. Japonche Rock from silk with gray-blue fond on which rice bundles and flower branches in red with green and red with blue, filled with silk watts and lined with yellow silk. Model: This jacket is equal to the standard pattern of the Japanese cosode with the exception of the shawl collar, which is not composed of remaining pieces of dust here, but when one long strip has been cut. At first glance, the sleeves model seems the most deviant, but here the dependent kimonomicouw has turned a quarter turn and opened open. The original kososdes always follows the patterns of the sleeves that of the
. Japonche Rock from silk with gray-blue fond on which rice bundles and flower branches in red with green and red with blue, filled with silk watts and lined with yellow silk. Model: This jacket is equal to the standard pattern of the Japanese cosode with the exception of the shawl collar, which is not composed of remaining pieces of dust here, but when one long strip has been cut. At first glance, the sleeves model seems the most deviant, but here the dependent kimonomicouw has turned a quarter turn and opened open. The original kososdes always follows the patterns of the sleeves that of the buildings, but here it stands as a result of the aim of a hurry. A kosode is made by default from a piece of m with a dust width of approx. cm. For this Japonche Rock, 10,54 m fabric is used with a width of cm. Decoration: The pattern has been raised in a sophisticated form of Katagami technique. The basic principle of this recess technique is: Slabed from mulberry leaves. Stencils sliced on the fabric and spreads a porridge of steamed rice flour and bran. The stencil is removed so that the porridge can dry on the fabric. After this, the substance is completely stretched with a gluing liquid from soybeans and when it has dried up, the color can be applied with a brush. Finally, the porridge is washed away, causing saving, unpainted motifs. The pattern on this jacket is a multi-color, repeating motif for which more than one stencil has probably been used. At the top and bottom of such a stencil are usually two holes that must facilitate moving the stencil at a repeating motif. Three different sorts of points can be recognized on this substance. This can indicate the use of three stencils. This was also necessary to bring the three different colors. Cf. Stencil in collection of Siebold, I no. 3448, IX K 68, Rijksmuseum for Volkenkunde, Le
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Photo credit: © BTEU/RKMLGE / Alamy / Afripics
License: Licensed
Model Released: No
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