Preamble
For your convenience, I have listed below other post 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
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
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 I
Yuzen: Multi-colored Paste-Resist Dyeing - Part II
Katazome (Stencil Dyeing) - Part I
Katazome (Stencil Dyeing) - Part I [1]
One of the many traditional dyeing techniques from China is stencil dyeing, or katazome, as it is known and still practiced in Japan. Stencils were first used in the Heian period to decorate leather, and during the Kamakura period as a method of stencil dyeing on fabric. By the sixteenth century, this technique had been perfected. The isolation of the Edo period brought katazome to full flower, and it continued as a popular dyeing technique until modern technology and changing tastes in fashion nearly brought it to an end during the Meiji period. For its revival, we are indebted to the Mingei, or Folk Crafts movement, and artisans such as Keisuki Serizawa and Toshijiro Inagaki, as well as to the Japanese government's recognition of superior craftsmen and works.
The word 'Katazome' is derived from a combination of two Japanese words, kata, meaning stencil, and zome meaning dye. Katazome refers to the process of fabric dyeing that employs a water-soluble paste-resist, which is applied to the fabric through a cut stencil. The qualities of precision and repetition that are characteristic of katazome are due to the durable stencil paper and a water-soluble rice-paste resist.
Tanks of persimmon juice to make fermented tannin dye called Kakishibu.
Paper for stencils drying after persimmon juice has been applied to the rice paper.
Making a stencil of a flower design.
Extreme care and skill are needed in making a stencil for the highly detailed patterns of komon.
Dyed fabrics, drying in the sun.
The stencil paper is made by gluing together several layers of 'washi' (paper made from the kozo or paper mulberry plant). Then treating it with persimmon juice, and smoking it for several days. This extremely durable paper, strengthened by the persimmon tannin and the smoke, can withstand long exposure to moisture, and yet can be cut precisely into intricate or bold designs with a very clear edge. Using razor-sharp knives and tools especially created to form unique shapes, precise designs are then cut out.
Stencil dyeing using two stencils - the main stencil.
Stencil dyeing using two stencils - the second stencil.
The finished artwork.
Silk threads are inserted in a stencil to strengthen the most delicate parts of it.
Reference:
[1] A. Yang and R. M. Narasin, Shufunotomo. Co. Ltd.,Tokyo (1989).
For your convenience, I have listed below other post 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
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
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 I
Yuzen: Multi-colored Paste-Resist Dyeing - Part II
Katazome (Stencil Dyeing) - Part I
Katazome (Stencil Dyeing) - Part I [1]
One of the many traditional dyeing techniques from China is stencil dyeing, or katazome, as it is known and still practiced in Japan. Stencils were first used in the Heian period to decorate leather, and during the Kamakura period as a method of stencil dyeing on fabric. By the sixteenth century, this technique had been perfected. The isolation of the Edo period brought katazome to full flower, and it continued as a popular dyeing technique until modern technology and changing tastes in fashion nearly brought it to an end during the Meiji period. For its revival, we are indebted to the Mingei, or Folk Crafts movement, and artisans such as Keisuki Serizawa and Toshijiro Inagaki, as well as to the Japanese government's recognition of superior craftsmen and works.
The word 'Katazome' is derived from a combination of two Japanese words, kata, meaning stencil, and zome meaning dye. Katazome refers to the process of fabric dyeing that employs a water-soluble paste-resist, which is applied to the fabric through a cut stencil. The qualities of precision and repetition that are characteristic of katazome are due to the durable stencil paper and a water-soluble rice-paste resist.
The stencil paper is made by gluing together several layers of 'washi' (paper made from the kozo or paper mulberry plant). Then treating it with persimmon juice, and smoking it for several days. This extremely durable paper, strengthened by the persimmon tannin and the smoke, can withstand long exposure to moisture, and yet can be cut precisely into intricate or bold designs with a very clear edge. Using razor-sharp knives and tools especially created to form unique shapes, precise designs are then cut out.
Reference:
[1] A. Yang and R. M. Narasin, Shufunotomo. Co. Ltd.,Tokyo (1989).
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