| Glossary of kimono related terms. NOTICE This list is being hosted by the kind permission of Yuka- and Ichiro-san. They have asked that I take primary responsibility for this lexicon, in as much as the original suggestion for its' creation was mine. Therefore, I will retain all copyrights (and blame) for the contents of this work. This page is intended for the personal use of other members and should not be otherwise disseminated unless authorized by myself. You are free to create links to this page, with the permission of our host. PREFACE This page is intended solely for listing terms and definitions. If you wish to discuss any item, or have a word you would like me to research or add, please post your request on the Ichiroya Message Board. All responses to comments will also appear there. In time this list may grow quite large. If you are not interested in the format of entries or other technical details, please skip to the CLOSING heading. However, to derive the greatest possible value from these listings, please continue reading. FORMAT The format for entries are modeled on dictionary practices taken from Webster's Third New International. Every effort will be made to provide word entomology [when known], as well as definitions. However, since Japanese is not my native language, I must rely upon the source, which is cited, for proper spelling and word derivation. In almost every case, a source for each entry will be cited. In order to simplify this process and reduce repetition, I've created a complete bibliography and placed it at the end of this list. Organization This lexicon is organized alphabetically, according to [American] English usage. However, because of regional Japanese dialects, pronunciations may vary, and therefore influence any transcription system. Inconsistencies in spelling are bound to occur. When these are called to our attention, such entries will be revised if Yuka- or Ichiro-san, and Kyoaki agree. The most recent entries will be highlighted in "blue" until an alphabetical section has been updated. Such entries will then revert to "black" and the newest ones created in "blue". People, who wish to review the latest postings will be able to do so by searching for the color entries. Any boldface term/s used in an entry will also appear in the alphabetical sequence for cross referencing. Because of technical constraints, some entries that are created, may at a future time be deleted to make room for more current listings. If such a term has been de-listed, please present your inquiry at the Ichiroya Message Board for an explanation. Transcriptions Sounds in spoken Japanese must be transcribed in a manner that preserves the original form, yet can also be read intuitively, and understood by a non-Japanese speaker. Any spelling conventions that are employed will not 'make sense' to all readers. However, some standard has to be set in order to promote clarity and understanding in our discussions. Below is a list of such conventions. Do not assume this list is definitive. It may need to be enlarged over time. However, we must make a start somewhere. This system only applies within the confines of this list. Please feel free to use whatever spelling conventions are familiar to you in your own postings. Conventions hyphen: Vowels that appear at the beginning or end of words are frequently lengthened. To indicate this stress, a hyphen will be placed after the appropriate letter. All other vowels should be pronounced in conjunction with their preceding consonant. 'plus' sign: This sign will be used to separate Japanese words that are used in compound terms, provided the root words are known. Due to my ignorance, this procedure may not be applied universally. All corrections are gratefully invited. apostrophe: This mark will be used to indicate a glottal stop between doubled consonants, such as "pp" in the word ship'po. Pronunciation is similiar to contracted words such as "can't" [i.e. can not]. CLOSING All suggestions regarding any of these issues or improvements will be considered. Again, please post your suggestions and other comments on the Ichiroya Message Board. Thank you for your interest. I trust you will be pleased with our efforts. A ai (indigo): blue dye; derived from the indigo plant; various shades achieved by repeated immersions interspersed with periods of drying (allows dye to oxidize and darken); medicinal properties are ascribed to both plant and dye; commonly believed, cloth dyed in indigo will resist insect damage [Attr.] ai+zome: indigo dying [Attr.] akane: dye color derived from madder root [Rubia cordifolia]; produces a deep, 'lipstick' red tint [trad.] aki+gusa (autumn grass): classic motif consisting of various selections of flowers and autumn grasses; traditionally includes hagi (bush clover), kiku (chrysanthemum), susuki (pampas grass), kikyo (Chinese bellflower), but others may be added; frequently used to decorate lacquer, textiles, and porcelain [AoJ,v.1,pg.90,91+137] arare (hailstone): pattern of small, evenly spaced squares, arranged in checker board fashion; alternately called ishi-datami when used on court fabrics; [AoJ,v.1,pg.137] asa: various grass fibers; derived from leaf cell bundles after