Preamble
For your convenience I have listed below other post in this series:
Fourth International Textile Competition '94 Kyoto - Part I.
Fourth International Textile Competition '94 Kyoto - Part II.
Fourth International Textile Competition '94 Kyoto - Part III.
Fourth International Textile Competition '94 Kyoto - Part III [1].
(i) Mary Restieaux (UK). Traditional Textile Award (4th International Textile Competition '94 Kyoto)
Background: Born in 1945 she graduated in 1974 from the Royal College of Art (london). She is known as an artist, weaver, textile designer and teacher.
Title of Work: r3.25.
Title: r3.25 Squares.
Materials: Ikat.
Technique: Handwoven;warp-face, plain weave.
Size: 250 (H) x 70 (W) cm.
Detailed Image.
Judges' Comment: The roots of Kasuri may be found in Indonesia and the other countries of South-East Asia. The techniques of Japanese Kasuri were brought over from these Asian countries long ago, and have been refined and perfected into an art known for its exquiste, delicate, finely-worked creations. With the demands placed upon the art by the modern day fractionalization processes and the never ending quest for greater efficiency and higher development of techniques, the original, inherent joy of creation that Kasuri was famous for, seem to be on the verge of being lost. This work is a message for the modern, indiustrialized world, that this art should not be judged from the point of technique. The true value of Kasuri can be judged only in the differences in the individual refinement of highly polished skills with which it is created.
(ii) Jun Mitsuhashi (Kyoto, Japan). Fine Art Ward (4th International Textile Competition '94 Kyoto)
Background: Born in 1954, she graduated from Kyoto City University of Art in 1981. She has had solo exhibitions in Tokyo and Kyoto (Japan). She has exhibited at 'Persepectives from the Rim' (USA, 1991), Japanese Fiber Art (England, 1991), Shiga Annual (Japan, 1993) and 'Contemporary Japanese Fiber Works' (Canada,1993).
Untitled.
Materials: Felt, cotton yarn, wood, stone.
Technique: Original technique.
Size: 120 (H) x 400 (W) x 92 (D) cm.
Detailed View.
Judges' Comment: In the succession of the house and bridge, this work stimulates the imagination, calling forth images of tales and stories of people, nature, and harmony, or conflict, that arises between them.
The artist has not limited himself to the confines of only textiles, and the singular atmosphere of this work in being presented as an example of textile art suggests that the artist has truly enjoyed the creation of this work. The elements of "Pleasure" and "Joy" that pervade this work convey an indispensable message in textile concepts for future generations and the uniqueness of this work and its effectiveness in arousing the imagination combine to make it an exceptional creation.
(iii) Collaboration: Masatoshi Irisawa with co-producers Nishijin-ori Craftsmen's Association (Kyoto, Japan). 1200th anniversary of the Heian Capital Honorable Award (4th International Textile Competition '94 Kyoto.)
Background: Born in 1924, he has been engaged in Nishijin textile industry since 1941. Established Nishijin-ori 'Traditional Craftsmen's Association.'
Untitled.
Materials: Not stated.
Technique: Various traditional weaving techniques such as bricade, nishiki, and hon-shibo-ori.
Size: 270 (H) x 500 (W) cm.
Detailed View.
Judges' Comment: In 1976, Nishijin was specified by the laws governing traditional arts and crafts in Japan as a center for weaving, and the style of weaving particular to the area was designated as a traditional craft. The art itself, however, is much, much older, boasting a history which dates back to the 5th and 6th centuries. Deeply rooted, Nishijin weaving was connected with the office known as "Oribetsukasa", the office which administered to the Court concerning matters of weaving and wo=ven pieces during the construction of ancient capital Kyoto, and articles woven in the Nishijin style can therefore be considered as being representative of the finest Japanese weaving.
