The Art of Japanese SHIBORI [DVD] sample version
Introduction: 11 shibori techiques
Director: Kyoto Shinori Museum
Release year: 2017
Language : Japanese / English
Time : 40 minutes each language
- Contents -
*Digest of the process of Shibori *Hon-hitta shibori *Hari-hitta shibori *Oke shibori *Boushi shibori *Nuishime shibori *Kago-rouketsu shibori *Tatsumaki shibori *Te-kumo shibori *Miura shibrori *Mishin shibori
Available on Amazon !!
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Kyoto Shibori Museum Silk Dyeing
A great visit to the Kyoto Shibori Museum for a shibori dyeing class and tour.
kyoarashi shibori scarf class
Let's enjoy and learn shibori in Kyoto!!
Kyo-Arashi shibori scarf class: @5,400 yen/pp
Time: 30 to 60 min.
Material: Silk georgette (180cm x 44cm)
For more details, click the link below to our web site.
Shibori Fukusa Class -Kasamaki shibori and Nuishime shibori-
Let's enjoy and learn shibori in Kyoto!!
Fukusa wrapping cloth class: @5,400 yen/pp
Time: 60 to 90 min.
Material: Silk Rinzu (40cm x 40cm)
For more details, click the link below to our web site.
Shibori Scarf Class -Itajime shibori-
Let's enjoy and learn shibori in Kyoto!!
Shibori scarf class: @3,240 yen/pp
Time: 30 to 60 min.
Material: Silk georgette (180cm x 44cm)
For more details, click the link below to our web site.
Kyoto's Shibori Exhibition
Created by BPTg Community
Making Kimono - Japanese Dyeing - Kyoto - JapanMade
This video is about the Japanese dyeing in Kyoto.
You can see the quality of Japanese crafts.
Place: Yamamoto SNKOJO @ Kyoto
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Tokyo’s First World Cultural Heritage: The National Museum of Western Art
Untying Shibori Knots
This video is part of a larger blog post on my experience at the Kyoto Shibori Museum. To check out the entire post, go to readysetkimono.com. To find more information on the Kyoto Shibori Museum, go to their website at
Traditional Textile Arts of Japan
arts and crafts tour of Japan with highlights from visits with gold leaf artist, fabric artist, Reiko Sudo and Boro textiles museum
Tohaku’s Transformation: The Evolution of Techniques and Style in the 16th Century Master
Tohaku’s Transformation: The Evolution of Techniques and Style in the 16th Century Master
One of the most impressive characteristics of Hasegawa Tohaku's artistry was his unparalleled ability to master so many different styles of painting, mediums and techniques. Throughout his career he painted scrolls, decorated sliding doors (fusuma), and freestanding multipanel screens (byobu); Buddhist icons and portraits, as well as bird-and-flower paintings, and landscapes in ink-and-wash, polychrome, and gilt. His proficiency in the complex techniques for combining colors with gold, possibly learned from members of the Tosa and Kano schools is particularly awestriking.
Learn more about the 16th century master Japanese painter in the exhibition, A Giant Leap: The transformation of Hasegawa Tohaku at Japan Society.
Music: Rapture - Movement 1 arranged & performed by Yumi Kurosawa
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In Search of Forgotten Colours - Sachio Yoshioka and the Art of Natural Dyeing
This is a compendium of four short films with English subtitles.
Sachio Yoshioka is the fifth-generation head of the Somenotsukasa Yoshioka dye workshop in Fushimi, southern Kyoto. When he succeeded to the family business in 1988, he abandoned the use of synthetic colours in favour of dyeing solely with plants and other natural materials. 30 years on, the workshop produces an extensive range of extremely beautiful colours.
Mr Yoshioka generously made two gifts of naturally dyed textile and paper samples to the V&A in 2016 and 2017. The process of creating these samples was recorded for a documentary broadcast in Japan in May 2017. The programme also explored the background to Mr Yoshioka’s passion for natural dyeing and his long-standing quest to revive historical colours whose methods of making have been forgotten.
