Yale University Library

39002030200316

YALE UNIVERSITY
ART LIBRARY

1310. Embroidered Velvet Fukusa. " Jo and Uba.'
19th century.

Frontispiece.

[Seep. 47.

VICTORIA AND ALBERT MUSEUM
DEPARTMENT OF TEXTILES

GUIDE TO
THE JAPANESE TEXTILES
PART I.— TEXTILE FABRICS
BY
A. D. HOWELL SMITH

LONDON : PRINTED UNDER THE AUTHORITY
OF HIS MAJESTY'S STATIONERY OFFICE, 1919.

printed a f;:.:l;j;-;ed
IN GREAT BRITAIN.

Publication No. 119T
First Printed,  August, 19 19.
Crown Copyright Reserved

s

PREFATORY NOTE.
OME progress had already been made with the printing of
this guide when the exigencies of the war led to its temporary
abandonment.

Since this guide was first set in hand, the Museum has lost a
helpful and sympathetic friend in the late Mr. Wilson Crewdson.
His life-long interest in the art of Japan has often been of good
service to the staff, and his loss is lamented by many personal
friends in the Museum.
Mr. Hogitaro Inada's translations, and his explanatory notes
of various Japanese objects in the Museum, supplied from time to
time, have been made use of in the following pages. The thanks
of the Museum are due to Mr. Luther Hooper for the technical
description of the velvet panel No. 841.
Victoria and Albert Museum. CECIL H. SMITH.
August, 1919.

NOTE.
THE preparation of the first part of this guide has been entrusted
to Mr. A. D. Howell Smith, Assistant in the department. The
collection cannot at present be regarded as adequately representative
of the textile art of the Japanese, but there is quite enough to
warrant the publication of this guide, the scope of which is to
describe, in simple fashion, the most noticeable examples. The
advice and help of Mr. A. J. Koop, of the Department of Metalwork,
have been invaluable.
A. F. KENDRICK.
Department of Textiles.

CONTENTS. PAGE
Introduction . . . . . . . . . . . . . . i
I. Woven Fabrics . . . . . . . . . . . . 23
II. Printed, Dyed and Painted Fabrics . . . . 30
III. Embroideries . . . . . . . . . . . . 34
IV. Hanging Picture-scrolls or Kakemono . . . . 38
V. Symbolism and Legend in Japanese Textile Art,
as Illustrated in the Museum . . . . . . 39
Books of Reference . .. .. .. .. . . 51
Note by Mr. A. J. Koop on the Pronunciation of
Japanese Words . . . . . . . . . . 54
Numerical Indexes . . . . .  55
General Index . . . . . . . . . . . . . . 61

(601) Wt20504/151/AM1579 12/19 750 D.St.

LIST OF PLATES.
Frontispiece. — 1310. Embroidered Velvet Fukusa. " Jo and Uba."
19th century (p. 47).
Plate I. — Fragment of Aya, stencilled with the Buddhist Sacred
Wheel. Nara epoch, 710-794 (p. 6).
1063. Painted Cotton Fabric (sarasa). About 1500 ? (p. 33).
Plate II. — Pocket-book, made out of a piece of silk brocade.
16th century (p. 8).
Plate III. — 17. Part of a Buddhist Priest's Vestment, of silk
brocade. Late 17th century (p. 17).
23. Silk Brocade, woven for a no dancer's robe. 18th
century (p. 18).
Plate IV. — 18. Silk Brocade, woven for a no dancer's robe. Late
17th or early 18th century (p. 17).
22. Silk Brocade, woven for a no dancer's robe or for the
dress of a lady of the Court. 18th century (p. 18).
Plate V. — 19. Silk Brocade, woven for a Buddhist priest's
vestment or for an altar-cover. Early 1 8th century (p. 17).
34. Silk Brocade, woven for a Buddhist priest's vestment
or for an altar-cover. 18th century (p. 39).
297. Silk Brocade, woven for a no dancer's robe. 18th
century (p. 46).
Plate VI. — 20. Silk Brocade, woven for a no dancer's robe. 18th
century (p. 18).
166. Silk Brocade, woven for a no dancer's robe. About
1805 (p. 18).
Plate VII. — 21. Silk Brocade, woven for a no dancer's robe.
18th century (p. 18). b
(601)

Plate VIII — 38. Part of a Buddhist Priest's Vestment, of silk
brocade. 18th century (p. 19).
275. Silk Brocade, woven for a lady's sash (obi). 18th
century (p. 41).
328. Silk Brocaded Damask, woven for a no dancer's robe
(P- 27).
Plate IX. — -71, 72, 73 and 78. Silk Brocades, woven for ladies'
sashes (obi). First half of 19th century (pp. 19, 20).
Plate X.- — 95, 97 and 98. Silk Brocades, woven for pocket-books.
First half of 19th century (pp. 20, 21).
Plate XI. — 840. Velvet Fukusa. 19th century (p. 28).
Plate XII. — 841. Velvet Panel, showing the process of weaving.
19th century (p. 28).
Plate XIII. — 910. Tapestry-woven Silk Vestment of a Buddhist
Priest. Early 19th century (p. 44).
910. Detail.
Plate XIV. — 1011. Three Stencil-plates. Modern Japanese
(P- 32).
1035. Stencilled Cotton Towel. Modern Japanese (p. 32).
Plate XV. — 1036. Stencilled Silk Panel. " The Story of Kwakkio."
19th century (p. 47).
Plate XVI.- — 1200. Embroidered Silk Damask, dyed by the
" resist " process. Genroku period (1688-1703) (p. 17). "
Plate XVII. — 1225. Woman's Robe (kimono), of painted and
embroidered silk. Late 18th or early 19th century (p. 35).
Plate XVIII. — 1226. Lady's Sash (obi), of embroidered satin.
19th century (p. 35).
1265. Embroidered Satin Fukusa. Probably 18th century
(P- 36).
Plate XIX. — 1247. Embroidered Satin Fukusa, with tassels and
mount. " Osaka Castle and Landscape." 19th century
(P- 35)-

XI
Plate XX. — 1272. Robe (kimono), of embroidered silk crape,
probably worn by an actor. Late 18th or early 19th century
(p. 46).
Plate XXI. — 1273. Fukusa, of embroidered silk damask. 19th
century (p. 42).
Plate XXII. — 1430. Hanging Picture-scroll (kakemono), for
domestic use. 19th century (p. 38).
Plate XXIII. — 1431. Hanging Picture-scroll (kakemono), for
temple use. " The 33 incarnations of Kwannon." Middle
of 18th century (p. 49).
Plate XXIV. — Tapestry-woven Silk Fukusa. " UrashimatarS."
Early 19th century (p. 49).

GUIDE TO THE JAPANESE TEXTILES.
PART I.  TEXTILE FABRICS.
INTRODUCTION.
THE art of weaving, all the world over, is one that goes
back to prehistoric times, and Japan can boast to have shown
great skill in the making of textile fabrics from a very early
epoch. Silk-weaving, in particular, has been long practised by the
Japanese. There is still preserved in one of the great Shinto shrines
in Ise province (in the south of the main island), amongst the "nine
sacred treasures," a very ancient metal loom.1 According to the
records, it was constructed for weaving with five threads of different
colours. About the end of the 3rd or beginning of the 4th century
of the Christian era, a large number of Chinese weavers became
naturalised in Japan, and stimulated the silk industry there under
Japanese control. In the sixteenth year of his reign, the Emperor
Yiiriaku (5th century a.d.) issued a rescript concerning the planta
tion of mulberry trees, and distributed the Chinese weavers over all
the provinces. This event took place two centuries after the collapse
of the Han dynasty (206 B.a-220 a.d.), whose rule partly coincides
with the dawn of Chinese influence, chiefly through the medium
of Korea, in Japanese civilisation. It is during the later period
of the Han dynasty that Buddhism becomes a powerful force in
China. Not, however, until the middle of the 6th century, during
the period of the " Six Dynasties," which followed the collapse of
the Han, did Buddhism cross the waters and introduce a new set
of forms and motives into Japanese art. The art of this epoch,
known as the Suiko (552-644), is almost wholly religious in character.
The name Suiko is that of the Empress in whose reign Buddhism
and Chinese civilisation gained a strong and permanent footing
in the country. In the succeeding epoch, the Hakuho2 (644-710),
1 W. Crewdson, The Textiles of Old fapan, Plate IV. ; see also Plate V.
" Strictly speaking, Hakuho is the nengo (period) 672-686, in which
the artistic forms characterising the epoch as a whole were most fully
developed ; see p. 23.
(601)

a second great wave of continental influence can be traced. The
T'ang dynasty (618-906) was then ruling China and extended the
limits of its dominion very far westwards, approaching, if not
touching, the borders of Persia. Indo-Persian influences colour
Chinese art of this time, and find their reflection in Hakuho art.
In the Fujiwara1 epoch (794-1192) art is turned into more secular
channels ; at the same time it becomes less serious, reflecting
the growing luxury of the age. Late in this epoch appears the
third great wave of influence from abroad, which is- due to
Buddhist monks of the Zen (or "Contemplation") sect, and pilgrims
coming from China. The contemporary reigning dynasty in
China was the Sung (960-1279), under which an attempt was
made to fuse Buddhist ideas with those of the earlier Taoist and
Confucianist systems ; a movement which resulted in a fresh impulse
to art and the evolution of new forms. The effects of this impulse in
Japan continued through the succeeding Kamakura2 (1 192-1335)
and Ashikaga3 (1335-1573) epochs. The Zen sect, which became
extremely popular at this time, chiefly among the class of the military
nobles (samurai), and in the 13th century gave birth to new sects,
encouraged a realistic tendency in art. Love of nature and truth
fulness in the depiction of natural objects were the ideals it inspired.
A similar spirit was fostered by the indigenous faith of the Japanese,
known as Shinto or Kami no Michi ("the Way of the Gods"),
which was developed under Chinese influence and harmonised
by the Buddhist propagandists with their system. In Shinto
all nature is of divine origin and essence. Japan is the land of the
" Gods " (Kami), a term embracing not only ancestors and the living
Emperor, but even animals and inanimate things of a character to
excite awe or wonder ; Mount Fuji, often represented in art, is a
special object of veneration. China continues to affect Japanese
art in various ways, during the Momoyama4 (1573-1602) and the
Tokugawa5 (1602-1867) epochs. The former of these partially
1 See p. 6.
1 So named after the town which Yoritomo, U13 first Sliogun, made his
capital in 1192.
3 So named after the family which held the Shogunate during the epoch.
1 So named after the hill near Fushimi, on which the famous general,
Hideyoshi (d. 1598), who usurped the supreme power, built his palace in 1593.
5 So named after the family of the Shoguns of Yedo (modern Tokio),
whose rule starts with Iyeyasu (d. 1616).

coincides with the period of the Ming dynasty (1368 -1643), and the
latter is largely contemporary with the dynasty of the Ch'ing
(1644-1911). Japan has still in her possession a multitude of woven silk stuffs
and embroideries to which native as well as several European
experts ascribe a high antiquity, many being thought to date as
far back as the 7th century a.d. One of the oldest and most famous
is a panel of silk embroidery with a picture of the Western Paradise,
known as the Tenjukoku-mandara, and now preserved in the Chugii-ji
nunnery at Nara. There is definite documentary evidence1 that
this quaint piece of embroidery is of Japanese origin and dates from
the Suiko epoch. Only a small fragment of the original hanging now
remains. The pattern represents " Pure Land " (Jodo), the Western
Paradise of Amida. Sacred beings are shown emerging from lotuses ;
other figures appear walking or within buildings ; a " phoenix "
(hod) and inscribed tortoises (kame) are also depicted. The
inscription on the complete hanging once consisted of over 400
characters, of which only a few are now legible. But the full text
is recorded in an old work2 relating to Prince Shotoku. From this
we learn that after the death of the Prince in 621 his consort ordered
the ladies of her Court to make an embroidery of the Western
Paradise, so that she might be comforted by beholding the repre
sentation of her husband's soul resting in celestial peace. The
documentary evidence further shows that the designers were Chinese
and Koreans of families long naturalised in Japan.
In possession of the Japanese Imperial Household are a number
of silk banners embroidered with Bosatsu (Bodhisattvas, or beings
destined to become Buddhas in their next birth ; the name is also
given to supernatural beings who postpone the attainment of
Nirvana in order to save all creatures). They were formerly in
the H5riu-ji temple and are held to be not later than the Nara
epoch (710-794). 3 These fragments belong to the class of religious
embroideries which the Japanese term nuibotoke (" embroidered
Buddhas "). In the style of work they have a marked resemblance
1 Kokka, Vol. XXI., p. 6 (art. by Seiichi Taki, on the Relation between
Embroidery and Painting in Ancient Japan) ; also Japanese Temples and
their Treasures, Plates 192 to 194, p. no.
3 Jcgu Shotoku-ho-6-teisetsu.
3 So named after Nara, the capital irom 710 to 784. Kioto became the
capital in 794. B 2
(601)

4
to a fine Chinese embroidery representing a Buddha standing
between two saints, believed to belong to the period of the T'ang
dynasty (618-906). This embroidery was found by Sir Marc Aurel
Stein in a walled-up temple library at Tun-huang in Khotan1 ; it is
now in the British Museum. Such banners may perhaps be identical
with the " baptismal flags" referred to in the Nihongi,2 the ancient
Chronicles of Japan (completed in the year 720). A sort of baptism
was practised by the Japanese Buddhists in former days. This
ceremony, derived from China, was known as kwanjo, and consisted
of washing the head in perfumed water. Passing under a
" baptismal flag " was believed to have the same efficacy.
Another interesting religious embroidery of early date is
generally attributed to Chinese craftsmanship. This is a hanging,3
embroidered, in coloured silks, with a representation of the preaching
Buddha, seated on his throne and surrounded by Bodhisattvas
or other sacred beings. It is in the possession of the Kwanju-ji
monastery (Kioto prefecture). The character of the design is
strongly Indian, but Indian reflected through a Chinese medium.
It belongs to the same class of work as the " embroidered Buddhas "
just referred to. There is a close resemblance between this
embroidery and the fresco paintings4 of the Kondo (one of the
buildings of the H5riu-ji temple), which are said to be the work
of a Korean artist. According to Japanese archaeologists5 these
paintings were done in the Hakuh5 epoch (644-710), probably
in the sixth decade of the 7th century. They represent Buddhas
and Bodhisattvas, and may be compared with the Ajanta6 cave
decorations in India and with the Buddhist frescoes of Khotan.
The Kwanju-ji hanging has been attributed to the same date as
the Kondo paintings. But many archaeologists would place it
as late as the period of the Sung dynasty (960-1279). '
1 Desert Cities of Cathay, Vol. II., Plate opp. p. 206 ; see also Gazette des
Beaux-Arts, Vol. VI., p. 204.
2 Nihongi (W. G. Aston's translation, published by the Japan Society,
Transactions, Vol. II., pp. 149 and 390).
3 Japanese Temples and their Treasures, Plates 215-217, pp. 116 and 117.
1 Ibid., Plates 218-220, pp. 117 and ri8.
s Ibid., pp. 117 and 118.
T v' £°PiefL°.f ?ese- Paintings may be seen in the Indian Section ; see also
John Griffiths Paintings in the Buddhist Cave Temples of Ajantd.
' Kokha. Vol. XXII., pp. n4 and 116.

The Museum possesses only a few examples of textiles illustrating
Japanese Buddhism, such as a silk brocade (35) woven with the
Buddhist wheel, and a kakemono (1431, Plate XXIII.) depicting
the 33 incarnations of Kwannon, the " Goddess of Mercy."
To China we have strong reasons for ascribing at least a
considerable number of pieces in the great collection of textiles
which is enshrined in the little wooden building at Nara, the old
imperial capital, known as the Sh5so-in or Imperial Treasury,
and also many of those in the HSriu-ji,1 a temple founded (607)
by Prince Shotoku, which is also at Nara. A large proportion
were probably brought from beyond seas, as presents to the Emperor.
Persian influence shows itself in several of the designs ; one
of the most interesting pieces is a silk fragment woven with the
portrait of a Persian -king engaged in a lion hunt.2 This piece,
which is said to have been given to the Horiu-ji temple by the
Emperor Shomu (reigned 724-748), bears a marked resemblance to
the well-known Sassanian " hunting stuffs," and must have been
made by Chinese weavers after a Sassanian original ; it is now
in the Imperial Museum at TSkio. It appears to be a product
of the 7th or 8th century of our era. The Sh5so-in was built to
contain the treasures hitherto stored in the T5dai-ji,3 in the grounds
of which temple the Shoso-in now stands. There is still extant
the prayer offered at the time of the donation of the State's treasures
in the Todai-ji, to bring peace to the soul of Shomu. This document
is the work of KomiS, the dowager Empress. In 756 she collected
Shomu's personal belongings and made a donation of them to the
" Great Buddha " (Daibutsu) of the T6dai-ji. The list of these
donations (Kemmotsu-cho or " Memorandum of Donations ") follows
after the prayer. Mention is there made4 of embroidered Buddhist
robes, 15 mirrors " wrapped in scarlet aya " (a figured silk stuff
with slanting lines in the ground), and two arm-rests, " one covered
with purple brocade having a phoenix pattern, the other with
brocade having long stripes." An early example of aya (Plate I.),
' The oldest extant Buddhist temple in Japan. The building of Buddhist
temples begins as early as the 6th century, soon after the introduction of
Buddhism into the country.
2 Japanese Temples and their Treasures, Plate 203, p. 113.
3 Erected in 728 by the Buddhist priest Rioben.
* Toyei Shukd, Plates 90 to 94 ; and text of the Kemmotsu-cho (Eng.
trans., pp. 2 and 20).

6
believed to date from the Nara epoch (710-794), is on exhibition
in the Museum ; it belonged to the late Mr. Wilson Crewdson. The
stencilled pattern consists of the eight-spoked sacred wheel (rimbo),
symbolising the Teaching of the Buddha. The patterns on the
Shoso-in and Horiii-ji textiles, and similar ancient textiles elsewhere,
are frequently drawn from the vegetable and animal worlds. Floral
and leafy stems1 are much favoured ; they are generally conven
tionalised and are often crude. Symmetrical arrangement2
appears in many early textile designs, as in the case of one of the
mirror-wrappings in the Shoso-in to which reference has been
made, where the pattern shows a composition of rosettes within
interlaced foliage of scroll form. Realism is not unknown. The
Shoso-in has a beautiful example of early realistic treatment. This
is a square piece of brocade3 with a pattern of two goats with curved
horns, flanking some foliage about which butterflies are flitting.
There is a textile fragment with a graceful and wonderfully natural
istic pattern of delicate curving leafy stems, in white on blue,
belonging to the Shingo-ji, a temple in Yamashiro province ; it
is attributed to the 12th century. In a modern book of patterns4
it is described as a piece of cloth worn as a lower garment by
Narinori, a member of the noble Fujiwara clan, which virtually
ruled Japan through the Emperors from the end of the 9th century
until the middle of the nth century, when its power waned before
the growing ascendancy of the Taira clan. Animals figure on
several textiles of reputedly ancient date. On a fragment of a
silk banner5 given by Shomu to the Horiu-ji is a pattern of hexagonal
compartments, some enclosing tortoises, and others symmetrically
arranged leafy stems. Confronting beasts,6 which flank trees,
within compartments formed by interlaced circles, is the design,
typically Sassanian, decorating a belt said to have been used by
the Empress Koken (reigned 749-758). On a brocaded throne-
carpet,7 used, according to tradition, by the same Empress, two
birds are depicted facing each other within an octagonal compart
ment. A pattern representing a bird amid leafy sprays8 appears
on what is, possibly, a yet earlier textile — a brocaded table-cloth,
whose use is attributed to Prince Shotoku. In the pattern-book
1 Toyci Shukd, Plates 89 and 91. 6 Kodai Moyo Kagami, Plate 46.
2 Ibid., Plate 35. s Ibid., Plate 67.
3 Ibid., Plate 99. ' Ibid., Plate 51.
4 Kodai Moyo Kagami, Plate 88. 8 Ibid., Plate 63.

7
above referred to,1 a textile fragment, with a " foreign design of
female and male bears," is illustrated. It is said to have been
in the possession of a certain Shimotsukeno Atsumitsu in 1257.
But how much earlier it is there is nothing to determine. Kirin-
nishiki (brocades with pattern of the " unicorn," ch'i-lin in Chinese,
kirin in Japanese) are said to have been made about the middle
of the 7th century under the Emperor Kotoku.2
A curious pattern3 is shown in the case of a fragment of a purse,
which is believed to have been the property of the Buddhist priest
K5bo-daishi (774-835), founder of the Shingon sect. This pattern
consists of rows of conventional flames, in red, separated by oblique
yellow stripes. As in the case of other textiles above mentioned,
a doubt arises whether this too is not an example of Chinese or Korean
weaving. Kob5-daishi is known to have visited China. The sacred
wheel (rimbo), 4 symbolising Buddhism, appears on a fragment of a
silk banner given by the Emperor ShSmu to the H5riu-ji. A
Japanese authority5 states that " several fine brocades " were
produced under the Emperor KStoku, who ascended the throne in
645 ; among other stuffs he mentions the " wheel-shape brocade "
(shakei-nishiki). In the Imperial Museum at TokiS is a portion of
a no dancer's robe,6 ascribed to the time of Hideyoshi (d. 1598) ;
it is seme with rimbo, of different colours and sizes, on a ground of
close square diaper. The Japanese authority just referred to7 gives
the following list of aya (figured silk stuffs with oblique stripes
in the ground) woven during the Yengi period (901-922) : —
" one bird's nest," " two bird's nests," " three bird's nests,"
" roses," " little parrots," " melon seeds," " two flowers," " rape
flowers," " wild grass," " large flowers," " small flowers," " waves,"
" wheels " (the Buddhist sacred wheel), " lions " (shishi), " petals
of a flower," " small lotus flowers," " rice shells," " wings of cicada,"
" falcon," " reeds," " mountain in distance " (probably Mount
1 Kodai Moyo Kagami, Plates 101 and 102.
2 Kurokawa Mayori, Kogei Shirio, I., trans, p. 27.
3 Kodai Moyo Kagami, Plate 41 ; also O. Miinsterberg, Chinesische
Kunstgeschichte, p. 388, Plate 566.
1 Kodai Moyo Kagami, Plate 11.
5 Kogei Shirio, I., trans, p. 27.
6 See O. Miinsterberg, Japanische Kunstgeschichte, Vol. II., Plate opp.
p. 241. 7 Kogei Shirio, I., trans, pp. 36 and 37.

Fuji), " diamond-shaped pattern." Many of these were produced
in the Imperial weaving department at Ki5to, a city which became
the capital under the Emperor Kwammu in 794.
Examples of Japanese textiles prior to the Tokugawa epoch
(1602-1867) are extremely rare, and in Europe almost non-existent.
They consist, for the most part, of wrappings for swords, mirrors
for lacquered boxes, mounts for kakemono (hanging picture-scrolls),
and fragments of robes,1 banners, carpets, etc. Complete
garments are also to be found. Louis Gonse2 figures a robe in his
possession, which he assigns to the 14th century. He is of opinion
that it was worn at the Court of the Hdjo, who usurped supreme
power, while nominally acting as regents for the Shogun, from
1219 to 1334. This robe is made up of red and white vertical bands,
with a pattern of chrysanthemum badges (kiku-mon) on a ground of
chequer diaper.
A pocket-book (kami-ire, Plate II.), made out of a piece of silk
brocade, which is said to have once formed part of the robe of
Toyotomi Hide3'oshi (d. 1598), belonged to the late Mr. Wilson
Crewdson. The pattern consists of a diaper of hexagons, each
enclosing a Chinese character signifying " long life," " treasure,"
" luck," etc.
A number of Court robes3 exist in the Kodai-ji at Kioto, among
other treasures left there by Hideyoshi, the famous general of the
usurping ruler Oda Nobunaga (d. 1582), and virtual master of
Japan after the latter's death. They cannot therefore be later than
the second half of the 16th century. The patterns on these are of
a simple and uniform character, e.g., cloud ornament separated by
vertical wavy stripes ; a diaper of fourfold lozenges (yotsu-wari-
bishi " four-split lozenges ") — a very ancient pattern among those
characteristic of Japanese Court robes ; a diaper of kiri (Paul-
ownia imperialis) and conventional curving stems (karakusa) ;
and " double-crane " (niwa-dzuru) badges on a ground of hexagon
diaper (kikko-tsunagi).
Among Museum specimens an example of the " four-split
lozenge" pattern is shown on a fragment of silk damask (1201),
partly embroidered, and partly printed with a " resist " and dyed,
which dates from the Genroku period (1688 -1703).
1 O. Miinsterberg, Japanische Kunstgeschichte, Vol. II., pp. 231 and 236.
2 IS Art Japonais, Plate opp. p. 276.
3 Hoko Iho Dzuriahu (Relics of the Taiko, illustrated).

A Japanese book,1 published in 1815, illustrates a number of
patterns for Court robes, which have been in use for many centuries.
Patterns of this class are generally rigid and highly conventional.
More naturalistic, however, is the full dress pattern for the Emperor ;
it is entirely in yellow, though the ground may be either brown or
green. The details of the design consist of two " phoenixes "
(hod) above two kiri trees, at the foot of which are a couple of
" unicorns " (kirin). The Museum possesses several examples of
Japanese textile patterns showing a combination of " phoenixes "
and kiri. This motive appears on a woman's robe (1222), of silk
damask, partly embroidered, and partly printed with a " resist "
and dyed, which dates from the end of the 18th or the beginning of
the 19th century.
The numerous paintings and sculptures of old Japan, which are
in the possession of Japanese Buddhist temples and monasteries,
are of great value as a record of the designs woven or embroidered on
the garments worn in past centuries. A few of the more interesting
examples may be noticed here.
In the Yakushi-ji, a temple at Nara, is an ancient painting
of the tennin (Buddhist angel) Kichijo, which is held2 to date from the
8th century. The pattern on her dress is very simple, consisting
of rosettes and the " four-split lozenge " diaper just referred to.
Nearly as simple in point of design are the robes on the figures in
two paintings,3 attributed by Japanese authorities to the latter
part of the Heian4 or Fujiwara epoch (794-1192). One, " Kwannon
of the Sea," is at the Riuko-in temple, K5ya-san. The pattern on
the dress shows large " cash " devices (shippd) and circles filled with
floral ornament on a ground of close shippd diaper. The other,
described as one of the sixteen Rakan (disciples of the Buddha),
is now at the Raiko-ji, a monastery at Shimo-Sakamoto (pre
fecture of Shiga) ; the pattern on the dress here consists of rosettes,
some within circles, and fourfold lozenges grouped in fours. In the
Konkai-komi5-ji, a monastery at Kioto, a painting, apparently
dating from the Kamakura epoch (1192-1335), 5 represents "Amida
of the Mountains." The robe of-this Buddha bears a pattern of
1 Shozoku Shokubun Dzuye.
2 Japanese Temples and their Treasures, Plate 247, p. 126.
3 Ibid., Plates 357 and 378, pp. 156 and 161.
1 Heian is an old name for Kioto.
5 Japanese Temples and their Treasures, Plate 444, p. 184.

10
delicate leafy stems and " lightning diaper " (inadzuma-tsunagi) ;
the foliage is treated in a naturalistic manner. Belonging to the
14th century are two remarkable paintings1 in the Daitoku-ji
monastery, Kioto, founded by the priest Dait5-kokushi (d. 1337).
The approximate date of both of these is ' known. One bears a
eulogy of Daito-kokushi written with his own hand by the ill-fated
Emperor Go-Daigo (dethroned by the Shogun Ashikaga Takauji in
I335)- The other is inscribed with an attestation by the priest that
the artist was his contemporary. In the former example the follow
ing patterns appear on the different robes : — Floral sprays (covering
the whole of his outer garment), circular medallions each formed
of two confronting cranes, and large Chinese dragon medallions
on a ground of conventional cloud diaper. The latter painting
shows a pattern, beautifully brocaded in gold on red, of curving
peony stems, and also, in white, of large flowers of another species ;
the pattern is typically Chinese, and the use of gilt strips or gold
thread in Dait5-kokushi's robe also argues a Chinese origin, since *
the weaving of gold brocades in Japan is stated by Japanese experts
to have commenced at a later period than this. 2 A pattern of perhaps
a couple of centuries later appears on the garment worn by a warrior
represented in a painting3 belonging to the Jizo-in monastery,
Atsuta (prefecture of Aichi) ; it consists of a diaper of kiri (Paul-
ownia imperialis) and conventional curving stems (karakusa).
This painting is held to be a production of the Ashikaga epoch
(1335-1573)- Examples of nearly all these patterns exist on Japanese textiles
in the Museum, which, however, date from more recent times.
The embroidery showing the " four-split lozenge " device has been
already mentioned. The " cash " devices (shippd) on the dress
of " Kwannon of the Sea " appear on several Museum pieces ;
the best example is a Buddhist priest's vestment (1) of the 18th
century, the whole ground of which is covered with shippd. The
" lightning diaper " (inadzuma-tsunagi) , a sort of fret, on the robe of
" Amida of the Mountains " is similar to that which covers the
ground of a small piece of silk brocade (2), which may be a product
of the 19th century, or is perhaps a little earlier. We may also
1 Japanese Temples and their Treasures, Plate 4*58, p. 191 ; Kohko,
Vol. XX., No. 235, p. 175.
2 See p. 24.
3 Japanese Temples and their Treasures, Plate 252, p. 222.

II
compare it with the large fret, woven in strips of gilt paper, on
a silk textile (3) of the 18th century ; in the latter case, cloud-forms
complete the pattern, the whole suggesting a conventionalisation
of a thunderstorm. The Chinese dragons decorating one of the
garments of Daito-kokushi appear frequently on Japanese textiles,
and are illustrated by several Museum examples (e.g., 4, 5, 6 and 7) ;
8, a silk brocade of the late 17th century, is a good example of the
pattern of medallions formed out of dragons. The fine pattern of
peonies, shown in the portrait of Daito-kokushi, is most nearly
represented by a square piece (9), dating from the 18th century,
where the pattern, consisting of lotuses and lotus foliage, is in strips
of gilt paper on a ground of red satin. The circular badges, each
formed of two cranes, which decorate one of the priest's robes,
recall a similar badge on a silk fragment,1 woven for a Court robe,
which is believed to date from the second quarter of the 19th century.
For a good example of the design of kiri combined with curving
conventional stems, though differently treated to those on the
dress of the warrior in the Jizo-in monastery portrait, the student
may consult a panel of silk gauze (10), given by Her Majesty Queen
Victoria, where strips of silvered paper are chiefly used for the
pattern ; the date of this panel is probably about the middle of
the 19th century.
Heretofore we have found Japanese textile patterns to be
largely of Chinese and Korean origin. But in the 16th century
a new influence appears in Japanese art, that of Europe. Marco
Polo, the famous Venetian traveller of the 13th century, never visited
Japan, but he refers to it in his book of voyages, under the name
of " Zipangu." He speaks of the country as abounding in gold,
and notes that the inhabitants, " although living quite separate
" from other nations, are fair, handsome, and of agreeable manners."
Marco Polo's account much impressed the European explorers of
the 15th century. Japan (" Zipango ") figured on Toscanelli's
map of the world, used by Christopher Columbus, as a prominent
region to the east of Asia. Columbus and others were anxious to
find a route to this romantic spot ; but the first Europeans to visit
it were three Portuguese who were accidentally stranded on Tane-
ga-shima in 1542 or 1543, during a voyage from Siam to China.
Commercial relations were soon established with Portugal, and
later with Holland and England. In 1549 Francis Xavier landed
1 In the Ninagawa Collection (148 (2) ).

12
at Kagoshima, and the Jesuit mission, which was to have such
momentous results, commenced its activities. In 1584 a Japanese
embassy arrived in Europe, and visited Rome and Spain ; it was
welcomed by Pope Gregory XIII. and King Philip II. Among
the rich presents brought by the ambassadors were a number of
specimens of silk weaving. An interesting illustration of the
garments worn by the Japanese nobility at this time is found in
a portrait1 of the ambassador Hasekura, now in the possession
of Prince Borghese at Rome. Hasekura's robe shows a very
realistically treated pattern of deer, and delicate floral stems with
thin, wavy foliage. The beauty and freedom of the design
anticipates the Tokugawa epoch. Velvets and brocades were
bestowed on the Japanese ambassadors by their European hosts,
and from this time forwards European influence begins to be
appreciable in the textile art of Japan.
After the expulsion of the Catholic missionaries, and the final
stamping out of the Christian movement following on the suppression
of the Shimabara revolt in 1638, Japan was completely cut off for
over two centuries from all foreign intercourse, save as regards coast
trade with the Chinese and the Dutch, who were not allowed to
penetrate into the interior. This era, during which the Tokugawa
Shoguns held supreme sway, was characterised by official tyranny
and espionage of the most rigid type. But the country enjoyed
prosperity and freedom from civil war, to which it had been a stranger
for so many centuries. During this time there was a great efflores
cence of literature and art. Female dress became more gorgeous than
the male, the reverse having been the case during the middle ages.
Moreover, the purpose of the textile industry was now changed.
In the old days silks were woven largely as tribute to the Emperor,
but from the beginning of the Tokugawa epoch the purpose was
more commercial, and this had an important effect on the character
of the work produced. Designs grew more and more elaborate and
naturalistic. A certain simplicity and restraint characterises the
beautiful robe patterns of the 17th and early part of the 18th
century. But as the latter century advances, there is a growing
tendency to extravagance, and sometimes to overcrowding in point
of design ; and the same tendency shows itself in the 19th century
as well. We can trace the evolution by means of a series of
1 Transactions of the Japan Society, Vol. VI., Plate opp. p. 190.

