Tegaki yuzen
A yuzen dyeing technique characterized by hand-painted designs in contrast to kata yuzen (stencil dyeing). Most pieces are one-of-a-kind.
Yuzen dyeing was developed through combining the methods used by the samurai class and the common people to dye their kosode. Most of the patterned kosode of the Edo era wer dyed using this method.
Yuzen saishiki (coloring-in) is a method found to make the color dyes from China and Southeast Asia look beautiful on soft fabric. It is said to be influenced by the chintz dyeing methods used in other countries.
In Edo, it was fashionable to have a painter named Miyazaki Yuzen paint on the sleeves of one’s kimono. Typical Yuzensai prints are hananomaru-moyou, shikashi-moyou, share-moyou and ouchou-moyou. During the late Edo period, gold Rimpa prints were created which brought about modern yuzen prints.
Tegaki yuzen is a process made up of dozens of individual steps such as jinoshi (straightening the cloth), shita e (sketching the design) and mushi (steaming the cloth). As the colors are dyed according to the design, in Kyo-yuzen, each step is handled by a specialist called a shou. In the later years of his life, Miyazaki Yuzen moved to Kaga (current-day Ishikawa) and developed Kaga-yuzen, which was based on nature and used 5 basic colors. The differences between these techniques and the Tokyo yuzen technique, which is created by one craftsman, can be seen.
[quote style=”boxed”]In Japanese
手描き友禅
型友禅に対して手描き友禅といい、直接筆や刷毛で手書きをして模様を描く友禅染めの手法をいいます。多くは一点ものになります。
友禅染の技法は前代の武士と庶民の小袖の染色技法が合わせられたもので、江戸期の模様小袖の多くが友禅染で行われました。友禅彩色は、中国や東南アジアからの輸入の赤や黄色と藍の青色が美しくしなやかな生地に表現される方法が見つかったことで確立された、伝統の染めの技法に海外からの更紗染の影響を受けたものといえます。
そこに宮崎友禅という町絵師が袖に墨絵を描いたのが大流行し、友禅斎模様といわれる花の丸模様、透かし模様、洒落模様、王朝模様などが代表的です。江戸後期になると、金彩の琳派模様が出てこれが明治以降の近代・現代の友禅模様につながります。
手書き友禅は、図案と白生地の選定、湯のし、下絵、糊置き、色挿し、蒸し、伏せ糊、引染、水元、金箔加工などの数十の工程を経て出来上がります。色を意匠の通りに定着させるために、京友禅では分業で匠ともいえる各職人の手を経て仕上げられます。宮崎友禅が晩年に移り住んだといわれる加賀友禅は写実的な草花模様で五彩を基調とし、東京友禅は一人の職人によりなるなどの違いがみられます。
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