The beauty and technique of Kyo-Yuzen that captivates tea masters
Historical background of Kyo-Yuzen
Kyo-yuzen is a traditional dyeing technique developed in Kyoto, and its name comes from Miyazaki Yuzensai, a fan painter from the Genroku period of the Edo period. Miyazaki Yuzensai lived in front of the Chion-in Temple in Kyoto, and gained a reputation for applying the innovative designs he painted on fans to the designs of kosode (kimono), and this dyeing technique came to be known as "Yuzen dyeing." At the time, color development using plant dyes and dye-resistance techniques were still in their infancy, but Yuzensai devised a method of drawing outlines (thread marks) with rice paste to prevent color bleeding and steaming to fix the dye, making beautiful multi-color dyeing possible.
Furthermore, from the Genroku period onwards, kimonos with luxurious fabrics or embroidery were banned due to the prohibition on luxury goods, so Yuzen dyeing, which allows for the expression of gorgeous patterns through direct dyeing, became extremely popular among townspeople and helped to promote its development.Yuzen dyeing, which was nurtured by the elegant culture of Kyoto, became a staple of townspeople's culture in the mid-Edo period, and colorful, picturesque kimonos led the fashion of the time.
Kyo-yuzen is one of Japan's three major yuzen styles, the others being Kaga-yuzen (Ishikawa Prefecture) and Edo-yuzen (Tokyo). Each has its own regional characteristics, with Kyo-yuzen being characterized by vibrant colors using embroidery and gold and silver leaf, while Kaga-yuzen focuses on realistic floral patterns that reflect the nature of the Hokuriku region and rarely uses gold or embroidery, and Edo-yuzen tends to be finished simply in subdued colors such as indigo and brown. The elegant and sophisticated designs of Kyo-yuzen have been nurtured by Kyoto's aesthetic sense over a millennium, and have come to symbolize Japanese kimono culture.
During the Meiji period, when chemical dyes were imported, Horikawa Shinzaburo, Hirose Jisuke and others developed the technique of "Utsushi Yuzen" (Stencil-dyed Yuzen), in which dyes are mixed with glue and patterns are transferred onto paper stencils, making mass production possible. This technological innovation allowed Yuzen dyeing, which had previously only been available to a select few wealthy people, to become more widely used, and a wide variety of designs became available. During the Taisho period, professional designers known as designers also appeared, and they produced a succession of original designs.
Even after the Meiji period, long-established dyeing craftsmen (such as Senso in Kyoto) continued to develop the tradition of Kyo-Yuzen by incorporating new techniques while inheriting classic patterns. After World War II, it was designated as a traditional craft by the Minister of Economy, Trade and Industry, and its global recognition increased. To this day, Kyo-Yuzen continues to shine as one of Japan's representative dyeing and weaving arts, with its advanced dyeing techniques and elegant designs.
Kyo-Yuzen Techniques and Characteristics
Kyo-Yuzen is made by artisans who painstakingly dye patterns onto white silk fabric. The techniques used can be broadly divided into two types: hand-painted Yuzen and stencil Yuzen.
In hand-painted Yuzen, the design is transferred onto the fabric using a disappearing dye called blue and white, and the outlines of the pattern (itome) are drawn using rice paste placed in a tube. This itome paste acts as a barrier for the dye, preventing adjacent colors from mixing. After the paste is applied, the colors are applied to each pattern using a brush or paintbrush, and then the base color is dyed (hikizome). The dyed fabric is steamed to develop and fix the color, the paste is washed off with water, and finally decorative processing such as gold leaf and embroidery is added to finish the process. There are approximately 20 steps involved, and it is the culmination of advanced craftsmanship that can be carried out through division of labor.
On the other hand, kata-yuzen was invented in the early Meiji period. Persimmon tannin paper stencils are carved to match the design, the number of which corresponds to the number of colors, and the fabric is stretched on a wooden board and the dye is rubbed in with a brush or sprayer to create the pattern. Complicated multi-colored patterns can require nearly 100 stencils, requiring a high level of skill to match them up perfectly. This technique is also called "utashi-yuzen" and is a groundbreaking technique that can be said to be the forerunner of today's print dyeing.
The main design features of Kyo-Yuzen are the richness of color and the intricacy of the patterns. The painterly patterns depicting flora, fauna, and landscapes can sometimes use more than 20 colors, and the artisan's skill in using their brush allows for the freedom to express shading and gradation. In addition, the application of gold leaf and embroidery creates a luxurious and three-dimensional effect, and the contrast with the tranquility of the white space further accentuates the beauty.
