和柄 Japanese patterns 2
The first time I realized it was when I was watching the pics taken by a friend of mine.
She had just come back from a trip to Japan and she was showing me the beautiful spring landscape in some Kyoto's shrines.
I think it was the shape of the branches, so many branches interlaced together…
I had the same impression when I entered the Heian jingu garden in Kyoto. But this time was not only the trees, but also the grass, the nature itself...
In Japan nature looks more like a composition of lines than a set of solids.
Is such a nature the reason why line has been so much important in Japanese art? Is there any connection?
I don’t know, but I can’t help thinking of it when I look at Japanese painting, at all these decoration motifs …
although for some of them I was not able to find any info at all ><
Kikkou 亀甲(tortoise-shell) represents a geometric pattern with hexagonal units resembling a tortoise shell.
Originally from China, it was then used in Japan during the Heian period as a wish for longevity. The pattern was frequently found on court dress, and later on warriors' kimonos and armour. It also appeared on objects of Buddhist art, lacquer ware, and metalwork. It is often joined with other motifs.
毘沙門亀甲 Bishamon kikkou is a geometric pattern that changes the tortoise shell design. Its unique shape is created by linking together 3 tortoise shells and removing their inner lines. It’s called Bishamon kikkou, because this pattern is usually found on Bishamonten’s armour.
Source & further info:
http://www.aisf.or.jp/~jaanus/deta/k/kikkoumon.htm
http://www.immortalgeisha.com/wiki/index.php?title=Kikkou
http://www.ikiya.jp/crest/warituke/kikkou.html
http://www.kimonoclub.info/2006/08/post_110.html
Folded paper cranes, called Orizuru 折鶴, are often considered as symbols of good luck and hope.
A tradition remembers that anyone who folds a thousand paper cranes will see his wish come true. With the same meaning, they are made to wish a long and happy wedding or to ask for a recover in case of illness.
Source & further info:
http://www.immortalgeisha.com/wiki/index.php?title=Orizuru
Sparrows have been for a long time the subject of painting and design, and they were especially represented on bamboo, while sparrows on ears of rice were an autumn motif. In Kamakura period they were a frequent lacquer decoration sprinkled with metal powder.
As a crest, a sparrow on bamboo is the well-known symbol of Date clan.
Fukura suzume ふくら雀 means literally a sparrow that puffs out (its feathers), but since the word fukura has been written as 福良(fortune-good), the design is said to bring good luck. Being cute, it was painted on baby’s clothing.
Source & further info:
http://minagi.p-kit.com/page76222.html
Tonbo 蜻蛉 means dragonfly.
Source & further info:
http://www.ikiya.jp/crest/animal/tonbo.html
Kingyo 金魚 (goldfish) is a member of the carp family which includes koi.
The goldfish was first domesticated in China and then brought to Japan in the Muromachi Period, but only in the middle of Edo period it became popular among common people.
It’s associated with summer because of a tale: a wealthy merchant called Yodoya Tatsugorou in the early Edo period put the goldfish in a big glass tank that was hanging from the ceiling; it is said that he could beat the summer heat by watching it from the floor.
Nowadays it is a popular motif on aloha shirt and yukata.
Source & further info:
http://www.ikiya.jp/crest/animal/kingyo.html
http://www.immortalgeisha.com/wiki/index.php?title=Kingyo
Koi 鯉 (carp) has been especially liked in China, because it has been regarded as a fish that, leaping and crossing over the rapids called Dragon Gate, can transform into a dragon. The image of the carp swimming upstream towards the rapids has been appreciated in Japan, too. Therefore carps are always associated with waves and water on design.
Source & further info:
http://www.ikiya.jp/crest/animal/koi.html
In this pattern, equilateral triangles or isosceles triangles are disposed up and down, left and right consecutively.
Depending on variation of cloth colour or pattern colour, the triangles stand out noticeably and seem similar to scales, that’s why it has been called Urokomon 鱗文 (scale-pattern). This pattern has been found in several countries, while in Japan it appeared from the middle of Yayoi period on bronze mirrors and earthenware, and it was called “teeth of a saw”. Patterns with consecutive triangles were considered able to reveal disease and at the same time to hold the spell that can remove evil spirits, so in early modern times it was used as pattern that could ward off evil. Patterns with beautiful colour scheme were dyed on under-kimono and obi sash.