13
paintings,1 beginning with Iwasa Matabei (d. 1650), founder of the
Ukiyoye (" pictures of the passing world ") or Genre School, and
continuing through the works of artists like Hishikawa Moronobu
(second half of 17th century), Okumura Masanobu (d. 1764 or 1768),
Utamaro (d. 1806), Hokusai (d. 1849), and Kunisada (d. 1864),
covering a period of over two centuries. Dated Japanese books2
of patterns for ladies' kimono, ranging from 1730 to 1890, may further
assist the inquirer in studying the development of styles, and the
wealth of art-motives to which the weavers, embroiderers and
stencillers of the Tokugawa and Meiji3 epochs had recourse. Flowers,
fruit, trees, gardens, waterfalls, landscapes, buildings, human
figures, stirrups, articles of dress, and selections of the takaramono
or treasures of the Gods of Luck, are among the many varieties of
design that lend a charm, all its own, to the costume of the ladies
of Japan. The latest4 of this series of pattern-books shows an
increasing fertility of imagination. In skill and naturalistic charm
the 19th century does not seem to have fallen behind earlier times,
although it has not surpassed the beauty of design and execution
shown by the two previous centuries. The 18th century was
particularly noted for its gorgeous fukusa (coverings for lacquered
boxes conveying presents). But the wholesale manufacture of
textiles for a world market during the Meiji epoch has not always
been a success from the artistic standpoint. Many fine specimens
of 19th century weaving were on view at the great Paris Exhibition
of 1878, which did so much to foster European interest in Japanese
art. Japanese works of art are not likely to have reached Europe
before the second half of the 16th century, when, as we have seen,
the country was opened up to Portuguese traders and Christian
missionaries. China is reported to have had commercial relations
with Japan from an early date. Brinkley5 notes that the first of
the Ashikaga Shoguns, Takauji (d,. 1358), was persuaded by a
Buddhist priest to fit out, year by year, two ships, laden with goods,
to trade with the Celestial Empire. The overthrow of the Yuan
1 See E. E. Fenollosa, Epochs of Chinese and Japanese Art, Vol. II., Plates
opp. pp. 182, 184, 186, 190, 191, 193, 198, and Plates at end of book.
2 In the Department of Engravings. See list of books, p. 52.
3 The Meiji (" Enlightened Government ") epoch dates from 1868, the
second year of the reign of the late Emperor Meiji-tenno.
4 Yamanaka Kichirobei, Moyo Hinagala Miyako no Nishiki.
6 Encyclopcedia Britannica, art. "Japan," nth ed., Vol. XV., p. 224.

14
dynasty (1280 -1367) by the Ming interrupted, for a time, the
commerce between the two countries, which was restored under
the Shogun Ashikaga Yoshimitsu (d. 1408). At the insistence of
the Chinese Emperor, the importation of Japanese goods assumed
a tributary character. They were delivered into the charge of the
Chinese Government in exchange for copper cash, instead of being
thrown directly on the market. " The articles found most suitable
in China," writes Brinkley,1 " were swords, fans, screens, lacquer
wares, copper and agate, and the goods brought back to Japan were
brocades and other silk fabrics, ceramic productions, jade and
fragrant woods." It is interesting to note that there existed no
demand, or no demand worth mentioning, on the part of the Chinese
for Japanese silks, although those of China found a market in Japan.
China, therefore, cannot be regarded as a medium through which
Japanese silks are likely to have come to Europe. It must be
remembered, too, that the disturbed state of Japan during a large
part of the 15th century was eminently unfavourable to the weaving
industry, which is stated to have reached its lowest ebb in the period
extending from the sixth decade of that century to the pacification
of the country by Hideyoshi — a time of almost continuous civil war.
The first arrival of Europeans in Japan was the beginning of a century
of enormous trade expansion, during which every port was thrown
open to a host of eager merchants. The earliest in the field were
the Portuguese, who appear to have been more desirous of obtaining
gold than works of art. Kaempfer2 tells us that " the gold of the
country was exchang'd against European and Indian curiosities,
medicines, stuffs, and other things of the like nature. Upwards of
300 tuns of this precious metal were exported every year, for at that
time they had full liberty to import, and to export, what goods, and
in what quantity they pleased." In the 17th century the Dutch,
soon followed by the English, became the trade rivals of the Portu
guese ; all three nations had warehouses at Hirado. An interesting
disclosure of the eagerness of the Japanese, at this time, to obtain
foreign patterns is made in a letter of Ralph Coppindall, writing
on behalf of the East India Company, to Robert Larkin and Adam
Denton. This letter, which is cited in the diary of Richard Cocks,3
1 Encyclopedia Britannica, art. "Japan,'' nth ed., Vol. XV., p. 224.
2 History of Japan (English translation, 1728), pp. 313 and 3 1 4— Engelbrecht
Kaempfer, the famous German traveller, and the earliest European historian
of Japan ; he was in that country from 1690 to 1692, as physician to the Dutch
Embassy. 3 Hakluyt Society's Publications, Vol. II.. p. 273.

15
a factor of the Company, is headed : " Firando (Hirado) in Japan,
le 5th December, 1615." It runs as follows :— " Yow are to note
that the people of this country doe not buy our sortes of India cloth
soe much for necessity as for the new and strange fashions and
painteings thereof, being a people desireinge change, for they have
greate store of silkes and linnen stuffes made here better and cheaper
than we can afford our India cloth. Soe that we must strive to
procure strange sortes of cloth with strange painteinges every yeare ;
but such doth as hath any redd painteinge will not sell here." It
is on. record1 that during the early part of the 17th century the
Japanese fitted out large merchantmen and carried on an extensive
commerce with foreign countries, which included " New Spain "
(America). Among their exports were dyed textile fabrics, and
among their imports silk fabrics and woollen stuffs. But the
Western demand for Japanese textiles appears to have been very
small, and it is doubtful whether any exist in Europe that have been
brought over before the second half of the 19th century. There
was, however, a growing taste for Japanese art, as is shown by the
vogue of Japanese lacquered cabinets, which reached England as
early as the 17th century. They appear to have been known as
" Indian cabinets," many of them coming to Europe via India.2
Evelyn mentions such in his account of the sumptuous furniture of
Katherine of Braganza, queen of Charles II. " The Queen," he
writes,3 " brought over with her from Portugal such Indian cabinets
as had never before ben seene here." How vague and confused at
this period was the knowledge of the art products of the Far East
is well shown by another entry of Evelyn's Diary. Speaking of
his visit to the house of a Mr. Bohun, he notes that it " is a cabinet
of all elegancies, especially Indian ; in the hall are contrivances of
Japan skreens instead of wainscot. . . . The landskips of the
skreens represent the manner of living, and country of the Chinese."4
After the inauguration of the anti-foreign policy of the Tokugawa
Shoguns, the Dutch — by this time the only European nation allowed
to trade with Japan — were confined to the small island of Deshima,
in the harbour of Nagasaki. Their exports as well as their imports
1 History of the Empire of Japan (Brinkley's translation), p. 307.
2 See the petition of a certain Edward Hurd to the State in 1692, cited in
C. P. Macquoid's A History of English Furniture, Vol. II., pp. 150 and 151.
3 Entry for 9th June, 1662.
4 Entry for 30th June, 1682.

i6
were subjected to a rigid official scrutiny. Kaempfer1 gives a
list of contraband goods, which the Dutch might neither buy nor
export ; it includes " all sorts of fine silken stuffs," " all sorts
of stuffs made of hemp," " stuffs manufactur'd of cotton," and
" mats of silk." He expressly states2 that " stuffs woven in the
country " were liable to be seized, if found in possession of an
exporter. Banishment was the least penalty the unfortunate
Dutchman could be made to suffer, while any native who might
have been privy to his act was put to the torture.
The reopening of Japan to general European, as well as
American, trade in modern times, after the signing of the first
commercial treaty in 1858, naturally brought about a growing
acquaintance with Japanese art on the part of Western nations.
Most of the art objects exported to the West would, of course,
date from the 19th century, products of an earlier period leaving
the country only in exceptional circumstances. A few Japanese
exhibits were sent to the Great Exhibition of 1851, and as early
as 1854 an exhibition of Japanese art was held in the Galleries of
the Royal Water-Colour Society,3 in London. The objects shown
were brought over by the one Dutch merchantman that traded
every year with Japan. The Museum began to acquire Japanese
textiles as far back as the 'sixties of the last century. The principal
donor at this time was Her Majesty Queen Victoria, for whom a
number of brocades were woven by order of the Shogun. As might
be expected, in view of the facts of the case, only a few specimens
of Japanese weaving of an earlier date than the 18th century appear
in the Collection. Most of the Japanese textiles belong to the 19th
century, but the weaving of the previous century is well illustrated.
The less modern pieces are, on the whole, the acquisitions of more
recent years, and we may reasonably hope that the Museum will
be able to obtain still older examples.
Reference has already been made to the silk fragment which
appears to be a product of the Nara epoch (710-794), and to the
pocket-book made out of a piece of silk brocade dating from the
16th century.
A small hand-painted cotton fragment (kikisarasa) , which may
date from about the year 1500, will be considered more particularly
1 History of Japan (English Translation), p. 390.
2 Ibid., p. 371.
3 Marcus B. Huish, Japan and Its Art, p. 360, Plate 224.

i7
later on.1 No other pieces are in possession of the Museum that
were made at so early a date. To the late 17th century may be
ascribed two pieces of silk brocade (stitched together) (17, Plate III.),
which are the gifts of Mr. Sydney Vacher. They once formed part
of the vestment (kesa) of a Buddhist priest. Strips of silvered
paper are plentifully mixed with the silks. To the same date, or
perhaps a little later, we may ascribe a beautiful fragment (18,
Plate IV.), woven for a no dancer's robe (no-isho). The pattern is
of a floral character, peonies and chrysanthemums springing from
wavy vertical stems, with a ground partly fretted. The flowers
are in floss silks, but gilt paper is used for the rest of the design.
Two small embroideries on exhibition date from the Genroku
period (1688-1703), a time of great luxury and artistic refinement.
One of these (1200, Plate XVI.) is an example of nuihaku
("embroidery and gilding"), i.e., embroidery in silk and gold thread,
combined with printing in gold — a method characteristic of this
period ; shibori (" tie and dye work ") has also been used. The
pattern consists of delicate floral sprays, minute floral badges
within sangai-bishi (a form with the outline of three overlapping
lozenges), circular medallions- filled with conventional waves, and
lozenge diaper, on a ground of horizontal stripes. The embroidery
is worked on a piece of silk damask, with a fret pattern ; one of the
two oldest Japanese silk damasks in the Museum. The other
example (1201) of Genroku embroidery has been noticed above
for its ancient pattern of the " four-split lozenge " ; this device
is enclosed in lattice work, and associated with sprays of peonies.
Printing with a " resist " has been used, as well as embroidery in
gold thread and floss silks, to produce the pattern. The ground,
in this case too, is of silk damask, with a pattern of peonies,
chrysanthemums, and wisps of cloud.
To the early 18th century we may ascribe a piece of silk brocade
(19, PlateV.), which was woven either for a Buddhist priest's vestment
or for an altar-cover (uchishiki, "spread-out ") ; it has a repeating
pattern of circular medallions, each enclosing two dragons, with
a border of " phoenixes " (hod) and other mythical creatures ;
floral sprays further decorate the medallions and fill the interspaces.
Japanese weaving of the 18th century is well illustrated in the
collection. The most beautiful examples are those of fragments of
silk brocade, woven for the robes of no (" skill " or " talent "
1 See p. 32.
(601) C

dancers) ; the patterns are largely taken from the floral world,
and floss silks, often in strong relief, are frequently used. Of these
the student may note 20 (Plate VI.), where there is a realistic
treatment of irises growing in water ; 21 (Plate VII.), woven with
sparrows in flight, and snow-laden bamboos crossed by wistaria
stems ; 22 (Plate IV.), woven possibly for the dress of a lady of
the Court, which has a pattern of plum blossoms springing from
wavy vertical stems ; 23 (Plate III.), woven with pairs of mandarin
ducks, swimming on water with a rippled surface ; and 31, which
shows a diaper of hexagons enclosing " flower lozenges." The last
of these patterns appears on a no dancer's robe (32), which the
Museum was fortunate enough to acquire quite recently. The robe
in question is the gift of Mr. John Hay, in the name of his brother,
the late Captain Hay ; it comes from a temple in Kioto belonging
to the Nishi-Hongwanji sect of Japanese Buddhism. The pattern
on this robe is very ancient, but the freshness of its colouring and
condition points to a comparatively late date.1 A very interesting
example of material for a no robe is 166 (Plate VI.), which shows
two curious masks, shaped like birds' heads, amid leaves of the maple.
The bird-mask, or rather bird-hat (tori-kabuto) , is worn by dancers
in the bn-gaku, an ancient sword-dance, still in vogue, which was
one of the sources of the no dramas.2 The date of this piece is
not later than the beginning of the 19th century. The patterns on
silk brocades woven for Buddhist priests' vestments or for altar-
covers (the same material may be used for either) display a variety
of motives ; animals and flowers of a symbolical character, objects
associated with Buddhism, such as the eight-spoked wheel, and selec
tions of precious things being specially favoured. A common pattern,
of Chinese origin, is that known as the shokkd, which consists of a diaper
of octagons or hexagons united by rectangular figures (see 33, which
dates from the 18th century). The following are examples of such
pieces, all of which may be ascribed to the 18th century : — (34,
Plate V.) — Cranes, sacred tortoises (minogame), branches of pine and
1 The " flower lozenge " pattern, very much as it appears on 32, decorates
the robe of the Japanese poetess Ono no Komachi, as shown in a portrait
attributed to the middle of the Kamakura epoch (1102-1 33 5) — Kokka,
Vol. XXIII., p. 51. f \ v 30D1
2 The development of these dramas, in connection with Buddhist worship,
out of primitive natIVe dances, dates from the 14th century and is
paralleled by the evolution of the ancient Greek drama out of the dances,
accompanied by chanting, which were performed in honour of Dionysos The
bugaku was introduced from Korea in the reign of the Emperor Kimmei

19
bamboo, heads of lucky sceptres (nioi), pairs of rhinoceros horns,
and a selection of the takaramono, or treasures of the Seven Deities
of Luck ; 35 — A leafy medallion enclosing a peony badge, and
sacred wheels1 within medallions formed by conventional clouds ;
36 — Curving stems bearing lotuses and peaches ; 37 — Butterflies,
double gourds, floral stems, and dragons pursuing flaming magic
jewels; 38 (Plate VIII.) — Storm-dragons, amid clouds and lightning,
entirely woven in strips of silvered paper, on a ground of dark blue
silk. A class of textiles well represented in the collection consists
of silk brocades and silk damasks woven for ladies' waist-sashes
(obi) ; they are made of thick and durable material, and often
have marvellously beautiful patterns. To the late 18th century
we may ascribe a strip of obiji (" obi stuff "), (60), made for a young
girl's use, which has a pattern of cranes in flight, floral stems,
and branches of pine ; 61, another example of obiji, belonging
to the same century, is woven with flowers on an interrupted
hexagon diaper. Two fine examples of obiji date at the latest
from the first half of the 19th century, and may possibly be as
early as the end of the 18th century : — 68, which has a close pattern
of chrysanthemums, and 69, which is woven with rows of snow-
laden pines. The latter piece was given to the Museum by Her
Majesty Queen Victoria. A number of pieces of obiji, one in silk
damask and the rest in silk brocade, were recently acquired by the
Museum. They date from the first half of the 19th century, and
are evidence of the wonderful fertility of imagination displayed
by Japanese designers at this time, and the skill with which these
designs were rendered by the weavers. A large proportion of them
are very realistically treated (e.g., 70, 71, 72). The first has a pattern
of bamboo stems and foliage, and sparrows in flight. The design
on 71 (Plate IX.) is decidedly quaint ; lying close together, in
all sorts of positions, are a number of tea-bowls, decorated with
dragons, cranes and lotuses. Flat, round fans, thin waving reeds, and
little black fire-flies, some crawling and others in flight, is the
charmingly conceived and executed pattern of 72 (Plate IX.),
one of the prettiest in the series. The treatment is almost as
realistic in 73 (Plate IX.), which is woven with a repeat of Rhodea
japo-nica (omoto) ; 74, which has a pattern of peonies ; 75, where
the kiri badge of the Emperor (borne also by several noble families)
1 See p. 39. C 2
(601)

20

appears conspicuously amid rosettes and orchids ; and 76, which
shows wavy floral stems, on a raised ground of close horizontal
stripes. Very life-like, too, are the small cranes flying about clusters
of pine foliage, forming oval medallions, which is the pattern
of 77 ; and the chrysanthemums, peaches and peach blossoms,
orchids, and bamboo stems, which figure on 78 (Plate IX.). The
design on 79, which represents rows of tiny floral sprays, alternately
reversed, has a more conventional air. The same may be said
of 80, a rich damask fragment, with a representation of " lions "
(karashishi)1 interspersed with peonies. The pattern on 81 is quite
in the conventional vein, and shows a diaper of floral sprays and
lozenges on a ground of very wide fret.
Examples of embroidered, woven, printed and stencilled robes,
showing a variety of patterns, can be studied in the Collection.
To the 18th century we may ascribe a Buddhist priest's vestment
(90), composed of several pieces stitched together,2 which is woven
in silk and strips of gilt paper with dragons amid curving floral
stems. A young girl's kimono (91) of silk brocade, with a
floral diaper pattern, was woven in the same century. The most
lavishly decorated garments are those of geishas, actors and, more
especially, courtesans (jord). From the late 18th or early 19th cen
tury dates a robe (970) worn by a member of the last' class ; it is of
silk damask, printed with a " resist " and dyed. The pattern consists
of the lucky flower-cart (hana-guruma) , which is filled with chrysan
themums, peonies, fuchsias, and other flowers, on a ground of
fan-mounts decorated with foliage, rhinoceros horns, and the mallet
(tsuchi) of the Luck God Daikoku. To the same date belongs a
robe (1223), with a picturesque pattern of the " Drum Waterfall "
(Tsudzumi-ga-taki) ; drumheads are seen floating in the pool below.
Printing with a "resist," and, to a slight extent, embroidery,
have been used to produce this design.
Four interesting examples of silk brocades for pocket-books
(95 to 98) date from the first half of the 19th century. The
pattern on 95 (Plate X.) betrays European influence, and
recalls, in some respects, the French silk brocades of the last quarter
of the 18th century ; vertical bands, of different widths, are filled
with bats or floral sprays, some of the latter being tied with ribbons
and forming a chain crossing alternately left and right a sinuous
6 p' *3- 8 See p. 45.

21
band composed of pointed leaves. Another brocade of this class
(96) is woven with a diaper of triangular compartments filled with
stripes or a variety of floral devices. The pattern on 97 (Plate X.)
consists of four kinds of musical instruments, with their names
quoted ; these are the mouth-organ (shd), the flute (fuye), and
two species of lutes (the square jamisen and the pear-shaped biwa) ,
The most interesting pattern is that on 98 (Plate X.), which consists
of cards for one of the poem-games. Some of these bear poems,
and others the portraits of well-known poets, the essence of the
game being to match each poem-card with another illustrating
the author of the poem chosen.
A few other examples of silk-weaving of the 19th century may
be mentioned here. To the early years we may perhaps ascribe
a piece (115) given by Mr. Sydney Vacher ; it is prettily woven
with the favourite and ancient motive of cranes in flight. Geese
flying amid floral sprays, branches of pine, and fallen petals is the
charming pattern on a silk textile (116), of somewhat later date,
which seems to have been woven for an obi. Several pieces of
silk damask, dating from this century, can be studied in the Collec
tion, e.g., 117, which is woven with curving stems of the kiri in
leaf and flower; and 1273 (Plate XXL), a fukusa, x with a bold
design of peonies, conventional foliage (karakusa), and a selection
of the takaramono ; the two lobsters are in silk and gold thread
embroidery. Most of the embroideries in the collection are products of the
19th century. Several examples will be described in the course
of this guide. To the second half of the 19th century we may
ascribe a satin panel (1275), which is embroidered in coloured
silks and gold thread with a picturesque representation of the
historic Castle of Osaka, where the young Hideyori, the protector
of the Christians, was besieged in 1605 by Iyeyasu, the founder
of the Tokugawa Shogunate. Below the castle, on the water,
are seen two covered boats ; while hills, trees, a pagoda and two
huts, with clouds floating above, complete the pattern, which is
typical of the growing tendency to realism and pictorial effect that
characterises the modern textile art of Japan.
The Museum possesses a few objects illustrative of non- Japanese
weaving and embroidery in Japan. These are chiefly models,
1 See p. 42.

22
on a small scale, of embroidered coats worn by the Ainu ; one
of them1 (1610), given by Miss Andrews, is exhibited. The Ainu
are the predecessors of the Japanese. They are a little taller than
the latter and inclined to hairiness ; they appear to have Caucasian
affinities. They now number about 18,000, and are found in
Hokkaido or Yezo, the most northern of the. Japanese islands
in the Kurile Isles and in the southern part of the island of Sakhalin
all of which are under Japanese rule.
1 The rest of these models, and a few examples of Ainu weaving may be
seen on application at the Students' Room in the Department of Textiles.
See also The Ainu of Japan, by the Rev. John Batchelor.

I.— WOVEN FABRICS.
THERE are many kinds of silk-weaving with which the
Japanese are acquainted, some of remote and others of
comparatively recent origin. One of the most ancient is
a thin stuff known as usumono1 (" thin object "), which is said to
have been introduced into Japan, at the beginning of the 3rd century
A.D., from Shinra (a kingdom of Korea) ; it was imitated by
Japanese weavers shortly after this time. The production of
sha (silk gauze) dates from the same time, if we may believe native
testimony (see 143 (7) ). The art of weaving a species of plain
and figured silk gauze, in the style of the Ming dynasty (1368-1643),
was first taught the people of the town of Sakai by Chinese weavers,
who came over in the Tensh5 period (1573-91) -2 In the Genna
period (1615-23) Chinese weavers came to Sakai and made there
figured gauze having gold thread for the weft. The coarse stuff
known as tsumugi or momen-tsumugi (see 144 (4) ), formerly of
cotton and later of silk, is of unknown origin, but mention is made
of a robe of this material, belonging to the Emperor Shomu
(d. 748), in one of the registries of the temple known as the Todai-ji.
A KiSto weaver, at an unknown date before the end of the 15th
century, invented a species of silk-weaving to which the name
ori-iro (" woven in colour ") has been given. It is made by a
combination of two differently coloured threads, which give a
monochrome effect. Seigd (" corded silk ") appears to date from
the nth century. In a book published in the Yenkiu period
(1069-73) this form of silk-weaving is stated to have originated a
little before this time. There are two kinds of seigd. In one both
the warp and the weft threads are of corded silk. In the other
corded silk is used only for the warp threads. Seigo (see 146 (10
1 Kogei Shirio, Part I. (see list of books at the end of this guide) ; it is the
chief authority for the information given in this chapter.
2 The method of reckoning time in periods of a few years' duration (nengd,
lit. "year-appellation") was introduced from China in 645 a.d., and
persists to this day.

24
and 13) and 147 (1) ) was often used for summer Court robes, The
manufacture of this stuff was abandoned soon after the commence
ment of the Meiji epoch (1868-1911). Under the Empress Jingo
(3rd century a.d.) Korean weavers came over to Japan and first
wove (so it is said) the stuff known as aya (see Plate I., 148 (2) and
151 (2) ), of which mention has already been made in the account
given of the Kemmotsucho of the Empress KSmio. A thick brocade,
known as nishiki (see 152 (4) and 155 (15 and 17) ), woven with
floral and other patterns in silks of different colours, is held to be
of foreigi, origin. Hence the term kara-nishiki (" foreign nishiki "),
which was first applied to the style of nishiki introduced by Korean
immigrant weavers in the 5th century. A weaver of Kiriu, Ishida
Kiflya, in the Tempo period (1830-43), invented a new kind of
nishiki, whose peculiarity is the use of corded threads for .the weft.
It is called yori-ito-ori or atsu-ita-ori. Kambata is described as
a brocade similar to nishiki. Nothing is known about its origin.
Hakata-ori is a thick and stiff textile with stripes, or both stripes
and raised pattern. It owes its name to the fact of its having been
first produced in Japan by a weaver of Hakata, in the Tembun
period (1532-54). Another name for Hakata-ori is kara-ori (" foreign
weaving "), on account of its derivation from a Chinese stuff (see
166 (Plate VI.) and 148 (4) ). Kinran, or brocade made with narrow
strips of gilt paper (see 167 (3), 146 (12 and 15), and 156 (1) ), was
first taught the people of Sakai by Chinese weavers in the Tensho
period (1573-91). Until recently, Kioto was the only town in
Japan to manufacture this stuff. Some very fine kinran was pro
duced there in the Tenna period (1681-83). Ginran is the name
given to brocades of this class where silvered strips are used instead
of gilt. These strips, whether gilt or silvered, were either woven
with silk threads so as to produce a flat surface, or else wound round
such threads.
Donsu, a damask, was introduced to Sakai weavers by crafts
men from China, about the same time as kinran (see 159 (1), 142 (5),
and 147 (2 and 5) ). Later on, a weaver of Kioto made a species of
donsu, called shichin-donsu (or shuchin-donsu , see 157 (4) ), with a
design of floral medallions. Also in the Tensho period a Kioto
craftsman introduced the weaving of satin (shusu) somewhat after
the Chinese style ; and in the Keicho period (1596-1614) rinzu,
a very fine kind of satin damask (see 168 (8) ), also in the Chinese
style, was woven at Kioto.

25
Higaki-rinzu owes its name to the design, common at this
period, of a wooden fence (higaki) and chrysanthemums (kiku).
Perhaps this design resembled part of that on 1037, a modern
piece of stencilled silk crape, given by Col. E. F. Strange.
Kdhaku, a silk stuff corresponding very closely to what is now
known as taffeta (see 170 (1) and 171 (3) ), dates from the Tenna
period (1681-83). Kioto was the first town to make it, but in the
Bunkwa period (1804-16) the town of Kiriu began to produce
kdhaku of a somewhat inferior type. r
Besides silk the Japanese employ several other materials for
weaving purposes. Fibre cloth (nuno) has been in use from an
immemorial antiquity. Two kinds are known : — (1) taye or
shirotaye, woven with threads derived from the fibres of the bark
of the kddzu (paper mulberry), and (2) asa-nuno, woven with
threads derived from the fibres of hemp. Cotton cloth (momen-
nuno) appears to have been manufactured in Japan since the middle
of the 16th century.1
The first figured cloth said to have been made in Japan bears
the name of shidzuri. The warp consists of hempen or other similar
thread derived from bark fibres, which are variously dyed so as
to produce striped patterns when combined with the weft threads.
Woollen cloth (kamo or origamo) is said to have been first introduced
into Japan in 554, in the form of a suit given by the King of Kudara
(one of the three kingdoms of Korea) to the Emperor Kimmei.
Kamo was at first woven in Japan from goats' wool mixed with
cotton thread. A later method, started in Echigo province, was
to use rabbits' wool instead of goats' wool. In the Keicho period
(1596-1614) the European style of weaving woollen cloth was com
menced in Kioto. For about a hundred years these industries
have been extinct. Crape (chirimen) has long been known in Japan
(see 1274, an embroidered fukusa). The Heihan-ki (a record of
military regulations), dated the 22nd day of the third month,
Hogen III. (1158), states that the ambassador wore an undergarment
of crape on the day of the festival of the Iwashimidzu temple. This
1 The cotton seed seems to have been imported into Japan from India
at a very early date ; but the cotton plant gradually disappeared owing to bad
cultivation, and not until the 16th century was it reintroduced, through
Portuguese agency. (Report of the Japanese Commission at the Paris
Exhibition of 1878, Vol. II., p. 87.)

26
gives us a terminus ad quern for the commencement of the manu
facture of crape. But at what date it actually started is not at
present ascertainable. At a later period the industry was given up,
and was not restored until the Tensho period (1573-91), after the
reintroduction of this stuff by Chinese weavers coming to Sakai.
A large quantity of chirimen, both striped and figured, was made in
the Tenna period (1681-83).
Most of the above-cited examples of Japanese woven fabrics
are taken from the extensive collection1 (140 to 265) made by
Ninagawa Noritane, an eminent Japanese archasologist, and com
pleted by the Austrian traveller and archaeologist, Von Siebold ;
the whole of this collection has been described and tentatively
dated by these experts. But the student may like to note a few
other Japanese stuffs in the Museum illustrating different types
of Japanese weaving. An example of seigd, woven for summer
Court robes, is shown (266) ; it resembles the two examples in
the Ninagawa collection already referred to. One of the oldest
pieces of nishiki (a species of silk brocade) on exhibition is 270,
a gift from Mr. Sydney Vacher ; it is part of a Buddhist priest's
robe, and has a pattern of " phoenix " (hod) medallions, con
ventional flowers and cloud-forms ; we may ascribe it to the
17th century. To about the same date may be ascribed a Buddhist
priest's vestment2 (271), composed of 48 pieces of nishiki ; and
a fragment3 (272) of nishiki, woven for such a vestment or for an
altar-cover, which has for its pattern a kirin amid rocks and waves.
Two other excellent examples of this stuff, and woven for the same
purpose as those just mentioned, are 273 and 274, the first dating
from the 18th century and the other, apparently, a little earlier.
The latter has the familiar " phoenix " (hod) and kiri pattern,
and the former is woven with a medley of religious and symbolical
objects, including hagoromo (robes of the tennin or Buddhist angels)
and incense-burners. An 18th century waist-sash (obi),* with a
pattern of the Genji-mon, illustrates a different type of brocade
(275, Plate VIII.).
Of kinran, 283 may be selected as a good example ; it probably
dates from the 19th century, and has for pattern a repetition of
1 The frames containing the examples cited in the text are mostly ranged
together in Room 79.
3 See p. 45. 3 See p. 43. . « See p. 41.

27
the kotobuki character (" long life ") on a fret diaper. Another
example of kinran is the gift of Mr. W. E. Manners. This is a
rectangular piece (269), woven for temple use ; it is probably
part of a no dancer's robe, and dates from the 18th or early 19th
century. The pattern, in gilt paper strips on black silk, consists
of dragons grasping sacred jewels, and the " three commas "
(mitsu-domoye),1 on a ground of lightning fret. A child's tunic
(sarttko)2, given by Dr. W. L. Hildburgh (1477), may also be noted
as illustrating kinran weaving ; it is about a century old.
Other examples of kinran are : 284, which has the familiar pattern
of the takaramono, or treasures of the Gods of Luck3 ; 285, which
is woven with two floral badges ; and 286, which shows varieties
of the " comma " motive. A small fragment (297, Plate V.), which
has the curious pattern of cocks on drums,4 combines kinran with
kara-ori ; it may be ascribed to the 18th century.
Of Japanese damask two kinds, donsu and rinzu, have been
referred to above, the latter having the finer texture of the two.
In 304 we have a specimen of what is known as ayaji donsu (" donsu
with an aya ground "). Other examples of donsu worth noting
are 305, which is woven with a repeat of clematis badges, and 306,
which has a beautiful pattern of peonies and chrysanthemums.
The latter, which was probably woven for a lady's robe, is the
finest specimen of donsu in the Collection. All the above examples
of donsu and rinzu are products of the 19th century. A large
18th century fragment of a no dancer's robe (328, Plate VIII.),
with a pattern of swastikas, clouds and conventional flowers,
combines damask-weaving with brocading ; it has an aya ground.
Velvets (birddo) were, as we have seen, among the presents
brought back by the Embassy of 1584-5. They were first made
in Japan in the Keian period (1648-51), after the " foreign " style.5
Velvets, partly uncut, of a pictorial character, known as birddo-
yuzen,e are a still later invention (see 840, Plate XL). They are
used as a ground for picture patterns, and are partly painted or
1 See p. 41. 2 See Part II.
3 See p. 39. " See p. 46.
5 Probably European is meant (Kogei Shirio).
6 Named after Miyazaki Yiizen, a dyer and designer of textile fabrics
(about 1 720).

