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TRADITIONAL CRAFTS

Kyo Kanoko ShiboriKyoto Kanoko Shibori

Tie-dyeing was performed for some time in Japan for one thousand several hundred years and has been used as pattern expression of Imperial Court clothes.
It is said to be "dyeing of dapples" from place where katsu (kuku) rino design is similar to spot of fawn. We ran early in the Edo era from the Muromachi era, and the crossroads came to be performed as dyeing in cherry blossom color flourishingly and it was in the middle of the Edo era and invited the heyday of dyeing of dapples. Wrist has been inherited steadily afterwards.

Shaped resist tie-dyeing, or shibori has been carried out for over a thousand years in Japan and was used for the patterns on court dress. It is known as kanoko shibori, or literally "fawn spot tie-dyeing" because of its resemblance to the spots on a young fawn.
From the Muromachi period (1333-1568) through to the beginning of the Edo period (1600-1868), the tsujigahana style of dyeing was extremely popular but by the middle of the Edo period, Kanoko shibori reached its Golden Age. Since then the skills of the shibori craftsman and woman have been passed on unfailingly from one generation to the next.

There are no other examples of tie-dyeing where the ties are as fine and accurate as they are in the kanoko shibori techniques known as hitta shibori and hitome shibori or have such a distinctive three dimensional quality. Patterns are expressed using a combination of the individual qualities of each technique. Kanoko shibori is used to create patterns on kimono cloths and obi sashes of different types as well as for a variety of other products including wall-hangings and various interior articles.

  • Notification

    skills and techniques

    1
    Use blue-and-white chinas for sketch.

    2
    Binding is thing by any of the following.

     
    (1)
    After doing when it is in prominently dappled cloth to pick up with tiptoe of finger, and to break four, and having done spool more than three times as follows seven times, tighten.

     
    (2)
    When it is in ichimokushibori, you do to pick up with tiptoe of finger, and to break four, and tighten twice.

     
    (3)
    After having tightened by flat stitch when is in kasakanshibori, "roll up"; osurukoto.

     
    (4)
    After having tightened by flat stitch when is in bokoshibori, "wrap skin of" in resist style moiety and "roll up"; osurukoto.

     
    (5)
    When is in hoteishibori, thing by flat stitch, occasion sewing or winding sewing. In this case, you bind, and tighten part uniformly.

     
    (6)
    When is in utashibori, "roll up" and, using utashiboridai, "lower by winding"; osurukoto.

     
    (7)
    When it is in needle prominently dappled cloth, using needle prominently dappled cloth stand, tighten after having done spool more than three times as follows seven times.

     
    (8)
    When it is in hariichimokushibori, using hariichimokushiboridai, tighten twice.

    3
    When do "dyeing in different colors", thing by any of the following.

     
    (1)
    After having tightened by flat stitch when we encounter tie-dying in a wooden tub, you seal resist style part in pail, and dye.

     
    (2)
    After catching between dough which folded template when it is in banteishibori, and having fixed both ends, dye.

    4
    Assume staining dip-dyeing by manual labor.

    Raw materials

    1
    Assume dough silk fabrics.

    2
    You bind, and assume thread silk thread, cotton yarn or hemp thread.

  • Work scenery

    As for the characteristic of "Kyo Kanoko Shibori", there is the three-dimensional impression "to dye partly", and to be born from technique to bind, and to provide fineness of grain and vivid many colors including "prominently dappled cloth" (hitta) and "ichimokushibori" (we turn down the public eye) in beauty that there is. In addition, by combination of each other binding technique, design is expressed and is one of the thing characteristics that moisture and warmth only by handwork are brought about. It depends on thing, but takes days in comparison with common dyed goods before completion from design decision. After when become complete tie-dyeing, design was decided; is around one and a half years until finish. In long-sleeved kimono of complete tie-dyeing, thing more than two years is not rare, too.

    Process 1: Composition, design

    Composition, design is selected as production wholesale dealer by illustrator. Illustrator draws sketch so that design is carried on length, the body according to composition.

    Process 2: Sketch type carving (love and dig person)

    Based on design, we carve small Japanese yen or narrow line on astringent juice paper pattern, and diaphragm sketch opens model.

    Process 3: Sketch imprinting (love and stencil)

    We stencil sketch by brush to cloth and, using paper pattern, do. The system is such that it is revealed what kind of technique you bind this sketch using in hole and line of paper pattern and orders processing technique. In addition, we may make freehand drawing without using paper pattern.

    Process 4: shiborikatsu (we squeeze and bind)

     
     

    Process 5: Bleaching (we vomit hail)

    We bleach blue-and-white china (green leaf) of sketch which we stencild to cloth, other dirts.

    Process 6: Dye partly

     
     
     

    Process 7: Dyeing

    When we dye with plural colors because only one color is dyed by one dyeing, we repeat "be dyed" only for color several minutes and perform. As tie-dyeing dyes what's called "binding" which did special resist style processing, method of "dip-dyeing" to soak dough in dye directly, and to dye has stolen.

    Process 8: yunoshi finish

    We win steam and perform tentering (habadashi) by manual labor. We do finish that we made use of texture of diaphragm in.