separation from soft tissue by retting; includes ramie, hemp, and flax; [BtTB, Nagasaki, pg. 38] asa+no+ha (hemp leaf): motif based upon the leaf of the hemp plant; arranged as a repeated, six-pointed star pattern; frequently used on female clothing (especially during the Taisho era) [trad.] ashi+de: originally a loose, flowing style of calligraphy used in landscapes and resembling scenic elements such as rocks, reeds, water, trees, and such; now, any style of design that employs calligraphy in this fashion [AoJ,v.1,pg.137] atsuita: stiff compound weave that combines a twill ground with plain weave patterns in multi-colored threads; presently used for No' costumes exclusively [AoJ,v.1,pg.137] aya: any solid color, twill-woven fabric; often used in conjunction with more elaborate textured weaves [AoJ,v.1,pg.137] B ban+e: medallion motif used on textiles and dance costumes during the Heian period [AoJ,v.1,pg.137] basho-: banana [Musa liukiuensis] ; fiber of the inner leaf sheath; when stripped and braided used as thread; superceded asa as most common fiber in Okinawa [BtTB, Dusenbury, pg.41] beni+bana: safflower [Carthamus tinctorius] and the color derived from its' petals; tint can range from pink to scarlet; very fugitive to sunlight [BtTB, Dusenbury, pg.25] bin+gata (red patterns): multi-colored textiles dyed with stencils against a red or yellow ground; originated in the Ryukyu Island (principally Okinawa), where is was reserved for the nobility; designs typically organized in parallel registers; pastels traditionally favored [BtTB, Stinchecum, pg.82-85] bozu+gappa(priest cape): hip-length, semi-circular cape with shallow stand-up collar; formed from two layers of cloth (usually cotton) with inner layer of water proof paper; modeled after capes worn by Jesuits of the 17th century; see also kappa [Trad.] Bugaku: form of dance pantomime, based upon T'ang dynasty traditions; masked and unmasked roles form the model for No-; preserved by the Imperial court since the Heian period [trad.] C chaya+tsuji/zome: bleached, hemp or ramie cloth, that is dyed with indigo by means of rice-paste resist techniques; characterized by small, fine-lined elements; landscape scenes are typical and sometimes ornamented with embroidery; generally prefered for summer wear, by women of the samurai class during the Edo period [AoJ,v.1,pg.107,137] chirashi+moyo (scattered motifs): style of decoration featuring motifs randomly scattered (apparently); yet with a well-balanced and overall composition [JCaTA,pg.125-131] chirimen: crepe textured weave; created by increasing the tension of the weft threads (over those of the warp); produces a fine drape to the fabric, which is much favored by women [trad.] choken: open-front coat with double-wide sleeves; loosely closed with cord ties; [trad.] cho-ma: ramie [Boehmeria nivea]; leaf fiber used in folk textiles; [BtTB, Cort, pg.38] chuya+obi (night+day): obi with contrasting patterns on each face [trad.] D dai+myo (great name): colloquial term for a clan leader; technically, one who held an estate producing 10,000+ koku (50,000 bushels of rice) per annum and was directly subject to the Shogun at the time of Tokugawa Ieyasu's death [HoJ,v.3,pg.___]. dandara+zome: style of kosode decoration consisting of dramatically-colored stripes that are dyed rather than woven; popularized by Mizuki Tatsunosuke, a Kabuki actor [JCaTA,pg.40] dan-gawari: a type of kosode that is decorated in large check or plaid pattern; with or without floral motifs [JCaTA, il.9,13] date+otoko: dandy or fop; after Date Masamune, dai+myo of Sendai (present Tohoku); during Genroku era, conspicuous for his showy dress [JCaTA,pg.88] dofuku: style of 3/4 or full-length robe worn by men; akin to haori but with an open side-seam for wearing with swords; usually elaborately decorated; popular during the early Edo period; no longer in use [JGA,pg.279-81] donsu: damask weave with isolated motifs on a satin ground; particularly in emulation of Ming dynstasy styles [trad.] E eboshi: style of peaked cap worn by the bushi class; usually made of braided, and lacquered fiber or horesehair [trad.] Edo+ko+mon: variety of small-figured, densely repeated, textile pattern, created by means of resist stenciling; characteristic style from Edo; often favored by the samurai class for formal wear [AoJ,v.1,pg.137] Edo+yuzen: style of decoration that sparingly employs yuzen techniques; named after Edo (now Tokyo) and reflects the sober taste of the Shogun's court; see also Kaga+yuzen [trad.] e+gasuri (picture kasuri): style of kasuri pattern featuring naturalistic motifs; often combined with geometric ones as well [trad.] ei+gata: resist-dyed fabric in traditional Okinawan style; similar to bin+gata, but features an indigo, either as the ground or in the motifs, and characterized by a pale color palette [trad.] F fuji: wisteria [Wistaria chinensis]; also, bast fiber favored for fabrics that require durability in water [BtTB; Cort, pg.38] fukuro+obi (bag sash): obi woven as an unseamed tube with a single pattern; exterior decoration may cover only 2/3rds of length; reverse usually blank [trad.] funa+bashi (boat bridge): a landscape motif, consisting of a curved bridges and punted skiffs; a popular