28
dyed, and partly cut. An example of the method of making velvet is
shown in a panel (841, Plate XII.) given by Messrs. Pare and Arthur,
which has a pattern of peonies, sparrows in flight and a crouching
tiger ; the copper wires, over which the silk pile is woven, have not
been withdrawn, and the loops to form the pile are only cut in parts.
Both these panels date from the 19th century.
We are indebted to Mr. Luther Hooper for a full description
of the first example (840), which he has specially studied. Mr.
Hooper writes : —
"It is a panel of exquisitely woven silk velvet and is in many
respects a very remarkable work. The surface, for the most part,
consists of uncut velvet raised from a pile warp by means of un-
grooved wires (terry velvet). The beautifully drawn and vividly
coloured design is very simple and represents a group of domestic
poultry. The surrounding border, separated from the panel by
a narrow line of blue- — the colour of the ground wet) — is decorated
with a few floral ornaments executed in cut pile. This
ornamentation is very accurately cut and must have been
executed freely by the artist with a very sharp, pointed knife.
The picture on the panel is also worked in cut and uncut velvet,
but the extraordinary characteristic of this specimen is the way
in which the changing colours — ten in all — are woven in and
substituted for the ordinary silk of dull gold-tinted pile. The
changes of coloured silk thread in the pile, which must have been
very difficult to effect, are sometimes made for even a tiny spot
of light in a chicken's eye or at the tip of its little wing or toe. An
examination of the reverse side of the stuff shows that the different
coloured threads are so knotted at the back to the pile threads
as to take their place on the wire when the pile is raised at the
front ; as soon as another colour is required it is tied in at the
back and woven in in a similar way. This ' warp brocading,'
as it might be called, must have been extremely difficult to do
accurately and must have needed almost magical delicacy of
manipulation to accomplish."
Tapestry-weaving in coloured silks has been carried on in
Japan for at least 300 years, though certain Japanese authorities
insist on a much earlier date. It is a link between ordinary
weaving and embroidery. The warp threads are stretched on a
frame, and the weft threads are then put in, and pushed into their

29
places with the fingers or a comb. The weft threads only
cover short spaces with the various colours used to make the
pattern, instead of being thrown across the loom by means of one
or more shuttles. Japanese tapestry, known as tsudzure-ori
(" patched weaving "), is identical with the Chinese k'o-ssu, and
differs from European tapestry in its much finer texture. There
is a fine example (910, Plate XIII.) in the Museum in the form of
a vestment of a Buddhist priest, which dates from the early 19th
century. It is tapestry-woven, after the manner above described,
in coloured silks and gold thread, with a scene representing the
sky of the " Pure Land " (Jddo) or the Western Paradise of Amida.
Another example (911) of tsudzure-ori, dating from the 19th century,
has a design of tree trunks and plum blossoms, after Ogata Korin
(1653-1716). European tapestries of the 17th century are reported
to exist in Japan, but tapestry-weaving on the European scale
has not been practised there until modern times.1
Louis Gonse notes2 that Hideyoshi (d. 1598) caused to be
executed for Mayeda Toshiiye, Prince of Kaga, a large panel of
tapestry which his descendant possesses to-day.
1 Of late years a Mr. Kawashima of Kioto has copied a Gobelins tapestry.
See Encyclopedia Britannica, art. "Japan," nth ed., Vol. XV., p. 182.
2 V 'Art Japonais, p. 280.

II.-PRINTED, DYED AND PAINTED FABRICS.
DYED fabrics have long been known in Japan. Many
specimens (including silks) exist in the Shoso-in at Nara,
and a formidable list of dyed cloths made of different bark
fibres occurs in the admittedly ancient Kemmotsuchd. The
patterns on some of the Shoso-in stuffs have been produced by the
method of block-printing (itajime), others by " tying and dyeing "
(koketsu or shibori), and others again by the use of " resists " (the
rdketsu method, the " resist " consisting of wax). The Victoria
and Albert Museum possesses dyed fabrics of comparatively recent
origin only. The earliest is the sarasa fragment to be noticed a
little later. A piece of silk embroidery1 of the Genroku period
(1688-1703) and two kimono, dating from the late 18th or early
19th century, are partially decorated by the " tying and dyeing "
(shibori) process. But most of the examples of dyed fabrics are
not earlier than the 19th century.
Printing from blocks, as done in Japan, is of two kinds, positive
and negative.2 The second is the one preferably followed. In
both, certain parts of the block are hollowed out so as to leave the
rest in relief. These relief portions constitute the pattern, not
only in all cases of positive block-printing, but also in those cases
of negative block-printing where it is desired to leave the pattern
plain on a coloured ground. If the user of the negative process
wishes to leave the ground plain and to have the pattern only in
colour, the latter is formed out of the hollows, so that its outlines
coincide with theirs. In the positive process, the relief portions
are charged with colour and pressed against the cloth. But in
negative block-printing, they are left free of colour, and the
printing is done from the hollows. The method followed is to
bore through these to the other side in such a way as to give
funnel-shaped openings from that side. After the block has been
varnished to make it waterproof, it is handed over to the printer,
1 See p. 17.
2 For a full account of these processes, see G. A, Audsley, The Ornamental
Arts of Japan, Vol, I., Part II., pp. 7-9,

3i
together with a piece of wood of larger size than the block, which
has been flattened and planed on one face. The cloth to be printed
is stretched over the smooth surface of the plain block, and the
other is placed, face downwards, on the fabric. The two. pieces of
wood are then tightly clamped together. The next step is to pour
the dye through the funnel-shaped holes until all the depressions
are filled. In this way the exposed parts of the cloth are at once
saturated, while the unexposed, which are squeezed tightly against
the relief parts of the upper block, are left untouched. The
two blocks, still connected, are then turned over, and the
surplus stain is allowed to run out. Finally, the blocks are
separated, and the fabric is taken away to be dried and fixed.
A " resist is a material with which the pattern on a fabric is
covered to make it proof against the action of a dye. The resist is
frequently applied by the process of stencilling. Wax is no longer
used. After the application the piece is completely immersed in a
dye-vat, and left there until sufficient dye is absorbed . The subsequent
washing of the whole fabric removes the resist, thus making the
pattern appear in contrast on a uniformly coloured ground. For
examples of resist work see 970 (kimono), 1201 (fragment of
Genroku embroidery), 1222 and 1223 (two kimono).1
A curious form of " resist " dyeing is practised at two small
Japanese towns, Narumi and Arimatsu.2 The fabrics treated
in this way are known as N arumi-shibori (shibori =" tied" or
" knotted "). The European term for the process is " tie and
dye work." Two pieces of silk crape, of the same size, are placed
over one another, and parts of the fabric, at intervals of half an
inch, are pressed upwards into the shape of little cones by means
of a pointed stick. Waxed silk threads are then wrapped round
the cones, thus producing small tufts or knots on the surface of
the double crape. The fabric is now ready for the dye-vat. The
dyeing produces a shrinkage, which leaves the stuff covered per
manently with a number of raised points except where the method
of stretching is resorted to. The next step is to unwind the silk
threads. Wherever these have been in contact with the fabric
they have served the purpose of a resist against the action of the
dye. Thus is given a surface marked by variations of colour as
well as by conical eminences. Other kinds of silk stuffs as well
1 Excepting 970, all these examples are referred to again in Chap. III., as
they combine embroidery with " resist " dyeing.
2 C. Dresser, Japan, pp. 447-449.

32
as common cotton cloths are subjected to a similar process. If
the fabric is stretched after the dyeing a flat, instead of a wrinkled
surface, is produced. The pattern formed by this process consists
of groups of diamond-shaped figures, each marked with a coloured
spot in the middle (see 970 (kimono), 1200, Plate XVI. (fragment
of Genroku embroidery), 1222 (kimono), and 1224 (hanging) J.1
Patterns may also be produced by means of " discharges." This
term is given to chemical substances which are used to destroy the
colouring matter in fabrics that have been dyed. There are two
methods of applying the " discharge " : (1) The negative process
of block-printing, the " discharge " being poured through the holes
in the block ; and (2) the rubbing of it into the fabric with a brush
and a stencil-plate. The fabric is afterwards washed and dried.
This process is of modern origin.
Stencilling is another method of producing designs on fabrics,
which is practised largely in Japan. The stencil-plates (kalagami)
consist of tough paper waterproofed with shibu (the juice of unripe
persimmons) (see 1011, Plate XIV., 1012 and 1013, given by Mr.
Wilson Crewdson). The stencil-plate, out of which the pattern has
been cut, is held together by an irregular network of human hair ;
it is laid on the fabric, which, together with the stencil-plate, is
completely covered with a resist. The fabric is next placed in the
dye-vat, and the resist is afterwards removed by steaming. The
colour will be found to have stained all except those spaces that have
been in contact with the resist. To produce a coloured pattern on
a white ground, the portions cut out of the stencil-plate- must be
fixed on the fabric, the whole of which must be covered with a
resist and then dyed. In this latter case the spaces under the
cut out pieces, not having a resist immediately over them, will
necessarily absorb the dye, which cannot affect the rest of the fabric.
For examples of stencilling in the Museum see 1035 (Plate XIV.), a
cotton towel printed with the subject of " The Moon behind the
Trees," after Hiroshige I. (1796-1858); and 1036 (Plate XV.), which
has for its design the story of Kwakkio.
In such cases, where more detail and several colours are involved,
some of the work would be stencilled in with the brush.
The Museum possesses a small piece of cotton fabric painted
by hand with a pattern of rosettes and lozenge diaper, which once
formed part of the lining of a purse. Mr. Wilson Crewdson, the
1 Excepting 970, all these examples are referred to again in Chap. III. as
they combine embroidery with " resist " dyeing.

33
donor of this interesting textile, dates it about 1500. x Stuffs of
this kind are known, as kikisarasa, " painted sarasa " (sarasa is a
name for calico or chintz, and is said to be derived from that of a
South Indian city). An illustrated Japanese work by Horai-sanjin,
entitled Sarasa Benran, published in 1808, describes at length the
various processes of preparing and painting sarasa that were current
when the author wrote a century ago, and illustrates the Museum
specimen. The method of painting sarasa, according to Horai-
sanjin, is as follows. First of all, some shibu (juice of unripe
persimmons) must be distilled, and then applied with a flat brush
to a piece of kanakin (fine cotton cloth) which has been laid on a
wooden board. As soon as the kanakin is dry, the painting can
begin. The author then describes the various paints which may be used,
and how to prepare them — shdyenji (a dark red paint), aird (a cake
of blue paint), and shid (gamboge). Some sarasa are painted with
a black ground, either brilliant or dull. The former is produced
by painting with blue first, and then covering it with black, while for
the latter the process is reversed. White designs on a coloured
ground are made by using resists. Buckwheat powder and fine
powder of alum are sifted through a fine silk sieve. Equal quantities
of these materials are then mixed with water and heated into a paste.
This serves as a resist. Mr. Crewdson describes the process2 of
blowing a resist of rice paste on to the fabric through a sort of brass
funnel. The spaces not covered by the resist are then filled with
various dyes. As soon as these are fixed the resist is then steamed
off. The name for this class of work is fuki-ye ("blown pictures").
It is supposed to have been introduced into Japan by the Dutch.
The colours as well as the resist can be blown on to the fabric by
the fukiye process. In Sarasa Benran appears a very curious
illustration of a Dutch woman with tools for makingfukiye. Horai-
sanjin describes a method of producing fukiye which was invented
by him : "If one desires to paint a design like karahana (a con
ventional five-petalled flower), a piece of paper will be cut in that
shape and placed on the stuff. When a minute design is required,
draw it with a resist over which sprinkle rice-bran through a rough
sieve, then blow it with any colour desired. When a fine blowing
(of colour) is required, use rice-powder instead of rice:bran."
1 W. Crewdson, Plate opp. p. 22 and p. 25 ; see p. 16 of this guide.
2 W. Crewdson, pp. 16 and 17.
(601) D

III.— EMBROIDERIES.
JAPANESE EMBROIDERY has, undoubtedly, a Chinese or
Korean origin, and was practised at a very early date,
Mention is made of embroidery (nui) in Japanese records
as early as the reign of the Emperor Buretsu1 (499-506). Several
references to embroidery appear in the Nihongi (completed in the
year 720). The introduction of the Buddhist religion into Japan
from Korea, which took place about the middle of the 6th century,
gave great encouragement to this art. Some of the earliest
extant pieces of Japanese embroidery (if they are not foreign
importations) are the nui-botoke (" embroidered Buddhas ").2 The
Nihongi makes mention of this kind of work : " 13th year (605),
Summer, 4th month, 1st day. The Empress (Suiko) commanded the
Prince Imperial (Shotoku Taishi), the Oho-omi, and also the
Princes and Ministers, all to make a vow together, and therewithal
to begin to make copper and embroidery images of Buddha, sixteen
feet high, one of each."3
The attention of the student has already been drawn to the
ancient embroidery known as the Tenjiikoku-mandara, ascribed to
the 7th century, which has been proved by documentary evidence
to be of Japanese origin ; also to the Kwanju-ji hanging, whose
Chinese origin is generally admitted.
The two oldest examples of Japanese embroidery in the Museum
(1200 — -Plate XVI., and 1201), both dating from the Genroku
period (1688-1703), have been already described in the introduction.4
1 Kokka, Vol. XXI., p. 3 (art. by Seiichi Taki, on the Relation between
Embroidery and Painting in Ancient Japan).
2 Kokka, Vol. XXI., illustration on p. 9.
3 The above quotation is taken from Mr. W. G. Aston's translation
{Nihongi, Chronicles of Japan from the Earliest Times to A.D. 697. London
Japan Society, Transactions, Vol. II., p. 133).
1 See p. 17.

35
They combine embroidery in silk and gold thread with " resist "
dyeing. Other examples of this combination of processes may be
noted in the case of two robes (1222 and 1223), also noticed else
where in this guide. J A hanging or cover (1224), 2 of silk damask, with
a pattern of peonies and floral badges has been similarly treated.
Embroidery may also be used to embellish patterns painted by hand,
as in the case of a woman's silk kimono (1225, Plate XVIL), where
the main pattern, representing poem-cards, is painted, with the
addition of a little silk and gold thread embroidery, besides
powderings of gold dust, to produce the subordinate details ; the
poem-cards are of two kinds (tanzaku = " long 12 inches," and
shikishi =" spread paper "), decorated with trees, flowering plants,
birds and insects. This robe dates from the late 18th or early
19th century.
Ki5to became the Imperial capital in 794, and fro'm an early
period enjoyed a very high reputation for its embroideries. The
embroiderers appear always to have been men specially trained.
To a comparatively small extent was the art a ladies' accomplish
ment cultivated within the domestic circle.
The objects on which the embroiderers of Kioto lavished their
greatest skill were (1) kimono, the loose wide-sleeved robes worn by
both sexes ; (2) obi, or long and broad sashes wound round the waist ;
and (3) fukusa. These last were richly woven squares, sometimes
hung with tassels, and used for covering ceremonial presents. The
present was always conveyed in a lacquered box, over which a
fukusa was thrown. The receiver of the present returned the box
with the fukusa to the donor. This custom still exists.
The only example of an embroidered obi on exhibition is one
given by Mrs. Watt (1226, Plate XVIII.); it is worked, in floss silks
and gold thread, with a realistic pattern of butterflies, and bunches
of peonies tied by ribbons. The date of this embroidery is not
earlier than the 19th century.
The Museum possesses several examples of fukusa. One of the
best, which is fitted with tassels and mounted on red silk crape, is
1247 (Plate XIX.) ; it has a pattern of Osaka Castle and the
surrounding landscape, in gold thread embroidery on a dark blue
satin ground.
1 See pp. 20, 31. 2 See p. 40.
(601) D 2

36
The designs for embroideries were often those of celebrated
artists,1 e.g., Kano Tanyu (1602-74), Ogata Korin (1653-1716), and
Hishikawa Moronobu (d. 1714 ?). In the 18th century the art of
embroidery, especially in the case oi fukusa, appears to have reached
a high point of excellence, both in execution and design. During
the 19th century much good work was done, equal to any in the
preceding age.
Most of the embroideries to be seen in European and American
collections, including the Victoria and Albert Museum, belong to
this period.
The following stitches2 are specially characteristic of Japanese
work, and are frequently employed : — (1) Long and regular stitches,
usually running diagonally, fall side by side in nearly parallel
fashion, so as to produce a satin effect. Both floss and twisted silks
are used. For excellent examples of this kind of work, see two silk
gauze hangings (1256 and 1257). The pattern on the former shows
a cock and a hen beside a stream, with tree-peonies and chry
santhemums ; that on the latter consists of a crane beside a stream,
with tree-peonies and an asarum (aoi) plant. (2) Long and short
stitches are fitted in between each other so as to give the appearance
of overlapping. The general effect is that of a bird's plumage. A
fine floss silk is generally used. There is a magnificent example of
this kind of work in the Museum — a large silk hanging3 (1264),
embroidered with a forest scene ; an eagle seizes a small animal,
while a group of monkeys appears sporting below. Another very
beautiful example is a. fukusa (1265, Plate XVIII.), probably dating
from the 18th century, which is worked with a group of cranes;
the effect of the cranes' feathers is extremely realistic. (3) Gold
and silk threads are laid side by side and stitched down with smaller
threads of thin silk, instead of being drawn through the fabric and
carried along underneath. The gold used consists frequently of strips
of gilt paper twisted round a cotton or silk core. This is known as
" laid work " or " couching." The Japanese employ " couching"
to a much greater extent than do the embroiderers of other nations,
including the Chinese. For examples, see a kimono (1272), two
1 So too were the designs for woven and printed fabrics. See p. 29 for an
example of tsudzure-ori, woven after a design by Ogata Korin.
2 G. A. Audsley, Vol. I., Part I., pp. 9-11.
3 Bought in Kioto ; it is said to have come from the Chion-in, a temple
in that city.

37
fukusa (1273 and 1274), and a satin panel (1275). Of these 1272
(Plate XX.) has a pattern of carp leaping waterfalls ; 1273 (Plate
XXI.) is worked with lobsters ; 1274 is embroidered with a
sacred tortoise (minogame) ; and 1275 has for its design Osaka
Castle and the surrounding landscape. A remarkable form of
" couching " is represented by a large 18th century hanging1 (1276)
in the Museum Collection. The whole surface is covered with stout
corded threads rolled into flat spirals and stitched with very small
threads to the ground of the fabric. (4) " Knotted stitch." To
effect this, the needle is drawn up at the spot where the knot is
wanted, and the thread wound round it several times. Having
then passed the point through the fabric close to where it was drawn
up, the needle is pulled from the underside with the right hand, while
the thread is held fast with the left until the knot is secured.
" Knotted stitch " is used by the Japanese to cover whole pieces,
unlike the European embroiderers, who only decorate small spaces
in this way, generally the centres of flowers. Japanese embroidery
of this kind is sometimes done with a thick twisted thread of a larger
size than any to which European workers are accustomed. For
an example of Japanese " knotted stitch," see a fukusa (1282) of
the 19th century, which is embroidered with chrysanthemum
badges (kiku-mon).
" Applique " (kittsuke) is frequently used in Japanese embroidery,
but in work of a high class not to the same extent as in the embroi
deries of medieval and later Europe. Metal plates are sometimes
applied, as in the case of a. fukusa in the Museum (1309), where long
silk tassels are fastened to such plates, which are engraved to
represent chrysanthemum badges. Whole figures are often worked
in silks and gold thread stitched to the ground, and moulded in
relief over padding (see a fukusa (1310, Frontispiece)). Eyes are
sometimes represented by small convex pieces of glass painted on
the underside.
1 Described on p. 44.

IV.— HANGING PICTURE-SCROLLS OR
KAKEMONO.
THE name kakemono ("hanging objects") is given to pictures
hung in the guest-room of a Japanese house. There are
usually two recesses in the guest-room — the tokonoma and
the chigaidana.1 In the tokonoma there is a raised floor or dais,
and above this hangs the kakemono, either singly or in sets (there
are seldom more than three to a set).2 The details of the picture
may be woven, or painted on silk or paper, and the picture itself
mounted on paper or brocade, with a stick,- often ivory-tipped, at
the lower end, round which the picture can be rolled. Two strips
of silk (f ittai) hang from the top. Kakemono are certainly of Chinese
origin. The use of hanging-pictures, painted on silk and rolled round
a stick attached to their lower end, is traceable in China as early
as the 4th century a.d.3 At what period they were introduced into
Japan is unknown. But their use there is many centuries old.
Kakemono are hung in Japanese temples as well as in private houses.
Of the latter kind the Department of Textiles possesses several
examples, all of them made in the 19th century. One of these (1430,
Plate XXII.) shows a bird perched on a maple, with two others
flitting about stems of chrysanthemums and other flowers. The
pattern is in cut and uncut velvet. One example of a temple
kakemono*' is exhibited in Room 79 ; it dates from the 18th century
(1431, Plate XXIII.).
1 A complete Japanese guest-room, showing the kakemono hung in the
tokonoma, is to be seen in the Bethnal Green Museum.
2 Marcus B. Huish, Japan and its Art, p. 117, Plate 90 ("A Marriage
Ceremony," after Toyokuni).
3 Bushell, Chinese Art, Vol. II., p. 121.
4 See p. 49.

V.— SYMBOLISM AND LEGEND IN
JAPANESE TEXTILE ART, AS
ILLUSTRATED IN THE MUSEUM.
}N Japanese art, as in that of China, symbolism plays an
important role. An intelligent appreciation of Japanese
textiles involves some knowledge of at least the chief symbols
with which the different fabrics are frequently woven or embroi
dered. Some groups of symbols, e.g., the "Eight Buddhist Felicitous
Emblems," which comprise the sacred wheel of the Buddha's doctrine
(" the wheel of the excellent Law "), the conch shell (emblem of
victory), the state umbrella (emblem of sovereignty), the canopy,
the flower (usually the lotus), the pair of fishes (emblem of fertility),
the vase, and the " Buddha's entrails," " endless knot," or " lucky
diagram " (consisting of interlacing lines and signifying longevity),
are borrowed from China (see 1223). 1
The first in this group, the sacred eight-spoked wheel,2 is a
frequent pattern for Buddhist priests' vestments or for altar-covers
(see 35). Other groups of symbols are peculiar to Japan. Of the
latter, that known as the Takaramono is a great favourite, selections
from which appear on several pieces in the Museum (see 34 (Plate V.)
and 284). 3 The takaramono, 20 in all, are a number of precious
objects associated with the Shichi-fuku-jin, or Seven Deities of
Luck (Bishamon, Benzaiten, Daikoku, Hotei, Yebisu, Jurojin and
Fukurokuju). They are sometimes depicted as borne in the Taka-
ra-bune, or Treasure Ship ; or else Hotei or Daikoku is seen carrying
them in a bag. The takaramono consist of the following : —
A merchant's weight (fundo), scholar's scrolls (makimono), rolls
of brocade (orimono), an anchor (ikari), a " cash " device enclosing
a conventional four-petalled " flower-lozenge " (shippd no uchi no
1 See p. 20.
2 The eight spokes represent the different stages of the " Noble Eightfold
Path " : — (1) " Right beliefs " ; (2) " Right aspirations " ; (3) " Right
speech " ; (4) " Right acts " ; (5) " Right means of livelihood " ; (6) " Right
endeavour " ; (7) " Right mindfulness " ; and (8) " Right concentration."
3 See p. 27.

40
hanabishi), branches of coral (sangoju), the sacred keys (kagi) of
the godown or storehouse of the Gods, cloves (chdji), the mallet
[tsuchi) of Daikoku, a thousand rid (a species of coin) in a box (koban
ni hako or senridbako), a copper coin (zeni) and a cowry shell (kai),
the flaming jewel of the Buddhist Law (hdju no tama), sometimes
replaced by lions chasing the jewel (shishidama) or by a stand
supporting several jewels, the orange-like fruit (tachibana), a jar
(kotsubo) containing coral, coins or precious goods, harpsichord
bridges (kotoji), the flat Chinese fan (uchiwa, emblem of authority),
the lucky rain-coat (kakuremino, a protection against demons),
the hat of invisibility (kakuregasa) , the inexhaustible purse
(kanebukuro) and the hagoromo (feather robe of the tennin).
Heraldic badges (mon), associated with the Emperor or with
famous aristocratic families, are often seen on Japanese textiles. One
of the most important is the badge of the kiri tree (Paulownia
imperialis) , one form of which was borne by the Emperor, as well
by some of his exalted subjects1 (see 17, Plate III.). It consists of
three overlapping leaves, from which rise three flower stalks of five,
seven and five blossoms respectively. The chrysanthemum (kiku) is
the national flower, and a conventionalisation of its blossom with
thirty-two petals is, like the kiri, an imperial badge. The badge
of the Tokugawa Shoguns (1602-1867) — a ring enclosing three
heart-shaped leaves of the asarum (aoi), whose points converge
towards the centre — appears on several pieces in the Museum
(see 167 (3), a piece of kinran, in the Ninagawa and Von Siebold
Collection). It is impossible here to consider further the extensive
variety of floral and other badges which distinguish the great
families of Japan. This account will be confined to those which
figure on textiles in the Museum.
On a hanging of silk damask2 (1224), dating from the 19th century,
are embroidered the following badges, which in this case are used
purely as ornaments :— (1) The feather-fan (ha-uchiwa) , associated
with temples of Kotohira.3 Kotohira is a Shinto divinity who was
identified by the propagandists of Buddhism in Japan with the
Buddhist divinity Kompira (Sanscrit Kumbhira), hailing from India.
Kompira is a god of gigantic stature, with a thousand heads and a
thousand arms. In India he is personified by the crocodile, and in
1 The Oda, Toyotomi, Ashikaga, Uyesugi and Hosokawa.
2 See p. 35.
3 Strohl, Japanisches Wappenbuch, p. 40.

4i
Japan he has the tortoise for his attribute. (2) Three feather-fans
(ha-uchiwa). (3) A pair of apricot-leaves (gidyd), borne by the
daimid family of Nabeshima (Hasuike and Ogi branches).1
A few Museum pieces (e.g., 5)2 are decorated with a peculiar
diaper known as Bishamon-kikkd. It is made up of twelve-sided
figures — an upright .with two projections, all three terminating in
a triangle — which appear in Japanese art on certain parts of the
armour of Bishamon, one of the Shichi-fuku-jin, or Seven Deities
of Luck. Hence the name. Bishamon is also one of the Jfi-ni-d
(the Twelve Deva3 Kings). He is depicted in full armour, with a
small shrine or pagoda in his right hand, and a lance in his left.
One very interesting set of devices, known as the Genji-mon,
head the chapters of the Genji Monogatari, a famous Japanese
romance, written in the year 1004 by a lady of the Court, Murasaki-
shikibu. A silk brocade4 in the Museum, 275 (Plate VIII.), is woven
with four of these, i.e. —
(Chap. 18.) Matsukaze (" wind in the pines ").
(Chap. 45.) Shii no moto (" under the shii tree ").
(Chap. 6.) Suyetsumu-hana (" saffron flower ").
(Chap. 8.) Hana no yen (" flower festival ").
One little fragment of brocade (286) 5 displays several devices of
a symbolical character. These are variations of the so-called
" comma " motive, signifying good luck, which include the " three
commas " (mitsu-domoye) , which Raiden, the thunder-god, has
marked on his drum, and the mitsu-komochi-domoye ("three pregnant
commas," three large " commas " enclosing smaller ones). The
" comma " motive is a development from the in and j>o (Chinese yin
and yang, the creative monad). In is the female principle in nature,
and stands also for earth and darkness. Yd is the male principle,
heaven and light. The in and yd are shown on the piece in question .
The Japanese are particularly successful in the portraiture of
animal life, and animals frequently appear on their textile fabrics,
as well as on their other artistic productions. The fauna of Japanese
art consists of creatures belonging to the world of myth, besides those
1 Strohl, pp. 124 and 125.
2 See p. 26.
3 Belonging to the pantheon of Indian Buddhism ; deva means a denizen
of the heavenly regions.
4 See p. 26. 6 See p. 27.

42
belonging to the world of reality. Although they are often intro
duced merely to please the eye, all or most of them possess a symbolic
value. Thus, lobsters are symbolical of honourable old age, their
bent backs suggesting the infirmity of the greybeard (1273, Plate
XXL). Cranes, as with the Chinese, symbolise longevity, and, in
Chinese fashion again, pairs of mandarin ducks convey the idea of
conjugal fidelity (see 23, Plate III.).1 The chief mythical animals
which Japan has borrowed from China are the dragon (rid or riu), the
so-called " phoenix " (hod, corresponding to the Chinese feng-huang),
and the so-called " unicorn " (kirin, the counterpart of the Chinese
ch'i-lin). The dragon in the legendary lore of medieval Europe (e.g.,
in the well-known story of St. George) is wholly a principle of evil
and darkness and supernatural hate. But the dragon of the Far
East is richer in its significations. The fearful and the horrible
do not sum up the concepts for which it stands. Power and wonder,
providence and wisdom, mystery and magical transformation are
all involved in the idea of the dragon. There are many orders of
dragons, such as the celestial dragons which guard the mansions of
the gods, the dragons which produce storms (see 38, Plate VIII.),2the
dragons which protect buried treasure, and, one of the chief, the
yellow dragon which appeared to Fuh Hsi (Japanese Fukki), the
mythical ancestor of the Chinese nation, and gave him a scroll
inscribed with mystic characters as the sage was gazing on the
Yang-tse River.
The dragon is a monster described as a mixture of camel, deer,
bull, tiger and other animals, with a scale-covered body. The
ordinary Japanese dragon has only three claws to each foot, although
the imperial Chinese dragon, which has five claws, also appears in
the art of Japan. Furthermore, the Japanese dragon has a longer
and narrower head than the Chinese. The commonest repre
sentation of this creature shows him chasing flaming jewels amid
clouds. The latter are fabled to be the metamorphosis of the
dragon's breath. The flaming jewel (tama) — another Chinese
motive — often stands for the great pearl of the Buddha's doctrine
(the mani of the Indian and Tibetan Buddhists, as in the well-
known formula om mani padme Mm, " Hail ! jewel in the lotus,
amen!"). It also conveys the idea of purity. Where, as on a frag-
1 See p. 18. 2 See p. 19.

43
ment of a Chinese imperial robe belonging to the Museum, the dragon
is seen grasping the j ewel, the latter has a clear reference to Buddhism ;
the imperial power, symbolised by the dragon, protecting the Dharma
to which formerly it was adverse.1 But the flaming jewels pursued
by dragons — the tritest of Chinese art motives — are simply magic
jewels bringing good luck.2 The so-called " phoenix " (hod) is,
like the dragon, a creature of composite nature ; a long-tailed and
gorgeously coloured bird, part .pheasant, part peacock. It corre
sponds to the feng-huang of the Chinese (feng is the male and huang
is the female), which " is one of the four supernatural creatures of
Chinese myth ; its feathers are red, azure, yellow, white and black,
the five colours corresponding to the five principal virtues ; while
the Chinese ideograms for uprightness, humanity, virtue, honesty
and sincerity are impressed in various parts of its body ; . its
cries are symbolic, its appearance precedes the advent of virtuous
rulers, and it has honoured with its visits the courts of several
of the Chinese Emperors."3 When the hod is associated with the
kiri (Paulownia), the whole is symbolical of the imperial power
(see 1222). The so-called " unicorn " (kirin) is another beast of
mixed nature (see 272). 4 It has a deer's body, a dragon's or horse's
head, a horse's legs and hoofs, and the tail of an ox or lion ; it also
carries a single horn and is often surrounded with flames. There
are, however, several hornless varieties.
In the example cited a kirin is seen walking on the sea ; above
is the sun, amid clouds, marked with the character hi (" sun ") ;
in front is a lucky sceptre (nioi). This piece has been woven for a
Buddhist priest's vestment or for an altar-cover, and dates from
the 18th century. Like the hod, the kirin is of Chinese origin
(ch'i-lin, a compound name, of which ch'i stands for the male animal
and Un for the female). Confucius (Japanese Kdshi) and his
mother are both fabled to have seen this wonderful being, which
is a paragon of virtue, harming none, and appears only during
the reign of wise rulers as a lucky omen. Another creature, to which
the name " kylin " 'is sometimes inaccurately applied, is the
spaniel-like shishi or karashishi (" lion "), called in the West " dog
of Fo " (Fo is the Chinese for Buddha). It is a Chinese importation
1 Bushell, Oriental Ceramic Art, p. 592.
2 Oriental Ceramic Art, p. 592.
3 Joly, Legend in Japanese Art, p. 131.
' See p. 26.

44
and is associated with the Buddhist religion ; it is frequently
represented in art near waterfalls or peony-bushes (see 156 (1),
a piece of kinran, woven for a no dancer's robe). A creature which
might, at first sight, be mistaken for the kirin is the baku (" tapir ").
Three of the latter appear on a hanging of the 18th century (1276), x
and one of them carries on its head the sacred jewel (tama) of the
Buddhist Law. The baku has a long proboscis like an elephant's
trunk, and a pair of tusks ; it has also a hairy head sometimes
provided with a horn, a scaly body, and a spiny backbone. This
strange monster is invoked with the words " baku kuraye " (" devour,
O baku"), and is said to feed upon men's bad dreams. The tortoise
(kame) also figures in Japanese art as a symbolical animal, and
conveys the idea of longevity. The " tortoise of a thousand years,"
known as the minogame, has features in common with the dragon,
and is usually depicted with a long thick tail (see 1310, Frontispiece),
said to begin growing when its owner is over 500 years old. It is
supposed that the origin of this latter fancy lies in the fact that
tortoises kept in ponds become covered with a vegetable parasitic
growth recalling the mino, or rain-coat, of the peasants. Hence
the name minogame (" rain-coat tortoise "). The minogame is
sometimes shown carrying the tama, as on 1274. 2
Allusion has been made already to a tapestry-woven vestment
in the Museum3 (910, Plate XIII.), which was worn by a Buddhist
priest (probably of the Tendai sect, founded by Saicho in the 9th
century). The pattern represents the sky of the " Pure Land "
(Jddo) or the Western Paradise of Amida.4 Amida is the Japanese
equivalent of the Sanscrit Amitdbha (" Infinite Light "), a divinity
made out of an abstraction, one of the five Celestial or Dhydni
Buddhas who figure so conspicuously in the so-called Northern
Buddhism (the Mahay ana or " Great Vehicle " school). The
flying creatures there depicted are the parrot, the peacock, the
crane, the " phoenix " (hod), the hiyokudori (the two-headed bird
emblematic of faithful love, embodying the spirits of Gompachi
and Komurasaki5), and the Garid or Karidbinga (part bird, part
1 See p. 37. The other creatures embroidered on this hanging are "phoenixes"
(hod) and " birds of Paradise " (fuchd).
2 Seep. 37.
3 See p. 29.
1 See art. " Some illustrations of Buddhism from Japanese Pictures," by
James Troup (Japan Society : Transactions, Vol. VIII., Plate V., between
pp. 218 and 219).
6 For the story of these ill-fated loves see Lord Redesdale, Tales of Old
Japan, and Joly, Legend in Japanese Art.