Relationship with the tea ceremony: harmony of wabi, sabi and elegance
At first glance, the world of tea ceremony (chanoyu) and Kyo-Yuzen may seem like contrasting entities. Tea ceremony pursues the simple and tranquil beauty of "wabi-sabi," harboring spirituality in a space stripped of all unnecessary elements. Kyo-Yuzen, on the other hand, is a decorative art characterized by vibrant dyeing techniques and gorgeous patterns. However, at their core, the two are deeply connected. Both embody the aesthetic sense shared by Japanese culture, which values the changing of nature and the sense of the seasons, and reflects rich emotion in stillness.
Kyo-yuzen kimonos are decorated with seasonal motifs of flowers, birds, wind, and the moon, as well as auspicious symbols. Woven into the kimono are designs symbolizing nature, such as cherry blossoms and wisteria in spring, flowing water and bush clover in summer, autumn leaves and chrysanthemums in autumn, and snow circles, pine, bamboo, and plum in winter, evoking a sense of the changing seasons in both the wearer and the viewer. This plays a similar role to the hanging scrolls and flower vases used in the tea ceremony, which convey a sense of the seasons. For example, wearing a Kyo-yuzen visiting kimono decorated with cherry blossoms at a spring tea ceremony has the effect of "wearing the season" throughout the space, just like decorating a single branch of flowers in a tea room. A tea ceremony is a once-in-a-lifetime experience, and it is most important that the people gathered there share a fleeting sense of the seasons. Kyo-yuzen kimonos are the very garments that fulfill this role.
Kyo Yuzen is also imbued with the "aesthetics of white space." By intentionally leaving plain areas alongside vibrant patterns, the presence of the patterns is accentuated, giving the overall piece a quiet elegance. This is also evident in the design of tea rooms, where the sense of profound beauty can be found in the white space of a tokonoma alcove and the simple furnishings. Kyo Yuzen's subdued colors and pale colors complement the tranquility of the tea room, never disrupting the space but rather enhancing its harmony. While black tomesode and plain iro-muji are considered formal attire for formal tea ceremonies, elegant yuzen komon and houmongi can add a touch of elegance to more casual occasions or large tea ceremonies. This "selection of attire according to formality" is also a meticulous consideration shared with the tea ceremony and can be said to be the taste of a tea master.
Furthermore, the spirit of "harmony" connects the tea ceremony and Kyo-Yuzen. In the tea ceremony, based on the principle of "Wa Kei Sei Jaku," everything is required to be in harmony between host and guest, utensils and space. Wearing a Kyo-Yuzen kimono is also an act of immersing oneself in that circle of harmony. When the colors and themes of the patterns resonate with the calligraphy on the hanging scroll and the designs on the tea bowls, the kimono becomes more than just a costume; it becomes an important element that adds color to the tea ceremony.
Generally speaking, while Kyo-Yuzen and the tea ceremony each pursue seemingly contradictory elements such as "gaiety and serenity" and "ornament and simplicity" in their own ways, they are rooted in a common foundation: the Japanese aesthetic sense. The elegance of Kyo-Yuzen shines through in the tea ceremony, and the wabi of the tea ceremony breathes within the splendor of Kyo-Yuzen -- it is this interplay that is the reason tea masters are so fascinated by Kyo-Yuzen.
Kyo-Yuzen in the Modern Age: Preservation and Succession
Modern Kyo-Yuzen is being preserved and passed down as a traditional craft that represents Japan. Kyoto City and industry groups have established training and support systems to develop young artisans, and the Yuzen Cooperative and Promotion Council hold exhibitions and technical examinations. A Kyo-Yuzen certificate system has also been established to maintain the brand power that guarantees authenticity.
On the other hand, there is the issue of declining demand for kimonos, but artisans are exploring new paths with their ingenuity. The appeal of Yuzen is spreading, with the emergence of products that can be enjoyed in everyday life, such as stoles, ties, and interior fabrics. With the advancement of modern expressions by young artists and collaborations with different cultures, Kyo-Yuzen continues to evolve with a global perspective.
At the same time, Living National Treasures and long-established dyeing masters continue to pass on the classical techniques. Kyo-Yuzen is being passed on to the future through hands-on learning in educational settings and exhibitions.
Conclusion
The profound aesthetic sense and advanced techniques of Kyo-Yuzen are also a great attraction for lovers of the tea ceremony and pottery. The colors of the four seasons blooming on the fabric, and the world woven by skillful handwork, are a concentrated expression of the essence of Japanese beauty.
Kyo-Yuzen, which continues to shine through history, continues to evolve into the future while incorporating modern sensibilities. When we come into contact with the feelings that are put into each piece, we will once again realize the depth of Japanese culture.