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TRADITIONAL CRAFTS

Yonaguni OriYonaguni Fabrics

Yonagunijima is island of border at the westernmost tip of Japan. The history of Woven textiles born in this island is old, and it is thought that there is the history of about 500 years from old documents.
It is thought that we have been already put as tribute in the early 16th century. When it was hard to obtain thread after the war, we untied net of fishery and wove cloth.

Situated on the extreme western boundary of Japan, records show that weaving on Yonaguni Island dates back some 500 years, and cloth was already being paid as a tax during the 1520s. During the difficult times after World War II, fishing nets were unraveled to provide yarn for this cloth, which is still woven by the women, who devote so much time producing this cloth that is very representative of the island's natural environment.

Some of the cloth is made up into formal kimono which are restrained and undemonstrative in character, represented by the itahanaori shidati and Yonaguni hanaori. The yarn dyed, plain woven traditional cloths are used for everyday kimono that have an appealing simplicity springing from the environment in which they are woven coupled with the sincerity of their makers

  • Notification

    skills and techniques

    1
    When it is in Yonaguni dutati, do with island Woven textiles woven by the next technique or technique.

     
    (1)
    Assume yarn-dyed plain weave.

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

     
    (3)
    When use cloth with splashed pattern thread, staining of cloth with splashed pattern thread "binds hand"; niyorukoto.

    2
    When it is to Yona national flower texture, do with fabric with a mosaic waving pattern thing woven by the next technique or technique.

     
    (1)
    Assume yarn-dyed plain weave.

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

     
    (3)
    Express crest using "flower heddle".

     
    (4)
    When use cloth with splashed pattern thread, staining of cloth with splashed pattern thread "binds hand"; niyorukoto.

    3
    When it is in Yonaguni kagannubu, do with cloth with splashed pattern Woven textiles woven by the next technique or technique.

     
    (1)
    Assume yarn-dyed vertical furrow texture.

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

     
    (3)
    Staining of cloth with splashed pattern thread "binds hand"; niyorukoto.

    4
    When you meet on Yonaguni fern day, do with fabric with a mosaic waving pattern thing woven by the next technique or technique.

     
    (1)
    Assume yarn-dyed flat Woven textiles.

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

     
    (3)
    Express crest using "flower heddle".

    Raw materials

    Assume thread to use silk thread, cotton yarn, hemp thread or Basho thread.

  • Work scenery

    There is shidati interweaving dutati and kagannubu of plain weave, weft which we dyed in Yonaguni Ori, but sees process of Yona national flower texture here. Flower texture is kind of fabric with a mosaic waving pattern, and small floral design stands out. We incorporate red and yellow filament in plain weave of checked pattern. Not division of labor, we perform processes from design to texture alone.

    Process 1: Design

    We design on graph paper. Five ichichimbana, four duchimbana are basic floral design dachimbana, point representing flower at eight small square points. It is likely that it seems to be Yonaguni to place this in checked pattern.

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

    We put silk thread aside and bind part which we do not want to dye with cotton thread. When cotton sucks in moisture, dye becomes hard to soak into stripe.

    Process 3: Dyeing

    Plant that dye grows wild in island is the center. We use fugun (Fukugi) which yellow is over, brown tiguti (Rhaphiolepis umbellata), beige or black Kasagi (Mallotus japonicus), indigo blue. We do mud dyeing.

    Process 4: Filature

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

    Process 5: Warp

    It is work to fix texture width and the length of the piece goods for one kimono. It goes down and makes length even with the number of warps.

    Process 6: 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.

    Process 7: Scroll of sutras (vertical firewood)

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

    Process 8: 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 9: Flower heddle cliff

    We put thread through flower heddle. Design of flower texture is decided here.

    Process 10: Texture

    We weave while raising and lowering flower heddle. We usually finish weaving 1tan in 1-2 months.

     

  • Close-up

    Yonaguni Ori which still breathes in living

    Yonagunijima where Taiwan is seen on day when it was fine is located at neighborhood 27 kilos, the westernmost tip of Japan. In this island with custom to distribute spool to in celebration of the eighty-eighth birthday of woman, individual Woven textiles was made in relaxed time.

     

    Cloth which 30 women weave freely

    Yonaguni Ori is Yona national flower texture, dutati, shidati, generic name of kagannubu. We were taught one one of the cloth which sounded like foreign language by Tokumi Sakimoto. Sakimoto acts as grandchild of Tokuyoshi Masa who revived Woven textiles of island that declined. We experienced Ryukyu Kasuri in the same way in Haebaru-cho of Honjima in industrial arts instruction place of prefecture in Okinawa Island for three years in 2 and came back to Yonaguni. 30 women are working on dyeing and weaving now in island. Young woman in her 30s plays an active part in Sakimoto in the first on the list from late 20s. One is in charge of dyeing, texture and can advance from design at own pace.

    Color of incorporated flower from Taiwan

    It is Yona national flower texture to be woven most. As for the representative pattern, red and yellow "flower" enter white and black checked pattern. We display flowers like cinq of the dice by meeting of small square point and locate in diamond. By the number of points, it is called dachimbana (eight), ichichimbana (five), duchimbana (four).
    White and black are colors to be in island for a long time, but, as for Sakimoto, it is said, "red and yellow entered at trip.". It is meaning of going for "trip" outside island. It is maridatta at the beginning that we untie obi which person who went to Taiwan took home with him/her, and interwove red and yellow thread. Taiwan is much nearer in comparison with Okinawa Island let alone the mainland. Relations are close, and most people 70 years or older have experience that they went to Taiwan for by work and study from old days.
    Flower texture that black tightened red and yellow flower was pretty and was calm flavor.

