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Identification of Asian Garments in Small Museums
AN ABSTRACTOF THE THESIS OF Alison E. Kondo for the degree ofMaster ofScience in Apparel Interiors, Housing and Merchandising presented on June 7, 2000. Title: Identification ofAsian Garments in Small Museums. Redacted for privacy Abstract approved: Elaine Pedersen The frequent misidentification ofAsian garments in small museum collections indicated the need for a garment identification system specifically for use in differentiating the various forms ofAsian clothing. The decision tree system proposed in this thesis is intended to provide an instrument to distinguish the clothing styles ofJapan, China, Korea, Tibet, and northern Nepal which are found most frequently in museum clothing collections. The first step ofthe decision tree uses the shape ofthe neckline to distinguish the garment's country oforigin. The second step ofthe decision tree uses the sleeve shape to determine factors such as the gender and marital status ofthe wearer, and the formality level ofthe garment. The decision tree instrument was tested with a sample population of 10 undergraduates representing volunteer docents and 4 graduate students representing curators ofa small museum. The subjects were asked to determine the country oforigin, the original wearer's gender and marital status, and the garment's formality and function, as appropriate. The test was successful in identifying the country oforigin ofall 12 Asian garments and had less successful results for the remaining variables. Copyright by Alison E. Kondo June 7, 2000 All rights Reserved Identification ofAsian Garments in Small Museums by Alison E. Kondo A THESIS submitted to Oregon State University In partial fulfillment of the requirements for the degree of Master ofScience Presented June 7, 2000 Commencement June 2001 Master of Science thesis ofAlison E. -
Integrating Malaysian and Japanese Textile Motifs Through Product Diversification: Home Décor
Samsuddin M. F., Hamzah A. H., & Mohd Radzi F. dealogy Journal, 2020 Vol. 5, No. 2, 79-88 Integrating Malaysian and Japanese Textile Motifs Through Product Diversification: Home Décor Muhammad Fitri Samsuddin1, Azni Hanim Hamzah2, Fazlina Mohd Radzi3, Siti Nurul Akma Ahmad4, Mohd Faizul Noorizan6, Mohd Ali Azraie Bebit6 12356Faculty of Art & Design, Universiti Teknologi MARA Cawangan Melaka 4Faculty of Business & Management, Universiti Teknologi MARA Cawangan Melaka Authors’ email: [email protected]; [email protected]; [email protected]; [email protected]; [email protected]; [email protected] Published: 28 September 2020 ABSTRACT Malaysian textile motifs especially the Batik motifs and its product are highly potential to sustain in a global market. The integration of intercultural design of Malaysian textile motifs and Japanese textile motifs will further facilitate both textile industries to be sustained and demanded globally. Besides, Malaysian and Japanese textile motifs can be creatively design on other platforms not limited to the clothes. Therefore, this study is carried out with the aim of integrating the Malaysian textile motifs specifically focuses on batik motifs and Japanese textile motifs through product diversification. This study focuses on integrating both textile motifs and diversified the design on a home décor including wall frame, table clothes, table runner, bed sheets, lamp shades and other potential home accessories. In this concept paper, literature search was conducted to describe about the characteristics of both Malaysian and Japanese textile motifs and also to reveal insights about the practicality and the potential of combining these two worldwide known textile industries. The investigation was conducted to explore new pattern of the combined textiles motifs. -
My Kimono Kick
