Motifs: Zig-Zag

There are a number of motifs that can fall under this category, as there are many ways that simple lines can be turned and turned again to create interesting geometric patterns. As geometric motifs are appropriate for all seasons, this is yet another instance where color and other motifs present will determine just how appropriate it is for any given occasion.

My first example today is from a home-made obi using a mottled green cotton fabric originally manufactured for quilting. This particular zig-zag is called 'Hishi-sayagata' or 'diamond-shaped key pattern,' as the lines of the pattern are all on the bias, as opposed to being square to the warp and weft of the weave.

Close-up of hishi-sayagata obi. It was very difficult to get a clear photograph of this one.

The second zig-zag we have for today is called 'Matsukawa-bishi, or 'Pine Bark.' This example is actually the 'plain' side of a reversible han-haba obi. When I'm looking for obi, particularly han-haba as I have more occasion to wear them, I really like to find ones that are reversible. Not only does it double their chances of being worn, but the sides compliment each other so I can make knots that have more visual appeal.

Close up of matsukawa-bishi obi. Also very hard to photograph clearly!

Both of these examples are fairly plain making them good choices for coordinating with buisier motifs, but don't think that geometrics like this have to be uniformly plain.

Another hishi-sayagata, but as interpreted on a kimono.

The example above is another sample of the diamond key motif, but in this instance, the artist chose to fill in the space of the pattern with flowers. It makes for a very interesting and colorful arrangement, most suitable for late winter and early spring. With a pattern like this, I would look for obi that were of a relatively solid color or even larger floral-type design to counteract how much is going on in this fabric.

With this post, we come to the end of the A-to-Z blog challenge of 2016. To those of you who found this blog through the challenge, welcome, and I hope you continue to read as I work on ensuring a more regular posting schedule. For those of you who have been following for some time, thank you for your continued support!

On Monday, I plan to offer a reflection this experience before moving on to other topics that have had to wait so very patiently while I focused on getting through the month with a post a day. If you have any topics in particular you would like to see addressed here, please don't hesitate to make your suggestions in the comments!

Motifs: Yabane (Arrow Fletching)

As a representational motif or striking (pardon the pun) geometric, yabane can be one of the more versatile motifs in a collection. Since it is a 'man-made' motif and usually geometric in execution, it doesn't really have seasonal associations which further lends to its versatility. Like many motifs, there are exceptions, like a yaguruma (arrow fletching pinwheel) configuration which is heavily associated with Kodomo no Hi, or Children's Day (May 5).

Yabane are considered to be very auspicious; fletching from a broken arrow is often used as a talisman against bad luck. This particular aspect makes it a good choice for accessories, like the kinchaku pictured below.

With geometric patterning and classic red/white color combo, this can be paired with practically any ensemble.

My most interesting examples of this motif come from the kimono of some of my ningyou. My first example is the top worn by my somewhat rakish samurai who wields the fan more freely than the sword

This ningyo was bought at a sale supporting the Yu Ai Kai in San Jose's Japantown.

In this example, the fletching and part of the arrow shaft are represented and scattered over a field of purple. While it's a very interesting pattern, it is not one that I have personally encountered on a full-scale kimono. Far more common is the geometric rendering of the yabane, like my first example and as shown in the images below.

This lovely lady was purchased at a thrift store in Willow Glen, CA.

A clear example of what sun exposure can do to fabrics. The purple of her kimono was likely just as vivid as the samurai's, if not moreso.

When I first saw this lovely lady, I was quite charmed, and very taken with how strikingly pale her kimono was, and how subtle the patterning. As the coloring was so uniform, it didn't occur to me until I got her home and was able to take a closer look that what I considered striking, others would see as sun damage. The second image illustrates very well what the original color of her kimono would have been, and might suggest why she found herself in a thrift store. I know very little about her though her kanzashi and the positioning of her hands suggest to me that she is depicting a dance. If my kind readers have any further speculation or suggestions, I should love to read them!