motif in the Edo period [AoJ,v.1,pg.108] furi+sode (swinging sleeve): formal ko+sode worn by young, unmarried women; characterized by sleeves with wide cuffs (sometimes exceeding two feet); usually, completely decorated with floral motifs[JCaTA,pg.13] fusen+ryo- (floating line): originally, a type of plain twill fabric with designs created by an over-weave of loose threads; now designates, a pattern of large medallions, which was a common motif for those fabrics [AoJ,v.1,pg.137] G Gagaku: style of theatrical performance that combines Bugaku and Gigaku arts; based upon T'ang dynasty traditions; adopted by Imperial court as the basis for court ceremonial entertainment [trad.] Genji+ko': geometric motifs associated with the 54 chapters of the Genjimonogatari; originally markers used in an incense game (Ko' awase); often used for textile decoration and on porcelains [trad.] Genroku: era dating from 1690 - 1710; marked the first flowering of urban culture (particularly in Edo and Osaka) [trad.] Genroku+sode (Genroku+sleeve): kosode with a compact, rounded edge to the cuff; originated in the Genroku era [trad.] Gigaku: style of orchestral music extant in Japan; based upon T'ang dynasty traditions and preserved by the Imperial court; forms the basis for Gagaku performances [trad.] gin+ran: twill silk fabric with decorative motifs woven in silver thread; first introduced to Japan during Ming dynasty [JCaTA,pg.143,44] gosho+toki (palace motifs): repertoire of desing motifs favored in Shogun's household [JCaTZ, pg.90] goshuden (palace style): restrained style characterized by small motifs; stressed dignified effects; emulates yusoku style; constitutes yabo taste: thought staid by urban class [JCaTA, pg. 87-90] goten+jo': style of decoration; resembles coffered ceilings, commonly seen in shrines and temples; especially if floral motifs are set in a square grid [trad.] H habutae: firm textured, plain weave silk; resembles taffeta; first produced at Nishijin (Kyoto) from the Momoyama period onward [AoJ,v.1,pg.137] hagi (bush clover): one element of the aki+gusa motif; plant has glossy oval leaves and fine purple flower heads [AoJ,v.1,pg.69] hakama: since the Heian period __ pleated, loose, overtrouser, put on after the kosode; now, largely reduced to just a pleated skirt without interior division; largely used in men's formal dress; types include han+bakama, han+gire, naga+bakama, Sendai+bakama, or umanori; length and fit dependent upon intended activities [trad.] Hakata+obi: single layered, tightly woven obi; characterized by thick weft threads and stiff, tight weave; originated in Hakata [trad.] hana+bishi (flower diamond): diamond-shaped floral motif consisting of four petals with foliate edges; frequently placed in a geometric lattice of hexagons or rhombuses [AoJ,v.1,pg.137] hana+guruma (flower cart): decorative motif featuring a two-wheeled cart with yoke (modeled after Heian period ox-carts) and flowers (often arranged in a large basket or vase) [trad.] han+bakama: ankle-length hakama consisting of both a pleated front and separate back portion that are joined at the outer leg seams; marked by even hemline and no interior separation [trad.] han+gire: form of very full hakama with elaborate woven designs and gathered at the ankles; often worn in combination with ho hanhaba+obi: half the standard width; similar in construction to a maru+obi; usually worn on informal or festive occasions haori: 3/4 length jacket; often identical in form and material as the kimono; pattern follows that of the juban, but is kept closed by a pair of knotted cords at chest level [trad.] happi: half-length, open-front coat, with full-length collar; typically, sleeves are close-fitting [trad.] heko+obi: sash of loosely woven fabric; usually three meters in length for adults; often decorated with shibori designs; can be worn by both genders in casual settings, but most often my males and children with yukata [trad.] hin+gata+bon: pattern books for kosode designs; first circulated in 17th century as means of ordering custom work [K:FC,pg.271-321] hi+o-gi: folding fan made from cypress splints; an accessory of Heian period court dress; a common motif for textiles [trad.] hiro+sode (wide sleeve); wide in this context is measured along the cuff opening; in contrast to the ko+sode, the cuff is left open [JCaTA,pg.13] hitoe+gi (single-layer wear): unlined robe; applied to all types of garments [trad.] hiyoku+jitate: tailoring technique; simulates additional layers by permanently attaching extra interior sleeves or collars [trad.] ho: open-front coat; worn by male courtiers with double-width sleeves; often in combination with han+gire when used for No- performances, called happi; see above for alternate entry [trad.] ho-ju: Buddhist jewel that is shaped like a peach; it has a rounded form with a pointed top and may be ringed with a flaming aura [AoJ,v.1,pg.137] homon+gi(visiting+wear): semi-formal type of kosode worn by women while making social calls; decoration and fabrics can vary widely depending on occasion, and personal taste [trad.] Ho-rai+san [Ho-rai mountain]: mythical mountain where Taoist immortals were said to dwell; often depicted as a island capped by a lone peak; derived