Japanese Braiding the Art of Kumihimo by Jacqui Carey

• Home
• Gourds
• Kumihimo
• Temari
• Tutorials
• Classes
• Store
• About Me

Kumihimo is an aboriginal Japanese braiding art and a stricking example of the aesthetic dazzler of Japanese crafts. The braids are nevertheless used every bit ties for yukata and kimonos, and sageo for katanas. I learned how to braid on three looms, the Marudai and the Takadai with Giovanna Imperia and the Ayatakedai with Matsushima san.

History

Cords are an intrinsic part of Japanese civilization, their usage every bit well as the manner in which they are made have evolved over time. The braiding techniques were first introduced from Mainland china alomg with Buddhism. During the Heian period (794-1192) elaborate kumihimos were constitute in buddhist shrines, oftentimes braided past monks, their pattern and colors carried different religious meanings. Afterward kumihimo braids were found on formal court dresses (sokutai).

During the Kamakura catamenia (1192-1333) the braiding art boomed with the essort of the Samurais, it is said that i armor would use 250 meters of cords to necktie all the metallic plates together, and cords were used also for the equus caballus'due south armor. The cord used to tie the many modest plates (kosaneita) of the armor is chosen 'odoshi-ito'

In the Muromachi period (1336-1573) cords were also used to tie tea bags, the intricate knot (musubi) serving every bit a lock, preserving the integrity of the tea from assasins. It was impossible to re-practice the knot in the exact same fashion after poisoning the tea. You tin can still see these knots during tea ceremonies.

The braiding techniques were secret, the first publications appeared in XIXe century, in the Edo flow. Scholars like Makiko Tada or Masako Kinoshita written report ancient braids to rediscover how they were fabricated, and adapt the patterns.
The braids below are reproductions of famous ancient braids washed by Domyo Kumihimo School in Tokyo:

Initially the braiding was done by manus, a technique chosen 'kute-uchi' that tin be found in many cultures around the world. Loops of thread are exchanged between hands and fingers, crossing in a way that forms the pattern. For some patterns several braiders were required. At some signal in time the clever artisans introduced braiding material (see below) that made it possible to braid circuitous pattern without help.

Antiquarian braids tin can still be seen in temples, like Mitake where we can see a beautiful ryomen-kikko-gumi as well as the famous 'mitake' pattern. In that location aren't that many left, kumihimo are utilitary objects mainly, made with fragile fiber afterall. Some tin can exist seen every bit treasured items in temples such as Shosuin and Horyuji.

With the constabulary banning the wearing of swords in the Meiji period, 1868-1912 the product of kumihimo showed a abrupt decline. In our modernistic era kumihimos are used as ties for kimono and yukata also as accessories. Kumihimo are also used by martial artists to tie the katana to the waist, they are called sageo. Most of the kumihimo found for sale today are machine made, however many braiders around the world and in Japan continue to braid, study ancient braids and develop new braiding techniques.

Material

Fibers

The fiber used is preferably natural: coton, hemp, and silk. Braiders like Giovanna Imperia utilise metal thread and others use horse pilus. Obijime are mainly silk, a specially prepared silk. A cheaper alternative is nylon embroidery thread, but it is much more than slippery and doesn't agree its shape the aforementioned way. The silk is specially prepared for kumihimo. The raw silk is carefully cleaned, divided and measured in a process called 'itowari'. The prototype beneath has been taken in Maezawa-san's workshop in Iga:

And then it is dyed and reeled (itokuri) around a frame called 'kowaku'

Finally the threads are grouped and twisted together (yorikake). The image below has been taken in Maezawa-san's workshop in Iga:

Bundle of threads are attached to a weighted bobbin called 'tama', it insures even tension of the thread.

Kaku-dai

The kakudai is a square stand, as its name implies. The braid is formed upward and each bundle of thread is twisted, resulting in a tight braid with round edges.

Karakumi-dai

The frame is square, with komas (pegs) all around. The braids presented above are reproductions of aboriginal braids made at the Domyo Kumihimo Schoolhouse in Tokyo.
The braids have a distinctive diamond pattern, you lot can find more pictures on Weaver'south Easily website.

Naiki-dai

The Naikidai, besides called 'gacha-dai' for the sound it makes, is semi automated. I working example (pictures above) tin be seen in Matsushima san's studio in Iga. The braider moves a handle back and forth, actioning gears that in turn motion wooden pieces with metallic hooks. The hooks grab the threads and release them in a different location effectually the circle. Seeing it live and actioning it myself was a treat! Indeed information technology is loud! The clever pattern appealed to my engineer mind but I need the manual and meditative aspect of braiding more.

