Rui Arts and Crafts

Origin of Nishijin-ori

Nishijin-ori is a textile that has been developed over approximately 1,500 years in Kyoto's cultural climate. It has its origins in the sericulture and weaving techniques brought by the Hata clan, a powerful immigrant family, who settled in Kyoto around the 4th or 5th century. 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.

The History of Nishijin-ori (1): The Begining    

The History of Nishijin-ori (2): Heian Culture and Nishijin-ori

How Nishijin-ori Got Its Name

Nishijin-ori came to be known as such after the Onin War (1467–1477). During the war, the artisans of Nishijin-ori fled to areas like Osaka and Sakai for safety. After the conflict, they returned and settled in the area where the western army had camped during the war. As a result, the textiles woven there came to be called Nishijin-ori, named after the "west camp."

 

The History of Nishijin-ori (4) The Origin of the Name

Development of Nishijin-ori

While the silk industry began long before, with Kyoto already serving as a production center during the Heian period, the name 'Nishijin Brocade' emerged only after the Onin War (1476-1477), a devastating civil war that ravaged Kyoto. During the conflict, Nishijin-ori weavers fled to Osaka, but as peace was restored, they returned to Kyoto and resettled in the war-torn Nishijin area—literally meaning 'Western Position.' There, they revived their production and business. Embracing innovative techniques brought from the continent, Nishijin-ori flourished, reaching its zenith during the early Edo period.

However, in the latter half of the Edo period, a series of consecutive famines, fires, and natural disasters destabilized society, and sumptuary laws were frequently enacted. The subsequent relocation of the capital to Tokyo during the Meiji era further contributed to a decline, leading to a critical downturn. Yet, the industry experienced a revival with the introduction of the Jacquard loom from Lyon, France, which breathed new life into this traditional craft.

The History of Nishijin-ori (3):  The Era of the Warriors

The History of Nishijin-ori (5): In Full Bloom (Edo Period 1603 - 1868)

New Path for Nishijin-ori

The introduction of Jacquard looms dramatically accelerated the weaving process, enabling the production of a more diverse array of high-quality textiles. Although this innovation initially spurred increased demand, the tradition of wearing kimono waned, particularly after World War II, leading to a decline in consumption. Consequently, the once vibrant sounds of weaving in the Nishijin area have grown increasingly rare.

Today, in order to preserve this rich heritage, they are pioneering new avenues by adapting Nishijin textiles into a variety of products, including ties, accessories, interior textiles, and refined décor. As part of this initiative, Nishijin Brocade Arts and Crafts Asagi reimagines Nishijin textiles, seamlessly blending traditional techniques with modern technology and innovative designs to create exquisite decorative pieces for the interior.

The History of Nishijin-ori (7):  Kyoto after the Restoration

The History of Nishijin-ori (8): 20th Century and the Future

Nishijin Brocade Asagi Museum | Meet fine arts and crafts in Kyoto

Nishijin Asagi Museum showcases the finest Maru-Obi and ultra-fine woven artworks created by skilled Nishijin artisans. What sets these artworks apart is their remarkable detail and intricacy. The intersections of the warps and wefts are nearly invisible, allowing for the expression of natural curves and subtle, nuanced colors. This is made possible by Asagi's cutting-edge technology, combined with techniques rooted in centuries of tradition.

1800 Needle Jacquard Loom

The 1800-needle Jacquard loom is the latest Jacquard weaving machine employed for the finest products by Nishijin Brocade Arts and Crafts Asagi. While a typical Jacquard loom weaves approximately 900 warp and weft intersections per 30 centimeters, known as the 900 weave, Asagi’s loom doubles this to 1800 intersections. This increase results in over four times the fineness of weaving within a 30 square centimeter frame. Such precision enables the depiction of curved lines and intricate details that were previously unattainable. The superior quality and complexity of the weaving are evident in the picture below. 

Although the weaving is predominantly performed by the loom, the 1800-needle Jacquard loom still demands the expertise of highly skilled artisans.

