geisha to diva exhibition guide (official) · the word geisha is made up of two characters,$...
TRANSCRIPT
Kiyoshi Kobayakawa (1898-‐1948), The Geisha, Ichimaru, 1933, woodblock print.
Exhibition Guide _________________
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Table of Contents
Introduction to the Exhibition………………………………………………………………………3
The Life of Ichimaru……………………………………………………………………………………..4
The Role of the Geisha………………………………………………………………………………….5
The Significance of the Kimono…………………………………………………………………….6
Types of Kimono………………………………………………………………………………………….7
The Kimono and Obi……………………………………...……………………………………………..8
Ichimaru’s Personal Effects………………………………………………………………………….28
The Prints and Scrolls………………………………………………………………………………….31
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The Exhibition
Installation of the exhibition From Geisha to Diva: The Kimono of Ichimaru, 2020 The Kelowna Art Gallery presents the exhibition From Geisha to Diva: The Kimono of Ichimaru. The fascinating life of Ichimaru (1906-‐1997), one of the most famous geishas of the 20th Century, is told through this collection of her magnificent kimono and personal effects. The exhibition features 34 kimono, 15 obi, in addition to a number of woodblock prints and paintings. Together, they help to draw the curtains back on the complexities of geishas and the depth of the role they played within Japanese society. Organized and circulated by the Art Gallery of Greater Victoria. Curated by Barry Till, Curator Emeritus of Asian Art. Exhibition sponsor: The information in this exhibition guide is sourced from the catalogue publication “From Geisha to Diva: The Kimonos of Ichimaru”, 2001, by Barry Till, Michiko Warkentyne and Judith Patt.
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The Life of Ichimaru
Because of the confidentiality of geisha, little is known of Ichimaru’s early life as a geisha. The following are tidbits gleaned from published books on Ichimaru translated by Michiko Warkentyne. Ichimaru was born in Nakatsugawa, Gifu Prefecture on July 16, 1906 with the birth name of Mitsue Goto. Her parents had eleven children. With so many mouths to feed, she had to leave home and work in a geisha house at the age of 14 or 15. Ichimaru started out working as a low-‐rank geisha or oshaku-‐waitress (one who serves sake) at a hot spring spa inn at Asama, Nagano Prefecture. One day when Ichimaru was asked to sing a particular song by a customer, she was embarrassed to be unable to perform it. This single event made her determined to improve her skills. She left for Tokyo and began studying the songs of the geisha. Her singing talent caught the ear of the proprietress of the Fujita Restaurant in Asakusa,
Tokyo. At age 19 she was able to enter a geisha house (okiya) called Ichimatsu-‐ya and took the name of Asakusa Ichimaru in 1926. Ichimaru was determined to make herself standout among other geisha. She began taking shamisen and singing lessons (kiyomoto style) from the famous female shamisen artist, Enchiga Kiyomoto. Having such an outstanding teacher allowed Ichimaru to become a very skilled shamisen artist, especially with the music of the old Edo period to which she devoted herself. She became known as the geisha who possessed a “nightingale-‐like” singing voice combined with elegant good looks and consummate skills with the shamisen. Her singing talent was in great demand not only in the teahouses and restaurants of the Asakusa geisha district, to which she belonged, but also in other geisha districts such as Yanagibashi, Akasaka and Shinbashi. In the late 1920s and early 30s new technology was occurring in the performing arts as Radio broadcasting and recording companies began replacing stage, teahouse and street performances. In 1931, Ichimaru signed an exclusive contract with The Victor Recording Company. That year, Ichimaru made her singing debut at an amusement park opening, performing a song produced by the famous poet Kitahara Hakushu. Ichimaru’s career as a diva took off however, she would continue to follow the geisha lifestyle. Ichimaru continued to perform and record songs for the Victor Recording Company both nationally and internationally, even into her senior years. In 1997, at the age of 91, Ichimaru passed away leaving behind a tremendous legacy to the Japanese music industry and her triumph over adversity, in perfecting her arts to become an outstanding diva.
