Sai the Collection Oe « Japanese Stencils e e a * 1 Kata-gam ‘the Cooper-Hewitt Museu ——_ | p. , The Smithsonian Insti National Museu n d ee fae | eR 10° eae / 7 js 4 Ne y| ; \f r " \ ' 4 gy ee le pia, vi: Ya a ES if te nian Tases davon = \ useumn Design | f a hare | ist | i, . ee TR MEAN Nae big he AOE A Kata-gami: Japanese Stencils eee Mania Fry Een are iste The Smithsonian Institution’s National Museum of Design © 1979 by the Smithsonian Institution All rights reserved Library of Congress Catalogue No. 79-87725 Foreword The collecting of Japanese sten- cils used in the process of dyeing fabrics is one of those rare excep- tions in which the means to the end is treasured as much as the final product. In most cases also, the stencils are the only surviving documents; the fab- rics have disappeared with everyday use. The Cooper-Hewitt Museum is fortunate in having an extensive collection of over 400 kata-gami (stencils) ranging from purely geometric forms to graceful compositions based on nature. They show the Japanese genius for pattern, and are exciting to contemporary eyes because of their craftsmanship and ele- gance, and the strength and timelessness of the designs. It is a pleasure for the Museum to publish this catalogue to coincide with a nation-wide festival honoring the extraordi- nary cultural contributions of Japan. Its publication was made possible through the interest and kindness of Karen Johnson Keland to whom we are deeply thankful. Lisa Taylor Director Cooper-Hewitt Museum 2 : i ‘ \ t i Ma * 7 ca § ; : = is : : i So : : ( : " Z . i : “f ra) = 3 7 - iS ‘ : t 2 ~ F = = ’ ‘ : = , y = ~ f C ‘ = = = ‘ o = z © 1979 by the Smithsonian Institution All rights reserved Library of Congress Catalogue No. 79-87725 Foreword The collecting of Japanese sten- cils used in the process of dyeing fabrics is one of those rare excep- tions in which the means to the end is treasured as much as the final product. In most cases also, the stencils are the only surviving documents; the fab- tics have disappeared with everyday use. The Cooper-Hewitt Museum is fortunate in having an extensive collection of over 400 kata-gami (stencils) ranging from purely geometric forms to graceful compositions based on nature. They show the Japanese genius for pattern, and are exciting to contemporary eyes because of their craftsmanship and ele- gance, and the strength and timelessness of the designs. It is a pleasure for the Museum to publish this catalogue to coincide with a nation-wide festival honoring the extraordi- nary cultural contributions of Japan. Its publication was made possible through the interest and kindness of Karen Johnson Keland to whom we are deeply thankful. Lisa Taylor Director Cooper-Hewitt Museum A He Kata-gami is the Japanese term for the paper stencils that are used to transfer patterns to fab- ric for dyeing. The technique, one of the oldest in Japan, is practiced today on a limited scale. Precise dating of the sten- cils is difficult because tradi- tional patterns and methods were repeated through the cen- turies, but it appears that most of those preserved in the Cooper-Hewitt collections date from the nineteenth or early twentieth century. Although only a few Japanese craftsmen remain who have the skill to cut stencils as elegant and refined as the historical examples, there 1s currently a movement to train artisans to keep the craft alive at a highly sophisticated level. The center of stencil cutting in Japan has always been the city of Suzuka, in Mie Prefecture near the Bay of Ise. The stencil dealers’ commercial interests were protected by the Tokugawa shoguns, who had risen to power in this area in 1615 and who held the reins of govern- ment in Japan until 1867. The dealers were permitted by the Tokugawa