Page 406 - Edo: Art in Japan, 1615–1868

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219 This cloth is a heavy fabric of silk and are accentuated with a pattern of
Karaori nô robe with pine trees, bamboo, metallic thread supplementary wefts so-called mist shelves created with
flowering plum branches, and stylized mist in a silk twill ground. Discontinuous flat, gold-leafed paper wefts. Stylized
supplementary weft float patterns mist designs were used as an artistic
Eighteenth century seem embroidered rather than woven. device in painting to indicate the
Silk and gold metallic thread
supplementary weft patterning on Kosode made of this cloth, also passage of time, signal a change in
scenery, or imply a faraway place.
known as karaori, were awarded to
warp ikat-dyed silk twill no actors by their samurai-class Additional colored weft patterns of
3
145 x 135.6 ( 57V8X53 /8) patrons and became a conventional pine, bamboo, and plum blossoms
Hayashibara Museum of Art, Okayama
no costume worn primarily as an symbolize, respectively, longevity,
outer robe for women's roles. resilience, and regeneration. The plum
• Some Chinese woven fabrics intro- blossoms and young pine also conjure
duced into Japan during the Muro- Karaori no robes incorporating red
feelings of early spring. SST
machi period and textiles produced are considered "colored" (iroiri) and
domestically from the beginning of are used for young women's roles.
the sixteenth century to imitate them This example has an ikat-dyed warp
are called Chinese weave, or karaori. of alternating bands of red and pale
indigo. The woven horizontal bands