45
woman, derived from one of the forms of the Hindu Kinnara,1 a
species of celestial choristers).
The Buddha is reported to have commanded his bhikshu
(" mendicants ") to clothe themselves in rags as a mark of their
humility and unworldliness. The Southern Buddhist priesthood
still dons the simple yellow robe indicative of its voluntary poverty.
But in the Northern School a compromise has long been effected.
In such countries as Japan the priests often wear vestments of
rich silk brocades. To make them appear as rags the custom is
followed of cutting these garments into several pieces, usually 48
(the traditional number of pieces in the Buddha's robe), and of
then stitching them together. When a priest's vestment was
tapestry-woven, the same end was attained in virtue of the mosaic
effect of the tsudzure. Six squares appear on the vestments of
Buddhist priests. They are known as shiten (" Four Heavens "),
their number corresponding to the six Chinese characters for the
words " Namu Amida Butsu " (" Hail ! Amida Buddha !"). It
was formerly the custom, to consecrate the shiten at the altar before
sewing them on.
In the case of the Museum specimen above described these
squares are woven in and dyed red. Each bears the " three stars "
(mitsuboshi) , the badge of the Matsura family of Hirado (Hizen
province). A very interesting vestment2 (271) of a Buddhist priest, which
dates back about two centuries, was recently given to the Museum
by Mr. W. B. Chamberlin.3 The shiten are woven, in gilt paper
strips, with figures of Buddhist divinities, including apparently
the " Four Heavenly Kings " (shi-tenno) ; one of them, Bishamon
(or Tamonten), with his halberd and pagoda, is clearly discernible.
With the shiten the number of pieces in the vestment makes up the
traditional 48.
Carp (koi) leaping waterfalls often figure in Japanese art as
emblematic of perseverance, in allusion to the Chinese story of
the sturgeon which swam up the Yellow River and, having crossed
the rapids of Lung Men (" Dragon Gate "), on the third day of
the third month, became a dragon. On the boys' holiday (tango no
1 John Griffiths, Paintings in the Cave Temples of Ajantd, Vol. I., Fig. 19,
p. n.
2 See p. 26.
3 Through the National Art-Collections Fund.

46
sekku, May 5th) the towns and villages of Japan are decorated
with huge paper carp flying from poles, banner-fashion. " The
idea is that as the carp swims up the river against the current,
so will the sturdy boy, overcoming all obstacles, make his way
in the world and rise to fame and fortune."1 For an example
of this motive see a kimono2 (1272, Plate XX.), of embroidered
silk crape, probably worn by an actor. Another robe of this class,
with a similar subject for its pattern (1324), was recently given
to the Museum by Mr. T. B. Clarke-Thornhill. The original owner
was the famous Japanese actor Ichikawa Danjuro, ninth of the
name. The myths and legends of the Japanese are comparable in
variety and charm with those of ancient Greece. Their numerous
artistic expressions show the hold they have gained over the
imagination of the people. All lovers of the art of Japan are
familiar with the netsuke, used for retaining in the girdle the cord
from which hung pouches and other objects which a Japanese
found it convenient to carry about his person ; folklore made
concrete no less to please the eye than to serve the purpose of
utility. Whether in sculpture or painting, in lacquer, metalwork,
or printed, woven and embroidered fabrics, the mythopceic
impulse finds countless modes of realisation.
Our attention here must, necessarily, be confined to those
stories and personages which are represented on textiles in the
Museum. On a small piece of brocade3 (297, Plate V.), woven for a no ¦
dancer's robe, which appears to date from the 18th century, there
is a curious pattern representing cocks upon drum-heads. The
allusion is to an old Chinese legend. In ancient times, it is said,
a large drum was kept at the main gate of the imperial palace, and
was beaten whenever the Emperor wished to call his soldiers
together. But in the reign of the famous Yao the drum fell into
disuse owing to the general peace, and fowls began to roost there,
while those who had any grievance to redress would come and
strike it in order to attract the attention of the officials. Thus
a cock on a drum or a drum-head became an emblem of good
government. This custom was introduced into Japan in the 7th
1 B. H. Chamberlain, Things Japanese, art. " Children,'' p. 83.
2 See p. 37. 3 See p. 27.

47
century a.d. by the Emperor Kdtoku, who decreed that a box to
receive petitions should be placed with the drum. His example
was followed by the Shoguns of Kamakura.
On an embroidered velvet fukusa1 (1310, Frontispiece), belonging
to the 19th century, the artist has cleverly portrayed the myth of
the two aged spirits known as Jo and Uba. They appear standing
at the foot of a pine tree, on the seashore ; two cranes, with messages
tied to their legs, are flying towards them. The shore is covered
with pine needles, and upon it lie Jo's rake and Uba's broom ; the
sacred tortoise (minogame) crawls hard by. According to one
account, Jo and Uba are the two admirals Sumiyoshi-daimiojin
and Suwa-daimi5jin, who commanded the gigantic fleet of the
famous Empress Jingo (c. 200 a.d.). The more popular tradition,
however, holds Jo to be the son of Izanagi, the Creator of Japan
and, indeed, of the whole world, and Uba to be a maiden of Takasago,
whom Jo fell in love with and married. Their span of life and
wedded bliss was a long one, and they both died on the same day
and at the same hour. Ever since their spirits abide in the old
pine tree of Takasago, where Jo first saw his bride. But on moon
light nights they issue forth in human shape, and gather up pine
needles on the scene of their former happiness.
Another myth, of wide popularity, hailing from China, is
depicted on a stencilled silk picture (1036, Plate XV.). Here we
see the Chinese hero Kuo Chii (Japanese Kwakkio), a great exemplar
of filial piety as the Far East appreciates it, preparing to bury
his baby, who is shown in the arms of his wife. The story runs
that Kwakkio found himself too poor to support both his aged
mother and his own offspring. There was then only one honourable
course for him to pursue (taking the Chinese point of view) and
that was to get rid of the child. He began to dig a grave for the
luckless little one. But the gods pitied them and resolved to reward
so noble a sacrifice. So they caused him to discover in the soil
a pot inscribed with the words, " Heaven's gift to Kwakkio ; let
no one take it from him." He opened it ; it was full of gold.
The Museum possesses a number of very interesting Japanese
dolls (1640 to 1642) dressed in appropriate costume to illustrate
different aspects of the social life of Japan. They are the gifts of
Count Mutsu, C.V.O., in the name of his infant son Yonosuke.
Special attention must here be drawn to a group of three, consisting
1 See p. 37.

48
of a Buddhist priest1 and a Samurai and his wife. These represent
actors in one of the no dramas, which were developed out of native
religious dances under Buddhist auspices. It is entitled Hachi no Ki
(" Pot-trees "), and treats of an episode of the Kamakura epoch
(1192-1335). The Buddhist priest is Hojo Tokiyori, shikken or
Chief Minister of the Sh5gun, and, to all intents and purposes,
the real ruler of the Empire. The Hojo family exercised authority
from 1219 to 1334, during the period of the " Shadow Shoguns "
(mere puppet rulers, even as were the Emperors themselves).
Tokiyori resigned his post in 1256 and, like so many other Japanese
rulers, entered the Buddhist priesthood, becoming a member of
the Zen sect, in connection with the Saimio-ji, a temple at Kamakura.
He did not, however, entirely relinquish the responsibilities of
government. Being a humane and enlightened man, he determined
to travel in disguise about his dominions, in order to learn how
his subjects fared. One day a terrible snowstorm drove him to
take refuge in the house of a Samurai, Sano Genzayemon Tsuneyo,
who had seen better times. In the course of conversation Tokiyori
learned that his excellent host had been deprived of his estate by
the treachery of a kinsman, in whom he had confided. Appeal to
the Kamakura clan for redress had proved quite useless. But,
despite the neglect he had suffered from his overlords, he still
remained loyal, and, in proof of the fact, produced his suit of armour
and his rusty halberd. Next morning, before Tokiyori left, Tsuneyo
explained that, being so poor, he was unable to procure incense
wherewith to perform the purification ceremonies, but, instead,
chopped down his favourite dwarf trees, the plum, the pine and the
bamboo, and burned them on the hearth. According to the no
drama, however, these trees were used to warm Tokiyori on the
previous night. A year later the faithful Samurai received his
reward. The Miura clan arose in arms, and, in response to the
summons of the rulers, loyal warriors came to Kamakura from every
part of the country. Tsuneyo arrived, as did others, long after
the rebel forces had been crushed. He was miserably clad, and rode
a scraggy steed, thus exciting much laughter. He was taken into
the presence of Tokiyori, who recognised his former host, and
magnanimously restored to him his father's estate and office, adding
to it three domains, whose names resembled those of the pine,
the bamboo and the plum.
Illustrated in Part II.

49
Among the hanging-pictures (kakemono) in the Department of
Textiles is one,1 for temple use, dating from the middle of the 18th
century (1431, Plate XXIII.), which represents the 33 incarnations
of Kwannon worshipped at the 33 Holy Places of Western Japan.
Kwannon,2 who is invoked everywhere in Japan as the Goddess of
Mercy, is identical with the Chinese Kuan-yin. This latter appears
to be a blending of two mythological figures. One of these is
Avalokitesvara (" the Lord who looks down from on high "), a
Bodhisattva (Japanese Bosatsu, a being destined to become a
Buddha in his next birth), one of a mystical triad which includes the
Celestial or Dhydni Buddha Amitabha (Japanese Amida). The Dalai
Lama is regarded by the Tibetans as his incarnation. Filled with
compassion for all suffering beings, he is said to have visited the
various hells on a mission of salvation to the damned. Like
Avalokitesvara, Kwannon too is reputed to have descended to the
underworld. Her vast pity for the wretchedness there drew from
her the cry " Amida Butsu ! " when lo ! a rain of lotuses began to
fall ; the realm of punishment was shaken to its depths and its
prisoners set free. Yemma-o, the Regent of Hell, afterwards sent
the goddess on a lotus flower to Mount Fudaraku. The great
vow of Amida, never to enjoy the peace of Nirvana before he had
brought all life into the way of salvation, has also been attributed to
Kuan-yin (or Kwannon) in the Buddhist mythology. The recital
of this vow is one of the principal features of the liturgy in honour
of the goddess as it is performed to-day in China.
The sex of Kwannon is due to a confusion of the worship of
Avalokitesvara with that of a deified daughter of a semi-legendary
king of the Chou dynasty of China (b.c. 1122-256). _ This lady is
said to have refused to marry the man of her father's choice, and to
have been condemned to death in consequence. But the executioner's
sword broke on her neck and she was saved.
On a tapestry-woven silk fukusa (Plate XXIV.), lent by Lieut. -Col.
G. B. Croft Lyons, F.S.A., is depicted Urashimataro riding on the
back of a sacred tortoise (minogame). This fisher lad is one of the
most popular figures in Japanese folklore. The story goes that once,
at the end of a day of fruitless fishing in the sea, he succeeded in
bringing out of the water a large tortoise. Compassion for the
animal, however, induced him to put it back again. Next day he
saw on the waves a wreck to which a beautiful maiden clung,
1 See p. 38. " In full, Kwanzeon.
(601) r

50
Otohime by name. She declared that she was the daughter of
the Dragon King, who dwelt in an island where the sun never died,
and urged him to take her home. Urashimataro yielded to
Otohime's wish, and the two spent, as it seemed, some three happy
years together as lovers in the Dragon King's realm. He there
learned that his lady was none other than the tortoise he had saved.
But Urashimataro began to yearn for home, and Otohime was at last
persuaded to part from her lover. On his departure she gave him
a little black box (represented on the panel), charging him never to
open it. When our hero got back to his native land, he was surprised
to find what vast changes had taken place during his absence.
A greybeard assured him that all the family of Urashimataro were
dead, and as for the lad himself, why, he had been drowned at sea
four hundred years ago. Dazed by what he had heard, Urashima
taro found his way into the cemetery where all his kindred lay
buried, and there beheld a monument to his own memory. He then
opened the box Otohime had given him. A little smoke escaped
from it, and Urashimataro becoming, in an instant, a white-haired
and toothless old man, fell to the ground dead, crushed by the
weight of his four centuries.

LIST OF WORKS USEFUL FOR
REFERENCE.
NOTE. — Those marked * may be consulted in the Library of the
Museum, and those marked f may be seen in the Department of
Engraving, Illustration and Design.
GENERAL.
* Audsley, G. A. The Ornamental Arts of Japan, Vol. I. 1882-1884.
* Dresser, Christopher. Japan, its Architecture, Art and Art
Manufactures. 1882.
* Gonse, Louis. L'Art Japonais. Illustrated. 2 vols. 1883.
* Chamberlain, Basil Hall. Things Japanese. 1898. (See
articles : Costume, Silk, Embroidery, etc.)
* Brinkley, Capt. F. Japan and China. (Vols. I. to VIII. on
Japan.) Illustrated. 1903-04.
* Huish, Marcus B. Japan and its Art. 3rd ed. Illustrated.
1912.
* Munsterberg, O. Japanische Kunstgeschichte. 1904-07.
*  Chinesische Kunstgeschichte (esp. pp. 382-387). 1910-12.
TECHNICAL.
f Horai-sanjin (Tachikawa Yemba). Sarasa Benran (" Manual of
Sarasa " or hand-painted cotton fabrics). 1808. MS. Trans
lation in the Department of Textiles.
f Kurokawa Mayori and others. Kogei Shirio (" Materials
for a History of the Industrial Arts "). 1877. An official
publication of the Japanese Government. Part I., by
K.M., deals with the Textile Art (trans, in the Library).
* Murata Minejiro. Hompd Shokkd Shiriaku (" A Short Account
of Weaving in Japan "). In Kokka, Vol. XIII., p. 199. 1902.
(601) E 2

52
* Nomura, Shojiro. An Historical Sketch of Nishiki and Kinran
Brocades. Boston, U.S.A. 1914.
* Crewdson, Wilson. The Textiles of Old Japan. Illustrated.
In Transactions and Proceedings of the Japan Society,
London, Vol. XL, pp. 4-25. 1913.
ANCIENT EXAMPLES.
f Tokuno Riosuke. Kokkwa Yohd (" Surviving Fragrance of
the National Flowers," i.e., Relics of the Past). 3 vols.,
illustrating in colours various antiquities at the Ise Shrines
and at the Horiu-ji, Nara. 1881.
f Chihaya Jocho. Yamato no Hikari ("Glory of Old Japan";
antiquities, including some textiles, at the Horiu-ji, Nara).
1895.
* Tdyei Shukd. (Illustrated Catalogue of the Shoso-in Treasury
at Nara.) 1908.
* Japanese Temples and their Treasures. 1910.
DESIGN.
| [Designs for no (?) costumes]. 1667. Last vol. of a set of two
or three.
f Nakajima Tanjiro. Hinagata Yado-no-ume (designs for women's
robes). 1730. [Part HI. only.]
f Nankwatei (pseud.). Hinagata Tsugiho-zakura (designs for
women's robes). 1758.
-j- Aoi Namboku. Kokonoye Nishiki (fifty coloured designs for
women's robes). 1808.
f Homma (Yawata) Yoichi Minamoto no Hiakuri. Shozoku
Shokubun Dzuye (" Colours and Patterns for Court Dress,
Illustrated "). 1815.
t  [Coloured drawings of fragments of ancient brocades.] 18 17.
f Kodama Naganari. Kodai-moyd Kagami (ancient designs for
textiles). 1884. [Part II. only.]
f Yamanaka Kichirobei. Moyo Hinagata Miyako no Nishiki
_^^ (coloured designs for women's robes). 1886.
* Verneuil, M. P. Japanese Textiles, Woven and Embroidered.
Coloured Plates. 1910.

53
HERALDIC BADGES (MON).
¦f Murakami Masatake. Busd Kdyeki Monchd. 1884.
f Shimabara Gozayemon. Irohabiki Monchd Daizen. 1881.
Heraldic badges with their blazoning.
[f Murakami Masatake. Kokon Mdyd-shu. 1883.
-: f Hirota Kiozan. Kodai Karakusa Moyo-shu. 1885.
' f Takizawa Kiyoshi. Karakusa Moyo -hinagata. 1884.
Textile and other designs, " ancient and modern." (MS.
translation of the last, with commentary, by A. J. Koop, in
the Department of Textiles.)
* Stroehl, H. G. Japanisches Wappenbuch (" Nihon Moncho ").
Illustrated. 1906.
Anon. Japanese Crests. Illustrated. In the Japan Magazine,
Vol. I., p. 696. 1911.
* Koop, A. J. The Construction and Blazonry of " Mon."
Illustrated. In Transactions and Proceedings of the Japan
Society, London, Vol. IX., pp. 280-308. 1911.

54

NOTE BY MR. A. J. KOOP ON THE
PRONUNCIATION OF JAPANESE WORDS.
(i) The Vowels are to be pronounced as in Italian ; thus
(approximately) : —
a as in cart. d as in fort.
ai „ „ aisle. o „ „ forever.
e ,, „ get. oi „ „ noise.

ei „ ,, mgn.

u

flwte.

i „ „ machine. u „ „ -out.
Other coupled vowels with the full force of each component,
except that in io, id, iu, the i is usually equal to consonantal y (and
is so written by some) Final u is commonly clipped.
(2) The Consonants (including ch and sh) are to be pronounced
as in English, noting that :— g is always hard (as in get, not as in
gem), and is usually nasalised (as ng-g) between two vowels; s is
always a true s, not the z of roses ; shi is halfway between our " he "
and " see," and similarly fu (fu) between the sounds heard in our
hook and foot (hoot and food) ; full value is to be given to doubled
consonants, as kk, mm, nn, pp, ss, and tt.
There is hardly any tonic accent in Japanese ; the voice should
maintain an even tone, emphasis being laid only on long vowels
(0 and ii).

N.B. — With such exceptions as will be obvious, all words printed
in italics are Japanese. Certain compound words have been specially
hyphenated at their first mention, so as to indicate their construction
and their relationship to the literal translations appended (within
inverted commas).

< M

e--. w o i>. r^ o o o
row m ro fO N N N

m" oo" en

in

wQi — i
oI — I

o
c < '
H«!
O

ro N <N N N 00 « N N N N

\0 in d -^-o cnromo^o in t}- o
-O^ISCON MTl Oi (fl N ^
m 01 m <s w ocs

DX

QH a o1=)

i -8 i i i i i i i i i i i i i i i i i i i
¦^-Ti-l orot^-MfOC^CiNm'OOOOOOwN'a-COOlO
oooMWMor-»t>-wa*otNei tn +«n >n <n ^ "10
M t>.| n nh od m vooooooo ^-¦^-Tt-Tt-ThTt--^--'*-

1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1
C> O h CT> f"i *0 O W Tf\0 O

H M lOO N 01

O m vO C--00 00 CT> Gi CTi G"> O

m m <s i> m w

i>- r-. m M

56
NUMERICAL INDEX— I— contd.

Registered No.
928- 1897
931A-1897 167A to D- 1898
231 - 1899
1383 - 1899
1391-18991400- 1899
1407 - 1899
1409 - 1899
1414- 1899
1415-18991416- 1899
1433 -1899
1436-18991442 - 1899
1444 -1899
1445 -1899
1447 -1899
1454 -1899
1456- 1899
1462 - 1899
1465 -1899
1472 - 1899
1588 -1899
1876 -1899
1676 - 1900
1677 -1900
1678 - 1900
1679 - 1900
889 - 1903
747 - 1905
753 - 1905
760 - 1905
769 - 1905
(1148- 1905 and T.189
T.131-1909
(T. 1 89 - 1909 and 1 1 48
T.4-1910
T.41 to T.43 - 1910
T.47 - 1910
T.48-1910
T.264-1910
T.123-1911 T.66Ato C-1912
T-7-i9i3T.8-1913
T.91 - 1913
T.87-1914
T.90-1914

Catalogue

No.

Page.

1 . .

. . 10.

19 •¦

.. 17.

38 ..

• • 19, 42.

20 . .

.. 18.

31 ••

.. 18.

6 ..

11.

37 ••

.. 19.

¦• 117 ••

21.

304 . .

.. 27.

22 . .

. .. 18.

•• 328 ..

.. 27.

305 ¦ -

.. 27.

36 ..

.. 19.

•• 274 ..

.. 26.

18 ..

.. 17.

.. 285 ..

.. 27.

297 . .

• ¦ 27, 46.

116 ..

21.

7 ••

11,

35 ••

• • 19, 39.

21 . .

.. 18.

2 . .

10.

272

• • 26, 43.

1200

¦ • 17. 34-

1201

¦• 17.31.

95 ••

20.

96 ..

. . 21.

97 ••

21.

98 ¦•

21.

9H ..

.. 27.

270

.. 26.

284 . .

• • 27, 39.

115 •¦

21.

266 . .

.. 26.

1909) 17 • •

. • 17, 4°-

1276

•¦ 37-

1905) 17 ..

• • 17. 4°-

•• 1275 ..

• • 21,37.

1640 to 1642

•• 47-

•• 1247 ••

•• 35-

•• 1431 ••

¦ • 38, 49-

1610 . .

22.

•• 1035 ••

¦ • 32.

IOII

.. 32.

• • 1012 . .

.. 32.

¦• IOI3 ..

.. 32.

910

• • 27. 44-

75 ••

.. 19.

74 ••

.. 19.

34-

57
NUMERICAL INDEX— I— contd.

Registered

Cataloguz

No. No. Page.
T.96-1914
77 •
20.
T.97-1914
80 .
20.
T.ioi - 1914
7° •
• 19-
T.105-1914
81 .
20.
T.106-1914
286 .
• 27, 41
T.111-1914
73 •
. 19.
T.112-1914
79 •
20.
T.119-1914
76 -
20.
T.121 - 1914
71 .
. 19-
T.138-1914
78 -
20.
T.139-1914
72 •
. 19.
T.49-1915
32 •
. 18.
T.65-1915
¦ 1324 •
. 46.
T.g-1916
271
• 26, 45
T.269-1916
269
• 27.
T.31 - 1917
• H77 •
• 27.
58

NUMERICAL INDEX-II.

Catalogue

Registered

No. No- Page.

i

928 - 1897
10.
A
1465 -1899
10.
3
822 - 1894
11.
4
451 - 1897
11.
5
458 - 1897
• 11, 41
6
1391 - 1899
11.
7
1454 -1899
11.
8
454-1897
11.
9
258-1866
11.
IO
323-1865
( 1148-1905
11.
• 17. 4°
17
\ T.189-1909
. —
18
1442 - 1899
- 17-
19
931A- 1897
• 17-
20
231 - 1899
. 18.
21
1462- 1899
. 18.
22
1414 - 1899
. 18.
23
459 - 1897
• 18, 42
31
1383 -1899
. 18.
32
T.49-1915
. 18.
33
825-1894
. 18.
34
19-1892
• 19. 39
35
1456- 1899
• 19, 39
36
1433 - 1899
. 19.
37
1400 - 1899
. 19.
38
.167 A to D- 1898
• 19, 42
60
452-1897
. 19.
61
460 - 1897
- 19-
68
83 - 1884
• 19-
69
315-1865
. 19.
70
T.ioi - 1914
• 19-
71
T.121 - 1914
. 19.
72
T.139-1914
• 19-
73
T.iii - 1914
• 19-
74
T.90 - 1914
. 19.
75
T.87 - 1914
• 19-
76
T.119 - 1914
20.
77
T.96 - 1914
20.
78
T.138-1914
20.
79
T.112 - 1914
20.
80
T.97 - 1914
20.
59
NUMERICAL INDEX— II— contd.

Catalogue No.

81 go 9i 95

97 98
U5116 117 140 to 265
266269 270 271272 273274 275283284 285286297 304 3°5 306 328840 841
gio911 970
ion1012 1013 i°35 1036120012011222 12231224 1225
1226 1247 1256
1257

Registered

No

T.105 -

tgi4

8-

1895

100-

1884

1676 -

1900

1677-

1900

1678-

1 goo

i67g-

1 goo

760 -

1905

1447-

i8gg

1407-

1899

I^to^- 1 126

1884

769-

i9°5

T.269 -

1916

747-

I9°5

T.g-

1916

1472-

1899

823-

1894

1436-

i8gg

446-

i8g7

102 -

1884

753-

i9°5

1444-

1899

T.106-

1914

1445-

- i8gg

1409-

-1899

1416 -

-1899

167 -

- 1889

i4!5"

- 1899

361 -

-1880

i7!3-

-1888

T.91-

-1913

88g-

-1903

104-

-1884

T.66 A to C -

- 1912

T.7

-1913

T.8-

- 1913

T.123-

- ign

438

-1895

1588

-1899

1876

-1899

873

- 1891

228

-1871

79

- 1884

872

- i8gi

699

-1894

T.47

- 1910

7°9

-1875

710

-1875

Page.

20.

20.

20.

20.
21.
21.
21.
21.
21.
21.
26.
26.
27.
26.
26, 45.
26, 43.
26.
26.
26, 4I.
26.
27. 39-
27.
27. 41-
27, 46.
27.
27.
27.
27.
27.
27.
27. 44-
27.
20, 31.
32-
32.
32-
32.
32, 47-
17. 34-
17. 3i,
34-
3L 32,
35. 43
20, 31,
35. 39
32, 4°-
35-
35-
35-
36.
36.
6o

NUMERICAL INDEX— II—

zontd.

Catalogue Registered

No. No.

Page.

1264

167-1898
36.
1265
92 - 1884
36.
1272
229-1871
36, 46.
1273
90 - 1884
21, 37, 42
1274
85 - 1884
37. 44-
1275
T.4 - 1910
21, 37.
1276
T.131 - 1909
37-
1282
94 - 1884
37-
1309
96 - 1884
37-
1310
701 - 1868
37. 44. 47-
1324
T.65-1915
46.
143°
1710-1888
38.
M3i
T.48 - 1910
38, 49-
M77
T.31-1917
27.
1610
T.264 - 1910
22.
1640 to 16.
12
T.41 to T.43 - I910
47-
6r

GENERAL INDEX.

Actors, Japanese. 20, 46.
Aichi, prefecture of. 10.
Ainu, the. 22.
Ainu embroidered coat, model of. 22.
Aird. 33.
Ajanta. cave decorations. 4.
Altar-covers, Buddhist. 17, 18.
Ambassador, portrait of Japanese. 12.
America, trade relations of, with
Japan. 16.
Amida. 3, 44, 49.
" Amida of the Mountains." 9
Amitabha. 44, 49.
Angels, Buddhist, g, 40.
Aoi plant. 36, 40.
" Applique " embroidery, Japanese.
37-
Apricot leaves, badge of the Nabe-
shima. 41.
Arimatsu. 31.
Asa-nuno. 25.
Asarum plant. 36, 40.

Ashikaga family, kiri badge of.
Ashikaga epoch. 2.
Ashikaga Shoguns. 2, 13.
Ashikaga Takauji. 10, 13.
Ashikaga Yoshimitsu. 14.
Aston, W. G. 4, 34.
Atsumitsu, Shimotsukeno. 7.
Atsuta, monastery at. 10.
Alsu-ita-ori. 24.
Audsley, G. A. 30, 36.
Avalokitesvara. 4g.
Aya.. 7.
Ayaji donsu. 27.

40.

Benran, Sarasa. 33.
Benzaiten. 3g.
Bethnal Green Museum.
Bhikshu. 45.
Bird -hat. 18.
Birddo 27, 28.

38.

Birddo-yiizen. 27.
Bishamon. 3g, 41, 45.
Bishamon-kikkd. 41.
Biwa. 21.
Block-printing, Japanese. 30, 31.
Bodhisattva. 3, 4, 49.
Bohun, Mr. 15.
Borghese, Prince. 12.
Bosatsu. 3, 49.
Boys' Holiday, the. 45.
Braganza, Katherine of. 15.
Brinkley, Capt. F. 13, 14.
Brocades, French. 20.
Brocades, Japanese. 24, 26, 27.
Buddha. 3, 4, 5, 3g, 45.
Buddha, disciple of. 9.
" Buddha's entrails." 39.
Buddhas, Dhydni. 44, 49.
" Buddhas, embroidered." 3, 34.
Buddhism. 1, 5, 7, 43, 44.
" Buddhist Emblems, the Eight
Felicitous." 39.
Buddhist priests' vestments. 17, 18,
39, 44. 45-
Buddhist Sacred Wheel. 5, 6, 7, 19,
39-
Bu-gaku. 18.
Bunkwa period. 25.
Buretsu, the Emperor. 34.
Bushell, S. W. 43.
" Cabinets, Indian." 15.
Calico, Japanese painted. 33
Carp leaping waterfalls. 37, 45.
Carp, paper, at the Boys' Festival.
46.
Carpet of Koken, throne. 6.
Charles II. 15.
Cathay, Desert Cities of. 4.
Chamberlain, B. H. 46.
Chigaidana. 38.
Ch'i-lin. 7, 43.

62

GENERAL INDEX— contd.

China. I, 2, 4, 5, 7, 13, 14, 23, 24,
38, 39, 42, 47- 49-
Chinese influence in Japan. 1, 2, 3,
4, 11, 18, 23, 24, 26, 38.
Chinese trade relations with Japan.
12, 13, 14-
Chinesische Kuntsgeschichte. 7.
Ch'ing dynasty. 3. »
Chintz, Japanese. 33
Chion-in temple. 36.
Chirimen. 25.
Chdji. 40.
Chou dynasty. 49.
Christianity first comes to Japan.
12, 13.
Christianity in Japan, suppression of.
12.
Chronicles of Japan. 4, 34.
Chrysanthemum, the Imperial. 40.
Chugu-ji nunnery. 3.
Clematis badges. 27.
Cocks on drums. 27, 46.
Cocks, Richard, diary of. 14
Columbus, Christopher. 11.
" Commas," the three. 27, 41.
Commercial treaty with Japan, the
first modern. 16.
Commission, Report of the Japanese.
25.
Confucius. 43.
Confucianism. 2.
Coppindall, Ralph. 14.
Cotton cultivation in Japan. 25.
" Couching," Japanese. 36, 37.
Court robes, Japanese. 8, 9, 18, 24.
Cranes as symbols of longevity. 42.
Crape, Japanese. 25.
Creative Monad, the. 41.
Crewdson, Wilson. 1, 6, 8, 32, 33.
Daibutsu. 5.
Daikoku. 39.
Daishi, Kobo. 7.
Daito-kokushi. 10.
Daitoku-ji monastery. 10.
Dalai Lama. 49.
Damasks, Japanese. 24.
Danjflro, Ichikawa. 46.
Denton, Adam. 14.
Deshima, island of. 15.
Deva. 41.
Deva kings, the twelve. 41.

Dharma, the. 43.
Dhydni Buddhas. 44, 49.
" Diagram, Lucky." 39.
Diary of Richard Cocks. 14.
Diary of John Evelyn. 15.
Dionysos. 18.
"Discharges " in dyeing, use of. 32.
"Dog of Fo." 43.
Donsu. 24, 27.
Dragon, the Chinese and Japanese.
42.
"Dragon Gate." 45.
Dragon King. 50.
Drama, the Greek. 18.
Dramas, the no. 18.
Dresser, Christopher. 31.
Drums, cocks on. 27, 46.
"Drum Waterfall." 2.0.
Ducks, Mandarin, as symbols of
conjugal fidelity. 42.
Dutch, trade relations of the, with
Japan. 11, 12, 15.
Dyed fabrics, Japanese. 15, 30.
"Dynasties, the Six." 1.

East India Company. 14.
Echigo, province of. 25.
" Eightfold Path, the Noble." 39.
Embassy to Europe, Japanese. 12, 27.
" Embroidered Buddhas." 3, 34.
Embroidery, Japanese. 34-37.
Embroidery stitches, Japanese. 36,37.
Encyclopaedia Britannica, art :
" Japan." 13, 14, 29.
Engelbrecht Kaempfer. 14, 16.
English at Hirado. 14.
"Entrails, Buddha's." 39.
Epochs in Chinese and Japanese
Art. 13.
Europeans first visit Japan. 11.
Evelyn's Diary. 15.
Exhibition, the Great, 1851. 16.
Exhibition, Paris, 1878. 13.
Exhibition of Japanese Art in 1854.
16.