rulers to sell stencils freely throughout the country, an important consideration as there was no dyeing industry in Suzuka (Kyoto and Tokyo were the centers for dyeworks). In order to maintain their monop- oly, Suzuka dealers encouraged the cutters to be secretive about methods and designs, which were handed down from genera- tion to generation. The remarkably varied designs include free interpretations of nature, patterns derived from objects in daily life, and mo- tifs based on centuries-old formulas. Some motifs have undergone so radical a trans- formation from reality that the abstracted and simplified form bears little relation to actual ap- pearance. For example, the tor- toise, symbol of longevity, is reduced to a hexagonal outline for a fabric pattern. The sym- bolism is understood in Japan and enters into the wearer’s choice of fabric design. The traditional motifs of the stencils relate closely to the hereditary crests (won) of Japanese families. The similar- ity undoubtedly arises from the coincidence of their common source in the Japanese vocab- ulary of symbolic forms. Crests became an almost essential part of the costumes of all classes in the nineteenth century; by ex- tension, it was appropriate that patterns used on clothing fabric referred to these meaningful and basic design motifs. The paper used for making kata-gami is made of fibers from the bark of the mulberry tree. The intended design deter- mines the choice of the weight of paper —a very fine pattern calls for a thin sheet, but fora bold stripe or large design a heavy sheet is preferred. The paper must be strong enough to resist expansion or contraction during use. Stencil papers are normally about 9 by 16 inches (19 by 35 centimeters), a size dictated by the standard width of the fabric. As patterns tended to be larger in the late nine- teenth and early twentieth cen- turies, the stencil papers be- came proportionately larger. Examples of several sizes are il- lustrated here. The paper sheets are treated with the juice of just-ripened persimmons that has been aged sufficiently to make it viscous. The use of the astringent per- simmon juice is an ingenious method for making the paper stronger and water resistant. The sheets are then layered in groups of two or three, with the layers placed at right angles to each other as in plywood, and held together by the sticky per- simmon juice. Next they are hung from the ceiling of a closed room for several days and smoked with burning sawdust to harden the persimmon coat- ing. The paper emerges from this process slightly stiff but still pliable. Ordinarily at least seven or eight sheets of paper, placed on a board, are cut at one time, each sheet being oiled slightly to facilitate the movement of the knife blade. The cutting begins at the upper left corner. Obviously, particular attention must be given to the perimeter because the perfect matching of the repeat depends upon precise cutting of these areas. Fre- quently the pattern repeats in both directions. The stencils are cut with knives of various sizes and shapes that have different functions. One of the oldest and most refined techniques is &7r7-bori, by which minute holes are patiently cut with a rotating motion. The tool, a type of awl with a very small, sharp, semi-circular blade, is held upright and turned with the left hand. The thumb and fingers of the right hand direct the position of the blade. It is possible with this technique to create a design so subtle that only by holding the stencil up to the light can it be seen fully. The blade used for tswki-bori is narrow, thin, and flat with an angled edge. The cutter pushes it forward, the cutting edge di- rected away from him. This cut- ting is done on a board witha small hole near the