The original footage from which the films have been compiled was taken using state-of-the-art 8K UHD (Ultra High Definition) technology developed by NHK Enterprises, Inc.The sequence of running is as follows:
In Search of Forgotten Colours - 5’15”
Beni Red (safflower; carthamus tinctorius) - 4’39”
Paper Flowers and the Omizutori Ceremony - 3’15”
Murasaki Purple (purple gromwell; lithospermum erythrorhizon) - 4’17”
The V&A is grateful to NHK Enterprises, Inc. and Art True Film for permission to use this material.
The Metropolitan Museum of Art Kimono Exhibit Part 1 of 2 MET
Kimonos : A Modern History 2014 -2015
Aizenkobo & Orinasu kan
We thoroughly enjoyed our hour-long visit with Kenichi Utsuki, a third-generation textile artisan in Kyoto. Aizen Kobo, Kenichi’s 120-year-old workshop/showroom has been classified as a Cultural Asset. Kenichi’s father and grandfather also worked from this building. Our tour of the Orinasukan Handmade Fabrics Museum included a short weaving demonstration and a visit with a silk weaving master.
How was it made? Kyo-Yuzen Dyeing
The kimono - they need several steps to dye once and again, again, again. Then go to the embroidery phase and maybe come back again to finish then send it back again. This is the kimono process for clothing. We had to reduce, to go a simple way. You put on the back side, only for the part he is working on now.
Q: What is the ink made from?
It's not made from plants, but it's a chemical product. And, of course, he mixes the colours to make the special colour for the kimono.
Q: How long has he been doing this for?
38 years.
Q: So how old was he when he started doing this?
He was 18.
Q: OK. And why did he decide to do this?
It was natural because his father was doing also that.
Q: And his father, did he follow his grandfather?
No, his father started, so he's second generation.
Q: Has it changed since his father was doing it?
No, they are keeping the same way, but of course it depends on era ... periods, if changing a motif, they are changing, so he adapts ...
Q: Does he worry that this something that is dying out or does he see it ... does it have a future?
Nobody is taking his business after this moment - nobody. He works ten hours (a day) at least, sometimes more to finish the kimono, because it takes four days.
Q: Working ten hour days?
Yes. As we see, he starts with a red colour to complete the kimono. He finishes one motif to go to another motif. He tries to put the red colour on all parts of the kimono to not have a difference of colour for one kimono.
Q: So it's all free hand?
Yes. Completely. That motif, the small parts, already he puts a glue ... on the space to not have colour - he does not want to put colour on that part.
Q: You can't correct a mistake ...
He has to be quick to dry, to put another colour on. The company is very strict with the colour balance - so each time it's done, he has to remake again. This is a very big piece for the women who will have ... a very big ceremony - this is a kimono for that. It's going to be very gorgeous and something very important for the life of women.
Japanese art x Textile design x Antique art collaboration Exhibition in KYOTO JAPAN
+Profile
Born in Osaka Japan, 1971,Work is Created in Japan.
Born Male, But as a Result of G.I.D(Gender Identity Disorder),In 2002 Desided to Undergo a
Series of Treatments in Order to Fullfill the Desire to Become a Woman.
Most of Kozo's Illustrations are Based on Images of Children Who Are, She Feels,
Reflections of Their World Around Them. In Flounced by Meir Parents and Living Environment,
Mirroring Society.
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I was born with having female mind whether if that's a mischief of God...
When I was little, I couldn't do anything about that even though I had a doubt about my body. I have also suffered from pains in my mind because I couldn't accept the fact of not being able to get pregnant.
At that time, painting of pictures saved my life. Even though I cannot get pregnant and have babies, I can paint pictures of children....Painting of pictures has become of the only way for me to confirm, ''I am here.''
To know about children more, I started to work at the nursery school. While involving with those children, I have found one thing about them. That is, children are like a ''mirror of reflecting this society''
Children are thinking more than we think. They are also very hard workers than we think.Children cannot live without depending on adults. Therefore, they try to be smarter to accommodate with their environments. Some children can change themselves freely because of adults. A sense of incongruity, loneliness, and unreasonableness are created inside of those children because of pure minds...