Feather-fan badge. 40.
" Felicitous Emblems, the Eight
Buddhist." 3g.
Fenollosa, E. E. 13.
Fibre-cloth, Japanese. 25.

63

GENERAL INDEX— contd.

Firando. 15.
Flower-cart, the lucky. 20.
"Flower lozenge " pattern. 18, 3g.
Fo. 43.
"Fo, dog of." 43.
Francis Xavier. 11.
Fftchd. 44.
Fudaraku, Mount. 4g.
Fuh Hsi. 42.
Fujiwara art. 2.
Fujiwara clan. 6.
Fujiwara epoch. 2.
Fukiye. 33.
Fukki. 42.
Fukurokuju. 39.
Fukusa. 13, 21, 35, 36, 37.
Fundd. 39.
Furniture, History of English. 15.
Fushimi- 2.
Futai. 38.
Fuye. 21.
Garid. 44 .
Gauze, Japanese. 23.
Geishas. 20.
Genji-mon. 26, 41.
Genji Monogalari. 41.
Genna period. 23.
Genre School in Japan. 13.
Genroku period. 8, 17.
Ginran. 24.
Goats' wool, Japanese cloth of. 25.
Go-Daigo, the Emperor. 10.
Gidyd badge of the Nabeshima family.
4L
"Goddess of Mercy." 5, 4g.
Gods, the Seven Luck. 13, ig, 3g, 41.
Gold in Japan. 11, 14.
Gold brocades, Japanese. 10, 24.
Gompachi. 44.
Gonse, Louis. 8, -2g,
Gregory XIII. 12.
Griffiths, John. 4.
Guest-room, Japanese. 38.
Hachi-no-ki. 48.
Hagoromo. 26, 40.
Hakata-ori. 24.
Hakluyt Society's Publications, II.
14-
Hakuho epoch. 1, 4.

Han Dynasty. 1 .
Hanabishi. 40.
Hana-guruma. 20.
Hana no yen. 41.
Hasekura. 12.
Hasuike branch of the Nabeshima
family. 41.
Ha-uchiwa badge. 40,41.
Heavenly Kings, the Four. 45.
Heian. g.
Heian epoch. 9.
Heihan-ki, the. 25.
Hempen cloth. Japanese. 25.
Hi, the character. 43.
Hideyori. 21.
Hideyoshi, Toyotomi. 2, 7, 8, 29.
Hideyoshi, pocket-book made from
part of robe of. 8.
Higaki-rinzu. 25.
Hirado. 14, 15, 45.
Hiroshige I. 32.
History of Japan, by Kaempfer. 14.
History of the Empire of Japan. 15.
Hishikawa Moronobu. 13, 36.
Hiyokudori. 44.
Hizen, province of. 45.
H6j6, the. 8, 48.
HQjo Tokiyori. 48.
Hdju no lama. 40.
Hokkaido. 22.
Hdkd Ihd Dzuriaku. 8.
Hokusai. 13.
Hongwanji, Nishi, sect. 18.
Hod. 9, 17, 26, 43.
Hooper, Luther. 28.
Horai-sanjin. 33.
Horiu-ji temple. 4, 5.
Hosokawa family, kiri badge of. 40.
Hotei. 39.
Huish, Marcus B. 38.
" Hunting stuffs," Sassanian. 5.
Hurd, Edward, petition of. 15.
Ichikawa Danjuro. 46.
Ikari. 39.
In. 41.
Inadzuma-tsunagi. 10.
" Indian Cabinets." 15.
" India cloth," Japanese demand for.
15-
Ise, old metal loom in province of. 1 .
Ishida Kiflya. 24.

64
GENERAL INVEX—contd.

Itajime. 30.
Iyeyasu. 2, 21.
Iwasa Matabei. 13.
Iwashimidzu temple. 25.
Izanagi. 47.
J amis en. 21.
Japan and its Art. 16, 38.
Japanese textiles, export of, for
bidden. 16.
Japanese Temples and their Treasures.
4, 5. 9, i°-
Japanische Kunstgeschichte. 7.
Japanisches Wappenbuch. 40.
Jesuit mission to Japan. 12.
Jewel, the flaming. 42.
Jingo, the Empress. 24, 47.
Jizo-in monastery. 10.
Jo. 47.
Jodo. 3, 29, 44.
Jdgu Shdtoku-hd-d-teisetsu. 3.
Joly, H. L. 43, 44.
Jord. 20.
Ju-ni-d, the. . 41.
Jurojin. 39.
Kaempfer, Engelbrecht. 14, 16.
Kaga, Prince of. 29.
Kagi. 40.
Kagoshima, Xavier lands at. 12.
Kai. 40.
Kakemono. 5, 8, 38.
Kakuregasa. 40.
Kakuremino. 40.
Kamakura epoch. 2, 18, 48.
Kamakura, Shoguns of. 2, 47.
Kame. 2.
Kambala. 24.
Kami. 2.
Kami-ire. 8.
Kami no Michi. 2.
Kamo. 25.
Kanakin. 33.
Kanebukuro. 40.
Kano Tanyu. 36.
Karahana. 33.
Karakusa. 8, 10, 21.
Kara-nishiki. 24.
Kara-ori. 24, 27.
Karashishi. 20, 43.
Karidbinga. 44.
Katagami. 32.

Katherine of Braganza. 15.
Keian period. 27.
Keich.6 period . 25 .
Kemmotsu-cho. 5, 24, 30.
Kesa. 17.
Khotan, Chinese embroidery from.
4-
Khotan, Buddhist frescoes in. 4.
Kichijo. 9.
Kichirobei, Yamanaka. 13.
Kikisarasa. 16, 33.
Kikkd-tsunagi. 8.
Kikkd, Bishamon. 41.
Kiku-mon. 37.
Kimmei, the Emperor. 18.
Kimono. 13, 20, 31, 32, 35.
Kimono, dated Japanese pattern-
books for ladies'. 13.
Kinnara. 45.
Kinran. 24, 27, 40.
Kioto. 4, 8, 9, 10, 18, 24, 25, 35,
Kioto, Imperial weaving department
at. 8.
Kiri. 9, 10, 11, 21, 26, 40, 43.
Kirin. 7, 9, 26, 43.
Kirin-nishiki. 7.
KiriQ. 24.
Kittsuke. 37.
" Knotted stitch." 37.
Kiuya, Ishida. 24.
Koban ni hako. 40.
Kobo-daishi, purse of. 7.
Kodai-moyd Kagami 6, 7.
K6dai-ji temple, Court robes in. 8.
Kddzu. 25.
Kogei Shirio. 7, 23, 27.
Kdhaku. 25.
Koi. 45.
Koken, the Empress. 6.
Kdketsu. 30.
Kokka. 3, 10, 1 8, 34.
Komachi, Ono no. 18.
Komio, the Empress. 5, 24.
Kompira. 40.
Komurasaki. 44.
Kondo frescoes in the. 4.
Konkai-komio-ji monastery. 9.
Korea. 1, 18, 23, 25.
Korean influence in Japan. 1, 3, 4,
11, 23, 24.
I Korin, Ogata. 29, 36.
Koshi. 43.

65
GENERAL INDEX— contd.

K'u-ssu. 29.
Kotobuki, the character. 27.
Kotohira. 40.
Kotoji. 40.
Kotoku, the Emperor. 7, 47.
Kotsubo. 40.
Koya-san. g.
Kuan-yin. 4g.
Kudara. 25.
Kumbhira. 40.
Kunisada. 13.
Kuo Chii. 47.
Kurile Isles. 22.
Kwakkio. 32, 47.
Kwammu, the Emperor. 8.
Kwanjd. 4.
Kwanju-ji temple, embroidery in. 4,
34-
' Kwannon. 5, 4g.
Lacquered Cabinets, Japanese. 15.
" Laid work," Japanese. 36.
Larkin, Robert. 14.
Lama, the Dalai. 4g.
" Law, the wheel of the excellent."
39-
Legend in Japanese Art. 43, 44.
Lion in Japanese Art. 20, 40, 43.
Lobsters as symbols of old age. 42.
Longevity, character for. 27.
Longevity, cranes as symbols of. 42.
Loom in Ise province, ancient metal.
1.
" Lozenge, four-split." 8, 9, 17.
Luck Gods, the Seven. 13, 19, 39, 41.
" Lucky Diagram." 3g.
Lucky Sceptres. 19.
Lung Men. 45.
Macquoid, C. P. 15.
Mahdydna, the. 44.
Makimono. 39.
Mandara, Tenjiikoku. 3, 34.
Mani. 42.
Marco Polo. 11.
Masanobu, Okumura. 13.
Matabei, Iwasa. 13.
Matsura family. 45.
Matsukaze. 41.
Mayeda Toshiiye. 29.
Meiji epoch. 13, 24.
Meiji-tenno, the Emperor. 13.
(601)

" Memorandum of Donations." 5.
Ming Dynasty. 3, 14, 23.
Mino. 44.
Minogame. 18, 37, 44, 49.
Miura clan. 48.
Mitsuboshi badge. 45.
Miyazaki Yflzen. 27.
Momen-nuno. 25.
Momen-tsumugi. 23.
Momoyama epoch. 2.
Mon, Japanese. 40.
Moronobu, Hishikawa. 13, 36.
Mount Fudaraku. 49.
Mount Fuji. 2.
Moyo Hinagata Miyako no Nishiki.
13-
Mulberry trees first planted in Japan,
1.
Miinsterberg, O. 7, 8.
Murasaki-shikibu . 41.
Museum at Tokio, Imperial. 5, 7.
Nabeshima family, gidyd badge of.
4i-
Nagasaki, the Dutch at. 15.
" Namu Amida Butsu." 49.
Nara. 3, 5, 9.
Nara, the Shoso-in at. 5, 30.
Nara epoch. 3, 6, 16.
Narinori, Fujiwara no. 6.
Narumi. 31.
Narumi-shibori. 31.
Negative block-printing in Japan.
3°, 3i-
Nengd. 1, 23.
Netsuke. 46.
" New Spain." 15.
Ninagawa Noritane. 26.-
Nihongi. 4, 34.
Nioi. 19.
Nirvana. 3, 49.
Nishiki. 24, 26.
Nishi-Hongwanji sect. 18.
Niwa-dzuru. 8.
Nobunaga, Oda. 8.
No Dramas. 18.
No dancers' robes (nd-ishd). 17, 18,
27-
Nui. 34.
Nuibotoke. 3, 34.
Nuihaku. 17.
Nuno. 25.

66
GENERAL INDEX— contd.

Obi. 19, 35.
Obiji. 19.
Oda Nobunaga. 8.
Oda family, kiri badge of. 40.
Ogata Korin. 29, 36.
Ogi branch of the Nabeshima family.
41.
Okumura Masanobu. 13.
Ono no Komachi. 18.
Oriental Ceramic Art. 43.
Origamo. 25.
Ori-iro. 23.
Orimono. 39.
Osaka castle. 21, 35.
Otohime. 50.
Painting in Ancient Japan, Relations
between embroidery and. 3, 34.
" Path, the Noble Eightfold." 39.
Paulownia imperialis. 8, 10, 40, 43.
Philip II. 12.
" Phoenix," the Chinese and Japanese.
9, 17, 26, 43.
Pocket-book made from part of the
robe of Hideyoshi. 8, 16.
Pocket-books, silk fabrics woven for.
20.
Polo, Marco. 11.
Portuguese, trade relations of the,
with Japan. 11, 13.
Positive block-printing in Japan. 30.
" Pot-trees " (a no drama). 48.
" Pure Land." 3, 44.
Purse, Kobo-daishi's. 7.
Rabbits' wool, Japanese cloth of. 25.
Raiden, the thunder-god. 41.
Raik6-ji temple, painting of a Rakan
in. 9.
Rakan, the sixteen. 9.
Redesdale, Lord. 44.
" Resist " dyeing, Japanese. 30, 31.
Rimbo. 6, 7.
Rinzu. 24, 25, 27.
Rid ( = dragon) . 42.
Rid (a species of coin). 40.
Rioben. 5.
Riflk6-in temple, painting of Kwan
non in. 9.
Rdketsu. 30.
Rome, Japanese embassy to. 12.

Saicho. 44.
Sakai, Chinese weavers at. 23, 24.
Sakhalin, island of. 22.
Samurai. 2, 48.
Sangai-bishi. 17.
Sano Genzayemon Tsuneyo. 48.
Sangoju. 40.
Sarasa. 33.
Sarasa Benran. 33.
Saruko. 27.
Sassanian " hunting stuffs." 5.
Seigd. 23, 26.
Seiichi Taki. 3, 34.
Siebold, Von. 26.
Senridbako. 40.
Sha. 23.
Shahei-nishihi . 7.
Shibori. 17, 31.
Shibu. 32.
Shichin-donsu (or Shuchin-donsu). 24.
Shichi-fuku-jin. 39, 41.
Shidzuri. 25.
Shiga, prefecture of. 9.
Shii no moto. 41.
Shikishi. 35.
Shikken. 48.
Shimabara revolt. 12.
Shimo-Sakamoto, monastery at. 9.
Shimotsukeno Atsumitsu. 7.
Shingo-ji temple, a 12th century
textile in. 6.
Shingon sect. 7.
Shinra. 23.
Shinto. 2 .
Shid. 33.
Shippd. 9, 10.
Shippfi no uchi no hanabishi. 39.
Shirotaye. 25.
Shishi. 7, 43.
Shishidama. 40.
Shiten. 45.
Shi-tennd. 45.
Shd. 2 1 .
Shogun, the. 16.
Shogun, Yoritomo the first. 2.
Shoguns of Kamakura. 2, 47.
Shoguns, Ashikaga. 2.
" Shoguns, the Shadow." 48.
Shoguns, Tokugawa. 2, 12, 15, 21,
40.
Shokkd. 18.
Shomu, the Emperor. 5, 6, 7, 23.

67

GENERAL INDEX— contd.

Shomu 's silk banner. 6.
Shoso-in, the, at Nara. 5, 6, 30.
Shotoku, Prince. 5, 6, 34.
Shotoku, Prince, brocaded table
cloth of. 6.
Shdyenji. 33.
Shdzoku Shokubuu Dzuye. 9.
Shusu. 24.
Siam. 11.
Silk-weaving in Japan, antiquity
of. 1.
" Six dynasties, the." 1.
Spain, Japanese embassy to. 11.
" Spain, New." 15.
Stein, Sir Marc Aurel. 4.
Stencilling, Japanese. 32.
Strohl, H. G. 40, 41.
Suiko, the Empress. 1.
Suiko epoch. 1.
Sumiyoshi daimiojin. 47.
Sung dynasty. 1.
Suyetsumu-hana . 41.
Suwa-daimiojin. 47.
Swastika. 27.
Table-cloth of Prince Shotoku, bro
caded. 6.
Tachibana. 40.
Taikd Relics of the, illustrated. 8.
Taira clan. 6.
Takarabune. 39.
Takaramono. 13, 19, 21, 27, 3g.
Takauji, Ashikaga. 10, 13.
Taki, Seiichi. 3, 34.
Tama. 42, 44.
Tamonten. 45.
Tanega-shima . n.
T'ang dynasty. 2.
Tango no sekku. 45.
Tanyu, Kano. 36.
Tanzaku. 35.
Taoism. 2.
Tapestry-weaving, Japanese. 28, 2g,
44, 49-
Tapestries in Japan, European. 29.
Tapir, Japanese version of the. 44.
Tales of Old Japan. 44.
Taye. 25.
Tembun period. 24.
Temples in Japan, Buddhist. 5.
Tempo period. 24.
Tendai sect. 44.

Tenjukoku-mandara. 3, 34.
Tenna period. 24.
Tcnnin. 9, 26, 40.
Tensho period. 23, 24.
Tokio. 2, 5, 7.
TQkio, Imperial Museum at. 5, 7.
Todai-ji temple. 5, 23.
Tokiyori, Hojo. 48.
Tokonoma. 38.
Tokugawa epoch. 2, 8, 12.
Tokugawa Shoguns. 2, 12, 15, 21,
40.
Tokugawa Shoguns, aoi badge of. 40.
Tori-kabuto. 18.
Tortoises, sacred. 37, 44, 49.
Toscanelli. 1 1
Toshiiye, Mayeda. 29.
Tdyei Shukd. 5, 6.
Toyotomi family, kiri badge of. 40.
Toyotomi Hideyoshi. 2, 7, 8, 14, 29.
Treaty with Japan, first modern
commercial. 16.
Tribute to the Emperor, silks woven
as. 12.
Tsucki. 40.
Tsudzumi-ga-taki. 20.
Tsudzure-ori. 29.
Tsumugi. 23.
Tsuneyo, Sano Genzayemon. 48.
Tun-huang, Chinese embroidery
found at. 4.
Uba. 47.
Uchishiki. 17.
Uchiwa. 40.
Ukiyoye School. 13.
" Unicorn," Chinese and Japanese.
9, 26, 43.
Urashimataro. 49, 50.
Usumono. 23.
Utamaro. 13.
Uyesugi family, kiri badge of. 40.
" Vehicle, Great." 44.
Velvets. 12, 27, 28, 47.
Wappenbuch, Japanisches. 40.
Water-colour Society, Japanese Ex
hibition at. 16.
Weaving, Imperial department, at
Kioto. 8.

68

GENERAL INDEX— contd.

Western Paradise. 3, 44.
Wheel, the Buddhist Sacred. 5, 6, 7,
19, 39-
Xavier, Francis. 11.
Yakushi-ji temple. 9.
Yamanaka Kichirobei. 13.
Yamashiro, province of. 6.
Yang. 41.
Yao, the Chinese Emperor. 46.
Yedo. 2.
Yemma-6. 49.
Yengi period. 7.
Yenkiii period. 23.

Yezo. 22.
Yin. 41.
Yd. 41.
Yori-ito-ori. 24.
Yoritomo, the first Shogun.

Yoshimitsu, Ashikaga.
Y oisu-wari-bishi . 8, 9,
Yuan dynasty. 13.
YQriaku, the Emperor.
Yiizen, Miyazaki. 27.
Zen sect. 2.
Zeni. 40.
Zipango. 11.

14-
17-

Plate I.

Fragment of Aya, stencilled with the Buddhist Sacred Wheel.
Nara epoch (7x0-794); from the collection of the late Wilson
Crewdson, Esq., F.S.A. (p. 6).

1063. Paintep

Cotton Fabric (Sarasa). About 1500? (p. 33)-

t-1 >

Pocket-book, made out of a piece of silk brocade said to have formed part of the robe of
Toyotomi Hideyoshi (d. 1598) ; from the collection of the late Wilson Crewdson, Esq. (p. 8).

Plate III.

17. Part of a Buddhist Priest's Vestment, of silk brocade.
Late 17th century (p. 17).

23. Silk Brocade, woven for a no dancer's robe. 18th century
(p. 18).

Plate IV.

18. Silk Brocade, woven for a no dancer's robe. Late 17th or
early 18th century (p. 17).

^O '•¦'•' y *¦ if ¦ '¦•¦: \ • ¦ ¦¦ ¦- -he ¦ \' / ¦ v: < -•'-¦:- V%v'^^«kW
. » fc1 f. ft :,''ii.i.h.,ii'..(-) . ... li : 'i;'-^fc\ iv,. ¦^.'.¦_ ¦if'Sir^afcfc

22. Silk Brocade, woven for a wo dancer's robe or for the dress
of a lady of the Court. 18th century (p. 18).

Plate V.

19. Silk Brocade, woven for a Buddhist priest's vestment or for an
altar-cover. Early 18th century (p. 17).

297. Silk Brocade, woven for
a no dancer's robe. 18th century
(P- 46).

34. Silk Brocade, woven for a
Buddhist priest's vestment or for
an altar-cover. 18th century (p-39)-

Plate VI.

20. Silk Brocade, woven for a
no dancer's robe. 18th century
(p. 18).

166. Silk Brocade, woven for
a no dancer's robe. Believed
to date about 1805 (p. 18).

Plate VII.

21. Silk Brocade, woven for a no dancer's robe. 18th century
(p. 18).

Plate vflf.

328. Silk Brocaded Damask,
woven for a no dancer's robe.
18th century (p. 27).

38. Part of a Buddhist Priest's Vest
ment of silk brocade. 18th century (p. 19).

275. Silk Brocade, woven for
a lady's sash (obi). 18th century
(P- 4i)-

Kate IX.

71.

73.

1 '

S^

ft.. .

$

9

Ik*. '. ¦ «

72.

78.

Silk Brocades, woven for ladies' sashes (o6i). First half of 19th century
(pp. 19, 20).

Plate X.

s

-'VF

^l If

^

ttOMStosSi
IL
95.
97.
98.
Silk Brocades, woven for pocket-books. First half of 19th century
(pp. 20, 21).
Plate XI.

BH

ftk

f

I -#

¦ ;

41

1

840. Velvet Fukusa (cover for a box in which a gift is delivered).
19th century (p. 28).

hit-1>H
w X

841. Velvet Panel, showing some of the copper wires over which the silk pile is woven.
19th century (p. 28).

Plate XIII.

910. Tapestry-woven Silk Vestment of a Buddhist priest, probably
of the Tendai sect. Early 19th century (p. 44).

910. Detail of the above.

hj>

X<

1011. Three Paper Stencil-Plates, for the adjoining Cotton Towel (1035).
Modern Japanese (p. 32).

1 035. Stencilled Cotton Towel.
Modern Japanese (p. 32).

Plate XV.

1036. Stencilled Silk Panel. " The Story of Kwakkio."
19th century (p. 47).

Plate XVI.

1200. Embroidered Silk Damask, dyed by the " resist " process
and partly printed in gold. Genroku period (1688-1703) (p. 17).

Plate XVII.

1225. Woman's Robe (kimono), of painted and embroidered silk,
with powderings of gold dust. Late 18th or early 19th century
(P- 35)-

Plate XVIII.

1226. Lady's Sash (obi), of embroidered satin. 19th century
(P- 35)-

1265. Embroidered Satin Cover (fukusa). Probably 18th
century (p. 36).

Plate XIX.

1247. Embroidered Satin Cover (fukusa), with tassels and mount.
" Osaka Castle and Landscape. " 19th century (p. 35).

Plate XX.

1272. Robe (kimono), of embroidered silk crape, probably worn by
an actor. Late 18th or early 19th century (p. 46).

Plate XXI.

^^^feS

te-^K^V^^i Lni

1 L
IS
:.'-5. *-i»L _
1273. Cover (fukusa), of embroidered silk damask. 19th century
(p. 42).
Plate XXll.

1430. Hanging Picture-scroll (kakemono), for domestic use.
19th century (p. 38).

?0I-1>Hw
V.V.

1431. Hanging Picture-scroll (kakemono), for temple use. " The 33 incarnations of Kwannon." Middle of 18th century
(P- 49)-

Plate XXIV.

Tapestry-woven Silk Cover (fukusa) " Urashimataro." Early
19th century ; the property of Lieut-Col. G. B. Croft Lyons, F\S.A.
(p. 49).

Women's Full Court Costume (jimihitoye).
(From Tachibana no Morikuni, Yehon Shahd-bukuro.)
Frontispiece.] [See p. 48

VICTORIA AND ALBERT MUSEUM
DEPARTMENT OF TEXTILES

GUIDE TO
THE JAPANESE TEXTILES
PART II.— COSTUME

by
ALBERT J. KOOP

LONDON : PRINTED UNDER THE AUTHORITY
OF HIS MAJESTY'S STATIONERY OFFICE, 1920.

PRINTCO & FLUSHED
IN GRcAT ErtiTAlN. _

Publication No. i2ot
First Printed, .... March, 1920
Crown Copyright Reserved

PREFATORY NOTE.
THE present volume, forming the second part of the guide to
the Japanese textiles, has been written, in his own time,
by Mr. A. J. Koop, Assistant in the Department of Metalwork,
Honorary Librarian and member of Council of the Japan Society.
The thanks of the Museum are due to Mr. Koop for this voluntary
assistance.
CECIL HARCOURT SMITH.

March, 1920.

CONTENTS.

INTRODUCTION

I

ORDINARY COSTUME . .
Men's Dress
Women's Dress
Children's Dress
Travelling Dress
Coolies and Field Workers
Weddings, Funerals, Etc. . .
II. COURT AND ECCLESIASTICAL DRESS
Court Dress for Men
Accession Robes
Sokutai Dress
Ikwan Dress
Naoshi, Ko-naoshi, Hanjiri
Kariginu, Hoi, Hakuchd
Hitatare Daimon (Nunobitatare) . .
Sud
Suikan (Suikan no Kariginu)
Chdken (Chdken no Suikan)
Types of Yeboshi
Kamishimo Dress of Military Court Officials
ShintS Festival Robes
Court Dress for Boys
Ecclesiastical Dress
Court Dress for Women
Mono-no-gu Dress
Ko-uchigi . .
Kazami Yeginu
Kinukatsugi Uchikake . .
NOTE ON PRONUNCIATION
LIST OF WORKS USEFUL FOR REFERENCE
INDEX OF JAPANESE TECHNICAL TERMS
NUMERICAL INDEXES 
GENERAL INDEX 

PAGE r

10i51617
18
1919
19
213334
3738
40404i4i4i42
444547
47 48485252535353
.54 555760
65

(601) Wt.20504/151/AM1579 5/19 750 D.St.

LIST OF ILLUSTRATIONS.

Frontispiece. Women's Full Court Costume (junihitoye).

Fig. i.
„ 2.
.. 3-
.. 4-
,. 5-
„ 6.
» 7-
„ 8.
.. 9-
„ 10.
„ n.
„ 12.
„ 13-
„ 14-
„ 15-
„ 16.
„ 17-
„ 18.
„ 19-
„ 20.
„ 21.
„ 22.
„ 23.
„ 24.
.. 25.
„ 26.
„ 27.
„ 28.
„ 29.
,. 30.
1601)

Hdyeki-hd (front)
Hdyeki-hd (back)
Fusen-rid pattern
Wanashi pattern
Kutsuwa-karakusa pattern
Shitagasane
Kiku-tatewaku pattern
Okatabira Uye no hakama . .
Aka-dkuchi
Kwa ni arare pattern
Yatsu-fuji pattern
Footgear
Kammuri Hirao
Sekitai Sashinuki or Nubakama
Kumo-tatewaku pattern
Tori-dasuki pattern
Miye-dasuki pattern . .
Kariginu Wakamatsu-karakusa pattern
Hitatare (upper garment)
Kamishimo (portrait of the poet Hanjaku)
Oikake-kammuriOmi-goromoBuddhist Ecclesiastic of high rank (model
senting Saimioji-niudo)
The chief Body-robes of the Women's Full
Costume
The M 0 . .
Yotsu-bishi pattern

facing

facing
facing

facing

facing

repre
facing Court
facing
facing

PAGE 22
23
2424 24
25 262728
28 272728 293032
3334 34 35
36
37394344
46 4§494949

GUIDE TO THE JAPANESE TEXTILES.
PART II. — COSTUME.
INTRODUCTION.
IT is now close on half a century ago that the Japanese, bowing
to the inevitable, began to slough off the decaying fabric of
a medieval feudalism. Nevertheless, it would not be difficult
to name more than one feature presented by the Japan of bygone
times, of which its successor of to-day has, with rare insight,
refused to divest itself. This is eminently the case with the
national costume, particularly the normal everyday dress as worn
for the last six hundred years and more, with scarce a change of
cut or fashion, by the vast majority of the Emperor's subjects.
It is true that among the upper and better-to-do classes, par
ticularly the men, there is an increasing tendency to adopt in public
the modern garb of Western nations. But this does not prevent
them from reverting to the national dress in the privacy of their
homes. Equally is it true that the elaborate robing of the old Court
nobility, and the curious ceremonial over-dress of the bushi (samurai)
or ruling military caste of former times, are modes which are now
seen only on occasions of high ceremony,1 at Shinto festivals and
services, or on the boards of the theatre, and are in a great degree
mere antiquarian memories. But the folk who wore them, mostly
as a jealously restricted class-privilege, at no time formed, numeri
cally at least, more than an insignificant fraction of the total
population. There is thus ample warrant for the general use of the present
tense in the first section and of the past tense in the second section
of this essay.
1 Such as those recently held in connection with the " Coronation " of
the Emperor (November, 1915).
(601) B

I.— ORDINARY COSTUME.
DEALING first with the ordinary workaday dress above
alluded to, we are struck at the outset with the fact that the
distinction between male and female garb in Japan is far
less marked than it is, or for many centuries has been, in Western
countries. Nor do the garments of Japanese children essentially
differ from those of their elders.
The wide-sleeved, double-breasted gown, folding left over
right, and girt about the waist with one or more sashes,1 is common
to both sexes and all ages from the cradle to the very grave itself.
The same may be said for the similarly-cut undergarment (juban),
the absence of close-fitting coverings for the legs (except in the case
of coolies, field- workers and travellers), and the use of the low sock
(tabi) with its division between the great and second toes to enable
the wearer to grip the thong of the sandal or patten.
Universally characteristic, too — until quite recent times —
is the lack of head-gear,2 at any rate during the prevalence of
fine and temperate weather, of gloves or other close coverings
for the hands, and, last, the almost complete absence of what we
generally imply by the term " jewellery."
Indeed, the few distinctions to be noted concern themselves
mainly with proportions, materials, and colourings, as the following
descriptions will demonstrate.
1 A noteworthy and equally universal feature is the total absence — except
perhaps in quite modern times — of buttons, braces, hooks, pins, or brooches,
either as fastenings or as mere ornaments. The same applies to the lack of
specially made pockets.
2 The present increasing use by men and boys of cloth caps, straw
" boaters," " bowlers " and " Homburg " hats, as an addition to the native
dress, is artistically deplorable, but has not, fortunately, involved any corre
sponding changes in the rest of the native costume.

