Yoshinori Tsuchiya

Kimono of figured gauze. “Dream of a butterfly”

  • Textiles
  • Presented in 2020
  • Not for Sale

I wanted to express a wondrous world that I imagined from the Chinese thinker Zhuangzi's "Dream of a Butterfly", such as Zhuangzi's state of being unable to acknowledge the difference between his dream and reality, and the evanescence of life.
I would like people to see the difference of the yellow colors from each plant (the bluish yellow of kariyasu, the reddish yellow of cape jasmine, and the pure lemon yellow of the Japanese pagoda tree) as well as the three dimensional depth of the textile.

Category Textiles
Year Presented 2020
Materials Raw silk (Unrefined silk thread)
Warp threads - 4 among 21 two-folded
Weft threads - 6 among 21 twisted
Yellow - kariyasu (Miscanthus tinctorius), cape jasmine, Japanese pagoda tree
Gray - acorns
Exhibition The 67th Japan Traditional Kōgei Exhibition

  • Kasuri weaving

    Kasuri weaving (kasuriori, “blurred weave”) is a type of ikat weaving done with threads that have been resist dyed, leaving sections of the thread undyed. The threads are then aligned and woven to create stripes, checkered patterns, or pictorial motifs.

Living National Treasure Yoshinori Tsuchiya

photo Yoshinori Tsuchiya

In the weaving of monsha (delicate figured-gauze fabric), TSUCHIYA uses a pedal-operated loom to which four heddles and one furue, a device used in the production of gauze, are attached. In monsha, two warps are twisted to structure the gauze fabric, and then while changing to the warp color of plain weaving, cube, stone pavement, or other patterns are woven into the fabric. In addition to monsha, his production is varied including raw silk fabrics or pongee. Raw silk is the exact opposite to refined silk and makes a classical silk textile similar to gauze; in the “Utsusemi” chapter of the Tale of Genji, the author describes a “raw-silk unlined kimono.” He aims to create fabrics with a good crisp feel and thus uses unrefined raw silk yarn. Kasuri (splashed patterns) used in combination with monsha are created by playing with the natural differences found in the dyed patterns. His works are made of yarn colored with natural plant dyes that create distinctive bright and lustrous colors or soft patterns blended with gradual gradations in a noshime* style created by warp ikat. They are somewhat different from the images and patterns seen in the Shosoin Treasure House or on the attire of court nobles. Works demonstrating the beauty of raw silk with its dragonfly wing-like translucent quality are inspiring and point to the future production of monsha with a vital contemporary feeling. *A ceremonial robe worn by a samurai