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TRADITIONAL CRAFTS

Ojiya ChijimiOjiya Ramie Crepe

The history of hemp cloth in Ojiya is old, and trace of the texture is left to earthenware vessel thought to be last part of Jomon period.
Evaluation was high, and hemp cloth which climate of Ojiya included was given to general.
In earlier period of Edo era, improvement for summer clothes was thought about and succeeded in twist that was strong in weft providing wrinkle called unique wrinkle which provided cool feeling at process of finish to riokakerukotode, thing which we finished weaving. Ojiya Chijimi made with traditional skills and techniques is appointed in 1955 by important intangible cultural asset of country.

The history of linen weaving in Ojiya goes back a very long time. A piece of pottery which is thought to have been made at the end of the Jomon period (ca.10000-ca.200 BC) has been discovered bearing the imprint of some woven fabric. Well suited to the climate of Ojiya, woven linen was valued highly and was presented to the Shogun.
At the beginning of the Edo period (1600-1868), ways of improving the cloth for summer kimono were developed. It was found that by tightly twisting up the weft it was possible to produce a really cool crepe. Ojiya Chijimi, which is still made using time honored skills and techniques, was designated as one of Japan's intangible cultural assets in 1955.

The yarn for this cloth comes from the fibers of the Chinese silk plant or ramie (Boehmeria nivea). It is ideal for summer-weight kimonos as absorbed water soon evaporates, and it therefore dries very quickly. Having a crimp means that the cloth does not stick to the skin, making it very comfortable to wear in Japan's hot, humid summers. These days, besides cloth for kimono, some cloth is produced for western clothing and for interior items.

  • Notification

    skills and techniques

    1
    Assume cloth with splashed pattern Woven textiles woven by the next technique or technique.

     
    (1)
    Assume yarn-dyed plain weave.

     
    (2)
    Use cloth with splashed pattern thread for weft or weft and the warp.

     
    (3)
    Assume weft thread which does not lie down.

     
    (4)
    Aligning pattern arrangement and ear by manual labor, and grazing cloth with splashed pattern of cloth with splashed pattern thread and ear mark, and beginning to weave design. 

    2
    Getting out shibo is thing due to "hot water fir tree". 

    3
    Thing by "we bind hand" or staining of cloth with splashed pattern thread "includes handrail". In this case, use "chip of wood ruler" for wide ruler.

    Raw materials

    Assume thread to use cho hemp thread.

  • Work scenery

    Work process of Ojiya Chijimi parts complicatedly, but be dyed and the warp, weft weave, and is finish when we classify roughly. Thread adds splashed pattern to the thread using hemp. The warp (tateito) is plain and gives pattern only with cloth with splashed pattern of weft (when we come). It is called lateral total cloth with splashed pattern (even if we give, we lose) and is said to be characteristic of Woven textiles of Ojiya. When we add splashed pattern to weft, we make ruler earlier and, along ruler, mark with sumi, and rubbing dye into cloth nde goes dye to thread with spatula called rubbing dye into cloth spatula. We dye this thread and set to weaving machine and can finally enter texture. We finish weaving carefully then while looking at position of splashed pattern. Finally we carry out an activity peculiar to shrinkage called hot water fir tree and give irregularities of shibotoiu undulation.

    Process 1: Design (the making of cloth with splashed pattern design production, ruler)

    Original design, by sample, locate pattern on graph paper, and make cloth with splashed pattern design, and dig small groove of number of ten article on board and paper next, and copy cloth with splashed pattern design. In this, design is dismantled linearly. Furthermore, we copy the design on the ruler which vinegared thing which stacked sheet. This ruler is called chip of wood ruler. It is fixed whether it is possible for splashed pattern if color enters which position of thread because ruler is done. One piece of ruler becomes pattern of weft (when we come) for 1 roundtrip. We repeat this work and make ruler of all splashed patterns.

    Video is played when we click image

    Process 2: Thin-sliced raw fish

    We twist thread every warp, weft. In addition, to take out shiboo after was pasted weft of the ground; give a strong twist, and make strong thread plying.

    Process 3: Pass through filature, spreading by hand; total of, lateral total of

    We hang thread on the dragonfly frames and possess winding machine (makihata) and wind part called gourd off dragonfly frame to gourd. We pass and adjust the warp to the number and length based on design in total of stand repeatedly afterwards at opportunity. We arrange threads which we wound up to gourd by 16 from eight and take intricate design and we speak and extend weft to stand. Thread is prepared and can begin work to add splashed pattern to in this way.

