Vocabulary: Asa

A non-geometric representation of asa leaves on yukata

Last year, I began the April challenge with a very similar entry: Asanoha. At that time, I was focusing on examples of the motif, but this year the focus is, of course, a little different as I endeavor to define some of the more common (and not so common) terms that I have come across in my own studies.

Many of the motifs we looked at last year were derived from natural elements and asanoha (hemp leaf or hemp flower) was no exception. But why should the humble hemp plant be immortalized in such a manner? It does not carry the romance of sakura or nadeshiko (both considered to be exemplars of fleeting and feminine beauty).

To my mind, the simple answer is because hemp is practical. Asa can be cultivated and utilized not just for rope, but spun into finer fibers as well. It is a very popular alternative to cotton, and though the weave might be a bit stiffer, it is not uncomon to find unlined (hitoe) kimono woven from asa suitable for summer wear.

Asa also has associations with purity, and as such is often used for the raiment of Shinto priests. With such powerful implications of protection as well as purity, it's no surprise that the asanoha motif would be a popular pattern for garments not made of the fiber itself.

Geometric motif known as Asanoha on a (likely synthetic fiber) obi

If you'd like a little more in-depth history of asa in Japanese culture, I found this article from The Japan Times to be quite informative.

I hope that you will continue to follow me in this more casual survey of terms and phrases as we wend our way through the month!

Motifs: Vines

There are several different ways that vines might show up as part of a design. In some cases, they can act like a geometric pattern, offering a background against which other motifs might play. In other cases, it may be that the leaves most commonly found growing on vines are the central motif. I've got some examples of each, and how and when they are worn depends, of course, on season and occasion.

Fuji (wisteria) is a sort of vine, and the tendrils of flower and leaves often make for lovely designs!

The swatch above is from a tan (roll of fabric) that I found in Savers and have since made into a hitoe kimono. The cool colors and flow of the pattern make it ideal for spring, especially here in California where spring can sometimes feel like summer.

Grape-leaf haori paired with bias-striped kimono.

Back view and close-up shot of haori. Having the ivy as a background was purely coincidental.

We've seen this autumnal ensemble before, when we were looking at stripes as a motif, but now I want to focus on the haori. The warm orange serves as the background for a scattering of grape leaves and tendrils. It's a little 'dressier' than some of my other haori, as the dark leaves are done with a thread that has a sort of metallic sheen to them. Paired with the not-at-all embellished kimono, it really has a chance to shine.

Tomorrow will be a double-feature for motifs, both of which are quite versatile! I hope my kind readers tune in tomorrow when we discuss: Waves and Wheels

Motifs: Ume (Plum Blossoms)

Close-up of kimono with burgundy ume blooms on a field of stripes.

Plum blossoms, not sakura (cherry blossoms) are the very first herald of spring, and so they are most appropriate for wearing in late winter (to push the season) and into the early spring months. They also form part of a popular motif for New Years-- Shochikubai-- as we saw when we were looking at juxtaposed motifs earlier this month.

Full view of the kimono with coordinating obi and kanzashi. Photo by Thad Gann.

While both ume and sakura are usually portrayed as having five petals, the plum blossom petals are rounded where cherry blossoms are notched. Also, ume is almost always portrayed as the full flower, while the sakura petals might be shown falling freely in the design in which they are depicted.

We saw this obi earlier in the month when we were talking about matsu. In that instance, we were looking at the pine needles.

The blue obi above is only missing bamboo for it to be an example of Shochikubai. As we learned earlier, it is fairly common to find ume and matsu paired together, as they are two of the 'three friends of winter.' As we've moved through the motifs this month, I'm sure that you've noticed many common pairings, even ones that I haven't pointed out specifically. I suspect that my kind readers have patterns or colors that they like to pair on a regular basis, and I would love to read about them in the comments!

Tomorrow, we'll be looking at another botanical motif: Vines!

Motifs: Rangiku (Spider Chrysanthemum)

Today, we're a little late in getting posted as I've just returned from an amazing trip to Portland Oregon. I'd made sure to have posts set up for while I was gone, but neglected to have a little buffer for when I returned. Now that I'm back, I hope to continue on track as I've quite enjoyed this challenge and hearing from my kind readers out there who have had a moment to stop by and cause to comment.

Rangiku, or the Spider Chrysanthemum, is another one of my favorite motifs that I have very few of in my collection. As a consequence, some regular chrysanthemum (kiku) will be making an appearance, as I would feel negligent if I did not mention all facets of this very prominent flower motif.