center, the cutter manipulates the sheets over the hole to facilitate the piercing of all layers of paper in one movement. In Acki-bori, a similar blade is used, but the knife is drawn toward the cutter. It is the method employed for making striped patterns. The tool used for zchimai-zuki consists of a small, thin, rect- angular steel plate with a sharp- ened edge, set vertically into a handle. The cutting is done by pushing the blade down into the stack of paper. The blades vary in shape —straight, curved, or fluted. Where the motif is doubled, a twin-bladed tool is sometimes used. Dogu-bori employs a blade forged in the shape of a pattern, for instance, a triangle, a square, a flower petal, or a leaf. The cut is made by thrusting (punching) the knife. While the tool is very efficient, it curtails variations in the pattern. When the design is such that large areas must be cut away, the stencil is strengthened by peeling apart two of the layers that have been almost com- pletely cut and inserting a mesh of thin silk threads between them (the use of human hair is legendary). The two layers are then stuck together again and the remainder of the cutting carefully finished without dis- turbing the net. Thus, even the most fragile and delicate design is sustained by the net, which is so fine that it leaves no mark on the dyed fabric. The net is ef- fective in keeping stripes in alignment and in securing mi- nute parts of the design during the stenciling process. Complex designs often call for two stencils, for if the perfora- tions are too close together, the intermediate spaces cannot sus- tain the cut areas. In this case there is a main stencil and a secondary one for the remainder of the pattern. Usually the de- sign is transmitted to only one side of the fabric, except for un- lined cotton kimono for sum- mer wear where the pattern will be seen on both sides. The care demanded in registering the stencils on top of as well as next to each other is extremely great. To aid in achieving registration, a pigment (not a dye) is brushed through the stencil onto the fabric to act as a guideline for the second stencil. Dyeing with stencils is by and large a resist process. The sten- cil is placed on the fabric, which has been laid out, smoothed, and straightened on long boards. A dye-resistant rice paste is spread with a bamboo or wooden spatula over the stencil. The paste penetrates through the openings to the fabric and blocks out the areas that are not to be dyed. The stencil is then lifted and moved to the adjacent portion of the fabric, and the process repeated over and over. When the resist is washed away after the fabric has been dip- ped into the dye, the pattern emerges in white against a col- ored background. The dark areas of the stencil are dark in the finished fabric. Other methods are used to add more colors or to amplify the basic design after the initial pat- tern has been stenciled onto the fabric with the resist paste. For large areas, thickened dyes are brushed on through additional stencils. Smaller elements of the design are hand-painted with the thickened dye directly onto the fabric in selected places not previously covered. (This is a variation of the ywzen method of applying the design to the fab- ric. Yuzen is a completely free- hand process in which even the resist paste is applied by hand rather than through a stencil.) Once the design has been com- pleted on the fabric, the cloth is steamed to set the color, and after that, the resist is washed away as usual. With this meth- od, several colors can be ap- plied and set with one steaming. Whatever the method used, the ingenuity of the designer in contriving the pattern in sucha way that the components fit to- gether precisely edge to edge without detracting