Symposium Review: Japanese Traditional Crafts

By: Ayaka Sano, Student/New Professional Award Recipient

Under the mission to foster greater exchange and dissemination of textile knowledge worldwide, the Textile Society of America’s 2020 symposium, organized virtually for the first time, welcoming presenters and attendees from various parts of the world. On October 16, Session 8C “Japanese Traditional Crafts” convened individual papers presented by three scholars from Japan. Moderated by TSA’s Board Secretary, Lesli Robertson, the panel explored three distinct aspects of Japanese textile traditions and their relevance in contemporary society. 

Keiko Okamoto, Professor of Business Administration at Hosei University, started the session with her paper “Mr. Tameji Ueno: A Living National Treasure of Hand-Painted Yūzen Dyeing (1954).” Keiko shed light on the artisan Tameji Ueno (1901–1960), analyzing his unparalleled craftsmanship and commitment to elevating the status of yūzen artisans in Kyoto.[1] Serving the role of both an artisan and industry agent, Tameji and his father created innovative yūzen textiles, drawing inspiration from Edo period textile designs. One highlight of the presentation was the exquisite image of Tameji’s kimono jacket textile from 1953, which was submitted in advance of his appointment as a Living National Treasure in 1954. The textile depicted a series of Japanese fans, intricately patterned with aesthetic influences from the Kyo-yūzen and Kaga-yūzen styles. While the Ueno family’s business has been passed down through generations, Keiko addressed the need to continue sharing the legacies of renowned and anonymous artisans in response to the diminishing yūzen industry.

Yuka Matsumoto, Professor in the Faculty of Education at the University of the Ryukyus, discussed the various initiatives aimed to sustain Okinawan textile traditions in her presentation, “Ways of Life and Works of Weaving and Dyeing in Okinawa: Toward a Possible Solution of Carry-On Concern.” In recent years, the aging population of local craftspeople has raised concerns regarding the preservation of traditional textile-making in Okinawa. Yuka showcased numerous case studies conducted across the islands—from mud dyeing in Kumejima to ritual kimonos worn on Kohama Island—that encouraged greater engagement with local weaving and dyeing practices. The implementation of textbooks and educational materials was also presented as a viable method to spread knowledge and help build new generations of weavers and dyers.[2] Yuka astutely suggested the link between these efforts and the concept of ikigai, a Japanese word for the reason of being, or purpose in life, emphasizing that making connections between one’s life and heritage is a key aspect in preserving these local traditions.

The talk that garnered much attention from the audience was on Tango fuji-ori, textiles woven with yarns from the bast fibers of wisteria vines, historically produced in the Tango peninsula of northern Kyoto. Delivered by Miwa Kanetani, Associate Professor at the Professional Institute of International Fashion, Japan, the paper “The Transmission of Traditional Textile-Making Skills by Amateur Weavers: The Case of the Wisteria Fiber Textile-Makers of Kyoto” introduced the significant role of amateur weavers in the preservation of the fuji-ori textile tradition.[3] Miwa’s research underscored the non-commercial approach taken by the Association for Preservation of Tango Fuji-ori. The association actively trains amateur weavers from outside communities as a non-profit initiative. Miwa presented this project as an effective alternative to commodifying the textiles, which incurs high costs due to the labor-intensive manufacture. The Q&A that followed the presentation suggested a wide interest in this craft, with several inquiries about the technical aspects of the wisteria fiber yarns, as well as the training involved in mastering the weaving technique.

While focusing on different histories, practices, and geographic areas, all three presentations addressed the challenges and opportunities in preserving Japanese textile crafts. The wealth of conversations taken place in the virtual chat revealed a high level of interest and knowledge among the attendees. As an emerging scholar in the history of Japanese dress and textiles, I look forward to the further development of research and dialogues that not only expand our knowledge but also to raise awareness of the declining textile practices that deserve deeper appreciation.

Ayaka Sano is a recent graduate of the M.A. program in Costume Studies at New York University. She currently assists curatorial projects for museums and art galleries, with past projects including Boro Textiles: Sustainable Aesthetics (Japan Society) and Contemporary Muslim Fashions (Cooper Hewitt, Smithsonian Design Museum). Since becoming a member in 2018, she has served as the Social Media Coordinator at the Textile Society of America.

  [1] Yūzen is a paste-resist dyeing technique that developed in Kyoto during the 17th century and is still used today for producing kimono textiles. Keiko shared her research on Kyoto yūzen dyeing methods at the TSA’s 2018 Vancouver symposium. 

[2] Yuka’s research is published in her recent book Weaving and Dyeing in Okinawa and People’s Lives co-authored with Toshiyuki Sano (Ryukyu Shimposha, 2020).

[3] More on Miwa’s research may be found in her article “Weaving Knowledge in Depopulated Communities: Conservation of Wisteria Fiber Textiles in Kyoto, Japan” in Fashionable Traditions: Asian Handmade Textiles in Motion edited by Ayami Nakatani (Lexington Books, 2020).