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Shibori

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445: 270: 689: 739: 124: 712: 659: 391: 1199: 2728: 25: 2717: 467:. A simple running stitch is used on the cloth then pulled tight to gather the cloth. The thread must be pulled very tight to work, and a wooden dowel must often be used to pull it tight enough. Each thread is secured by knotting before being dyed. This technique allows for greater control of the pattern and greater variety of pattern, but it is much more time-consuming. 378:– to achieve the desired pattern. The pattern achieved depends on how tightly the cloth is bound and where the cloth is bound. If random sections of the cloth are bound, the result will be a pattern of random circles. If the cloth is first folded then bound, the resulting circles will be in a pattern depending on the fold used. 407:
is also known as looped binding. It involves taking a hooked needle and plucking sections of the cloth. Then a thread is looped around each section twice. The thread is not knotted; tension is the only thing that holds the sections in place. The resulting dyed cloth is a water-like design. Because no
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process were lacquered on all but the sides and centre to resist the dye, and were soaked in water for 2 weeks before dyeing, as dry boards would warp and distort the resist. The low-quality, slightly coarse texture of the silk traditionally used in the process was important to the takeup of the dye
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technique, before a thin starch paste was applied to the faces of the boards to aid in the adhesion of the silk to its surface. The block was clamped tightly and hot dye was poured over the dye block – whilst rotating it to bathe every side in the dye – for three hours. This resulted in a perfect
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and the ability to layer the fabric within the dye process, as the fabric would be folded eight times, with the ideal fabric weighing no more than 100 g (3.5 oz) per 23 cm × 38 cm (9.1 in × 15.0 in) piece. The fabric was folded using the
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is a pleated and bound resist. This technique involves pleating sections of the cloth very finely and evenly. Then the cloth is bound in very close sections. The result is a very specific spider-like design. This specific design requires very precise technique.
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is a shaped-resist technique. Traditionally, the cloth is sandwiched between two pieces of wood, which are held in place with string. The fabric is typically folded more than once, creating a repeating pattern of resists throughout the fabric when unfolded.
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as a technique within Japan, and indeed, the exact country of origin of some of the earliest surviving examples. Much of the debate surrounds the technical capacities within Japan at the time to produce the variety of fabrics seen in some of the earliest
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Modern textile artists, instead of using carved or uncarved wooden boards painted with lacquer, often use shapes cut from acrylic or plexiglass and holding the shapes with C-clamps. The shapes prevent the dye from penetrating the fabric they cover.
444: 490:. The cloth is wrapped on a diagonal around a pole. Then the cloth is very tightly bound by wrapping thread up and down the pole. Next, the cloth is scrunched on the pole. The result is a pleated cloth with a design on a diagonal. 658: 1008:. "Arimatsu, Narumi shibori celebrating 400 years of Japanese artisan design". (DVD) produced by Arimatsu Shibori Mutsumi-kai (Japan) ; Studio Galli Productions (USA) Fremont, Calif. 2007 313:, resists where the fabric is folded and clamped between two carved wooden blocks. Most techniques recognised within these three categories have names and a number of varieties of technique. 738: 688: 610:
and Masanao Arai, with the assistance of the Yoshimura dyeworks archive and the Takasaki-Beni-no-Kai research group. The research discovered that the boards used in the
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dyeworks, the Yoshimura dyeworks of Takasaki, closed in 1932, and the technique of dyeing was relatively unknown until investigation into it was undertaken in 2010 by
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upon his death. The techniques seen on these earliest fragments show bound resists, wax resists and folded and clamped resists. However, at least some of the
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gifted the Emperor of the Wei dynasty over 200 yards (180 m) of "spotted cloth" – potentially describing a form of wax-resist decoration on the fabric.
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show that during the late Edo period (around 1845), the dye was diluted and substituted by craftsmen with sappan dye (
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demands a pliant and easy-to-handle fabric, with some historic dyeing techniques – such as the original technique of
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on its own. Differing techniques may be combined in some cases to achieve increasingly more elaborate results.
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The technique chosen and the resulting dyed fabric depends upon both the type of fabric and the dyestuff used;
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textiles were lining-weight fabrics dyed with pictorial patterns using red safflower (
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may be to create a larger pictographic or geometric design (as seen on many full-
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is the Japanese word for storm; the patterns are always on a diagonal in
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Though safflower dye was used, records from the Yoshimura dyeworks in
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is very easy to bind and unbind, making this technique commonly used.
