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*Hemp was used in a variety of ways in Ryûkyû, as it was in Japan. One form of hemp textile used to make curtains or banners, and often presented as an emblematic Ryukyuan local product as a gift to foreign elites, was called Taiheifu, or Taihei cloth, after a place known as Taihei.<ref name=tomo150/>
*Hemp was used in a variety of ways in Ryûkyû, as it was in Japan. One form of hemp textile used to make curtains or banners, and often presented as an emblematic Ryukyuan local product as a gift to foreign elites, was called Taiheifu, or Taihei cloth, after a place known as Taihei.<ref name=tomo150/>
*''[[Tonbyan]]'', made from the fibers of a variety of agave plant from [[Fujian province]], was used to make translucent white fabrics. Though knowledge about the production of this material was lost in World War II, recent research has revealed new insights.<ref>"The Lost Textile of Ryukyu," NHK World TV program, 7 Nov 2020.[https://www3.nhk.or.jp/nhkworld/en/tv/worldprime/20201107/3004681/]</ref>
*A number of other types of textiles, such as felt or woolen cloth (J: ''rasha'') and silk crepe (J: ''chirimen''), were not produced in Ryûkyû but were imported from China and given as gifts (or "[[tribute]]" goods) to the [[Tokugawa shogunate]], [[Shimazu clan]], or other prominent figures.<ref name=tomo150/>
*A number of other types of textiles, such as felt or woolen cloth (J: ''rasha'') and silk crepe (J: ''chirimen''), were not produced in Ryûkyû but were imported from China and given as gifts (or "[[tribute]]" goods) to the [[Tokugawa shogunate]], [[Shimazu clan]], or other prominent figures.<ref name=tomo150/>
[[File:Hanagasa.jpg|right|thumb|320px|[[Hanagasa]] [[Okinawan dance|dancers]] in ''[[bingata]]'' robes]]
[[File:Hanagasa.jpg|right|thumb|320px|[[Hanagasa]] [[Okinawan dance|dancers]] in ''[[bingata]]'' robes]]
[[File:Kasuri-ryukaji.jpg|right|thumb|320px|[[Sanshin]] players in ''[[kasuri]]'' (ikat) garments]]
[[File:Kasuri-ryukaji.jpg|right|thumb|320px|[[Sanshin]] players in ''[[kasuri]]'' (ikat) garments]]
Textiles are traditionally dyed or decorated in a variety of ways as well. ''[[Bingata]]'', a form of resist dyeing in which a paste-like material is used with a stencil to control which areas would be dyed, is perhaps the most famous, and involves boldly colorful patterns, often against a boldly yellow or pink ground; ''bingata'' is strongly associated with the aristocracy. Meanwhile, Ryûkyû is also known for its ''hana-ui'' brocades, ''ro'' gauze weaving, and ''[[kasuri]]'' or ikat, a form of resist-dyeing in which the threads are dyed first, before being woven into the garment, creating geometric and other patterns in a two-tone (e.g. indigo and undyed white) palette.
Textiles are traditionally dyed or decorated in a variety of ways as well. ''[[Bingata]]'' (also known as ''katachiki''), a form of resist dyeing in which a paste-like material is used with a stencil to control which areas would be dyed, is perhaps the most famous, and involves boldly colorful patterns, often against a boldly yellow or pink ground; ''bingata'' is strongly associated with the aristocracy. Meanwhile, Ryûkyû is also known for its ''hana-ui'' brocades, ''ro'' gauze weaving, and ''[[kasuri]]'' or ikat, a form of resist-dyeing in which the threads are dyed first, before being woven into the garment, creating geometric and other patterns in a two-tone (e.g. indigo and undyed white) palette.