from the Chinese name P'eng-lai Shan [AoJ,v.1,pg.138] ho-so-ge: floral motif frequently used in Buddhist ornamentation, which features an imaginary flower of even-numbered petals; perhaps originally based upon the peony [AoJ,v.1,pg.40-44] I ichimatsu: checkerboard pattern in light and dark colors; largely popularized in the Edo period (1741) by Sanogawa Ichimatsu, an Osaka actor [JCaTA,pg.40] igeta: decorative motif consisting of two sets of parallel beams, criss-crossed and enclosing a diamond; form represents drinking well as seen in isometric perspective; frequently used as [b[kasuri[/b] motif [trad.] ikat: Indonesian term often used to translate kasuri iki (pure, unadulterated): chic, up to date; a standard of taste that favored sophisticated simplicity; established in opposition to yabo; applied especially to personal dress [JCaTA,pg.87-92] inkin: gold stamped gauze weave; originally a Ming import; usually small motifs; see also takeyamachi [JCaTA,pg.141] iokon: striated pattern used on Jomon pottery, which was produced by scraping the damp clay with the ridged edge of a scallop shell [AoJ,v.1,pg.138] iro+tome+sode (colored+tomesode): formal women's kosode; characterized by narrow cuffs, but retaining bright festive colors and motifs appropriate to the occasion; see also kuro+tomesode [trad.] ishi+datami(paving stone): checkerboard pattern originally derived from stone paving in Chinese palaces; similar to ichimatsu but often laid on a diagonal and without color contrasts [AoJ,v.1,pg.138] J jinken: an artificial fiber similar to dacron-polyester jimbaori: open-front vest with turned back lapels and tail break in back seam; usually made from luxury frabrics; sometimes with epaulets; usually worn over armor; design orignated in 16th century [trad.] jo+fu: superior grade of plain-weave hemp [Cannabis sativa]or linen cloth; especially favored for summer wear by the samurai class; see katabira; later applied to summer weight fabrics that have have a similar texture (even silk) [BtTB, Nagasaki, pg.17] juni+hitoe (12 unlined): colloquially, the term applied to a 12 layered form of dress for court women, which originated in the Heian period; actual number of layers varied with time; sometimes as many as 15 or as few as nine; [JCaTA,pg.14] jo-mon: pattern produced by shaping clay vessels with a paddle or stick wrapped with twisted cord; the pottery and period derive their names from this technique [AoJ,v.1,pg.138] juban: under garment; typically follows the shape and proportion of the outer garment; never worn alone in public; comes in knee- and full lengths [trad.] K Kaga+yuzen: style of decoration employing yuzen technique; motifs and compositions reflect a more exuberant taste developed in Kaga (present Ishikawa); especially when persimmon red is used; also Kaga+zome [trad.] kaku-obi: stiff, single-layer obi some 4-5 inches in width; mostly worn by adult males, but sometimes also by adult females [trad.] kamiko: treated paper (usually made from mulberry fiber); used as fabric for clothing [BtTB, Nagasaki, pg.17-19] kanoko (fawn): tie-dye technique; named for its' resemblance to the spotting on a fawn's coat [trad.] kappa (cape): specifically, thigh-length traveling cape; semi-circular form, with shallow stand-up collar; usually double layer of cotton fabric with waterproof paper sadnwiched between [Trad.] kara+ori (Chinese weave): compound weave, with satin designs on a twill ground; highly embellished with multiple colors and gold; now largely used exclusively in No- drama [AoJ,v.1,pg.138] kari+ginu: short over-jacket; with round collar closure and drawstring duffs; often used for No- male roles [trad.] kariyasu: yellow tint obtained from miscanthus grass [Miscanthus tinctorius]; [BtTB, Dusenbury, pg. 27] kasane+gi (multi-layered wear): style of dress that derives it effect from the contrast of many layers of single-colored garments; see ju+ni+hitoe; [JCaTA, pg.25-27] kasuri: technique for creating patterns in fabric by selectively dying warp and/or weft threads before weaving them together; pattern edges are often blurred due to inexact registration of the threads; geometric figures in white and indigo are most common; also applied to fabrics that employ this technique; see also e+gasuri [AoJ,v.1,pg138]; [BtTB, Dusenbury, pg.57-74] kata+bira: summer ko+sode made of fine hemp cloth; often yuzen-dyed,and embellished with embroidery [BtTB, Nagasaki,pg.17] kata+ginu: stiff, sleeveless jacket or jumper worn as a costume in Kyogen drama [AoJ,v.1,pg.109,114]; similar in form to the upper half of the kami-shimo katami+gawari (half-and-half): style of garment in which the halves are made from different fabrics or designs; sleeves may be alternated as well [AoJ,v.1,138] kata+suso (shoulder and hem): style of decoration for kosode confined to the shoulders and hem; often done in embroidery [JCaTA,pg.119] kata+zome (stencil dying): dye technique; starch resist process applied with paper stencils; regular repeats are characteristic; one stencil per color required [BtTB, Mellott, pg.52,53] katsu+gi; special kosode used as a head veil by samurai women when walking outdoors; usually decorated with a large mon on the back seam [trad.] kesa: rectangular or trapezoidal