Things to Wear — A History of Japanese Clothing Japanese Dyestuffs
In the Chinese court of Chang-an, five official clothing colours in addition
to white were recognized. Each was produced with dyestuffs referenced in
the Chinese Classics. Yellow was made from gardenia hulls and bark
of the Amur cork tree. Purple was from gromwell roots. Red
was from madder root. Blue-green was from indigo overdyed with yellow
for green. Black was the final of the five official colours.
The colours also had relationships with Chinese philosophy and superstition.
Blue-green represented wood, Spring, and the East. Red stood for
fire, Summer, and the South. White was for Autumn, Metal, and the
West. The North aligns with Winter, Water, and Black. And Yellow
is the Center and Earth. These rules remained largely unchanged in
China until the Manchurian period (beginning in the 17th century).
In 603 C.E. in the Western calendar Shotoku Tashi (Prince Shotoku) established
a system of government ranks mirroring those used in China. With
these ranks came the Chinese practice of distinction by colour. The
ranking colours had to be produced precisely using the correct materials.
These colours were purple, blue, red, yellow, white and black.
In 701 C.E., the Ministry of the Imperial Household organized a new office,
the Palace Dyeing Office or Naisenshi. Sources indicate that the
Naisenshi may have been managed by a master dyer from China. At the time,
many governmental workshops were. To the madder reds and indigo blues used
in antiquity were added dyes from the Continent. Gromwell root, sappanwood
and safflower came to be used as dyes.
Gromwell (Lithospermum erythrorhizon Sieb. & Zucc.) is native to Japan,
but no evidence suggests its use as a dye before the Nara Period. Called murasaki
in Japanese, today we recognize it as the given name of the author of the Tale of Genji
as well as one of her heroines. During the Nara and Heian Periods, this beautiful but
non-lightfast purple was restricted to Imperial ladies only. In addition to its ephemerality,
a careful process of premordanting had to be followed in order to produce the correct shade.
Often called simply iro ("colour" in Japanese), there is no doubt that it was
THE colour of the Court.
Sappanwood (Japanese suo) was imported from Southeast Asia as dried wood chips
from the Caesalpinia sappan L. tree. This redwood is of the same species as the
brasilwood and produces the same dyestuff. Again, its lack of lightfastness made this
colour desirable. By manipulating the pH of the dyebath by the addition of wood ash water
ot vinegar, the palace dyers could produce everything from deep eggplant to lavender and maroon
to ox-blood red. Coming soon — a project I did with sappanwood.
Benibana or safflower (Carthamus tinctorius L.) is probably the most "Heian"
of all the dyes. The love of fleeting beauty, as demonstrated by the short life of the cherry
blossoms, typified the emotions of the Heian court. As is obvious from the mid-Heian texts
by Lady Murasaki and her contemporaries, the good people felt that they were living at the end of an
age. Indeed they were, for the military rule which would dominate Japanese culture for over seven
centuries was only a couple hundred years away. Like murasaki, benibana was also a restricted dye,
though courtiers favoured by the Empress were often given special permission to wear it. Dyeing
with safflower requires careful manipulation of the pH factor. Anyone can produce yellow from
the petals. Orange requires more skill. But pink ( kurenai) was the restricted
colour. To read about my experiments with safflower, click here.
In 894, due to political turmoil at the end of the Tang Dynasty in China, Japan broke off all diplomatic
relations with its mentor nation. This can be thought of as Japan's adolescence — a period in
which Japan "grew up," discovered itself, and became more than just a reflection of big brother China.
It was during this time, the mid-Heian Period, that the first native poems were written in non-Chinese
script and the Japanese court came into its own.
Colours were strict indicators of rank in the Chinese court. In Japan, courtiers took the
native appreciation of colour and its subtlety to a higher level. Although men's court clothing
was still regulated by rank, a man in casual dress showed his refinement and sensitivity by pairing
colours according to the season, the occasion, or his mood. And if Heian men excelled at this
practice, Heian women were masters. Less restricted by rank colours than men, a Heian lady could
make or break her reputation with her choice of colours to wear in combination. Indeed, the mistress
of the household (that is, the principle wife) was responsible for all the dyeing that went on. Even
her servants' clothing reflected upon her. It is no surprize that the Imperial post of Mikushige-dono,
Mistress of the Wardrobe, was often held by an Imperial concubine, someone not too many steps away from
being Empress herself.
As the period progressed, the colour combinations (called kasane no irome in Japanese) became
standardized and each combination assigned a name. Late Heian period texts such as Masasuke's
"Notes on Costume" catalog these outfits. Even though the Heian period could not last forever, its
love of colour resurfaced again and again throughout Japanese costume history.
As indicated above, the Capital of Peace and Tranquility (Heian-kyo) did not remain so
forever. In the late 12th century, battles raged between provincial
lords and the Heian courtiers. The Gen-Pei War was devastating to the way of life that was cultivated
in the capital up to that time. No longer the center of beauty and refinement, the country was
now under a military regime. Japan was nominally still ruled by the Emperor in Heian-kyo, but in
fact the government was controlled by a provincial lord, Minamoto no Yoritomo, in far off Kamakura
(near present-day Tokyo, 600 miles from the ancient capital). The Kamakura Period could not be
more far-removed from the Heian Period if it had occurred on a different planet.
Austerity is the hallmark of the Kamakura Period. Fashion reflected this rebellion against the
decadence of the Heian court. Instead of the many layered silk garments, Kamakura ladies wore "underwear."
White kosode and red hakama, which on the Heian noblewoman was rarely seen, became the utilitarian garb of
the new order. There is strong significance in the names of the main garment — ko-sode (small sleeve)
as opposed to hiro-sode (wide sleeve) or o-sode (big sleeve) as the Heian layers were sometimes called.
There is even an anecdote that relates how the Shogun, Minamoto, chopped off his own brother's big sleeves
with a sword because he believed him to be reverting to courtly decadence. The cult of beauty was
truly gone.
Unfortunately, along with the people who supported it, the technology disappeared as well. This
loss can be best illustrated by the Kamakura-period repair of a 7th century
embroidered Buddhist mandala. Today one can clearly see the repairs because the Kamakura period dyes
have faded so much more than the original dye which predates it by 600 years.
In the Muromachi period, Ichijo no Kaneyoshi is responsible for "A Costume Compendium for Court
Ladies of Official Rank" indicating that, though the official rule was one of samurai austerity, the
Court was still the Court.
Shinshu Nigu produced "The Dongeiden Costume Compendium" in the first half of the sixteeth century.
© 2000, 2003 Kass McGann. All Rights Reserved. The Author of this work retains full copyright for this material. Permission is granted to make and distribute verbatim copies of this document for non-commercial private research or educational purposes provided the copyright notice and this permission notice are preserved on all copies.
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