Sophistication at the start of life Miyamairi kimonos mark a Japanese child’s rites of passage. Using examples from his own collection, collector, dealer and researcher Roger Yorke looks in particular at the meanings and symbolism of those made especially for boys.

1 Boy’s miyamairi kimono depicting tsutsugaki (a type of resist painting) and hand leaping carp. Japan, early to mid- painting, or hand painting alone. Meiji period (1868–1912). Silk plain The tradition probably arose as a response to weave with yuzen-dyeing, bokashi the high infant mortality rate that once (shading) painting, metallic and silk plagued Japan.General customs based on embroidery highlights. The small special children kimonos can be traced back as black spots in the ocean are tiny far as the 9th century, when sections of metallic embroidery. aristocrats would celebrate the safe passage of 84 × 101.5 cm (33" × 40"). Author's their children through their early years. In collection centuries past, many Japanese children did not live to see their first birthdays, an obstacle in a 2 Studio image of a grandmother culture in which prosperity was believed to holding her grandson on the day of result from a long bloodline and having many Hatsu Miyamairi (‘first shrine visit’). children. In response, the Japanese enacted Japan, ca. 1940s, A -themed lavish rituals at auspicious times during miyamairi kimono is draped over childhood to assure the child’s good fortune the baby, with the long kimono and longevity. sashes tied securely around the In traditional Japan, a newborn baby was grandmother’s neck. Courtesy considered impure and unpredictable, and was Vintage Japan-esque on Flickr 2 wrapped in rags fashioned out of the mother’s he Japanese view their ceremonial old clothing. On the seventh day, the child kimonos as works of art, like would be given a proper name along with its Tpaintings. Miyamairi kimonos are one- first kimono, to ensure his or her entry into of-a-kind ceremonial robes created for an the world. Then, when a boy was thirty-one infant’s life-milestone visits to a shrine. days old, the specialised miyamairi kimono was While practical as a garment, they are used for the first time – draped over the infant evocative and remarkable textiles that have during the Hatsu Miyamairi (‘first shrine visit’) been largely ignored as an art form by both ceremony. The baby boy was draped or wrapped collectors and the research community. in this way because he was still too small to Although both girls and boys wore miyamairi wear the normal kimono. The Hatsu Miyamairi kimonos, this article concerns itself with boys’ is just the first occasion in a boy’s life when the miyamairi, as these are perhaps more miyamairi kimono is used. interesting in terms of layout and motifs. Traditionally, the miyamairi kimono was These miyamairi ( ‘shrine visit’) ceremonial commissioned and bought at substantial cost kimonos are extraordinary for both their by the father’s parents, and then presented to sophistication and their deep symbolic their grandchild and his parents. The Hatsu meaning. In shape they resemble formal adult Miyamairi ceremony is attended by both kimonos and feature family crests and pictorial parents, together with grandparents as well as 1 designs created through a combination of other family and close friends. The kanji 108 Japanese costume Japanese costume 109

Shichigosan was a day to celebrate the kamioki (’hair leaving’) event, meaning that he could start to let his hair grow. Until this event, a boy’s head was kept clean-shaven, as it was believed that during their first three years of life, children caught diseases and bad energy from their hair. Additionally, at the Shichigosan ceremony, parents asked the priest at a nearby to perform an oharai purification rite on their three-year old boy, and recite a norito Shinto prayer for their children’s continued health. Again in November, a five-year-old boy will attend his last Shichigosan ceremony (8). Shinto prayers for continued good luck and long life are incanted, with the main celebration being hakamagi-no-gi, where the boy dons his firsthakama (loose-pleated trousers used for formal wear). This five-year- old is now considered a little man for the first time, and correspondingly assumes new and more mature roles and responsibilities. It was only after the beginning of the 19th century that the designs adorning boys and girl’s kimonos began to differ; this divergence became more pronounced during the Meiji 3 period (1868–1912), which ushered in a 3 Boy’s miyamairi kimono (and detail) wholesale change in the social hierarchy, depicting the folk tale of the strong Aristocrats would celebrate the safe passage of their including the adoption of the miyamairi and brave Kintaro refereeing a kimono tradition by all Japanese citizens