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technique, which produces a number of different patterns on fabric.
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recreation of the crisp red-and-white pictorial designs of older
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Wada, Yoshiko Iwamoto; Rice, Mary Kellogg; Barton, Jane (2011).
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dates to 238 CE, where it was recorded in the Chinese document
597:, a city known for the production of fine, lightweight silks. 2646: 2496: 2492: 1501: 1423: 1356: 1336: 1091: 234:-dyed cloth date back to the mid-8th century, donated to the 1101: 865:
Shibori: The Inventive Art of Japanese Shaped Resist Dyeing
295:, with techniques generally grouped into three categories: 1215: 1046: 1041: 867:(3rd ed.). New York: Kodansha USA. pp. 11–13. 949:"Beni Itajime: Carved Board Clamp Resist Dyeing in Red" 915:
Shibori: The Art of Fabric Folding, Pleating and Dyeing
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Surviving examples of resist-dyeing in China (known as
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Optical illusion: combining 942: 940: 938: 936: 934: 881: 862: 368:is what is commonly thought of in the West as 158: 1486: 1062: 947:Arai, Masanao; Iwamoto Wada, Yoshiko (2010). 279:tied in small dots to form a tortoiseshell ( 203:One of the earliest written descriptions of 931: 536: 187:Some discussion exists as to the origin of 1493: 1479: 1408:Traditional dyes of the Scottish Highlands 1069: 1055: 109:Learn how and when to remove this message 443: 389: 268: 122: 1766:Japanese invasions of Korea (1592–1598) 2745: 1001:. Tokyo: Kodansha International, 1983. 992:, Mary Kellogg Rice, and Jane Barton. 912: 887: 858: 856: 854: 852: 850: 848: 846: 1474: 1050: 962:from the original on 2 November 2021. 958:. University of Nebraska - Lincoln. 47:adding citations to reliable sources 18: 843: 682:ties) and crane-print lining fabric 228:The earliest surviving examples of 13: 1942:2011 Tōhoku earthquake and tsunami 1500: 1197: 970: 505: 345:kimono), or simply to display the 14: 2784: 1809:Imperial Constitution (1890–1947) 1024: 470: 354: 2727: 2726: 2715: 737: 710: 687: 657: 523:One of the traditional forms of 381: 23: 917:. Michigan: ScreenPress Books. 551:(red safflower) squeezed board 484:is also known as pole-wrapping 417: 169:– "to wring, squeeze or press") 34:needs additional citations for 2295:Agriculture, forestry, fishing 906: 801: 435: 289:There are many ways to create 212:Chronicles of the Clans of Wei 1: 836: 264: 139:) dyed with indigo, next to 7: 1883:1923 Great Kantō earthquake 1829:Abolition of the han system 1185: 1176: 1157: 1123: 1107: 1033: 1013: 994: 986:. Dec/Jan 2009, pages 46–50 978: 890:Shibori for Textile Artists 762: 746: 728: 719: 701: 695: 678: 672: 670:, showing the loop for the 666: 646: 626: 619: 612: 602: 581: 575: 569: 563: 553: 547: 531: 525: 515: 507: 498: 492: 486: 480: 472: 463: 457: 449: 437: 427: 419: 410: 403: 395: 383: 374: 364: 356: 347: 341: 335: 324: 318: 309: 303: 297: 291: 281: 275: 257: 248: 230: 217: 205: 196: 189: 165: 150: 141: 135: 129: 16:Dyeing technique from Japan 10: 2789: 2768:Japanese dyeing techniques 2763:Japanese words and phrases 1076: 637: 182: 145:that has not been dyed yet 2710: 2478: 2356: 2347: 2290: 2281: 2216: 2093: 2089: 2080: 1993: 1984: 1952: 1895:Japan during World War II 1865: 1774: 1712:Mongol invasions of Japan 1687: 1612: 1539: 1530: 1512: 1447: 1416: 1395: 1274: 1208: 1195: 1084: 982:with commercial fabrics. 913:Moller, Elfriede (1999). 