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The Role of the Geisha
Westerners often misunderstand the concept of Geisha and think of them as something immoral, tawdry or even medieval. In Japan however, the occupation of geisha has a long and honourable history. Geisha were high class, well-‐educated hostess-‐courtesans, who entertained wealthy, sophisticated and powerful Japanese gentlemen who wished elegance, culture and brilliant conversation in an exotic atmosphere of decadent refinement. They were status symbols for the wealthy and provided an air of respectability. The word geisha is made up of two characters, gei (芸) means ‘art’ or ‘accomplished’ and sha (者) meaning ‘person’. Therefore, it can be translated as ‘accomplished person’ or ‘person who lives by the arts.’ They were professional entertainers and hostesses, who became an important part of traditional social life for men. They provided a beautiful and sensuous fantasy that all men desired. Their community came to be referred to as karyukai meaning “the flower and willow world”. They were extensively trained in many of the traditional Japanese arts and their services were exclusively for the realm of wealthy men. It was because of these glamorous women that much of the richness of traditional art and entertainment came to survive in modern Japan. The geisha became Japan’s unparalleled conservators of traditional costume, music, song and dance. In the old days, the geisha were considered a valued possession of a city and a measure of its vitality. The geishas aspired to provide an exclusive dream world of luxury and romance. Their great attention to their personal appearance and their incredible devotion to perfection in the classical arts and in conversation has made them highly respected guardians of Japan’s traditions. Since their early beginnings, geishas have entertained and were trusted by men of intellect like actors, poets and artists, and men of power like samurai, wartime generals, captains of industry, entrepreneurs, cabinet ministers, aristocrats, and even men of the imperial household. In their presence, some of the nation’s most important business took place with ideas being freely discussed – deals were made, wars planned and plots hatched. These men knew they could trust the geisha’s code of silence not to divulge what they overheard. The geisha’s livelihood heavily depended upon discretion and confidentially and part of the erotic appeal of these women was to do with this secrecy and mystery. With the perfect balance of beauty, knowledge of the arts and cultivated etiquette, the geisha became a “living work of art”. The geisha profession has lasted so long in Japanese society because it is an admired art form.
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The Significance of the Kimono
The single greatest expense of the geisha’s budget was her kimono wardrobe. When she began her geisha career, she was obliged to purchase at least ten kimonos and this would put her deep in debt. She had to have a number of styles, designs and colours, which she would wear during the various seasons and occasions. From the late 18th century to the early 20th century, the geisha became chic, avant-‐garde and the fashion trend-‐setters. Her gorgeous costumes and her elegant mannerisms exuded a sense of style (iki). Kimono (from mono meaning thing and ki of kiru meaning to wear) is a term that came into use in the Meiji period (1868-‐1912). Kimono has come to mean essentially the T-‐shaped outer garment based on the kosode (small sleeves), the outer garment of the urban elite of the Edo period (1615-‐1868). Kimono were often made of fine silk and decorated using various techniques including embroidery, tie-‐dye, stencilling and paste resist dyeing, known as yuzen. This technique is particularly important to the kimono in this exhibition. The process involves the use of dried starch paste or glue as a base, which is then covered with dyes of various colours. The fabric is steamed to set the colour dyes and the starch paste is washed away in cold water. In the late 16th through mid-‐19th centuries, the Monoyama and Edo periods, the kosode or kimono became not just a garment, but a work of art. Its structure, and the social and economic developments of the times, encouraged the decoration of its surface by artists and artisans. Formal or upscale Kimono and Obi are often designed with auspicious motifs that represent good things such as longevity, happiness and fortune for its wearer and the occasion they are worn. Motifs were chosen to communicate the wearer’s age, status and wealth along with their individual tastes in design. Designs and colours of kimono and obi also communicate various attributes of the garment wearer and the seasons and occasions when the garments are worn. Designs on an obi and a kimono can also serve as auspicious symbols for special occasions. Nature inspired motifs are common and are often worn to reflect the current season. Botanical motifs are most common, such as bamboo, chrysanthemum, peony, plum and the Matsu pine tree. Animals like cranes and pheasants, and inanimate objects like drums, fans and makimono-‐books also make for common kimono and obi design motifs. The design motifs can be depicted realistically or graphically, and there are thousands of commonly recognized graphically designed patterns that signify certain items of nature objects and cultural items in kimono and obi designs. As for obi designs, one can also find various geometric patterns like hexagons, arabesque shapes and even medallions that have several layers of patterns within them. The kimono “came to embody the essence of Japanese tradition” and especially “became synonymous with Japanese femininity” although the kimono had been worn by both sexes and by all classes and ages until the Meiji period. A geisha uses the kimono to transform herself into a work of art. Ichimaru would choose the kimono type that would best suit the song or dance she would perform.
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Types of Kimono
The style of kimono and the way it has been worn during the 20th century is based on the rather stiff and formal 19th century tradition of the samurai class. “Samurai were serious people who did not wear their kimonos frivolously.” In the 20th century, all the nuances of kimono wearing were carefully studied and correct etiquette rules closely followed. The expectations to the formality and stiffness of most 20th century kimono wearers were the geisha. The kimono types have been precisely ranked as to formality and style, as follows: Furisode (long swinging sleeves): This is the most formal style, for a young, unmarried girl; long sleeved (sleeves reaching to calf or ankle length), often brightly coloured or highly decorated. Tomesode (clipped sleeves): worn by a married woman or woman over 22 years old; for most formal occasions, the kimono will be black or white, have 5 crests (mon) on the shoulders and any other decoration primarily in the area along the hem and lower front edges (tsuma moyo) or concentrated along the hem (susomoyo); for less formal occasions, the tomesode will have 3 crests and may be in other colours with tsuma moyo or susomoyo decoration. Homongi (visiting wear): semi-‐formal worn for visits and parties; has no crests and decoration is allowed on shoulders and sleeves as well as on the body of the robe. Yukata: An unlined cotton kimono worn in summer for errands and casual occasions. Other garment types: Uchikake: a highly decorated kimono with padded hem, worn loose and unbelted over all other robes on formal or ceremonial occasions, especially weddings. Haori: outer jacket-‐like garment worn over the kimono – the front edges hang parallel rather than overlapping. Obi: the waist sash worn to hold the kimono closed and enhance its beauty is carefully selected to blend or contrast with the kimono. There are nearly twenty different ways to tie it, but the otaiko (drum) style was most often used.
