objects of daily life, such as vegetables, fish, paper umbrellas, festival dancing, bridges, and drums - motifs influenced by the aesthetic of the Genroku era.
Yuzen is combined with other dyeing and decorative methods to create symbolic motifs appropriate to different seasons, occasions, the age and social role of the wearer.
Gold Leaf is also frequently supplied to yuzen fabric.
Formal Edo yuzen furisode for a young woman with the auspicious symbol of the crane and embroidery. Kuniko Kishimoto collection.
Section of a formal Edo yuzen kimono with Gagaku (music and dance of the ancient court) motif on crepé silk. Ueshima collection.
The moon and plum blossoms are gracefully expressed in yuzen obi by Terutaro Arai.
A wall hanging by Eisen Kubo using his original yuzen technique to depict rippling water, shimmering reflections of light, water lilies, and a brightly colored kingfisher.
Kako Moriguchi, designated a 'Living National Treasure',is the consummate yuzen artist. He incorporates into his dyeing a technique that creates images remininiscent of laquerware strewn with small geometrically shaped pieces of gold leaf. In place of the gold leaf, he sprinkles bits of dried paste over damp silk, arranging them carefully. These bits of paste work as a resist against the dye. When he brushes the dye into the silk, the shapes of the paste remain on the fabric. This technique, called maki nori, creates a texture that can be used as a background design or incorporated into major motifs according to the desire of the artist.
Semiformal kimono entitled - Lingering Snow - by Kako Moriguchi, a Living National Treasure.
The bamboo leaves are drawn by the yuzen process and the snow depicted by Moriguchi's maki nori gold-flake technique.
Crafts Gallery, National Museum of Modern Art.
Reference:
[1] A. Yang and R. M. Narasin, Shufunotomo. Co. Ltd.,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
Yuzen: Multi-colored Paste-Resist Dyeing - Part II [1]
Yuzen is classified into two basic types, namely freehand paste drawing (tegaki) yuzen and stencil (kata) yuzen, according to the method of paste application used (see post Yuzen: Multicolored Paste-Resist Dyeing - Part I). Yuzen is also categorized according to the places in which it is dyed. Each locale gives its own flavor and feeling to its work. Kyo (Kyoto) yuzen is aristocratic in design and motifs. Its bright colors contrast with the deeper and more subtly shaded colors of Kaga yuzen, dyed in the Kaga Province using a special plum-juice dye produced there. Another characteristic of Kaga yuzen is the realism of its designs. For example, autumn leaves depicted in Kaga yuzen may show even the brownish stains or holes of insect damage.
Kaga yuzen always stands alone - it is never combined with embroidery, gold or slver imprint, or other embellishment. The Edo yuzen of Tokyo is more flamboyant and bolder in color and design, reflecting the world of the theatre and objects of daily life, such as vegetables, fish, paper umbrellas, festival dancing, bridges, and drums - motifs influenced by the aesthetic of the Genroku era.
Yuzen is combined with other dyeing and decorative methods to create symbolic motifs appropriate to different seasons, occasions, the age and social role of the wearer.
Kako Moriguchi, designated a 'Living National Treasure',is the consummate yuzen artist. He incorporates into his dyeing a technique that creates images remininiscent of laquerware strewn with small geometrically shaped pieces of gold leaf. In place of the gold leaf, he sprinkles bits of dried paste over damp silk, arranging them carefully. These bits of paste work as a resist against the dye. When he brushes the dye into the silk, the shapes of the paste remain on the fabric. This technique, called maki nori, creates a texture that can be used as a background design or incorporated into major motifs according to the desire of the artist.
The bamboo leaves are drawn by the yuzen process and the snow depicted by Moriguchi's maki nori gold-flake technique.
Crafts Gallery, National Museum of Modern Art.
Reference:
[1] A. Yang and R. M. Narasin, Shufunotomo. Co. Ltd.,Tokyo (1989).
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