You may remember the following example from earlier this month, wen we were discussing ajisai (hydrangea).

The yabane here is the 'plain' side of a reversible obi.

This obi was a gift and its reversible nature has made it a valuable addition to my collection. The pattern of the visible side here is created within the weave of the fabric, so it is a subtle color shift and a great compliment to many 'busier' yukata.

We have just one more day of the A-to-Z challenge, and I hope that you'll join me tomorrow for our final motif!

Motifs: Hexagons

Traditionally, there is no 'X' in Japanese, in that there are no native words that would require that specific letter for Romanization (unlike Chinese, where we can find words like 'xiao,' depending on the method used to convert Chinese characters to Roman letters). As a consequence, I have found a way to work around and totally cheat for today's letter, hence "heXagons."

Hexagons are a very popular geometric motif, and the six-sided shape can be found as part of many larger designs. 

Obi with kiku, hanabishi and hexagons.

Kimono with kiku and hexagons.

I've used both of these as examples earlier in the month, but both do show off very well how different components can be brought together to make interesting and cohesive designs. Sometimes, this can make it a little difficult to figure out what might pair best with a garment, and that is when color and occasion for wear can come into play.

Both of the above examples show hexagons as part of a broader design, but they can appear all on their own, too!

Asa(?) motif on lattice yukata with hexagon obi.

The yukata above was one of my more interesting finds from ebay, and the photo offers us a double dose of hexagons! Not only do we have relatively plain hexagons on the obi, but the latticework pattern on the yukata creates hexagons as well. To me, the leaf motif on the yukata is far louder than the latticework, so using hexagons in the obi makes for a fun and subtle visual play.

The patterning in the obi above is made up only of concentric lines, unlike the hexagons with central flowers in my first two examples. This more 'pure' form of a hexagon might also be referred to as 'kikko' or tortoise-shell. Since the hexagons themselves are the main pattern, not a component of a larger design, it works well as a complimentary obi for a number of yukata in my collection.

We're getting down to the last two days of the A-to-Z challenge. I've enjoyed all of the comments that have been shared so far and hope that those of you who discovered this blog through the challenge will continue to read along as I work towards a regular posting schedule.

Tomorrow, we'll be having a look at one of my all-time favorite motifs: Yabane (Arrow Fletching)

Motifs: Waves (Seigaiha) and Wheels (--guruma)

Today's first motif doesn't fit neatly into some of the categories that we've studied so far this month. Waves are hardly botanical or zoological, and unless one is in a theme-park, they aren't really manufactured either. The closest categorization might be geometric, but this isn't always the case. Even so, they can be found as a design element and motif in many kimono and accessories. Waves are not really seasonally specific, though they can be found in combinations that will lend themselves to a specific seasonality or occasion.

Cream hitoe kimono with wave pattern

Closer shot of the hitoe, with a little more of the wave pattern detailing visible

This ensemble was put together to commemorate the reopening of a tea house in San Jose's Japanese Friendship Gardens. In this example, the wave pattern reads a little like scales on a fish, punctuated with green and maroon 'wave' arches over kiku. I chose this particular kimono because of it's fresh and spring-like coloring as well as the fact that the 'wave scales' pay a (very subtle) homage to the koi that live in the nearby ponds.

Wheels, our second motif for the day, are a little more straight-forward. There are several different styles of wheels to be found as traditional motifs, like ishiguruma (stone wheel) and genji-guruma (carriage wheel). Wheels are also not particularly seasonal, though they might be found a little more commonly in winter-appropriate designs.

Obi with wheel and crane motifs

We saw this obi earlier this month when we were talking about cranes (tsuru) but in this image, at least, the wheel is actually the more prominent of the designs. this particular wheel is more like a genji-guruma, as it is fairly ornate in configuration.

For many of the motifs, I haven't really delved into deeper symbolism. With so many natural  motifs on display, it's far easier to talk about seasonality, and in many cases, there really isn't much to delve into; the motifs are admired because they are reflections of nature and admirable for that alone. With the wheel, however, I feel that I would be remiss if I did not try to make mention of some of its deeper meanings, especially in relation to Buddhism and specifically, Dharma.

