Woven Identities of Japan: Kimono and Costumes - Clark Center for Japanese Art & CultureNEW

For centuries, Japanese textiles and fashion have fascinated outsiders with their brilliance of color, complexity of form, and unique beauty. At once functional and decorative, textiles were imperative both for personal expression and as tools for actors on stage. This fall, the Clark Center for Japanese Art and Culture continues its exploration of Japanese textiles with Woven Identities of Japan: Kimono and Costumes.

The second of two rotations, this exhibition will showcase articles of clothing from mainland Japanese society, focusing on the different weaving, dyeing, and decorative techniques used to create them. The objects on display include lavish examples of various types of kimono and theatrical costumes, offering viewers a broad overview of the variations in styles and decoration in Japanese textiles.

There is perhaps no symbol of Japan as ubiquitous as the kimono. Instantly recognizable in shape and a delight to the eye, the kimono is today the national costume of Japan and an important element in the celebration of life rituals including birth, marriage, and death. A highly complicated form of dress, the kimono is governed by a complex set of rules based on the status of the wearer, seasonal appropriateness, and the occasion the garment is worn. All of these rules have their roots in the history and development of the garments themselves.

One of the garments on display is a spectacular blue uchikake, or outer robe, dating from the late nineteenth century. Uchikake were worn unbelted, and when indoors were allowed to trail behind the wearer. The style originated in the Kamakura period (1185�1333), when women of the samurai class adopted it for formal occasions. Made of plain-weave blue satin, this garment is elaborately embroidered with decorative designs that reference courtly refinement during the Heian period (794�1185), the golden age of Japanese history. Across the entirety of the robe are embroidered maple trees amongst kich�, room dividers that were used to shield court ladies from the eyes of men. On the lower center of the garment is a tsuri-daiko, an elaborately decorated drum used in gagaku, a type of classical music popular in the imperial court. The drum is surrounded by a halo of flames, signifying the might and power of the Buddha. This work is an excellent example of koma-nui (couched stitch) embroidery using metallic thread made from a silk core first wrapped in paper and then with gold leaf. This type of thread was too thick to pass through fine silk without damaging it, so it was couched down with red or orange silk floss. As styles changed to mimic the silhouette of Western clothing during the Meiji period, the uchikake was slowly relegated to ceremonial attire, and today it is worn only for weddings.

Theatrical costumes in Japan are unique when compared to those worn by the general public. Often modeled after historic clothing, costumes have a language of their own and aim at augmenting the experience of audience members. This was particularly true for Noh, a type of theater that originated in the fourteenth century combining mime, dance, and music to tell stories. From the seventeenth through the middle of the nineteenth century, the Tokugawa family enthusiastically supported Noh, establishing it as the national theatre of Japan. One of the Noh costumes featured is a sumptuously embroidered atsuita. Dating from the last half of the nineteenth century, this kimono-shaped robe would have been worn by an actor portraying a male role. This robe demonstrates the brilliance of nishiki, Japanese brocade, and features a bold combination of motifs that include waves and tsuba, sword guards. Due to the presence of this motif, it's likely that this robe would have been worn by an actor portraying a warrior.

Woven Identities of Japan: Kimono and Costumes will not only encourage visitors to explore the sheer variety of Japanese clothing, but also to discover how these wearable works of art were originally produced. Covering weaving techniques, production of different types of fabric, and various methods of decoration, this exhibition is a must-see for anyone interested in fashion or textiles. This exhibition will not only feature objects from the Clark Center's permanent collection, many of which have never been displayed before, but it will also showcase works from the private collection of Thomas Murray, a dealer of Asian and Tribal arts and an enthusiastic collector of Japanese textiles.

Date
Nov. 12, 2011 � Jan. 28, 2012

Gallery hours
Tuesday through Saturday 12:30 � 5 pm. Closed on national holidays and from Dec. 23, 2011 through Jan. 2, 2012.

Admission
$5 for adults, $3 for students and active military service with valid ID. Children 12 and under free.

Weekly docent tours are held Saturdays at 1 pm and guided group tours can be arranged by calling the Center in advance at (559) 582-4915.