Veil kimono (kazuki)

19th century

As relatively inexpensive design techniques, tsutsugaki and katazome were frequently employed by members of all classes of Japanese society. These methods allowed for a measure of inventiveness on the part of the dyer, who was free to explore his artistic expression. The dyer of this garment aimed for subtlety over high drama, creating a restrained, sophisticated design highlighting bands of small motifs set off by a striking chrysanthemum medallion. Maple leaves decorate the top band, followed by folding fans and tiny blossoms-perhaps snowflakes-on the two central bands. The sawarabi, or bracken fern, at the hem of the kimono appears on a variety of applied arts, and usually denotes springtime. The combination of motifs points to a Four Seasons theme.

Bast fiber (asa) cloth with paste-resist stencil decoration (katazome) and freehand paste-resist decoration (tsutsugaki); indigo dye

51 1/2 x 47 7/8 in. (130.81 x 121.6 cm)

Gift of the Virginia and Bagley Wright Collection

89.138

Photo: Paul Macapia

Not currently on view

Resources

Exhibition HistorySeattle, Washington, Seattle Art Museum, Beyond The Tanabata Bridge: A Textile Journey In Japan (Washington, D.C., Textile Museum, Sept. 10, 1993 - Feb. 27, 1994; Birmingham, Alabama, Birmingham Museum of Art, Apr. 17 - June 26, 1994; Dallas, Texas, Dallas Museum of Art, Mar. 12 - May 28, 1995).

Seattle, Washington, Seattle Asian Art Museum, Mood Indigo: Textiles from Around the World, Apr. 9 - Oct. 9, 2016.

Published ReferencesRathbun, William Jay, Seattle Art Museum, "Beyond The Tanabata Bridge: Traditional Japanese Textiles", 1993 Seattle, Washington, pg. 139

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