Kimono - Revision history

Cl3phact0: /* See also */ +1

2024-10-24T17:40:23Z

Curious.explorer11 at 08:53, 21 October 2024

2024-10-21T08:53:47Z

← Previous revision		Revision as of 08:53, 21 October 2024
Line 348:		Line 348:

	Older people generally wear more subtle patterns, and younger people brighter, bolder ones.		Older people generally wear more subtle patterns, and younger people brighter, bolder ones.


			Regional Variations and Modern Adaptations of Kimono

			The traditional kimono style is often associated with a singular image, but subtle variations exist across Japan’s regions, reflecting local culture and climate. For example, Kyoto is known for its intricate Yūzen dyeing technique, which produces vibrant, detailed designs often featuring nature motifs. In contrast, Okinawa is famous for Bingata, a traditional method of dyeing with bright colors and stencils, often using tropical motifs reflective of the island’s unique environment.

			Modern adaptations have further diversified kimono styles. Contemporary designers are blending traditional kimono elements with Western influences, resulting in hybrid forms like shorter hemlines, looser fits, or kimonos tailored for everyday street fashion. This modern interpretation of kimono allows younger generations to incorporate traditional attire into casual wear, maintaining the cultural heritage while embracing a modern aesthetic.



	====Fabric type====		====Fabric type====

2601:14D:4882:85F0:79F1:76F9:B6C1:A62E: Provided scholarly resource for the history of wearing Kimonos in Shinto ceremonies.

2024-09-08T22:22:12Z

Provided scholarly resource for the history of wearing Kimonos in Shinto ceremonies.

← Previous revision		Revision as of 22:22, 8 September 2024
Line 614:		Line 614:
	==Outside of Japan==		==Outside of Japan==

	Kimono are worn outside of Japan in a variety of circumstances. Kimono may be worn to Shinto ceremonies by Brazilian girls of [[Japanese Brazilians\|Japanese descent]] in [[Curitiba]], in the Brazilian state of [[Paraná (state)\|Paraná]].{{citation needed\|date=December 2021}}		Kimono are worn outside of Japan in a variety of circumstances. Kimono may be worn to Shinto ceremonies by Brazilian girls of [[Japanese Brazilians\|Japanese descent]] in [[Curitiba]], in the Brazilian state of [[Paraná (state)\|Paraná]].{{citation needed\|date=December 2021}}<ref>{{Cite journal \|last=Batkalova \|first=Kuralay \|date=2016 \|title=International conference on Japan and Japan Studies \|url=http://papers.iafor.org/wp-content/uploads/papers/iicj2016/IICJ2016_26954.pdf \|journal=Rites of Passage in Japanese Traditional Culture \|via=Google scholar}}</ref>

	Kimono are also worn by [[Japanese Americans]], and by other members of the [[Japanese diaspora]] overseas, such as Japanese Filipinos in the Philippines (see [[Japanese in the Philippines]]).		Kimono are also worn by [[Japanese Americans]], and by other members of the [[Japanese diaspora]] overseas, such as Japanese Filipinos in the Philippines (see [[Japanese in the Philippines]]).

Citation bot: Altered journal. Add: date, title. Changed bare reference to CS1/2. | Use this bot. Report bugs. | Suggested by Grimes2 | #UCB_webform 356/671

2024-08-21T10:41:09Z

Altered journal. Add: date, title. Changed bare reference to CS1/2. | Use this bot. Report bugs. | Suggested by Grimes2 | #UCB_webform 356/671

← Previous revision		Revision as of 10:41, 21 August 2024
Line 64:		Line 64:

	=== Heian period to Azuchi–Momoyama period (794–1600)===		=== Heian period to Azuchi–Momoyama period (794–1600)===
	During the [[Heian period]] (794–1193 CE), Japan stopped sending envoys to the Chinese dynastic courts. This prevented Chinese-imported goods—including clothing—from entering the [[Heian Palace\|Imperial Palace]]. This also prevented dissemination to the upper classes, who were the main arbiters of traditional Japanese culture at the time, and the only people allowed to wear such clothing.<ref>{{Cite journal \|date=March 18, 2000 \|title=The Arts of Edo Japan \|url=https://education.asianart.org/wp-content/uploads/sites/6/2019/12/Arts-of-Edo.pdf \|journal=Asian Art Museum}}</ref> The ensuing cultural vacuum facilitated the development of a Japanese culture independent from Chinese fashions. Elements previously lifted from the Tang Dynastic courts developed independently into what is known literally as "national culture" or {{nihongo\|"{{transliteration\|ja\|kokufū}} culture"\|国風文化\|kokufū-bunka}}. The term is used to refer to Heian-period Japanese culture, particularly that of the upper classes.<ref>[https://www2.nhk.or.jp/school/movie/clip.cgi?das_id=D0005310767_00000 平安時代の貴族の服装] {{Webarchive\|url=https://web.archive.org/web/20210819153341/https://www2.nhk.or.jp/school/movie/clip.cgi?das_id=D0005310767_00000 \|date=19 August 2021 }} [[NHK]] for school</ref>		During the [[Heian period]] (794–1193 CE), Japan stopped sending envoys to the Chinese dynastic courts. This prevented Chinese-imported goods—including clothing—from entering the [[Heian Palace\|Imperial Palace]]. This also prevented dissemination to the upper classes, who were the main arbiters of traditional Japanese culture at the time, and the only people allowed to wear such clothing.<ref>{{Cite journal \|date=March 18, 2000 \|title=The Arts of Edo Japan \|url=https://education.asianart.org/wp-content/uploads/sites/6/2019/12/Arts-of-Edo.pdf \|journal=Asian Art Museum}}</ref> The ensuing cultural vacuum facilitated the development of a Japanese culture independent from Chinese fashions. Elements previously lifted from the Tang Dynastic courts developed independently into what is known literally as "national culture" or {{nihongo\|"{{transliteration\|ja\|kokufū}} culture"\|国風文化\|kokufū-bunka}}. The term is used to refer to Heian-period Japanese culture, particularly that of the upper classes.<ref>[https://www2.nhk.or.jp/school/movie/clip.cgi?das_id=D0005310767_00000 平安時代の貴族の服装] {{Webarchive\|url=https://web.archive.org/web/20210819153341/https://www2.nhk.or.jp/school/movie/clip.cgi?das_id=D0005310767_00000 \|date=19 August 2021 }} [[NHK]] for school</ref>

	Women's clothing in the imperial palace became increasingly stylised in the formal {{transliteration\|ja\|[[jūnihitoe]]}}, with some elements being abandoned by both male and female courtiers, such as the round-necked and tube-sleeved {{transliteration\|zh\|chun ju}} jacket worn by both genders in the early 7th century. Others, such as the wrapped front robes also worn by men and women, were kept. Some elements, such as the {{transliteration\|ja\|mo}} skirt worn by women, continued to in a reduced capacity, worn only to formal occasions;<ref name="Dalby Fashioning Culture"/> the {{Nihongo\|{{ill\|Mo (Japanese clothing)\|lt=mо̄\|ja\|裳}}\|裳}} grew too narrow to wrap all the way around and became a trapezoidal pleated [[Train (clothing)\|train]].<ref name="Fgarments">{{cite web \|last1=Badgley \|first1=Joshua L. \|title=Women's Garments \|url=https://sengokudaimyo.com/garb/womens-garments \|website=Sengoku Daimyo}}</ref> [[Hakama]] (trousers) became longer than the legs and also trailed behind the wearer.<ref name=Foutfits>{{cite web \|last1=Badgley \|first1=Joshua L. \|title=Women's Outfits \|url=https://sengokudaimyo.com/garb/womens-outfits \|website=Sengoku Daimyo}}</ref>		Women's clothing in the imperial palace became increasingly stylised in the formal {{transliteration\|ja\|[[jūnihitoe]]}}, with some elements being abandoned by both male and female courtiers, such as the round-necked and tube-sleeved {{transliteration\|zh\|chun ju}} jacket worn by both genders in the early 7th century. Others, such as the wrapped front robes also worn by men and women, were kept. Some elements, such as the {{transliteration\|ja\|mo}} skirt worn by women, continued to in a reduced capacity, worn only to formal occasions;<ref name="Dalby Fashioning Culture"/> the {{Nihongo\|{{ill\|Mo (Japanese clothing)\|lt=mо̄\|ja\|裳}}\|裳}} grew too narrow to wrap all the way around and became a trapezoidal pleated [[Train (clothing)\|train]].<ref name="Fgarments">{{cite web \|last1=Badgley \|first1=Joshua L. \|title=Women's Garments \|url=https://sengokudaimyo.com/garb/womens-garments \|website=Sengoku Daimyo}}</ref> [[Hakama]] (trousers) became longer than the legs and also trailed behind the wearer.<ref name=Foutfits>{{cite web \|last1=Badgley \|first1=Joshua L. \|title=Women's Outfits \|url=https://sengokudaimyo.com/garb/womens-outfits \|website=Sengoku Daimyo}}</ref>
Line 414:		Line 414:
	[[File:OshimaTsumugiDetail.jpg\|thumb\|left\|Detailed {{nihongo\|\|[[wikt:絣\|絣]]\|[[kasuri]]}} on an [[Ōshima-tsumugi]] Kimono]]		[[File:OshimaTsumugiDetail.jpg\|thumb\|left\|Detailed {{nihongo\|\|[[wikt:絣\|絣]]\|[[kasuri]]}} on an [[Ōshima-tsumugi]] Kimono]]

