International studio (42.1910)

Japanese Art and Artists of To-day.—III. Textiles and Embroidery

SILK EMBROIDERED PANEL: "AUTUMN MOON "

BY NISH1MURA SOZAYEMON, KIOTO

and silver paper, cut into fine shreds, has for
hundreds of years been used for brocades. The
paper used is made from the inner bark of the
mulberry tree, which, after being rubbed very thin,
is given two coats of lacquer varnish, a substance
made from the juice of a tree—called in Japan
L'rushi-no-kiki {Rhus vernicifera)—and not to be
confused with lac varnish, obtained from the lac
insect, which was used for old English lacquer,
verni martin fans, and in our days for carriage
varnish. The paper is then overlaid with the very
best genuine gold-foil, and after being cut into
thin strips is ready for use.

The use of gold paper in brocade is, however,
not limited to these fine strips of paper. There is
a still more elaborate method, whereby the paper,
when cut into strips, is wound round silk threads.
When this is used for weaving it gives, owing to the
different reflections of the light, a very handsome
effect, especially when employed to give a contrast
to the flat strips of gold paper.

Brocade into which these gold threads are intro-
duced is called " Kinran Nishiki," and when of
exceptionally fine quality, "Kara Nishiki," that is,
rich or honourable brocade. An interesting
example of "Kara Nishiki" is the curlain of
which a portion (about half) is shown in one of
the coloured reproductions accompanying this
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article. The design represents various kinds of
flowers, such as the hydrangea, the peony, the
lily, the wistaria, etc., more or less conventionalised
in accordance with the pure Japanese style of
floral decoration. In making this costly fabric
more than seven hundred shades of silk were
employed, with gold threads. Under the old
regime in Japan, when these " Kara Nishiki"
fabrics were used for Court costumes and robes,
unlimited sums were lavished by the feudal lords
or Daimyos on them.

There is a special series of geometrical patterns
alternating in colour which are probably not manu-
factured except in Japan. To produce these the
weaver has sometimes to use as many as eighty or
ninety shuttles. The loom used is practically the
same as that employed for the Tsuzure-no-Nishiki,
with this difference—after the warp threads have
been alternated by the draw-boy, each line of
weft is securely pressed home by the reed. In
the manufacture of Tsuzure each little patch
of colour is completed by itself on the warp
threads. It is interesting to note that many of
the most beautiful fabrics exhibited at Shepherd's-
Bush by Messrs. Kawashima are from the
designs of Mr. Jimbei Kawashima, the head of
the firm—for instance, the piece " Kara Nishiki"

SILK EMBROIDERED PANEL: "A 'NO' DANCER"

BY NAMOSUKE SUGAWARA.