鹿の子絞り | Kanako Shibori | Shape-resistance Dye | Pattern #17

Kanoko Shibori is the most common type of Shibori. It is made up of thousands of tiny Doughnuts which decorate the surface of the Tanmono, which leave a kind of island and ocean between them of white and the dye. Shibori often refers to the dye design process of wring, squeeze and pressing fabric into a tight wound band design to make the Doughnut imprints and is created when the dye is completed.[5] Designs dictates what type of Shibori a Shibori is with Kanoko being the most easy to finish. It is said in Japan that the finish resembles 'the back of a fawn', and was born during the Heian period as a popular finish for women's textile designs.[1][4] 

Kyo-Kanoko Shibori (2022) Copyright of NHK Broadcasting

Historically, tie-dye or resist textiles are first found in Peru in 500AD, eventually making their way to the Middle East, China in Yunnan Province as Zha-ran and India as Bandhani, Nepal as Nambu Tiget, Indonesia as Plangti/Tritik and West Africa as Adire in conjunction with the beginning of indigo agriculture.[2][3] Shibori or 'shape resist textiles' began in the Asuka period (538-710 CE) when the rise of Indigo farming and continental dyed textiles were imported for the elites.[1][4] An example is found at the Shosoin repository dyed in Blue and now yellowed silk for Emperor Shoumu (701-756).[2] Local Japanese examples often used more early techniques like Kokechi which is box fold like design and Rokechi.[6]

During the Heian period, local artisans most likely working at Za were commissioned to make aristocratic women's clothes.[4] It was during this time that Kanoko Shibori was born.[4] At some point, Indigo began to be used by the Heimin to make Shibori designs for themselves, most likely during interactions between medieval Za and the common folk in the Heian (peaceful) period (794-1185). They may also have drawn inspiration from the Sashiko stitch, but both are my own hypothesis. Murasaki describes Genji surrounded by women dressed in Shibori dyed clothing for example.[6][8]

Certainly though after the Kamakura period (1185-1333), Shibori became incredibly popular as an acknowledgment of taste and wealth, but Heimin Shibori was done on Hemp Kosode and techniques passed down by family only.[2][5] This was most likely done becuase the period saw a lot of wars and infighting as local warlords began to take over greater swathes of land in Japan. This coupled with large populations made starvation and disease quite common at the time, exacerbating existing issues. Therefore whilst art kept calm and carried on, people had less money and patience for being flashy when their neighbours kept killing each other and so Shibori became a coveted skillset to make money to feed hungry mouths with, rathern than purely an aesthetic pursuit of trades guilds in the Muromachi/Warring States lull period (1336-1573).

Tsujigahana sample (c1573, PD) Xem Bolton

In the Momoyama period (1568-1600), Shibori began to be adopted as a fluid way for Machi-Shu Daimyo to involve local artisans again as a way to curry favour with wealthier art families.[7] Countryside Men or Kokujin began to gain power due to their socioeconomic position as the new lords who patronised local artisans networks after 1467 to build their local support bases. Momoyama specifically saw the increase in this Old v New Money (MachiShu v Kokujin) which ultimately resulted in the countryside So artisan networks which competed with Kyoto.[8] Shibori was taken up by Machi-Shu who paid Countryside artists to make Tsujigahana, a posh Shibori design, to create lavish textiles for banners, art and kosode.[9] 

Kyo Kanoko Shibori was most likely an invention of a Kyoto Za workshop around this time. Other individual artists or Machi-Eshi became celebrities of the new Urban centres by 1600 like Edo, today Tokyo in this postwar cultural melting pot of the So Jinja art market and Za commissions made for regional and by the 1580's, upper class Daimyo. A So example is the Kano school, a workshop type of hereditary group, and a Za is the imperial trade guilds of Kyoto or Chaya Shirojiro (1545-1596) model, a workshop for elites, by elites which was dying out in favour of the So model by the Kanei Era (1624-1644) due to Tokugawa Stabilisation policies.[8][10]

During the Edo period, the sumptuary laws prohibited having fun so the Chonin and Heimin could no longer wear some fabrics and designs like Silk.[2] In lieu of listening to the idiots like Iemitsu (1604-1651), people would redesign their old garments by redying them in Shibori, popularising Shibori as a design mechanism for aesthetics once more.[2][4] This replaced Tsujigahana with Kanoko Shibori as a fine arts pattern by the middle of the 17th century in hand made labour intensive Kosode.[9][11] Local Arimatsu shops were patronised during Sankin Kotai (1630-1862), then Narumi expanding it again further.[9] Thus Kanoko Shibori was emulated by the Iki in the 19th century who may seen Shibori as a Wamono 'folk craft' by then which is why you still see thousands of horrible 1980's plastic Shibori design on Furisode to this day. Major hubs today are Arimatsu and Narumi villages in Nagoya Prefecture.[2][4]

Bibliography

[1] https://ja.wikipedia.org/wiki/%E9%B9%BF%E3%81%AE%E5%AD%90%E7%B5%9E%E3%82%8A

[2] https://www.wanderingsilk.org/shibori-history-meaning#:~:text=Supposedly%20having%20been%20introduced%20from,Nara%20in%20the%208th%20century.

[3] https://hali.com/news/around-the-world-in-tie-dye/

[4] https://shiboriorg.wordpress.com/2021/06/08/conversations-with-cloth-shibori-connecting-the-world/

[5] https://kirikomade.com/blogs/our-fabrics/15315047-shibori

[6] https://artquill.blogspot.com/2019/01/shibori-tie-dying-1-art-essay-marie.html

[7] See Sengoku Jidai Art Markets in Bijin#15

[8] See Bijin #15

[9] https://www.metmuseum.org/art/collection/search/64896

[10] See Patterns #12

[11] See Timeline

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