Kimono With Flowing Water Design Metropolitan Museum of Art

The Art of The Kimono
The Metropolitan Museum of Art, New York
September 27, 2014 - Jan 19, 2015

"Unlined summer kimono with carp, waterlillies and morning glories," Meiji menses, (1868-1912), ca. 1876, paste-resist dyed, painted and embroidered silk gauze with plain-weave patterning; Souvenir of Naoki Nomura, 2006
Photos copyright Michele Leight, courtesy of The Metropolitan Museum of Art, New York

By Michele Leight Morning glories adorn the shoulders, while bother nestle among waterlillies at the hem of the extraordinarily beautiful kimono - a work of art - illustrated above, on view with other magnificent kimonos at The Metropolitan Museum of Fine art in New York till January nineteen, 2015. The item below gives farther insight into the virtoso mediums - stencil paste-resist dyeing, silkscreen printing, embroidery, pigment - that became a gown fit for a princess. This kimono was worn in the same family unit for 3 generations, gifted to The Metropolitan Museum of art past the third generation to ain information technology. Naoki Nomura, the donor,  wore it to a religious ceremony in Kyoto when she was seventeen years one-time, where she received blessings.  Information technology is a memorable show, depicting the garments more as works of fine art or artifacts than utilitarian body roofing. "Kimono" means "thing to wear..."

Detail of carp embedded in "Unlined summer kimono with bother, waterlillies and morning glories"

Get-go with classical kimonos from the Edo Period (1615-1868), and ending with one-of-a-kind or limited edition creations past well known gimmicky designers such as Issey Miyake and Rei Kawakubo (of Commes des Garcons), the exhibition is also lavishly illustrated with paintings and prints depicting Japanese and European women in their respective attire, and complementary artifacts like brand-up boxes, writing desks and vases from the classical era to the present, notably objects of great beauty in exquisite lacquer work and, of form, the sublime screens for which Nihon is famous, one designed as a room-divider, decorated with habiliment.

A geisha is celebrated in a silk painting, while a lacquer-work box is laid earlier it, similar an offering

Wall text at the exhibition sheds low-cal on the circumstances that led to the widespread fame and awe generated past these luscious fabrics created into robes, and how they became so familiar to the general public, in the section entitled "Kimonos and Western Manner in the Meiji Period (1868-1912):

"The opening of Japan'south international trade in 1854 and the post-obit historical and social changes of the Meiji Menses transformed the textile industry. From the 1880s Empress Skoken (1849-1914) promoted the adoption of Western-style fashion together with  the evolution of domestic textile manufacture

.

High-ranking Japanese ladies for the first fourth dimension sported imported bustles, corsets and boots. Male government officials and military personnel followed the Meiji Emperor's (1852-1912) lead and apace adopted Western-way uniforms and suits in order to promote an image of Japan as a modern nation...At the showtime of the Meiji Period, Western woolen fabric and velvets were prized for their novelty in Nippon, while Nihon's silk industry earned international acclaim. Cotton fiber production likewise gradually evolved and expanded in Nippon. The Japanese did not merely adopt Western chemical dyes and new weaving technologies, but used them in innovative means. The combination of Western traditional Japanese stencil-dyeing techniques led to the development of sophisticated stencil paste-resist dyeing (kata yuzen)...Japanese textiles were displayed at World Expositions, and kimonos were sought-after items in Western markets, often worn by Western ladies every bit dressing gowns. Stores Shinkicki in 1829 produced habiliment designed in the "Western sense of taste " for a western clientele. Japanese designs too inspired Western artists during the Japonism craze at the stop of the 19th century..."

The artists included the Impressionists, Van Gogh, Cezanne, Gauguin, and Whistler, amongst others, arguably amongst the well-nigh famous and popular artists, of all time

. Whistler depicted women wearing kimonos, and Japanese screens and fans in his compositions. Van Gogh'south highly individualistic style evolved in no small mensurate thanks to his adoration of the prints of Utamaro and Hiroshige.

"Noh Costume (karaori) with Court Carriages and Reddish Blossoms" Edo Menses (1615-1868), kickoff half of the 19th century, Twill-weave silk brocade, with supplementary weft-patterning in metallic thread; The Howard Mansfield Collection, Gift of Howard Mansfield, 1936

The magnificent kimono illustrated above is from the Edo Period - the earliest course of kimono - a heavily and ornately embroidered "Noh Costume (karaori) depicting Court Carriages and Cherry Blossoms." The label notes "...During the Heian Period (794-1195), carriages were the vehicles of the aristocracy and figured in many works of litearature, such as the Tale of Genji. In an episode in chapter nine, The Boxing of the Carriages, they are used to jockey for an advantageous position from which to view Genji's performance at the annual festival dedicated to the Kamo Shrine. The carriages on this karaori are decorated following the festival tradition of decorating the carriages and headdresses with heart-shaped leaves (aoi), which is sacred to the Kamo Shrine."