stole worn by Buddhist priests; often paired with an ohi of similar design; is draped under the right arm and cinched over the left shoulder with cords; styles vary according to sect[trad.] ki+hada: yellow tint derived from the bark of Amur cork tree [Phellodendron amurense]; [BtTB, Dusenbury, pg. 27] kin+ran: twill silk fabric; decorative motifs are woven in gold thread; introduced to Japan during Ming dynasty [JCaTA,pg.143,44] kinsha: fine grade of chirimen [trad.] kirihame: decorative fabric inserts or applique'; formerly known as zogan [JCaTA,pg.157] ko+mon: fine overall pattern; usually resist dyed; favored by samurai for formal wear [trad.] koshi+maki (hip wrap): style of wear characterized by belting only the lower half of kosode at the waist and allowing the upper half to drape freely; also kosode of stiff brocade designed for this style [trad.] ko+sode (small sleeve): originally an informal, white, undergarment; worn as a base layer for over robes in Heian period; now, any full length outer garment of similar form; special types abound [JC&TA,pg.13] kotobuki: ideogram meaning "long life" and "prosperity"; often used on textiles and porcelain [trad.] ko-zo: mulberry [Broussonetia; bast fiber used for paper; paper used either as fabric or woven with other fibers [BtTB, Cort, pg.38] kuchinashi: yellow tint derived from gardenia hulls [Gardenia jasminoides]; [BtTB, Dusenbury, pg. 27] kuro: black tint derived from initial immersion in brown (usually derived from native acorns), followed by application of iron mordant; [BtTB, Dusenbury, pg. 27] kuro+tome+sode (black tomesode): formal kimono characterized by narrow cuffs and black ground; decorated with appropriate motifs in yuzen+zome; worn by the mother and female relatives of the principals when attending weddings; by contrast, invited female guests wear the iro+tomesode [trad.] M mai+ginu (dance robe): garment, based upon court dress; generally used for female dance roles in No- performances [trad.] mame+shibori: style of tie dying; said to resemble bean (mame) shape but split by a resisted line [trad.] maru+obi: obi made from double-wide fabric, which is folded lengthwise, and hemmed at the selvages; always fully patterned; usually decorated in small, repeated motifs; often in multiple colors; typically the most formal obi worn by women [trad.] matsu+kawa+bishi (pine-bark diamond): motif of three ovelapping diamond forms, the middle one being the largest [AoJ,v.1,pg.139] meisen: plain weave fabric made from broken cocoon filaments and silk thread; commonly used for everyday wear [trad.] meyui: tie-dyed motif of hollow squares, formalized into a checkerboard pattern arranged on a diagonal; commonly used as a mon [AoJ,v.1,pg.139] michi+yuki (rain+snow): 3/4 overcoat, usually worn by women; conforms to the kimono worn underneath but has a square collar that is closed with cord 'frogs' [trad.] miya+mairi: ceremonial kimono draped over an infant when first presented at ancestral shrine; usually styled like furi+sode but reduced to 1/2 size; decorated with auspicious themes or motifs; mostly for boys [trad.] mizugoro+mo: over-garment for male No- roles mofuku: formal style of mourning dress worn by both genders; characterized by plain black color and lack of ornamentation; complemented by black tabi [trad.] mokume+shibori (wood-grain): process of resist dying; parallel rows of basting stitches compress fabric into furrows and ridges; only exposed edge of shirred fabric receives dye solution; simulates the parallel lines of tree ring growth [trad.] mon+sho: originally, any informal motif adopted to identify or mark furnishing for noble households; later, adopted by the samurai class for similar purposes (especially on battle dress); since the Meiji Reforms, sometimes a purely decorative motif without clan associations [AoJ,v.1,pg.129-36] murasaki: purple tint derived from gromwell [Lithospermum crythrorhizon] plant root; originally, a luxury import from China; also termed shikon; [BtTB, Dusenbury, pg. 27] N Nagoya+obi: a post-Meiji type of obi made from and extra long, standard width fabric; trailing end made by folding last few yards back upon itself then seaming the selvages; the plain remainder is folded in half, lengthwise and seamed all the way to the end; narrow portion is wrapped closest to the body [trad.] naga+bakama (long+hakama): a type of hakama worn exclusively indoors; during Heian Period, always red in color and worn by females with a white ko+sode as underlayer for more decorative and elaborate garments; in Edo Period most frequently worn at the Shogun's court on the most formal of occasions by dai+myo[trad.] nambam (southern barbarian): the term originally applied to Portuguese and Dutch traders, who first arrived in Japan during the 16th century; by extension, any European; also motifs that either feature European figures or artifacts [AoJ,v.1,pg.139] nanten: [Nandina domestica]; traditional motif modeled on the shrub of the same name; especially noted for its' red berries [trad.] neri+ginu: type of glossed silk first produced at Nishijin in the Momoyama period [AoJ,v.1,pg.139] nindo-: honeysuckle [Lonicera sempervirens]; motif introduced from Korea; most popular during the