Adeyto LIVE Japanese Embroidery Silk Kimono Crafts Shinjuku TAKASHIMAYA 2018
14.2 هزار بار بازدید -
7 سال پیش
-
Right now and going on
Right now and going on until January 23rd 2018 Tokyo Government creates this space where you can see with your own eyes how various JAPANESE TRADITIONAL Artifacts are made!! So many different crafts are presented here!! A MUST SEE if you are in Tokyo these days otherwise I tried to capture it LIVE for you! Here we witness the Kimono Embroidery with Real Gold thread & Silk threads. The difficult part is to match the design on the front and side of material everything has to fit perfectly the flowers have to look like one piece. That explains why Japanese Kimono ends up costing $10000 a piece!! Japanese artisans have used embroidery to create opulent effects on kimono -- especially lavish wedding kimono. With silk floss and variations on the "long and short stitch" or satin stitch, hira-nui, they have built up entire motifs, as in the feathers below. Some forms have even become three-dimensional.
Gold and silver threads are made of foil applied to thin membrane or paper strips which are wrapped around silk threads. These metallic threads cannot be stitched through the silk fabrics, so they are traditionally "couched": laid on the fabric surface and stitched down with fine silk threads. Motifs may be outlined with gold couching or entire motifs may be formed with metallic yarns placed side by side. The technique is called shusu.
Surihaku
Sometimes, along with colored dyes, gold or silver metallic foil is applied to the fabric surface, creating lavish effects. Rice paste is first applied to the fabric in design areas -- either drawn freely (as at the right), or stenciled (as below). Then metallic leaf is pressed onto the partially dried rice paste. The foil falls away in surrounding areas. In the past, surihaku decoration was widely used on dramatic Noh theatrical costumes, and its use continued on lavish formal kimono and ceremonial uchikake wedding kimono.
With a dyeing technique invented in 17th century Kyoto, a mixture of rice paste and soybeans has been used to draw delicate free-hand linear motifs on white silk. An artist squeezes the paste through a funnel-shaped container much like a small pastry bag (below left). After this paste resist dries, he paints the areas on both sides of the lines with brushes, using the desired dye colors. Delicate shaded effects can be created, and the rice paste outlines prevent the dye from seeping into surrounding areas. Even broad expanses of the background color are dyed in this manner -- by hand painting. The most characteristic features of kimono ornamentation made in this way are subtle color gradations and narrow, flowing light lines that outline the motifs.
For areas of wide, regular repeats, artists may apply their rice paste through intricate stencils with squeegees. Then after the paste has dried, they apply their colored dyes with brushes. When all of the painting is finished, the worker steams the kimono silk to set the dyes, and washes out the rice paste. Because of the time involved and the artistry required, yuzen dyed kimono have always commanded high prices. They were often commissioned by special clients.
Gold and silver threads are made of foil applied to thin membrane or paper strips which are wrapped around silk threads. These metallic threads cannot be stitched through the silk fabrics, so they are traditionally "couched": laid on the fabric surface and stitched down with fine silk threads. Motifs may be outlined with gold couching or entire motifs may be formed with metallic yarns placed side by side. The technique is called shusu.
Surihaku
Sometimes, along with colored dyes, gold or silver metallic foil is applied to the fabric surface, creating lavish effects. Rice paste is first applied to the fabric in design areas -- either drawn freely (as at the right), or stenciled (as below). Then metallic leaf is pressed onto the partially dried rice paste. The foil falls away in surrounding areas. In the past, surihaku decoration was widely used on dramatic Noh theatrical costumes, and its use continued on lavish formal kimono and ceremonial uchikake wedding kimono.
With a dyeing technique invented in 17th century Kyoto, a mixture of rice paste and soybeans has been used to draw delicate free-hand linear motifs on white silk. An artist squeezes the paste through a funnel-shaped container much like a small pastry bag (below left). After this paste resist dries, he paints the areas on both sides of the lines with brushes, using the desired dye colors. Delicate shaded effects can be created, and the rice paste outlines prevent the dye from seeping into surrounding areas. Even broad expanses of the background color are dyed in this manner -- by hand painting. The most characteristic features of kimono ornamentation made in this way are subtle color gradations and narrow, flowing light lines that outline the motifs.
For areas of wide, regular repeats, artists may apply their rice paste through intricate stencils with squeegees. Then after the paste has dried, they apply their colored dyes with brushes. When all of the painting is finished, the worker steams the kimono silk to set the dyes, and washes out the rice paste. Because of the time involved and the artistry required, yuzen dyed kimono have always commanded high prices. They were often commissioned by special clients.
7 سال پیش
در تاریخ 1396/10/29 منتشر شده
است.
14,200
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