As in China, yellow was considered an aristocratic or royal color, and the wearing of yellow garments was limited to those of elite status; not only ''bingata'' but also other royal & aristocratic garments were often dyed yellow head to toe, using minerals such as orpiment (J: ''sekiô'')<ref>An arsenic sulfide mineral known in Japanese as ''sekiô'' 石黄, lit. "stone yellow."</ref> or plant materials such as [[turmeric]] or ''huáng bò''.<ref>黄檗. The bark of the Amur cork tree (''Phellodendron amurense'' or ''Phellodendron chinense'').</ref><ref>「ロイヤルカラーの黄色地衣裳」, gallery labels, Naha City Museum of History.[https://www.flickr.com/photos/toranosuke/49599011943/sizes/l/]</ref>
Another particular type of silk cloth associated with Ryûkyû is known as ''tabby'' (二彩 or タビー, ''tabii''). Originally a famous product of China's [[Guangdong province]], it was among the chief types of textiles transshipped through or exported by Ryûkyû.<ref>Kamiya Nobuyuki, ''Ryûkyû to Nihon, Chûgoku'' 琉球と日本・中国, Yamakawa Shuppansha (2008), 60.</ref>
Another particular type of silk cloth associated with Ryûkyû is known as ''tabby'' (二彩 or タビー, ''tabii''). Originally a famous product of China's [[Guangdong province]], it was among the chief types of textiles transshipped through or exported by Ryûkyû.<ref>Kamiya Nobuyuki, ''Ryûkyû to Nihon, Chûgoku'' 琉球と日本・中国, Yamakawa Shuppansha (2008), 60.</ref>
===Aristocratic Costume===
===Aristocratic Costume===
::''Main article: [[Ryukyuan court costume]]''
[[File:Ryukyu-official.jpg|right|thumb|250px|A man in the costume of a [[scholar-aristocracy of Ryukyu|scholar-aristocrat official]], with purple (First or Second Rank) ''[[hachimaki]]'']]
[[File:Ryukyu-official.jpg|right|thumb|250px|A man in the costume of a [[scholar-aristocracy of Ryukyu|scholar-aristocrat official]], with purple (First or Second Rank) ''[[hachimaki]]'']]
The colors and types of materials worn by aristocrats indicated their rank. This was seen especially in the colors of the ''[[hachimaki]]'' (court cap or turban) and court robes, and in the material (gold or silver) used to make hairpins. A summary of the significance of colors in the court costume of male officials is included in the description of [[Ryukyuan court ranks]].
The colors and types of materials worn by aristocrats indicated their rank. This was seen especially in the colors of the ''[[hachimaki]]'' (court cap or turban) and court robes, and in the material (gold or silver) used to make hairpins. A summary of the significance of colors in the court costume of male officials is included in the description of [[Ryukyuan court ranks]].
While the royal and aristocratic classes are today strongly associated with the colorful ''bingata'', traditionally they would have worn ''bingata'' robes only when going out of the palace; in the private areas of the castle, members of the royal family were more likely to wear a simpler outfit of a red ''bujin'' wrap-shirt and white ''kakan'' skirt, throwing a ''bingata'' robe over this when going out.<ref>Okinawan traditional clothing demonstration, East-West Center International Conference in Okinawa, Sept 2014.</ref> ''Bingata'' was not generally worn for major court ceremonies, and further it was typically only worn by adult women and by young people (both male and female); adult men typically only wore ''bingata'' as a costume for dance or theater.<ref>''Bingata! Only in Okinawa'', 91, 112.</ref>
While the royal and aristocratic classes are today strongly associated with the colorful ''bingata'', traditionally they would have worn ''bingata'' robes only when going out of the palace; in the private areas of the castle, members of the royal family were more likely to wear a simpler outfit of a red ''dujin'' wrap-shirt and white ''kakan'' skirt, throwing a ''bingata'' robe over this when going out.<ref>Okinawan traditional clothing demonstration, East-West Center International Conference in Okinawa, Sept 2014.</ref> ''Bingata'' was not generally worn for major court ceremonies, and further it was typically only worn by adult women and by young people (both male and female); adult men typically only wore ''bingata'' as a costume for dance or theater.<ref>''Bingata! Only in Okinawa'', 91, 112.</ref>
By contrast, the typical men's garment worn during official duties was a simple black robe, cinched at the waist. Known as ''kuruchô'' (黒朝, lit. "black court [robes]"), it was often made of extremely fine ''bashôfu'' fibers, woven so finely as to have a texture similar to silk.<ref>''Bingata! Only in Okinawa'', 112.</ref>