Woven uroko pattern was used particularly to ban the demon living in the spirit of women, so short sleeves kimono with uroko pattern made out of silver leaf on white background is the costume of dragon’s incarnation or of a demoness in Noh play.
Source & further info:
http://www.sakwak.com/wagara.html
http://www.ikiya.jp/crest/warituke/uroko.html
http://wagara-a.org/uroko.html
http://www.shop-japan.co.jp/english-boku/unchiku-komon.htm
Samekomon 鮫小紋 (shark-fine-pattern) is a fine pattern dyed on the whole surface with little dots as sharkskin.
It is believed to protect from evil or sickness, so bride brings new Samekomon Kimono with her.
Source & further info:
http://www.ikiya.jp/crest/sima/top.html
Kanokoshibori is a tie-dye technique, it consist of pinching a cloth little by little with fingertips, then while twisting lightly, tying it up creating circles with a thread and then dying the cloth in a colour. If random sections of the cloth are bound, the result will be a pattern of random circles.
Kanoko 鹿の子means literally fawn.
Source & further info:
http://www.sakwak.com/wagara.htmlhttp://en.wikipedia.org/wiki/Shibori
Sayagata 紗綾型 is a pattern of interlocking swastikas (in Japanese manji 万字). The name seems to be a contraction of the word sa-ayagata (gossamer figured-cloth pattern), the name of the cloth it was most often found on.
It appeared in Japan only from Tenshou era (1573-92), when Chinese fabrics with this pattern were first imported. In the Edo period, it was combined with chrysanthemums, plum blossoms, bamboo, or orchids. It also appeared on the borders of rugs, blankets and tablecloths.
Source & further info:
http://www.ikiya.jp/crest/warituke/sayagata.html
http://www.immortalgeisha.com/wiki/index.php?title=Sayagata
http://www.aisf.or.jp/~jaanus/deta/s/sayagata.htm
It’s a serial pattern based on 菱形 hishigata (diamond shape), a design created by the crossing of parallel lines with different directions.
It can be found on Jomon period earthenware, and it’s believed to be a geometrical pattern created spontaneously. In the following period, since it was very similar to water caltrop fruits, this design has been called hishimon 菱文 (hishi means water caltrop).
In the Heian period it has been used on dress with several variations. Being a geometrical pattern, it can be used irrespective of the season.
There are many variations, however the most interesting are yotsuwaribishi 四割菱 (quartered diamond) or simply called waribishi, and the patterns with flowers instead of diamond shapes, called hanabishi mon'you 花菱文様, very common between Heian and Kamakura period. A mix of geometrical and floral pattern is saiwaibishi 幸菱.
Source & further info:
http://www.aisf.or.jp/~jaanus/deta/h/hishi.htm
http://www.aisf.or.jp/~jaanus/deta/h/hanabishimonyou.htm
http://www.ikiya.jp/crest/warituke/hisi.html
Tatewaku 立涌 (vertical-springing out) is a design made of vertical and curvilinear lines which bulge and narrow repeatedly. It came from China.
Depending on what there’s inside the spaces created by the two wavy lines, we have:
kumotatewaku 雲立涌 with clouds,
kikutatewaku 菊立涌 with chrysanthemum,
namitatewaku 波立涌 with waves,
fujitatewaku藤立涌 with wisteria.
Source & further info:
http://www.aisf.or.jp/~jaanus/deta/t/tatewaku.htm
http://www.immortalgeisha.com/wiki/index.php?title=Tatewaku
This design represents on clothing a decorative technique used with metals and enamel called Shippou 七宝 (cloisonné), where metal strips separate areas of enamel. Usually design is carved onto a metal base, and the indentations are filled with vitreous enamel before firing in a kiln.
Source & further info:
http://www.aisf.or.jp/~jaanus/deta/s/shippou.htm
http://www.ikiya.jp/crest/warituke/sippou.html
The word Shima 縞 to indicate a simple pattern with vertical stripes has been used only since Edo period.
The main difference with other patterns is that it was neither dyed nor painted, but commonly woven.
To tell the truth, the vertical stripes fabric has been brought to Japan since Muromachi period, but only when the local industry began cotton fabrics production the stripes pattern became popular among common people.
