AndyZ
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Posts: 21
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Post by AndyZ on May 31, 2002 4:25:24 GMT -5
I thought it would be interesting if we could share pictures of our kimono related items with each other, and be able to help or comment on them. I have always been very interested in Japanese art, but my workload means that I haven't had the opportunity to study as much as I'd like. I know I greatly appreciated the input from other board members, on my topic 'Uchikake style'. Of course my main theme here is still kimono, but as so many parts of Japanese design branch out into other areas, it would be interesting to see other items too. To kick off, I'd like to show three Japanese paintings, all of women wearing kimono. These pictures are not available to other people visiting my website, and can be accessed only through this discussion board. I hope you enjoy them, and any thoughts would be welcome... Please click on the link to view. www.andyzermanski.com/nihonga.html
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Post by Kiyoaki on May 31, 2002 17:10:29 GMT -5
AndyZ, I'll endorse that proposition. Now, to start things off, how about a prose description of their dress? Although their appearance would seem very obvious, in this genre, the cultural context is more important than simply composition and coloration. However, I'm not entirely certain what limits (if any) you had in mind when you created this topic. In that regard, I'll try to confine myself to matters of dress. If other topics arise, which you want to explore, you can ask about a specific issue later. Bijin Viewing Chrysanthemums The juban appears to be a plain red, which is typical fashion for the time the painting was done. The second kimono is decorated with a stylized version of hemp leaves [asa-no-ha]. This has been a traditional pattern for women since the mid-Edo period. Although it is very geometric, it is usually consigned to informal uses. Hence, the under-kimono in this instance. The pale yellow color may be meant to hint at the color of oak leaves when they drop in the fall or of barren earth. The outer kimono though, is not in keeping with the season. It has spring motifs (sakura blossoms and green maple leaves), while the pale blue/purple color is not the most appropriate for that time of the year. There are stylized clouds of mist scattered among the flowers, which further suggests the cooler climes of spring than the heat of an Indian summer. The kogai in her hair is decorated with a 'temari' ball. The making of these objects was a genteel pastime for women, who wrapped spherical forms with silk yarn to create clorful, and decorative patterns. That idea has been adapted as the focus for the hair ornament. Finally, a red 'obiage' with 'kanoko-shibori' suggests the prescence of the obi. The rake of her collar suggest a very coquettish look. First Flakes - Shusui 1920's This painting was probably intended to represent a geisha and reflects stylish and sophisticated taste. All her combs and hair pins (kogai?) appear to be made from Hawksbill turtle shell and are carved with gingko leaves, which drop in autumn. As a set, they represent a costly decoration for the hair. Her juban appears to be the classic red, but the collar (eri) is white. Typically, these would have been in a damask pattern and not a plain weave. The under-kimono is a striking blue, which creates fresh contrast to the red and white inside combination. Again, a 'rinzu' material is assumed for the second kimono. The outermost kosode closely reflects the season. Its' background color is that of ripe persimmon. These were either harvested at the onset of winter, or left to dry and sweeten on the tree. The shape of the prominent medallion on her right sleeve is that of a stylized 'snowflake', which echoes the theme of the painting. Within that outline, 'tachibana' (a fruit related to Mandarin orange) are depicted. That bush fruits in winter so its' another harbinger of the season. It's hardy and retains its' leaves despite the cold so it has become a symbol for perseverance and a precursor to the spring that follows. The dull grey background and the faint snowfall conspire to highlight the figure and to support the painting's theme. Spring Rain - Shikishi by Sanshi In contrast to the first two figures, the third woman is dressed modestly. There is nothing especially eye-catching about her. Her juban is patterned in imitation kanoko. The 'eyes' appear round and open, which suggests a stencil-printed version, rather than the real thing. However, her collar does have a pattern of cherry blossoms to reflect the season and match the willow cherry in the background. Her under kimono is in a soft red, with possibly the asa-no-ha pattern again. The outer kimono is a plain mauve and without apparent decoration. I'm inclined not to think of it as a 'michiyuki' because the collar line in front is not square and the collar in back is worn off the neck. The comb and kogai in her hair are elaborately carved, but in some plain material (possibly bamboo or wood). The focus of the painting seems to rest on the intensity of the woman's face as she clutches the umbrella to better protect herself again the blustery spring weather. The cold is suggested by her right hand, which is swaddled in her sleeves to keep it warm. Perhaps the artist wanted the viewer to remember that beauty can be found in everyday scenes of life around us and not just the posed perfection of the professional beauty. That ideal has been espoused from the time of Murasaki Shikibu down to Basho (and beyond). Kiyoaki
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AndyZ
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Posts: 21
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Post by AndyZ on Jun 1, 2002 7:48:02 GMT -5
Thank you Kiyoaki, for three very detailed and informative descriptions.