from the beautiful, over-all effect, com- bines with the skill of the dyer who manipulates the stencil so that the design flows without interruption throughout the length of the fabric. Stencil-dyed fabrics have most frequently been used for kimo- no, and there are many consid- erations besides taste that dic- tate the pattern and color of kimono fabric. For instance, as people age, it is expected that the number and brightness of colors and the size of the pattern in their kimono should de- crease. The time of day and the season determine the selection of a design; one would not, for instance, wear a kimono witha dragonfly motif in the winter. The narrow width of the fabric and the unchanging style and cut of the kimono also impose limitations on the designer. Stencil dyeing came into prom- inence because it could be adapted to large-scale produc- tion of an enormous variety of patterns on cotton fabrics for clothing and household items used by ordinary people. With the increasing popularity of western clothing in Japan, the demand for these fabrics has de- clined. The survival of stencils in public collections like that of the Cooper-Hewitt Museum helps to stimulate interest in preserving this fine tradition of craftsmanship. Elaine Evans Dee Sparrows 20.8 x 35 cm. Gift of Helen Snyder, 1976-103-14 None of the sparrows in the stencil is exactly like another, nor do any relate to each other in precisely the same attitude. As explained in a Japanese folk tale, The Sparrow with the Cut Tongue, this modest bird exem- plifies the virtue of repaying one’s obligations, a quality highly respected in Japan. Dragonflies I9.I X 35 cm. Gift of Helen Snyder, 1976-103-I1 As two of the dragonfly’s several Japanese names mean “victory insect,” warriors often adopted it as a crest motif. Now, how- ever, this design might be con- sidered appropriate for a child’s kimono because chasing drag- onflies is a favorite childhood amusement. Heron, Lotus, Marsh Grasses, and Water AN 2x 1G)s7) Ca. Gift of Helen Snyder, 1976-103-13 The lotus is the foremost Buddhist symbol for enlight- enment, supreme truth, and purity emerging from impurity, but this stencil is so painterly in its approach and so naturalistic in its composition that any thought of symbolism seems very remote. Since there 1s no provision for a repeat here, this stencil seems to have been made as a picture complete in itself. Rabbit Medallions and Vines \Esa7a Seen Sah) 19 X 34.7 cm. ST IRS 9 X 34-7 NZ ERS Gift of Helen Snyder, 1976-103-15 N My y y SN The white rabbit is an auspi- — cious symbol embodying the spirit of the moon, and is as- =f ANS SS AL Ls C sociated with the tortoise and ( the crane as a symbol of lon- gevity. ‘ Ss SS Wi IFS RRR) WY Dragons in Clouds 35-7 X77 cm. Gift of Helen Snyder, 1976-103-277 The dragon is a Chinese-in- spired design particularly as- sociated with Zen Buddhism. It is one of the four auspicious symbols together with the uni- corn, phoenix, and tortoise. Dragons were thought to leap through the heavens, control- ling the thunder and summon- ing the rain. D N GC», Fe CK) \ ~ YT ~~) AAS Mm » Doc , i] ») rr Leafy Vine £ 745 IGF, Z¥EN 18 x 35.4 cm. AS Gift of Helen Snyder, 1976-103-65 The variations of the scrolling vine pattern are endless. It is similar to the western ara- besque, and is most often used in combination with other forms. 