Part of my fondness for rangiku has to do, in all honesty, with anime. Rangiku is the given name of a character in the manga/anime series BLEACH, of which I have been a long-time fan. I found it to be such an unusual name (though giving women flower-names is not an uncommon practice) that I had to look it up and found that it was for an 'unruly' flower.

This kanzashi is now part of my collection. The photo is by the artist ImlothMelui, from whom I have purchased several other quality hair ornaments.

Most often, the chrysanthemum will be portrayed as a compact bundle of petals, either round, or diamond shaped (to fit into hanabishi diamonds), but there are, of course exceptions.

A 'wilder' chrysanthemum motif on faux-shibori yukata.

The yukata pictured above is one of my favorites, and not just because of the motif. It's a faux-shibori print on seersucker fabric, a weave that is light on the skin and absolutely perfect for summer weather. Real shibori would create a similar effect, as the tiny ties used in the dying process create a similar pucker. It seems that I have a fondness for the slightly wilder forms of kiku; I think that I find them a little more expressive than the orderly, compact blooms.

I do have some of the more orderly blooms, though, and the next example doubles down on the chrysanthemum theme.

Lined kimono featuring kiku in pattern and in the weave of the fabric.

Not only does this kimono show the more common kiku with its round shape of dense petals, but if you look closely, you can see that the fabric of the silk is woven with a pattern of much smaller chrysanthemums. It isn't uncommon for there to be patterns woven into the silk, and it is up to the artist to determine how prominent they will be in the finished work.

Traditionally, chrysanthemum are an autumnal theme, but their pervasiveness and importance as a symbol means that they can be found on garments fitting for any season. While the sakura, or cherry blossom, is often held up as a symbol of Japan, it is the chrysanthemum that is found on official seals and is the crest of the royal family.

Tomorrow, we'll be moving out of the garden and having a look at Sensu (Folding Fans). As always, I look forward to comments and questions you, my kind readers, may have!

Motifs: Pine (Matsu)

Here, we have a botanical motif that is decidedly appropriate for late autumn and winter. Pine can be depicted as pairs of needles scattered throughout the overall design, but there is a more popular rendering that is often mistaken for clouds.

The 'gumdrop' matsu kimono with a softer, woven obi.

The rounded motif of Japanese pine is not at all what many in the West would associate with an evergreen. Rather than being tall and pointed, this motif is drawn wide and rounder, more like a low-growing shrub, and it's this roundness that often causes it to be mistaken for a cloud motif, especially if branches or roots are not drawn in.

Matsu motif on the sleeve of a furisode kimono, on loan from Nichi Bei Bussan.

In the above example, another photo from my panel 'Don't be That Gaijin,' from Clockwork Alchemy 2015, the matsu that are dyed into the fabric almost look like fans. This particular kimono is not part of my collection, but Nichi Bei Bussan was kind enough to loan it to me for the purposes of demonstration. It is a furisode kimono, which means that the sleeves are quite long and fluttering; a style most appropriate for young (up to early 20s) women. With my collection, I strive to maintain only pieces that I myself can wear, and as I am past the age of furisode, I do not own any.

So far, we've only seen matsu represented on kimono, but the motif can most certainly be found on obi as well. In my first example, an antique obi from the Meiji era (approx. 1860s), the pine motif is not the motif of the pleasant rounded trees, but sprays of needles amid which rest pheasants.

Meiji Era obi with pine boughs, pheasants, chrysanthemums and peonies.

The other obi I have which sports pine motifs is actually a 'tsuke-obi' or pre-tied obi. This style is VERY convenient for getting the look of the popular Taiko Musubi, or drum knot, but without all of the hassle.

This is the 'bow' portion of a pre-tied obi with pine needles, ume (plum) and kiku (chrysanthemum).

Even with the flowers, this is still an obi that is better suited for late winter and early spring ensembles. I haven't found an occasion to wear it out yet, and as we are now in April, it may be some time before it gets to go on an excursion. I have several items in my wardrobe, not just in my kimono collection, that I reserve for specific times of year or occasions, as I am sure my kind readers do. If you care to share a story about your favorite winter sweater or summer skirt, I would love to read about them in the comments!

For tomorrow's post, we're taking a step away from the motifs  so that I can field Questions. Many of these were asked in social media, but you'll be more than welcome to ask your own!

Motifs: Nadeshiko (Pinks)

Delicate and frilled, nadeshiko are (like so many of the flowers we've seen so far) best worn in the spring and summer months. It should be no surprise, then that my two best examples are found on yukata.

