Yūzen
Yūzen ( Japanese 友 禅 , also: 友 禅 染 , Yūzenzome ) is a Japanese handicraft technique for applying colored patterns to fabrics. It is a reserve dye, in which rice paste is applied to the fabric so that only the areas not treated with it take on color during the dyeing process. Nowadays, paper templates ( 型 紙 , katagami ) are often used, with the help of which patterns are printed on the fabric.
The technique was developed in the early Edo period . The name is derived from the name of the dyer and fan painter Miyazaki Yūzensai ( 宮 崎 友 禅 斎 , 1654? -1736?), To whom the development of today's Kyō-Yūzen ( 京 友 禅 ) technique is ascribed. This technique originally used in Kyoto ( 京 ) was used to provide white silk fabrics with colored patterns. In addition, a separate form developed in Kanazawa in the Kaga fiefdom (today: Ishikawa Prefecture ) called Kaga-Yūzen ( 加 賀 友 禅 ). During the Meiji period , Hirose Jisuke (1822–1890) expanded the Yūzen technique to include the use of paper stencils, the katagami .
With the advancing development of chemical dyes in the middle of the 19th century, the splendor and complexity of the Yūzen patterns also increased. The technique was especially for the Furisode - Kimono used unmarried women and combined with gold embroidery.
overview
In contrast to the use of katagami, the original technique of Yūzen is complex and involves a multitude of work steps. First you sketch the pattern to be colored on the fabric. For this purpose, pigments of the day flower ( Commelina communis ) dissolved in water can be used, which do not affect the coloring process later. The dyer then applies rice paste as a protective cover ( 防 染 剤 , hōsensai ) to those parts of the fabric that are not initially to be dyed . The tough rice paste acts like a rubber coating that prevents the color from being absorbed into the fabric. In this way, the contours of the pattern can be created using thin lines made of rice paste.
After the contours have been applied, the pattern is colored by coloring the remaining areas of fabric ( 色 挿 し , irozashi ). Natural dyes from plants or insects can be used as colors, but nowadays mostly chemical dyes are used. To prevent the colors from running into one another, they are applied one after the other after each drying. The pattern is then treated with steam at 80 ° C for 20 to 50 minutes to fix the colors.
Exemplary scheme of the work steps
- Consultation of sample books and drafting of the sample by the dye masters ( 染 匠 , senshō )
- Smooth the white raw material with steam ( 湯 熨 , yunoshi ) on the front and back
- Determination of the dimensions ( 検 尺 , kenjaku ) and marking ( 墨 打 ち , sumiuchi ) of the fabric sizes of the garment using lines
- First draft and preliminary drawing of the contours of the pattern to be colored ( 下 絵 羽 , shitaeba )
- Application of the contour lines of the entire pattern with pigments of the day flower ( 下 絵 , shitae )
- Trace the contour lines with rice paste ( 糊 置 き , norioki , applying an adhesive as a protective layer)
- Applying a paste of sticky rice, rice bran and salt ( 伏 糊 , fusenori )
- Brushing in the paint ( 引 き 染 め , hikizome ). The fabric can be stretched in a wooden frame in modern production processes.
- Steam the fabric for 20 to 50 minutes at 100 ° C ( 蒸 し , mushi ) and then wash out the fabric ( 水 元 , mizumoto ) from excess paint and fusenori.
- Color additions ( 挿 友 禅 , sashi yūzen ) on the areas of the fabric that are protected by the paste and are now undyed
- Steaming, washing and drying the fabric again
- Smoothing the dyed fabric again with steam ( yunoshi )
- possibly applying gold leaf to kimono fabrics ( offen 彩 , kinsai )
- if necessary, embroidery ( 刺 繍 , shishū ) to emphasize the plasticity of the pattern
- Examination and small corrections ( 補正 , hōsei )
- Complete the pattern ( 上 絵 羽 , ageeba ) by sewing together and completing the garment or the kimono
Web links
- Kimonos for the Museum of Asian Art in Berlin. German representations in Japan, accessed on April 12, 2014 .
- Website of the 京都 友 禅 協同 組合 . Kyoto Yuzen Cooperative, 2014, accessed April 12, 2014 (website with videos of individual production steps (in Japanese)).
- 手 描 友 禅 染 の 技術 と 技法 . 京都 工 芸 染織 連 合,Retrieved April 12, 2014(Japanese).
- 友 禅 の 歴 史 . In:着 物事 典 . き も の さ ん ぽ み ち, 2004,accessed on April 12, 2014(Japanese, with numerous illustrations).
Remarks
- ↑ One of the first mentions of the technology is after a specialist article on the technology and method of handmade Yūzen ( 手 描 友 禅 染 の 技術 と 技法 ), quoted in. after 京都 手 描 友 禅 の 起 こ り in the work of the writer Ihara Saikaku from 1680. There the technique is mentioned in the spelling 祐 禅 .
Individual evidence
- ↑ 加 賀 友 禅 . In: デ ジ タ ル 版 日本人 名 大 辞典 + Plus at kotobank.jp. Retrieved April 12, 2014 (Japanese).
- ↑ 手 か ら 手 へ . Kyoto Tegaki Yuzen Cooperative, accessed on April 12, 2014 (Japanese, clickable scheme of the work steps with illustrations. The following scheme is also based on).
- ↑ 手 描 友 禅 染 の 技術 と 技法 . 京都 工 芸 染織 連 合 , accessed on April 12, 2014 (Japanese, images of the sample design).
- ↑ 検 尺 . In: デ ジ タ ル 版 日本人 名 大 辞典 + Plus at kotobank.jp. Retrieved April 12, 2014 (Japanese).
- ↑ 墨 打 ち . In: デ ジ タ ル 版 日本人 名 大 辞典 + Plus at kotobank.jp. Retrieved April 12, 2014 (Japanese).
- ↑ 糊 置 き . In: デ ジ タ ル 版 日本人 名 大 辞典 + Plus at kotobank.jp. Retrieved April 12, 2014 (Japanese).
- ↑ 伏 糊 と は . In: き も の 用語 大全 (Kimono Term Dictionary) hrsg = Sobien. Retrieved April 12, 2014 .
- ↑ 引 き 染 め と は . In: き も の 用語 大全 (Kimono Term Dictionary) hrsg = Sobien. Retrieved April 12, 2014 .