Yuki TsumugiYuki Pongee
In the Yuki, Ibaraki district, sericulture business was prosperous for a long time, and pongee was made as the use of by-product in the slack season for farmers and has already put in the Imperial Court in the Nara era.
Because Yuki who was feudal lord of this land tried for these industrial protecting and nurturing in the Kamakura era, it is said that the name of Yuki Tsumugi took root after the name of Yuki. The name of Yuki Tsumugi was raised still more by Tadatsugu Ina who became initial chief administrator in the Edo era having introduced technique from Shinshu and Kyoto. Technical improvement is carried out after it was modern times particularly pongee of the highest grade comes to be produced by progress of cloth with splashed pattern texture.
The Yuki area of Ibaraki Prefecture had been a center for sericulture since ancient times. Based on this, Yuki Tsumugi was woven during slack periods of the farming year and cloth was supplied to the Imperial Court during the Nara period (710-794).
Yuki, in fact, who was the lord of the fief in the Kamakura period (1185-1333) worked hard to protect and nurture the weaving of this cloth and ultimately, his name was given to the cloth. Its reputation was enhanced when Ina Chuji, who had became chief magistrate, introduced new techniques from Shinshu and Kyoto. Various technical improvements were made on entering the modern age and especially with the development of ikat weaving, it became possible to produce a pongee of the very highest quality.
Because threads are pulled by hand from the silk floss, and a hundred or so threads of different lengths are intertwined one by one, the yarn is representative of kasadaka fiber, which has no twist. For this reason, it has the simplicity of woven cotton even though it is made of silk and is, in the main, used to make kimono and obi.
|Industrial art object name
||Say; come, and spin
|Classification of industrial art object
||Kimono place, obi
|Main production area
||Ibaraki / Yuki-shi, Shimotsuma-shi, Chikusei-shi, Yachiyo-machi, Yuki-gun Tochigi / Oyama-shi, Shimotsuke-shi, Kaminokawa-machi, Kawachi-gun, Ninomiya-machi, Haga-gun
|The designation date
||March 30, 1977
■local production associations
Ibaraki home Yuki Tsumugi Woven textiles cooperative association
Yuki-shi, Ibaraki larger section of a village Yuki 3018-1
Tochigi home Yuki Tsumugi Woven textiles cooperative association
2358, Fukura, Oyama-shi, Tochigi Tochigi industry technology center
The silk pongee thing technological assistance center
■Associated exhibit space, facility
Each one one hundred fiber varying in length only gets twisted up to draw out thread from silk floss by hand and are representative of twist riganai bulkiness fiber (we do not do whether it is shade) to thread. Therefore the feature is that cotton goods-style simplicity is indicated while being silk.
Yuki Tsumugi textiles are the prime representative of the Kasadakaseni textile style, in which thousands of threads are hand-pulled from silk floss, each of slightly differing length, and then woven into a fabric without any twisting of the threads. This produces a fabric which could be mistaken for cotton with its rustic simplicity, but is in fact made of silk.
How to make
All steps are manual labor. Spinning yarn (pile up) gi, kasurikatsu (kuku) ri, 3 processes of grasshopper by sitting loom (hata) are appointed by important intangible cultural asset. We spin thread of approximately 30km by hand to make one piece of kimono and drive weft more than 30,000 times with big shuttle (hi) which 600 g are. Cloth with splashed pattern is extremely close work to compete for error of 1mm.
All steps of producing Yuki Tsumugi fabrics are done completed by hand. The three primary steps of pulling the threads, dying them using an ikat technique, and then weaving them on a loom have all been designated as intangible cultural properties. To make a single kimono fabric, nearly 30 km of thread is pulled by hand, and using a 600 g shuttle, over 30 thousand weft threads are woven. Even a 1 mm error in the weaving will disturb the ikat dyed pattern, making the weaving a painstakingly fine process.
Voice from production center
Yuki Tsumugi appearing in market in custom of long transaction is accompanied by a lot of wheat rice glue which we reinforced to weave. Please take in true texture that pulled paste in exhibitions.