Asuka and Nara periods; often organized as a palmette [AoJ,v.1,pg.20-24] nishiki: compound weaves with decorative warp and weft threads; usually on plain or twill ground; also indicates any highly coloful pattern; colloquially known as "brocade" [trad.] Nishi+jin (West camp): Kyoto district famed for its' textile production; established in the Kamakura period to encourage the development of weaving and sericulture in Japan [trad.] No-: form of theatrical performance; developed and patronized by the military class in the Kamakura period; an out-growth of court Bugaku and Gagaku traditions [JCaTA,pg.53, 54] noshi: bundle of abalone strips or paper used as an ornament for auspicious occasions; a decorative motif that represents same [AoJ,v.1,pg.139] noshime: robe of kosode form with wide lapels; used as a basic garment for commoner dress in No- performances; also used in conjunction with other garments for major roles [trad.] nuihaku: decorative technique employing gold leaf over stenciled paste in combination with embroidery; see surihaku [JCaTA,pg.143] O obi (sash/belt): essentially a wrap-around sash, which keeps the front of the kimono closed; comes in many types and styles; all differentiated by gender, age, marital status, and occasion; some types are: chuya, fukuro, heko, hanhaba, kaku, maru, Nagoya, tsuke, Hakata ohi: rectangular Buddhist vestment draped over left forearm; usually worn en suite with kesa, which it matches in form and fabrics; sometimes simulated by folded extension at left edge [trad.] ohyo: bast fiber of the elm [Ulmus]; primarily used by Ainu for clothing; does not readily hold dyes; often original yellow-brown fiber color remains untreated [BtTB, Cort, pg.42] omeshi: tightly woven plain weave; made with hand-twisted, dyed thread with a firm texture [trad.] ori+nui+shibori: tie-dye technique; characterized by offset patches of resisted fabric flanking a common dyed line; gives the appearance of clenched teeth; created by shirring fabric between two parallel lines of basting stitches [trad.] O-shima+tsumugi: variety of silk fabric made with hand twisted threads from Amami Island (Kagoshima); often dyed in kasuri technique with local earths; said to be long-wearing [trad.] R rinzu: damask woven silk with repeated motifs; usually against a satin background [trad.] ro: gauze weave characterized by regularly spaced rows of either paired warp or weft threads that are braided over center thread; compression of threads creates openings in the plain weave; number of plain runs between openings can vary with degree of stiffness desired [trad.] roketsu+zome: technique of hand-applied wax-resist dying; characterized by small, broken lines where resist has cracked and allowed dye to seep in; known in Nara period [trad.] roku+yo (six rings): motif of five rings aranged around a larger sixth; derived from Indian mythology; frequently used in family mon [AoJ,v.1,pg.139] ryozuma: a style of decorative composition found on tomesode; in vogue from late Meiji/early Taisho eras; characterized by a symmetrical repeat of motifs on the both lapels, which produces a single pyramidal image from lower-thigh to the hem [trad.] S saki+ori: a form of cloth recycling; typically, a heavy fabric with asa or cotton warps and wefts of cotton cloth strips [BtTB, Nagasaki, pg.17] saga-nishiki (Saga brocade): a plain or compound weave with gilt or silvered paper for the warp and multiple colored silk wefts; because of the delicate warp, consumate skill and labor is required to produce only a few inches per day; presumably originated in Saga-ken [trad.] same+ko+mon (stingray skin ko+mon): reserve pattern of dots; arranged in concentric arcs or scattered randomly; usually produced by means of resist stenciling; said to resemble sting ray skin [trad.] sashiko: traditional form of quilting technique used to improve the warmth and durability of garments; employs thick cotton thread in lines of running stitches; originally used to patch and extend the life of clothing; later used a piori to decorate as well as improve fabric by this means (especially firemen's protective clothing); regional varieties abound; [BtTb, Shaver, pg.45] saya+gata: repeated maze pattern based upon swastika [trad.] sei+gai+ha: abstract pattern formed by concentric arcs arranged in offset rows like fish scales; arcs always oriented above points in contrast to actual scales [trad.] Sendai+bakama: sha: stiff gauze weave with figured patterns; braiding of threads occurs in warp and weft directions; figures are created by changing to twill weave were required, in order to create design [trad.] shibori+zome: tie-dying; techniques abound [trad.] shifu: fabric of cotton warp and twisted paper wefts [BtTB, Nagasaki, pg.17] shikishi: squares of tinted or decorated paper used for inscribing poetry; also used as a decortive motif on kimono; see also tanzaku [trad.] shikon: purple tint; see also murasaki; [BtTB; Dusenbury, pg.27] shina: Japanese linden; bast fiber used for fabric [BtTB, Nagasaki, pg.17] ship'po+tsunagi (seven linked jewels): pattern of interlocking circles named for the seven precious elements of Buddhism; when used on yu-soku textiles, termed wachigai [AoJ,v.1.,pg.139] nutssuke: visible, basting