In starting this topic, I wanted to share items of interest for several reasons. I'm hoping other people will also do this, partly to expand our knowledge, but also because it would help us to get to know each other a little better. I often feel that the choices we make, and the things we buy say a lot about us. And by seeing them afresh through the eyes (and shared thoughts) of other board members this could lead to a deeper appreciation of the things we have found. But on a basic level, I'd just be so interested to see anything related to Japanese art and design. I don't particularly want to set limits. I'd like to know what Japanese items people own that inspire in some way, artistically, intellectually, or simply that we love it!
When I was a young child, my parents encouraged my interest in Japanese art. My mother found ways to help me see collections in museums, even though it was very difficult for her under the circumstances. I was already interested in painting myself, and especially work depicting the human form. As a child trying to paint with an element of realism, it was considered odd by my teachers that the images I developed the most fondness for, were the elongated, flat, wonderfully stylised people in Ukiyo-e prints. They couldn't understand why any child would like them. But to this day, looking at those prints affects the compositions of much of my own work, and were a great source of inspiration. They made me look at the world in a different way. I must admit though, that at that point, I could be a little disapproving of the later Shin-hanga type faces, (such as seen in the second painting) which I have now grown to love. This seemed to me then to be a watered down version of 'The real thing'. But my attitude was partly influenced by seeing many western attempts to portray Geisha... always ending up looking like a European in make-up. The Meiji painting, I feel reflects the new interest at that time in western art, but in no way bowing to it. It is still Japanese in essence, and a very Japanese face, though there is a slight touch of realism too. I quickly fell under the spell of this lady. And I love the subtle way the painter has suggested form with the minimum of shading. By the way, if anyone can read the written characters in this painting, I'd love to know the name of this artist.
I haven't yet mastered the knack of putting images actually into these messages, as some of you have, so I hope you will bear with me and visit the links to the webpages I'll place on this board. I have a number of prints, for instance, which I'm also hoping to share for discussion. I'll sort some out as soon as I can.
AndyZ
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Post by Kiyoaki on Jun 13, 2002 14:10:59 GMT -5
Wada-san,
In keeping with Andy's suggestion __ if people begin posting images in their replies, will that create any problems with "Proboards"?
Certainly, loading replies will take longer, due to the longer files, but aside from that concern, is there a limit to how large our board can grow?
Also, like Andy, I'm not completely familiar with the method for attaching picture files. I've found the function button for adding images, but I'm not certain how to proceed. Can an image file be made a permanent part of the reply, or must they be hosted elsewhere?
I have some pictures, which I can share with everyone once I know how to post them.
Thank you for all your work and efforts.
Kiyoaki
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AndyZ
New Member
Posts: 21
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Post by AndyZ on Jun 14, 2002 15:46:04 GMT -5
I bought this print in a small shop in London. The two Japanese ladies there were patient, and allowed me to leaf through literally thousands of woodblock prints. There were wonderful works by all the major artists, but I kept returning to this one by Toshikata. I just loved the mood of it, and the bijin's face, the kimono and especially her boots! I like the way the kimono are worn, and that you can just see the outline of her hair through the curtained part of her hat. I'd never seen a print like it and it does what I like an image to do. It makes me think about the people in it. I often stop to look at it and wonder... (being the romantic that I am) about the story behind their journey, where they are going, and why. www.andyzermanski.com/toshikata.html
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Post by Kiyoaki on Jun 14, 2002 18:50:48 GMT -5
AndyZ,
The Genko Era falls within the Kamakura Period. The artist was attempting to give you an impression of Kamakura period dress without really knowing what he should depict.
The hat with veil was used by genteel women [probably a provincial courtier's wife or daughter] when traveling on foot. The knotted cords where intended to keep the gauze from blowing so freely about as to render the veil pointless. The hat was intended both for privacy as well as fending off a possible sun tanning effect.
The woman's outer kimono were of the uchikake variety [probably a set of uchigi] and were fully bloused at the waist only to prevent the hems from dragging in the dirt. They would have been informally worn over a pair of plain, white kosode. Even the hakama [typically red for the period] have been bloused for the same reason.