who wrestling match between a rabbit children through their early years could afford the great expense involved. and a monkey. Japan, Meiji period, Boys’ miyamairi dating to the Meiji, Taisho perhaps ca. 1890–92. Silk plain weave character representing ‘big’ is written with red At the end of the ceremony, the parents and (1912-26) and Showa (1926-1989) periods have with hand-painted pigments. ink on the boy’s forehead in the hope of his grandparents come forward one by one, bowing various set characteristics. They share the 86 × 20 cm (34" × 38"). Author's growing up big and strong. to the altar, and placing tamagushis upon it. St same structural features of all kimonos: a 4 collection During the Hatsu Miyamairi ceremony, the the end of the ceremony, the baby’s T-shaped, straight-lined robe worn so that the sleeve. These kimonos always sport five white 4 Boy’s miyamairi kimono depicting father’s mother holds the child in her arms grandparents would typically host a party for hem falls to the ankle, with attached collar and (family crests) from the father’s family, the samurai Kashiwade no Hanoshi with the presentation kimono draped over the friends and family, and the miyamairi kimono long, wide sleeves. Unlike the larger adult three on the upper back, and two on each of the fighting a tiger. Japan, Meiji period tiny month-old baby, the kimono ties secured would be carefully put away until the next kimonos that are constructed of two joined front shoulders, so they are the most formal of (1868–1912). Silk plain weave with around her own neck and shoulders (2). The formal temple visit, the shichigosan for a three- strips of fabric to form the rear, the miyamairi is garments. Traditionally, most miyamairi have a yuzen-dyeing and hand-painted duty of the paternal grandmother in carrying year-old. called hitotsumi, referring to its back’s single black background, and rarely blue or dark pigments. 84 × 101.5 cm (33" × 40"). the child is to assist the recovering (from The miyamairi kimono would be worn again fabric width. Shoulder widths average 33 brown, although in recent times several other Author's collection giving birth) mother; in addition, this task by a Japanese boy during the Shinto shichi-go- inches (84 cm), with garment heights ranging colours have gained acceptance. symbolises the baby’s entrance and acceptance san (‘seven-five-three’) rite of passage from 37 to 44 inches (94–112 cm). Two simple Although miyamairi kimonos were created into the husband’s family. ceremony, which is repeated at the age of five. silk sashes attached to each of the front lapels in specialised workshops, the boy’s mother Swinging a (a decorated sakaki- By this time, these three- and five-year-old can be utilised to tie the kimono front shut, or would often later add some protective stitching tree branch) right and left, a kan-nushi (Shinto boys are big enough to wear their miyamairi tied around the grandmother’s neck during the to her son’s kimono. The Japanese believed that priest) in full traditional costume and headgear kimono, albeit with the waist and shoulder first shrine visit. stitching prevented the entrance of evil spirits officiates at the proceedings, praying for the sections temporarily folded and hand-sewn to Unlike the crepe and damask silks of adult through a kimono. As miyamairi kimonos are baby’s happiness and health, and asking the reduce the height and width of the kimono. kimonos, boys miyamairi kimonos had to be a hitotsumi (single cloth width) with no back Usubana Gami (local deity) to bless and purify Shichigosan is celebrated on the 15th more reflective plain weave, calledhabutae , of centre seam, these kimonos were deemed the baby. The kan-nushi would recite a prayer November because this is the festival day for a the finest silk. Decorations were executed in under-protected from harmful spirits. The that mentioned the baby’s name, names of the Shinto guardian spirit. It is a day on which the either tsutsugaki yuzen (rice paste resist decorative stitching the mother worked into parents, the family address and the date of Japanese celebrate the lunar-calendar autumn painting) or tegaki-yuzen (freehand painting). miyamairi kimonos is referred to as semamori baby’s birth. The ceremony establishes the harvest, and considered the luckiest day of the Miyamairi kimonos are typically dominated by (‘back magic’ or ‘to protect the back’).Some child as one of the shrine parishioners. year. For Japanese boys, their three-year-old a centred design stretching from sleeve to Meiji and Taisho period miyamairi kimonos 110 Japanese costume