stiches; used to temporarily tack something down; sometimes also used to hold multiple layers in place until ready for use [trad.] shok'o: geometric pattern of alternating octagons and squares; abstraction of turtle carapace; often has floral motifs set within each panel [trad.] sobatsugi: vest-like garment with an open front; modeled upon a sleeveless ho; used to represent armor for warrior roles in No- performances [JCaTA,pg.59,60] somewake: style of kimono decoration with complex, overall compositions; executed in multiple techniques and elaborate detail; resulting in dense composite designs [JCaTA,pg.119,120] suhama: stylized motif composed of three lobes; often employed as a landscape element (sandbar) [AoJ,v.1,pg.77,139] suikan: sumi+nagashi (flowing ink): marble-like grain pattern produced by dripping ink on damp paper; frequently used to decorate poetry sheets in the Heian period [AoJ,v.1,pg.139] suo: a russet tint derived from sappanwood chips [Caesalpina sappan]; originally introduced to Japan from China in the Asuka period [BtTB, Dusenbury, pg.27] suo: open front jacket styled like kata+ginu; when used in Kyogen, identifies low-ranking retainers; worn in combination with hakama; usually decorated with large motif in yuzen technique [trad.] surihaku: application of gold leaf to a textile surface; typically used on rinzu; see also nuihaku and inkin [JCaTA, pg.140] susohiki: a style of wearing the ko+sode indoors that allows the full hem to trail after the wearer; not comonly seen, except among gei+ko; by extension, a kosode that has an unbroken pattern which continues onto the interior lining; often worn in dance recitals with the lower overlap purposely folded outward [trad.] sutra: Buddhist scriptures; usually formatted as a hand scroll [trad.] T taima: hemp [Cannibis sativa; leaf fiber favored for use in summer garments by the bushi class; also used as a motif [asa+no=ha]; [BtTB, Cort, pg. 38] tanzaku: stiff, rectangular slips of paper; intended for transcribing poems; frequently used as a decorative motif on textiles; see also shikishi [trad.] takeya+machi: elaborate, figured gauze weaves; multiple colors and gold or silver thread may be added; named after the district of Kyoto where such fabrics are traditionally woven; especially favored by Zen clergy of the Kamakura period [JCaTA,pg.140] tasuki: geometric motif, consisting of parallel lines forming a lattice of diamonds; originally, "sawtooth" border of triangles filled with parrallel lines; earliest examples found on "dotaku", a bell-shaped, ceremonial bronze form; [AoJ,v.1,pg.25,139] tatewaku: pattern of evenly-spaced, undulating lines arranged along the warp (tate) that alternately define constricted then swollen spaces; freqently filled with other decorative motifs [AoJ,v.1,pg.139] te+bako: lidded box with removable interior compartments; frequently rectangular in form; first used by court ladies as cosmetic cases; also used as a decortive motif on textiles and ceramics [AoJ,v.1,pg.139] tem'mon+ko+sode: style of elegant garment, first developed in Tem'mon era of Momoyama period (1532-55); usually decorated in small repeated motifs organized geometrically; worn as an unbelted formal cloak; no longer contemporarily used [AoJ,v.1,pg.55,94,95] tomoe: motif comprised of two, or more comma-shaped elements with the heads grouped at the center and the tails sweeped in the same direction to form the circumference [AoJ,v.1,pg.139] tome+sode: formal ko+sode for married women; typically decorated with yuzen-dyed motifs against black ground; other colors possible; decorative composition varies over time [trad.] torii: ceremonial gateway which designates entry to Shinto precincts; constructed of two posts and one lintel that overhangs its' supports; often with additional braces for posts and sometimes an elaborate eaved roof [trad.] tsuba: disk-shaped sword guard worn on dai-sho (paired long and short sword); fitted over the blade; often elaborately decorated; motif sometimes used on men's clothing [trad.] tsubo+dare: style of dying, which resembles drip glaze commonly seen on large jars (tsubo) tsujigahana (crossed flowers): decorative style that combines tie-dying and painting techniques; employs stitched borders to reserve areas for decoration; often suplemented by painted flowers; first popularized in Momoyama period; dyed edges often soft and blurred; [JCaTA,pg.145,48] tsukesage: a style of decorative composition characterized by motifs which are massed at the left hem and upper right sleeve or shoulder; often seen in women's ko+sode [trad.] tsumugi: plain weave fabric; characterized by hand twisted silk filaments made from hatched cocoons; often results in uneven thickness of yarns; produces a pleasant irregular look suitable for casual wear despite its' labor intensive technique; regional varieties exist; see O-shima+tsumugi [trad.] tsurubami: grey-brown tint derived from acorns of oak [Quercus acutissima]; [BtTB, Dusenbury, pg.25] tsutsugaki: free-hand dying technique similar to yuzen+zome; employs a squeeze tube to apply resist; produces a cruder line and hence a rustic look; [BtTB, Mellott, pg.53-5] tsuzumi: hand-held drum; usually played by striking with the free hand; sometimes