Antique kimono textile art " Plum Blossom Night ~Resilience~ " by ikasu Japan

This work is inspired by traditional Japanese nature motifs symbolism, and is framed in paulownia wood originally used for a kimono chest-of-drawers. In this artwork, the aim was to capture the the auspicious symbol of camellia used in antique kimono. Traditional Japanese culture, represented by the kimono, and wood, an integral element of Japanese craftsmanship, were used to bring this vision to life. I used pieces of kimono that could no longer be used as clothing and kiritansu chest-of-drawers that would normally be discarded to create the ultimate upcycled piece. << Explanation and meaning of pattern and colors >> This delicate piece features hand-drawn camellia motifs flowing gracefully on a softly brightened grayish background. Camellias, native to Japan, bloom from winter to early spring. As an evergreen tree with green leaves throughout the year, it symbolizes the anticipation of spring and is considered an auspicious plant. Due to its seasonal significance and auspicious meanings, camellias have been used as motifs symbolizing good fortune. Additionally, they were highly valued for their use in oil, cosmetics, and medicine, representing nobility. Believed to possess the power to ward off misfortune, camellias also carry the meaning of "protection from calamity" and have strong ties to traditional ceremonies. In this artwork, camellias are delicately depicted alongside flowing branches, subtly representing good fortune with their pale pink and white hues. "Sora-iro nezumi 空色鼠" refers to a light grayish color with a hint of blue, reminiscent of the slightly brightened sky on a lightly cloudy day. Popular during the late Edo period (19th cent.), it elegantly captures the slightly brighter sky pattern seen on lightly overcast days. Notably, the term "nezumi-iro" (mouse gray), popular during the late Edo period, was paired with brown tones, collectively known as "Forty-eight Teas and a Hundred Mice 四十八茶百鼠." Colors within the "nezumi" (gray) spectrum, particularly "sora-iro nezumi," were favored by young people for their cool and sophisticated appeal. << Characteristics of the fabric >> The fabric features intricately woven patterns that reveal subtle gradations through dyeing, creating a grid pattern that transforms depending on the light conditions. Originally, this fabric was part of a formal kimono known as a "hōmongi 訪問着," featuring motifs along the hem, shoulders, and sleeves. These motifs have been carefully selected and combined to create a unified piece of artwork. << About the frame >> Kiritansu - chest-of-drawers for kimono, is traditionally made from paulownia wood, a uniquely Japanese material closely tied to the world of kimonos. Paulownia wood is known as the lightest wood in Japan, prased for its natural luster, resistance to moisture, and resilience against cracking. Since ancient times, it has been used in crafting furniture, chests, and musical instruments. During the Edo period, it became customary to store cherished kimonos in paulownia chests...

This work uses an antique tomesode (festive kind of kimono) with fern design to evoke feelings of tranquility, harmony, and appreciation for the beauty of the environment. Can be used both vertically and horizontally. It is elegantly framed with paulownia wood originally used for kimono chest-of-drawers, and is filled with storytelling and sense of luxury. I used pieces of kimono that could no longer be used as clothing and kiritansu chest-of-drawers that would normally be discarded to create the ultimate upcycled piece. << Explanation of colors and patterns >> In Japanese traditional culture, ferns, particularly the Japanese painted fern (Athyrium niponicum), hold several meanings and symbolisms: ・Elegance and Beauty: Ferns are admired for their graceful, delicate appearance and intricate leaf patterns. In Japanese aesthetics, they are appreciated for their natural beauty and are often used in gardens, landscapes, and floral arrangements to add a sense of refinement and elegance. ・Resilience and Perseverance: Ferns are known for their ability to thrive in diverse environments, including shady forests, rocky cliffs, and damp soil. Their resilience in the face of challenging conditions is seen as a symbol of endurance and perseverance. In Japanese culture, ferns may represent the ability to overcome adversity and flourish despite obstacles. ・Connection to Nature and Tranquility: Ferns are native to forested areas and are often associated with the natural world. In Japanese traditional culture, they symbolize a deep connection to nature and the importance of maintaining harmony with the environment. The lush green foliage of ferns evokes feelings of tranquility and peacefulness, making them popular motifs in Zen gardens and traditional landscape paintings. ・Purity and Simplicity: Ferns are emblematic of simplicity and purity in Japanese aesthetics. Their unassuming beauty and understated elegance reflect the principles of wabi-sabi, an aesthetic worldview that values imperfection, impermanence, and simplicity. Ferns may be used in tea ceremonies, Ikebana (flower arranging), and other traditional arts to evoke a sense of tranquility and appreciation for life's fleeting moments. Overall, ferns in Japanese traditional culture symbolize elegance, resilience, connection to nature, purity, and simplicity. Their presence in art, literature, and landscape design underscores their enduring significance as symbols of natural beauty and spiritual resonance. << Characteristics of the fabric >> This vintage textile is hand-painted with a traditional Japanese technique called "yuzen". << About the frame >> Kiritansu - chest-of-drawers for kimono, is traditionally made from paulownia wood, a uniquely Japanese material closely tied to the world of kimonos. Paulownia wood is known as the lightest wood in Japan, prased for its natural luster, resistance to moisture, and resilience against cracking. Since ancient times, it has been used in crafting furniture, chests, and musical instruments. During the Edo period, it became customary to store cherished kimonos in paulownia chests...

Cherry Blossoms Kano Sanrakuki (1898-1981) Showa period, circa 1930 2-panel Japanese Screen Color, gofun and gold leaf on paper Against a backdrop of gold-leafed ground, the lichen covered trunk and branches of the life-sized cherry blossom tree reach out and beyond the confines of the pictorial surface. The overall composition has a feeling of flatness which draws emphasis to the surface and the three-dimensionality of the cherry blossoms. Painstakingly built-up layers of thickly applied shell-white gofun detail the voluminous blossoms and cover large areas of this tour-de-force of Japanese Nihonga painting. By simplifying the background, minimizing the number of colors and depicting the blossoms with such heavy relief, the artist has emphasized the stunning presence of the cherry tree. The type of tree depicted is the Yae-Zakura; a double-layered type of cherry blossom famed for its beauty and strength. When we think of Japanese cherry blossoms, the first thing that comes to mind is Somei Yoshino variety, which has a single flower with five almost white petals. This type is fragile and easily blown away by strong wind or rain. Most of the double-flowered cherry blossoms begin to bloom when the Somei-Yoshino falls, and the flowering period lasts longer than that of the Somei-Yoshino. Kano Sanrakuki originally studied painting at the Kyoto City Arts and Crafts School under the tutelage of Yamamoto Shunkyo...

An unusual floral screen covered entirely in the tarashikomi technique of the famed Rimpa School creating an archaic feel. Mineral pigments and ink on silver with a silk brocade bord...