There are no innovative bells and whistles, besides skilful weaving of the silk brocade. It is a product of the imagination and the human manus.

Tools of the trade: "Cosmetic Stand with Pine, Reddish and Bamboo, from a Wedding Set up", Edo Period (1615-1868), Early 19th Century. Lacquered forest with gold, silver, takamaki-eastward, hiramaki-e, cut-out aureate foil on nashiji ground

"Overrobe (Uchikaki) with fans and flowers, Edo Menses, (1615-1868), second one-half 18th-outset half 19th century; silk and metallic thread embroidery, on resist-dyed satin damask; Purchase, Seymour Fund, Mrs. Donald Oenslager, Gift and Gifs in retention of Gertrude Carp, 1988

The cute "Overrobe (Uchikaki) with fans and flowers," illustrated in a higher place, from the Edo Period, worn past high-ranking Samurai women, combines the time-honored fine art of embroidery with persimmon-hued, resist-dyed satin damask, strewn with fans and chrysanthemums, peonies, and cascading wisteria, the florals punctuated past fluttering butterflies. The kimono worn past a person in public divers their social standing in the four-tiered social organization in the Edo Catamenia (1615-1868): samurai, farmers, craftsman and merchants:

"Formal 'Uchikaki ,' particularly those designed for weddings, were often decorated with auspicious motifs. Wives of elite samurai were taditionally entitled to wear the near gorgeous embroidered silk garments, yet wives of wealthy merchants who created flourishing economies in major urban centers became the most enthusiastic patrons of contemporary fashion, ofttimes choosing to conspicuously flaunt their material wealth. Dissimilar Western garments, the cut of kosode and uchikaki changed little over fourth dimension." (Wall text)

"Outerrobe (Uchikaki) with Mandarin Oranges and Folded Paper Butterflies," Edo Catamenia (1615-1868). Tie-dyed satin damask with silk embroidery and couched golden thread; Gift of Hse Bischoff

The folded gold paper butterflies that adorn the masterpiece (illustrated above), on richly embroidered black, tie-dyed satin damask, are auspicious motifs, specially for weddings, depicted here in pairs to symbolize the wedded couple:

"The outerrobe, or uchikaki, was worn without a sash over a kosode, on formal occasions. Originating in the Kamakuro Flow, (1185-1333) every bit a robe for high-ranking samurai ladies, it later was used more widely as formal winter attire. In traditional marriages, an uchikaki is worn over a wedding kimono. Actress padding is inserted into the hem to provide a seamless flow of the hem." (Wall Text)

"Overrobe, (Uchikaki), With Design of Bamboo Blinds, Pall Screens, Decorative Fans and Auspicious Motifs," Taisho Period (1912-1926) or Showa Period (1926-1989), circa 1920s-1930s, Resist-dyed, painted, and embroidered plain-weave silk; Fletcher Fund, 1936

"Court Ladie'south Garment (Kosode) With Swallows and Bells on Blossoming Cherry Trees," Edo (1615-1868) to Meiji Menstruation (1868-1912), mid-nineteenth century, Silk crepe (chirimen) with Silk Embroidery and Couched Gilded Thread; Julia Meech Drove

Item of "Court Ladie'due south Garment (Kosode) With Swallows and Bells on Blossoming Ruby-red Trees," Julia Meech Drove

The romantic, and exquisitely wrought court garment, illustrated in a higher place has no bells and whistles or technological innovations involved in its creation. This stunning kimono relies solely upon the ages-old art of embroidery:

 "The design of this elegant garment, a type favoured past aristorcats and court ladies from the belatedly Edo to the early Meija period, is composed of a single blood-red tree. A ruby-red cord with tiny gold bells is tied to the tree, while birds fly around the delicate branches. The flowers and leaves are embroidered; their vivid white, red and green hues grade a precipitous contrast with the deep purple ground." (Label)

Crysanthemums are created on a purple/blue dyed silk crepe kimono of bang-up beauty and spareness, from the Taisho Period (1912-1926).

They are so lifelike they appear three-dimensional. Increasingly, at that place is a focus on the lower half of the kimono equally we movement nearer the 21st century.