    • We put flower and stripe together and make various patterns

    • Design book which a lot of traditional patterns were at a loss for

    • We record cloth which we wove. This is flower texture

    dutati which has been loved by people in island

    At production center of Woven textiles of Okinawa, it is rare to see scene that local person wears the Woven textiles. This is almost because is sold on the mainland. Meanwhile, it is "dutati" that Shimauchi consumption exceeds 90%. Kimono of monochrome blue lattice pattern to weave with * nda thread and cotton from ramie (choma). It was farmclothes which did field work originally. Tight sleeve of a kimono with collar which there is not distinction of man and woman, and is black. There is length only to calf. The second place is economical kimono to be able to make at 1tan.
    Above all most common "gobandutati" is gingham check. "It is good, and is this trendy pattern? We are asked about this and feel regrettable. Saying is traditional pattern of Yonaguni; as for saying is; Sakimoto.
    All the people of island wrap the body in this kimono at the time of rich year festival of June in the old calendar. There is baby use, and there are many people buying for grandchild far distantly.
    We tighten stiff obi of thin cotton called "kagannubu" in dutati. Splashed pattern called mincer is narrow obi of cotton which entered in other districts of Okinawa.

    Tokumi Sakimoto dressed in dutati and kagannubu

    shidati to weave while praying for the safety of trip

    Last "shidati" is Japanese towel called tisaji in Okinawa Island. Seven colors of threads are interwoven in material of white cotton. We pray for the safety of person going on a trip and gave, and we wear a headband in this and put in coffin when person still dies. Dead person grows at the age of woman more beautifully.
    When ask Sakimoto charm made with Woven textiles, "I like time weaving. It is said, it is pleasant to be finished on cloth. Though silk, cotton, ramie are spent now, "is using other material in island. There was thing tried in the eyebrows of yonagunisan (moth of natural monument), the past including agave, but talked about ambition saying we want to find new thing.

     

    shidati. It is gobandutati to have spread below

    Craftsman profile

    Tokumi Sakimoto (it blooms and considers that it is the cause)

    It was born in 1967. We learn dyeing and weaving of various places throughout Okinawa in industrial arts instruction places of prefecture and work on Yonaguni Ori.

    Gleanings

    We use only thing good for the health in plant

    We use plant growing wild in island for dye in Yonaguni Ori. fugun (Fukugi) which yellow is over, brown tiguti (Rhaphiolepis umbellata), beige and black Kasagi (Mallotus japonicus), indigo blue……. Every branch uses hibiscus and may give light green.
    We are tainted with color of this land even if we use plant same as other islands. Rhaphiolepis umbellata is brown in Okinawa Island, but becomes color tinged with pink here.
    "It is said that it may be result of water. Sakimoto says, water here has much lime.
    We look for materials of dyeing by oneself from island to do both dyeing and texture alone. As way and the number of times vary according to people, it does not seem to become the same color.
    "We use only thing which we can eat with the imminent trees and plants. Do not be bad for person who puts on kimono to person to decoct either." Because goat eats leaf of banyan tree with pleasure, it is all right. Yonaguni Ori is made with hand of gentle people who think so.

    • Sakimoto who dyes. Good flavor that cooks adzuki bean

     

Summary

Industrial art object name Yonaguni Ori
Phonetic symbol yonaguniori
Classification of industrial art object Woven textiles
Main product Kimono place, obi, decoration cloth
Main production area Okinawa / Yonaguni-cho, Yaeyama-gun
The designation date April 18, 1987

Contact information

■local production associations

Yonaguni-cho tradition Woven textiles cooperative association
〒907-1801
175-2, Yonaguni, Yonaguni-cho, Yaeyama-gun, Okinawa
The Yonaguni-cho Traditional Craft building
TEL: 098-087-2970
FAX: 098-087-2973

http://www.yonaguniori.org/

■Associated exhibit space, facility

Characteristic

Yonaguni Ori is one article of simple handicraft which be dyed, and was finished weaving by Yona national flower texture which we hid board flower texture shidati and elegance of fabric with a mosaic waving pattern thing in, dutati of flat Woven textiles reaching as arrival at daily life of people in now, climate such as kagannubu of furrow Woven textiles and true heart of people.

Yonaguni Ori is a rustic fabrics woven and dyed by hands of the people of Yonaguni. There are varieties such as patterned sidati and magnificent hana-ori, plain woven dutati for daily clothes and ridged kagan’nubu.

How to make

Refinement (seiren) of thread → Thread dyeing → Spool → Warp → Paste tension → We break in stripe → Temporary reed keeps on (we cut and suppose) → We pass and wind up → Confirmation of stripe break → Heddle keeps on (we keep on asking so) → (flower heddle keeps on) → Reed is consecutive → Beginning to weave → Getting out pattern → Weave → Washing → Inspection → It becomes product.

Threads are scoured, dyed, spooled, warped, glued, arranged for stripes, provisionally sleyed, taken up, confirmed, heddled through including hanasoko, sleyed, gaited, patterned, woven, washed, inspected and then become products.

Voice from production center

Woven textiles interweaves time when nature and woman weavers of island are far-off in culture of woman, here Yonaguni.