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: 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: Tsuru (Cranes)

Symbolic of a long life, it is no wonder that cranes are a popular motif in a variety of mediums. That they are graceful and easily portrayed in a number of ways certainly doesn't hurt their popularity, either!

Whenever I'm going out and want something particularly auspicious or commemorative, I will try to incorporate this obi into my ensemble.

Obi with crane and wheel motif.

Because of the amount of gold thread in this particular obi, I often worry that it is a little too formal for wherever I may be going, but it is by no means the most formal item in my collection.

If I am going out for less formal occasions, or I don't wish to feel quite as confined as I sometimes do in kimono, I will often dress in hakama and hakamashita (this is the term I use for kimono tops, mostly ones that I've made, that are cut short so that I don't have to fold them to accommodate the rise in my hakama). Back in January, I had an opportunity to attend the Edwardian Ball in San Francisco (in honor of Edward Gorey), and for the second night of that event, I chose to dress as inspired by the Meiji Era.

Hakama and hakamashita, with haori and derby hat. I wore a collared shirt under instead of a juban, as was becoming fashion during the Meiji Restoration (late 1800s).

Detail image of the hakamashita pictured above. I'd also like to point out the matsu, or pine motifs, and apologize for everything being sideways.

The cranes here are pictured a little more realistically (as long as we ignore the purple pine trees) and not so uniform as the cranes of the obi, but the coloring and pattern lend this garment to slightly more whimsical and informal settings, and the Edwardian Ball was most certainly 'whimsical.'

Some of my garments featuring cranes aren't even likely to be seen by the casual observer. It isn't uncommon for undergarments like juban to be decorated, and earlier this month, I gave you a peek at one of my kimono underskirts (susoyoke) that is covered in origami style cranes. A garment like that isn't really one that I figure into the effect of an ensemble as a whole, mostly because it shouldn't ever be seen except in very brief glances. I think that there is a lot to be said for having little secrets like that in a wardrobe, and if my kind readers have any that they are willing to share, I would love to read about them in the comments!

I'll be back on Monday when we'll be having a look at a very popular botanical motif: Ume (Plum Blossoms)