Swatch of yukata covered with nadeshiko blossoms.

I was surprised to find that I didn't have any examples of this yukata being worn-- it's another one of my favorites, particularly for obon practices. It's made of a lightweight cotton, so it is comfortable for wearing on warm summer evenings and the festive colors make it a very striking piece.

My other yukata is a little more subdued, and nadeshiko are not the only flower to be found in the patterning.

The nadeshiko are on the sleeves in this photo; there are also bell-flowers.

We saw this yukata before, when we were talking about Linear motifs (in this case, we were clearly using the obi for the example). When I am pairing pieces, I do like to have a little bit of color carrying from one piece to the other to keep some sort of cohesive sense to the ensemble as a whole. It can be difficult, though, because you can run the risk of having too much of the same thing in the ensemble. With this pairing, the mauve of the obi is reflected only subtly in the tinting of some of the flowers. so the pieces are complimentary without one overpowering the other.

When I am dressing in kimono, I take a lot of things into consideration but when I try to do this with western fashion, I feel like I fall short. I admire those of you who can pair accessories with an ensemble to create a visual spark and hope that you might share some of your success stories in the comments!

Tomorrow's motif, Origami (Paper-folding) is another 'manufactured' motif and I hope you join me to read about this whimsical offering.

Motifs: Momiji (Maple Leaves)

What could be more symbolic of autumn than falling leaves? There is no denying the seasonality of momiji, often portrayed in warm tones as they flutter and fall in kimono patterning.

Once again, my very best example is on a ningyo. This lovely lady was a rescue from a thrift store and is much taller than some of my other ladies, so she appears here in her natural habitat-- on top of one of my book shelves.

"A Japanese Lady Walking in the Rain" is what I believe the little tag on her base reads. You can see one of my rare male dolls lurking behind her.

Her kimono has faded over the years, but I don't think this lessens just how striking the falling leaves are against the pale mauve fabric. Her obi is emblazoned with kiku (chrysanthemums) in paler cream tones and silver.

Out of my own collection, one of my best momiji examples is combined with another design element-- sensu (fans). Such small patterns are often refered to as 'komon' and are generally considered to be relatively informal (there will always be some sort of exception, but it's a reasonable guideline to follow).

Photo taken at Clockwork Alchemy 2015 during my panel 'Don't be that Gaijin'

The above photo is not the clearest example of the kimono in question (I promise I'll have a better one when we get to S for Sensu/Fans) but it does offer the surprise bonus of momiji as part of the pattern of the VERY formal fukuro obi I had brought along for demonstration purposes. The leaf pattern is in the little cloud at the bottom left.

There are many other design elements in that particular obi, including botan, or peony, and it was only when I was looking for images of this kimono that I discovered this little facet of the design. There are many pieces in my collection which have neat or intriguing little designs, and if my kind readers have favorite 'Easter Eggs' in their own wardrobe, I should love to read about them in the comments!

I am spending some time away from the keyboard this week, so any replies to comments may be slower than usual. I do have plenty of posts lined up for the challenge, though, and with tomorrow's motif, we are back to spring and summer motifs with the Nadeshiko (Pinks).
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Motif: Juxtapositions

Rather than taking today to talk about any of the motifs I could have used for 'J,' I thought it might be fun to instead look at some motifs that are created with different design elements. On their own, these items might have one meaning, but in juxtaposition to other designs, the intent is subtly shifted.

When I came up with this solution to my 'J' problem, I had one specific motif in mind. This combination of bamboo, pine, and plum is so common that it has its own name: Shochikubai. Also referred to as 'The Three Friends of Winter' this motif is considered to be highly auspicious and is most associated with the New Year season (Lunar, but also Gregorian), and is also the name of a very popular brand of sake.

Shochikubai with cute mousy-type critters guard our kitchen

The noren above is the only example of this motif that I could find in the house, which was very surprising to me, given how very popular it is. Bemused, I went back through my collection and stumbled upon another motif that is made up of many singular aspects drawn together-- Shoen Road.

This motif, also known as 'Shining Road,' is actually more like a river motif, and the other aspects that go into making it a cohesive whole can vary greatly, depending on what impression the artist behind the fabric wished to convey.

Detail of sleeve on pink 'shoen road' kimono.

The floral motifs (fuji, ume and kiku-- wisteria, plum, and chrysanthemum), as well as the soft pink hue mark this as a decidedly 'early spring' kimono. You might notice some other design elements in this very busy piece-- the hanabishi diamonds, as well as a faux-shibori print ground for the wisteria. There are also auspicious (if somewhat drunken) cranes scattered through the design.