Men's Dress.
underwear.
For underwear the men have, first, a loin-cloth (fundoshi,
fudoshi) formed of a strip of bleached cotton some 90 inches
long (and therefore known also as rokushaku, "six shaku").1
This is passed between the legs and knotted about the waist.2
Over this comes a silk or cotton shirt (juban), cut and worn like
the kimono presently to be described, except that it reaches only to
mid-thigh and has open sleeves. These sleeves, showing as they do
beyond those of the kimono, are often of silk, white, or blue with
a white pattern, while the body of the garment is of cotton.
In winter a wadded silk or cotton under- jacket (ddgi) is worn
over the shirt. This is usually of quiet colouring, with a black
collar, and reaches to just below the knees.
kimono.
The outer garments include the kimono,3 the haori, and the
hakama.* Of these the first-named is the robe so well known,
but so little understood, in the West (1515). Cut like our
dressing-gown, but with shorter, squarish, bag-like sleeves and a
longer " stand-up " roll-collar (yeri) of even width throughout,
it folds left over right,5 leaving a deep V-shaped opening at the
neck, where the underwear is displayed, and is girt about the
waist with a narrow sash (obi).
The kimono, like most other Japanese garments, is generally-
made at home, as it involves the simplest of tailoring, from a com
plete dress-length woven for the purpose and measuring normally
26 shaku (about 10 yards) long by about 18 inches wide. The material
1 The Japanese cloth-measure shaku (kujira-jaku) approximately equals
15 inches, the ordinary shaku being a fraction under a foot. (For rules as to
the pronunciation of Japanese words, see p. 54.)
2 The Court nobles, doctors, and some of the samurai wore instead an
Etchu-fundoshi, shorter and provided with cords for tying. This was more
comfortable at the back when the heavy ceremonial robes were being worn.
3 Ki-mono, lit. " clothing," is strictly a generic term for all garments and
is thus on a par with our word " dress."
4 The degrees of dispensability of these three garments may be roughly
stated by saying that the kimono corresponds to the waistcoat and trousers
of an ordinary lounge suit, the haori to the coat or jacket of the same type,
and the hakama (plus the kimono and haori) to our " morning " or " evening
dress." The term ki-nagashi (" dress flowing "), applied to a man wearing
only the kimono as his outer garment, is the equivalent of our phrase " in his
shirtsleeves." 6 The reverse is the vogue, in some parts of Japan, for grave-clothes only.
B 2

may be silk, hemp-cloth, or cotton. None of it is cut to waste ;
triangular pieces are folded to shape, while differences of height or
girth are allowed for either by sewn tucks (at the waist-line an
inverted pleat) or by ordering an out-size in the dress-length.
The kimono for men reaches to the ankles, where it is no wider
than at the shoulders, and does not bag at the waist over the girdle.
Indeed, the modern vogue makes the robe lie flat across the chest,
thus contrasting with the fashion of former days when men delighted
to stuff it out by thrusting into the left bosom not only the pocket-
book, but also the towel, the pipe-case, tobacco-pouch, and kindred
paraphernalia. For convenience the skirt may be caught up and tucked into the
obi, generally in front (tsuma-karage, tucking it up behind being
known as shiri-karage) .
The rigours of late autumn, winter, and early spring are met
by wearing, in place of the ordinary unlined kimono, one, two, or
even three robes, of identical cut but lined with floss-silk, or with
cotton wool covered by a thin layer of floss silk (which has the
property of retaining its position without the need of quilting).
If of silk, the wadded kimono is known as kosode, if of hemp cloth,
as nunoko. When more than one are worn, the outer is known as
uwagi (" upper dress "), the other one or two as shitagi (" lower
dress ").
A somewhat recent fashion ordains the wearing of a kitnono
lined with dark blue silk or cotton for about a month at each tran
sition between the hot and cold seasons. Such a garment is called
awase, sts opposed to an unlined (hitoye) or a wadded robe (wata-ire).
When uwagi and shitagi are worn, they are not separately folded over
in front, but treated as though they were a single garment. That
is to say, both right-hand portions are first brought together across
the breast, then the left-hand, similarly arranged. Moreover,
each is cut so as to show at all its edges an inch or so of the one below
it. The same remarks, however, do not apply to the undergarments,
when more than one are worn.
YUKATA, KATABIRA.
For home wear, or for evening walks in the summer, the yukata,
a kimono-like robe of thin, coarse bleached cotton, unlined, is often
the only complete garment next the skin. Or a thin hempen
katabira may be worn over a shorter cotton shirt and under a haori

(coat) of very light weight. These informal summer robes are gener
ally white, with simple, designs in blue. They thus contrast with
the ordinary outer robes,1 for which fashion has for several centuries
ordained the soberest of colourings, such as greys, browns, and dark
blues, in quiet striped designs. For very formal wear, black is
prescribed, relieved only by the wearer's badge painted in colours
in various fixed positions, as described below for the haori.
obi.
The man wears a single outer girdle (obi), of which there are two
varieties, the kaku-obi for more formal occasions, and the less
" dressy " heko-obi. The kaku-obi is of stiff silk (of the quality
known as Hakata-ori) or cotton (Kokura-ori), in quiet shades such
as dark blues, browns, or greys, generally with a broad central
stripe (or stripes) in various colours. It is about four inches wide
and is made like our padded silk neckties, except that the stiffening
(obi no shin) is of canvas. Wound three times about the waist, it
is tied behind in a double knot of which the short ends are cocked
upward (15 16). The more modern heko-obi is a sash of soft white
crape, from fifteen to twenty-four inches wide, wound twice about
the body with the ends tied behind in a pendent bow (1517).
Besides its use to fasten the robe, the kaku-obi also served the
purpose, from about the 17th century down to fairly recent times,
of supporting the two swords, long and short, which the bushi,
the " soldier and gentleman " of Old Japan, thrust into it at the
left side, edge uppermost.2 In the absence of pockets, again, the
obi also held the inrd, the pipe-case and tobacco-pouch, the purse
or the pen-and-ink holder, generally by means of the suspension-
toggle known as netsuke.2
HAORI.
The haori, which derives from the ddbuku, a travelling dust-coat
worn by men in former days, but is now analogous in use to our
coat or jacket, differs from the kimono in several important respects.
It reaches only to mid-thigh and is fuller in the body, having side-
gores. It is not double-breasted, being, indeed, open in front and
loosely fastened across the chest by a couple of silk cords (himo)
1 The shitagi, however, might be white or pale blue, but would in any case
have the yeri (roll-collar) black, or in warm weather white.
2 Examples of swords, of inrd, pipe-cases, etc., and of netsuke, are exhibited
by the Departments of Metalwork, Woodwork, or Sculpture according to
their material.

tied in a bow (the modern fashion is to have a single cord made up
into a complicated bow and engaging witlj each lapel by a metal
hook-and-eye). The yeri (roll-collar) is of the " turn-down "
variety (not " stand-up " as with the kimono), and extends to the
lower edge in front. The skirt is turned up for about a foot inside,
the rest of the body part having alining (kataura), which offers the sole
opportunity sanctioned by custom for the display of the wearer's
fancy for bright colouring or elaborate patterning, including even
embroidery or painting on a white silk ground. For summer wear,
however, an unlined haori without the deep turn-up is used, while in
recent times wadded haori have been introduced for wear on informal
occasions in the cold season (1518).
For ordinary wear the haori is of black or some dull-coloured
silk, generally of a striped pattern. But for formal occasions a
black silk haori is de rigueur, bearing one, three, five, or seven repe
titions (according to fashion) of the wearer's heraldic badge (mon).
These mon are painted on white circles, from one to two inches in
diameter, left in reserve when the cloth is dyed and known as
kokumochi. For those finding it necessary to hire a dress haori
for some occasion, separate badges (kiritsuke-mon) would be specially
sewn in place.1
The single badge would be placed high up between the shoulders.
When three is the fashion, the extra two come at the back of each
elbow. With five, the added pair are placed on the breast of each
lapel ; while the full complement of seven is made up by a badge
inside each elbow.
hakama.
The hakama is a sort of loose trousers or divided skirt,2 slightly
tapering upwards for about half its height, after which it finishes off
with a truncated triangle, the back portion rising a few inches
higher than the front and stiffened at the top by means of the koshi-
ita, a piece of thin board or thick, stiff paper, of trapezoid shape,
pasted inside it. The sides are open half-way down (momodachi)
and free play is further provided by six deep tapering pleats (hida)
at the front and two at the back, their edges turned towards the
centre (15 19).
1 The embroidered badge (nuimon) is not considered respectable, being the
mark of such persons as geisha, actors, and the like.
2 For the ordinary hakama (hambakama, hirabakama, kobakama) the
division comes less than half-way up. With the umanori-bakama, for use
when riding, it naturally comes much higher.

7
The fastening is by a couple of five-foot-long bands proceeding
from the upper corners of the front and two two-foot bands at the
lower corners of the koshi-ita. The former are brought twice round
the waist, being set above the obi in front and tied below the latter's
knot1 at the back. The koshi-ita is then hitched over the ofo'-knot
and its two bands are brought round and tied in front.
The hakama is reserved for very formal occasions, but in modern
times its use at schools and Government offices is indispensable.
Its material is normally silk of good quality and stiff make, such
as Sendai-hira or kaheiji (a thick tsumugi) ; but for economy thick
cottons such as Kokura-ori are used.2 Sober colours and vertical
stripes are as much in vogue as they are for " morning " trouserings
in our own country.
Hakama may be lined, but are never wadded.

TABI. Socks (tabi) are worn with all dress, except the informal yukata
(thin summer robe). Reaching just above the ankle, and having
a separate compartment for the great toe,3 the tabi are made of
cotton or silk with a stiffened sole of Unsai-ori (named after its
inventor). They thus form a sort of combined sock and slipper,
and are indeed the only footwear permitted inside the native house.
The modern tabi fasten at the back by means of an overlap
having horn or metal hook-tabs engaging with thread loops on the
inner side. Formerly, however, each tabi had two flaps in front
which folded over (the outer one uppermost) and were tied on the
inner side by strings (1520) .
For formal occasions white tabi are prescribed, but ordinarily
the colour is dark blue (rarely black) with a white sole. In the
former case the linings would be white, in the latter light blue.
Unlined tabi for summer wear are a modern fashion.
The original material was soft buckskin. During the luxurious
Genroku period (1688 to 1703) brown buckskin tabi were the vogue,
women having the same but of a purple colour.
1 The formal kaku-obi would, of course, be used.
2 Hempen hakama are used only for the special samurai garb known as
kamishimo (see p. 42).
* This is necessitated by the fastening of the sandal or patten (see below).

8
SANDALS AND PATTENS.
Sandals and pattens are never worn indoors, partly to avoid
soiling the mats which invariably cover the floors of the native
house, partly because the habit of squatting on the floor, due to the
absence of chairs and tables from the list of Japanese household
goods, would be uncomfortable in anything but " stocking-feet."
And as long as the prevalence of earthquakes and the economical
instincts of the race maintain the native style of buildings and
furniture, so long will the custom endure of kicking off the sandals
or pattens before entering the house.
(a.) WARAJI.
The simplest form of outdoor footwear is the waraji, a sandal
of coarse rice-straw, somewhat shorter than the foot, to which it is
firmly tied by means of two straw laces (often covered with white
paper). These laces issue from between the first and second toes
and pass in turn through a couple of loops at each side, up over the
foot, through the loop which forms a heel-piece, and back again to
be tied over the instep. The waraji are used by men for energetic
and long-continued work, travelling, etc. Their length of life is
only about twenty-four hours, but they are very cheap (about a
farthing a pair) and supplies of them are carried by travellers and
thrown away when worn out (1521).
(6.) zori.
For ordinary use, such as leisurely walking on hard, dry ground,
the zori is employed. This is a sandal of fine rice-straw matting
and normally has no separate sole. But varieties of it, made of
woven rushes of various kinds or of bamboo-sheath, are commonly
soled with coiled hemp-rope (asaura-zdri) , with wistaria-stems
(fujiura-zdri), or with wood in lateral sections (zdri-geta or itatsuke-
zdri). A superior variety, known as setta, has a raw-hide sole with
iron heel-piece.
The zori is kept on by means of two thick soft cords (hanao)
of twisted cotton or paper, covered with leather or cloth, issuing
from each side near the heel and uniting with a short, thinner piece
which passes between, and is gripped by, the first and second toes.
Rush zori with very thick tapering cords of straw-rope covered
with white paper or cotton are known as fuku-zdri. In modern
times the hanao do not come so far back as in former days ; the
sandal itself is also a little shorter, instead of being slightly longer,
than the foot (1522, 1493, 1503, 1512).

(C.) GETA.
For walking in rain, snow, or mud, or on dusty roads, the patten
(geta or ashida) is used. This is of wood, preferably the light but
strong paulownia (kiri), and has an oblong punt-shaped body (kd)
raised on two cross-blocks (ha), which, if separately inserted, are of
oak or beech. The geta is loosely kept on the foot by the same means
as the zori, the cords passing through holes in the wood and being
tied in a fixed knot below. The height of the ha depends largely
on the state of the roads, and, as an extra precaution against damp,
the forepart may be shielded by a large toe-cap (tsuma-gake)1 of
black oil-paper or lacquered leather. This is either tied on separately
or, as often in modern times, nailed in place.
The solid patten is called koma-geta and may have its top covered
with fine rush-matting (omote), when it is called adzuma-geta and is
of more rounded plan at toe and heel (1523, 1524).
HEADGEAR. In former days the head was covered only under stress of
weather, in order to protect it from the sun or the rain or from
extreme cold. Hats (kasa) were worn chiefly by the lower classes,
but also by travellers and by the attendants in a daimio's procession.
They were either flatly conical or of domed shape, the former as
much as two feet in diameter. In the crown were fixed two soft
pads to rest on the head, leaving room for the cue between them.
A loop of thick soft cord was attached at the ends of each pad
and had two strings attached to it, one pair of strings' being tied
over, the other under, the chin. These loops, besides avoiding the
ears, allowed of a very firm attachment to the head (1525).
Similar hats at the present day have a circular bamboo frame
work instead of the pads (cues are no longer worn), and only two
tying-cords instead of four.
A common material for the kasa is fine bamboo plait, but straw
plait, bamboo-sheath, and sedge-stems are also used.
UMBRELLAS.The umbrella was introduced from the Philippines, it is said,
towards the end of the 16th century. It was not carried by women
until the end of the 18th century. The generic terms karakasa,
sashigasa, tegasa include both the parapluie (amagasa) and the parasol
* Mukdgake in Western Japan.

10
(higasa). The latter is made of plain paper pasted over split
bamboo ribs (hone), generally thirty-two in number. The handle
(ye) is of bamboo. The head (rokuro) and ring (also rokuro) for the
stays (hone) are made of wood or papier-mache.
The amagasa is similarly but more strongly made, and is covered
with oiled paper (tdyugami), lacquered dark brown at the ribs.
An umbrella formerly carried by the upper classes and decorated
with a broad black ring was called janome no karakasa. Two
narrower concentric rings characterised the inferior yakko-janome
(or momiji-gasa) . A cheap umbrella of coarse make, known as
bangasa, is hired by poor people, and lent or given to shop-assistants
by their employers. It usually bears the firm's name (initial
characters) and a registration number.
The nagaye was a long-handled umbrella held up over the head
of a nobleman when riding. With high officials, priests, and Court
nobles, this had the ends of the ribs turned inwards and was then
known as tsumaori-gasa.
The gaudily decorated, cheap-looking umbrellas imported into
the West are not used in the country of their origin except by little
girls. But the better-class native umbrella is rapidly giving way
to the foreign variety with its eight steel ribs and cloth cover.
This the Japanese call kdmori-gasa (" bat[-wing] umbrella").
FANS.A fan of the folding variety is (or was) an indispensable adjunct
to the native costume, its use being common to both sexes. So
well known is it to Westerners, that this reference to it must suffice
here. BEDWEAR.For bedwear both sexes strip to the skin and put on a thin
cotton kaimaki (or nemaki), cut and worn like the kimono. In
cold weather this may be lined or even wadded.
Women's Dress.1
underwear.
For underwear a woman has first a short petticoat (futano) of
bleached cotton, reaching to the knees ; next a short chemise
(shita-juban) , and a long petticoat (koshimaki) reaching to the feet.
The koshimaki, which is partly displayed when the outer robes
1 Examples of complete women's costumes may be seen on application at
the Offices of the Department of Textiles (1485-1512).

II
open out in front, is of muslin or crape, and of a plain white colour
for matrons, younger women affecting bright colours and elaborate
patterns, and little girls plain red. The shita-juban is of silk or cotton
of a plain white or other light colour, but has a separately attached
collar-lapel (han-yeri) embroidered with decorative designs har
monising with those of the outer dress.
In the cold season a long shift (naga-juban) , cut like the kimono
and extending to the feet without any waist-tucks, is worn over the
shita-juban, and generally replaces the koshimaki. The han-yeri
in this case is attached to the naga-juban.
kimono.The kimono for women differs from the men's in the following
respects. It has no sewn tucks at the waist, so that a woman of
average height may wear it full length and sweeping the floor, or
tuck it up to any height by two cords about the waist and hips.
Its roll-collar (yeri) is somewhat wider and a little longer. The
sleeves are a few inches wider (i.e., cover a little more of the arm),
are deeper and have narrower openings for the hands. To allow
for the height to which the wide obi rises, the sleeves are joined to
the body for ten inches only, and for the rest of their depth are open
on the inner side, thus displaying to greater advantage the sleeves
of the garments worn beneath. Moreover, the side-seam of the body
begins only at four inches below the insertion of the sleeve, the gap
thus produced allowing freer play of the garment over the bust.
In the wadded varieties, the filling is made thicker round the
skirt, so that the fuki or part of the lining displayed there is
considerably wider than in the case of the man's robe.
For formal wear three kimono are worn, the inner two having
plain white yeri. In warm weather these may be reduced to two,
the inner one having an extra edging to " save appearances."
The outer kimono on very special occasions is plain black with
the wearer's mon blazoned on it as already described for the haori
(this latter garment is only worn by women at home or on informal
visits). For less formal occasions the young unmarried woman
wears pale blue, grey, or mauve, with quiet decorative patterns
woven, embroidered, or painted round the lower part of the skirt
and sleeves, and with the mon in the usual places. But for ordinary
daily wear all women wear mow-less kimono of the same sober
striped materials as the men (1531. 1485-7. I494"6- 1504-6) •

12
YUKATA.
The yukata is worn by women as by men, and in the same
circumstances. APRONS, TASUKI.
Servants and others engaged in domestic labours generally wear
an apron (mayedare, mayekake) below the girdle (1532). To leave
the arms freer for the same purpose, the sleeves of the kimono
may be held back by a cord or cloth band (tasuki) passing under
each arm, crossing behind the shoulders and tied at the left side.
Men workers, too, sometimes use the tasuki, but often merely tie
their towel (tenugui) about the right sleeve ; this is called katadasuki.
OBI. The Japanese woman's sash (obi) is the most striking and usually
the most costly item in her whole costume, and even the staid
matron is here permitted to display her fancy for bright colours
and elaborate designs. The same licence as regards the
kimono is restricted to the geisha or professional entertainer and
the demi-mondaine (jord).
The obi for women measures some four or five yards in length
by about fourteen inches in breadth, and may be made of the most
expensive figured silk or brocade that its wearer can afford. A
girl will collect by gift, purchase, or bequest, as many obi as possible,
to bring to her future husband as part of her dower. '
Two chief varieties are used, the informal chuya-obi (1533),
and the dress-sash known as maru-obi (1534). The former has
the facing material of some rich silk or satin in a dark colour, with
a lining of a different pattern, lighter ground, and softer texture ;
there is also a stiffening of canvas. The maru-obi, on tfie other
hand, has both sides alike, the stiff material, of double width,
being folded in two, with the selvedges sewn together ; slightly
less inner stiffening is used in this case.
The chuya-obi is generally worn as follows. The kimono having
been previously tied by two cloth bands about the waist and hips
to keep the tuck (karage) in position,1 the obi is wound twice about
the waist, leaving at the back a shorter end (te) about two feet
long, and a longer one of about five feet. In modern days it is
1 Thus reducing the obi to a purely decorative article of costume.

13
the custom to reduce the width of the part encircling the body
by folding the obi in two lengthwise, with the lining inwards ; the
ends are, however, opened out to their full width.
The shorter end is now folded across its middle, lining inwards,
the longer similarly but with its lining outside. The two loops
thus formed are then tied in a single knot so that the shorter one
slants downwards to the left, while the longer projects vertically
above the knot, its loose end hanging below the same and showing
the facing material. The knot being pulled tight, the vertical
loop is then adjusted so as to be of the same length above the knot
as the loose end is below it, and is finally allowed to hang down
over the knot and over all but the last three or four inches of the
loose end.
As a rule this knot holds well, but if the wearer objects to the
trouble of occasionally tightening it when it slackens, she may
tie a narrow cloth band over it and round the middle of the body-
portion ; this is called obijime and is knotted in front.
With the dress obi the same initial procedure is adopted, but
the vertical loop is lengthened at the expense of its loose end. A
kind of bustle (obiage), consisting of a soft pad or a piece of wood
or stiff card covered with cloth, is then set just above the knot
and kept in place by bands tied in front and partly or completely
tucked down inside the obi. The vertical loop is then folded in
two inwards (so as to make four thicknesses), brought down over
the obiage (which cocks it up and fills it out), and finally turned in
towards the knot, where the obijime is passed through the re-fold
to prevent it from falling down, and is brought round and knotted1
in front (1488-90, 1497-1500, 1507-9).
There are several other methods of tying the obi, but the above
are the principal ones for women of mature age. The broad obi
was gradually evolved from the thick tasselled cord, tied in a bow
at the back, which was worn in the 17th century and was known
as Nagoya-obi from the town in Kiushfl where it was made.
The custom of tying the obi in front was made compulsory
for the courtesan class from about the year 1780, but it was also
practised by duennas and others.
Women have never followed the male fashion of wearing the
inrd, etc., suspended from the obi by a netsuke (see p. 5). Instead
they have contented themselves with carrying a hakoseko (1484), or
1 In modern times secured by a metal buckle.

14
ornamental oblong wallet of specially woven silk or velvet, thrust
into, but not entirely concealed by, the left bosom of the robe. This
would contain the usual supply of soft paper handkerchiefs
(hanagami), a small metal mirror,1 a powder-puff (mayuhake) and
other small " vanity " paraphernalia. Men carry pocket-books
(kamiire) of quieter appearance (1536) which they do not consider it
necessary to display as in the case of the other sex ; these are also
of flatter form and are not supplied with miniature toilet-sets.
HAORI.As above stated, the haori is a purely informal garment for women,
who have only adopted it since the middle of the 17th century.
For this reason and others which will doubtless be obvious, it is
never worn over the dress obi.
The woman's haori differs from the man's chiefly in the insertion
of the sleeves, which in this respect resemble those of the woman's
kimono and are accompanied by the body-slits under the arm-pits.
HAKAMA. Apart from Court costume, the hakama is quite a modern feature
of woman's costume and is worn, even to-day, only as part of the
so-called " reformed dress " (which also comprises a tight-sleeved
kimono) by schoolgirls and their mistresses (1537). With them,
however, it becomes an undivided skirt and differs further from
the man's hakama in having much broader bands and no koshiita
at the back.
TABI. The socks (tabi) worn by women are the same as those for men,
but are invariably of a white colour (1492, 1502, 151 1).
SANDALS AND PATTENS.
Sandals and pattens for women do not essentially differ from what
has been described for men, except that waraji are worn only by
farm women, while the pattens are usually of the komageta type,
more rounded at the ends and appearing less open below — they,
moreover, often have the sides and lower parts covered with polished
black lacquer.
1 Examples of these pocket-mirrors are exhibited by the Department of
Metalwork.

15
HEADGEAR. The elaborate character of the Japanese woman's coiffure offers
a sufficient reason for her dispensing with any outdoor headgear,
except in the coldest weather, when a hood (dzukin, okoso-dzukin)
is worn. Formed of a piece of white silk or cotton crape, about
five feet by two, it is fastened to the ears by two loops of string, so
as to keep it straight across the forehead, while the ends are loosely
folded about the chin, neck and shoulders (1538, 1491, 1501, 1510).
Towards the end of the 18th century, however, it seems to have
been a fashion for women to wear straw hats like those of the men
for outdoor use on all occasions and in all weathers.
Children's Dress.
Japanese children's dress is on the whole a miniature version
of their elders' costume, but besides being less "restricted in the
matter of bright colours (especially red) and highly ornamental
patterns, it displays also the following differences.
Up to the age of 14 for boys and 16 for girls the garments are
cut with sewn tucks at the hips (koshi-nui-age) and at the shoulders
(kata-nui-age) , and are made from dress-lengths of special sizes
appropriate to the age of the wearer. The sleeves for children of
both sexes are cut like that of the women's dress, but those for little
girls are generally very deep, often nearly reaching the ground, a
style known as furisode.
Up to the age of seven for both sexes the place of the adult's
obi is taken by a pair of bands (himo), of which the right-hand one
passes through a slit in the left side of the little kimono, both being
tied in a pendant bow at the back. The change to the separate obi
is called himo-otoshi or himotoki. At first the little girl's obi is no
wider than her brother's, but is of a softer texture.
On reaching the age of 16 a girl begins to wear a full-size obi.
Her kimono, now cut from an adult's dress-length, still has the sewn
shoulder-tucks of her childhood, but the adjustable hip-tucks of
her grown-up sister.
Much the same happens to the boy of 14 years old, except that
his body-tuck is the inverted pleat at the waist concealed by
the obi.
As the wearer grows in stature, the sewn tucks are reduced in
size whenever the garment is taken to pieces for cleaning and
re-making.

16
By the age of 18 or 19 (or a little earlier for boys) the shoulder-
tucks have disappeared and the garment no longer looks as if a
sleeveless coat of the same material were being worn over it.
This latter effect is also produced in a different way on the
kimono of little girls (and occasionally of their baby brothers) up
to the age of four by means of the kataire, a name given to the body
portion of the kimono when it is of a different and more decorative
material (often Yuzen-zome) than that of the collar, sleeves, and skirt.
The kataire covers the whole of the back down to an inch or so below
the waist -bands, but in front stops short at a line dropped vertically
from each angle of the neck.
Boys wear haori, but only for formal occasions or in cold weather.
Both sexes when quite young often wear a wadded sleeveless jacket
called denchi or sarukb (1477).
Infants wear short bibs (yodare-kake) of rounded form.
Little girls' wooden pattens are of the solid komageta type,
shaped like those of their elder sisters but with no gap showing
between the toe and heel supports ; their black-lacquered sides are
usually encircled with decorative designs in gold or colours.
The Museum possesses examples of the " charm-bag " (mamori-
bukuro, -kinchaku)1 which is fastened inside the child's obi or in the
bosom of its robe. Commonly made from gaily coloured brocade,
it is meant to hold a charm of inscribed wood or paper, such as those
obtained from the Temple of Fudo at Narita, which are credited
with protecting the wearer from injury by falling.
Travelling Dress.
Men on a journey by foot tuck the skirt of the kimono under the
girdle in front or at the back. The legs thus bared are covered
with momohiki (tight-fitting breeches) and kiahan (leggings tied
by bands above the ankles and below the knees), or with patchi
(tight pantaloons reaching to the ankles). These garments are
commonly of dark blue silk or cotton, with paler blue lining. On
the feet are dark blue tabi (socks) and the waraji (straw sandals)
already described. Sometimes kdkake, a sort of cloth " spats,"
are used. The fore-arms are protected by a sort of tight half -sleeve,
called udenuki, with a projection covering the back of the hand
and known as tekkd ; the latter is kept in place by a small loop about
1 (1478, 1478a.) See W. L. Hildburgh, Japanese Household Magic, in
Transactions of the Japan Society, Vol. VIII., p. 144, Plate IV.

17
the second finger. The kappa,1 a sort of dust-cloak cum rain-coat
with wide sleeves, replaces the haori and is used in preference to an
umbrella ; or else the long sleeveless hikimawashi-gappa, of a thick
cotton material, and generally of a dark brown colour with vertical
stripes (1482). The cheaper mino, a long and ample cape of plaited
straw or hemp-fibre, with the loose ends forming long and dense
thatch capable of throwing off the rain, is affected by men of the
lower classes (1480) ; the koshimino is a short skirt of similar
make to protect the hips (1481).
The head is protected from sun or rain by the broad kasa already
described. In the old days, when a sword (or, with the samurai
class, two swords) was worn, a leather tsuka-bukuro and hikihada
protected the hilt and scabbard respectively.
Women on their journeys abroad also tuck up the kimono and
either wear a naga-juban (long shift) of which the lower part conceals
the koshimaki (petticoat) or protect the latter with an extra pettic6at
called suso-yoke. This last would be of a red colour for girls, matrons
wearing white. The kiahan (leggings) are generally of pale blue
silk, tied with red bands. The tabi (socks) are of white cotton, and,
in preference to waraji, the feet are shod with zori having extra tying
cords over the instep and round the ankle.
Coolies and Field Workers.
With coolies and outdoor labourers, the white cotton loin-cloth
(fundoshi) is — or was — the foundation of their costume, and often
the only body-wear in outlying country districts. The haragake
or haraate is a sort of plastron worn by men and covering the front
of the body and tied by bands crossing at the back ; its material
is usually dark blue cotton, probably home-dyed and therefore
cheap. On the legs are tight breeches (momohiki), again of indigo-
dyed cotton ; these may be worn by women field-workers as well as
by the men. Kiahan (leggings) and tabi (socks) are absent, but
both sexes wear waraji (laced straw sandals). Women wear- the
kimono, tucked up at the front if necessary, but the men in place oi
this garment wear the hanten, a short coat, open in front like the
haori and not necessarily girt at the waist, having comparatively
narrow sleeves open at the end. The hanten is commonly of dark
blue cotton, either plain or with large white linear patterns about
1 This name is derived from the Spanish capa.
(601) r

i8
its skirt. Employees may have the name of their master, in blue
on a white ground, either on the lapels of the shirushi-banten (1483,
1483a), as it is then called, or in a broad medallion-panel between
the shoulders.
Whether a hat (kasa) is worn or no, the head is invariably wrapped
with a hachimaki, a sort of small -towel (tenugui) of white cotton.
In warm weather this is tied as a band about the forehead and
knotted in front (knotting it behind was the warrior's fashion) ;
in winter it becomes a hdkaburi, covering the top of the head and
tied beneath the chin. Women wear it turban-fashion, completely
enveloping the hair. Weddings, Funerals, etc.
Only the bride wears anything exceptional in the way of dress
at a wedding. She begins the ceremony clad entirely in white and
wearing a long white cotton veil called watabdshi. At a certain
stage in the proceedings, however, she retires to be clad in coloured
garments, over which she wears the uchikake, a coat of fine, richly
decorated silk, cut something like the haori, but with long trailing
skirt. The men present would in former days have worn the kamishimo
(see p. 42), even if they did not belong to the samurai class.
At funerals white garments are worn by the deceased's relatives,
the men in olden times donning a white kamishimo, and wrapping
their sword-hilts with white paper.
Otherwise, special mourning dress is not worn by the Japanese.

II.— COURT AND ECCLESIASTICAL DRESS.
AS was the case with the ordinary civil dress described above,
there is no intention here of tracing the costume worn at
the Imperial Court through its various evolutions from the
earliest times down to the third quarter of the 19th century, when,
except for certain ceremonies of the highest importance, it was
superseded by purely Western fashions.
None the less, the essential features of styles about to be described
as prevailing at the close of this period resemble many another phase
of the life and customs of old Japan in dating back to a very con
siderable antiquity, in this instance at least nine centuries, without
any change worth noting in a rapid survey of the subject.
Court Dress for Men.
konrio no gio-i.
At the ceremony of his accession (go-sokui) and at the daijd-ye
(or dname-matsuri, the first niiname festival1 of his reign) the Emperor
wore gorgeous robes, of which the principal outer garment was
known as konrio no gio-i or dsode (1544).
This garment2 was wide-skirted and double-breasted, folding
left over right, the collar forming a V-shaped opening at the neck
and crossing over to the opposite armpit. It was confined at the
waist by the band of the apron and by the special girdle, both of
which are described below. The sleeves were very long and very
deep at the ends, but narrowed inwards with a bold curve at their
lower edges. The material was scarlet silk damask with embroidery
in gold, silver and coloured silks, of eight of the juni-shd3 or twelve
ancient embroidery ornaments of Chinese origin. These included
1 At the niiname-maisuri (or shinjd-sai) the first-fruits of the 1 ice-harvest
were offered to the Gods and to the Emperor himself. This took place on the
Second " Hare " day of the eleventh month in each year.
2 Illustrated in Shdzoku Dzushiki, Vol. I., p. 20 recto, and Conder, p. 353.
3 In Chinese, shih-rh-chang . See Bushell, Chinese Art, Vol. II., p. 95.
C2

20
the sun, moon and stars at the shoulders, mountains and dragons
on the sleeves, and pheasants, flames and sacrificial cups on the
body. The sleeves and collar had wide edgings of dark blue silk.
From the waist downwards, the front of the dsode was covered
by the mo,1 a full apron of red damask having a number of wide
vertical pleats, each embroidered with the rest of the " twelve
ornaments " : a spray of " aquatic grass," a medallion of rice-
grains, an axe, and the Pj device (I545)-
Down the middle of this fell the ju,2 a broad pendant of
embroidered or painted Chinese silk supported by the silken outer
girdle, while from the same girdle hung to right and left the two
jewel-pendants called gioku-hai,3 each consisting of four copper-
gilt plaques united by strings of vari-coloured stone beads. These
fell as far as the ankles, while the _;'w-pendant, the mo and the dsode
reached only to mid-shin.
The Emperor, who on these occasions sat on a chair (an unusual
piece of furniture in Japan), while his courtiers stood about him,
wore no sword, but carried in his right hand an ivory shaku (see
p. 32). On his head was a species of crown (hdkwan, giokkwan,
tama no kbburi)* worn over an ordinary kammuri (see p. 29), and
tied beneath the chin with purple silk cords. This object was of
gold or gilt metal, rising in lobed projections fore and aft, and
supporting an oblong frame with a low cresting of semi-precious
beads (jade, cornelian, etc.), and a deep fringe of the same at front
and back. Above the fore-edge was a rayed sun-disk perched on
a wire (1548).
Under the dsode the Emperor wore a red silk kosode,5 a robe
of similar cut, which, like the white silk shirt (hitoye) beneath it,
showed at the neck and sleeve-ends only.
On his lower limbs were two pairs of wide unpleated trousers,
the uye no hakama and akaokuchi described below (p. 28).
Undivided socks (shitagutsu)e and slippers of black-lacquered
leather (kurokawa no kutsu)7 covered his feet.
1 Shdzoku Dzushiki, Vol. I., p. 21 recto.
' (1546.) Ibid., Vol. II., p. 16 verso.
3 (1547.) Ibid., Vol. II., p. 17 recto.
1 Jbii., Vol. I., p. 5 verso.
6 Ibid., Vol. I., p. 20 verso.
6 Fig. 13, No. 1.
7 Fig. 13, No 2.

21
Princes on these occasions wore an dsode of dark purple or
green according to rank, which further differed from that of the
Emperor in lacking the junishd decoration and in bagging out in
front so as to conceal most of the pale blue silk mo with its designs
of cereal plants. They also wore a trilobate kammuri of black
silk gauze set within a gilt metal coronet having a jewelled cresting
at the back.
From their girdle there hung, besides the fringed pendant, a
single gioku-hai on the right, and on the left a kazadachi or
decoratively mounted and jewelled sword.1
Other courtiers, according to rank, wore more or less abridged
versions of the above dress.
sokutai. At other important functions the Emperor, the Princes and all
the. Court nobles, from the first to the ninth or lowest rank, wore
a costume known as sokutai.
Of this, the outer robe was known as ho (or uye no kinu), and
specifically as hdyeki-hd, " sewn-side ho " (or matsuwashi no uye
no kinu, " enveloping upper robe "), to distinguish it from the
ketteki-hd ("open-sided ho"), described later (p. 44). Its shape and
construction are shown in Figures 1 and 2 (front and back).2 A
loose, voluminous garment,3 with deep square sleeves open at the
ends and entirely joined to the body except for a small ventilation
1 Fukushoku Dzukai, Vol. I., p. 8 verso (right-hand figure). Example in
the Museum (Department of Metalwork).
2 Observe the peculiarity of cut which brings the collar entirely round
to the. back when the garment is folded flat. See also Fukushoku Dzukai,
Vol. I., pp. 1 verso, 2 redo ; and Shdzoku Dzushiki, Vol. I., p. 6 el seq. An
example in black silk is in the Museum (1470) ; it is figured with the
rindd-karakusa diaper, which seems to have been reserved for the Taka-
tsukasa, one of the five chief branches of the Fujiwara clan. For the standard
colours and patterns of the ho and other Court robes, see Shdzoku Shokubun
Dzuye. ,
3 The notes of measurements, etc., in Figs. 1 and 2 read as follows (10 sun
= I shaku = 1 foot nearly) : —
In Fig. 1 : —

2 breadths.
Sleeve,
L. 2 shaku.