     

     

  • Close-up

    From hand of craftsman to hand. Filipendula purpurea which we bind heart and dye

    Beauty of three-dimensional dyeing produced by diaphragm binding. Filipendula purpurea which is brought about by lower illustrator while tying the skill and heart from hand of shiborikatsushi, master of dyeing in different colors, dyer, master of finish and craftsman to hand. We chase heart and the skill of craftsman put on dappled cloth.

     

    Prominently dappled cloth to bind, and to put heart of mother on (we bind), and to look at

    In to see "diaphragm of mother yo kenshinni" what began at the age of 12 years old. We lose mother two years later. motteiru which the skill and thought to mother that we inherited from mother to craftsman of a little prominently dappled cloth, diaphragm of Kazuyo Kawamoto now include. We pick up one, and thick round finger binds one grain of small waterdrop stencild by dough. Silk thread of ama twist is worn to the right finger complicatedly and we bind and take time. Though we do not make knot, it is firm so as that bound mountain rises uniformly firmly and cannot imagine from soft dough of pure silk fabrics. "Prominently dappled cloth" so-called complete tie-dyeing is such a big game for one year to finish. Handwork as blood is stained from finger-tip until we are used. "Two are not narrow at once even if we hurry so much". In the days of the everyday experience beginning even if "one drop comes to be narrow somehow, the grain disturbs, and the second is not narrow. When at last the second comes to be narrow through hardships, as for the next, the second step is not narrow. Kawamoto "who has not been able to be satisfied" with no past work. "Having had "grandmother saw as kimono which he/she made when adult-type of granddaughter was finished", and the nicest one was said to be and put. It, I did katsu rashitemorota kimono when we saw. We were glad so that words could appear, and they did not pass. If binding is over once and leaves hand, it is said that at first there is not that craftsman sees the finish. It turns out that it is own binding at first sight. We worked as separated own child in one of eyes. It would be such thought.

    Calm personality. While it binds prominently dappled cloth, it will be what kind of thought to appear in heart. In binding, we meet "heart of mother" that we still do childishly and lost and are seen to trace heart uchio

    Refined fluctuation that "there was not technique superior to carefully", and was dyed partly

    How long will it take to understand as craftsman? "It is something like fool if we finally think "to have been identified" in omoi takotonanka, now in the tenth year. We measure up in the 20th year. It is the much same shu rinantenaintochaimasu" . Kazuyuki Yamagishi of the "dyeing in different colors" business third generation. However, "we learn" and say after "only in part that one is basic with oneself noyariyo" no matter how much own father says teacher. "Ugh, we see father noyattorunoo for an instant if we think that we do not go with Maiko. In that way (by the skill) we steal. Division of labor is Traditional Craft of Kyoto of features. Each craftsman finishes own entrusted process for first class sense. Illustrator thinks about diaphragm binding despite division of labor that is how much and dyeing partly thinks about sen and works. "We thought about there feel that there is not one portion when we cannot work. We bind to be dyed neatly, and to get nervous and change and dye partly so that dyeing shines. Merely "may not do it with an effort how either. As for such time, we are disappointed. We think to be ayapparina on seeing what was finished. It "says to illustrator that it writes such a picture to be able to happen. Then person describing becomes easy to image the completion. Information and the attention are put on one "fawn" one and are transmitted. When "person dies out, technique dies out. Knowledge (technically) is accumulated. It is hard to bring back thing which died out once and wants to connect this skill and heart for the fourth generation.

    • It is pleasant not to be lucrative! We study limit of dyeing partly and produce "design of fishing rod and fishing line" experimentally. We step cautiously on mountain climbing of hobby step by step and aim at top. Both work and hobby are fights with oneself. We challenge thing which we cannot compete with with an effort how either

    • It is said that there is still new discovery successively how many years. What felt pressure when "father became Master of Traditional Crafts. We realized, we cannot make thing which seemed to lose face. We say that there is "the finish of "aiming, and that being all" that we think that it was good to work around 1 or 2 times in year".

     

    We put color pictured in heart on "diaphragm"

    Dyer, Hiroshi Kawamoto. We are apprenticed at 17 years old saying "we want to acquire technique". There was a lot of Someya of kokusen, nothing dyed goods in the local area, Yuzen process, but, near the parents' house who was born and raised, was particular about "dyeing of dapples". "There is thing which other dough thing does not have to diaphragm. We hit dyeing and i only for plane, and dough itself was three-dimensional, and it with taste not to be able to say at all attracted Kawamoto. "Dip-dyeing law" that only one color can dye by one dyeing. Even if there is designation of color, we say, "we always keep that we provide color (color with depth and luster) that is better than pornographic book (colorings) in mind". Ability of dyer almost the last process undertakes the skill of all processes, craftsmen of all concerned with till then. Because "we were interested, we hit gen, and rectified sake is not really put. We match dyeing from reason people to soak in liquid, thin color carefully. Carelessness of 1 sun is not permitted, too. It is difficulty of dyeing that all is decided on in instant. "We were apprenticed and, for five years, did only wood-splitting (dyeing pot) and have run away. Hit gen for the next verbal shot clang-clang here to do what. But beat, and thing is only big Honma notoko gen; as for the boss non-cheap; think that did. Because one fawn entrusts completely. Is hot and humid by the steam of pot, and continue standing in raw workshop in winter in the summer; and 50 years. We failed only once. We dyed too much. We have finished dyeing to cloth of white background of diaphragm. In article name which dye company had the same, article number, we changed ingredient of dye. We say, "we still put at hand" to hit wedge against heart.

