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 II
Katazome (Stencil Dyeing) - Part II [1]
The Katazome technique uses a rice-paste resist which protects the fabric from the dye. It is extremely durable under limited exposure to moisture. At the same time, it can create a very fine design and can be completely washed from the fabric. Made from a mixture of rice flour and rice bran (nuka), it is first steamed, then kneaded to the proper consistency for even spreading.
Before the paste is applied, the stencil must be cut. The design is drawn on transparent paper that is then applied directly to the stencil paper with wax. With a very sharp knife both layers are cut. The stencil is then reinforced either with fine silk threads, which are laid between the layers of the stencil, or silk gauze, which is applied to the outside of the paper. The stencil is soaked in water to make it pliable, enabling an accurate fit over the fabric. Then the paste is spread over the stencil with a wooden spatula. This process is repeated as often as necessary to complete the design. When the paste is dry, a sizing of soybean extract liquid is applied to it and the fabric, and then the dye is applied. The dyed fabric is left for several days to cure. Then the paste is removed by soaking it in water, and the design becomes visible. Traditionally, each step was performed by a specific artisan, but some craftsman today complete the whole process alone.
Flowers, rocks, and birds are depicted in vibrant colors and designs by Toshiko Soeda.
Murasaki Tsuyukusa (purple spiderwort) by Choko Tachibana. Tiny wild flowers, insects, butterflies and leaf motifs cover the entire surface of the silk crepé.
Kamikochi, a playful depiction of highland scenery by Nobuo Sekiguchi.
This silk crepé has been stencil dyed with motifs of pine, iris maple, blue bellflower, flowing water, rustic fences, and festive outdoor curtains. Akiko Ueshima collection.
The following three fabrics below are stencil-dyed cotton yukata fabric. The fabric of this type is considered appropriate for young women. They are a part of the Seung Kim Collection.
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 II
Katazome (Stencil Dyeing) - Part II [1]
The Katazome technique uses a rice-paste resist which protects the fabric from the dye. It is extremely durable under limited exposure to moisture. At the same time, it can create a very fine design and can be completely washed from the fabric. Made from a mixture of rice flour and rice bran (nuka), it is first steamed, then kneaded to the proper consistency for even spreading.
Before the paste is applied, the stencil must be cut. The design is drawn on transparent paper that is then applied directly to the stencil paper with wax. With a very sharp knife both layers are cut. The stencil is then reinforced either with fine silk threads, which are laid between the layers of the stencil, or silk gauze, which is applied to the outside of the paper. The stencil is soaked in water to make it pliable, enabling an accurate fit over the fabric. Then the paste is spread over the stencil with a wooden spatula. This process is repeated as often as necessary to complete the design. When the paste is dry, a sizing of soybean extract liquid is applied to it and the fabric, and then the dye is applied. The dyed fabric is left for several days to cure. Then the paste is removed by soaking it in water, and the design becomes visible. Traditionally, each step was performed by a specific artisan, but some craftsman today complete the whole process alone.
The following three fabrics below are stencil-dyed cotton yukata fabric. The fabric of this type is considered appropriate for young women. They are a part of the Seung Kim Collection.
Reference:
[1] A. Yang and R. M. Narasin, Shufunotomo. Co. Ltd.,Tokyo (1989).
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