This Dharma Wheel is the insignia for Buddhist Chaplains in the USAF. Image sourced from Wikipedia.

While I dance at Obon, I am not someone who was raised in Buddhist teaching, nor am I an active practitioner. Even so, to try to say that the wheel is nothing more than a pleasing motif seems disingenuous to me, so please bear with me.

My understanding of Dharma as one of the 'Three Jewels' of Buddhist teaching, is that Dharma is the 'cosmic law.' Some congregations may see it as specifically the teachings of Buddha himself (specifically the Four Noble Truths and the Eight-fold Path), while others view it as 'the way things are.'

What does a wheel have to do with all of this? Traditionally, the Dharma wheel (Dharmachakra) will have eight spokes for the Eight-Fold Path. The hub or center represents moral discipline. The rim of the wheel represents meditation and mindfulness; those things which hold the practice together. The perfection of the circular shape is the perfection of Buddha's teachings.

Not all wheels or wheel motifs will be representative of the Dharma, but I feel that it's important to know that there are wheels and wheel motifs that will have a deeper meaning than what might otherwise be obvious. Just as I try not to wear kimono with family crests, or kana or kanji that I do not understand, similarly do I try to avoid unfamiliar motifs until I have made sure I understand what they are.

I am sure that all of us, at one time or another, have been confronted with misunderstandings due to language or unfamiliarity and gone on to learn from them. If my kind readers care to share their own experiences, I hope that you will do so in the comments.

Tomorrow, we're cheating a bit to get an 'X' motif. Your clue is that it is a geometric, and I hope you join me tomorrow to find out which one!

Motifs: Linear (Tate-Jima/Yoko-Jima)

Lines may not be a 'motif' in the strictest sense of the word. They don't have the glamour of carrying meanings in the same way the other motifs I've talked about do, but there is no denying that they are exceedingly versatile, serving as a base to moderate more outspoken patterns in a variety of ways.

If you've been with me for the whole month, you might remember my post on fuji (wisteria) and the simple pin-stripe kimono I wore to set off the very striking haori. I put together an ensemble using the same idea a couple of years ago, but in that case, I wanted to lessen the somewhat dizzying effect my kimono could have on the unsuspecting viewer.

Hitoe kimono in bold stripes of black and white, interspersed with primary colors. Note that the stripes all run on the bias, or diagonally.

Same ensemble, but with the addition of an orange haori.

In the above examples, both garments work in harmony to create one visual whole. The haori would be too loud if placed over another floral kimono, and the hitoe on its own lacks a certain visual panache, despite the bold striping on the bias. The combination was also chosen to reflect the season, with the grape leaves on the orange field of the haori added a touch of autumn.

With the next example, the components have been switched, and we have a striped haori over patterned kimono.

Yukata with snowbunnies under striped haori.

The bunny yukata is not one of my boldest kimono as far as coloring and patterning go. It's unique in that it is a decidedly wintery pattern printed on cotton and intended to be worn as yukata (the idea being that the motif leads the viewer to think on the cooler seasons and be refreshed while the season is warm). As a consequence, this is a garment that I will pull out for summer, because it is lightweight and comfortable, but also for winter because the motif then reflects the season and the garment can be 'dressed up' to make it less causal than a yukata might otherwise be when worn outside the summer season. Part of that 'dressing up' is aided by wearing a haori as a final layer, and this subdued striped haori completes the impression that 'cooler weather is here.'

We've already seen how geometric motifs can be highly complimentary in obi, and stripes are certainly no exception to this rule. The next example, a yukata with multiple flowers making up the design, is set off by a mauve obi with subtle striping in the pattern. The slightly curved pattern on the obi compliments the circular flower motifs without being too similar and still adding visual interest without making the ensemble feel busy.

Yukata with bell-flowers and nadeshiko with mauve striped obi.

