Shuri OriShuri Fabrics

Ryukyu kingdom of the 14th to the 15th century traded with with Southeast Asia and Chugoku flourishingly and learned technique of texture by the interchange. Ryukyu Woven textiles with various individuality that repeated time of the next several hundred years, and were brought up in climate climate of Okinawa was brought about.
In Shuri that prospered in that as castle town of King Shuri prefecture, was pursued color, pattern to the ultimate together for noble, family with samurai antecedents of King prefecture, grand, is calm, and do, and Woven textiles which is *bi weaves and is inherited, and continue up to the present day.

Trade flourished between the kingdom of Ryukyu and China and South East Asia during the 14th and 15th centuries and weaving techniques were learned through these exchanges. Nurtured by the Okinawan climate and developed over the centuries, a number of textiles, each with their own characteristic traits, came into being. One of these was a cloth produced in Shuri.
The court nobility and warrior families of this castle town found the color, patterns and quality of this cloth very appealing. And, as a stylistically poised cloth of boundless beauty, it is still being woven today.

Perhaps the most conspicuous feature of Shuri Ori is the colorful weaving of everything from figured cloths to ikats. Amongst these, hanakura-ori and doton-ori were produced for the exclusive use of the royal family and court nobility, and were only woven in Shuri. Cloth is still woven for kimono and obi but some is also used for table centers.

  • Notification

    skills and techniques

    When it is to Shuri cloth with splashed pattern, do with cloth with splashed pattern Woven textiles woven by the next technique or technique.

    Assume yarn-dyed plain weave.

    Use "hand throw shuttle" for implantation of weft.

    "Match" "vinegars texture" or staining of cloth with splashed pattern thread "binds hand"; niyorukoto.

    When it is to Shuri flower texture, do with fabric with a mosaic waving pattern thing woven by the next technique or technique.

    Assume yarn-dyed plain weave.

    Use "hand throw shuttle" for implantation of weft.

    Express crest using "flower heddle" or "embroidered pattern shuttle".

    When it is to Shuri way texture to hang around, do with fabric with a mosaic waving pattern thing woven by the next technique or technique.

    Assume yarn-dyed plain weave.

    Use "hand throw shuttle" for implantation of weft.

    Express crest using more than 4 heddles.

    When it is to Shuri Hanagura texture, do with fabric with a mosaic waving pattern thing woven by the next technique or technique.

    You see yarn-dyed plain weave and garami, and assume mixed organization texture of texture.

    Use "hand throw shuttle" for implantation of weft.

    Express crest using "flower heddle" and "silk gauze heddle".

    When it is to Shuri mincer, do with fabric with a mosaic waving pattern thing woven by the next technique or technique.

    Is yarn-dyed; pass, and assume ribbed fabric.

    Use "hand throw shuttle" or "board shuttle" for implantation of weft.

    Express crest using "colorful bamboo stick" or "flower heddle".

    Raw materials

    You spin, and perform raw silk, dupion silk, way of silk floss of thread to use with thread, cotton yarn, hemp thread or Basho thread.

  • Work scenery

    There is a great variety of Woven textiles in Hanagura texture, flower texture, way texture, cloth with splashed pattern, mincer, Shuri including handkerchief to hang around. Thread uses cotton, hemp mainly on silk thread. We see work process of cloth with splashed pattern here. Cloth with splashed pattern of Shuri is said to be model of cloth with splashed pattern in technique of unique match.

    Process 1: Design design

    We decide design in reference to illustrated map books. Basic form of pattern is to Shuri cloth with splashed pattern. This is said to be the origin of Japanese cloth with splashed pattern. There are many flowing river, cloud, animals and plants, imminent things including life article, and basic forms exceed 500 kinds. Original design is born by combination.

    Process 2: Filature

    We do refinement to remove impurities of thread and work as filature girl who pasted more.

    Process 3: Warp

    It is the number of threads necessary for one share and work to fix length.

    Process 4: We bind cloth with splashed pattern

    We mark the warp which we swell and lengthened according to design and we bind hand and do cloth with splashed pattern. Small cloth with splashed pattern hard to please uses teiki by hand binding. Weft which we warped decides the number and the length of the cloth with splashed pattern according to design and makes wide small gaseo from cloth width. We bind small gaseo and form on stand and we touch sumi on design street and bind hand and do.

