Kosode Reproduced from a Fabric Fragment with an Ink Inscription

Order Received from Fushimi-dono

fushimidono_03.jpgMarubeni Gallery

This exhibition features a kosode (short-sleeved kimono) fabric fragment produced during the Momoyama period (1573–1615 CE) in the tsujigahana style —a highly rare artifact belonging to the Marubeni Collection—and a faithful reproduction of the kosode from which it came. 

Kosode Fragment with Overlapping Japanese Cypress Leaves, Fans, and Wave Motifs on White Nerinuki Ground.JPGMarubeni Gallery

Furthermore, since the kosode fragment with this sumi (Japanese black ink) inscription is an example of Momoyama-period tsujigahana, similar tsujigahana fragments are displayed to introduce the technique more fully.

restored kosodeMarubeni Gallery

Restoring the Fushimi-dono Kosode 

The project to create this reproduction was carried out over more than three years, from July 1996 to December 1999, to commemorate the 50th anniversary of the founding of Marubeni Corporation. 

weving.jpgMarubeni Gallery

As much as possible, Momoyama techniques were used for all steps of the reproduction process, from raising silkworms to spinning yarns, weaving by hand, steaming the fabric, sketching the design, stitching, binding, dyeing, and finishing.

binding.jpg, From the collection of: Marubeni Gallery
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dyeing.jpg, From the collection of: Marubeni Gallery
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sewing.tifMarubeni Gallery

The kosode’s restoration required research on the techniques thought to have been used during the Momoyama period and their revival.

fushimidono fragment.jpgMarubeni Gallery

  The “Order received from Fushimi-dono” kosode fragment

  The “Order received from Fushimi-dono” kosode fragment has motifs rendered using the technique now commonly called tsujigahana. Tsujigahana has been called the phantom dyeing technique, because it appeared for such an extraordinarily brief period of time. 

fushimidono fragment_ink.jpgMarubeni Gallery

 It is also regarded as presenting the epitome of textile techniques from the medieval to the early modern periods.In recent years, a scholar has examined in detail changes in how the term “tsujigahana” is used and the state of that technique. 

fushimidono_05.jpgMarubeni Gallery

Consequently, it is becoming known that there is a considerable gap between the modern concept of tsujigahana and how that term was actually used when the technique was being employed. 

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.

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