ID Number

Title

Item Name

Culture

Date Made

Maker

Place Made

Date Collected

Date Owned

Owner

Acquisition Date

Source

Measurements

Item Classes

Condition

Accession Number

Description

Washi samples mounted horizontally on white, labelled and folded paper with 3-pointed leaf above scrolled 'm' watermark. 2 rectangular multi-colour woodblock print samples. Top sample has alternating black, brown and green thin stripes with a small border on left and at bottom. Bottom sample has a bright yellow ground with a dozen variously coloured doll shaped tops with cone-shaped hats and sweeping red lines from the tips of sleeves ending in white dots. Black edged white border at right and bottom. Mounting paper folds from left over part of samples.

Specific Techniques

Washi (和紙) sample. Pigment is applied to a cherry wood block, then the paper is applied and rubbed using a baren (a disk-like hand tool used to burnish the back of a sheet of paper in order to lift the ink from the block).

History Of Use

Papermaking originated on the Asian mainland and spread to Japan by around the 6th or 7th century. For centuries Japan has produced the greatest quantity and variety of handmade paper or washi (和紙). Traditionally, papermaking was a family or community enterprise which thrived in mountain farming communities where cold, pure water and wild bast fibre shrubs, such as mulberry, were plentiful. Washi is an important cultural symbol, as well as a significant aspect of both Shinto and Buddhist rites and customs. Chiyogami (千代紙) was originally produced as woodblock prints, and was likely first made in Kyoto. It was used for writing or poetry paper, for lining incense boxes, or for wrapping cosmetics. It is presently also used for Anesama (姉様) dolls, toys, artificial flowers and greeting cards. Although formerly an expensive luxury item used only by high-ranking individuals, chiyogami later became less expensive, and a popular gift for young women.

Narrative

Part of Vol. V (chiyogami-katazomegami); sample nos. 812-813; from Tesukiwashi Taikan (手漉和紙大鑑) published in Tokyo in 1973–1974, which features a collection of over 900 handmade papers. It was produced as a project to commemorate the centennial of Mainchi Newspapers and to preserve Japanese handmade paper. A collection on this scale had not been made before. This collection consists of 5 boxes of mounted and labelled samples with an explanatory book in 4 of the boxes. The text is in Japanese and with less detail, in English. Compiled and edited by a special editorial staff of scholars. Published by the Mainchi Newspapers, Tokyo, Japan.

Cultural Context

Chiyogami (千代紙) made in Tokyo is called Edo chiyogami (江戸千代紙) and chiyogami made in Kyoto is known as Kyō chiyogami (京千代紙). This collection features Edo chiyogami by Hirose Tatsugorō IV (広瀬辰五郎四代目), the fourth generation of Isetatsu (いせ辰), a shop established in 1864 in Tokyo (formally known as Edo 江戸), which specializes in Edo chiyogami and Omocha-e (おもちゃ絵/玩具絵) (“play prints”).

Iconographic Meaning

The patterns are called Jōhikijima (定引縞) and Yajirobei (弥次郎兵衛). Sample 812 is from a clothing design pattern of Old Edo, used during the 18th and 19th centuries; 813 represents paper dolls in the shape of tops. The name of this paper is derived from a famous novel character who demonstrated his ability to spin from calamity to calamity without losing his balance.