1 J breadths. 2 breadths.
2 shaku. • shaku.

Sleeve,
L. 2 shaku

7 sun.
In Fig. z : —

7 sun. 7 sun.
8 sun. 8 sun.
1 breadths.

7 sun.

7 sun. 7 sun-
Hangs down behind like a bag.
Ran or suso.

22

slit at the lower angle, it was double-breasted, folding left over
right, with a narrow circular collar (kubikami, maruyeri, tsutsuyeri,
banrid) fastened at the left side by an applique loop (ukeo) and
button (kagerd) of the same material. It was girt at the waist
by a belt (described later), which was concealed in front by the

fa
*
>

&\t

ji1t 1
11i

\ t

1 -irt- 1
!
1 i
1

»\ &

*J3

A

i1
i
j
i

¦¦a

,V
'
i
1
v^"^
tl
r~7L
S N
\*
Fig. i. Hdyeki-hd (front).
overhanging breast portion but was visible across the back. The
curious bag or pocket (kakabukuro) , about eight inches deep, provided
at the back (see figure) was for sokutai wear tucked up out of sight.
The ho descended to below the knees, where it ended in a deep
hem (ran) projecting at each side in a flap of squarish shape. For
winter wear it would be lined. It was of various qualities of
damasked silk or fine hemp cloth and of different colours and
patterns, according to the rank and family of the wearer or the
occasion of its use.
23
, For the Emperor himself the damask pattern prescribed at
the more solemn functions was a primitively drawn symmetrical
device comprising a kiri badge between two Aoo-birds over two
kiri " trees " and two bamboos, with a pair of affronte kirin1 in
the foreground. This was repeated twenty-four times in yellow

Fig. 2. Hdyeki-hd (back).
on a brownish ground (a combination known as kwdrosen) or on
a greenish ground (kikujin or colloquially yamabalo-iro). Another
pattern, similarly worked on the woof threads and in kikujin
colouring, comprised flying birds amid karakusa foliage, or else
a diaper of chrysanthemum scrollwork with the flowers as eight-
rayed badges.
A white silk ho, also for Imperial wear, was known as haku no
gohd (" Imperial ho of white silk ").
1 For an explanation of these and other decorative motives, see Part I.,
PP- 39~5°-

24
A retired emperor (dajd-tennd) for formal wear used a red- ho
with a diaper of large six-lobed medallions enclosing kiri and sasa
badges on a plain ground or the same enclosing eight-rayed kiku-mon
(chrysanthemum) and surrounded by sprays of the same flower.

Fig. 3. Fusen-rid.

J&&.

WM^

esm mzs

Si

Fig. 4. Wanashi.

#

3 ) Fig.

<§>

/?^vv^

Kulsuwa-karakusa.

Fig. 6. Shitagasane.

25
A prince of the blood (shinno) wore pale green (asagi) with a
close formal diaper known as ko-aoi, or else the floral medallions
known asfusenrid (Fig. 3).
For the courtiers, various other patterns1 were prescribed,
and colours ranging, according to the gradations of Court rank,
from dark and light purple, through reds and greens, to pale blue.
All above the fifth rank were allowed to wear on certain occasions
a black ho, of which the damask pattern varied with the family
of the wearer.
Courtiers of the fifth rank and upwards often wore next the outer
robe a short, almost sleeveless tunic (happi, hampi), which showed
nowhere, but being stiffened with starch served to fill out the upper
part of the ho. It had a stand-up collar and folded left over right
with a V-shaped opening at the neck.

An important garment known as shita-gasane came next (Fig. 6) .
This was a loose tunic, open at the sides, short in front (or else
tucked up under a girdle), and having a train (kio) the full width
of the back and varying in length with the rank of the wearer, from
the four feet of the fourth and fifth ranks to the twelve feet of the
kwampaku (Regent).2 The sleeves showed just beyond those of the
ho and the neck had a V-shaped opening. The material was silk
damask, normally white, with a ko-aoi pattern for the Emperor,
fusenrid medallions for the higher nobles (kugid), and plain for the
rest. Yellow, light green and pale purple were also used. The
lining for the Emperor's shitagasane was deep purple with a sparse
diaper of upright diamond-shapes, each divided into four ; for the
kugid the same in black or red silk, but with the diamonds set close
together for youths,3 and not split up into four for the aged ; while
for lower ranks these devices were set horizontally. In summer
both the outer material and the lining were of the same diamond
pattern. The train of the shitagasane, which matched the rest of the
garment in material and colour, was in later times made separately
from the body part (which then became known as hitoye) and was
1 Two are here illustrated, viz., wanashi (Fig. 4) and kulsuwa-karakusa
(Kg- 5)-
2 (1551.) Shdzoku Dzushiki, Vol. I., p. 14 et sea.
3 As in Fig. 30.

26
tied about the waist below this.1 In each case it either trailed free or
was for convenience gathered up in the left hand ; with military
officials it was tucked into the loop of the sekitai belt.
In cold weather and at high ceremonies throughout the year a
short tunic known as akome2 was worn under the shitagasane, which
it resembled in cut (but without the train). It was of silk with

Fig. 7. Kiku-tatewaku.

damask pattern of ko-aoi, kiku-tatewaku (Fig. 7), or the various
grades of diamond diaper3 ; in colour it might be white, red, green
or pale purple.
Last of all, and next to the skin, was worn a shirt, dkatabira,
of thin, plain white hemp-cloth (Fig. 8), the sleeves of which showed
their broad red silk edgings, and the collar one of white, black and
red (in order from the outside), thus giving the appearance of three
garments instead of one (1552). In summer a similar garment
called asetori replaced the dkatabira and was of a red colour.
1 Shdzoku Dzushiki, Vol. 1., p. 20 verso.
2 Ibid., Vol. I., p. 28 et seq.
3 A very large diaper of paulownia badges with leafy scrolls is indicated
as having been used by the Shogun and his relatives.

27

Fig. 8. Okatabira.

&&

h

&f

Fig. n. Kwa ni arare.

Fig. 12. Yatsu-fuji.

28
On the legs were worn two pairs of loose trousers having the
upper part slightly pleated and open at each side. These were
tied about the waist by a single pair of broad bands and further
differed from the trousers worn with ordinary civil dress in having
no stiffener (koshi-ita) at the back, which rose no higher than the
front portion. The outer pair, uye no hakama,1 was always of white

3- 4-
Fig. 13. Footgear. (See also pp. 20, 34.)
silk, with a damask design either of kwa ni arare (large lobed medal
lions on a chequer ground) or of yatsu-fuji (medallions composed
of racemes of wistaria blossom). The lining was of fine red silk,
which showed at all the edges, including those of the tying-bands
and of the two curious broad loops which masked the opening at
the crutch.
The inner pair, okuchi,2 lacked these loops and was not open
at this part. It showed a little below the bottoms of the outer pair
and was commonly of plain red silk (aka-dkuchi), although old men
wore white.

The feet were covered by undivided socks, shita[g\utsu , belsu or
bessu,3 of white silk (or embroidered coloured silk for important
1 Fig. o. An example in the Museum (1471), with the yatsu-fuji pattern,
has the lining " oiled " in various places to resist wear.
' (I472-) Fig. 10.
3 (1555) Fig- 13. No. I.

Fig. 9. Uye no hakama.

Fig. 10. Aka-ohtchi.

29
occasions), lined and with stiffened soles. These came up to the
ankle, where they were shaped and tied similarly to the tabi of former
days (see p. 7).
Kutsu, or shoes, were worn over these, but only out of doors.
Asagutsu, a sort of slippers, are illustrated in Fig. 13, No. 3 ; they
were of paulownia wood, or else of papier-mache with leather soles,
lacquered black and lined with white silk. The leather fukagutsu,
No. 4, were used for walking on muddy ground or snow (1555).

Fig. 14. Kammuri.
With the full dress (sokutai) above described went the headgear
known as kammuri (kamuri, kdburi, kdmuri).1 This comprised a
shallow skull-cap (kd) with a rounded vertical part (koji) at the
back to take the upright cue (motodori), to which it was fastened by
a rod (kanzashi, tsuno) passed through its base from side to side.2
The kammuri was further kept in place by lasselled cords (kake-o)
of white paper-string (purple silk for the Emperor and certain
specially privileged courtiers), encircling the koji and tied beneath
the chin.
1 (1556.) Fig. 14.
2 This was, at least, the original idea. Later the kanzashi was represented
merely by its projecting ends, covered with the same black gauze.

30
Behind the koji rose an oblong pennon (yei) of bla.ck gauze
stiffened by a lacquered paper-string edging. The Emperor on
occasions of high ceremony wore this upright (riiiyei) ; otherwise,
as with the higher ranks of the courtiers, it drooped backwards

Fig. 15. Hirao.
(suiyei). With military officials it was loosely coiled (makiyei,
kenyei). Those below the sixth rank of honour wore instead the
hosoyei, composed of two long backward-projecting loops of stiffened
paper-string (kdyori).

31
The kammuri itself was of stiff black silk gauze, with small
lozenge or spiral devices for the higher ranks, and was made in various
styles. Two of these were reserved for the Emperor ; the usubitai,
with the rounded fore-edge (iso) less stiff and coming down low,
and the hambitai, raised higher. His subjects wore the atsubitai
(with thickened iso), or, before reaching the age of sixteen, the
sukibitai, which had a small crescent-shaped hollow in the front
of the crown. Other types, as well as the less ceremonial caps
known as yeboshi, are noticed in later paragraphs.
The long sword worn, with male Court dress generally was of the
tachi type,1 with slender, much curved blade, slung edge downwards
by two loops from a girdle (hirao)2 of embroidered silk braid. The
particular types worn with sokutai dress were those known as makiye
no tachi and raden no tachi, having the scabbard enriched with gold
lacquer painting or with pearl-shell inlay. The guard was of the
peculiar shitogi type and the hilt covered with unwrapped white
rayskin with gilt metal ornaments. The girdle was worn outside
the ho, and its elaborately embroidered, long-fringed ends fell in
front to the level of the knees, one down the front, the other at the
left side. This style was known as tsudzuki-hirao, but in the more
common variety, kiri-hirao,3 these ends were replaced by a broad
loop-shaped pendant (tari), with long fringe, through which the
actual girdle was threaded. This pendant showed on the front a
framed panel with embroidery device in colours, details of which
appeared also on the girdle itself. These devices included, for the
most solemn ceremonies, the hod, kiri and bamboo, on a purple
ground. Cranes and pine-trees on a dark blue ground, carnations
on blue-green, mountains and pine-trees on pink (see illustration),
plum-blossom on pale green, and chrysanthemums on brown, are
also indicated.
Covering the hirao at the back was the curious belt known as
sekitai (ishi no obi, tama no obi).* This was of stiff black leather in
two unequal parts with decorative metal ends. The shorter of these
was set with a row of ten square or circular plaques, of various
materials according to the wearer's rank, such as lapis-lazuli, agate,
1 Examples in the Department of Metalwork.
2 (1474.) Shdzoku Dzushiki, Vol. II., p. 10 verso to 13 verso. Fukushoku
Dzukai, Vol. I., p. 9 verso.
3 Fig. 15.
4 (1558.) Fig, if. Shdzoku Dzushiki, Vol. II., p. 3 verso to 5 verso.

32
jade, marble, rhinoceros-horn, etc., plain or engraved with various
devices, and sewn on with white thread. This part covered the
back, but, instead of being continued on the front by the other, it
was fastened there by a cord and loop, which were concealed by the
overhanging part of the ho. The longer portion (uwade) was
attached (by a cord) only to the left-hand end of its fellow, from which
point it curved upwards and was tucked down behind the middle
of the latter.

Fig. 16. Sekitai.
From the first or second plaque on the right of the sekitai there
hung, by a loop of pale blue leather, a little box known as gio-tai
("fish-bag "),1 measuring some five inches in height by an inch in
width and half an inch in depth. Its four long sides were covered
with the white rayskin (same) used for sword-hilts and decorated
with upright figures of fish, six on the front and one on the back.
For nobles of the third rank of honour and above, as also for those
holding the title of sangi, these fish were of gilt metal (when the box
was called kin-giotai), the fifth and fourth ranks having them of
silver (gin-giotai) .

The last item to complete the sokutai is the shaku2 or baton,
which was held vertically in the right hand close to the body.
Originating perhaps as a memorandum tablet, the shaku was of

('559-) Shdzoku Dzushiki, Vol. II., p. 16 recto.
(1560.) Ibid., Vol. II., p. 17 verso.

Fig. 17. Sashinuki or Nitbakama.

33
ivory for the fifth rank and above, lower ranks being content with
white wood (ichii, cherry, or holly). Shaped like a tapering paper-
knife, it was about a foot or 16 inches long and from 2 \ to 2| inches
wide.
ikwan. For occasions of less ceremony a modified form of the sokutai
was worn, under the name of ikwan. The following are the chief
points of difference. The shitagasane, with its train (kio), was
replaced by the ordinary hitoye. The sekitai belt and hirao girdle
were absent, while the sword became a no-dachi (colloquially yefu
no tachi), with discoid guard of so-called aoi shape and a silver-
covered hilt. This weapon provided its own girdle of soft deerskin,
purple or blue, but the outer robe (hdyeki-hd) was also independently
girt by a waist-band (koshiobi) of the same material as itself. At
the same time the bag at the back was allowed to fall, like the tail
of a coat.
The shaku baton gave way, in winter, to a hi-dgi1 or folding fan,
usually carried closed. This was composed of 25 thin slats2 of hi
wood (Chamaecyparis obtusa) united below by a decorative metal
rivet and above by white silk cords whose ends, varying in length
with the user's age, were knotted up into wistaria or other floral
form, and either hung free or were fastened down to the outer
slats. With boys the dgi was of sugi wood (Cryptomeria japonica),
the guards being painted with bird-and-flower devices and the
cords forming fringes of " the five colours." In summer the hi-dgi
was replaced by an dgi of the type familiar in the West, with paper
mount decorated according to fancy, and having the sticks and
openwork guards painted white, black, red or other colour.
The trousers were of the type known as sashinuki or nubakamd,3
very loose and much longer than the legs, being tied up by means
of running-strings (shita-gukuri) at the bottoms so as to conceal
the feet while permitting the wearer to walk- with a fair amount
of comfort. Like the sokutai trousers (p. 28), they were of the same
height back and front and had no stiffener (koshi-ita) behind. Inside
them were tucked the shitabakama, a pair of the same length and
cut, but having no running-strings.
1 (1562.) Fig. 17.
2 23 for lower grades.
3 Fig. 17. Shdzoku Dzushiki, Vol. II., p. 27 verso to end. See also Kokkj,
No. 10, p. 15. An example, in pale blue unfigured silk, is in the Museum (1561) .
(601) D

34
The sashinuki were of various kinds- of silk or hemp cloth, the
colour being usually a darker or lighter purple or blue, either plain
or with patterns (damasked or woven in white) of yatsu-fuji (Fig. 12),
kumo-tatewaku (Fig. 18), tori-dasuki (Fig. 19), and other diapers.
The Emperor used the kwa ni arare pattern (Fig. n) in pale blue.

Fig. 18. Kumo-tatewaku.

Fig. 19. Tori-dasuki.

The shitabakama were commonly of red silk, but black for boys,
yellow for old men, and white for the very aged, are also indicated.
The feet were covered with the shitagutsu or undivided socks
of white silk (Fig. .13, No. 1).

naoshi, ko-naoshi, hanjiri.
For still less formal occasions, including the privacy of the palace
or mansion, an outer robe known as naoshi was worn. This
differed from the hdyeki-hd (see p. 21) only in colour and pattern.
The Emperor wore a variety called hiki-naoshi, which in winter1
was white silk damask with ko-aoi diaper, in summer light, purple
1 Here, as throughout this account, " winter ' is to be taken as- including
also the spring, thus roughly covering our months November to April.
Similarly, "summer" includes also the autumn and corresponds to our
May to October.

33
with the lozenge diaper known as miye-dasuki (Fig. 20). For his
subjects the winter naoshi was normally white with fusenrid (Fig. 3),
that for summer wear being dark blue1 with miye-dasuki.
As inner robes, a purple kinu, followed by a red hitoye and one
(or two) white kosode, might be worn. All these were cut like the
upper part of the shitagasane (Fig. 6), but only the hitoye was visible
at the sleeve-ends. The coverings for legs and feet were the same

Fig. 20. Miye-dasuki.

as those described for the ikwan dress, but for quite informal wear
indoors the outer trousers (sashinuki) were often left off and the
red inner pair allowed to trail behind the feet, which in this case
would not be covered with either shoes or socks.
On the head was worn either the ordinary kammuri (with the
yei brought forward in a loop and tied with a cloth band round the
koji), or else a cap of the tate-yeboshi or kazaori-yeboshi type described
in a later paragraph (p. 41). No sword was worn, but a hi-dgi
fan was carried in winter and an ordinary folding-fan in summer.
The ko-naoshi was also identical in cut with the hdyeki-hd, but
the sides were left open from the shoulders down to the ran, the
sleeves being attached at the back only. The latter, moreover,
had running-strings (sode-gukuri) of silk braid threaded round the
sleeve-ends with alternately long and short stitches (obari, mebari),
the free ends (tsuyu) knotted together and pendent. This feature,
which we shall notice in several other garments, would obviously
1 Dark purple for boys, pale blue for old men, white for the very aged.
D 2

36
enable the mouth of the sleeve to be gathered in about the wrist,
if so desired, a convenience which does not seem, however, to have
been ordinarily taken advantage of.1

Fig. 21. Kariginu.

The hanjiri, worn by young princes and ddgid (boys of the more
aristocratic families), resembled the foregoing, but lacked the ran,
while instead of the running-strings a broad band of braiding, made
of six strands of coloured silk cord loosely interlaced, surrounded
the mouth of each sleeve, with the free ends pendent (1563).
1 Except with the yoroi-bitatare, a loose coat and knee-breeches worn
under their armour by military officers of high rank. An example of this type
of garment is in the Museum (1475).

37
KARIGINU, HOI, HAKUCHO.
Another outer robe, of lighter material and less voluminous cut,
was used for outdoor sports and similar occasions when greater
freedom of action was desirable. This was the kariginu (Fig. 21),
originally, as its name implies, a robe for hunting (hawking) . Its
sides were open from top to bottom, and the sleeves, provided with
running-strings, were attached at the back only and that merely
for a few inches near the top, so that in wear they slipped off the
shoulders and showed the inner garment (1564).

Fig. 22. Wakamatsu-karakusa. ¦

It was confined at the waist by a separate narrow sash of the
same material, being usually drawn up over this in front so as to
leave a short apron below, the back falling to its full length.
For summer wear the kariginu was of thin unlined silk, but for
winter use it was lined. There were no strict rules as to colour or
pattern,1 but old men generally wore white, while for those below
the fifth rank the kariginu was patternless and was then known as
hoi (or hoi).
1 Characteristic combinations are green with [sawarabi] wakamatsu
karakusa pattern (Fig. 22), red with the same design and purple lining, red
with " phcenix " medallions and green lining, yellow with cloud medallions
and green lining.

38
The inner garment, which showed at the shoulder-slashes and
sleeve-ends, was known as kinu.1 It resembled in cut the upper
part of a shitagasane (Fig. 6), except that it was a little longer.
Below it came a similar garment, called hitoye,2 slightly shorter in
body and sleeves, but otherwise of similar cut. The colour of these
two tunics depended on that of the kariginu itself. Under the hoi
was worn a longer tunic, called noshime, of a dark colour with a deep
band of variegated stuff in the region of the waist and loins.
Sashinuki trousers, the ordinary divided socks (tabi), and a cap
of the yeboshi type went with this costume, which was completed
by a chukei (or suyehiro), a folding fan with the guards curved
outwards so as to give the appearance of its being partly open
though actually closed.3
Into the girdle at the left side was usually thrust, edge upwards,
a short sword of the guardless (aikuchi) type, known as chiisagatana.
On official duties, however, a single uchigatana, or sword with a
guard, was similarly worn, while attendants on the Emperor in
public wore a long sword, called itomaki no tachi, slung edge down
wards from its own girdle.4
Court servants wore a sort of kariginu of starched white calico,
known as shirahari or hakuchd. It had no running-strings on the
sleeves. Their sashinuki trousers, also white, reached to the knee
only, and below them leggings (kiahan) were sometimes worn ;
their unsocked feet were shod with sandals (zori) for outdoor use.
They wore no sword.
When the nobles rode forth to the chase or indulged in archery
practice on horse-back, they wore, strapped to the front of the legs,
a pair of mukabaki, or shaped strips of deer, bear, tiger, or leopard
skin (fur), recalling in many respects the huge leggings of American
" cow-punchers " (1566).
HITATARE.5
This costume, comprising a coat (Fig. 23) and trousers to match,
was worn by courtiers of the kuge and higher samurai class, and
1 Fukushoku Dzukai, Vol. II., p. 6 recto.
2 Ibid., Vol. II., p. 6 verso.
3 An intermediate form, known as chu-uke or bombori, was also used.
4 Examples of all these types of sword may be seen in the Department of
Metalwork. 6 Sometimes corrupted to shitatare. Fukushoku Dzukai, Vol. II., pp. 2, 3,
Kokka, No. 10, pp. 14, 15.

39
differed in several respects from the ceremonial dresses already
described. In the first place, the skirts of the coat were tucked
inside the top of the trousers, which in this case were known as

Fig. 23. Hitatare (upper garment).
naga-bakama,1 although in cut they virtually reproduced the shita-
bakama worn with ikwan dress (see p. 33) and trailed some
twelve inches behind the feet.2
The coat, moreover, was open in front and the narrow collar-
lapels fell almost vertically, being " fastened " across the breast
by the two silk braid breast-bands (munahimo), which were loosely
tied in a large bow (1567).
1 " Long trousers." Example in the Museum (1473).
2 They also, in later times at least, had the koshi-ita or stiffening board
at the back, as described above (p. 6).

40
Another new feature is supplied by the kikutoji, applied knots
of silk braid, whose original function seems to have been to prevent
a seam from being ripped open.1 Five of these were placed on the
coat some six inches from the top (viz., at each shoulder and on the
middle seam of the body and of each sleeve) ; two more appeared
just below the side-slits (aibiki, momodachi) of the trousers, that is,
about the level of the knees. It will be noticed that the sodegukuri,
or sleeve running-strings, are here reduced to their tsuyu or pendent
ends. The hitatare was made of various light silks of no fixed colour
or pattern, and "was worn over two silk shirts (kosode), usually white.
With it went a yeboshi cap, and a chilkei fan, as well as one of the
types of sword indicated above as worn with the kariginu.
DAIMON (NUNOBITATARE).2
This was a reproduction in hemp cloth3 of the foregoing, with
the difference that it bore ten large repetitions of the wearer's
family badge.4 Seven of these coincided in position with the
silk braid kikutoji, which were applied in their centres ; the other
three were set at the back of the trousers and in front of each thigh.
The daimon was worn at the Imperial Court by samurai of the
fifth rank and upwards.5 There were no rules as to its colour or
patterning. It was accompanied by the same types of cap, fan
and sword as went with the hitatare just described, but for inner
garment a dark-coloured noshime (see p. 38) was worn, with the
usual white kosode below it.
su6.6This was a repetition in cut and material of the daimon, with
these differences : the two badges on the front of the trousers
were absent, that at the back being also smaller and placed on the
1 Compare Kokka, Vol. IV., 1892, pp. 70, 71, for diagrams illustrating the
tying of various types of kikutoji.
2 (1568.) Fukushoku Dzukai, Vol. II., pp. 8, 9. Kokka, Vol. IX., pp. 12, 13.
3 Nuno— whence the alternative name for this costume. Silk also was
occasionally used.
1 Dai-mon means " large badge(s)."
6 To judge from colour-prints, it seems to have been a favourite dress on
the popular stage, where its proportions were much exaggerated. A version
of it was also worn by the manzai or street-mummers who plied their trade
at the New Year.
6 (1569.) Fukushoku Dzukai, Vol, II,, p. 11 verso to is recto, Kokka,
Vol. IX., p. 29.

4i
upper band ; while the munahimo and kikutoji were of dyed soft
leather. Colour and pattern were according to taste, greys and
dark blues being usual.
The sud was worn as a ceremonial dress by the samurai class
attending Court on occasions of high ceremony.
SUIKAN (or SUIKAN NO KARIGINU).1
The suikan, worn in private by the higher ranks of the kuge
(Court nobles), was a cross between the hitatare and the kariginu,
resembling the Tatter in the cut of the upper garment, the former
in that of the trousers. It was provided with kikutoji in the form
of pairs of flat, round tufts or " pompons " of silk thread,2 produced
by fraying out the ends of loosely woven braid.3
Its fastening was peculiar : two bands, issuing one from the
back of the collar, the other from the angle of the left (outer) breast
portion, were knotted together on the right shoulder and then
passed separately round the neck to be tied again in a bow over
the breast.
The material of the suikan was silk, generally white and of various
weights and qualities.
choken (or chQken no suikan).
The chdken, cut like the hitatare, resembled the suikan in the
matter of the kikutoji, having four of these on the front and three
at the back. The breast-bands, starting from inside the coat,
passed round the back of the neck, down each side and out to the
exterior, where they were tied across the breast.
types of yeboshi.
The yeboshi* was a variety of headgear used by the higher ranks
as a substitute for the more formal kammuri on occasions when the
ho was not worn, and by inferior courtiers as their regular cere
monial cap. It appears in a number of different shapes, all derived,
however, from the original tate-yeboshi (" erect cap "), which
resembles in form the French " cap of liberty " with the front
somewhat flattened and the crown considerably higher.
1 (1570.) Kokka, No. 10, pp. 14, 15.
2 The resemblance of these to a variety of chrysanthemum bears out the
literal meaning of the term kiku-toji, " chrysanthemum fastening or binding."
3 See the Kokka art. above cited.
* (I479-)

42
Originally of black silk, the yeboshi of all types came later to
be made of paper stiffened with black lacquer and having a surface
generally variegated with horizontal wrinkles (shibo), which increased
in size according to the age of the wearer.
The tate-yeboshi, worn only by dojdnin (those who had the entree
to the Throne Room), was ordinarily about nine inches high. Only
its forepart actually rested on the head, the back portion being
thrown out by the thick erect cue of the hair, to which the;cap was
pinned so as to keep it in place.
A cap of this normal shape with its upper part pressed together
and folded over in various ways is generically known as ori-yeboshi
(" bent or folded cap ") and its chief specific varieties as kazaori-y.
(" wind-bent cap ") and samurai-y. (" military man's cap ").
With the kazaori-y eboshi the line of fold ran obliquely downwards
from front to back and the part folded over normally fell to the left
(hidari-ori) , although certain families had the standing privilege of
the " right fold " (migi-ori). This type of yeboshi was usually
fastened by cords of purple silk (twisted paper for inferior ranks)
tied under the chin.
The most fantastic type of all is that known variously as
samurai-y eboshi, komusubi-y., or nattd-y., and worn only by members
of the military class. The complicated foldings of its upper part
into a sort of triangular shape are not easy to describe either in
words or by diagram, especially as there are numerous variants of
the type corresponding to the families to which the wearer belonged
or was attached by service.1 The lower part was rather cigar-
shaped in plan and hung over behind to a greater extent even than
the other types. The tying-strings, frequently of dyed leather,
sometimes formed complicated loops and knots about the top of the
cap. There were several other varieties of yeboshi, but space forbids
our lingering over any but the more important ones just described.
kamishimo.The term kamishimo, written with two characters which corre
spond to its literal significance of " upper (and) lower," is applied to
the various combinations of a coat and trousers made from the same
material, detailed above under the names of hitatare, daimon,
sud, suikan and chdken. Written, however, with a special character,
1 Six pages of diagrams illustrating the folding of this and other types of
yeboshi axe published in Kokka, Vol. II., 1890, pp. 257-262. See also Vol. V.,
pp. 224-5, VIII., pp. 1 71-3.

Fig. 24. Kamishimo (portrait of the poet Hanjaku).

43
it describes a similar combination which was not a costume of the
Imperial Court, although a variety of it was worn at that of the
Shoguns in Yedo.
This kamishimo seems to have been the ordinary outer garb for
men of the samurai or military class from the end of the 15th century,
but during the Tokugawa or Yedo period (17th century onwards)
it was worn on public occasions not only by samurai but also by
privileged members of the heimin (lower classes).1 To-day, except
for " fancy dress," on the stage and elsewhere, it survives only as
the garb of waiters at public banquets.
It comprises an ordinary ham-bakama or pair of trousers of the
same cut as that described in the earlier part of this account (p. 6),2
and an upper garment known as kata-ginu (" shoulder-dress ").
The latter is well named, being a short sleeveless coat with the front
reduced to little more than the vertical collar-lapels below, but
spreading above, beyond the width of the shoulders, into a pair of
wing-like triangles with tapering pleats. The back tapers slightly
from this full width down to the waist, where it is somewhat pouched
before being tucked, like the front, into the mouth of the hakama.
There is no other fastening (1571).
The material for both garments was usually hemp cloth, a
favourite colour being light blue with a close pattern of fine white
spots. The coat was lined, and was stiffened with starch to keep it
in shape. The kamishimo was worn over the ordinary formal kimono
already described, and was, indeed, the precursor of the haori
(see p. 5) plus hakama which still constitutes the full-dress outer
wear of the present day. Like the haori, moreover, it bore the
wearer's family badge, repeated on a moderate scale on each breast,
between the shoulders, and on the upper band of the back of the
trousers.3 The usual tabi (divided socks) and zori (sandals) of civil dress
went with this costume, but no headgear was worn. It was com
pleted by the inevitable fan and inrd, and the pair of swords4 which
it was the duty and the privilege of samurai to wear in public.
1 Fig. 24, from a surimono colour-print by Gototei Hirosada (about 1820-
30), presents a portrait of the poet Hanjaku wearing kamishimo.
2 Or the trailing nagabakama (see p. 39), if worn at the Shogunal Court
itself ; in that case the dress was known as naga-kamishimo.
3 At the ceremony of seppuku (judicial suicide) those present generally
wore white kamishimo without badges.
1 A single sword in the case of privileged heimin.

44
DRESS OF MILITARY COURT OFFICIALS.
Courtiers acting as zuijin or bodyguards of the Emperor, princes
and nobles, wore a special costume. Their hd was of the ketsuyeki
(or ketteki, " open-sided ")x variety, which differed in cut from the
hoyeki type already described (p. 21) in having the sides open from

Fig. 25. Oikake-kammuri.
the bottoms of the sleeves downwards, the back longer than the
front,2 and no ran or kakabukuro. The happi worn under the hd
was of the kuro-happi variety, black, with open sides, united,
however, at the bottom by a deep hem with projecting flaps (as
in the case of the full-dress hd). This hem, which showed through
the gaps in the outer garment, was of a light-coloured plaid design.
1 Also called wakiake no koromo ("side-opened robe"). Shdzoku Dzushiki,
Vol. I., p. 7 verso, 8 recto.
2 I.e., when the garment was folded flat.

45
The trousers were the uye no hakama and akadkuchi already
described, or, for less formal occasions, sashinuki. The socks were
white tabi, i.e., with a compartment for the big toe (as with ordinary
civil dress). When shoes were worn, these were kwa no kutsu of
black leather with pointed toe and brocade uppers, a leather strap
and metal ring forming the fastening.
The shitagasane with long train (kid) and the hirao girdle were
also worn on occasions of high ceremony. But perhaps the most
striking feature of the whole costume was the headgear.1 This
was the usual black kammuri already described (p. 29), with a
couple of fan-shaped blinkers, known as oikake, made of black horse
hairs and attached to the tying-strings of the cap. The pennon
(yei) was curled inwards in a loose coil, sometimes kept in place by a
split piece of wood ; it was then known as makiyei or kenyei. For
zuijin below the sixth rank of honour the hoso-yei was used instead,
consisting of two long vertical loops of paper-string.2
Besides the sword (of nodachi type), the zuijin were armed with
bow and arrows. The five-foot-long bow was carried (often unstrung)
in the left hand. It was of the type known as shigedd,3 being of
bamboo lacquered black and wrapped with bands of rattan-strip.
Two types of quiver were used. For higher ranks at important
ceremonies, the hira-yanagui* contained twelve ivory-tipped arrows
resting on a shallow lacquer tray tied behind the back and showing
fanwise above the shoulders. The feathering was of different bright
colouring or else eagle-plumes with black and white bands. There
was also the tsubo-yanagui,5 a long black tube with a shaped opening
to reveal the shafts of the seven arrows, which showed their eagle-
plume feathering above the right shoulder.
SHINTO FESTIVAL ROBES.
At some of the more important Shinto festivals a robe known as
omi (or omi-goromo) was worn over a black hd, with a white train
(kio) and white trousers. This was of white cotton printed in
greenish-blue (yama-ai or wild indigo) with botanical designs. There
were several varieties of it, the standard cut and decoration being
illustrated in Fig. 26. With each type a pair of bands known as
1 (i572-) Fig. 25.
2 Shdzoku Dzushiki, Vol. I., p. 4 recto.
3 Ibid., Vol. II., p. 14 recto.
1 Ibid., Vol. II., p. 15 recto.
6 Ibid., Vol. II., p. 14 verso.