The boots look like the conventional tabi, except for their higher throats. This may be artistic license and not strictly in line with historical usage. Typically, the low tabi or bare feet would have been the norm. Footwear of this period would have been either cloth or deerskin, with sandals of braided straw.
The artist was attempting a romantic impression of the past, that he hoped to infuse with nostalgic qualities. The selection of purple for her hakama points toward that aim, as well as the glimpse of the woman's face. Even the porter in the background is overdressed for his humble occupation. The 'karabitsu' or the carrying pole are far too impractical for transporting anything more substantial than a change of clothes or some picnic food.
Kiyoaki
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AndyZ
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Posts: 21
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Post by AndyZ on Jun 17, 2002 1:33:20 GMT -5
Thanks, Kiyoaki. Your comments and descriptions are always interesting. Here, a print of a very different lady, with a different way of wearing kimono. This image is from about 1770, though I believe it is a later edition. I love the black kimono. Wish I could find one like this... www.andyzermanski.com/harunobu.html
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Post by Kiyoaki on Jun 18, 2002 0:10:37 GMT -5
Andy,
A very attractive print, indeed.
First off, her comb and hair ornaments are in tortoise shell, which already puts her in the realm of the wealthy urban class.
She is wearing four kimono and one uchikake. The innermost one is a plain white. The intermediate one is in a pale blue shibori with 'spiderwebs' within hexagon borders that represents abstracted turtle carapace. The next two outer kimono are worn as a set with a plain green laid under a red one with one mon showing on the right lapel.
The green was probably meant to be the color of powdered green tea and the red was either a safflower (bright red-pink) or madder root color (rusty red/brown). A true conchineal red was unknown to the Japanese except as imported wool cloth from Europe.
The final layer __ the uchikake, is lined in the same red as the outer kimono. The motif is sparrow and bamboo, which is a very traditional one. However, in this instance, a winter scene is intended because the bamboo is almost completely buried under the white snow.
I don't know the origin of the motif or its' significance. It does date to at least the Kamakura period (if not earlier). The sparrow was associated with the Shinto deity Hachiman, who was a memorialized Minamoto war chief and so this emblem was adopted by a number of bushi clans.
Her obi is tied in front, which at certain times was the norm for all women. Later, when the knot was shifted to the back, women of the Yoshiwara and Shimbara districts retained the older style so the front knot became indicative of the first-rate prostitutes or tayu.
This one is placed very high (like the current mode for young women). Perhaps Harunobu wanted to create a longer sweep of line down to the feet, but probably it merely reflects the wearer's attempt to create an illusion of height.
The color of the obi matches the underlaid kimono and contrasts with the overlaid red. The yellow stripes are probably meant to suggest gold thread, which adds a touch of greater luxury. The large size of the bow strongly suggest a woman of leisure as well.
Her kimono are hiked very high and only one white nagajuban covers her undershift. She probably has her left hand thrust through the uchikake sleeve to gather the hems clear of the ground. The right hand probably clutches the right side to prevent it from falling off her shoulders and is concealed by the obi.
She is wearing geta so we are meant to assume she is walking outdoors. However, her feet are bare, which may be an act of bravado if the weather is freezing, but lacking any certain indications of winter, I can't say for sure.
If she were a high-class prostitute, she would have an attendant (either a young girl or a porter with her), and wear much taller clogs. If she were a wealthy merchant's daughter, it's doubtful she would display herself like this in public. She probably isn't a geisha either, because they didn't come into general existence until a bit later and would probably be carrying a shamisen to indicate their calling. The poem in the background would probabaly make clear, who or what she is.
Despite her unexact status, she is the universal figure known as the "coquette".
Kiyoaki
P.S. On a further note __ The season of the year may be right at the New Year. Traditionally, the start of the year was determined by the synodic period of the moon, so often it occurred closer to the vernal equinox (March 22/23) than the winter solstice (December 22/23). The four kimono may be indicative of the chilly weather, and the uchikake may reflect the solemnity of the New Year Day visits.
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Post by kanzashisan169 on Feb 16, 2004 1:43:42 GMT -5
hi because of the way she is wearing her kanzashi and the hairstyle (hyougo mage), she is most likely a middle class cortesan(some where along the lines of oiran) this could also account for the fact that she is missing a kamuro or two which were only given to a courtesan of the hightst ranking of the district (mainly tayuu or oiran)
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