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TRADITIONAL CRAFTS

Yomitanzan MinsaYuntanza Minsaa

Opening is product which influence of southern country is strong in in Yomitanzan Hanaori and the same period. Production had been cut off at one time, but it was revived by the elderly who knew old days well.
Mincer means thin obi.

The weaving of this cloth started about the same time as the Yomitanzan Hanaori Fabrics and is similarly characterized by its tropical feel and motifs. Production ceased for a time but was revived by elderly people who knew the techniques involved.

Meaning a narrow obi, minsaa is usually made from a yarn-dyed silk ikat yarn, which is woven up into colorful patterns indicative of tropical taste. Patterns are often floral and sometimes of a complex ikat type.

  • Notification

    skills and techniques

    1
    Assume fabric with a mosaic waving pattern thing woven by the next technique or technique.

     
    (1)
    Assume yarn-dyed vertical ribbed fabric.

     
    (2)
    Use "hand throw shuttle" for implantation of weft.

     
    (3)
    Express crest using "crest stick" or "flower heddle".

    2
    When use cloth with splashed pattern thread, staining of cloth with splashed pattern thread "binds hand"; niyorukoto.

    Raw materials

    Assume thread to use cotton yarn.

  • Work scenery

    As for the mincer of Mt. Yomitan, flower and striped pattern stand out on the entire surface. This picks up the warp (tateito) of part which we want to float using bamboo skewer and, with thing by technique called "gushibana" making crest, is big characteristic of Yomitanzan Minsa. We bind design, cloth with splashed pattern, and be dyed, and overall flow warps, and it is texture.

    Process 1: Design

    We design with color pencil on graph paper. It is jimbana (money flower), Kajima yeah (windmill), three floral design of ojibana (Ougi flower) to become basics. We put more than 30 kinds of aestheometry and cloth with splashed pattern and stripe that arranged this together and think about design.

    Process 2: We bind cloth with splashed pattern (we graze and bind)

    We paste and pull the warp of part becoming cloth with splashed pattern and dry. We bind part which we do not want to dye with cotton thread. As cotton closes when we suck water, dye is hard to enter. We bind with 8 millimeters, 6 millimeters, width of 1 centimeter at regular intervals each. We dye if we finish binding. We use Fukugi, tekachi (Rhaphiolepis umbellata), ghoul (Smilax china), chinquapin, Ryukyu indigo plant for dye.

    Process 3: Filature

    We wind up to winding, bobbin in skeane (lend) to make it easy to use thread.

    Process 4: Warp

    It is work to fix texture width and the length of the mincer. It goes down and makes length even with the number of warps. 32 threads enter width of 1 centimeter.

    Process 5: Temporary reed (we cut and suppose) is consecutive

    We put through reed of width that wants to weave thread which we warped. We put through eyes of reed with two of upper thread and lower thread as Class person. We maintain width of 10 centimeters of mincer 320.

    Process 6: Scroll of sutras (vertical firewood)

    We pull thread through reed and fix and wind up. We mind so that the tension becomes uniform.

    Process 7: Heddle (we grow so on) is consecutive

    We take off reed once and put through heddle. We distribute one thread back and forth and let go through. Weft enters between the warps in this neatly.

    Process 8: Scroll of sutras (vertical firewood)

    We pull thread through reed and fix and wind up. We mind so that the tension becomes uniform.

    Process 9: Texture

    We weave the warp of part which we want to float in technique of gushibana to pick up with bamboo skewer.

     

  • Close-up

    Mincer that flower and striped pattern were embossed in one side is narrow obi which seems to be Yomitan mountain known as flower texture

    Indigo dyeing is basic, but colorful thing is made now. We asked Aragaki who dealt with dyeing in Mt. Yomitan past step.

     

    Traditional obi which is woven in each place of Okinawa

    In "min of mincer," cotton, "Sir" mean narrow io. This narrow obi is still woven in Shuri, Yaeyama, Yonaguni and some districts of Okinawa other than Mt. Yomitan. Thing approximately 10 centimeters in width is basic by indigo dyeing, but design and technique vary according to land slightly.
    As for the thing of Mt. Yomitan, flower and striped pattern stand out to bluish ground. It is technique called "gushibana" which makes crest while picking up the warp (tateito) using bamboo skewer. Influence of Southeast Asian fabric with a mosaic waving pattern is strong. It spreads out for the Ryukyu kingdom era and was cut off in the Meiji era, but is reviving with flower texture now.
    Person engaged in Woven textiles has predominantly many women in Okinawa. Man is not rarely in charge only of dyeing in that. We asked Takashi Aragaki who continued dyeing of mincer and flower texture for 27 years story.