Far left: "Kimono Ensemble with Chrysanthemums," Taisho Period (1912-1926), Dye-patterned silk-crepe with details embroidered in metal thread;
Souvenir of Atsuko Irie, in honor of Suga Irie, 1998

Exquisite item of "Kimono Ensemble with Chrysanthemums," Taisho Catamenia (1912-1926)

"Kimono With Peonies," features one of the most beautiful blossoms in the globe on a kimono with a Turner's Yellow background, created more than recently in the Showa Menstruum, (1926-1989), circa 1930s, and deploys several techniques to reach its ethereal issue, including gold paste painted directly onto the fabric: "This extravagent, richly embroidered kimono (homongi) depicts a garden with flowering peonies of all colors. The realistically depicted petals and leaves are influenced past Western paintings. It is made of silk crepe with occasional weft-patterning of staggered lines in silk and metallic threads, with practical golden paste (kindei gaki). The patterns are stencil paste-resist dyed, (kata yuzen), painted and embroidered with silk metal threads, with practical gold paste (kindei gaki). It is lined with vivid pink silk crepe and has calorie-free padding at the hem." (Characterization)

"Kimono with Peonies," Showa Menstruation (1926-1989), circa 1930s, Weft-patterned silk plain-weave silk, stencil dyed, painted with gold paste, and embroidered with silk and metal threads; Gift of Gordon Stone, Museum of Fine Arts, Boston, 2005

Particular of "Kimono with Peonies," showing the three-dimensional quality of the golden thread

The ii kimonos illustrated below depicting generals,  soldiers, and warplanes were "Set To Wear Meisen kimono and Wartime 'Propaganda kimono' of the 1930s and 1940s." Wall text explains this unusual phenomenon that produced such unusual motifs on what were unremarkably decorative, natural subject matter:

"Meisen kimonos became pop for everyday wear in the offset one-half of the twentieth century, because Meisen fabric, woven from predyed yarn, was both inexpensive and long-lasting. These garments were mass-produced from plainly-weave raw silk, and later rayon, mainly in regions north of Tokyo. Chichibu meisen, produced in Saitamu Prefecture, are the most well known. Meisen kimonos were marketed in deparment stores and people expected new designs every year. The first Isesake meisen store opened in Tokyo around 1887, but the origins of meisen go dorsum to the Edo Period (1614-1868), to the inexpensive, manus-woven futo-ori ('thick weave') silk textile that was primarily used at home. Meisen kimonos are often busy with large-sized geometric patterns, sometimes inspired past art Deco motifs, commonly in vivid colors. Many of the about striking designs were created in the early Showa period (1926-89), as improvments in dyeing techniques led to more sharply delineated designs and color gradations...The Taisho period (1912-1926) saw the nativity of the modernistic metropolis in Japan. Symbols of modernity, such as skyscrapers, loftier-speed trains, and planes, were used in ad, graphic design and even on kimonos. With increased militarization in Nihon in the 1920s and 1930s, state of war paraphernalis such equally battleships and armed forces vehicles, also become iconic subjects for fabric design. These propaganda textiles were produced and worn in the context of international political tensions and nationalism that led to conflict in Asia and eventually to World War 2. Propaganda imagery appears predominantly on mens under-kimonos and boys garments..."

"Man'south Nether-Kimono (Nagajuban), with Scene of the Russo-Japanese War Featuring General Nogi," Meiji Catamenia (1868-1912), Early on 20th Century, Resist Dyed, mitt-painted plainweave silk with traces of gilt leaf; Gift of Harumi Takanashi and Akami Ota, in memory of their female parent, Yoshiko Hiroumi Shima, 2007

It is not everyday that a Full general is depicted on sumptuous kimonos or garments of any kind. Full general Nogi is featured with his troops in "Human being'southward Under-Kimono (Nagajuban) with Scene of the Russo-Japanese War Featuring General Nogi," hand-painted on Resist-Dyed plainweave silk with traces of golden leafage, in the early 20th century:

"A nagajuban is an informal robe often decorated with eye-catching designs. This piece may be a one-of-a-kind commemorative garment related to Japan's victory in the Russo-Japanese War of 1904-05. The scene refers to the lengthy Japanese siege of Port Arthur, an engagement lasting from August i- 1904 to Jan two, 1905, when the Russian general, Anatoly Stessel, surrendered to General Nogi Maresuki. After the War Full general Nogi was celebrated as a national hero. Some scholars see such commemorative wearable as precursors of the more overtly propagandistic garments of the 1930s and Earth War Ii years.