Maru-dai

The Marudai stand consists of a circular wooden piece with a hole at its center, called the mirror, mounted on 4 legs. The braider sits or kneels in front of the stand and moves threads weighted with bobbins (the tamas) over the mirror. The braid is formed downward, equally opposed to the kakudai. Different patterns telephone call for unlike weights and more tamas. A purse full of weights (marbles, angling weights) is attached at the starting point of the braid to weigh the weigth of the tamas. The weight in the purse depends on the combined weight of your tamas, basically y'all desire your point of braiding to be at the elevation of the hole, to get a house braid.

The weaver moves the tamas on superlative of the Maru-Dai, crossing the threads in a predefined pattern, the weights produce the tension necessary to course an even tight braid. This is very rhythmic, very peaceful.

The braids created on the Marudai have a small bore with a polygonal section (the section shape depends on the design used).

Many braiders likewise incorporate beads in the pattern, sometimes even to the point of completely hiding the tread. My preference goes to patently braids, or merely a few beads on the side as highlights, the braid itself is definitely the focus for me.

Gallery

Ayatake-dai

The ayatakedai tin be considered a weaving stand up rather than a braiding stand up. The braid progresses in line, with 2 bundles of threads acting as weft. The bundles of threads are twisted, like for the kakudai, and placed on wooden pieces that resemble pointer feathers. The threads are exchanged between the notches on each feather. A bamboo sword 'tou' is used to press the stitches firmly.

Gallery

Taka-dai

The Takadai is a large frame in which flat larger braids are created in a procedure like to weaving, just with more flexibility in the design than an occidental loom. The braiding progresses in a triangular shape, as opposed to a straight line for weaving, and there is no weft, or rather any thread tin become a weft at some time in the braiding

The width of the braid depends on the number of threads, and is express by the width of the torii, the wooden rod at the superlative of the Takadai. Equally with the Marudai, the threads are attached to weights (the tamas), that take care of the tension. The threads are woven following complex patterns, and a forest sword is used to press the threads in place. The weighted threads are placed on the artillery of the takadai, kept in identify by pegs(komas). Some patterns are made using one arm on each side, others are using the four artillery.

Special braids, called selection-up braids, are made with the 4 arms and the threads are woven to create patterns on the braid (geometrical designs, flowers, letters, etc.). These braids are usually bi-color, 1 color is assault the lower arms and some other colour is set on the upper arms, while weaving the threads are exchanged to create the blueprint.

Gallery

Makiko Tada'south disks

Makiko Tada developed several types of disks that are a fantastic tool to teach the basics of kumihimo, especially to kids. The disk replaces a marudai, the notches on its side hold the thread, and the threads are moved from one notch to another. Makiko Tada besides developed patterns particularly for the disks that you can detect in her books (see below)

Finishing

Braids are usually finished with tassels at both ends that are steamed to give a smooth finish (yunoshi). Tassels at the terminate of a sageo braids are modest. The braid is flattened on a rolling stand (korokake): a apartment piece of wood and a rolling pin.

Resources

Supplies

• Everything tin can be bought at Braider'due south Hand, actually
• Japanese silk at Le Soleil Tissant in Paris
• Kumihimo equipement here , shipped from France

Books

• Makiko Tada's collection: Comprehensive Treatrise of Braids
  • I Maru-dai Braids
  • Ii Andean braids
  • III Takadai braids 1
  • Iv Takadai braids ii
  • V Takadai braids iii (pick-up braids)
  • Six Kumihimo Deejay and Plate
  • Seven Kumihimo Disk and Plate 2
• Kumihimo, the essence of Japanese braiding, Aiko Sakai and Makiko Tada (kakudai, marudai, ayatakedai
• Beginner's guide to Braiding, the craft of kumihimo, Jacqui Carey (marudai)
• Creative Kumihimo, Jacqui Carey (marudai)
• Making Kumihimo, Japanese Interlaced Braids, Rodrick Owen (takadai)
• Kumihimo wire jewelry, Giovanna Imperia, pictures of her work and several projects on the marudai/disk
• Exquisite, the world of Japanese Kumihimo braiding, Kei Sahashi

Teachers in France

• Le Soleil Tissant in Paris
• My studio, xx min south of Pau (between Pau and Lourdes)

Forums

• Kumihimo Braiders International: an amazing Facebook group, bring together and meet the experts!
• Kumihimo: another Facebook group, focusing on beadings and braids made with the disks

coxcolowerve.blogspot.com

Source: http://www.artisanart.biz/About_Kumihimo.html

Share this post