I find that pieces like this one do much better with uncomplicated obi and accessories; something that will mute the effect of having so much going on visually. When I wore this piece out for a very (VERY) late winter excursion, I chose a vintage knit shawl to compliment the ensemble. It was still cool enough for the second layer to be necessary, and made the whole effect less 'springy' overall.

Pink 'shoen road' kimono paired with blue ombre obi and knit shawl.

If you've been following along so far, you may have noticed that there are a great many pieces in my collection that are not limited to just one motif. I think this adds to the versatility of the garments, as well as to the effect I can have in making my own juxtapositions in ensembles. I'm sure that this is quite common in fashion and in art, and I would love to hear about any favorite pairings of theme or color my kind readers have in their own arts and fashions. Please feel free to write about them in the comments!

Tomorrow, we will be looking at what I refer to in the labels as a 'manufactured' theme. So far, we've been seeing either plants or animals with the occasional geometric, but tomorrow's theme of Kasa (umbrellas/parasols) is a motif that is clearly man-made in origin.

Motifs: Iris (Ayame)

Most appropriate for spring, irises are felt to symbolize good news or glad tidings in Hanakotoba (the Japanese language of flowers).

Ayame yukata worn for Obon 2014.

While many floral motifs are given guidelines for when their appearance is most appropriate, I find that I very seldom adhere to them strictly. For instance, if the pattern is on a yukata, such as the above example, I feel that it is fair game for wearing for the whole of summer (though I would probably not push it past July, which is when Obon falls). If the pattern is more like the example below, then I might wear it even into late summer, because the more dominant motif (to me, at least) are the fan shapes, which are not quite so limited.

Detail of yukata fabric featuring ayame on a fan-shaped motif. 

Up to this point, I've talked a great deal about appropriateness to season, but I haven't really delved much into the meanings behind the floral motifs, either Western or Japanese. For many, the 'language of flowers' is a rather dead one, beyond roses for romance and lilies for mourning, yet so many people have favorite flowers that they may cherish for reasons that go far beyond the traditionally associated symbolism.

My own favorite flower is a favorite not because of what it means (the Western association isn't particularly flattering, though I was pleased to discover that the Japanese association is much more kind) but because of fond memories I have of looking for them to bloom in spring. If my kind readers have similar 'disassociated associations,' I would be most interested to read them in the comments!

For tomorrow's theme, I have had to be somewhat irreverent in the choosing of a motif. I don't have any Juji (cross motifs, also known as 'tens' because of how the numeral is written) in my collection, so we will be discussing the Juxtaposition of motifs!

Motif: Hydrangea (Ajisai)

As I promised yesterday, there is no lacking of ajisai examples in my collection. It started with just one, a very classic indigo yukata with white patterning that was so comfortable it quickly became my 'go-to' yukata. I especially like it because with the classic indigo/white color combo, I can pair any number of obi with it, as you can see from the following three examples.

    

You might have noticed that all of these causal ensembles feature an obi with a geometric motif. When I'm dressing in yukata, I tend to go for less complicated pairings, as it is summer and the yukata itself is a very casual garment, even if it is worn for festivals like Obon.

You may have also noticed that two of the three obi are tied in the same knot-- the kai-no-kuchi or clam's mouth knot. A lot of this has to do with the fact that it is the only knot that I can tie for myself with any reliability. The musubi used for the orange asanoha obi on the left was done for me by my wonderful roommate (I need her help with that obi no matter what-- it's so stiff that it creaks!) who is also responsible for almost all of the photographs you've seen so far.

My other ajisai yukata is not quite as easy to pair with multiple obi as it has a little more color than my first example.

Ajisai yukata with more vintage styling and coloration.

When I'm not quite sure what from my collection will compliment a kimono, I remember that red is always a safe bet. In the kimono pallet, red is considered a 'neutral' tone-- it goes with everything. The red of this yabane patterned reversible obi isn't quite a true red, but it definitely meshed well with this particular yukata. (Sharp eyes might note that this is the full reverse of the bunny patterned obi I paired with my example for chocho.)

This motif is one of the most seasonally limited that I have shared so far. It's best worn in late spring and early summer. While hydrangea has a lengthy bloom time, it is considered to be at its best during Japan's rainy season. I tend to push this a bit and wear them well through summer. Living in California, our 'rainy season' (if we are fortunate enough to have one) is generally winter, but by wearing ajisai during our hotter months, I might evoke a little of that sense of coolness.