used as textile motif in conjunction with other instruments, but other combinations are common [trad.] tsuzure+ori:a form of tapestry weave in which the design threads are floated across the back of the fabric; often used for No' costumes [trad.] U uchikake: over kimono for indoor wear; left unbelted with trailing hem; currently favored for wedding attire; often with padded hem, athough not required [trad.] uchiwa: round-faced fan: has fixed frame sandwiched between paper layers; often used as decorative motif in its' own right [AoJ,v.1,pg139] umanori+hakama: loose, pleated pants designed for sitting astride a horse or other outdoor activities; constructed from tan+mono and tied at the waist; hem can be finished as even, open pleats, gathered by drawstrings at ankles, or fitted from the knee to the foot with button or tabi closures [trad.] unban: cloud-shaped bronze gong; first introduced with Zen Buddhism in Kamakura period; forms part of monastic paraphenalia [AoJ,v.1,pg.121,139] uroko: reptile (fish or snake) scale motif consisting of equilateral triangles arranged in parallel rows and ranks; usually single color constrasts with fabric ground [trad.] W wachigai: geometric pattern used on yusoku textiles; see ship'po+tsunagi wa+fuku: literally "Japanese dress"; in contra-distinction to yo+fuku; word coined in Meiji era to distinguish it from non-traditonal [i.e. Western] dress; [K:FC,pg.10] warabide: fern leaf pattern [AoJ,v.1,pg.139] Y yabo: "good taste" as defined by samurai class as opposed to court styles (see goshuden); later interpreted to mean "old hat", "out-of-date" when applied by the chonin class to samurai styles; now used to define trite taste (especially in personal dress); juxtaposed to iki [JCaTA,pg.87-89,90] yaburi+tsugi (torn patches): Heian-style paper collage technique frequently used to decorate paper for transcribing poems; sometimes used as a textile motif [AoJ,v.1,pg.58,139] ya+gasuri: repeated kasuri pattern resembling arrow (ya) fletching; usually created by staggering warp threads that have been resist dyed to produce trapezoidal forms [trad.] yamagata: horizontal border with abstracted representation of mountains; either plain zig-zag line or with crenellated points added on top [trad.] ya+tsu+hashi (8-plank bridge): a planked foot-bridge motif; often laid among iris marshes; popularized by Ogata Korin, a leading Rimpa School artist of the Genroku Era [AoJ, v.1,pg.108] yo+fuku: lit. "Western Clothing"; in contra-distinction to wa+fuku; coined in Meiji era to differentiate clothing [i.e. "kimono"] into native versus foreign dress [K:FC,pg.10] yo+gi: oversized, padded kimono-form comforter; developed for cold weather sleeping; often elaborately decorated in tsu+tsu+gaki technique when it formed part of a brides trousseau [trad.] yukata: very casual ko+sode; typically made of cotton or other vegetable fiber; usually dyed with indigo in kata+zome technique; traditionally worn after a bath; nowdays, more commonly worn at o-bon festivals in rural areas [trad.] yu+soku: originally the customs and ceremonies of the Imperial court; by extension, traditions of the Heian period, which reflects court taste; many motifs are of foreign origin [AoJ,v.1,pg.123] Yuzen+zome (Miyazaki Yuzen): eponymous dye technique; characterized by free-hand drawn designs with fine resist lines separating blocks of color; dyes are brushed onto the fabric, not dipped; although originally started in Kyoto, characteristic styles from Kaga and Edo developed later; [BtTB, Mellott, pg.55.56] Z zogan: decorative applique' or inset, patchwork technique used on clothing in Heian period; later known as kirihame; term now applied to metal inlay (damascene) [JCaTA,pg.157] Bibliography AoJ,v.1 / Arts of Japan, vol.1: Design Motifs / author:Saburo Mizoguchi / translation:Allison Cort / published:Weatherhill, 1973 (1st ed.) BtTB / Beyond the Tanabata Bridge:Traditional Japanese Textiles / Editor:William Jay Ratbun [Various articles by various authors] / published:Thames & Hudson, 1991 (2nd printing) HoJ,v.1 / History of Japan to 1334,vol.1 / author:George Sansom / published:Stanford University Press, 1978 printing HoJ,v.2 / History of Japan 1334-1615, vol.2 / auhtor:George Sansom / published:Stanford University Press, 1978 printing HoJ,v.3 / History of Japan 1615-1867, vol.3 / author:George Sansom / published:Stanford University Press, 1978 printing JCaTA / Japanese Costume and Textile Arts / author:Seiroku Noma / translator:Armis Nikovskis / published:Weatherhill/Heibonsha, 1974 (1st English ed.) JGA: Japan's Golden Age: Momoyama / editor:Money L. Hickam / Yale University Press, 1996 K:FC / Kimono:Fashioning Culture / author:Liza Crihfield Dalby / published:University of Washington Press / 2001 (1st paperback ed.) Y+IW / Yuka and Ichiro Wada [our hosts] [Attr.] / No firm attribution is possible, however the information seems credible (my judgement). Also, the source is generally reliable (also my judgement). No responsibilty for accuracy is incured, however, information should be subject to further proof and subsequent revision. This site uses Blogger. Glossary originally at Ichiroya. All information copyrighted Kiyoaki 2002. Webdesign copyrighted Soh Lili 2002. |