    Process 4: We attach sumi and strangle

    We touch sumi mark at position where we put weft on tension stand and put seals of part called "ear" indicating cloth at both ends of cloth with splashed pattern ruler together, and it is likely. Then, we bind part which made sumi mark of weft firmly in komushi (old hemp). In this way, it is not colored on this part.

    Process 5: Rubbing dye into cloth, dyeing

    In necessary place deleted ink effect of thread, rubbing dye into cloth looks at dye using rubbing dye into cloth spatula. We bind thread and lend and make jo and dye while rubbing with homespun thread repeatedly. In addition, temperature puts in the steam approximately 100 degrees and fixes color.

    Process 6: Preparations, texture of texture

    To design, we roll up firmly while straightening position of the warp and weft, but work is different from the warp by weft. We put the warp through part called heddle eyes (is so like that) of weaving machine one by one and, as for by two, put it through reed (suppose). The standard number is around 1,200. Weft winds off eight approximately 16 in shukuriwaku (tekuriwaku) after kubiriotori untied and we hang and divide by one into small raising stand (kookoshidai) more. Finally we wrap pipe for cloth. Texture is finally ready in this and can finally finish weaving. We provide design while putting parts called ear with seal as cloth together.

    Process 7: Finish

    We take out fir tree, cloth nishiboo in hot water by hand. We expose cloth to snow and bleach by function of ozone and do cloth of white background and cloth with splashed pattern design beautifully afterwards. Finally we inspect texture irregularities.

    Video is played when we click image

     

  • Close-up

    Ojiya Chijimi (hemorrhoids and shrinkage) which long winter and perseverance of textile plant worker were able to lend Hanasaki

    Shrinkage of Ojiya continues being still made with a certain luster hemp thread. Characteristic of descending Ojiya Chijimi from Echigo Azabu hemp and "shibo." It is good kimono if we wear in summer.

     

    Tradition technique that is inherited

    There were silk as cloth for upper class and wisteria cloth, Azabu as cloth for general public to Japanese old clothes. Above all, the linen history was old and called hemp cloth produced in the Echigo district in particular with fine linen and was got close to people. Ojiya Chijimi is started from technique of this Echigo Azabu and has the history that matured as winter work having a long Echigo among snow. The tradition technique is inherited and still sends good-quality hemp cloth off in the life. We asked kokyohan* (we learn boom) of Master of Traditional Crafts story in craftsmen of such an Ojiya Chijimi this time.

    By howling sound, thread is spun

    Ojiya Chijimi which Echigo hemp cloth was improved, and was made

    Improvement was added during Kanbun year (about 1670) by Akashi clansman, horishoshun, and, in technique of Azabu texture which followed more than 1,000 years, technique that twist provided riokakerukotodeshibo (wrinkle) to weft (when we come) was brought about. Furthermore, invention to weave designs such as stripe or flower sentence was made by cloth of white background, and shrinkage of Ojiya was founded. Still receive the biggest characteristic; tsugi garerushiboda. "Cloth is close together suddenly when we wear even kimono when even shirt is hot. It is not such feeling jigakonoshibono irregularities. Therefore we are not close together." It is said that the feel is refreshing. In addition, "hemp has ventilation very much, and squid and others enter the shade and seem really cool when blown even to wind." Saying "do not get tired again because is strong in water even if always wash in the summer."; Takahashi. Hemp, the silky touch to soshiteshiboniyoru skin. "There is not further combination as summer kimono."
    Ojiya Chijimi has been already sung in long song "Echigo lion dance" made in 1811. "There is Echigo name of a country thing many, but…We let you ask about shrinkage of Ojiya having had been loved from shu iniya of country where what about notice ketehoshiya Ojiya Chijimi is transparent in news from karino, "old days. High evaluation does not change now either.