Moreover, weaving is just one element of Nishijin-ori, as its production is an intricate process that relies on specialized artisans, each possessing advanced techniques and refined sensibilities.The design process, for example, often begins with motifs inspired by original paintings, which are then reimagined through adjustments in size, placement, and color to achieve the highest level of artistry in textile form. The intricate interplay of countless threads requires meticulous construction of colors by blending selected threads. At times, colors different from those in the original artwork are intentionally chosen to achieve a balanced visual harmony in the woven piece.

This process represents a masterful orchestration of color sensibilities and compositional balance, guiding all subsequent stages, including thread creation and dyeing, to ensure the finest results. The entire production is akin to a symphony, with the weaving factory serving as the conductor, bringing together the artistry and precision that define Nishijin-ori.

Tradition and Future

Asagi is steadfast in their commitment to preserving tradition for future generations. Despite the current decline in demand for kimono, making it financially challenging to sustain the business, Asagi remains unwavering in their dedication to heritage, aesthetic value, and the significance of Japanese arts and crafts. To safeguard tradition, one must embrace new values, technologies, and aesthetics while maintaining a connection to the core principles of Nishijin-ori. Artisans of Nishijin-ori perpetually refine their skills by experimenting with new expressions, such as Western Impressionist art forms. Asagi is also devoted to nurturing young artisans, exemplified by the recent establishment of the "Tango Creative Centre" in Kyotango, a long-standing hub for Nishijin textile production. Not only Asagi but also other weavers are now collaborating to globally promote the beauty of Nishijin-ori. They are always flexible and adapt to the demands of the real world, which is why Nishijin-ori has survived over a millennium. Tradition is an evolving entity; its longevity lies in its adaptability.

The unparalleled beauty and craftsmanship of Nishijin-ori evoke a profound sense of reverence in those who behold them. Each piece of Nishijin-ori transcends mere product status, emerging as a work of art imbued with the warmth of history and the touch of human hands. These handcrafted textiles forge a tangible connection to the past, encapsulating centuries of tradition and expertise while integrating digital technologies in processes such as the creation of weaving charts. They stand as a testament to the harmonious interplay of tradition and innovation, illustrating the potential of technology to enhance, rather than supplant, artisanal skills.

 

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, the deliberate thinness and the beauty of natural glazes produced by firing in traditional high-temperature kilns, with their gloss enhanced through thorough polishing, bring out a particular gracefulness and delicacy not found in other Yakishime pottery.

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.

 

https://masaru-matsui.com/

Hikibaku, a traditional Japanese art form, involves cutting designs created with lacquer and foil on washi paper into hair-thin strips and weaving them to transfer the designs directly onto items such as obi (a traditional Japanese belt). This technique is now finding new possibilities as a decorative design for everyday objects and as a unique art form.

Lacquer: Rich Color and Durability

Lacquer has a naturally brownish hue, which means it cannot produce white. However, by combining primary colors, various other colors can be created, much like paint. When lacquer is applied to washi paper, which has fibers aligned in one direction, the resulting strength surpasses that of fabric. This combination of practicality and artistic quality allows for the addition of original designs to everyday items.

Foil: Noble Luster and Artistic Presence

Foil has long embellished Japanese culture with unparalleled elegance throughout its long history. Notable examples include the intricate maki-e designs that stand out against the lustrous black lacquer background, and the resplendent gold foil that adorns entire folding screens, such as the renowned "Wind God and Thunder God" screens. These exemplify the profound and majestic essence of Japanese aesthetics. The appearance of foil changes dramatically with the angle of light. Beyond pure gold foil, there exists a rich palette of colors, and the techniques for shaping and applying foil are remarkably diverse. It can be powdered, fragmented into larger pieces, blown, pressed, or intricately combined with lacquer to create layered effects, allowing the foil to subtly emerge from beneath the surface. This versatility facilitates highly nuanced and sophisticated expressions.

Please take a look at the original works of Hikibaku artist Masaru Matsui.