Page 383 - JAPAN THE SHAPING OFDAIMYO CULTURE 1185-1868

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297 Maiginu others maple leaves. Cherry blossoms and of the court class in the Heian period. In
silk brocade maple leaves are the prime Japanese sym- the medieval era it was adapted by elite sa-
1.164.0 (64) bols of spring and fall. KS murai as their most formal garment. It is
w. 224.0(873/8) thought that the kariginu first used in No
Edo period, iQth century 298 Kariginu performances were those actually worn by
Eisei Bunko, Tokyo silk brocade samurai aristocrats. In the Edo period the
1.150.0 (581/2) kariginu was established as a No costume,
The maiginu, literally "dancing robe," is W. 2O2.O (783/4) and these kariginu for the stage were made
an outer robe for women's dancing roles, Edo period, i9th century larger than the kariginu for daily wear
and resembles the chdken. Designs in gold Eisei Bunko, Tokyo from which they had originated. In No,
or colored thread are-woven into thin silk the kariginu is regarded as the most impor-
gauze fabric; the maiginu differs from the tant outer garment for male roles.
chdken in that it is longer and the side 299 Kariginu Both kariginu exhibited here are
seams are sewn together but the underarm silk brocade made of gold brocade and both are lined.
sleeve seams are not. The maiginu is worn 1.174.0(677/3) On cat. 298 roundels of water plantain are
in the tsuboori style, pulled up knee-high. w. 203.o (79 Vs) scattered against an allover design of six-
This beautiful example is made of light Edo period, igth century pointed hemp leaves. The decoration of
green silk gauze with woven gold designs Tokyo National Museum cat. 299 consists of gold brocade phoenixes
of rafts, some bearing cherry blossoms and and paulownia twigs on a purple back-
The kariginu, literally "hunting robe," was ground. The auspicious combination of
originally an informal jacket worn by men

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