My Kimono Kick 着物の楽しみ Natalya Rodriguez ナタリア・ロドリゲス 私が日本に越してきてすぐのある日、びっくりするような贈り物が送られてきました。中には、私の祖母が横浜の近くの One day soon after I had moved to Japan, I received a surprise package in the mail. Inside I found a bunch of black and アメリカン・スクールで教師をしていた時の、（若い頃の）祖母の写真が大量に入っていました。そのうちの1枚には、祖 white pictures of my (young!) grandma during her time as a teacher at an American school near Yokohama. One of the 母が着物を着た姿が写っていて、写真の下には、まさにその着物が、長年しまい込まれた香りとともに、帯、草履、足袋 pictures showed her dressed in kimono, and beneath the prints, that very kimono was tucked into the box along with the obi, zori, and tabi, all rich with the scent of long years sleeping in storage. After more than 50 years, this kimono had と一緒に詰められていました。50年以上の時を越えて、この着物は日本に戻ってきたのです。私は、それを着ることで祖 returned to Japan. I was determined to carry out my grandmother’s legacy by wearing it. The only question was, how? 母の遺産を生かそうと決心しました。唯一の疑問は、どうやって？ということでした。 Subscribing to the theory of 6 degrees of separation, I knew a kimono expert couldn’t be too far away. It turns out that in 6次の隔たり（知り合いを6人辿っていくと世界中の誰とでも知り合いになれる）という仮説を当てはめると、着物の専門 Japan almost everyone knows someone who knows about kimono. I was soon introduced to Ms. Kimura, who graciously 家に辿り着くのは遠すぎるというわけではありません。日本では、ほとんど誰もが、着物について知っている誰かを知っ agreed to take me to her friend’s shop, which buys and sells kimonos secondhand. As I nestled in the shop amidst stacks ていることがわかりました。私はすぐに、木村さんという方を紹介してもらい、彼女は快く、リサイクル着物を扱ってい and stacks of carefully folded kimonos and gorgeous fabric, a new obsession was born. It was like looking at an artist’s るというお友達の店へ連れて行ってくれました。お店に入り、注意深く積まれた着物や豪華な生地の山に囲まれ、夢中に palette just waiting to be used. That day I ended up buying a secondhand furisode, still knowing nothing about how to なりました。まるで、使われるのを待っている画家のパレットを見ているようでした。その日は結局、リサイクルの振袖 actually wear the garment I was buying. -
The Influence of Japanese Textile Design on French Art Deco Textiles, 1920-1930
CREATING CLOTH, CREATING CULTURE: THE INFLUENCE OF JAPANESE TEXTILE DESIGN ON FRENCH ART DECO TEXTILES, 1920-1930 By SARA ELISABETH HAYDEN A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF ARTS in Apparel and Textiles WASHINGTON STATE UNIVERSITY Department of Apparel, Merchandising, Design and Textiles AUGUST 2007 © Copyright by SARA ELISABETH HAYDEN, 2007 All Rights Reserved © Copyright by SARA ELISABETH HAYDEN, 2007 All Rights Reserved To the Faculty of Washington State University: The members of the Committee appointed to examine the thesis of SARA ELISABETH HAYDEN find it satisfactory and recommend that it be accepted. ___________________________________ Chair ___________________________________ ___________________________________ ii ACKNOWLEDGMENT I would like to thank the members of my thesis committee, Linda B. Arthur, PhD, Patricia Fischer, MA and Dr. Lombuso Khoza, PhD for their continued support and guidance. I would like to extend special thanks to Dr. Arthur for her research assistance and mentoring throughout my graduate studies. Additionally, I am very grateful to have received the Hill Award administered through the Department of Apparel, Merchandising, Design and Textiles in the College of Agricultural, Human and Natural Resource Sciences. Dr. Alberta Hill’s generous endowment of the Hill Award made my thesis research possible. iii CREATING CLOTH, CREATING CULTURE: THE INFLUENCE OF JAPANESE TEXTILE DESIGN ON FRENCH ART DECO TEXTILES, 1920-1930 Abstract by Sara Elisabeth Hayden, M.A. Washington State University August 2007 Chair: Linda B. Arthur After Japan opened its doors to international commerce in the 1850s, its trade with European countries blossomed. From the beginning of France’s economic interaction with Japan in the nineteenth century, these commercial transactions led to cultural exchange via trade wares, which included clothing and fabrics. -
Move Then Skin Deep
More than Skin Deep: Masochism in Japanese Women’s Writing 1960-2005 by Emerald Louise King School of Asian Languages and Studies Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy (Arts) University of Tasmania, November 2012 Declaration of Originality “This thesis contains no material which has been accepted for a degree or diploma by the University or any other institution, except by way of background information and dully acknowledged in the thesis, and to the best of my knowledge and belief no material previously published or written by another person except where due acknowledgment is made in the text of the thesis, nor does the thesis contain any material that infringes copyright.” Sections of this thesis have been presented at the 2008 Australian National University Asia Pacific Week in Canberra, the 2008 University of Queensland Rhizomes Conference in Queensland, the 