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The Kimono and Obi
Collection of the Art Gallery of Greater Victoria Gift of Mrs. Fumio Suzuki
Furisode with peonies, phoenix birds, paulownia and cherry blossoms Paste-‐resist dyeing; gold and silk thread embroidery; damask-‐like figured silk satin; silver and gold leaf stenciling on partial lining of damask-‐like figured silk satin The storage folder noted that this kimono was to be worn with a red obi that had a bird design on it. Only an accessory as bold as that could have held its own with this furisode. The decoration is large in scale, vivid in colour, and very dramatic. These qualities, and the long-‐sleeved furisode style, are appropriate for an unmarried girl for normal wear, but geisha and entertainers like
Ichimaru disregarded these rules and wore whatever was suited to their performance. The motifs on the furisode are all very auspicious themes. The partial lining in pink rinzu, with an overall geometric fence (higaki) latticework damask design, is further decorated with squares of gold leaf. The heavy padding on the hem indicates that this kimono was worn trailing.
Tomesode with camellias and three tachibana (tangerine flower) crests Paste-‐resist dyeing; silk crepe This is a very elegant kimono, with a padded, trailing hem and decoration done entirely in yuzen dyeing. The camellias, a New Year’s flower, are shown on the inside at the center opening, as well as on the outside; they would be seen as the kimono was held slightly open during a performance.
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Tomesode with pines and clouds and five Nakamura family crests Paste-‐resist dyeing; gold embroidery and stenciling; silk crepe This is the most formal type of kimono, in black, with five crests and with decoration only in the area from knee to hem. This formality, combined with the pine tree motif (pine branches are a New Year’s symbol) would make this kimono appropriate for ceremonial occasions associated with New Year’s. It might have been worn by Ichimaru at the naming ceremony when she was granted the Nakamura family name. Ichimaru revived the Edo-‐
style popular song, with the chanting singing style of the Kabuki theatre, and especially of the Nakamura School of Kabuki. In gratitude, the Nakamura School bestowed on her the title of headmistress of Edo-‐style vocal training in the Nakamura Performing Arts School, allowing her to use the Nakamura crest, a stylized gingko leaf within a watchtower outline.
Tomesode with cranes and clouds and five tachibana (tangerine flower) crests Paste-‐resist dyeing; gold leaf and gold powder stenciling; silk crepe The black colour, five crests and padded hem indicate that Ichimaru would have worn this kimono for formal dancing or singing. The design of the crane, an auspicious symbol associated with long life, is carried onto the inside of the kimono, where it would have been seen as Ichimaru held the garment up to move.
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Obi with golden surface and small figure Haku-‐urushi-‐ori textile; silk The textile of this obi is Haku-‐urushi-‐ori (箔漆織), a woven textile which has a smooth, lacquer-‐like, golden surface. Haku means a gold leaf. Haku-‐urushi-‐ori is a finely woven textile using very thin/fine golden threads. Urushi is a natural lacquer, used for various Japanese arts and crafts, such as the surface of letter boxes, bowls & utensils, hair ornaments, and the sheath of a Samurai-‐sword, etc. The golden thread used for Haku-‐urushi-‐ori, is made with very thin gold leaf pasted on washi, a special Japanese paper, with urushi-‐lacquer. Label by Hitomi Harama, Kimono and Japanese cultural specialist
Homongi with flowers and vine leaves Paste-‐resist dyeing; silk crepe This is a less formal style, without the crests, that would have been worn for parties and banquets. It is unlined, indicating that it is summer wear. The blue flowers and leaves may be those of the paulownia.
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Tomesode with stylized geese and three tachibana (tangerine flower) crests Paste-‐resist dyeing; silk crepe This kimono might have been designed for Ichimaru to wear when she sang the Ko-‐uta love song, “Hagure Gan” (Strayed Wild Goose). An inside lining, in a red and white geometric design based on a flax leaf pattern, simulates an inner kimono with an additional royal blue edging between the patterned lining and the outer cream and blue kimono. The bold colour contrasts are very “geisha” and theatrical, and the simple strong design of the bird motifs would have carried in the large theatres where Ichimaru was appearing in the 1950s, when this may have been made. This tomesode also has
decoration on the shoulder, not just in the hem area. The stylized bird forms appear more like geese than other common Japanese birds, such as the long-‐necked crane or the more compact crow. The heavy hem padding indicates that this kimono was meant to be worn trailing on the floor behind its wearer.