    Takashi Aragaki who works on dyeing silently

    Dyeing and weaving of Yomitan mountain which walked steep way to revival

    We graduated from university, and Aragaki knew neither mincer nor flower texture when there was not room. It remained in memory from age subtly, and both declined just before the extinction. It is 1964 that Yomitan-son has begun to work on revival. It was the center of high growth in those days. Voice why must keep handweaving in the times of mass production was strong, and way was steep. If there is not even texture plane, there is not person having knowledge of dyeing. We were chosen to Aragaki who majored in chemistry at university.
    It "is 1973 that I began. Because we studied chemistry, we were able to understand dye and mordant caused what kind of chemical reaction, and why this color appeared"
    Existence of Aragaki who knew theory as well as experience and perception must have been reliable for person of the circumference.
    Still trouble did not die out. If we dye a large quantity of threads at a time even if it is revealed by brain, we cannot get the point. While we struggled, thread became soggy, and it has been said, "filature girl cannot do it with this thread" from person who wove.

    Popularity as production does not catch up with now

    It was cause of worry that product was not sold. There was not acquaintance with wholesale dealer and did not know where we should take to.
    We moved important point to silk from cotton and devised pattern of obi and investigated preference of consumers. We increased colored articles. Only family with samurai antecedents of Shuri was able to wear colored articles in old days in Okinawa. Only black and dark blue were permitted general public. As for the mincer, as for the kimono of flower texture, dark blue is basic. We listened to voice of visitor in exhibition and came to dye various colors.
    Production did not catch up with now as a result that we continued keeping handweaving, and various efforts grew.
    "We are gradually reliable, but are glad that we grow while Traditional Craft retreats in the whole country. There were sales of 130 million yen last year in association. There are three places of local studios in village, and everybody uses. Production center should be gathered up"
    Successor is brought up smoothly, and new work is created in sequence.

    Craftsman profile

    Takashi Aragaki (we let you burn Shingaki)

    It was born in 1949. Yomitanzan Hanaori business cooperative association's director. We work on dyeing while bringing up the next generation.

    Gleanings

    We want to find imminent senzai which, by the way, is new

    In Mt. Yomitan, we perform dyeing with vegetable dyes. Deep dark-blue can be dyed in Ryukyu indigo plant. As for the yellow, brown boils thing which broke trunk of tekachi (Rhaphiolepis umbellata) with pan in peel of a tree of Fukugi very much each. We soak thread into dye and it is repeated until it becomes beautiful color and dyes. We use tree of Goole (Okinawa Smilax china) where brown is given to elsewhere and chinquapin becoming beige. Iron, color to be dyed why you make mordanting including lime change.
    Materials of dyeing use thing growing wild. Approximately 100 union members of Yomitanzan Hanaori business cooperative association gathered and went the other day to dig Goole on mountain. We gather share in a mass for one year. As it is not usable when ghoul dries in something like potato, we bury in the underground and save.
    There seem to be a lot of experienced Aragaki wanting to do it still more for a little less than 30 years.
    "We think color of Traditional Craft after all to use local thing. Because most of the trees and plants work as everybody, we are thinking that seaweed which wants to challenge different thing, and is produced in rouge potato of special product of Yomitan and the sea nearby is not usable.

    • Thread which was finished dyeing with the trees and plants

     

Summary

Industrial art object name Yomitanzan Minsa
Phonetic symbol yomitanzamminsa
Classification of industrial art object Woven textiles
Main product Obi
Main production area Okinawa / Yomitan-son, Nakagami-gun
The designation date June 2, 1976

Contact information

■local production associations

Yomitanzan Hanaori business cooperative association
〒904-0301
2974-2, Zakimi, Yomitan-son, Nakagami-gun, Okinawa
TEL: 098-958-4674
FAX: 098-958-4674

http://www.yomitanhanaori.com/

■Associated exhibit space, facility

Characteristic

In fabric with a mosaic waving pattern thing which assumed cloth with splashed pattern thread of yarn-dyed cotton material, we are known for handle design filled with sense of color of southern country characteristic. Designs include gushibana, heddle flower (flower to ask so for), cloth with splashed pattern.

Yomitanzan Minsā is a textile with unique tropical colors that are made from ikat dyed cotton. Gushibana, sokobana and kasuri are popular patterns seen in the Yomitanzan.

How to make

We throw out hand to implantation of weft, and, using shuttle (hi), as for the fabric with a mosaic waving pattern thing, cloth with splashed pattern thread when we use cloth with splashed pattern thread using crest stick or flower heddle dyes shukatsu (kuku) ride, and technique is the hardly same as Yomitanzan Hanaori.

Most methods are similar to Yomitanzan Hanaori. This also shares weft throwing by hand-shuttle, textiles with monbo or hanasoko and ikat dying.

Voice from production center

Combination of five and four is arranged for pattern of cloth with splashed pattern in turn, and, "the life, it is long when when to the world", and meaning, "please come as for the design similar to foot of centipede of both ends frequently" again is expressed. We float the warp on this with bamboo skewer and are finished weaving.