5 5 Boy’s miyamairi kimono depicting family crests (front detail) and a Finely rendered auspicious motifs represent good luck, Noh theatre actor (back). Japan, prosperity and longevity for the child Meiji period (1868–191 2). Silk plain weave with yuzen-dyeing and hand- painted pigments. 84 × 94 cm (33" × display back stitching at an angle to the the virtues of the determined warrior, and in 37"). Author's collection left side of the centre line, although from modern times it has been a metaphor for the the Meiji period onwards practically all qualities one seeks in a young male. One 6 Boy’s miyamairi kimono depicting miyamairi kimonos display geometric (or i exceptional example (1) depicts three carp, a three-clawed dragon holding a n rare cases non-geometric) talismanic with the one in the foreground leaping jewel. Japan,Meiji period (1868– semamori stitching where the left strap is completely free of the frothy waters below. 1912). Extremely fine silk plain attached to the front lapel. Although this theme is common, this weave with yuzen-dyeing and hand- Boys’ miyamairi kimono were normally particular example is the best that I have painted pigments. 89 × 94 cm (35" × decorated with symbols of strength, honour, seen— the artistry is superb, with dynamic, 37"). Author's collection knowledge, culture and perseverance—such as blue-shaded frothy waves, and refined yuzen- predatory animals and samurai warriors—or painted carp, also finely shaded and capped off items with martial connotations, such as war with wonderful silk and metallic embroidery toys, arrows, war helmets, and swords. These highlights. The scene continuation from the motifs were representative of the hopes and main body section to that on the sleeves, desires of the boy’s parents and grandparents. although always present in miyamairi, is One popular theme for these kimonos is particularly seamless in this example, that of carp in raging waters, as Japanese allowing the kimono ‘canvas’ to reach its parents want their boys to have the strength, fullest potential. resilience and courage of the wild carp battling Some miyamairi kimonos depict passed- turbulent waters. This motif is associated with down folk tales, such as that of the strong and 6 112 Japanese costume Japanese costume 113

plays, celebrating fertility and good harvests, storm waves because its form is so terrifying with the additional intent to avert that ‘no mortal may look upon its entire body earthquakes and appease the gods. In the and live’. case of this kimono, the Noh actor is carrying Also popular are kimonos sporting the a fan which displays finely rendered theme of a legendary treasure ship or auspicious motifs representing good luck, takarabune. The large example illustrated here prosperity and longevity for the child for (7) features one such takarabune overflowing whom the kimono was created. with special cargo, which comprises treasures The family crest motifs on the front of associated with the seven gods of good fortune, this kimono include the small formal mon including the key to the gods’ storehouse, the for bamboo, which signifies constancy and god Daikoku’s hammer, bales of hay, sacred integrity, which was a popular family crest jewels on the sail, an inexhaustible money bag, with warrior families. The enlarged crests and a hat that makes the wearer invisible. include: one representing mist, a motif According to legend, the takarabune sails popular on scrolls but not textiles; cloves, into port on New Year’s Eve to dispense gifts of signifying health, comfort and luxury; happiness and luck to believers. On that day the ‘triple pestle’, representing a tool utilised children receive red envelopes emblazoned in the making of rice cakes served on festive with the takarabune and containing money, occasions and thus regarded as a felicitous and many people sleep with a depiction of the motif; an umbrella to show the status of the seven gods and the takarabune under their nobility; single and triple horizontal stripes pillow at New Year to ensure prosperity and which have strong martial connotations; good dreams for the coming months. If the tomoe, a comma-like symbol representing bearer has nightmares, the picture should be Hachimon, the god of war, possessing both set adrift in the river or sea to neutralise the religious and martial qualities; a turnip, bad luck. having quasi-magical qualities; a star to The takarabune is always depicted in full represent the protective war deity Myoken; sail, laden with food and treasures, and prints 7 8 and ‘crossed sickles’, signifying cutting of it usually include an auspicious palindromic 7 Boy’s miyamairi kimono (and brave Kintaro (3). Legend has it that Kintaro artistic sensibility. He passed away in 1892, so 8 A five-year-old boy wearing his down one’s enemies. The use of this type of poem: ‘During the endless night, half sleeping, detail), depicting a legendary was a baby abandoned by his parents at birth if he was involved in designing this kimono, it miyamairi kimono and hakama motif on a child’s kimono may suggest that half waking, I hear sounds of a ship sailing treasure ship or takarabune. Japan, near Mount Fuji. He was raised by Yamauba, would logically have been during the 1890–92 (pleated trousers). In recent decades the owners were members of a wealthy over the wave crests—oh, I know it is bringing Meiji period (1868–1912). Silk plain half-woman, half-spirit who lived in the time period. the background colours of miyamairi military family. good fortune!’ weave with yuzen-dyeing and nearby Ashigara Mountains. He grew up with Samurai warriors were another popular kimonos have often diverged from The three-clawed dragon depicted on Although not illustrated here, solitary embroidery highlights. 99 × 107 cm animals as friends. One day he refereed a series theme in miyamairi kimonos. One example the traditional black. Kyoto, Japan, another kimono (6) holds a tide-compelling hawks are another popular kimono theme. (39" × 42"). Author's collection of wrestling matches between pairs of some of features the rare theme of the brave, fully November 2008. Image courtesy jewel in its right claw. Because a dragon can One artistic and refined example in my these friends, including a contest between a dressed samurai Kashiwade no Hanoshi Jeffrey Friedl. live in both air and water, it is believed to offer collection features a large, intricately yuzen- rabbit and a monkey. fighting a tiger 4( ). Kashiwade no Hanoshi was protection from fire. Edo-era firemen often dyed hawk on a pine branch. The pine tree is The first artistic depiction of this legendary a 6th-century Japanese warrior who was sent Photo: © Jeffrey Friedl tattooed themselves with dragons or wore considered by the Japanese to be a symbol of match can be found on an 1830 Kuniyoshi to Korea as an envoy. Legend has it that, once padded jackets with dragons embroidered in longevity, good fortune and steadfastness. woodblock print. However, the central theme he was there, a tiger devoured his daughter, the linings next to their skin for protection. The main subject of the kimono is the white of this particular kimono artwork is directly necessitating a confrontation with the At the autumn equinox, the dragon descends taka, which in Japan refers to both the hawk inspired by a small woodblock print of October offending tiger in a bamboo grove. After a into the sea with the tide-compelling jewel of and falcon. Falcons and hawks became 1890 by Tsukioka Yoshotoshi, Moon of Kintoki’s fierce fight involving both bravery and honour, ebb and flood. Dragons may bedepicted in natural emblems of the Japanese warrior Mountain. Yoshotoshi, a late 19th-century the samurai is victorious. During the period pursuit of this jewel, fighting for its possession, class owing to their keen eyesight, their Japanese printmaker, was famous for his 1830 to 1850 this legend was depicted on several or grasping it with their claws. This mystical predatory nature, and their boldness, all woodblock series One Hundred Aspects of the woodblock prints, including one by the great jewel or tama was adopted by the Buddhist characteristics that the boy’s parents would Moon. Although the depictions of Kintaro and artist Utagawa Kuniyoshi. religion and came to symbolise omnipotence want to transmit to their son. the rabbit are virtually identical on the kimono Some miyamairi kimonos were created with through asceticism. It is also said to have the and the Yoshotoshi print, the monkey’s face unique themes. On one remarkable example power to grant all wishes. The jewel, which at Roger Yorke is a Canadian collector, dealer and differs on the kimono, where it more resembles (5) the fr0nt is unusual, decorated with many first is flaming, then liquefies and crystallises researcher of Japanese kimonos, gift cloth and a rat or other animal. Furthermore, unlike the family crest motifs, while its back is even into a beautiful luminous sphere, symbol of Buddhist altar cloths. He also oversees three print, the scene on the kimono is set within a more striking, completely dominated by the the origin of our planet, Earth. educational blogs dealing with Japanese kimonos forest. It is possible that Yoshotoshi had a hand image of a Noh actor performing in the It is this crystallised and finalised golden and culture. With Amparo Yorke, his spouse and in creating the design for this kimono, as the auspicious Sambaso. yellow jewel that is depicted on this kimono. business partner, he owns an antique textile forest scenery and wrestling match imagery The Sambaso is a traditional sacred dance In Japanese art the dragon is never totally business that specialises in rare museum-quality seem so complementary and reflective of his performed as a prelude to certain Noh thratre visible. It is partly hidden by swirling clouds or Japanese kimonos