Source & further info:
http://www.ikiya.jp/crest/sima/top.html
Ichimatsu mon'you 市松文様 is a checker-board pattern, a serial geometric pattern created alternating dark and light squares or rectangles.
In the Heian period, a similar design called ishidatami-mon (石畳文, paving stone motif) was particularly popular.
The pattern took its actual name after a kabuki actor from Osaka, Sanokawa Ichimatsu 佐野川市松 (1722-62), who used the pattern on his trousers.
It has been widely used since the Middle Ages in architectural decoration, gardens, fabrics, dying, lacquerware, and interior decoration.
Source & further info:
http://www.immortalgeisha.com/wiki/index.php?title=Ichimatsu
http://www.aisf.or.jp/~jaanus/deta/i/ichimatsu.htm
Shokkou 蜀江 indicates the upper stream of the Yangtze River in China. "Shoku" is the name of the region the river flows in (Sichuan), "Kou" means river. This region was quite famous for the clear waters of the river, and the silk cloth made here (Shokkou nishiki) was very popular.
The shokkou pattern of interconnected rectangles embroidered into this fine silk came to symbolise the region. Inside the rectangles (but sometimes other polygons, too) there were crests or patterns of flowers. It is famous in Japan as one of the "Shosoin" temple treasures.
Source & further info:
http://www.ikiya.jp/crest/warituke/syokou.html
http://kskdesign.com.au/blog/files/archive-apr-2012.html
http://www.windows.gr.jp/kendougu/eshokkoh.htm
Watsunagi 鐶繋ぎ (ring-filler) is a pattern with half rings linked together with alternate directions.
Source & further info:
http://www.ikiya.jp/crest/sima/watunagi.html
Yoshiwaratsunagi 原繋ぎ(Yoshiwara-filler) ties together the corners of squares.
The name is connected with the fact that once you enter in the Tokyo quarter Yoshiwara, you have the impression to be tied by this design, commonly used there on the curtain with shop sign at entrance of tea house.
It is still frequently used on hanten (short coat worn over kimono) or hanten obi at festivals, and on ryokan yukata.
Source & further info:
http://www.ikiya.jp/crest/sima/yosiwaratunagi.html
Next time: pattern with tools and cultural elements
She had just come back from a trip to Japan and she was showing me the beautiful spring landscape in some Kyoto's shrines.
I think it was the shape of the branches, so many branches interlaced together…
I had the same impression when I entered the Heian jingu garden in Kyoto. But this time was not only the trees, but also the grass, the nature itself...
In Japan nature looks more like a composition of lines than a set of solids.
Is such a nature the reason why line has been so much important in Japanese art? Is there any connection?
I don’t know, but I can’t help thinking of it when I look at Japanese painting, at all these decoration motifs …
although for some of them I was not able to find any info at all ><
Kikkou 亀甲(tortoise-shell) represents a geometric pattern with hexagonal units resembling a tortoise shell.
Originally from China, it was then used in Japan during the Heian period as a wish for longevity. The pattern was frequently found on court dress, and later on warriors' kimonos and armour. It also appeared on objects of Buddhist art, lacquer ware, and metalwork. It is often joined with other motifs.
毘沙門亀甲 Bishamon kikkou is a geometric pattern that changes the tortoise shell design. Its unique shape is created by linking together 3 tortoise shells and removing their inner lines. It’s called Bishamon kikkou, because this pattern is usually found on Bishamonten’s armour.
Source & further info:
http://www.aisf.or.jp/~jaanus/deta/k/kikkoumon.htm
http://www.immortalgeisha.com/wiki/index.php?title=Kikkou
http://www.ikiya.jp/crest/warituke/kikkou.html
http://www.kimonoclub.info/2006/08/post_110.html
Folded paper cranes, called Orizuru 折鶴, are often considered as symbols of good luck and hope.
A tradition remembers that anyone who folds a thousand paper cranes will see his wish come true. With the same meaning, they are made to wish a long and happy wedding or to ask for a recover in case of illness.
Source & further info:
http://www.immortalgeisha.com/wiki/index.php?title=Orizuru
Sparrows have been for a long time the subject of painting and design, and they were especially represented on bamboo, while sparrows on ears of rice were an autumn motif. In Kamakura period they were a frequent lacquer decoration sprinkled with metal powder.