"Mans Under-Kimono (Nagajuban), with 'Italy in Ethiopia' Symbols," Showa Period (1926-1989), circa 1935-1940, Printed silk, Purchase Friends of Asia, 2014 ; Purchase, Friends of Asian Arts Gifts, 2014

Detail of "Mans Under-Kimono (Nagajuban), with 'Italian republic in Ethiopia' Symbols"

In a gallery focused on "Popular Civilization and Material Design: Garments for Commoners," the beauty continues, even though it is portrayed in more down-to-world and wearable fabrics. The wall text offers fascinating insights:

"As near of these garments were designed for labor, in Japan, farmers, less affluent townspeople, and craftsmen wore simple, usually homemade habiliment in their everyday life both at abode and at work. This clothing had to exist durable and was often made of hemp and sometimes cotton fiber, although this cloth was not widely produced till the belatedly nineteenth century. Their material, shape and style were adapted to meet specific requirements. For example, for farming, sleeves were narrowed at the cuffs. Most wearable was undecorated, nonetheless, some have unique designs, often the result of the apply of recycled fabrics. The farmers jacket on display in this section was created from fabric scraps woven together, while the patchwork jacket ( hanten) was stitched from pieces of fabric from the Edo period. This practice of reusing textiles means that few examples of everyday vesture survive...The wood compages and crowded living conditions in the urban areas of Nihon led to frequent fires. Firefighter'southward coats were made of several layers of thick, quilted cotton fiber fabric. The inside of these coats are busy with elaborate designs, often inspired by pop contemporary woodblock prints, usually depicting warrior heroes or mythical heroes that instill bravery or are related to h2o. The coats were soaked in water and worn plainly side out when fighting fires, and inside out later on putting out a fire or during festivals when the firefighters would demonstrate acrobatic moves on ladders."

"Firemans Jacket with Gods of Wind and Thunder," Meiji Period (1868-1912) , late nineteenth century, Quilted cotton with paste-relief; John C. Weber Collection

Screen, "Farmers Lives In The Twelve Months," Edo Menstruum (1615-1868), tardily 17th century-early 18th century; 1 of a pair of 6-console folding screens, ink and color on paper; Gift of Mrs. E.H. Herriman, 1929

Left to right: "Kimono shaped coverlet (Yogi) with lobster and crest," Meiji Period (1868-1912) mid-nineteenth century, Obviously-weave cotton, resist-dyed and painted with dyes and pigments (tsutsugaki), Seymour Fund, 1966; "Farmer'southward Jacket," Showa Menstruation (1926-1989), Manifestly-weave cotton, silk and mountain wisteria fiber (Yamafuni), John C. Weber Collection; "Jacket (Hanten)," Meiji Menstruation (1868-1912), second half nineteenth century, Crepe silk (chirimen), patchwork with ikat, shibori, komon katazome, paste-resist dyeing, (yuzen), stencil-dyed and patterned damask sections, some dating from the Edo Menstruum (1615-1868), John C. Weber Drove

The "Farmer'due south Jacket" illustrated center above, has an interesting story : "Once the property of a well-to-do farmer from Okayama Prefecture, this jacket is fabricated with alternate blue, green, pink, red and orange scraps of textile of varying widths. Strips of cotton and silk wefts were woven together with mountain wisteria (tree bast fiber) warp in a technique known equallysakiyori. This procedure began as a means of recycling older textiles, which were too valuable for a villager, farmer or fisherman to simply discard. Oftentimes elderly family unit members wove sakiyori textiles past mitt on a traditional backstrap loom. The pristine condition of the jacket suggests it was never worn and could have been a precious garment. Very few surviving examples of farmers jackets are known.

"

Left: "Kimono With Flowing Water Design," by Moriguchi Kunihiko, (born 1941), (Heisei Menstruum, 1989-present), 1992, Paste-resist dyed (yazen) crepe silk; Buy, Sue Cassidy Clark Gift, In memory of  Terry Satsuki Milhaupt, 2014; Correct: "Rakohoku (Northern Kyoto) Kimono" by Moriguchi Kake, (1909-2007), Showa Period (1926-1989), 1985, Paste-resist dyed with crepe silk with gold and silver embroidery

Spare and gorgeous, "Kimono with Flowing Water Design" by Moriguchi Kunihiko was created in 1992, shown hither with another beautiful contemporary kimono:

"The blueprint on this kimono is Moriguchi Kunihiko's unique interpretation of the flowing h2o, or stream pattern, a long favoured fabric blueprint in Japan. He applied the maki nori ('sprinkled rice paste') technique developed by his father, who also created several garments with this theme, most of which relate to the Rinpa tradition. Here, Kunihiko transforms the blueprint into an abstract composition, with the distance between the lines getting narrower and narrower at the bottom of the kimono." (Characterization)

"Rakohoku (Northern Kyoto) Kimono" past Moriguchi Kake, (1909-2007) , is a masterpiece in subtlety with no loss of upshot:

"The design on this kimono was inspired by the image of the setting lord's day in a tranquil garden in Rakohoku, the Northern section of the ancient capital of Kyoto. The kimono's upper section was dyed with onion skin using the 'sprinkled rice paste' (maki nori) technique, which was inspired by the sprinkled motion picture lacquer technique. The sinuous lines are fine quality aureate and argent embroidery."