    Process 5: Dyeing

    We use plant growing wild in Ryukyu indigo plant, Rhaphiolepis umbellata, Okinawa including Fukugi for dye. It takes 2 weeks in winter for one week in indigo plant dateha, summer for indigo dyeing. Indigo plant flower is reddish and can dye when liquid is tinged with blue. We put thread in the indigo plant pot and let dye soak in thread as if rubbing lightly by hand. Thread which we dyed hardens and overcharges and lets you become air acid and dries with direct rays of the sun. Gold decocts skin of Fukugi and makes dye. Dyeing is work to need perseverance to repeat work many times.

    Process 6: Preparations for texture

    Line up to design and we are enlarged and stretch out cloth with splashed pattern thread which solved binding. We make cloth with splashed pattern thread, stripe thread, interrupt of homespun thread. Then, temporary reed is consecutive, and rewind, heddle are consecutive and do reed all through. After having put out for cloth with splashed pattern, we put weft in winding, the shuttle to Kosuge.

    Video is played when we click image

    Process 7: Texture

    We weave carefully while moving weft, and matching pattern. We wash and do tension and are completion.

    Video is played when we click image


  • Close-up

    Grand Woven textiles which descends from Imperial Court culture

    King of Ryukyu prefecture was put, and various Woven textiles developed in Shuri where the imperial family and family with samurai antecedents lived in. Fabric with a mosaic waving pattern and splashed pattern such as Hanagura texture, flower texture, way texture to hang around are refined refined kimonos at the center. We asked Chiyo Tokuyama authorized by Okinawa industrial arts person story.


    Hanagura texture which queen, princess wore

    Based on design book "illustrated map book which designer of King Shuri prefecture made," King of Ryukyu prefecture let Miyako and Yaeyama countrywoman weave cloth. We gave particularly good thing for Shimazu feudal clan and Chugoku, and family with samurai antecedents of Shuri wore the remainder. In house of family with samurai antecedents, women wove thing which family wore. It is said that there were words to speak unlike other areas in Shuri where noble, a lot of family with samurai antecedents live in. Woven textiles brought up in such a town is Shuri Ori.
    We visited studio adjacent to home of Tokuyama. We settle Shuri Ori from design to finish not division of labor alone. Paper and thread which we wrote design were put in studio, and three planes formed a line. Hanagura texture for texture hung over one.
    Formality is the highest in Hanagura texture in Shuri Ori with summer kimono which Queen of Ryukyu, princess wore. We add to flower texture to incorporate small square point in like flower and put transparent silk gauze in Ichimatsu doll and the diamond. Translucency of silk gauze makes cloth look look slightly cool.

    Work of colorful Tokuyama

    Thought that was put on each cloth

    We burnt down after the establishment of prefectures in place of feudal domains, but high technique of Hanagura texture revived in postwar period. Process of texture is complicated and is wrong as soon as we are not careful. It is approximately 30 centimeters a day to advance even if we weave. The backside of crotch which board of texture plane hit aches with stinging when we finish weaving one.
    "We think that old person thought about so serious thing well. As it is tough, there are few people who want to weave. I do it in the afternoon in the morning only for around two hours for two hours, too. It is difficult to weave for a long time."
    Tokuyama stores sample of cloth which we wove to wicker box made of wisteria during 30 rest of life. We had you show other works. When we take out one piece of around 30 centimeters of cloth, he/she opens. There are texture, obi material which men's ways with stripe hang around in thin pink pretty flower texture, dark green and the dark blue ground. Memory such as joy that got thank-you letter from thought that we wove, person who wore for joy, daughter who did well at design to each piece was clogged up.
    As well as fabric with a mosaic waving pattern such as flower texture and way texture to hang around, Shuri is well known for cloth with splashed pattern. Tokuyama liking the first tijima (hand stripe). In pattern that splashed patterns such as chicken enter lattice, it is said that we are just looking and are fun. There is thing of bold color to hark back to Madras check, and Shuri cloth with splashed pattern has charm to attract to person unfamiliar to kimono.

