contributor
26,977
edits
Changes
no edit summary
==Creation and Style==
==Creation and Style==
The process is done by using [[persimmon]] juice as a resist, blocking out areas one does not wish to dye. Dye is then applied through stencils, by hand, one section at a time, to produce the designs.<ref>Gallery labels, [[Tokyo National Museum]].</ref>
The process is done by using [[persimmon]] juice as a resist, blocking out areas one does not wish to dye. Dye is then applied through stencils, by hand, one section at a time, to produce the designs.<ref>Gallery labels, [[Tokyo National Museum]].</ref> The stencils are made from soft, thick ''[[hosho|hôsho]]'' paper which has been strengthened with persimmon juice. More than 2,000 such stencils survive from prior to World War II, and each is inscribed with the year, the names of the studio (紺屋, ''kôya'') and client, and other information. The stencils were cut out on a dried tofu base known as a ''rukuju'' using a small chisel known as a ''shiigu''. The cutting and production otherwise of the stencils, dyeing the fabric, and other aspects of bingata production were all performed within the same studio.<ref>Gallery labels, "Churashima Textiles" exhibition, Shoto Museum, Tokyo, Sept 2019.</ref>
It is believed that ''bingata'' technique and styles first emerged due in large part to the influence of Japanese dyed fabrics which were brought into the Ryukyuan royal court as gifts from the [[Tokugawa shogunate]]. By the 19th century, if not earlier, ''bingata'' garments began to show the influence, too, of the latest Japanese commoner fashions; for example, motifs of flowered roundels appear both in Okinawa and in Kyoto, Osaka, and Edo around the same time.<ref>''Bingata! Only in Okinawa'', 73.</ref>
It is believed that ''bingata'' technique and styles first emerged due in large part to the influence of Japanese dyed fabrics which were brought into the Ryukyuan royal court as gifts from the [[Tokugawa shogunate]]. By the 19th century, if not earlier, ''bingata'' garments began to show the influence, too, of the latest Japanese commoner fashions; for example, motifs of flowered roundels appear both in Okinawa and in Kyoto, Osaka, and Edo around the same time.<ref>''Bingata! Only in Okinawa'', 73.</ref>