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TRADITIONAL CRAFTS

Tokamachi Akashi ChijimiTokamachi Akashi Crepe

Around the end of the 19th century, we took sample of cloth for summer of Nishijin of Kyoto home with us, and originally we applied to technique of Woven textiles called Tokamachi transparent silk cloth (we wait the tenth plow) which there was, and trial manufacture study of new product was performed.
Since this time, technology research of strong twist (we do not sleep today) and formulation of weft was pushed forward eagerly and improved twist transparent silk cloth (plow) which had been already woven in Tokamachi and succeeded in trial manufacture of Chinatown Area-style (jifuu) "transparent silk cloth crepe" using strong thread plying to weft and it was named "Akashi shrinkage" from Meiji middle part and was sent out in market.

Towards the end of the 19th century a sample roll of summer-weight kimono cloth was brought back to Tokamachi from Nishijin in Kyoto. Work then began on adapting an existing local weave called Tokamachi sukiya with a view to producing something new. A great deal of effort was then put into developing and improving the ways of tightly twisting up weft threads, resulting in improvements to another existing cloth, yorisukiya.
Subsequently, attempts at using a tightly twisted weft thread were successful in creating sukiya chirimen, and then the cloth called Akashi Chijimi was put on the market during the early 1890s.

Until the beginning of World War II, these cool crepes dominated the light-weight summer kimono cloth market. However, after the war, production gradually went into a decline. The weaving techniques, however, have become part of the continuing tradition of the cloths from Tokamachi and its followers still give these crepes their unfailing support.

  • Notification

    skills and techniques

    1
    When it is to cloth with splashed pattern texture, do with getting out weaving saretashibo Woven textiles by the next technique or technique.

     
    (1)
    Assume yarn-dyed plain weave.

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

     
    (3)
    Performing pattern arrangement of cloth with splashed pattern of cloth with splashed pattern thread by manual labor, and beginning to weave cloth with splashed pattern design.

     
    (4)
    Staining of cloth with splashed pattern thread by manual labor thing by "print, and "strangle" or include".

    2
    When it is in cloth woven in stripes, lattice texture and dyed cloth without a pattern, do with getting out weaving saretashibo Woven textiles by the next technique or technique. Assume yarn-dyed plain weave, twill fabrics, satin weave or these change textures.

    3
    Ground weft to use for getting out shibo Woven textiles "Akashi lateral", use o. "Akashi rub cloth seaweed, bracken seaweed or other vegetism thicking agent by manual labor, and be crowded after lateral", ni thread to use did lower twist by "eight orders-style thread plying machine".

    4
    Getting out shibo is thing due to "hot water fir tree".

    Raw materials

    Assume thread to use silk thread having raw silk or materials which are equal to dupion silk or these.

  • Work scenery

    Work process of Tokamachi Akashi Chijimi parts complicatedly, but arrive and dye splashed pattern to the warp, weft when we classify roughly and weave and finish. At first thread adds splashed pattern to the thread using raw silk, dupion silk. We make ruler earlier and, along ruler, mark thread with sumi, and rubbing dye into cloth nde goes dye to thread with spatula called rubbing dye into cloth spatula. To take out noshibo (wrinkle of undulation) peculiar to shrinkage to weft, strong twist riokakemasu. We set done thread to weaving machine and can finally enter texture in this way. We finish weaving carefully then while looking at position of splashed pattern of process (the vertical side). Finally we carry out an activity peculiar to shrinkage called hot water fir tree and take out shiboo.

    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 set finely whether cloth with splashed pattern enters thread of which position. Then we pass and, based on the design, dismantle cloth with splashed pattern (vertical cloth with splashed pattern), lateral cloth with splashed pattern (wide cloth with splashed pattern) and make ruler.

    Process 2: Twist

    Raw silk, dupion silk (with coping saw which says sinew thread, and there is much sinew, and is big. We pull) which is thread which we took from cocoon made with two silkworms called dupion cocoon in spinning machine, and be prepared and hang twist with thread plying machine and do in necessary thickness, strength. We mainly assume making an organzine (than top).

    Video is played when we click image

    Process 3: Spreading by hand

    We extend to the number and length that pass through thread which we wound off on bobbin and frame repeatedly at opportunity, and were based on design according to cloth with splashed pattern, lateral cloth with splashed pattern by hand.

    Process 4: We attach sumi and strangle

    We pass and put cloth with splashed pattern, lateral cloth with splashed pattern, each cloth with splashed pattern thread and are enlarged to stand and put seals of part called "ear" indicating cloth width at both ends of cloth with splashed pattern ruler together and touch sumi mark at position of splashed pattern. We bind part which made sumi mark of the warp and weft with cotton yarn or flat rubber firmly afterwards. In this way, it is not colored on this part. We bind, and color falls out to part which we bound if one is weak, and it seems to be in uneven color.

