Rui Arts and Crafts

About the History of Nishijin Textile and its Technology

Origin of Nishijin-ori

Nishijin-ori is a textile that has been developed over approximately 1,500 years in Japan's cultural climate. It has its origins in the sericulture and weaving techniques brought by the Hata clan, a powerful immigrant family. It has continued to develop alongside various influential cultural elements such as Kyoto's court culture, Buddhist culture, warrior class, and townspeople, and has developed a unique beauty and advanced craftsmanship.

Development of Nishijin-ori

Due to the collaborative process of lifting the warp threads and passing the weft threads, the amount of fabric that could be woven in a day was limited. Moreover, the twenty production processes including making threads from cocoons, dyeing, designing patterns, and coordinating thread colors were each handled by specialized artisans. This demand for meticulous craftsmanship thrived in Kyoto, where people spared no expense or time. However, with the shift of the capital to Tokyo during the Meiji era, demand decreased, posing a crisis. Nonetheless, the industry was revitalized by the introduction of the Jacquard loom from Lyon, France.

New path for Nishijin-ori

Jacquard looms dramatically accelerated the weaving process, allowing the production of more diverse and higher quality products. While demand initially expanded, the decline in the tradition of wearing kimono led to reduced consumption, and the once bustling sounds of weaving in the Nishijin area have become rare in recent years. Currently, to ensure the survival of tradition,, we are beginning to explore new directions in producing Nishijin textiles  for interior decoration.

Future of Nishijin-ori

By blending tradition with modern technology, Nishijin Brocade Arts and Crafts Asagi transforms Nishijin textiles into decorative interior items that not only functions as a decoration but also enriches your living space.

Rather than pursuing abstract global beauty, they continue to weave local beauty through the latest Jacquard 1800 needle weaving technology. We believe that one of the roles of Nishijin-ori as a traditional craft is to convey the Kyoto aesthetic consciousness, reverence for nature, and religious views that Nishijin-ori has absorbed over its long history using the best techniques available today. What supports this is, paradoxically, an insatiable desire to explore unknown worlds and improve technology, such as by interpreting the Western paintings with Nishijin textiles. A heart that is always open to other cultures and the future is what truly preserves tradition. I think we can successfully coexist with a globalizing culture by recognizing ourselves in the relationships between the past and the future, the West and the East, and various other cultures.

 

1800 needle Jacquard loom

The 1800 needle Jacquard loom is the latest Jacquard loom that Nishijin Brocade Arts and Crafts Asagi has developed. Typically, a Jacquard loom weaves around 900 warp and weft intersections when weaving about 30 centimeters, termed as the 900 weave. However, in Asagi's case, it involves double the intersections, totaling 1800 intersections. For instance, within a frame of 30 square centimeters, this translates to over four times the fineness of weaving, enabling the representation of curved lines and other intricate details that were previously challenging.

Furthermore, Asagi is also the only Nishijin weaving establishment capable of weaving Maru-obi. Maru-obi is woven at twice the width of a regular obi , allowing patterns to be woven on both sides, resulting in four to eight different ways to wear it. While Nishijin-ori can now be woven in double widths of approximately 140cm, matching Western textile widths, it's challenging to utilize as many coloured threads as necessary to weave the rich and colourful patterns intrinsic to traditional Nishijin-ori. Asagi's Maru-obi now represents the pinnacle of the opulent Nishijin-ori.

Excellence of Nishijin-ori craftsmanship, combined with technology, holds immense potential to bring forth beauty previously only accessible to a limited audience into everyday life. Unlike advanced printing techniques, the three-dimensional and substantial presence of craft items made from premium silk, along with the overwhelming brilliance of pure gold and platinum, and the warm texture crafted by history and human hands, create spaces of comfort amid our increasingly digital society. Above all, they evoke a sense of reverence for the exploration of technology and beauty in those who behold them.

A fusion of technology and honed sensibilities

The production process for Nishijin-ori involves intricate specialization, requiring experts with advanced techniques and sensibilities in each area. The entire process is akin to an orchestra, with the weaving factory acting as the conductor.

The patterns on Asagi's obi are not mere copies of artworks. They are refined into the finest obi patterns by borrowing motifs from original paintings or altering the size, colours and arrangement of motifs. Furthermore, reproducing colours requires envisioning colours from a limited variety of threads that interfere with each other. It is sometimes necessary even to choose different colours from the original painting to adjust the colour balance in the woven fabric. These considerations impact every step of the process, requiring orchestration of advanced sense of colour and composition.

 

The Pottery produced at Kamekyo kiln is called Tamba Otowa Ware.

 

Feminine elegance to Yakishime pottery 

Emu Nakai, a female ceramic artist, has been fascinated by pottery since she was a high school student. After graduating from Kyoto College of Traditional Crafts , she apprenticed under a Tanba-yaki potter for five years before becoming independent.

In an era where many use small gas kilns, Emu chose to start Kikyo-gama, which is a self-made kiln that fires at high temperatures in the old-fashioned way, cutting wood deep in the mountains with her family. She researched kiln construction in libraries since her student days, embodying the ethos of doing everything herself and harboring a strong desire for producing pieces she can be satisfied with.

Emu's works blend seamlessly into anyone's everyday life while reflecting her individuality. Creating glossy and delicate pieces, somewhat unusual for Yakishime pottery, showcases her strong personality and aesthetic sense, leaving a profound impression.

The characteristic lies in its thinness and luster. In contrast to the robust impression often associated with thicker and rougher Yakishime pottery, deliberate thinness and strong polishing enhance its gloss, bringing out a particular gracefulness and delicacy not found in other Yakishime pottery. Furthermore, the beauty of natural glazes produced by firing in traditional high-temperature kilns is noteworthy.

Her passion is to provide everyday utensils that are affordable and user-friendly. The thoughtful pricing, designing rice bowls to prevent rice grains from sticking, ensuring cups have a comfortable mouthfeel and are easy to hold—all reflect meticulous considerations.

She constantly challenges herself, such as using clay from various regions and experimenting with colours derived from natural sources or pigments mixed into the soil. Currently, she passionately seeks clay from her beloved hometown, Kameoka! She also have a dream of starting a restaurant using her own pottery in the future.

Continuously crafting utensils that resonate with those seeking a life in harmony with nature, Emu Nakai is committed to fostering a culture of mindful living.