Page 377 - JAPAN THE SHAPING OFDAIMYO CULTURE 1185-1868

292 Karaori joyed great popularity for the embellish-
silk brocade ment of daily wear in the Momoyama
1.152.0 (59 i/ 4) period, as in cat. 264. In No, costumes dec-
W. 146.0 (56 7/8) orated in this technique are known them-
Edo period, i8th century selves as nuihaku. They might be worn as
inner robes for boys' roles, or around the
Eisei Bunko, Tokyo
waist as koshimaki for women's roles.
Nuihaku were not bound by the technical
293 Karaori restrictions imposed by weaving, as in the
silk brocade thicker karaori, allowing great freedom in
1. 150.0 (58 !/2) the execution of decoration.
w. 150.0 (58 Vz) Cat. 294 is decorated with the seigaiha
Edo period, i8th century motif, a stylized wave pattern, in gold leaf
Eisei Bunko, Tokyo against the red silk background. Gold spits
of land emerge from the waves and are
The karaori, an outer robe for female roles embroidered with pine trees, behind
in the No performance, is the most bril- which can be seen sails embroidered with
liantly ornate of No costumes. Originally a variety of designs. Scores of Japanese po-
the name of the fabric, karaori (literally ems, tales, and travel diaries paint just
"Chinese weaving") came to be used as such a scene of a ship standing out to sea
the name of the garment itself. In contrast and disappearing behind a pine-forested
to kosode, where designs were created island.
mostly by dyeing, embroidery, and metal- The ground of cat. 295 is completely
lic leaf, karaori designs are all created in covered with pasted-on gold leaf; such
the weave; they are brocades, in which gold-leafed fabrics are called dohaku. Em-
long design threads of glossed or metallic- broidered over the gold leaf are open fans,
leaf-wrapped silk are "floated" across a each decorated with flowers including
ground of raw silk. The No karaori are of plum or cherry blossoms, irises, peonies,
two types, iroiri (with red), and ironashi hollyhock, wisteria, morning-glories, bush
(without red). The former is worn for clover, and chrysanthemums. The ornate
young female roles, and the latter for decorative scheme of this nuihaku well
middle-aged or elderly female roles. It is suits a female role for the No stage. KS
typically worn full length and with arms in
the sleeves, though for certain roles the
right sleeve is slipped off and draped back, 296 Chdken
or the robe is pulled up to the knees to re- silk brocade
veal the undercostume. 1.103.3 (40^4)
These two robes date from the mid- w. 206.0(803/8)
Edo period when the karaori was at its Edo period, i8th century
most brilliant stage of development. The Eisei Bunko, Tokyo
abundant use of red and of gold-leafed
thread makes these robes appropriate for The chdken, literally "long silk," is an un-
young female roles. Cat. 292 is densely lined jacket unique to No worn in dance
woven with gold thread and covered with scenes. It is made of a thin silk gauze into
butterflies dispersed over a field of wild which designs are woven with gold-leafed
carnations in threads of many colors. Cat. and colored threads. Below the arms, the
293 bears a design of clematis scrolls and side seams are not sewn together. It is
paulownia branches on an allover back- worn for a variety of roles, including that
ground of linked gold "coins." As many as of noblemen, or, worn with a type of red
twelve colors of thread were used to create pants, a court lady. Any one of a number
the designs of this luxurious karaori. KS of colors can be used for the ground, in-
cluding white, purple, red, light green, and
light blue. Designs may be concentrated
294 Nuihaku on one part of the garment, or spread
embroidery and gold leaf on silk across the entire surface. In this striking
1. 142.0 (55 3/8) example, the background fabric was
w. 144.0 (56 Vs) densely woven with gold threads. A design
Edo period, 19th century of flower-filled containers is woven on the
Eisei Bunko, Tokyo chest, back, and sleeves, with dandelions
and maple leaves scattered throughout. KS
295 Nuihaku
embroidery and gold leaf on silk
1.143.0 (55 3/ 4)
w. 136.0 (53)
Edo period, 19th century
Eisei Bunko, Tokyo
Nuihaku, combining embroidery with
glued-on gold or silver leaf (surihaku) en-

364