2008 Asian Studies Association of Australia Conference in Melbourne, the 2008 Women in Asia Conference in Queensland, the 2010 East Asian Studies Graduate Student Conference in Toronto, the 2010 Women in Asia Conference in Canberra, and the 2011 Japanese Studies Association of Australia Conference in Melbourne. Date: ___________________. Signed: __________________. Emerald L King ii Authority of Access This thesis is not to made available for loan or copying for two years following the date this statement was signed. Following that time the thesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. Date: ___________________. Signed: __________________. Emerald L King iii Statement of Ethical Conduct “The research associated with this thesis abides by the international and Australian codes on human and animal experimentation, the guidelines by the Australian Government's Office of the Gene Technology Regulator and the rulings of the Safety, Ethics and Institutional Biosafety Committees of the University.” Date: ___________________. -
Hand Evaluation and Formability of Japanese Traditional 'Chirimen' Fabrics
Chapter 11 Hand Evaluation and Formability of Japanese Traditional ‘Chirimen’ Fabrics Takako Inoue and Masako Niwa Additional information is available at the end of the chapter http://dx.doi.org/10.5772/48585 1. Introduction Clothes, which are used in direct contact with the human body, are mostly made of fabrics of planar fiber construction, that is, they are manufactured for the most part from textiles. Needless to say, the quality of clothes directly affects both the human mind and body. For this reason, it is essential to have a system which allows us to accurately and thoroughly evaluate the qualities and use-value of textiles. Since Prof. Sueo Kawabata of Kyoto University developed the KES (Kawabata Evaluation System) in 1972 (Kawabata, 1972), research into fabric handle and quality based on physical properties has made remarkable progress, and objective evaluation of fabrics using the KES system is now common around the world. Evaluation formulas for fabric formability, tailoring appearance, and hand evaluation of the tailored-type fabrics represented by those used in tailored men's suits have been created, and allow us to objectively evaluate the fundamental performance capabilities of fabrics, unaffected by changing times and fashions (Kawabata, 1980). Furthermore, fabric formability, tailoring appearance, hand evaluation, and quality of tailored-type fabrics can now be influenced at every stage, even the very earliest: at the fiber-to-yarn stage, the yarn- to-fabric stage, and then at all the subsequent stages, up to the finishing of the material. This is invaluable for the fabric design process (Kawabata et al., 1992). -
EVOLUTION of JAPANESE WOMEN's KIMONO from A.D. 200 to 1960
THE EVOUTCION OF JAPANESE WOMEN'S KIMONO FEOK A.D. 200 TO 1960 *"> MASAKO TOYOSHMA B. S., Fukuoka Women's University, 1963 A MASTER'S REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF SCIENCE General Home Economics College of Home Eoonomios KANSAS STATE UNIVERSITY Manhattan, Kansas 1967 Approved byi Major Professor TABLE OF CONTENTS CHAPTER PAGE I. INTRODUCTION 1 II. HU-STYLE PERIOD (A.D. 200-552) 7 Political Situation 7 Dress of tha Period 9 III. T'ANG-STYLE PERIOD (552-894) 13 Politioal Situation 13 Dress of T'ang-stylo Period 18 IV. OS0DE-FASHI0N PERIOD (894-1477) 26 Political Situation 26 Dress of the OBode-Fashion Period 33 V. KOSODE-FASHION PERIOD (1477-1868) 44 Politioal Situation 44 Dress of Kosode-fashion Period •• 52 VI. JAPANESE-WESTERN PERIOD (1868-1960) 68 Politioal Situation 68 Dress of Japanese -'Western Period • 75 VII. SUMMARY AND RECOMMENDATIONS 83 Summary ............. 83 Recommendations •• •• 87 88 BIBLIOGRAPHY • • • ii LIST OF PLATES PLATE PAGE I Dress of Hu-style Period ..... ... 11 II Dress of T'ang-style Period 21 III Dress of Osode-fashion Period 37 17 Dress of Kosode-fashion Period 54 V Dress of Japanese -We stern Period. ............ 82 iii CHAPTER I INTRODUCTION Costume expresses a relationship to the ideals and the spirit - of the country during a particular time. Hurlock states in The Psych ology of Pre s s : In every age, some ideal is developed which predominates over all others. This ideal may be religious or political; it may re- late to the crown or to the people; it may be purely social or artistic, conservative or radical. -