    Necessary work of concentration continues carefully

    Though there is labor and time, there is no help for it even if we push it

    "We cannot make a lot. , take time; Takahashi. Because, in materials of kimono that there was number, it was that it was hard to treat hemp in particular, and labor and time suffered, but "craftsmen of Ojiya bore, and it tied linen good point" that linen shrinkage yet continued. In addition, this is because climate called heavy snowfall area fitted hemp. As hemp is vulnerable to drying, moisture that is moderate to weave well is necessary. This area where snow in particular is deep in Niigata is environment suitable for hemp cloth kept moisture. However, there will be not any change in fact that work to weave shrinkage is great. It is said that there is part which machine enters in work, but it is woven recently by hand of person while doing pattern arrangement of cloth with splashed pattern thread dyed about koto texture.
    Takahashi said while pointing at woman who worked of texture. Even if "rotation becomes machine, person must do important part." Manual labor to extremely need patience is continued.

    Tool, tall handloom (Takahata) to still keep form from old days

    In now, we make Woven textiles of Ojiya that can live

    Takahashi, it "is our duty that product hands maa, good thing to everybody properly." For time-consuming work, we say, "we think that we are ordinary." in dignified voice. The eyes fix their eyes on the former future while letting background of the words feel heaviness of the history of conventional Ojiya Chijimi. "Should we not meet 100% of things which partner wants? It means that effort that we repeated before we go there will be important after all."

    "It does not turn out that we do not wear." Comfort is exquisite

    Craftsman profile

    kokyohan* (Takahashi learns boom)

    In "work which we made by oneself, there is not that it was completely possible even for well-done thing still more. It is said, the depths are deep.

    Gleanings

    Side, Hegi-soba only in production center of Woven textiles

    Hegi-soba. It is side of this unfamiliar name, special product of Ojiya. Characteristic using "glue plant" which is kind of seaweed to tie. We did not seem to matter, but, glue plant and Woven textiles, glue plant has been ever used for pasting of the warp when we wove shrinkage too much at a glance. Soba which we used to tie the glue plant is Hegi-soba. About container such as big bamboo steamer made of hegiha cedars, we eat approximately 30 things which rounded one share of side in large degree here around it with arrangement, three or four. Side where hegini forms a line is said to express wave of the sea, and cool feeling is plentiful. In addition, it is called "Teburi soba" from special movement to serve water deep-fried chicken, hegini while waving the hand. Smooth eminent drinkability and unique rich flavor point. Glue plant which was used for shrinkage settled the inside where snow close to the Shinano River was deep for, the process. Taste by all means while thinking about such a scenery in Ojiya. The Shinano River and snow

    • Hegi-soba

     

     

Summary

Industrial art object name Ojiya Chijimi
Phonetic symbol Hemorrhoids and shrinkage
Classification of industrial art object Woven textiles
Main product Kimono place, clothes, indoor interior
Main production area Niigata / Nagaoka-shi, Ojiya-shi, Tokamachi-shi, Kawaguchimachi, Kitauonuma-gun
The designation date September 4, 1975

Contact information

■local production associations

Ojiya Woven textiles same profession cooperative association
〒947-0028
1-8-25, Jonai, Ojiya-shi, Niigata
Ojiya-shi Kyoto Museum of Traditional Industry (sun plaza) is inner
TEL: 0258-83-2329
FAX: 0258-83-2328

http://www.ojiya.or.jp

■Associated exhibit space, facility

Characteristic

We dry immediately that Ojiya Chijimi is made by linen fiber said to be ramie (choma) and is easy to breathe moisture, and to let you display moisture which you breathed in well. Besides, it is comfortable as summer kimono because we make wrinkle peculiar to Ojiya Chijimi without being sticky on skin.

Ojiya chijimi is made from the Choma variety of linen, which has high water absobency and dries very quickly. Furthermore, the slight ruffled texture produced by the Ojiya chijimi process provides a nice, cool feeling, making the cloth perfect for summer clothing.

How to make

Twist riokakemasu which is strong to weft that bo (we pile up) comes over in fiber of ramie and makes thread, and to provide wrinkle characterizing Ojiya Chijimi. Splashed pattern performs pattern charge account of cloth with splashed pattern charge account to thread before weaving and puts patterns together in spite of being texture. We take out wrinkle by process of finish on cloth which weaves, and went up.

In order to produce characteristic tiny ruffles of Ojiya chijimi, the linen threads used for the warp are strongly twisted in the spinning process. A weft ikat dyeing technique is used, so the final pattern of the fabric can only be seen after it is woven. After the fabric is woven, the Chijimi ruffles are brought out as part of the finishing process.

Voice from production center

When you dry after washing, please do shade airing. You never use iron, and please stretch out by hand. Stability wrinkles blow fog lightly, and you swat by hand, and please stretch out.