Putting together this entry was really eye-opening for me; I didn't realize just how many striped items I had in my collection. As I combed through all of the images, I saw that I wouldn't be able to create such a variety of looks if I didn't have this powerhouse of versatility. Do my kind readers have an unsung hero of their wardrobe? I'd love to read about them in the comments!

Tomorrow will bring us back to botanical motifs as we look at Momiji (Maple Leaves)!

Motifs: Diamonds (Hishi)

Diamond motifs are another one of those delightful geometric motifs which, on their own are not confined to any one season or occasion. Like other geometric patterns, diamonds can appear on its own or paired with other motifs to create a more seasonally-specific inspired look.

My first two examples are of yukata, so one will likely want to consider summery motifs to pair with them. Popular choices might be dragonflies, fans (uchiwa-- the round 'paddle' fans are most appropriate) or hydrangea.

This women's yukata is not STRICTLY a diamond motif as it might be a little closer to a woven pattern with the cross-hatched look.

This is a men's yukata and right away you can see that the patterning is more geometric and has a less in the way of visual interest.

There are many variations on this motif, the most common being 'hanabishi' or a diamond-shaped flower. In the next example, you can see it used as an accent to the more dominant pattern of chrysanthemums in a Nagoya obi.

The hanabishi appear in green. This is just one example of how hanabishi can appear in more complex designs.

Full view of the obi as part of an ensemble put together for an autumnal outing.

In the above example, you can see that the hanabishi really aren't prominent in the overall look, but there's no doubting that they add a certain amount of visual appeal. The green also harmonizes nicely with the hints of green in the subdued hues of the kimono.

Today's motif can be found in masculine and feminine garments, but tomorrow's motif, Eagles (Washi) are decidedly masculine. I hope you'll come back tomorrow when I discuss this noble motif!

Motif: Asanoha (hemp leaf)

'Broken' Asanoha motif on a han-haba obi.

Asanoha (sometimes seen as: asa-no-ha), or hemp-leaf, is a beautifully versatile motif. Despite it's botanical name, this motif is decidedly geometric and can be worn year-round as it has no specific seasonal connotations. Several sources cite that it is considered an auspicious motif for babies and young children who might be swaddled in blankets with the asanoha motif in the hope that they will grow strong and hearty, like the hemp plant itself.

I love pairing this motif with other, more organic shapes as the intersecting lines make for a pleasing contrast and can hint at plant-life while giving balance to the overall ensemble. It can also be seen not as an all-over motif, but as a complimentary motif, such as on this obi:

This han-haba obi is actually reversable, with the Asanoha pattern as an accent with the kasa, or umbrellas (we'll talk about those in a few days) on one side, and an all-over pattern of asanoha on the reverse.

Because the motif itself is not seasonally limited, you should be sure to consider the color and style of the garment upon which it appears, as well as any other motifs with which it might be paired. In this case, the bright yellow of the obi and the presence of the kasa suggest that this would be best for summer use; the bright yellow creates a pleasing visual spark against a field of cool blue and white, traditional coloring for yukata.

The asanoha is not at all visible in this photo, but ayame are! We'll be talking about that motif later, under I for Iris. This was for San Jose's Obon Odori in July of 2014.

The same is true of the the first obi pictured: the darker green is also a color better suited for late spring and summer, and the fact that it is a han-haba obi means that it is best worn on less formal occasions and with yukata.

Broken asanoha han-haba obi paired with ajisai yukata. We'll be talking about ajisai (hydrangea) later in the month.

You may have noticed that my examples are of han-haba obi featured in casual ensembles, but that is more due to the limits of my personal collection than any restrictions the motif itself imposes. Also to note is that the pattern can be found on other items used in kitsuke, from decorative tabi socks to the hanao on geta. These tend to be very subtle points in an ensemble, but by having a versatile geometric like Asanoha on your hanao, they can be worn in many situations and lend more interest than a solid color might impart.

Tomorrow, our featured motif will be Bats!