8 ot Le as > a) PT. BN, VG Bracken and Hemlock Twigs ittelay/ 2 AAS) Cade Gift of Jules R. Breuchaud, 1962-229-2 The pairing of bracken and hemlock indicates early spring. Not unexpectedly, the ever- green, along with the chrysan- themum, tortoise, and crane, was a symbol of longevity. Re- sistant to the wind and resilient beneath the snow, the evergreen was one of the “three compan- ions of the deep cold,” a tra- ditional Chinese nomenclature adopted by the Japanese. The new shoot of bracken that pushes through the ground in spring is compared to the form of a fist, and hints of this configuration are seen in the threadlike tracery of this stencil. Fe HOS iAP ' H df all ty b 1 Bs Autumn Grasses, Bush Clover, % , a font Ras — 5 moy c= NN ye xO BAY 4) se n "2 N\ ~ uae N A ee ‘ \ Se ~ b and Butterflies | 36.4 x 34.8 cm. Gift of Helen Snyder, 1976-103-263 . The butterfly motif was often NY " used for heraldic crests. War- riors seemed to favor its elegant =I YAR shape and design and its carefree u \\ l Ly \ : - UM \ \\ AY a ) N @ WY ~ meal connotation, perhaps in reac- as tion to their daily lives. Le LT NSA Ned LH ROSY Hise ESAS Leafy Vine 18 x 35.4 cm. Gift of Helen Snyder, 1976-103-65 The variations of the scrolling vine pattern are endless. It is similar to the western ara- besque, and is most often used in combination with other forms. Eiievet PSE RSSIEE eae ReSe os) : SAS pay p rela wets PSNR rasan ciate , ef 2, th MG GSES So SSS EA Kanak Ee ae See ay x 2 Ny SESS & AES WI tana we S _ aA We Kab Ves) INCI EZ, BARDS a AED ie = As a) fo! fas <\ Ly AWS CM NG r= , : < Sais fe Ds: SORADESU SS Rata SU Ns MAR eS MANE ace INVA IER) VS ON VIET a OL SEAT aoa SF Faga ae bs CaN ICON Oa SNA CIGAR Oars NANICON i Ih Cpa oes SS oA 7 (te f Mf. Cen 1B. S Gift of Jules R. Breuchaud, Bracken and Hemlock Twigs ane Tan rT Wy | wia)| \ ht ana TAS iN ly 18.7 x 35 cm. Wiss R by Le Ny b Y Pt (Paka A Lal Nl b te Pag " } yi: 1962-229-2 iG) Ayr i \ (Aarne 7 A (3 ’ K " i 2 The pairing of bracken and hemlock indicates early spring. Not unexpectedly, the ever- green, along with the chrysan- themum, tortoise, and crane, was a symbol of longevity. Re- sistant to the wind and resilient beneath the snow, the evergreen was one of the “three compan- ions of the deep cold,” a tra- ditional Chinese nomenclature adopted by the Japanese. The new shoot of bracken that pushes through the ground in spring is compared to the form of a fist, and hints of this configuration are seen in the threadlike tracery of this stencil. i N ay) x is el Pall | 4 as {| it A £8 \) OR AA AY a LANhY b ty “aN! ) NATH NSS Autumn Grasses, Bush Clover, and Butterflies 36.4 x 34.8 cm. Gift of Helen Snyder, 1976-103-263 The butterfly motif was often used for heraldic crests. War- riors seemed to favor its elegant shape and design and its carefree connotation, perhaps in reac- tion to their daily lives. nity ese 55 SSS xD = AN ia SS ZA OL / J \ OM 7 Lag gs eee PZ I ah ll a a oe Tl ANY S = Y TT) AONODOD0D0000000R0RnnnnanOnDDORgNORD? .cADDDUARRRRDNDDNDDNNDs 000 eet M HNTSATATAGEEAUOAD GUEST T =Ssss | il 1 ‘y AW UTS Bese Grain Plants on a Lattice 46.7 x 35.5 cm. Gift of Helen Snyder, 1976-103-264 At first glance this design seems simple and straightforward, but WG2Sa00@aa ~20000090002828b0aec44 when one becomes aware of the STRnAAaE TL HTH THI ia i 1 fina ai DADRRGDROGDENE SDDDGRDRDDRRDROOD subtle balance and the extraor- dinary refinement of the cut- ting, the ingenuity and skill of the craftsman are apparent. fl SSS 2 eA Reed Brushes and Bamboo —— Leaves r \\ 19.3 X 34.9 cm. Gift of Helen Snyder, 1976-103-I01 10n08 patties AVA | AA These brushes, that are proba- \} > \) \) XX tl bly made of bamboo, are bound with bands ornamented with family crests, one with the interlocking comma (tomoe) motif, and the others with the melon (mokko) motif. Si =Bamboo Leaves IQ xX 36.3 cm. Gift of Helen Snyder, 1976-103-62 Versatile, graceful, and aus- picious, the bamboo has played an important role in Japan. It is \\ used in innumerable ways in daily life —from fences to writ- ing brushes. Because it keeps its v, Ay, leaves through the winter it is WN \N one of the “three companions of be 2 the deep