Obi with shibori (tie-‐dye) pattern Unbleached cotton; silk crepe The overall geometric pattern, which is composed of stylized leaves, is dyed by the shibori technique. The tiny pinholes made by the shibori stitches are visible. The lining of the obi is chirimen (silk crepe) in solid burgundy. This use of silk crepe for lining cotton material is unusual and makes this obi unique.
Obi with embroidered flowers Embroidered silk This obi, for summer wear, is made of brick-‐coloured raw silk, lined with material in a similar colour as the exterior. The embroidery of flowers on the raw silk is done with soft, untwisted silk thread, which reminds us of the Momoyama period embroidery (1573-‐1615).
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Homongi with scene of Yanagibashi Paste-‐resist dyeing; silver stenciling; silk crepe The bridge and riverbank depicted in black, above a blue area of water reflecting silver clouds, represents Yanagibashi (Willow Bridge), the Tokyo geisha quarter where Ichimaru lived and worked. The branches on the kimono’s shoulders are those of the willow tree. Ichimaru wears this kimono in a photograph on one of her record album covers.
Homongi with peacocks and scattered peacock feathers Paste-‐resist dyeing; gold and coloured silk thread embroidery; silk crepe This is a superb example of yuzen dyeing and embroidery, with the embroidery varying in the technique from the “rough taste” style of the Momoyama period on the tail feathers, to the “fine taste” on the body of the peacock. The contrast from the tan coloured peacock done only in yuzen dyeing to the blue and green one done with embroidery also gives depth to the scene. This homongi is a more casual style of kimono, with some decoration (the scattered peacock feathers) on the shoulders and sleeves, but yet this is one of the most splendid and expensive of Ichimaru’s kimonos in the exhibition.
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Homongi with branch design Paste-‐resist dyeing; gold and silver embroidery; silk crepe This purple (fuji-‐iri) kimono is a less formal style, used for parties and banquets. The decoration on the sleeves, as well as the body of the kimono, is a tour-‐de-‐force of dyeing technique. The decoration is known as “majolica” for the amazing variation in colour and shading in the branches created through the yuzen dyeing process.
Homongi with plum tree and flower patterns and some black and gold kata-‐zome print designs, which include various chrysanthemum-‐mon pattern designs Paste-‐resist dyeing; gold and silver thread embroidery; silk crepe Some areas are embroidered to give more depth and elegance in the design motifs (gold thread embroidery on some tree stem/branch areas and gold or silver thread embroidery on some plum flowers; red thread embroidery on some chrysanthemum flowers at bottom black and gold pattern area).
This homongi was probably designed for late winter/spring (January -‐ April). It is uniquely designed and has an outstanding look. We can tell this was specially designed and created for Ichimaru, who was a star of her era. Label by Hitomi Harama, Kimono and Japanese cultural specialist
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Obi with shibori (tie-‐dye) pattern and plum flowers Silk textile; gold thread embroidery The textile has so-‐shibori, which means "shibori-‐tie-‐dye throughout the textile.” Festive takarazukushi (宝尽くし) patterns and plum flower patterns are enclosed in the cloud shape design (this type of shape is one of the Japanese designs that indicates "cloud"), which signifies the arrival of good fortunes. Takarazukushi is another kissho-‐monyo (design patterns that indicate good fortune). Takara means "treasures" and zukushi means "complete." Label by Hitomi Harama, Kimono and Japanese cultural specialist
Homongi with various abstract chrysanthemum designs Paste-‐resist dyeing; embroidery; damask silk crepe The flowers are hand-‐painted (Yuzen-‐zome: 友禅染) and embroidered, making this kimono design bold and outstanding. Chrysanthemum flower patterns are embroidered in red, white or gold thread and leaf patterns are embroidered in green thread. The chrysanthemum has been a favoured design motif in Japanese culture for more than 900 years. When realistically depicted, it represents autumn (therefore the kimono with realistic chrysanthemum designs can
be used only during the fall season); but when more graphically portrayed, as seen in this kimono, chrysanthemum design motifs are appropriate for any season. This homongi was probably designed for the fall/winter season (October -‐ January). We can tell this was specially designed and created for Ichimaru, given its unique design. Label by Hitomi Harama, Kimono and Japanese cultural specialist
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Obi with images of peonies, birds, and clouds Woven silk Graphic/abstract images of peonies, birds, and clouds are colourfully woven on a coral pink base to create an opulent look. The bold and whimsical design theme and motif design placement give this obi a dream-‐like or surreal look. This colourful, fun and gorgeous obi is well-‐suited to Ichimaru’s character as the most celebrated Geisha of that time. Label by Hitomi Harama, Kimono and Japanese cultural specialist