    Obi material is displayed to Naha-shi Traditional Craft building

    When we weave and get nervous, smile spills

    Tokuyama began texture by instruction of Hatsuko Miyahira of living national treasure in one's youth.
    "Teacher was very graceful and told language and manners. Because there was respect, we were able to arrive. It became fun and was not stopped when we began. We still think that we can do only this without doing housework. We really thank teacher."
    There is not, or method to do Hanagura texture to suffer from at time more quickly still repeats whether it is said, and it is not possible for handle invention while seeing work of old Woven textiles and teachers of Okinawa.
    While "now thinks calmly from youth pressed by delivery of goods, we can do it. But we think that I must do more when we see young people do it hard."
    When good color appears at the time of dyeing unexpectedly, and we begin to weave, and there is handle just as wanted, there is joy for each process. When we wove and got nervous and looked, it was that smile spilled automatically and did not stop.

    Work that concentration and perseverance need texture

    Craftsman profile

    Chiyo Tokuyama (town as soon as we untie)

    It was born in 1926. We are authorized by Okinawa industrial arts person first. Naha tradition Woven textiles business cooperative association's former director.

    Chiyo Tokuyama who talks with calm expression


    Traditional power to soak into body before we know

    Creator each one thinks about design of Shuri Ori. Individuality appears by person, why is it that decorum which all have the same is felt to thing of Shuri?
    As for Misako Azama of director who deals with instruction of class life while working on work, it is said, "it may reach from land and air, thing.". All the beginning takes class with feeling to want to try texture. Historic background understands that we handle number and continue for several years. We seem to soak into body before something like extract of Shuri Ori knows.
    "Thought whether let's give such a color from that is born. Therefore, with the same flower texture, collar of production center exits."
    In much Okinawa of island, climate and words and custom vary according to areas. Things which we soak into if different should be different. A certain unit-related Woven textiles develops in each place.
    After having listened to such a story, we met work of Azama by "offing exhibition" that art industrial artist of Okinawa exhibited. As for the standard length of cloth for kimono of flower texture which tea and green lattice entered in bright yellow that we dyed in Fukugi, there was refined activeness of Shuri.

    • Fukugi who becomes yellow dye. We use skin mainly

    • tokkurikiwatan which light pink is over



Industrial art object name Shuri Ori
Phonetic symbol shuriori
Classification of industrial art object Woven textiles
Main product Kimono place, obi, table center
Main production area Okinawa / Naha-shi, Nishihara-cho, Nakagami-gun, Haebaru-cho, Shimajiri-gun
The designation date April 27, 1983

Contact information

■local production associations

Naha tradition Woven textiles business cooperative association
2-64, Shuritoubarucho, Naha-shi, Okinawa
TEL: 098-887-2746
FAX: 098-885-5674

■Associated exhibit space, facility


It is characteristic of Shuri Ori that it is various and is woven from texture to cloth with splashed pattern. It was said that Hanagura texture (hanakuraori) and way texture (dotonori) to hang around were for particularly exclusive use of royal family, noble in that and was woven only in Shuri.

Shuri Ori is a colorful textile in every part of the fabric. Among them, hanakura-ori and doton-ori are woven exclusively in Shuri and worn only by kings and royalties.

How to make

As for the raw materials, as for the dye, traditional Woven textiles such as Shuri cloth with splashed pattern, Shuri flower texture, Shuri way texture to hang around, Shuri Hanagura texture, Shuri mincer was woven using Ryukyu indigo plant, Fukugi, tekachi, Shibuki, plant dye such as stone roux and chemical dye using natural fiber such as cotton thread, hemp thread mainly on silk thread.

Natural fibers (silk, cotton, hemp etc.)are dyed with plants such as garcinia, rhaphiolepis, myrica, smilax etc., to create traditional clothings such as Shuri Kasuri, Shuri hana-ori, Syuri doton-ori, Shuri hanakura-ori, Shuri Minsā and so on.

Voice from production center

Shuri Hanagura texture is Woven textiles which is the most prestigious among Woven textiles of Okinawa and is summer batter which princess and princess of royal family wore.