Children have many complicated feelings more than we think. Children are not good at expressing their feeling into words, but their eyes are telling all of this society. To see facial expressions and eyes of children means to see our society.
Since I found this fact, I have been expressing feelings of children with paintings. I will probably keep painting of children for rest of my life. Therefore, I will be able to confront the fact my body is not female.
#cozocobun #kozokobun #japaneseartist #japanesepainter #cocoartch. #japan #kyoto #arashiyama #japaneseart #textile #artwall #cocoart #こうぶんこうぞう #現代美術
Chunghie Lee: 'Pojagi and Beyond' at the 2009 Festival of Quilts, England
Pojagi ('Po-Jah-ki') Korean traditional wrapping cloths were originally made by nameless women throughout the Choson dynasty. (13921910). In olden times, these womens world was their home, but today their world and work has moved beyond the gate of their houses and country into leading design schools and art festivals, as we find with the work of celebrated Korean Pojagi Artist, Chunghie Lee.
Not satisfied with traditional folding cloth methods alone, Chunghie Lee embraced the classical art form of Pojagi, and further expanded on it with a line of wearable art clothing, wall hangings, and multi-dimensional textiles, often incorporating old photographic images of simple peasant women peering out at us alone and in groups, as Lee puts it in order to recognize and pay homage to the contribution they made to this traditional art form over the centuries.
Pojagi and Beyond, as Lee refers to her course at the Rhode Island School of Design and in traveling exhibitions from Hawaii to the Victoria and Albert Museum in London, is one Korean woman's passion for creative fibre arts and her desire to teach others so that they may find in Pojagi the freedom and expression she finds from this ancient Korean art form.
Liz Cooper caught up with Chunghie Lee and interviewed her at the 2009 Festival of Quilts in Birmingham, England.
Filmed and Edited by Andrew Galli • Translations by Donghoon Ryan Lee
Arimatsu-Narumi Shibori DVD
In 1608 eight formerly farming families in Japan settled along a stretch of the Tokaido or 'eastern sea road' connecting Kyoto and Osaka to the new capital, Edo, now Tokyo. Taking up handicraft, they developed a peasant textile industry, initially mimicking the fine silk Shibori techniques found in Kyoto and ultimately developing their own methods and techniques for working with silk and cotton fabrics to create magnificent designs for summer and winter clothing and home decoration. Narumi joined in with the neighboring village of Arimatsu to create a cottage industry that would eventually grow to be known worldwide as Arimatsu-Narumi Shibori.
The Guild of Artisans of Arimatsu and Narumi in collaboration with Studio Galli Productions has released the most comprehensive overview of Shibori available in honor of reaching 400 years of continued production. Each part of the process is meticulously detailed in this sumptuous film, with narrative provided by acclaimed Shibori artist and scholar, Yoshiko Iwamoto Wada. Visit studios and workshops to see the Shibori processes demonstrated by the most expert artisans available today. Includes contemporary and historical examples of Shibori textiles hand made by local artisans.
Filmed in Arimatus and Narumi, Japan. Japanese, Spanish and English Sub-titles • Narration by Yoshiko Iwamoto Wada
Nishijin Textile Center Kimono Show
We took in the first Kimono show of the day at Nishijin Textile Center. The kimono is the traditional dress of Japan and is worn mainly on formal occasions.
New Japan Style - part 5
kuambiance.com ---- New Japan Style is an exploration of the redevelopment of very traditional Japanese art forms and crafts into 21st century designs. It showcases unique individual craftspeople, practicing arts that some would scarcely believe still exist, while also investigating the process of these artists launching new ideas and refining the traditional methods onto dynamic new products to meet the sophisticated tastes of a global design market. This film takes the form of a video-journal of master craftspeople. --- A film by award winning director and cinematographer, Emiko Omori (best cinematography in a documentary, Rabbit in the Moon, Sundance Film Festival, 1999).