    • Check including winding. It is dyed the first by amorous glances that we regulated slightly thin. "Dough is rolled up in cross part with diaphragm by all means three-dimensionally and is easy to leave undyed" and confirms in one. It is commonly said, "there are not all the places for hand in Someya of Kyoto in spring to here"

    • The first boiling greens. We regulate color of pot while looking at piece of paper of color designation. "We adjust from slightly thin kana, saying rank. In the case of me, we put together with about 7-8 (color). We can confirm color only in indoor natural light in the daytime. It is game with time

     

    Craftsman profile

    Kazuyo Kawamoto

    (without dissolving river)
    It was born in January 19, 1941. koshiborishiborikatsushi of Kyoto deer. Master of Traditional Crafts

    Kazuyuki Yamagishi

    (yamagishikazuyuki)
    It was born in February 9, 1949. Master of Kyo Kanoko Shibori dyeing in different colors. Master of Traditional Crafts Filipendula purpurea promotion cooperative association secretary

    Hiroshi Kawamoto

    (kawamotohiroshi)
    It was born in March 26, 1929. Kyo Kanoko Shibori dyer. Master of Traditional Crafts kunshichitoaoshokukiriyoshojusho. Filipendula purpurea Master of Traditional Crafts society's vice-chairperson.

    Gleanings

    Filipendula purpurea which shines in living of flooring

    It is the current situation that opportunities to wear even if we like kimono decrease. Hand having one what take that there is not opportunity to wear in "in living." Compact interior that it is usable to distribute corner as blindfold, and two can fold. A lot of new products utilized texture of Filipendula purpurea are devised recently, too. Though both Filipendula purpurea and screen are Japanese-style things well, we shine when we put in living of flooring for some reason. Japanese-style room is good to decreasing recent house circumstances.

    "Noren" which was designed boldly. Grain of white diaphragm seems to emit light. Is traditional Filipendula purpurea, but on tapestry and noren such; is novel, and design utilized the play time is adopted. Though it is very abstract design, we feel light and wind to color and diaphragm. A lot of dyeing accessories see, but after all there is taste that only Filipendula purpurea diaphragm has. Noren shaking for wind creates plane dough three-dimensionally.

     

     

Summary

Industrial art object name Kyo Kanoko Shibori
Phonetic symbol We leave today and overcharge
Classification of industrial art object Dyed Textiles
Main product Kimono place, haori, waist band, obi bustle, article, upholstery in Western clothing
Main production area Kyoto / Kyoto-shi, Kameoka-shi, Ide-cho, Tsuzuki-gun, Kizucho, Soraku-gun, Kasagi-cho, Wazuka-cho, Yagicho, Funai-gun others
The designation date February 26, 1976

Contact information

■local production associations

Kyo Kanoko Shibori promotion cooperative association
〒604-8225
481, Tourouyamacho, Nakagyo-ku, Kyoto-shi, Kyoto
The fifth floor of the dyed goods after Kyoto design hall
TEL: 075-255-0469
FAX: 075-255-4690

http://www.kyokanoko-shibori.or.jp/

■Associated exhibit space, facility

Characteristic

Prominently dappled cloth (make up, and overcharge) said to be fawn in tie-dyeing, expression of unique three-dimensional impression by fineness and binding of the binding grain of ichimokushibori (turn down the public eye) elsewhere of kind there is not. In addition, we put each power of expression that we bind, and technique has together, and design is expressed.

The refinement of the binding techniques employed in the hitta shibori and hitome shibori methods known as kanoko, as well as the unique three-dimensional effect produced by such binding, are unparalleled even among fabrics dyed with shibori techniques. Furthermore, the expressive power possessed by each individual binding technique is further enhanced in patterns produced by combining different techniques.

How to make

We draw sketch and put in the cloth and engineer who binds, and has technique of one kind of one squeezes and performs binding and performs tie-dying in a wooden tub (put and squeeze), dyeing in different colors resist style of bokoshibori for next polychromatic dyeing and we dip into dye and dye and we dry and untie thread and we do steaming tentering and are completed afterwards.

Rough sketches are drawn directly on the fabric which is then tied by craftsmen with individual expertise in each technique. Next, the fabric is dyed by immersion after “oke-shibori” and “boshi-shibori” (resist dyeing for multicolor dyeing) are performed. Then, the fabric is dried and the threads are removed. Finally the fabric is steamed and tentered.

Voice from production center

As tie-dyeing uses special technique called binding, we dislike moisture. Diaphragm grain improves when we include moisture and may discolor. When you became dirty, please provide in dry cleaning. It is important we air 1-2 times in year, and to draw air.