Fukusa

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Model Number: Art.82# linen cotton yarn dyed melanged fabrics, for shirts, kid's wearAnd you can see more from mesh elastic fabric Polyester Knit Fabric best burnout fabric linen yarn fabric worsted twill fabric fr sofa fabric discount contemporary fabric 100 polyester white linen fabric 19th century Fukusa portraying J? and Uba under a pine tree in a scene from the noh play Takasago, embroidered silk and couched gold-wrapped thread on indigo dyed shusa satin silkFukusa, or gift covers, (?? or ??), are an obscure branch of the Japanese family of textiles. They are square or almost square pieces of lined fabric and range in size from about 9 inches on a side to 36 inches and were simply laid on top of a gift, not wrapped around it. Thus fukusa should not be confused with the unlined furoshiki, unlined rectangular cloths used to wrap and carry objects.Traditionally in Japan, gifts were placed in a box on a wooden or lacquer tray, over which a fukusa was draped. The choice of a fukusa appropriate to the occasion was an important part of the gift-giving ritual. The practice of covering a gift became widespread during the Edo or Tokugawa period (1615 - 1867).The scene or the motifs depicted on fukusa are chosen to indicate either the purpose of the gift - that is a birth, a marriage, etc. - or because they are appropriate for one of the annual festivals, when gifts are exchanged. The richness of the decoration of the fukusa attests to the giver wealth. Its design reflects his scholarship and aesthetics, and his cultural sensitivity is judged by the suitability of the gift cover selected for the occasion.After being admired, a fukusa, along with its box and tray, were typically returned to the donor. However, when gifts were presented to a high official, the fukusa was not always returned. This was one of the subtle devices used to control the wealth of the lords and samurai.In the first part of the eighteenth century, the art of the fukusa reflected the taste of the aristocratic minority of Japan: the daimyo and samurai. The subtle cultural references inherent in the designs were recognizable only to the educated members of these classes, who lived and exchanged gifts in the cities of Kyoto and Edo (Tokyo) and their surrounding areas. The use of ornamental fukusa in the Edo era was almost entirely confined to these geographic areas.By the 1800s, the merchant class moved up the social ladder and adopted customs of the aristocracy, including gift giving with fukusa. Family crests, or mon, were added on the lining side of gift covers beginning in the late 1700s and tassels were placed at each corner so the gift covers could be picked up without touching the fabric. Today, fukusa are rarely used, and when they are it is almost exclusively around Tokyo and Kyoto for gifts given at the time of marriage.In the Edo era, textiles were an integral part of Japanese art. According to Mary and Ralph Hays, who wrote the catalog for the Mills College fukusa collection, there was no arbitrary division of art into fine arts and decorative arts, as is prevalent in Western art. Eminent artists were commissioned to design textiles and each work was an original creation. Unfortunately, artists seldom signed their work.To the Japanese artist, according the Hayses, the surface of a textile means exactly the same as a piece of canvas does to a Western painter. When designing a silk textile, a Japanese artist is working with a surface that may be painted, embroidered or dyed, or all three. Moreover, silk is available in weaves of many textures and patterns that can become part of the design.Satin silk was the fabric preferred for embroidery, which often made extensive use of couched gold- and silver-wrapped thread . As paste-resist (yuzen) dyeing became popular, crepe (chirimen) silk was favored. Tapestry weave (tsuzure-ori) tapestry also was a popular technique as well as weft brocade (nishiki).Themes:Nature For example, pine, bamboo and plum blossom. Since the pine and bamboo remain green and the plum tree blooms in winter, they are called "The three friends of the cold season" and are symbols of constancy and integrity.Auspicious Birds and beasts - Mandarin crane ("tsuru") and turtle with trailing tail of algae (minogame) represent longevity and good fortune. Since the fish known in Japanese as ai (red sea bream) is part of the word edetai (good luck) and is also red in color, it is regarded as the good luck fish of Japan. Since the Asuka and Nara periods (7th-8th century) when Japan was greatly influenced by Chinese culture, dragon and phoenix patterns remained close to the original Chinese style.Aristocratic culture - Legends such as Tales of Genji and Noh plays. Bamboo curtains, screens, books, imperial carts, fans and other things reminiscent of the Heian period (aristocratic culture) were used as auspicious designs from the Edo period. Games such as the shell- and card-matching games (kai-awase), and fans.Folktales and myths For example, Urashima Taro, a Japanese Rip Van Winkle fairytale about a kind fisherman who saves a baby turtle and as a reward is invited to the Dragon Sea Palace. After...(and so on)


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