As a crest, a sparrow on bamboo is the well-known symbol of Date clan.
Fukura suzume ふくら雀 means literally a sparrow that puffs out (its feathers), but since the word fukura has been written as 福良(fortune-good), the design is said to bring good luck. Being cute, it was painted on baby’s clothing.
Source & further info:
http://minagi.p-kit.com/page76222.html
Tonbo 蜻蛉 means dragonfly.
Source & further info:
http://www.ikiya.jp/crest/animal/tonbo.html
Kingyo 金魚 (goldfish) is a member of the carp family which includes koi.
The goldfish was first domesticated in China and then brought to Japan in the Muromachi Period, but only in the middle of Edo period it became popular among common people.
It’s associated with summer because of a tale: a wealthy merchant called Yodoya Tatsugorou in the early Edo period put the goldfish in a big glass tank that was hanging from the ceiling; it is said that he could beat the summer heat by watching it from the floor.
Nowadays it is a popular motif on aloha shirt and yukata.
Source & further info:
http://www.ikiya.jp/crest/animal/kingyo.html
http://www.immortalgeisha.com/wiki/index.php?title=Kingyo
Koi 鯉 (carp) has been especially liked in China, because it has been regarded as a fish that, leaping and crossing over the rapids called Dragon Gate, can transform into a dragon. The image of the carp swimming upstream towards the rapids has been appreciated in Japan, too. Therefore carps are always associated with waves and water on design.
Source & further info:
http://www.ikiya.jp/crest/animal/koi.html
In this pattern, equilateral triangles or isosceles triangles are disposed up and down, left and right consecutively.
Depending on variation of cloth colour or pattern colour, the triangles stand out noticeably and seem similar to scales, that’s why it has been called Urokomon 鱗文 (scale-pattern). This pattern has been found in several countries, while in Japan it appeared from the middle of Yayoi period on bronze mirrors and earthenware, and it was called “teeth of a saw”. Patterns with consecutive triangles were considered able to reveal disease and at the same time to hold the spell that can remove evil spirits, so in early modern times it was used as pattern that could ward off evil. Patterns with beautiful colour scheme were dyed on under-kimono and obi sash.
Woven uroko pattern was used particularly to ban the demon living in the spirit of women, so short sleeves kimono with uroko pattern made out of silver leaf on white background is the costume of dragon’s incarnation or of a demoness in Noh play.
Source & further info:
http://www.sakwak.com/wagara.html
http://www.ikiya.jp/crest/warituke/uroko.html
http://wagara-a.org/uroko.html
http://www.shop-japan.co.jp/english-boku/unchiku-komon.htm
Samekomon 鮫小紋 (shark-fine-pattern) is a fine pattern dyed on the whole surface with little dots as sharkskin.
It is believed to protect from evil or sickness, so bride brings new Samekomon Kimono with her.
Source & further info:
http://www.ikiya.jp/crest/sima/top.html
Kanokoshibori is a tie-dye technique, it consist of pinching a cloth little by little with fingertips, then while twisting lightly, tying it up creating circles with a thread and then dying the cloth in a colour. If random sections of the cloth are bound, the result will be a pattern of random circles.
Kanoko 鹿の子means literally fawn.
Source & further info:
http://www.sakwak.com/wagara.htmlhttp://en.wikipedia.org/wiki/Shibori
Sayagata 紗綾型 is a pattern of interlocking swastikas (in Japanese manji 万字). The name seems to be a contraction of the word sa-ayagata (gossamer figured-cloth pattern), the name of the cloth it was most often found on.
It appeared in Japan only from Tenshou era (1573-92), when Chinese fabrics with this pattern were first imported. In the Edo period, it was combined with chrysanthemums, plum blossoms, bamboo, or orchids. It also appeared on the borders of rugs, blankets and tablecloths.
Source & further info:
http://www.ikiya.jp/crest/warituke/sayagata.html
http://www.immortalgeisha.com/wiki/index.php?title=Sayagata
http://www.aisf.or.jp/~jaanus/deta/s/sayagata.htm
It’s a serial pattern based on 菱形 hishigata (diamond shape), a design created by the crossing of parallel lines with different directions.
It can be found on Jomon period earthenware, and it’s believed to be a geometrical pattern created spontaneously. In the following period, since it was very similar to water caltrop fruits, this design has been called hishimon 菱文 (hishi means water caltrop).
