' beni (red safflower) squeezed board shibori'), also known as beni ita or Kyo beni. One of the traditional forms of itajime shibori textiles is beni itajime ( lit. The fabric is typically folded more than once, creating a repeating pattern of resists throughout the fabric when unfolded. Traditionally, the cloth is sandwiched between two pieces of wood, which are held in place with string. Itajime shibori is a shaped-resist technique. Arashi is the Japanese word for storm the patterns are always on a diagonal in arashi shibori, which suggest the driving rain of a heavy storm. The result is a pleated cloth with a design on a diagonal. Next, the cloth is scrunched on the pole. Then the cloth is very tightly bound by wrapping thread up and down the pole. The cloth is wrapped on a diagonal around a pole. This technique allows for greater control of the pattern and greater variety of pattern, but it is much more time consuming.Īrashi shibori is also known as pole-wrapping shibori. Each thread is secured by knotting before being dyed. The thread must be pulled very tight to work, and a wooden dowel must often be used to pull it tight enough. A simple running stitch is used on the cloth then pulled tight to gather the cloth. If the cloth is first folded then bound, the resulting circles will be in a pattern depending on the fold used. If random sections of the cloth are bound, the result will be a pattern of random circles. The pattern achieved depends on how tightly the cloth is bound and where the cloth is bound. It involves binding certain sections of the cloth using thread – traditionally a type of untwisted thread known as shike-ito – to achieve the desired pattern. Kanoko shibori is what is commonly thought of in the West as tie-dye. Differing techniques may be combined in some cases to achieve increasingly more elaborate results. The desired end result for shibori may be to create a larger pictographic or geometric design (as seen on many full- shibori kimono), or simply to display the shibori on its own. The technique chosen and the resulting dyed fabric depends upon both the type of fabric and the dyestuff used shibori demands a pliant and easy-to-handle fabric, with some historic dyeing techniques – such as the original technique of tsujigahana – now impossible to recreate entirely due to the fact that the fabric necessary for the technique is no longer produced. : 11 Most techniques recognised within these three categories have names and a number of varieties of technique. There are many ways to create shibori, with techniques generally grouped into three categories: kōkechi, tied or bound resists rōkechi, wax resists and kyōkechi, resists where the fabric is folded and clamped between two carved wooden blocks. Techniques Īn example of shibori tied in small dots to form a tortoiseshell ( kikko) design Surviving examples of resist-dyeing in China (known as jiao-xie) date to a much earlier time period the earliest surviving examples dating to 418 CE. ![]() However, at least some of the shibori-dyed fabric in this collection is Chinese in origin. The techniques seen on these earliest fragments show bound resists, wax resists and folded and clamped resists. The earliest surviving examples of shibori-dyed cloth date back to the mid-8th century, donated to the Tōdai-ji Buddhist temple in Nara in 756 CE, as part of the goods donated by the Emperor Shōmu upon his death. One of the earliest written descriptions of shibori dates to 238 CE, where it was recorded in the Chinese document Chronicles of the Clans of Wei ( Wei chih) that Queen Himiko gifted the Emperor of the Wei dynasty over 200 yards (180 m) of "spotted cloth" – potentially describing a form of wax-resist decoration on the fabric. ![]() Much of the debate surrounds the technical capacities within Japan at the time to produce the variety of fabrics seen in some of the earliest shibori examples. Some discussion exists as to the origin of shibori as a technique within Japan, and indeed, the exact country of origin of some of the earliest surviving examples.
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