301:, tied or bound resists; 159: 2169:House of Representatives 1965:2019 imperial transition 1937:Great Hanshin earthquake 1905:Second Sino-Japanese War 1878:Japan during World War I 1455:Glossary of dyeing terms 1275:Traditional textile dyes 1018:Designs & Techniques 794: 1852:First Sino-Japanese War 888:Gunner, Janice (2010). 333:The desired result for 2320:Science and technology 1759:Council of Five Elders 1754:Azuchi–Momoyama period 1202: 644:Differing examples of 453: 399: 286: 146: 2265:Deputy Prime Minister 1650:Asuka Kiyomihara Code 1201: 1142:Reactive dye printing 818:Caesalpinia sappan L. 754:, Japan, 17th century 447: 393: 272: 163:, from the verb root 126: 2174:House of Councillors 2068:World Heritage Sites 1042:kyoto shibori museum 1006:Yoshiko Iwamoto Wada 990:Yoshiko Iwamoto Wada 664:The front edge of a 608:Yoshiko Iwamoto Wada 43:improve this article 2758:History of clothing 2191:Self-Defense Forces 892:. Tokyo: Kodansha. 307:, wax resists; and 238:Buddhist temple in 2325:Telecommunications 1857:Russo-Japanese War 1787:Tokugawa shogunate 1737:Nanboku-chō period 1732:Ashikaga shogunate 1705:Kamakura shogunate 1282:Armenian cochineal 1203: 1004:Galli, Andrew and 461:includes stitched 454: 400: 287: 147: 2740: 2739: 2706: 2705: 2455:Sexual minorities 2343: 2342: 2277: 2276: 2273: 2272: 2186:Political parties 2125:Foreign relations 2076: 2075: 1980: 1979: 1970:COVID-19 pandemic 1839:Satsuma Rebellion 1824:Meiji Restoration 1722:Kenmu Restoration 1582:Foreign relations 1468: 1467: 874:978-1-56836-396-7 726:dyed entirely in 561:), also known as 119: 118: 111: 93: 2780: 2730: 2729: 2722:Japan portal 2720: 2719: 2718: 2635:National symbols 2354: 2353: 2288: 2287: 2091: 2090: 2087: 2086: 1991: 1990: 1925:Economic miracle 1727:Muromachi period 1537: 1536: 1495: 1488: 1481: 1472: 1471: 1362:Polish cochineal 1190: 1181: 1162: 1128: 1112: 1071: 1064: 1057: 1048: 1047: 1036: 1016: 1011:Southan, Mandy. 997: 981: 964: 963: 953: 944: 929: 928: 910: 904: 903: 885: 879: 878: 860: 830: 827:Curcuma longa L. 813:Gunma Prefecture 805: 749: 744:Detail of silk ( 741: 731: 725: 714: 704: 699:being tied with 698: 691: 681: 675: 669: 661: 649: 629: 622: 615: 605: 595:Gunma Prefecture 584: 578: 572: 566: 560: 557: 556: 550: 544: 541: 538: 534: 528: 518: 510: 501: 495: 489: 483: 475: 466: 460: 452: 440: 430: 422: 413: 406: 398: 386: 377: 367: 359: 350: 344: 338: 329: 321: 312: 306: 300: 294: 284: 278: 260: 251: 233: 220: 208: 199: 192: 170: 168: 162: 161: 155: 144: 138: 132: 114: 107: 103: 100: 94: 92: 51: 27: 19: 2788: 2787: 2783: 2782: 2781: 2779: 2778: 2777: 2743: 2742: 2741: 2736: 2716: 2714: 2702: 2522:Class S (genre) 2474: 2450:Sex trafficking 2425:Life expectancy 2361:Anti-monarchism 2339: 2269: 2212: 2179:List of members 2159:Law enforcement 2072: 1976: 1948: 1900:Mukden Incident 1861: 1819:Meiji oligarchy 1799:Empire of Japan 1770: 1700:Kamakura period 1683: 1608: 1526: 1508: 1499: 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A rectangle of indigo blue and white cloth lying on a wooden table covered with a tatami mat, viewed diagonally from the corner.
Japanese
tie-dyeing
Chronicles of the Clans of Wei
Queen Himiko
Tōdai-ji
Nara
Emperor Shōmu
A rectangular length of cream fabric, appearing to be relatively fragile in places, half of it dyed a dark navy-blue. In places, the fabric has torn with age, and there are some sections of the fabric entirely missing.
tsujigahana
tie-dye


Shōwa period
Takasaki
Gunma Prefecture
Yoshiko Iwamoto Wada
A closeup of the front of a haori (kimono jacket) made from burgundy-coloured kanoko shibori fabric.
A portion of white fabric with colour-gradient blocks of woven blue pinstripes being tied into cones in the kumo shibori (spider shibori) style by a craftsperson.

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