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The History and Present of Nishijin Weaving

The origins of Nishijin weaving can be traced back to the 5th and 6th centuries, when immigrants from the Asian continent, the Hata clan, settled in the area of present-day Uzumasa in Kyoto, introducing sericulture and silk weaving techniques.

With the relocation of the capital to Heian-kyo (present-day Kyoto), the imperial court organized craftsmen inheriting silk weaving techniques under the office known as Oribe no Tsukasa, producing luxury fabrics like brocade and damask.

These weavers congregated around the area of Kamigyo-ku, Kamichojamachi in Kyoto, forming what was known to be the Oribe town.

During the mid-Heian period, state-run weaving workshops gradually declined, and craftsmen began to operate the weaving business as their own.
They gathered and lived near Otoneri Town, close to Oribe Town, and during the Kamakura period, they produced highly valued fabrics known as "Otoneri no Aya" and "Omiya no Kinu."

They also incorporated new technologies from the continent, always engaging in the creation of superior fabrics.

In the Muromachi period, they organized a guild-like entity called Otoneriza and met the demands from the Imperial Household's Inner Treasury Office while also taking orders from aristocrats and samurai families.

However, in the middle of the Muromachi period, the Onin War broke out in Kyoto. The conflict lasted 11 years, causing many craftsmen to flee to places like Sakai in Izumi to escape the warfare, leading to the destruction of the weaving industry in Otoneri Town.

After the turmoil subsided, they returned to Kyoto and restarted the weaving business near their original location in Shirakumo village (near the current area of Kamigyo-ku, Shinmachi Imadegawa) and around Omiya Imadegawa, which had been the headquarters of the western army during the war.

The name Nishijin weaving originates from this area, known as Nishijin, which was the site of the western army's headquarters.

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The weavers in the Omiya area revived the Otoneriza guild and, by the end of the Muromachi period, this guild was recognized as representing the traditional silk weaving industry of Kyoto.
The adoption of the high loom technology from the continent, which allowed for the weaving of patterns and designs using pre-dyed yarns, was also a development of this era.
This led to the foundation of Nishijin-ori, a high-quality silk fabric, establishing Nishijin as its production area.

Nishijin weaving and its production area were recognized and protected by the court, including figures like Toyotomi Hideyoshi, and continued to evolve by adopting techniques from China and Ming, further enhancing its development.

With the onset of the Edo period and the rise of merchant culture as society stabilized, Nishijin, known for its luxury fabrics, flourished even more. A district of weavers and large yarn and weaving houses formed, producing not just luxury fabrics but also crepes and stripes, dominating the market.

However, as the Edo period progressed, repeated famines destabilized society, and shogunate luxury bans reduced demand.

Additionally, two major fires and the emergence of new silk weaving centers like Tango and Kiryu were significant setbacks.

The capital's move to Tokyo in the Meiji period also diminished Kyoto's vibrancy.

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Nevertheless, Nishijin, historically proactive in adopting foreign advanced technologies, quickly embraced the opportunities of civilization and enlightenment, modernizing by adopting Jacquard weaving and other techniques from France.

Through the Taisho and Showa periods, while promoting the mass production of luxury silk fabrics, efforts were also made to refine traditional handweaving techniques and designs, solidifying the position of the luxury fabric industry.

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Today, Nishijin weaving not only produces traditional obi and kimonos but also high-quality materials for neckties, shawls, and Japanese accessories.

Products like wall hangings have become significant in production, next to obi. The area is also working on spreading innovative Western-style kimonos with a fresh aesthetic.

About Tomiya Textile

From splendid to solemn—Tomiya Textile (Kyoto City), founded in the early Meiji era, has taken on the challenge in the field of Buddhist art by applying Nishijin weaving techniques to create "Nishijin Art Weave." From a distance, its tapestries of Buddhist statues are so intricate that they might be mistaken for photographs, exuding a sense of three-dimensionality. In stark contrast to the colorful and ornate obis for kimonos, these works emanate a dignified solemnity.

In 2023, Tomiya Textiles was awarded the Prime Minister's Prize at the Nishijin Weaving Conference.

Tomiya Textiles' Technical Expertise

For a work themed around the Eleven-Faced Kannon Standing Statue, the National Treasure of Shorinji Temple in Sakurai City, Nara Prefecture, about 2,700 warp threads and 24,400 weft threads were used. The number of weft threads is more than double that of an obi for a kimono. To express the subtle shades of the Buddha statue, many silk threads are used, making the weaving process more challenging. Increasing the number of weft threads also increases the friction points with the warp threads, putting stress on them. Weavers must be careful to give the weft threads extra length to prevent the warp threads from breaking. The workshop manager (43) says, "Experience is crucial to adapt to the condition of the threads, which can change with temperature. Robots can't do this yet." For Buddha statues, photographed image data is adjusted using computer graphics (CG). While the loom control information for lifting warp threads and passing weft threads is computer-processed, it can't fully automate the weaving. The quality of silk threads varies since they are taken from silkworm cocoons. Protein lumps on the thread surface or weakened threads due to dyeing are also issues. To aim for perfection, the machine is stopped and corrected even for minor weaving issues.

Refilling weft threads is also part of the craftsman's job. Extra care, like placing a kettle on the stove in dry air to prevent static electricity from tangling the threads, is necessary. President Yasuhisa Tomiie (54) says, "Listening to the sound to judge the condition of the machine is vital. For craftsmen, weaving is like handwork using a machine." Since in Nishijin weaving, the fabric is woven with the front facing down, craftsmen check the weaving quality using a mirror placed underneath. A craftsman (42), who is a qualified traditional craftsman, says, "When I want a closer look, I use a hand mirror." The Shorinji Temple's Kannon statue uses 12 colors of threads, including gold and silver. Thick black threads for the background and thin black threads for Kannon make the deity stand out. Buddhist statues predominantly in black require careful handling because even slight tension changes can affect how the light appears. The craftsman (42) says, "Though it's a machine, it feels like a work partner with a soul."

So far, about 50 Buddha statues have been commissioned for production, with the first work typically dedicated to the temple. There's significant interest in purchasing these from art enthusiasts and Buddhist followers.

See Nishijin textile art

Appome Art handles Kyoto Nishijin textile art works that are completely made to order.

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