Comprised of 120 pieces of woven cloth, this work may be considered as a conglomeration of the techniques of artists and craftsman in the Nishijin style of weaving, developed over a long history of collaboration and challenges, the crystallization of their spirits. Examples of tsuzure-ori weaving, top quality fukuro-obiji gold brocade, omeshi are arranged together, each a dazzling example in its own right of the finest of a wide variety of techniques representative of the Nishijin style of weaving, have been artistically arranged in a tribute to the honor of those artisans who have contributed to the history of weaving, a work of art particularly suitable for its 12,000th anniversary of founding the ancient capital in Kyoto.
For your convenience I have listed below other post in this series:
Fourth International Textile Competition '94 Kyoto - Part I.
Fourth International Textile Competition '94 Kyoto - Part II.
Fourth International Textile Competition '94 Kyoto - Part III.
Fourth International Textile Competition '94 Kyoto - Part III [1].
(i) Mary Restieaux (UK). Traditional Textile Award (4th International Textile Competition '94 Kyoto)
Title of Work: r3.25.
Materials: Ikat.
Technique: Handwoven;warp-face, plain weave.
Size: 250 (H) x 70 (W) cm.
Judges' Comment: The roots of Kasuri may be found in Indonesia and the other countries of South-East Asia. The techniques of Japanese Kasuri were brought over from these Asian countries long ago, and have been refined and perfected into an art known for its exquiste, delicate, finely-worked creations. With the demands placed upon the art by the modern day fractionalization processes and the never ending quest for greater efficiency and higher development of techniques, the original, inherent joy of creation that Kasuri was famous for, seem to be on the verge of being lost. This work is a message for the modern, indiustrialized world, that this art should not be judged from the point of technique. The true value of Kasuri can be judged only in the differences in the individual refinement of highly polished skills with which it is created.
(ii) Jun Mitsuhashi (Kyoto, Japan). Fine Art Ward (4th International Textile Competition '94 Kyoto)
Materials: Felt, cotton yarn, wood, stone.
Technique: Original technique.
Size: 120 (H) x 400 (W) x 92 (D) cm.
Judges' Comment: In the succession of the house and bridge, this work stimulates the imagination, calling forth images of tales and stories of people, nature, and harmony, or conflict, that arises between them.
The artist has not limited himself to the confines of only textiles, and the singular atmosphere of this work in being presented as an example of textile art suggests that the artist has truly enjoyed the creation of this work. The elements of "Pleasure" and "Joy" that pervade this work convey an indispensable message in textile concepts for future generations and the uniqueness of this work and its effectiveness in arousing the imagination combine to make it an exceptional creation.
(iii) Collaboration: Masatoshi Irisawa with co-producers Nishijin-ori Craftsmen's Association (Kyoto, Japan). 1200th anniversary of the Heian Capital Honorable Award (4th International Textile Competition '94 Kyoto.)
Background: Born in 1924, he has been engaged in Nishijin textile industry since 1941. Established Nishijin-ori 'Traditional Craftsmen's Association.'
Materials: Not stated.
Technique: Various traditional weaving techniques such as bricade, nishiki, and hon-shibo-ori.
Size: 270 (H) x 500 (W) cm.
Judges' Comment: In 1976, Nishijin was specified by the laws governing traditional arts and crafts in Japan as a center for weaving, and the style of weaving particular to the area was designated as a traditional craft. The art itself, however, is much, much older, boasting a history which dates back to the 5th and 6th centuries. Deeply rooted, Nishijin weaving was connected with the office known as "Oribetsukasa", the office which administered to the Court concerning matters of weaving and wo=ven pieces during the construction of ancient capital Kyoto, and articles woven in the Nishijin style can therefore be considered as being representative of the finest Japanese weaving.
Comprised of 120 pieces of woven cloth, this work may be considered as a conglomeration of the techniques of artists and craftsman in the Nishijin style of weaving, developed over a long history of collaboration and challenges, the crystallization of their spirits. Examples of tsuzure-ori weaving, top quality fukuro-obiji gold brocade, omeshi are arranged together, each a dazzling example in its own right of the finest of a wide variety of techniques representative of the Nishijin style of weaving, have been artistically arranged in a tribute to the honor of those artisans who have contributed to the history of weaving, a work of art particularly suitable for its 12,000th anniversary of founding the ancient capital in Kyoto.
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