    Process 5: Rubbing dye into cloth, dyeing

    In necessary place deleted ink effect, rubbing dye into cloth nde goes dye using rubbing dye into cloth spatula well each. Color binds rubbing dye into cloth maretara, thread and lend and make jo and dye while being repeated with homespun thread (part which does not have cloth with splashed pattern), and rubbing. We stabilize color with steam approximately 100 degrees afterwards.

    Process 6: Pasting, upper twist

    It is work to give taste peculiar to Akashi. We hang strong twist using eight orders thread plying machine (butterfly does not sleep spread) with weft which we pasted. This thread is thread called Akashi lateral (the proof side), and this thread produces noshiboo peculiar to Akashi shrinkage.

    Process 7: Texture preparations, texture

    Work varies according to the warp and wefts. The warp winds off for man winding (firewood) after kubiriotori untied while seeing pattern. As you must wind off according to the design, it becomes careful work. Then we let go through on 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. We raise rewind, the small in shukuriwaku (teguriwaku) after kubiriotori untied weft as well as the warp and hang to stand (kookoshidai) and wind up to pipe for cloth last. Texture is finally ready and can finally finish weaving. Weft comes and goes between the warps which we put through heddle eyes (so like that), reed (we suppose) of weaving machine and is woven. It is cloth with splashed pattern structure, and splashed pattern puts designs together on seeing part of ear which did mark suddenly and weaves even one not to make any gap.

    Video is played when we click image

    Process 8: Finish

    For finish, we rub in hot water thoroughly by hand and provide cloth nishiboo. Finally we inspect dirt or texture irregularity.

     

  • Close-up

    Woven textiles which was transparent like feather of cicada, Akashi shrinkage

    Tokamachi Akashi Chijimi is Woven textiles with refreshing texture. Woven textiles rooted in this ground because we were snowbound in long winter. The skill produces shrinkages of few texture elsewhere

     

    The world that is created by weaving

    Tokamachi Akashi Chijimi which gives shibo (wrinkle) using weft (when we come) called Akashi lateral (the proof side). Unique noshibo, cool hue. It can nod to build position as high quality piece goods for one kimono for summer than the times of Meiji. We heard story from Shigehisa Abe with qualification of Master of Traditional Crafts about Akashi shrinkage this time.

    Akashi shrinkage of refreshing texture

    Tokamachi Akashi Chijimi predominant in generation

    Originally good-quality Woven textiles called twist riokaketa fine linen which resisted weft was made with Echigo. Because shrinkage wholesale dealer Eisuke Suzaki of Kashiwazaki did the technique in one of eyes, all begins. He thought that Kyoto to rather weave Akashi shrinkage that we studied in Nishijin in Tokamachi was suitable and showed Zenjiro Sato of Tokamachi *kenhon (kiremihon). Then studies are repeated, and Akashi shrinkage reaches thing before marketing when it is about 23 from Meiji 22. Thereafter Akashi shrinkage performs predominance (predominance) of generation. As we say that we are too seen through at first too much, it is said that we received exclusively in the gay quarters area. It is indicated with "trendy summer clothes song" published with newspaper appendix in 1901 to have been "geisha of new Yanagibashi, Akashi ... dark blue to fabric with a mosaic waving pattern superior grass cloth" and thinness that we receive to professional traders such as geishas because it was sung. Then quality of product is given by the steady spirit of self-advancement and comes to be gradually prevalent widely generally. However, thinness transparent does not still change and is "it is said to be because places hearing of air conditioner increased when too cool".

    When we wore kimono, we feel like body becomes younger

    As for Akashi shrinkage, twist that is strong in weft makes riokakerukotode, unique thread called Akashi lateral (the proof side). Cloth that this thread was raised by texture as weft suffers hardship in hot water as finish by hand. In this "hot water fir tree" thing doing, cloth nishibo (wrinkle of undulation) is created. Though "only wrinkle will show to most people," it is toiukonoshibokoso, the biggest characteristic of shrinkage. Feel, "dough is cleared, and shibogaarukarakoso is not close together on skin" is brought about. On the contrary, saying "complicated pattern is not enacted" shibogadekirutameni; Takahashi. However, even if it is not complicated pattern, technique of cloth with splashed pattern is included, and it is unchanged that delicate design is woven. "Woven textiles which was transparent like feather of cicada" is just looking, and sigh comes out above all. We absorb sweat and are cloth which Akashi shrinkage that ventilation has good is ideal for as kimono to wear in Japanese dampness and summer when we did.