Obi with circular mon crest design Woven silk Red silk woven obi with design patterns of squares and the circular mon crest design of tachibana (tangerine flower), with gold and silver thread. Tachibana(橘) is a kind of citrus fruit native to Japan. This obi has the bold and (粋/iki) "refined" or "dapper" look of the Edo cultural style. Label by Hitomi Harama, Kimono and Japanese cultural specialist
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Iro (coloured)-‐Tomesode (色留袖) depicting scenes of Taka-‐gari (falconry) Paste-‐resist dyeing; silk crepe Kimono with five mon (mon-‐tsuki kimonos are for formal occasions). The images in the pattern, drawn with te-‐gaki Yuzen (手描き友禅: hand-‐painted with a thin-‐brush) dye, are depicting scenes of Taka-‐gari (falconry). Mounted aristocrats are hunting cranes with the help of servants on an autumn day, as indicated by the maple tree with red leaves. Mon-‐Tsuki (紋付) is the term for kimonos that have a
family crest. Mon means “crest” and Mon-‐Tsuki means “with (family) crest(s).” Mon-‐tsuki kimonos are very formal. The level of formality is classified by the number of mon, or crests. There are three classifications of mon-‐tsuki: five, three, or one mon-‐tsuki. The more crests, the more formal the kimono is. Label by Hitomi Harama, Kimono and Japanese cultural specialist
Iro (coloured)-‐Tomesode (色留袖) with cherry blossoms in bloom Paste-‐resist dyeing; silk crepe Kimono with five mon (mon-‐tsuki kimono are for formal occasions). The textile is rinzu (綸子), with a satin-‐like, smooth and slightly shiny surface, with saya-‐gata (紗綾形) -‐ji-‐mon (地紋) (“saya-‐gata" means woven patterns). Saya-‐gata is one of the most popular kissho-‐monyo (patterns with fortunate meanings), which has been used for kimono textile patterns for more than 400 years. Saya-‐gata patterns signify prosperity and longevity.
The drawings (the design patterns in the bottom part of kimono) depict cherry blossoms in full bloom, in a beautiful spring sunset. Label by Hitomi Harama, Kimono and Japanese cultural specialist
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Obi with gold pattern designs Silk This obi is woven with a haiku-‐urushi-‐ori (箔漆織) technique. The pattern designs over the obi are shoso-‐in monyo (正倉様). Shoso-‐in monyo were created during the Nara period (710 – 794), or, more specifically, the Tempyo period (729 -‐ 749) and are the most historical textile design patterns in Japanese culture. They have been used in kimono design as the most prestigious and classy designs for 1300 years. In this obi, we can view the shoso-‐in style design motifs of the phoenix bird, chrysanthemum, and the most typical shosho-‐in design motif which was taken from the decoration design on the back of the mirror, one of the artifacts found in the shoso-‐in storage house. This obi might look simple, but the luxurious feel of gold and shiny smooth textile with prestigious patterns make this obi a high-‐ranking style. When worn with a kimono, such as the iro-‐tomesode kimono, together with some accent colour of obi-‐shine and obi-‐age (small
ornamental obi-‐belt support items), the overall appearance of the formal kimono would be classy and splendid. Label by Hitomi Harama, Kimono and Japanese cultural specialist
Homongi with kimonos hanging on ropes for spring airing Paste-‐resist dyeing; gold and silver stenciling; gold, silver and rainbow thread embroidery; silk crepe The decoration on this homongi is very bold and dramatic. Kimonos swirl in the wind on the lower part of the robe, and cherry blossom petals in rainbow thread embroidery and stenciled gold and silver are scattered on the shoulders. The kimono shown on the inside left of the front opening carries across to the front right side. The motifs on the kimonos include irises, with the characters “spring wind,” water flowers and a stylized water swirl, wisteria, swallows, mallets, grasses, and the characters “a thousand birds” and “flower wave” on a silver basket weave pattern.
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Homongi with landscape scene of islands with pine trees Paste-‐resist dyeing; gold and coloured thread embroidery; silk crepe Pine covered islands are a popular subject for the traditional Japanese woodblock print, ukiyo-‐e (images of the floating world). The pale-‐blue background aptly serves the purpose of both sky and ocean, with thin lines indicating waves. Homongi with silhouette of water birds Paste-‐resist dyeing; silk crepe
This is a homongi-‐type kimono (for banquettes and parties) made of Yuzen-‐dyed dusty rose silk. Although it has white silk lining, which covers only the back hip area and the border along the hem, this kimono is still considered hitoe (summer kimono). This type of partial lining is done in order to protect the outer silk fabric. Typical of the homongi, the design motif of the kimono is on the skirt and shoulder-‐sleeve areas only. The motif of the ghostly, white silhouette of water birds, emerging from the waves and spraying water droplets, gives a cooling effect to a viewer. What an appropriate motif for a summer kimono! The dusty rose silk crepe has a tiny, woven pattern, which shimmers under the light.
Tomesode with chrysanthemum blossoms and three tachibana (tangerine flowers) crests Silk embroidery; damask-‐like figured silk satin This silk has an overall pattern of paulownia blossoms. The large chrysanthemum blossoms, embroidered in multiple colours, are associated with the autumn season. The form of the tachibana crest is different from that found on most of the other kimonos, but all family crests have variant forms.