46
akahimo, each plaited of three Strips of red and black silk braid
respectively, were attached to the right shoulder so as to hang down
equally in front and behind. On these were painted birds and
butterflies. Two paper tying-strings hung from the middle of the
lower edges of the sleeves (1575).

Fig. 26. Omi-goromo.
With this costume a gilt metal ornament, known as kokoroba,1
was fixed to the koji or upright part of the kammuri (see p. 29).
This was in the form of a spray of cherry-blossom for the Emperor
(who alone wore a white kammuri on these occasions), of wistaria
for the chief ministers, and of yellow corchorus or plum-blossom
for other officials. It was accompanied by the hikage-kadzura,2
a pair of pendants of four or six separate strands of pale green
tasselled silk cords, with agemaki bows at intervals, which hung
from the ends of the kanzashi or " hairpin " of the kammuri to the
level of the breasts.

(1576.) Shdzoku Dzushiki, Vol. I., p. 5 recto.

2 Ibid.

47
Court Dress For Boys.
Boys under fifteen, according to Conder, ordinarily wore a red
silk kosode having long, narrow sleeves, slashed at the shoulders.
This was tucked into a pair of purple sashinuki trousers girt with
a white silk sash. The hair was drawn back and tied in two circular
loops (agemaki) with silk braid. On the feet were worn the undivided
socks (betsu) and the shallow asagutsu slippers. A miniature tachi
sword was slung at the left side.
Ecclesiastical Dress.
To-day, as in past times, the priests and ministers of the native
Shinto cult wear the ordinary civil dress, except at services, when
the various types of Court costume already described are worn,
with slight variations in details.
Buddhist priests, on the contrary, have a distinctive " cloth,"
which differs but little with the various sects into which they are
divided. At services an ordinary kimono, plain white and girt
with a white obi,, is worn over an ordinary juban, also white. Over
this is the gown known as koromo, made of hemp or grass cloth,
ordinarily black, but on special occasions of various colours according
to the rank of the wearer. It is double-breasted, with V-shaped
neck, and is fastened by a couple of bands at the right side. The
sleeves are very deep and the pleated skirt reaches to just below
the knees. A fixed band runs across the back at the waist.
Over all comes the kesa1 or " scarf," which varies in shape and
size according to sect, but is commonly made of the richest and
brightest-coloured brocades and embroideries that can be obtained.
In the larger types the material is cut up into rectangular patches
of different sizes, sewn together so as to make five, seven or nine
vertical panels, with a continuous border surrounding the whole ;
there is also an undivided lining. On the front are further sewn
six square patches of a different cloth, usually red or white with
gold embroidery. These, known as shi-ten, are regarded as sacred,
and originally were consecrated before being sewn in place ; they
even serve occasionally as receptacles for relics. One is placed
at each corner (within the border), and the other two, larger, near
the centre.
1 From Sanskrit kachdva. Another name for it is ninniku-gai (" armour
of patience").

48
The gojo-kesa, worn by the Shin and Shingon sects, is composed,
as its name implies, of five panels and forms a rectangular bag
having three shoulder-straps at the top. Hung round the left side,
it is supported by one of the straps in front engaging with the
other two at the back.
The shichijd or seven-panel kesa, used by the Jodo sect and at
solemn services by the Shin priests, is of oblong shape, some five
feet by four, and is worn in conjunction with the dhi, a sort of
baldric, about a foot wide, which passes over the left shoulder.
For ordinary wear in public the Shin and Jodo priests wear instead
the wagesa, a strip of silk about two and a half inches wide, worn
stole-wise and falling to just below the waist (Fig. 27).
A very large kesa of trapezoid shape, having nine panels and
therefore known as kujd, is characteristic of the Zen and Tendai
sects. A sixteen-panel kesa, shichikujd, was formerly worn by them
at high festivals, but is now obsolete.
Some high functionaries wear a longer koromo, showing below it
not the skirts of the kimono but a pair of trousers of sashinuki cut
(see p. 33), their feet being shod with asagutsu of Court type.
Those of still higher rank have the collar of the koromo rising to a
point above the head, while the highest ranks of all wear the mdsu,
a combined cap and hood (Fig. 27. 1640.)
In the privacy of his home the Buddhist priest discards his
koromo for ajuttoku (jittoku or jikitotsu) , a black coat cut something
like the upper part of the sud (p. 40), but fastened at the right
shoulder. The juttoku is also found as the favourite outer robe of
doctors, poets and other professional men, and especially of inkiq,
or men who have retired from the duties and dignities of the
headship of their family (1577).
Court Dress for Women.
mono-no-gu.
The full dress worn on the most formal occasions by the Empress
and the higher ranks of Court ladies was known as mono-no-gu or
ichigu-gusoku, corresponding to the sokutai dress for men (p. 21).
It was also, for a reason which will appear obvious, called junihitoye,
literally " twelve single [robes]."
It is well illustrated in the frontispiece, which is taken from a
woodcut in Tachibana no Morikuni's Yehon Shahd-bukuro1 (1720),
1 Vol. I., p. ii verso. Figures 28 to 30 are from the same source, as are
also the other diagrams of dress-patterns reproduced in the text.

Fig. 27. Buddhist Ecclesiastic of high rank.

Fig. 28. The chief Body-robes of the mono-no-

Fig. 29. The Mo.

49
based in its turn on a painting by Tosa Mitsuoki (died 1691).
Of the four principal body-robes, represented diagrammatically in
Fig. 28, the lower three (C, D, E) were identical in shape, each
showing at the collar, facings and hem an inch or two, and at the
sleeves three or four inches, of the one next below it.
This shape was as follows. The body was oblong and folded
over1 in front at the level of the breasts, the left side, as usual,
uppermost. This overlap continued until, at mid-thigh, each
facing turned sharply inwards for some seven or eight inches and
then resumed its diagonal course as far as the hem, which swept
the ground. (In actual wear the garments opened out below this
Fig. 30. Yotsu-bishi.
cut-away, so as to display the scarlet trousers.) The rectangular
sleeves, entirely open at their outer ends, were joined to the body
for about nine inches at the top only, being open for the rest of their
depth on this side.
The undermost of these garments (E in the figure) was called
hitoye\-ginu\, and measured about nine feet from collar to hem, the
sleeves being long enough to conceal the hands. The central robe
(D) was Tmown as itsutsu-ginu or go-ye, from the resemblance.
to " five [separate] robes" produced by the narrow folds projecting
one beyond the other at its edges. The uppermost (C) was called
uwagi. These garments were of rich silk, the coloration and patterning
being subject to regulation. Thus, for the uwagi of the Empress
at the highest ceremonies a deep purple hue was prescribed. Gener
ally, however, the favourite bright scarlet, with rich gold-thread
enrichment, is indicated for this robe ; the itsutsuginu is commonly
1 Not separately, as with civil dress, but as if the three composed a single
garment only.
1601) E

50
shown with its five edge-folds of the same plain colour (say, purple),
but gradually paling outwards ; while the hitoye may have the
quadruple-lozenge (yotsu-bishi) diaper of Fig. 30, in dark green on
the outside, with a lining of the same in lighter green but having
all the lines continuous and intersecting.
The garment worn over these three (B in the figure) was known
as kara-ginu, lit. " Chinese silk, [robe]." It fell to the waist only
and its straight open front was not fastened in any way. Its
sleeves reached only to the elbows, where they showed three or
four inches of the uwagi below it. The karaginu was usually of
rich Chinese silk (whence its name), and was lined ; red was a
favourite colour for it.
Below these was a kosode or chemise (A in the figure) of white
silk, specifically called uchigi or shitagi no kosode. This was
comparatively short in the body and narrow in the sleeves. It
showed at the neck only and its lower part was tucked into the
trousers described below. Often one or more extra kosode were
worn and these either overlapped alternately at the neck (as with
the superimposed robes of civil costume) or were tucked in so that
only the outer one was visible (1580).
The lower limbs and the socked feet were encased in a pair of
enormously long and voluminous " trousers " or divided skirt
of stiff scarlet silk,1 known as uchibakama or hi-no-hakama.2 These
were fastened close up under the breasts and trailed away behind
and beyond the body-robes, sometimes measuring nine feet in
total length. They were cut like the men's shitabakama (p. 33),
but had wider waistbands. The single pair of broad tying-bands
projected from the right side, where they were knotted together
and the long ends allowed to trail.
Last came the most original feature of the whole confection.
This was the mo (Fig. 29), a sort of wide-pleated train of thin white
silk, embroidered or painted with floral or other patterns (for the
Empress the Imperial design of hod birds and kiri trees). Some
five feet long, it was about the same in width at the bottom and
was pleated above into a deep band (ogoshi) about thirty inches
across (1586).
1 An example in the Museum (1476) was formerly worn by the Dowager
Empress Haru-ko.
2 Conder also quotes the name hiki-bakama (" trailing trousers").

51
To the ends of the ogoshi, which was of white silk damask,
were attached three pairs of long bands about two-and-a-half
inches wide. One pair, some four feet long, called kogoshi, and
of the same material as the karaginu, encircled the uwagi loosely
at the waist and was tied in front in a long-ended bow. A second
pair, called hikigoshi, about six feet in length and uniform in material
with the ogoshi, trailed free on either side ; each was usually threaded
with thick white or coloured silk cord tied in decorative knots and
bows and ending in a fringe. The third pair, knotted together at
the end, formed the kakeobi, which passed over the shoulders
(outside the karaginu) and was tucked under the bow of the kogoshi
in front.1 The coiffure worn with this costume was in the style known as
sagegami or suberakashi. The hair, well stiffened, was parted in
the middle and tightly combed back over the ears2 to trail behind
in a plain " tail," nagakamoji, (assisted by the addition of false
hair), to a length of seven feet or so, being covered by the karaginu
and the mo. At the level of the shoulders this tail was tied with
a ye-motoyui or band of figured silk in gold and bright colours, and
for the rest it was bound at intervals with strings of white paper
cord. Generally a short tress (dbin), an inch thick, hung free on
each side of the head, and some of the under hair was brought
forward to form fringes at this point and also to lie loosely over
the shoulders. Two other short tresses (kobin) fell free below the
yemotoyui. With the higher ranks on special occasions a gilt metal disk
(shashi) with three rounded horns (kamiwake) was fastened by a
red silk cord in front of a raised crest of the hair known as kabu,
and a pair of oval looped hairpins (kanzashi) in gilt metal projected
to right and left of this crest.
The face and neck were painted white with ceruse (o-shiroi),
while the eyebrows were shaved off and false ones (takamayu,
tenjdmayu) — really two large black spots — were painted higher up
on the forehead.
The Empress at the more solemn functions wore, instead of the
shashi, a gilt metal crown of even more elaborate construction
1 Sometimes the kogoshi were absent and the mo was held up by the
kakeobi only.
2 In more recent times the hair on the crown was drawn back and spread
over an arched frame of woven bamboo so as to make a flat disk behind — a
style colloquially known as nabe-buta (" pot-lid ").
E2

52
than that worn by the Emperor at his inauguration ' ceremony.
A " flaming gem " and a figure of the sacred hod bird were prominent
in its ornamentation, together with numbers of " jewelled "
pendants suspended from projecting arms.
The ceremonial fan, akome-dgi, carried with the costume just
described, differed from the hi-dgi used by men in having a larger
number of slats (usually thirty-nine) and in being decorated on
one face with paintings of auspicious import. At each end were
rosettes and streamers of silk cords in " the five colours," and
sometimes an imitation spray of pine-foliage, plum-blossom or
the like (1589).
KO-UCHIGI. On informal occasions a less elaborate, but perhaps no less
cumbersome, series of outer robes replaced those just described.
Worn over the usual white silk kosode tucked into the usual trailing
scarlet trousers, they included a hitoye, an uchiginu, an uwagi, and,
as the outermost garment, a ko-uchigi.
These were cut very similarly to the hitoye, itsutsuginu and
uwagi 'oi the more formal costume, the multiple edgings appearing
in the present group on the robe called uwagi. The sleeves of the
four, however, appeared more nearly equal in length and the skirts
longer,, chiefly owing to the robes being worn less closely round
the neck. They were not fastened about the waist nor at any other
point. Alternate red and green is indicated as a colour-scheme.
The hair was merely combed back from the forehead and allowed
to trail behind in a long unconfined tail under the group of four
robes. The same type of fan was carried as with the mono-no-gu
costume (1590).
KAZAMI. On informal occasions in early summer the younger Court ladies
wore a version of the mono-no-gu dress in which the karaginu and
mo were replaced by a trailing silk robe called kazami. This was
cut as to its upper part like the karaginu, but was long enough at the
back to extend a foot or so beyond the robes below it and a little
shorter than this in front ; its sides were slit all the way from the
sleeve downwards. In colour it was generally either pink, light
red, or green, with bold designs of cherry-blossom, maple leaves
and the like. A girdle confined it at the waist and the long tail
of hair was not covered by it (1591).

53
YEGINU.The uneme, or ladies-in-waiting who served the Emperor at table,
wore a special costume of which the most striking feature was
the robe called ye-ginu (" painted robe ") or uneme no kinu. This
was of full length and of white silk painted with decorative floral
designs. Under it was a hitoye of similar shape and above it a
kakeginu of the same abbreviated cut as the karaginu (p. 50).
These three robes were open in front and not confined at the waist.
They were worn over the usual white kosode and scarlet uchibakama
already described. The coiffure was of the suberakashi type (p. 51),
the shashi ornament having in addition a decorative comb, hitai-
gushi, set in the hair above the forehead (1592).
KINUKATSUGI. Out of doors the Court lady veiled herself in the kinukatsugi (or
kinukadzuki) , a long, loose-sleeved robe, of which the upper part
was full enough to be drawn over the head as a hood. It was of
silk with large patterns, generally on a red ground (1593).
UCHIKAKE.Young female servants at Court wore, as outer garments, a white
hitoye, of which the collar and sleeves showed beyond a red kosode
or double-breasted garment reaching to the ground and confined
at the waist by a broad green sash (obi). Over all came the uchikake
(kake, kaidori), a large, loose coat, open in front, with very deep
sleeves open at the back. This was thrown out behind by the big
bow of the obi (1594).

NOTE ON PRONUNCIATION.
(i) The Vowels are to be pronounced as in Italian ; thus
(approximately) : — o as in fort.

a as in cart.
ai ,, aisle.
e „ get.
ei ,, reign.
i ,, machme.

o ,, forever.
oi ,, noise.
u ,, i\ute.
u ,, put.

Other coupled vowels with the full force of each component,
except that in io, id, iii, the i is usually equal to consonantal y
(and is so written by some). Final u is commonly clipped.
(2) The Consonants (including ch and sh) are to be pronounced
as in English, noting that : — g is always hard (as in get, not as
in gem), and is usually nasalised (as ng-g) between two vowels ;
s is always a true s, not the z of roses ; shi is halfway between our
" he " and " see," and similarly fu (fu) between the sounds heard
in our Aook and foot (hoot and food) ; full value is to be given to
doubled consonants, as kk, mm, nn, pp, ss, and tt.
There is hardly any tonic accent in Japanese ; the voice should
maintain an even tone, emphasis being laid only on long vowels
(0 and ii).

N.B. — -With such exceptions as will be obvious, all words
printed in italics are Japanese, and attention is drawn to the Index
of Technical Terms on p. 57. Certain compound words have
been specially hyphenated at their first mention, so as to indicate
their construction and their relationship to the literal translations
appended (within inverted commas).

LIST OF WORKS USEFUL FOR
REFERENCE.
NOTE. — Those marked * may be consulted in the Library of the
Museum, those marked f in the Department of Engraving, Illustra
tion and Design. COSTUME.
Riusaku (pseud.). Shdzoku Dzushiki (" Rules for Depicting
Court Dress "). Illustrations with commentary. 1692.
(Copy in British Museum, Department of Oriental Printed
Books and MSS.).
| Tachibana no Morikuni. Yehon Shahd-bukuro (" A Budget of
Studies for Artists "). 1720. Vol. I. contains illustrations
of Court Costume.
| Takakura-ke Kwampuku Chakuyd-dzu. A series of sixteen
coloured drawings illustrating the varying types of Court
costume for men, as worn by the Takakura family. With
marginal comments by the archaeologist Ise Teijo (d. 1784).
Copied in 1788 by Gicho from a copy made in 1779 by Taga
Nakahara no Tsunemasa from the original book belonging
to Okayama Yukinori. (J.D. 654, 1 to 9.)
t Niokwan Shdzoku Shichd-dzu. A similar series of fourteen
drawings illustrating female Court costume. With marginal
comments partly added by Ise Teijo. Copied in 1790
by Minamoto no Katsutake and Fujiwara no Yoshitada,
from a copy made in 1788 by Masamichi, from a copy
made in 1780 by Taga Nakahara no Tsunemasa, from a
copy made in 1778 by Ise Teij5 from the original book.
(J.D. 654, 10 to 21.)
f Hosoi Yeishi. Nishikizuri Onna Sanjurokkasen. 36 coloured
drawings of ladies in Court costume. 1798.
f Homma (Yawata) Yoichi Minamoto no Hiakuri. Fukushoku
Dzukai (" Illustrated Account of Dress Colours," sc, for
Court Costume). 2 vols. 1816.
|  Shdzoku Shokubun Dzuye (" Colours and Patterns for Court
Dress, Illustrated "). 1815.

56
* Conder, Josiah. The History of Japanese Costume. With six
coloured illustrations. In Transactions of the Asiatic Society
of Japan, Vol. VIII., pp. 333-368. 1880.
* Kurokawa Mayori. Hompd Fuzoku Yetsu. (Early Court
Costume.) Illustrated. In Kokka, Vols. II.-VIII. 1890-
96.
* Ogawa, K. Japanese Costumes before the Restoration, and
Costumes and Customs in Japan. Photographs. 1893.
* Kurokawa Mamichi. Fujiwara-jidai Jokwampuku no Seisd.
(Women's Court Dress in the Fujiwara Period.) In Kokka,
Vol. XII., p. 108. 1901.
* Inouye Jukichi. Home Life in Tokyo. Illustrated. 1910.
See especially Chapters VII. to X.
Sekine Masanao. The Evolution of Woman's Costume. Illus
trated. In the Japan Magazine, Vol. I., p. 272. 1910.
Hayashi, T. Women's Fashions in Japan. Illustrated. In
the Japan Magazine, Vol. V., p. 683. 1915.
HERALDIC BADGES (MON).
¦j- Murakami Masatake. Busd Kdyeki Monchd. 1884.
f Shimabara Gozayemon. Irohabiki Monchd Daizen. 1881.
Heraldic badges with their blazoning.
t Murakami Masatake. Kokon Moyd-shu. 1883.
f Hirota Kiozan. Kodai Karakusa Moyd-shu. 1885.
f Takizawa Kiyoshi. Karakusa Moyd-hinagata. 1884.
Textile and other designs, " ancient and modern."
A MS. translation of the last, with commentary, by A. J.
Koop, is available for reference in the Department of Textiles.
* Strohl, H. G. Japanisches Wappenbuch (" Nihon Moncho ").
Illustrated. 1906.
Anon. Japanese Crests. Illustrated. In the Japan Magazine,
Vol. I., p. 696. 1911.
* Koop," A. J. The Construction and Blazonry of " Mon."
Illustrated. In Transactions and Proceedings of the Japan
Society, London, Vol. IX., p. 280, 1911,

INDEX OF JAPANESE TECHNICAL TERMS.

NOTE. — References are to pages (" n " means " note "), the first quoted
being the main reference in each case. Names of minor details and of specific
varieties (e.g., asaura-zdri, chuya-obi) are for the most part omitted ; for
the latter class, the second element (zori, obi, etc.) should be referred to.

akahimo, 46.
akadkuchi, 28, 20, 45.
akome, 26.
akome-dgi, 52.
asagutsu, 29, 47.
aselori, 26.
ashida, 9.
atsubitai, 31.
awasc, 4.
bessu, belsu, 28, 47.
bombori, 38M.
chiisagatana, 38.
chdken, 41, 42.
chukei, 38, 40.
chii-uke, 38M.
daimon, 40, 42.
denchi, 16.
ddbuku, 5.
ddgi, 3.
dzukin, 15.
e-, see ye-.
fu\ri]doshi, 3, 17.
fukagutsu, 29.
furisode, 15.
fusenrid, 25.
futano, 10.
?e'«. 9-
giokkwan, 20.

gioiai, 32.
goye, 49.
hachimaki, 18.
hakama, ordinary, men'f, 6, 3
women's, 14,
hakoseko, 13.

hakuchd, 38.
AaA;< no g-o/so, 23.
hambakama, 6n, 43.
hambitai, 31.
hampi, 25, 44.
hanjiri, 36.
hanten, 17.
hanyeri, 10.
Aaoci, men's, 5, 3 ; women's, 14 ;
boys', 16:
happi, 25, 44.
haragake, haraate, 17.
hikage-kadzura, 46.
hikigoshi, 51.
hikimawashi, 17.
hikinaoshi, 34.
himo, 5, 15.
hi-no-hakama, 50.
W-<?£», 33, 35.
hirabahama, 6n.
hirao, 31, 45.
hitaigushi, 53.
hitatare, 38, 42.
hitoye, ordinary dress, 4 ; Emperor,
20 ; courtiers, 25, 33, 35, 38 ;
court-ladies, 49, 52, 53.
fco, 21, 24, 25, 33, 45.
ftcn, Aoi, 37.
hdkaburi, 18.
hdkwan, 20.
hdyeki-hd, 21, 33.
ichigu-gusohu, 48.
ikwan, 33.
iwo, 5.
tsfci wo 06 i, 31.
itsutsuginu, 49.

jikitotsu, jiltoku, 48.
/w, 20.

58

INDEX OF JAPANESE TECHNICAL TERMS— contd.

juban, 3, 47.

juttoku, 48.
kaidori, 53.
kaimaki, 10.
kakabukuro, 22.
kake, kakeginu, 53.
kakeobi, '51.
kamiire, 14.
kamishimo, 42, 18.
£a[m])MMn, 29, 20, 21, 35, 46.
kappa, 17.
karaginu, 50.
kariginu, 37.
Aasa, 9, 18.
katabira, see yukata.
kataginu, 43.
kataire, 16.
kataura, 6.
kazadachi, 21.
kazami, 52.
Aesa, 47, 48.
ketteki-hd, 44.
kiahan, 16, 17, 38.
kikujin, 23.
kikutatewaku, 26.
kikutoji, 40, 41.
kimono, men's, 3, 16, 47 ; women's,
11, 17; children's, 15.
Ajmm, 38, 35.
kinukadzuki, kinukatsugi, 53.
fcio, 25, 45.
ko-aoi, 25, 26, 34.
kobakama, 6m.
kogoshi, 5.
kdkake, 16.
kokoroba, 46.
komageta, 9, 14, 16.
konaoshi, 35.
konrio no gio-i, 19.
koromo, 47.
kdrosen, 23.
koshiita, 6.
koshimaki, 10.
kosode, ordinary dress, 4 ; Emperor,
20 ; courtiers, 35, 40, 47 ; court-
ladies, 50, 52, 53.
kouchigi, 52.
kumotatewaku, 34.

kurohappi, 44.
kutsu, 29, 20.
huisuwa-karakusa, 25.
£o/a Mi arare, 27, 28, 34.
Aze/a mo kutsu, 45.
kwdrosen, 23.
mamori-bukuro, -kinchaku, 16.
mayedare, mayekake, 12.
miyedasuki, 35.
mo, Emperor, 20, 21 ; court-ladies.
5°-
momohiki, 16, 17.
mow, 6, 5, 11, 40, 43.
mono-no-gu, 48.
mukabaki, 38.
munahimo, 39-4 1 .
nagabakama, 39, 43M.
nagajuban, 10, 17.
nagakamishimo , 43».
naoshi, 34.
nemaki, 10.
netsuke, 5.
noshime, 38, 40.
nubakama, see sashinuki.
nunobitalare , 40.
nunoko, 4.

o&i, men's, 5, 47 ;
children's, 15.
obi-jime, -age, 13.
ogoshi, 50.
oikake, 45.
dkatabira, 26.
okoso-dzukin, 15.
dkuchi, 28.
omi[goromo], 45.
dsode, 19, 21.
patchi, 16.
yaw, 22.
rokushaku, 3.

saruko, 16.
sashinuki, 33-4, 38, 45, 47.
sawarabi, 37M.
sekitai, 31, 26.
seWa, 8.

women s, 12

59
INDEX OF JAPANESE TECHNICAL TERMS— contd.

shaku, measure, 3«. ; baton, 32, 20.
shashi, 51.
shirahari, 38.
shirushi-banten, 18.
shitabakama, 33-4, 35-
shitagasane, 25, 45.
shitagi, 4, 5»-
shitagi no kosode, 50.
shitagutsu, 28, 20, 34.
shitajuban, 10.
shitatare = hitatare.
shiten, 47.
sokutai, 21.
suikan, 41, 42.
sukibitai, 31.
steo, 40, 42.
susoyoke, 17.
suyehiro, 38.
iflfci, men's, 7, 16, 38, 43, 45 ; women'
M. 17-
toW, 31, 21, 33, 38, 45. 47-
tama no kdburi, 20.
tama no obi, 31.
tasuki, 12.
teAAo, 16.
tenugui, 12, 18.
toridasuki, 34.
uchibakama, 50, 52, 53.
uchigatana, 38.
uchigi, 50.
uchiginu, 52.

uchikake, 18, 53.
udenuki, 16.
umanori-bakama, 6«
uneme no kinu, 53.
usubitai, 31.
uwagi, men's, 4
52-
uye mo hakama, 28, 40, 45
wye mo kinu, 21.
wagesa, 48.
wakamatsu-karakusa, 37H.
wakiake no koromo, 44TC.
wanashi, 25.
waraji, 8, 14, 16, 17.
watabdshi, 18.
wataire, 4.
yamabato-iro, 23.
yatsufuji, 27, 28, 34.
yeboshi, 41, 35. 38. 4°-
yeginu, 53.
¦yei, 30.
yewofoywi, 51.
yodarekake, 16.
yoroibilatare, 36M.
yotsubishi, 50.
yukata, 4, 12.
20W, 8, 17, 38, 43.
zdri-gela, 8.
2M-, see tteu-.

court-ladies', 49,

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6i

Museum

No.

T.8g-

1911

T.8h-

1911

T.a-

1911

T.8j-

1911

T.66 -

1915

T.67 -

1915

T.68 -

1915

T.69 -

1915

T.70 -

1915

T.162 -

1915

T.311 -

1916

T.31 "

1917

T.514 -

1919

T.517 -

1919

T.518 -

1919

NUMERICAL INDEX— I— contd.
Catalogue No.

• 1511
.1512 1471
14721473 1470 M74
1476 1479M771589
I572 1556

Page.

28.28.
39- 21. 31-
5°-41. 16.
52.45- 29.

NUMERICAL INDEX— II.

Catalogue

Museum

No. No. Page

1470

T.69 - 1915
21.
1471
T.66 - 1915
. 28.
1472
_T.67 - 1915
. 28.
H73
T.68 - 1915
• 39-
1474
T.70 - 1915
• 31-
M75
79a- 1890
¦ 36.
1476
T.162- 1915
. 5°-
J477
T.31 - 1917
. 16.
1478
860 - 1869
. 16.
1478a
T.302 - 1910
. 16.
1479
T.311 - 1916
• 4i-
1480
452 - 1895
• 17-
1481
453 ~ i§95
¦ 17-
1482
454 - l895
• 17-
1483
T.262 - 1910
. 18.
1483a
T.263 - 1910
. 18.
1484
T.71 - 1909
¦ 13-
1485
T.6c- 1911
11.
i486
T.6d- 191 1
11.
1487
T.6e- 1911
11.
1488
T.6a- 1911
¦ 13-
1489
T.6 - 1911
¦ 13-
1490
T.6b- 191 1
• 13-
1491
T.6f- 1911
• 15-
1492
. T.6g, 6h- 191 1
¦ M-
1493
T.6i, 6j- 191 1
8.
1494
T.7d- 191 1
11.
H95
T.7e- 191 1
11.
1496
T.7f- 1911
11.
1497
T.7b- 1911
¦ 13-
1498
T.7 - 1911
• 13.
1499
T.7a- 1911
• 13-
1500
T.7C- 191 1
• 13-
1501
T.7g- 191 1
• 15-
1502
T.7I1, 7i- 191 1
• M-
i5°3
T.7], 7k- 1911
8.
1504
T.8c- 191 1
11.
i5°5
T.8d- 191 1
11.
1506
T.8e- 1911
11.
i5°7
T.8a- 1911
• 13-
1508
T.8 - 1911
• 13-
63
NUMERICAL INDEX— II— contd.

Catalogue

Museum

No. No.

1509

T.8b- 191 1

1510

T.8f- 1911

1511

.. T.8g, 8h- 191 1

1512

T.8i, 8j- 191 1
i5'5
(Photograph)
1516
ditto
1517
.
ditto
1518
ditto
1519
ditto
1520
ditto
1521
ditto
1522
ditto
1523
ditto
1524
ditto
1525
ditto
1531
ditto
1532
ditto
1533
ditto
1534
ditto
1536
ditto
1537
ditto
1538
ditto
1544
ditto
1545
ditto
1546
ditto
1547
ditto
1548
ditto
1551
ditto
1552
ditto
1555
ditto
1556
T.518 -1919
1558
(Photograph)
1559
ditto
1560
ditto
1561
ditto
1562
ditto
1563
ditto
1564
ditto
1566
ditto
1567
ditto
1568
ditto
1569
ditto
157°
ditto
1571
ditto
'572
T.517 - 1919
r575
(Photograph)
1576
ditto
Page 13 15 14 8 3
55
6
6
7
99 9
1112
12
12 M
M 151920
20
20 20
25 26
2829 3i
3232 3333 3637 38
394040 41 43 45 4&46
29.
64
NUMERICAL INDEX— II— contd.

Catalogue

Museum

No. No. Page
1577
(Photograph)
48.
1580
ditto
50
1586
ditto
5°
1589
T.514 - 1919
52
1590
(Photograph)
52
1591
ditto
52
1592
ditto
53
J593
ditto
53
1594
ditto
53
1640
T.41 - 1910
48
GENERAL INDEX.
(See also Table of Contents.)

Aprons, 12.
Badges, 5, 6, 11, 40, 43.
Baton, courtiers', 32.
Bedwear, 10.
Bibs, 16.
Bows and Arrows, 45.
Breeches, 16, 17.
Buddhist Priests, 47.
Caps, court, 29, 41, 42, 45 ; European,
2 note.
Charm-bags, 16.
Chinese silk, 20.
Cloth-measure, 3.
Coiffure, court-ladies', 51, 52.
Crowns, 20, 21, 51.
Dress-lengths, 3.
Dust-cloaks, 5, 17.
Emperor, 21, 23, 29, 31, 34, 46 ;
retired, 24 ; his bodyguard, 44.
Fans, 10, 33, 52.
Footgear, men's, 7, 8 ; women's, 14 ;
children's, 16 ; court, 28, 34, 38,
43, 45. 47-
Genroku era, 7.
Girdles, see Obi, Hirao, Sekitai in
Japanese Index.
Grave-clothes, 3 note.
Handkerchiefs, 14.
Hats, native, 9, 15, 18 ; European,
2 note.
Headcloths, 18.
Headgear, other, see Caps, Hats,
Hoods.
Hoods, 15, 48, 53.
Hunting Dress, 37.
Jodo Sect, 48.

Ladies-in-waiting, 53,
Leggings, ordinary, 16 ; hunting, 38.
Loincloths, 3, 17.
Measures of Length, 3, 21.
Mirrors, 14.
Painted Decoration, 6, 11, 50, 53.
Pattens, 8, 14, 16.
Petticoats, 10, 17.
Pipe-cases, 4, 5.
Pocket-books, 14.
Quivers, 45.
Rain-cloaks, 17.
" Reformed Dress," 14.
Sandals, 8, 14, 16, 17.
Sashes, see Obi, Hirao in Japanese
Index.
" Scarf," Buddhist, 47.
Servants, domestic, 12 ; court, 38.
Shin, Shingon Sects, 48.
Shinto Priests, 47.
Shoes and Slippers, 29.
Socks, see Footgear.
" Spats," 16.
Swords, 5, 18, 21, 31, 33, 38, 45.
Tendai Sect, 48.
Tobacco-pouch, 4, 5.
Toilet-paraphernalia, 14.
Trains, kio, 25 ; mo, 50.
Trousers, 3, 6, 14, 28, 33, 35, 38, 39,
43, 45, 47- 5°, 53-
Umbrellas, 9.
Underwear, 3, 10.
Wadded Garments, 4, 11, 16.
Wallets, 14.
Zen Sect, 48.

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