ED BANK REGISTER Cuit, Box 511, Bed Bank, '- » * RED BANK.'N
REAL ESTATE FC UINT OB BILL under to- old whit* cottage, *va? eely repainted and d t, modern bath and kit Picket tenet i near Locust, ED BANK REGISTER cuit, box 511, Bed Bank, '- » * RED BANK.'N. J., THURSDAY, JULY 31,1947 SECTION ONE—PAGES 1 TO WIMB BOARD tlderly) country iomt. «•..< B. D.I, Farmlngdi Army To Exhibit The Jane Elkus Red Cross Rooms 1» TONS SYS STr Rumson Council Iwt year's. pyteaux Farms New Thunderjet ' To Be Reopened Firm Buys Ninety Lots} 0114l-M-8 tvenln; Discusses Vets' • Children's Home OAR—Price bet An Army P-Si Thunderjet, the Mrs. Hazel N. Ford, chairman ol ' Bed Bank (-2 newest and fastest Jet fighter, will the Red Bank branch of the county 3 ^4f Auction highlight th* air show to be given Housing Problem Sold Recently Red Cross chapter, announced to- In Knollwood Area PRIVATE PARTY v at the Monmouth county airport, day that the branch workrooms at able, reasonably Ofcevrplit, Plymouth» Route 34, Wall township, on Air John Grogan Says Four-Acre OakKurst i Broad street will reopen Tuesday from another1 prlv* Evans Pays $54,162 Force Day totnprrdw. The show morning. The rooms have been Eatontown 8-Q028-W will feature flights of. all types of Men Want Permanent ' Property Bought By closed the last fix weeks-to give Philip J. Bowers & Co. army planes and ground exhibits of volunteers a vacation. v , $3,000 Foi* Prize Bull radar, radio and electronic equip- Type Dwellings Morris J. Simon ' Mrs, Ford also reports that the To Direct Development cr. -
Japanese Costume
JAPANESE COSTUME BY HELEN C. GUNSAULUS Assistant Curator of Japanese Ethnology FIELD MUSEUM OF NATURAL HISTORY CHICAGO 1923 Field Museum of Natural History DEPARTMENT OF ANTHROPOLOGY Chicago, 1923 Leaflet Number 12 Japanese Costume Though European influence is strongly marked in many of the costumes seen today in the larger sea- coast cities of Japan, there is fortunately little change to be noted in the dress of the people of the interior, even the old court costumes are worn at a few formal functions and ceremonies in the palace. From the careful scrutinizing of certain prints, particularly those known as surimono, a good idea may be gained of the appearance of all classes of people prior to the in- troduction of foreign civilization. A special selection of these prints (Series II), chosen with this idea in mind, may be viewed each year in Field Museum in Gunsaulus Hall (Room 30, Second Floor) from April 1st to July 1st at which time it is succeeded by another selection. Since surimono were cards of greeting exchanged by the more highly educated classes of Japan, many times the figures portrayed are those known through the history and literature of the country, and as such they show forth the costumes worn by historical char- acters whose lives date back several centuries. Scenes from daily life during the years between 1760 and 1860, that period just preceding the opening up of the coun- try when surimono had their vogue, also decorate these cards and thus depict the garments worn by the great middle class and the military ( samurai ) class, the ma- jority of whose descendents still cling to the national costume. -
Collection 1880S–1940S, Floor 5 Checklist
The Museum of Modern Art Fifth Floor, 1880s-1940s 5th Fl: 500, Constantin Brancusi Constantin Brâncuși Bird in Space 1928 Bronze 54 x 8 1/2 x 6 1/2" (137.2 x 21.6 x 16.5 cm) Given anonymously 153.1934 Fall 19 - No restriction Constantin Brâncuși Fish Paris 1930 Blue-gray marble 21 x 71 x 5 1/2" (53.3 x 180.3 x 14 cm), on three-part pedestal of one marble 5 1/8" (13 cm) high, and two limestone cylinders 13" (33 cm) high and 11" (27.9 cm) high x 32 1/8" (81.5 cm) diameter at widest point Acquired through the Lillie P. Bliss Bequest (by exchange) 695.1949.a-d Fall 19 - No restriction Constantin Brâncuși Mlle Pogany version I, 1913 (after a marble of 1912) Bronze with black patina 17 1/4 x 8 1/2 x 12 1/2" (43.8 x 21.5 x 31.7 cm), on limestone base 5 3/4 x 6 1/8 x 7 3/8" (14.6 x 15.6 x 18.7 cm) 17 1/4 × 8 1/2 × 12 1/2" (43.8 × 21.6 × 31.8 cm) Other (bronze): 17 1/4 × 8 1/2 × 12 1/2" (43.8 × 21.6 × 31.8 cm) 5 3/4 × 6 1/8 × 7 3/8" (14.6 × 15.6 × 18.7 cm) Other (approx. weight): 40 lb. (18.1 kg) Acquired through the Lillie P. Bliss Bequest (by exchange) 2.1953 Fall 19 - No restriction Constantin Brâncuși Maiastra 1910-12 White marble 22" (55.9 cm) high, on three-part limestone pedestal 70" (177.8 cm) high, of which the middle section is Double Caryatid, c. -