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Homongi with trees and unidentified artist’s seal Paste-‐resist dyeing; gold thread embroidery; silk crepe The design on this kimono appears on the shoulders and sleeves, as well as on the body of the garment. The beige background is called a “powdered tea colour,” according to the storage wrapper. The embroidery is very fine, with couched stitches (cross stitches holding laid-‐on lines of thread in place) and shading created by variation in stitch density.
Obi with brocade of flower crests and leaves Brocade According to the notation on the storage folder, the flower crests are roses. Bold, angularly-‐shaped spaces are formed by irregular, diagonal lines, and each space is filled with flower crests or leaves. The lines are gold. The flower crests are gold and silver-‐gray on a black background,
and the leaves are silver-‐gray on red background. The straight diagonal lines and the circular flowers and curly leaves make an interesting contrast. Obi of the Tsuzure-‐Weave Hand woven; silver leaf stenciling; silk This Tsuzure obi in a pale, wisteria colour has sparkling silver speckles woven in. Tsuzure is known as a slow process for weaving an obi. The Nishijin area of Kyoto is famous for this craft. The entire obi has to be woven by hand, and it is woven so tightly and stiffly that it does not need any lining.
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Tomesode with design of fabric screen with ropes and clouds and five tachibana (tangerine flowers) crests Paste-‐resist dyeing; silk embroidery; gold and silver leaf and powder stenciling; damask-‐like figured heavy silk This is the most formal style, with decoration only on the lower portion of the kimono and with five crests, but the background colour is peach rather than black or white. The fabric curtain screen depicted, on the left side of the kimono, is the type seen in handscrolls of the Heian period, such as those that depict The Tale of Genji. Clouds are created with gold leaf and gold powder stenciling. The ropes’ superb embroidery turns from gold to mauve and gold to white with Japanese knots for the tassels.
(1) Haori with maple leaf design (2) Haori with Chinese bell flowers (kikyo) Paste-‐resist dyeing; silk gauze The haori is a jacket that was worn in the Edo period (1615-‐1868) by men, but around 1900 the most stylish (iki) women, geishas especially, began to wear them. The haori was originally worn in winter, but the thin silk gauze of these haori indicates that they were worn in the summer. The autumn motifs are typical, however, since summer haori should suggest a touch of autumn coolness. A haori is made of two layers of silk gauze. The decorative motifs on the inner layer are seen clearly only when the haori is opened, but those motifs can be faintly glimpsed from the outside: a very subtle and elegant effect. The navy haori is decorated with Chinese bell flowers (kikyo) on a lattice. The black haori, with tachibana crest, is decorated inside with maple leaves.
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Homongi with fir trees Paste-‐resist dyeing; gold stencilling; gold, silver and rainbow-‐coloured silk thread embroidery, silk crepe This silk crepe has a textured, rough-‐smooth pattern that is unusual. This fabric may be a type of rinzu, rather than a chirimen. The fir tree motifs, set against the areas of different colours for the background, create a very modern and perhaps slightly “Western” effect, although the fir tree is a traditional symbol of winter in Japan. There is a matching obi in Nishijin silk weave, in a strong, gold colour also sporting fir tree motifs.
Furisode with abstracted grapevine pattern Paste-‐resist dyeing; gold stenciling; silk crepe The furisode, with its long sleeves, bold pattern and bright colours, is meant to be worn by a young, unmarried woman. These rules were not followed by geisha, however, and even after she left the geisha profession to become a recording artist, Ichimaru followed geisha style. Photographs show Ichimaru wearing this kimono when she performed in Hawaii in 1950, when she would have been in her 40s. The kimono may have been made for that performance, since it is made from poor quality silk crepe and appears to have been made cheaply and quickly. At that time,
Japanese textile and kimono manufacturers, like most businesses, had not yet recovered from World War II.
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Homongi with chrysanthemum blossoms Paste-‐resist dyeing; gold and silver embroidery; silk crepe Subtle gold rectangles were created by widely spaced parallel lines of gold thread, laid down and then couched with brown cross-‐stitches. These ghostly rectangles contrast effectively with the large, bold flowers, done with tightly stitched gold and silver thread. The flowers are silhouetted against cream areas, set against the brown “tea colour” background of the kimono.
Short coat for kimono with golden leaves Lace This is not a haori jacket, for it has neither the haori-‐like collar nor the haori-‐type front opening. This kind of coat belongs to the contemporary kimono fashion, which shows Western influence. The coat is made of a lace material, with a pattern of stylized golden leaves on black tulle. The entire coat is lined with a fine gauze in a pale, gold colour. It is a
stylish coat, and obviously not meant for winter. However, the colour and motif of the coat suggest that it is appropriate for the autumn season, when one may need an extra, light layer.