cold” along with the pine and the plum blossom, which appears in the earliest days of spring. Because of its endurance, it is associated with the virtues of constancy, integ- rity, and honor. Because the royal phoenix was said to perch only on the branches of the paulownia tree and eat only the seed of the bamboo, it is also a symbol of purity and nobility. NNY 4. Li) ~ ew eRERCE RE MeKECCce- S lercerecce-ce 4 WZ oy, SS \] Toho) ie = Ty Say So y=——— 0 TA BERRA —— SO = fe =e WA i «Ze 8 Le NF Zu yy PSN SS Si Zi] Nese WSs fo) ae! > v : a uy foo] Se 2 ee if HE ODae Ss oa S| We) Os) 2 un ao Sb AS a vo S fe | ee) ip eI o - foe Cat fea Wy NS ~ Ss oe no} tel iby fe 3 a 5S = oe 68 3 || § 2 Be oe el ego oO go ; os re a 5) bel Gey ss Oo ¢ € 5 aon ov as D ~ GW eo = So Se aw © Soe YS || No Ge Ge) wage nage y o}] om fe) ca) og SG Gol a TA my Ba tel 0uw 5 F242 GHBRS oO nol OS oy xt cl a vm v CA A q Q CE) S G2 Es Gos o & al || Nay Ops a = ©) 2 Roe AM Ad @ Bamboo PMPARXE 2 5 <3 Gift of Helen Snyder, 1976-103-153 In contrast to the design of bamboo leaves, in which a natural form was repeated and overlapped to make an abstract pattern, this stencil represents growing bamboo in an almost realistic fashion. Pine Trees and Wisteria 37.8x 76.5 cm. Gift of Helen Snyder, 1976-103-276 The long fronds of wisteria blos- soms lend themselves naturally to graceful and intricate de- KEELE LL hihi 6, a i signs. The great vogue for wis- SERA teria occurred during the tenth to twelfth centuries when the Fujiwara clan was at the height of its power in Japan. Fuji- wara literally means “field of wisteria.” | \ y: Pine Needle Clusters 19.5 X 36.3 cm. Gift of Helen Snyder, 1976-103-56 The designer’s viewpoint of the cluster has almost transformed it into a flower. The all-over pattern is remarkably delicate. Because pine needles stay in pairs even after they have dropped from the tree, they symbolize fidelity. Bamboo 21.4 X 35.3 Gift of Helen Snyder, 1976-103-153 In contrast to the design of bamboo leaves, in which a natural form was repeated and overlapped to make an abstract pattern, this stencil represents growing bamboo in an almost realistic fashion. LAMELLAE Pine Trees and Wisteria 37.8x 76.5 cm. Gift of Helen Snyder, 1976-103-276 The long fronds of wisteria blos- soms lend themselves naturally to graceful and intricate de- signs. The great vogue for wis- teria occurred during the tenth to twelfth centuries when the Fujiwara clan was at the height of its power in Japan. Fuji- wara literally means “field of wisteria.” Od ES er Peonies es Ne val oN Cat, 37.7xX .5 cm. a Lb on cane Snyder, = : xs LE) a lan 1976-103-287 The peony is a native Asian plant. In China it was known as king of the flowers and sym- bolized ee and honor. In ee e it ranks almost as high as the chrysanthem paulownia, and hollyhoc oe Le aS Ley ASS re ee EN Coe lel 4 2 On2) Xi 5 guGi Ny & ‘ , : Gift of Helen Snyder, \\ i y 1976-103-290 ii oe mDA WW SY ab) a, hn te, Ss ) fragrance of iris and mugwort would help to drive away evi Ee = We oS a BS = ce) Ba SO a Bo a ¢ 2 ee oF so Os Bas a, we 2 a roy = a3} o & os o oY e-3 SF ay o — Speck See a eae Herel oe Sa Be 6 pggae £20 Sc GQ gE eca5 ES on . n he 20% oc Baa we 2 Oe Ww y = v Vv niioo SRBREB SU . i SS am «ao © Gua os as Gee so Sea A wy vo & Oo” & 2 Oe o =) (Ge TS iS) = we 7 CO @\l a SR S$ 6 oS a & 2 2, =; am O - Gund @ Be ec 2 a Ref | Ze 4 E — << ( Xe : i —S > \ < Ww. AEN it y\ Wf! . aro a Ss (Sr i, fee eS oe ae ieee cade eos & ~ gee GE ae < me) 5 os e osgS eggs & v ee ~ 2 = cs et a te eh et et ae sco a G Ap SS Bs Ss ES GS go oo ey cS) 25) ag nwn AZ cet ERE ce aos cee sO) Str ee Sas B oc n Lies os uw a v Ba ee Sa enya) AS) ia oa os au 8 iS =} I> g2) qc Wo 42) SS} iS) 2 hs 1S 2s © a Bio 3 vo = 75 = Ss aea ¢ Ay ma O Raw aS 6 a Pine Trees