Changes

*''Japanese'': 紅型 ''(bingata)''

*''Japanese'': 紅型 ''(bingata)''

''Bingata'' is an Okinawan resist-dye [[Ryukyuan textiles|textile]] design technique, involving bold, colorful patterns, often involving flowers, and often on a red or yellow ground. Traditionally, ''bingata'' garments were strictly limited to the Ryukyuan royalty and [[scholar-aristocracy of Ryukyu|aristocracy]].[[Yanagi Soetsu|Yanagi Sôetsu]] began promoting ''bingata'' as folk craft (''[[mingei]]'') in 1938, however, praising it alongside other Okinawan and Korean arts as a quaint, exotic, art produced by anonymous folk weavers and evocative of a simpler time; as a result, ''bingata's'' aristocratic associations have been all but lost today in the popular consciousness.<ref>Nitta Setsuko, "Oppression of and Admiration for Okinawan Textiles: Commercial Items and Art Objects," Okinawan Art in its Regional Context symposium, University of East Anglia, Norwich, 10 Oct 2019.</ref>

''Bingata'' is an Okinawan resist-dye [[Ryukyuan textiles|textile]] design technique, involving bold, colorful patterns, often involving flowers, and often on a red or yellow ground. Traditionally, ''bingata'' garments were strictly limited to the Ryukyuan royalty and [[scholar-aristocracy of Ryukyu|aristocracy]]. [[Yanagi Soetsu|Yanagi Sôetsu]] began promoting ''bingata'' as folk craft (''[[mingei]]'') in 1938, however, praising it alongside other Okinawan and Korean arts as a quaint, exotic, art produced by anonymous folk weavers and evocative of a simpler time; as a result, ''bingata's'' aristocratic associations have been all but lost today in the popular consciousness.<ref>Nitta Setsuko, "Oppression of and Admiration for Okinawan Textiles: Commercial Items and Art Objects," Okinawan Art in its Regional Context symposium, University of East Anglia, Norwich, 10 Oct 2019.</ref>

''Bingata'' techniques and styles as known and celebrated today are said to have reached their mature phase by the end of the 17th century; though various dyeing techniques and styles existed in Ryûkyû prior to that time, it was only in the [[Edo period|early modern period]] that the particular techniques and styles today associated with "bingata" developed. The term ''bingata'', meanwhile, only became widely used in the late 19th or early 20th century; prior to that, the term ''katatikii'' (J: ''katachiki''), roughly meaning "applying designs," was the term most commonly used in Ryûkyû.<ref>''Bingata! Only in Okinawa'', 158.</ref> ''Huā bù'', or "floral cloth," was often used in Chinese-language sources referring to the Ryukyuan product.<ref name=chen92>Buyun Chen, "The Craft of Color and the Chemistry of Dyes: Textile Technology in the Ryukyu Kingdom, 1700–1900," ''Technology and Culture'' 63:1 (January 2022), 92.</ref>

''Bingata'' techniques and styles as known and celebrated today are said to have reached their mature phase by the end of the 17th century; though various dyeing techniques and styles existed in Ryûkyû prior to that time, it was only in the [[Edo period|early modern period]] that the particular techniques and styles today associated with "bingata" developed. The term ''bingata'', meanwhile, only became widely used in the late 19th or early 20th century; prior to that, the term ''katatikii'' (J: ''katachiki''), roughly meaning "applying designs," was the term most commonly used in Ryûkyû.<ref>''Bingata! Only in Okinawa'', 158.</ref> ''Huā bù'', or "floral cloth," was often used in Chinese-language sources referring to the Ryukyuan product.<ref name=chen92>Buyun Chen, "The Craft of Color and the Chemistry of Dyes: Textile Technology in the Ryukyu Kingdom, 1700–1900," ''Technology and Culture'' 63:1 (January 2022), 92.</ref>