"Evening Ensemble," past Hanae Mori, (born 1926), Showa Period (1926-1989), ca. 1966-1999; Brooklyn Museum Costume Drove at The Metropolitan Museum of Art, Souvenir of the Brooklyn Museum, 2009; Brooklyn Museum Collection, 2009

The beautiful ensemble by Hanae Mori looks like a kimono, merely it is entirely contemporary in cut and comfort - a authentication of innovative late 20th and early 21st century American design. The characterization includes this data:

"This evening ensemble is an early piece of work by Hanae Mori. She employes a double-layer of chiffon and surah printed with multi-colored floral patterns and sections of solid brilliant orange to create a shadow upshot, heightened by the superimposition of fabrics. The piece conciliates European and American fashion and traditional Japanese pattern. The greatcoat sleeves are reminiscent of the furisode, a kimono worn past young unmarried Japanese women."

"The Rice Bowl Wearing apparel," by Carolyn Schnurer, (American, 1908-1988), Manufacturer ABC Fabrics, 1952, Printed Cotton; Brooklyn Museum Costume Collection, Gift of  The Brooklyn Museum, 2009; Souvenir of Carolyn Schnurer, 1952

"During her twenty-year career in fashion, Carolyn Schnurer was a pioneer in the emerging American sportswear manufacture. She was particularly reknowned for her culturally inspired resort collections, which maintained a archetype American silhouette, while incorporating the cultural theme in fabric selection or construction detail. For her 'Flying to Japan Collection,' Schnurer adapted elements of Japanese costumes and textiles, as well every bit architecture and decorative arts. In this example, the neckline, inspired by a reversed kimono, emphasises the wearers collar bones and delicately frames the face. The geometric pattern is inspired past sekkazome paper, (meaning snow flower or snowflake dyeing), a technique in which mulberry paper is accordion pleated, folded into various patterns, and then dip dyed. The skirt which is vertically boned, was inspired by Japanese oilcloth parasols. This outcome creates a graceful A-line silhouette, and was a practical alternative to the cumbersome crinoline petticoats prevalent in the 1950s."

"Coat" past Yojhi Yamamoto, Showa Menses (1926-1989), Jump/Summer 1983, Plain-weave cotton wool; Buy Gould Family unit Foundation Souvenir, in memory of Jo Copeland, 2011

We run across outfits like "Coat" by Yojhi Yamamoto everywhere today - jeans with holes take become staples of the young across the globe - so it is important to call back that this amazing designer came up with the thought in 1983, when his collection caused a sensation as much for the designers's innovations as his sense of sense of humor:'

"Yohji Yamamoto's disobedience of normative approaches to manner is grounded in an understanding of traditional methods of pattern cutting and kimono design, which he deconstructs to create unusual pieces that bespeak his skill, humor and innovative mindset. Here, Yamamoto has cut irregularly shaped holes across the surface of this to a higher place-knee-length, kimono mode jacket." (Label)

"Shirt," by Issey Miyake, 1991, Synthetic textile; Buy Caroline Rennolds Milbank, Gift, 2009

Like a blossom unfurling, detail of the sleeve of Issey Miyake'south "Shirt"

Issey Miyake needs no introduction. His work is internationally recognized, collected and loved. Information technology is piece of cake to see why from the "Shirt" he designed in 1991, illustrated here, that is reminiscent of a blossom unfurling, ripples in a swimming, and luscious Fortuny fabric. It is more sculpture than clothing, and draws on the ancient bodyart of the kimono, while deploying an entirely innovative, manmade, constructed fabric ingeniusly.

Japanese aesthetics have wowed united states for centuries. I went to run across this show several times, and in that location is nonetheless and so much more I could have added to this review, only I cannot go on forever. The Japanese galleries at the Met are so beautiful, made fifty-fifty more and so past this art to wear.

Ancient artifacts including Buddhist textiles, and manifestations of the Buddha, in the Japanese Galleries at The Metropolitan Museum of Art

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Source: https://www.thecityreview.com/kimono.html

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