Tradisi Pemakaian Geta Dalam Kehidupan Masyarakat Jepang Nihon Shakai No Seikatsu Ni Okeru Geta No Haki Kanshuu
TRADISI PEMAKAIAN GETA DALAM KEHIDUPAN MASYARAKAT JEPANG NIHON SHAKAI NO SEIKATSU NI OKERU GETA NO HAKI KANSHUU SKRIPSI Skripsi Ini Diajukan Kepada Panitia Ujian Fakultas Ilmu Budaya Universitas Sumatera Utara Medan Untuk Melengkapi salah Satu Syarat Ujian Sarjana Dalam Bidang Ilmu Sastra Jepang Oleh: AYU PRANATA SARAGIH 120708064 DEPARTEMEN SASTRA JEPANG FAKULTAS ILMU BUDAYA UNIVERSITAS SUMATERA UTARA MEDAN 2016 i Universitas Sumatera Utara TRADISI PEMAKAIAN GETA DALAM KEHIDUPAN MASYARAKAT JEPANG NIHON SHAKAI NO SEIKATSU NI OKERU GETA NO HAKI KANSHUU SKRIPSI Skripsi Ini Diajukan Kepada Panitia Ujian Fakultas Ilmu Budaya Universitas Sumatera Utara Medan Untuk Melengkapi salah Satu Syarat Ujian Sarjana Dalam Bidang Ilmu Sastra Jepang Oleh: AYU PRANATA SARAGIH 120708064 Pembimbing I Pembimbing II Dr. Diah Syafitri Handayani, M.Litt Prof. Hamzon Situmorang,M.S, Ph.D NIP:19721228 1999 03 2 001 NIP:19580704 1984 12 1 001 DEPARTEMEN SASTRA JEPANG FAKULTAS ILMU BUDAYA UNIVERSITAS SUMATERA UTARA MEDAN 2016 ii Universitas Sumatera Utara Disetujui Oleh, Fakultas Ilmu Budaya Universitas Sumatera Utara Medan Medan, September 2016 Departemen Sastra Jepang Ketua, Drs. Eman Kusdiyana, M.Hum NIP : 196009191988031001 iii Universitas Sumatera Utara KATA PENGANTAR Segala puji dan syukur penulis panjatkan kepada Tuhan Yesus Kristus, oleh karena kasih karunia-Nya yang melimpah, anugerah,dan berkat-Nya yang luar biasa akhirnya penulis dapat menyelesaikan skripsi ini. Penulis dapat menyelesaikan skripsi ini yang merupakan syarat untuk mencapai gelar sarjana di Fakultas Ilmu Budaya Universitas Sumatera Utara. Adapun skripsi ini berjudul “Tradisi Pemakaian Geta Dalam Kehidupan Masyarakat Jepang”. Skripsi ini penulis persembahkan kepada orang tua penulis, Ibu Sonti Hutauruk, mama terbaik dan terhebat yang dengan tulus ikhlas memberikan kasih sayang, doa, perhatian, nasihat, dukungan moral dan materil kepada penulis sehingga penulis dapat menyelesaikan studi di Sastra Jepang USU, khususnya menyelesaikan skripsi ini. -
The Costume of Yamabushi "To Put on the Clothing of Yamabushi, Is to Put on the Personality of the Fudo Buddha" Something Always Practiced by the Shugenjas
Doctrines Costumes and Tools symbolisme | www.shugendo.fr Page 4 of 12 7. Not to break good manners and to accept insults from the Elders. 8. On level ground, not to have futile conversations (concerning Dharma or women) 9. Not to touch on the frivolous subjects, not to amuse with laughing at useless words or grievances. 10. When in bed, to fall asleep while using the nenju and reciting mantra) 11. Respect and obey the Veterans, Directors and Masters of Discipline, and read sutras aloud (the yamabushi in mountain have as a practice to speak with full lungs and the texts must be understandable) 12. Respect the regulations of the Directors and the Veterans. 13. Not to allow useless discussions. If the discussion exceeds the limits for which it is intended, one cannot allow it. 14. On level ground not to fall asleep while largely yawning (In all Japan the yawn is very badly perceived; a popular belief even says that the heart could flee the body by the yawn). 15. Those which put without care their sandals of straw (Yatsume-waraji, sandals with 8 eyelets) or which leave them in disorder will be punished with exceptional drudgeries. (It is necessary to have to go with sandals to include/understand the importance which they can have for a shugenja, even if during modern time, the "chika tabi" in white fabric replaced the sandals of straw at many shugenja. Kûban inside Kannen cave on Nevertheless certain Masters as Dai Ajari Miyagi Tainen continue to carry them for their comfort and Tomogashima island during 21 days the adherence which they offer on the wet stones.