and Rippling Water 19.2 X 34.2 cm. Gift of Helen Snyder, 1976-103-98 With so many desirable associa- tions, it is not surprising that the pine tree was used as a motif for family crests and also in- spired countless patterns for the ornamentation of objects. The silhouette of an old pine tree has been stylized to nearly unrecog- nizable form in this stencil. i” Baz, 9 Faxon Ys SERS 202m e*. D CD «(ll aye Se eo > FEES or = Ve a SC « Peo Cs a ) ee Y m9 faxexeKe) ee ‘ Yr YOOO.0 TIS roa > ee oe oa. a = 7: i” 1) als Ai f Rp SS f 7S Bush Clover and Sky : 20 X 35.3 cm. Gift of Helen Snyder, 1976-103-64 Bush clover is one of the seven autumn plants. The abstracted 7 “aD cloud shapes indicate that the vertical lines of the background represent rain, a familiar cli- matic condition of the autum- nal season. it iy ey | | A ey en eA Grape Leaves and Clouds 46.5 X 35.2 cm. Gift of Helen Snyder, 1976-103-267 Grapes are not associated with wine in Japan, but the plant is much admired for its beauty. Waves, Fishing Nets, and Pine 49.8 xX 33.7 cm. Purchase, Norvin Hewitt Green Gift, 1946-104-6 The dramatic impact of this stencil is intensified by the energetic motion of the waves and by the large areas of dark color (undoubtedly blue indigo) that would predominate in the final product. NR) NN SS N Sy, . ( eS; \ VY) RAN OX XK ( ‘, (064) Wy \\ > NY Bridges and Bats on a Lattice 20.3 xX 34.8 cm. Gift of Helen Snyder, 1976-103-12 Bats are considered an auspi- cious omen, in part because elements of the name can be written with the ideograph which means good fortune. Bats also symbolize longevity. Ss NWXKXKKXKKXKXXKKRKKRKKKKRKX NYYYNRYENENDRRRRA RYE ERR TUVVVVY V VV\AA/ PKR AKK A) \) LANNY TARR RR KEY) itt it RRR RNY al NXXYYYYY) SRR YS ro BONNY) AXXXXXRR RRR IXAXAARRERARY tau Nit BR RRR KYA oS es in 4 Wits BOER YM se MN Nry:g.. SMalyeaion. Hla te seuatuattenltry "ong RXR KYRA XY YY I 4,9,0,0,0.(.0:0.05 WVV wav eV! 49 « AY ) YN aie XY XYY RY KRY) AYR AA) NM) A, Hy \ Haan tin! Ni ONO NON GRMN Hii Ut YYXXY XY) Gi 4 XY % AAR YS (XX) Hi pe ek WA fc | l A, Cg A AA ) SYYYXAY RRR WYN SAY N09 WY Y M A M4 H ide Y ‘ ) ) UND ( YKYRKYHY) 1M Yi SCAR, Mend 4% AIK) NYSSAXAKRY Y x RNY) RSA RYE) HYXKKX TAY, V VVYVVV VY WYVVVVYVVYV V raanecnnnannuanmanaa ia ARERR RRR RR AOD RAEN AXON XRYBNERRYSAY HX XARXANYR RY X 4. ” XXX XA AY ) (XK AY UAXMAX ARK) HO A NOHO ONO NONG reso,” GECUCICIKEEEC MME KX " V VYVVVVV VV YY RRL RXXYXXYXEXRURAR YD YY) Manna ft ASX XRAY NYY YAYDA ROX XXX XX) PRR By ) RAAAKAATAL Sa as RRR RY RE RRR RRR EK RE OOXKKKKKKAXXAK KARA AMAA AAA XK VAM lee tegen POXXKKKAXK KKK KAKA RY AXXERYXARRRKDP RR KAR 0,6.0,0,0 0.0.4 AYRE Wiis Queiunnildlnnaannaindc: ul PN NY SXXRYYYKNY) 9, * NYY) WY (x) v 004, (x) WY Bracken Fronds and Water NOS 9X35 27cm Gift of Helen Snyder, 1976-103-61 The reference to cooling water and shade-loving plants in this graceful pattern suggests that it was intended for summer wear. WAX NARS WARK 4 WO) AS IOAN) SHAMAN ARIA R REY) WY YY YY YS BAAN X X) AMAAAAAAANY yy RIKI KV RXR ARRAN ARRAN K XX KAA XX /\ AYYXXKEKKXEXKERKLKEX TERY (\ {\/\ Waves, Fishing Nets, and Pine : : Bridges and Bats on a Lattice VIAN VV % VV RRR ‘ RY .8 x 33.7 cm. UXXYXNYYYNYKRRAR) XN) 49-8 x 33.7 cm. eee DXXRRRXXXXXKAN) ASKIN AN Purchase, Norvin Hewitt G eS Be isa Sawa BONG \ iil RY % 0, NANNY) QS : : NYY) KX NX Green Gift, 1946-104-6 HOLS EDISRYCEL, ant ARRAN ANIAY NNDB ONRRENXAAH SRN XRRRR YR 1976-103-12 wy XSAYNXXRRRRXR RARER KR AMI KRE RRR KTR eae I vaunolawuinayaionnininicny, SMUNRONNaNa! RONNONN i") ah: The dramatic impact of this iret ania WY WARY AK \ PRE X oes aye ¢ = P XX) bee . ‘Se ; stencil is intensified by the Brtisene coroeliaslanansyer ae NS MN NYYKYYK XY) NYY) , RAY WY BYWAY } F : cious omen, in part because s BRANNAN RRARDY RRO XK