For a very, very long time, I was not at all enamored of floral prints of any sort, but now that I have discovered kimono, I've found that there are actually a great number of floral motifs that I enjoy. Perhaps this is because there seems to be a much wider variety than was offered in the sweet little calico prints that were picked out for me. I suspect that my kind readers have their own favorite floral motifs and I would be most delighted to hear about them in the comments.

We'll have a break from posting on Sunday 4/10 and will be back on Monday when you might have a chance to learn about your favorite flower, if it happens to be the Iris (Ayame).

Motif: Grasses (Nowaki)

A soft pattern of waving grasses, paired with a muted geometric obi

Grass motifs are most appropriate for late winter and early spring, as well as most of autumn. Remember that kimono come from a place that experiences a 'four seasons' climate of cold winters, blooming springs, warm summers and fading autumns, and the guidelines for kitsuke are intended to reflect and compliment that.

Despite it's seasonal limitations, patterns featuring grasses can still be quite versatile. They work as a good canvas for showcasing any special little pieces you might have as accessories, like in the ensemble below:

Not quite a front view, but showing off the wool
shawl with sashiko plum-blossoms.

Back view with decidedly non-standard obi
musubi and kanzashi.

In my efforts to keep my commentary limited to items that are present in my own collection, it means that there are several motifs where I have only one solid representative. This seems to be one such case, even after scouring my collection. If my kind readers have images of any items with appropriate patterning they would like to share, they are most welcome to do so! I love to see the pieces that others have come to treasure, because there is always so much vibrancy to them.

Tomorrow, we'll be visiting a motif for which I have MANY examples, as it's come to be one of my personal favorites, right up there with asanoha-- Hydrangeas (Ajisai)!

P.S. I might have volunteered to do an emergency post for my dear friend Eclectic Alli. Her A-to-Z blog challenge is all about places we've been, and I was happy to fill in G for Gettysburg. Be sure to have a look around while you're there!

Motif: Fuji (Wisteria)

Part of the challenge that I set for myself when contemplating this undertaking was to find examples of each motif amidst my own collection. As a consequence, I'll be talking about the flower, rather than Mt. Fuji-san for today's motif. I'd like to point out, though, that Fuji-san IS an exceedingly popular motif, not just in prints and on accessories like fans, and that the iconic mountain can be found on kimono as well. Just not in my collection. Yet.

In truth, the best examples for wisteria come from my collection of ningyo (dolls, not the fishy yokai monster). The 'Wisteria Maiden' or 'Fuji Musume' is a very popular theme for ningyo, stemming from it's popularity in Kabuki theatre. They often appear with a willowy branch of flowers, a round, flat hat, and their kimono fairly drip with stylized wisteria motifs.

This lady is most typical of the 'Wisteria Maiden' style. She was a thrift-store find, but still has her hat and  wisteria branch.

This lady is also a thrift-store find, and though she has lost her hat (it's hard to tell if she had one) and wisteria branch (the posture suggests she did have one, as well as the position of her left hand), there is no doubt that she is a true Wisteria Maiden.

Detail of the left sleeve and obi of the second maiden.

While the first lady has all of the typical accessories and a wisteria-themed kimono, I feel that the second example is a little closer to the garments as they might have appeared on the Kabuki stage. Her's is a much more dramatic presentation, and if you look again, you will notice that the right sleeve of the kimono is actually slipped off, revealing the wisteria patterning continued on the juban sleeve.


As for garments in my own collection, the most striking is this haori.

The pattern isn't as rounded as wisteria is often portrayed, but the tiny hints of blue in the lighter petals lead me to feel that it's decidedly more flowery than a willow.

A garment like this can really pack a visual punch, and so it isn't often that my outermost layer is the focus of my ensemble (mostly because of the likelyhood it will be removed, unless it's quite chilly). I did have a chance to show it off in its glory in late January, when I attended the Edwardian Ball (in honor of Mr. Gorey, the illustrator). I had wanted to go for a look that would hint at the Taisho era (1920's) and the haori fit this to a tee with it's bold coloring and pattern.

The stripes don't show up well in the photo, and yes, this was taken in a mirror, causing my collars to appear to be overlapping incorrectly.

Wisteria is a decidedly spring motif, though you could push the season a little by wearing it in very late winter, thereby offering an expectation of things to come. If my kind readers have something they're looking forward to, perhaps upcoming posts in their own blogs, I'd love to hear about them in the comments!

Speaking of things to come... we'll be back tomorrow with Grasses (nowaki)! We'll be looking at botanical themes for the next several letters, so stay tuned!