By contrast, the typical men's garment worn during official duties was a simple black robe, cinched at the waist. Known as ''kuruchô'' (黒朝, lit. "black court [robes]"), it was often made of extremely fine ''bashôfu'' fibers, woven so finely as to have a texture similar to silk.<ref>''Bingata! Only in Okinawa'', 112.</ref>
The colors of women's garments were also significant, indicating the rank of their husband or family. The queen and royal princesses wore goldish yellow silk or satin damask, a color long considered an Imperial color in China, while wives of ''[[anji]]'' or ''[[ueekata]]'' wore ''[[kasuri]]'' (ikat) fabrics, especially ''tsumugi'', in green or pale blue (or yellow, for higher-ranking ''anji'' families). Pink ''kasuri'' garments indicated wives of those of ''[[peechin]]'' or ''[[satunushi]]'' status, while the wives of the ''[[chikudun]]'', the lowest-ranking nobles, wore blue ''kasuri''. The highest ranking noblewomen wore gold hairpins, while other noblewomen wore silver; commoners wore hairpins made of copper, brass, bronze, wood, or other materials. Deep blue garments dyed with indigo were standard among the commoner/peasant class; these were made of various materials, including ''bashôfu'' and cotton, but excluding ramie (''jôfu''), which was off-limits for commoners. ''Kasuri'' garments were worn by members of all classes, from the royalty down to the peasantry,<ref>Gallery labels, Naha City Museum of History, August 2013.</ref> but particularly large ''kasuri'' patterns were limited to the aristocracy.<ref>''Bingata! Only in Okinawa'', 108.</ref>
The colors of women's garments were also significant, indicating the rank of their husband or family. The queen and royal princesses wore goldish yellow silk or satin damask, a color long considered an Imperial color in China, while wives of ''[[anji]]'' or ''[[ueekata]]'' wore ''[[kasuri]]'' (ikat) fabrics, especially ''tsumugi'', in green or pale blue (or yellow, for higher-ranking ''anji'' families). Pink ''kasuri'' garments indicated wives of those of ''[[peechin]]'' or ''[[satunushi]]'' status, while the wives of the ''[[chikudun]]'', the lowest-ranking nobles, wore blue ''kasuri''. The highest ranking noblewomen wore gold hairpins, while other noblewomen wore silver; commoners wore hairpins made of copper, brass, bronze, wood, or other materials. Deep blue garments dyed with indigo were standard among the commoner/peasant class; these were made of various materials, including ''bashôfu'' and cotton, but excluding ramie (''jôfu''), which was off-limits for commoners. ''Kasuri'' garments were worn by members of all classes, from the royalty down to the peasantry,<ref>Gallery labels, Naha City Museum of History, August 2013.</ref> but particularly large ''kasuri'' patterns were limited to the aristocracy.<ref>''Bingata! Only in Okinawa'', 108.</ref>
==Modern History==
The production and consumption of Okinawan textiles saw a major shift after the Japanese government's ''[[kyukan onzon|kyûkan onzon]]'' (preserving old customs) policy was ended in [[1903]], along with the traditional poll tax, and assimilation policies began to be put into place. Whereas the poll tax had previously been paid in handmade textiles, commercial production and sale now began to dominate. Assimilationist rhetoric promoted the wearing of Japanese-style [[kimono]] as part of "modern" "Japanese" ideas of how to be a proper modern woman, and a good wife and mother. Even as synthetic dyes, machine-spun yarn, and new types of looms came to dominate, Okinawan textiles nevertheless became a luxury export good, purchased by Japanese on the mainland as an exotic and special good while Okinawans found it cheaper to buy Japanese material for their clothing; by the 1920s or '30s, some 80-90% of textiles produced in Okinawa prefecture were exported.<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>
While ''kasuri'' and other materials began to be produced commercially, however, ''bashôfu'' continues to be made only by hand. Banana fiber thread and cloth cannot be effectively produced by machine; even the use of a basic tabletop sewing machine tears through the material, ruining it.<ref>Francesco Montuori, "Okinawa Bashofu and Repackaging After Japanese Annexation," talk given at Okinawan Art in its Regional Context: Historical Overview and Contemporary Practice symposium, University of East Anglia, Norwich, 10 Oct 2019.</ref>
==References==
==References==