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Haori with mauve floral design Lace Though it is made of lace material, this jacket is a haori, as it has a collar along the front opening. The lace material is a mauve, French lace with a floral design. The flowers are peonies or roses, and the edges of the flowers are highlighted with pale mauve. This haori, like the short coat of golden leaves, is not
for cold weather. In contrast to the short coat, however, this jacket is most likely to be worn in spring or summer because of its motif and colour. This kind European fabric, whether imported from France or made in Japan, began to appear in the kimono fashion in the early 20th century.
Homongi with fans Paste-‐resist dyeing; gold leaf stenciling; small touches of gold embroidery; silk crepe This is a fully lined kimono. The decoration is basic yuzen dyeing, with a few accents of gold stencilling and gold thread couched with red. The flower motifs on the fans – plum, peony, chrysanthemum and maple – are auspicious themes associated with the seasons.
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Furisode with floral roundels Paste-‐resist dyeing; golden ochre; gold and silver threads; silk crepe The fabric of this furisode is silk crepe, which is dyed by using both the paste-‐resist (Yuzen) and the tie-‐dyeing (kanoko shibori) techniques. The overall golden ochre is paste-‐resist dyed, but the red/white and the indigo-‐blue/white areas are tie-‐dyed. The opulent and dazzling floral roundels are embroidered after the dyeing process. There are 17 roundels, two of which are not on the outer shell of the kimono. These two roundels are on the lining of the kimono -‐ one on the lining of the left front skirt, and the other on the lining of the right front
skirt. As the left side overlaps the right when the kimono is put on, the linings of these two areas are not visible. However, when a kimono is worn trailing on the floor, such as in the case of bridal or classical performances, the left and the right are to be turned outward from the knee down, and folded in a triangle shape so that the wearer of the kimono may walk without stepping on the trailing hem. The designs and the embroidery of the floral roundels need close and detailed examination. The flowers and plants designed into round forms are paulownia, bush clovers, chrysanthemums, irises, wisteria, nandina, pine and bellflowers. They are traditionally favoured plants, which repeatedly appear in art and literature. Their amazingly rich embroidery shows various techniques. Soft silk threads are used to fill out the shapes of flowers and leaves with classical stitches. To highlight the outlines of some flowers and leaves, heavy gold or silver thread is laid and couched down. Double stitches with heavy, tightly twisted silk threads are also used to highlight the outlines. The lining of the kimono is the same silk crepe as the outer shell, except the upper bodice and under-‐arms of the sleeves, where persimmon-‐coloured silk is used. The heavily-‐padded hem of the skirt shows not only that the same silk crepe is used for the lining of the major parts, but also that the kimono motifs are continued from the outer shell to the lining. Kimonos called furisode are commonly considered a young lady’s most formal wear, and it has a family crest at the five prescribed locations on the kimono (two at the front shoulders, one at the back centre, and two on the back sleeves near the shoulders). The family crest on this kimono is called Kuyo-‐mon. It is made up of nine circles, and considered a symbol of good omen. It is neither Ichimaru’s family crest nor her Nakamura Kabuki Performing Art school crest. The circles of the crest, however, seem to harmonize with the circular motifs of the kimono. This furisode is obviously not a young lady’s formal wear. It is a kimono for performance; perhaps a Maiko (novice Geisha) might wear it for her performance, trailing the skirt on the tatami or the stage floor, and showing the floral roundels of the lining as she gracefully steps forward.
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Tomesode in turquoise blue with three tachibana (tangerine flower) crests Paste-‐resist dyeing; silver stencilling; silk gauze This kimono is of the tomesode (formal) type, with three tachibana (tangerine flower) crests. The kimono is hitoe (unlined), which means it is a summer kimono. The fabric of the kimono, which is ro (silk gauze), also indicates that it is to be worn in mid-‐summer. On the Yuzen-‐dyed (paste-‐resist) turquoise blue background, fairly-‐large sprigs of stylized tangerine flowers with leaves are sparsely scattered. The flowers are bright orange and the leaves are dark green. The outlines of the sprigs are decorated with silver stenciling.
Tomesode with nandina branches and three tachibana (tangerine flower) crests Paste-‐resist dyeing; gold and orange silk thread embroidery; damask-‐like figured silk satin The storage folder noted that this kimono was “for New Year’s exhibition.” Some of Ichimaru’s kimonos were exhibited informally in Japan, and the nandina plant is associated with New Year’s, making this kimono appropriate for such an exhibition. This is a lined (awase) kimono, indicating that it was a winter one, so Ichimaru probably wore it for occasions associated with New Year’s. It is one of the more unusual kimonos in the
collection. Although it has crests, making it a tomesode, there is decoration on the sleeves and shoulders, which a conventional tomesode would not have. The colour contrasts are striking. The kimono fabric, with an overall flat, geometric pattern typical of rinzu, is a pale, acid green, while the false edging between it and the white silk lining is a rust orange that echoes the colour of the nandina berries, with a raised pattern of grasses in the weave.
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Obi of the Hakata-‐Weave with black lines Silk yarn The obi woven with silk yarn in the Hakata region of Kyushu is known as a Hakata obi. This Hakata obi has a bold pattern of black lines on a creamy-‐white background. In contrast, the lining of the obi is solid burgundy. Obi with bold calligraphy design Black ro silk gauze As the silk ro is a summer fabric, this is obviously a summer obi. The bold calligraphy design in silver is woven into the black ro silk.