    Summer clothing must use good thread

    When "summer clothing does not use particularly good thread, uneven weave can play." Abe reason In addition, if "it is for irregularity if different in the tension of thread, and even one is sharp, you pull only sharp part and must repair turn as before again." even if you used good thread with much effort We can imagine even these words how work needs carefulness. We say that even what operative at a textile factory weaves one takes approximately 10 days. "Casualness says, or things walk when cloth which should not do so is not made,." but One one of the work going far of mind put before long time completes this Tokamachi Akashi Chijimi.

     

    Shrinkage that we produce at Abe

    Even if there is anything, we want to continue

    When "we looked at person in kimono which oneself made, we are glad. We feel having met relative. As for the fabrics for kimono, there are few same things; saying die, and know immediately; as for Abe who told that was while letting face come unsawn. We seem to call out to person wearing kimono which oneself made just carelessly. In that way Abe tells that it is nice to be said to be saying "it may be easy to wear" from visitor whom we called out to. When "there is not quantity, and eyes do not imitate, and they do not make thing to be cheap which will be good of person." seriously when they ask about from this although being calm Thought to want to make thing as "Tokamachi Akashi Chijimi" which is not others has a glimpse there and obtains. In addition, "times niattasukittoshitamonootsukutteikitaine. For voice called pattern of cool feeling, strength to have just begun more seemed to be put.

    Craftsman profile

    Shigehisa Abe

    It was born in 1929.
    We help father since the age of 18 years old and enter this world once though we become teacher.

    Gleanings

    Tokamachi Woven textiles compendium of seasonal words -10 days town short ballad -

    "There is Echigo noted product many, but is skin snowy to Akashi crepe, good point, temosattemosojanaikatemosojanaika of taste not to be able to speak if we wear…Tokamachi short ballad to begin in ". This folk song sung by Tokamachi Snow Festival showed the name of Woven textiles of Tokamachi to as commercial every year in the life in about 1945. Shinpei Nakayama known as composition having made nursery rhyme such as "soap bubbles." In addition, when melody that was not actually adopted in Tokamachi Komachi in music that we made for this Tokamachi short ballad was that Tokyo leading, or it may be in original song of "Sado love story" of Hibari Misora, it is said to be and is, in fact, famous song and deep folk song of connection. May scene of Tokamachi in surely these lyrics float in head if we hear this tasteful short ballad totally different from recent hit again once?

    • Akashi shrinkage poster

     

Summary

Industrial art object name Tokamachi Akashi Chijimi
Phonetic symbol Tenth town proof shrinkage
Classification of industrial art object Woven textiles
Main product Kimono place
Main production area Niigata / Tokamachi-shi
The designation date November 1, 1982

Contact information

■local production associations

Tokamachi Woven textiles industry cooperative association
〒948-0003
6-1-71-26, Honcho, Tookamachi-shi, Niigata
Cross 10 the fourth floor
TEL: 025-757-9111
FAX: 025-757-9116

http://www.tokamachi-orikumi.or.jp/

■Associated exhibit space, facility

Characteristic

Until prewar days, we were predominant in generation as representative of elegant summer kimono with unique refreshing feel. Although we gradually decreased, production technology is inherited as tradition peculiar to Tokamachi, and production still receives deep-rooted support after the war.

Prior to World War II, Tokamachi Akashi Chijimi were the fashion sensation of Japan’s summer kimonos thanks to the unique refreshing touch of their fabric. Due to austerity after the war, production of the Akashi Chijimi nearly stopped, and the production method became a unique, traditional technique of Tokamachi. Despite the reduced production, even today Tokamachi Akashi Chijimi maintain strong popular roots.

How to make

Expression method of design is the same as Tokamachi Gasuri. Method of twisting (and we do not sleep) includes basic difference and at first we wind up weft of Akashi shrinkage between 1 meter as lower twist (than we did) in kase of single twist of around 300 times of twist tta right twists, left twist and fix. And, as raw silk, we let 30-40% of vegetable compounding paste of the weight of thread which became kase soak in spite of being seared evenly by hand with flexible dyeing as predetermined color. It is around 3,000-3,500 time of twist riokakemasu between 1 meter with eight orders thread plying machine (butterfly does not sleep spread) in this more.

The fabric pattern of Toukamachi Akashi Chijimi is produced in exactly the same method as Toukamachi Ikat fabrics. The primary difference of Akashi Chijimi can be found it the twisting methods for its threads. First the threads are right twisted and then left twisted at 300 turns per meter, and then gathered into bundles. The bundles of raw threads are then gently dyed, while a vegetable starch of 30% to 40% of the total thread volume is rubbed in by hand to ensure even dyeing of all the threads. A traditional Haccho nenshiki silk thread plying machine is then used to twist the threads at 3,000 to 3,500 twists per meter.

Voice from production center

Cloth with splashed pattern and shrinkage with wrinkle change wrinkle by dirts, and stain is apt to get wrinkled. In season to sweat, please do invention such as attaching sweat absorbing gauze to underwear.