energetic motion of the waves A > Wavy RYVYI RN XY ONIN, ‘Nyy H We eatisist: Ly 4.4.4 elements of the name can be Amy) ROOK x SONNY TIRE and by the large areas of dark i ‘ G BUYER etary alt : see ‘ ‘\ \\X) AY) : —_ i sth iatiboraeh XRRUNXMANAXAANY XARA color (undoubtedly blue indigo) : | \\\) CRAY sets. ees Sere E eee ECR TaD: X PINON XANES ie f ; : NK KK) As which means good fortune. Bats OG A Was, SN RAY AYA that would predominate in the () XX) RAO ae : Y Araanrannaran NRE, ne XAYYYXXXRYY final product. eas also symbolize longevity. NAMRUXRAARARAREERER RRR KR RRR XN AKXYK ANS Ni Wa, KAY) NN AYN x XXX) HCHO MON OU OOO WY OHHunnnai nian " ‘ XSAN KOKA KAY KX ORSAY MNS SA NE ARIANA ASIANA NAAN ) AN AAS WY \ SWRI RRERRRERRRRR ONRIANERAY YRRRRKKKYNK KEEPER EEE WYNN YK ‘ XX ERYKR AYA YEAR ‘ ANY RAYA NYY RRR ER RRR RAK KEK) \ ‘ AYYAKKY RAY) K) BONNY RO SXENNAXERKAXRXXIERXAN AXON \ \) AY) (\ WWW) ( AHH Bracken Fronds and Water 19.5 X 35-7 cm. Gift of Helen Snyder, 1976-103-61 WS Nya; SAO) RG hs The reference to cooling water and shade-loving plants in this Ns Ly graceful pattern suggests that it was intended for summer wear. ve, Sree) a Sy asi hic 18.7 x 34 cm. OW ap 2 wo a= Bae Plank Bridge over an Iris Pond rac Gift of Helen Snyder, Gs) Lot 7 Yay ~ \ hd 1976-103-97 tw The eight-plank bridge cross- ——— eS ——— Saas —— aa ———_— SSS — ing an iris pond is one of the | als fe = a\G, EAU i) most poetic of traditional gar- ih den motifs. The planks allow AN | one to stroll silently through nature, observing the world wl above and the world below the i I surface of the water. wv. B= 02. 7 ii y2 os Maple Leaves Reflected in Rippling Streams 19.6 x 36.5 cm. Gift of Helen Snyder, 1976-103-63 Excursions made for the pur- pose of viewing natural objects of beauty are a tradition that PD VI. — approaches a cult among the SS = UK == is ewes Japanese. The autumn foliage- RZ ai = viewing ceremony is one of these perennial observances. The ideograph for maple is made up of the elements for tree and wind, conjuring a delight- ful auditory sensation of rus- tling leaves. The delicate out- lining of the leaves against water in this stencil conveys the idea of the inevitability of na- ture; eventually the leaves will fall and float downstream. Waves and Skates on a Lattice 50.5 X 35-5 cm. Gift of Helen Snyder, 1976-103-270 The stylized froth of the waves’ curling edges recalls the same convention seen in prints by Hokusai and Hiroshige. War- riors favored the wave motif for their crests because it sym- bolized power and resilience. The liveliness of this design and the unusual choice of skates frolicking in the swirling waves, with the lattice back- ground holding it all together, _ speak of an inventive and daring designer. The open areas sug- gest that a secondary stencil was used to embellish the design. ais is Im gi Ha BGR Y via sf pare. Mg 25 gL BS. eeyeavins 2 97| ll WSs —wi sit iis ST it] os Mr iti Es ie ee Ge ii TI fs ft 8 ee en ee wy / AEC ss Ser (14 Zui} FS. if ay Arrow Feathers 46.7 x 34 cm. Gift of Helen Snyder, 1976-103-289 The literary phrase for military life in Japan was “the way of the bow and arrow.” The arrow’s notch and its feathers worked well for heraldic crests and they appear frequently in stencils. il mi . : a e's =e D»>r A 4 T DHSS Wiad | i, 3-7 Ss Umbrellas (Cart Wheels?), 7 \ 4 Water, and Pine Needle s' a) yy Clusters \ ” } 19.5 X35 cm. “i > 02, . i ae qe Nise S 1 Gift of Helen Snyder, Ze a Ca 1976-103-103 Tas oT ; Bey 7B — “4h ox 9 : . ; eS ee “are, While it would not be inconsis- tent with the nature of umbrel- las to be associated with water, the motif of wooden cart wheels in a stream is not uncommon in Japanese design. The wheels were soaked periodically in C( / = order to prevent their drying ~= ——— S= —— _————