Page 73 - Edo: Art in Japan, 1615–1868

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Kosode with plants, clouds, and geometric
designs on horizontal bands
Seventeenth century
Tie-dyeing, metallic leaf, and
silk embroidery on parti-colored
figured silk satin
7
139.5 x 125 (54 /sx 49 V 4)
Kyoto National Museum
Important Cultural Property

• Kosode, literally "small sleeves," the
72
precursor of the modern kimono, was
the principal outer garment of both
men and women of all classes during
the Edo period. This early Edo-period
kosode, composed of figured silk satin
(rinzu), has been divided into horizon-
tal bands of black, red, and white
by a stitch-resist tie-dyeing technique
3 (nuishime shibori). The bands have
interlocking diamond-shaped profiles
that derive from an abstract repre-
sentation of pine trees called "pine
bark lozenges" (matsukaiuabishi). Pine
3 ground are stippled with gold in a trees themselves are symbols of
Nonomura Ninsei (d. 1695) makie lacquer technique. A lozenge longevity. Confined within the bound-
Water jar with peony design pattern fills the space around the aries of the bands are small-scale
panels, each division bearing a styl- tie-dyed, embroidered, and gold-
c. 16805-1695 ized gold flower against a red ground
Stoneware with polychrome and outlined in green and silver. Nin- leafed patterns. These applied motifs
overglaze enamels include clouds, stylized mist, weeping
sei consciously played with color val- cherry tree branches, and concentric
Height 14(572)
Tokyo National Museum ues here and paid meticulous atten- lozenges. The dark color palette and
tion to detail.
Important Cultural Property combination of techniques used on
A document of 1682, "Yóshófushi" by this robe are characteristic of kosode
• This water jar (mizusashi) is an Kurokawa Michitsuke, refers to the thought to have been worn by
excellent example of the finely potted participation of Kano Tan'yu and Kano women of the military elite from the
stoneware body and painterly Yasunobu as well as regional Kyoto Keichó (1596-1614) through Kan'ei
approach to decoration that Ninsei painters in Ninsei's work, and the dec- (1624-1644) eras. SST
achieved in his most masterful works. oration around the mouth of the vessel
The painted overglaze enamel design is another example of Ninsei's close
covers almost the entire exterior of ties with painting. Silver waves, which
the piece and is divided into four pan- appear to be moving outward, away
els, each with three peonies executed from the rim, are also a play on the
in gold, red, and silver against a white function of the jar as a container of
slip ground. The gold flowers are out- fresh water during the tea ceremony.
lined in red enamel, the red flowers in The interior of the jar is covered with
gold, and the silver flowers in red. The
leaves and stems are freely painted a clear glaze, which reveals the origi-
color of the
clay body. The
nal buff
in green enamel, while the clouds and
base is stamped with a Ninsei seal at
the middle left in his standard manner
and aligned with the painted panels
on the exterior. NCR