In the Heian period it has been used on dress with several variations. Being a geometrical pattern, it can be used irrespective of the season.
There are many variations, however the most interesting are yotsuwaribishi 四割菱 (quartered diamond) or simply called waribishi, and the patterns with flowers instead of diamond shapes, called hanabishi mon'you 花菱文様, very common between Heian and Kamakura period. A mix of geometrical and floral pattern is saiwaibishi 幸菱.
Source & further info:
http://www.aisf.or.jp/~jaanus/deta/h/hishi.htm
http://www.aisf.or.jp/~jaanus/deta/h/hanabishimonyou.htm
http://www.ikiya.jp/crest/warituke/hisi.html
Tatewaku 立涌 (vertical-springing out) is a design made of vertical and curvilinear lines which bulge and narrow repeatedly. It came from China.
Depending on what there’s inside the spaces created by the two wavy lines, we have:
kumotatewaku 雲立涌 with clouds,
kikutatewaku 菊立涌 with chrysanthemum,
namitatewaku 波立涌 with waves,
fujitatewaku藤立涌 with wisteria.
Source & further info:
http://www.aisf.or.jp/~jaanus/deta/t/tatewaku.htm
http://www.immortalgeisha.com/wiki/index.php?title=Tatewaku
This design represents on clothing a decorative technique used with metals and enamel called Shippou 七宝 (cloisonné), where metal strips separate areas of enamel. Usually design is carved onto a metal base, and the indentations are filled with vitreous enamel before firing in a kiln.
Source & further info:
http://www.aisf.or.jp/~jaanus/deta/s/shippou.htm
http://www.ikiya.jp/crest/warituke/sippou.html
The word Shima 縞 to indicate a simple pattern with vertical stripes has been used only since Edo period.
The main difference with other patterns is that it was neither dyed nor painted, but commonly woven.
To tell the truth, the vertical stripes fabric has been brought to Japan since Muromachi period, but only when the local industry began cotton fabrics production the stripes pattern became popular among common people.
Source & further info:
http://www.ikiya.jp/crest/sima/top.html
Ichimatsu mon'you 市松文様 is a checker-board pattern, a serial geometric pattern created alternating dark and light squares or rectangles.
In the Heian period, a similar design called ishidatami-mon (石畳文, paving stone motif) was particularly popular.
The pattern took its actual name after a kabuki actor from Osaka, Sanokawa Ichimatsu 佐野川市松 (1722-62), who used the pattern on his trousers.
It has been widely used since the Middle Ages in architectural decoration, gardens, fabrics, dying, lacquerware, and interior decoration.
Source & further info:
http://www.immortalgeisha.com/wiki/index.php?title=Ichimatsu
http://www.aisf.or.jp/~jaanus/deta/i/ichimatsu.htm
Shokkou 蜀江 indicates the upper stream of the Yangtze River in China. "Shoku" is the name of the region the river flows in (Sichuan), "Kou" means river. This region was quite famous for the clear waters of the river, and the silk cloth made here (Shokkou nishiki) was very popular.
The shokkou pattern of interconnected rectangles embroidered into this fine silk came to symbolise the region. Inside the rectangles (but sometimes other polygons, too) there were crests or patterns of flowers. It is famous in Japan as one of the "Shosoin" temple treasures.
Source & further info:
http://www.ikiya.jp/crest/warituke/syokou.html
http://kskdesign.com.au/blog/files/archive-apr-2012.html
http://www.windows.gr.jp/kendougu/eshokkoh.htm
Watsunagi 鐶繋ぎ (ring-filler) is a pattern with half rings linked together with alternate directions.
Source & further info:
http://www.ikiya.jp/crest/sima/watunagi.html
Yoshiwaratsunagi 原繋ぎ(Yoshiwara-filler) ties together the corners of squares.
The name is connected with the fact that once you enter in the Tokyo quarter Yoshiwara, you have the impression to be tied by this design, commonly used there on the curtain with shop sign at entrance of tea house.
It is still frequently used on hanten (short coat worn over kimono) or hanten obi at festivals, and on ryokan yukata.
Source & further info:
http://www.ikiya.jp/crest/sima/yosiwaratunagi.html
Next time: pattern with tools and cultural elements