Homongi with flutes Paste-‐resist dyeing; silk crepe This is a lined (awase) winter kimono, although the season for wearing lined kimono actually lasts from September through May or June. The flute was one of the classical Japanese instruments played by geisha but Ichimaru’s instrument was the shamisen.
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Obi with drooping cherries in gold, silver, & red Gold embroidery; brocade Cherry blossoms of silver or gold are depicted on a black background, along with leaves of gold and red and gold drooping branches. Scattered among the branches are gold clouds and mist.
Disassembled kimono with bush clover pattern Paste-‐resist dyeing; gold thread; silk crepe This kimono has been sewn together in one long strip for laundering. After cleaning, it would normally be re-‐assembled. It is interesting to note that the kimono is made of standardized strips that fit into one long panel. The design is bush clover in gold thread. Obi with multi-‐coloured brocade of traditional autumn flowers Embroidery; brocade This obi is a multi-‐coloured brocade of traditional autumn flowers and plants. They are chrysanthemums, bellflowers, cosmos, and pampas grass. The flowers and plants are superimposed upon the gold-‐coloured geometric pattern, which represents a diagonal fence. The background colours are maroon and cream, clearly divided horizontally into the two colour zones but vertically shaded from one colour to the other. The flowers and plants are in soft colours. This brocade reminds us of the motif design on the kimono for the Noh-‐theatre performance.
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Ichimaru’s Personal Effects
Collection of the Art Gallery of Greater Victoria Gift of Mrs. Fumio Suzuki
Shoes worn by Ichimaru Embroidery; lace
Fans used by Ichimaru Embroidered and silk painted; bamboo
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Wig used by Ichimaru
Hair accessories used by Ichimaru Lacquer hair comb, brass hair spike and metal decorative hairpin
Ichimaru’s albums
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Ichimaru’s Shamisen Wood; fabric; metal
Wooden Box Portfolio with Erotic Books The Geisha Ichimaru (1906-‐1997) had a collection of erotic art, which was donated to the Art Gallery of Greater Victoria along with the kimono in this exhibition. The erotic books and prints shown here were known as shunga, or “spring pictures.” Eroticism was an acceptable subject at the turn of the 20th Century. Shunga were an integral part of the Japanese printmaking tradition. Almost all the great ukiyo-‐e print masters designed erotic prints and considered them a vital element of their art. These prints undoubtedly served several purposes, from helping to train inexperienced courtesans to arousing prospective clients and, in some cases, educating newlyweds.
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The Prints and Scrolls
Collection of the Art Gallery of Greater Victoria Kunimasa IV (1848-‐1920) Courtesans Parading Along the Flower Path Road of the New Yoshiwara District, 1888 Woodblock print Purchased with funds from Phillip Steele
Kiyoshi Kobayakawa (1898-‐1948) The Geisha, Ichimaru, 1933 Woodblock print Collection of Steven F. Savitt and Mary Lynn Baum
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Kitagawa Utamaro (1753-‐1806) Head of a Courtesan, n.d. Woodblock print Gift of Misses A. and K. McEwan
Taiso Yoshitoshi (1839-‐1892) Courtesan Shiraito of the Teahouse Hashismoto-‐ya, 1886 Woodblock print, part of a diptych Gift of Richard Steel
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Taiso Yoshitoshi (1839-‐1892) Frozen: The Appearance of a Fukagawa Nakamichi Geisha of the Tenpo Era (1830-‐44), 1888 Woodblock print Gift of Dr. and Mrs. Morris Shumiatcher
Higuchi Tomimaro (1898-‐1981) Kyo Nishiki -‐ Maiko in Winter, 1946 Woodblock print Purchased with funds from Gloria and Ian Back
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Hasegawa Sadanobu III (1881-‐1963) Kyo-‐Maiko -‐ Playing Shuttlecock, ca. 1950s Woodblock print Gift of Judith Patt
Hasegawa Sadanobu III (1881-‐1963) Summer, 1950 Woodblock print Gift of Judith Patt
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Ogata Gekko (1859-‐1920) Ikebana Arranging, n.d. Woodblock print Purchased with funds provided by Judith Patt
Keigetsu Kikuchi (1879-‐1955) Portrait of a Beauty, n.d. Woodblock print Purchased with funds provided by Gloria and Ian Back
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Kiyoshi Kobayakawa (1898-‐1948) Portrait of Ichimaru, 1933 Hanging scroll, ink and colours on silk Gift of Mrs. Fumio Suzuki
Gyokuzan (1737-‐1812) Untitled, n.d. Hanging scroll, ink and colors on silk Gift of Jack Watanabe
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Kikukawa Eizan (1787-‐1867) Standing Courtesan, n.d. Hanging scroll, ink and colors on silk Gift of Mary Hummel