	{{nihongo\|\|[[wikt:紬\|紬]]\|[[Tsumugi]]}} are casual silk kimono worn by both men and women. {{transliteration\|ja\|Tsumugi}} kimono traditionally referred to kimono woven in plain weave with [[silk noil]], short-[[staple (textiles)\|staple]] silk fibre, though now include various types of casual silk kimono whereby the pattern is produced by weave as opposed to surface dying.<ref>https://kimonoya3daime.hatenadiary.org/entry/20100207/1265518918 ~~{{Bare~~ ~~URL~~ ~~inline~~\|date=~~August~~ ~~2024~~}}</ref> [[Tsumugi]] kimono are often dyed with [[Kasuri]] patterns.<ref>https://www.motoji.co.jp/blogs/artists-origins/oshima-tsumugi ~~{{Bare~~ ~~URL inline\|date~~=~~August~~ ~~2024~~}}</ref>		{{nihongo\|\|[[wikt:紬\|紬]]\|[[Tsumugi]]}} are casual silk kimono worn by both men and women. {{transliteration\|ja\|Tsumugi}} kimono traditionally referred to kimono woven in plain weave with [[silk noil]], short-[[staple (textiles)\|staple]] silk fibre, though now include various types of casual silk kimono whereby the pattern is produced by weave as opposed to surface dying.<ref>{{cite web \| url=https://kimonoya3daime.hatenadiary.org/entry/20100207/1265518918 \| title=紬とは？実は大島紬は紬じゃない！？ \| date=7 February 2010 }}</ref> [[Tsumugi]] kimono are often dyed with [[Kasuri]] patterns.<ref>{{cite web \| url=https://www.motoji.co.jp/blogs/artists-origins/oshima-tsumugi \| title=鹿児島県・大島紬（おおしまつむぎ） }}</ref>

	===={{anchor\|Komon}}{{transliteration\|ja\|Komon}}====		===={{anchor\|Komon}}{{transliteration\|ja\|Komon}}====
Line 600:		Line 600:
	\| [[Yūki, Ibaraki]]		\| [[Yūki, Ibaraki]]
	\|		\|
	{{transliteration\|ja\|[[Yūki-tsumugi]]}} kimono are often made with thread spun by hand. It can take up to three months to make enough thread for one kimono by an experienced weaver.<ref>https://kogeijapan.com/locale/en_US/yukitsumugi/ ~~{{Bare URL inline~~\|~~date~~=~~August~~ ~~2024~~}}</ref>		{{transliteration\|ja\|[[Yūki-tsumugi]]}} kimono are often made with thread spun by hand. It can take up to three months to make enough thread for one kimono by an experienced weaver.<ref>{{cite web \| url=https://kogeijapan.com/locale/en_US/yukitsumugi/ \| title=Kogei Japan }}</ref>
	\|		\|
	\|		\|
Line 608:		Line 608:
	\| [[Amami Ōshima]]		\| [[Amami Ōshima]]
	\|		\|
	{{transliteration\|ja\|Ōshima Tsumugi}} kimono are dyed with mud and dyed from the bark of {{transliteration\|ja\|Sharinbai}} Tree creating a deep black color. Mud dyed [[kasuri]] threads are hand woven together to create patterns.<ref>http://www.tumugi.co.jp/english/index.html ~~{{Bare URL inline~~\|~~date~~=~~August~~ ~~2024~~}}</ref>		{{transliteration\|ja\|Ōshima Tsumugi}} kimono are dyed with mud and dyed from the bark of {{transliteration\|ja\|Sharinbai}} Tree creating a deep black color. Mud dyed [[kasuri]] threads are hand woven together to create patterns.<ref>{{cite web \| url=http://www.tumugi.co.jp/english/index.html \| title=About Ooshima Tsumugimura｜Ooshima Tsumugi Mura }}</ref>
	\|		\|
	\|}		\|}

Ineffablebookkeeper at 11:29, 20 August 2024

2024-08-20T11:29:50Z

← Previous revision		Revision as of 11:29, 20 August 2024
Line 544:		Line 544:

	=={{transliteration\|ja\|Sanchi}}, kimono production regions==		=={{transliteration\|ja\|Sanchi}}, kimono production regions==
	Kimono are produced in different regions all over Japan. Locations known for making kimono are often called {{transliteration\|ja\|~~Sanchi~~}}. Many of these regional variations still exist today and are recognized as {{transliteration\|ja\|[[meibutsu]]}}, famous products of their place of origin.		Kimono are produced in different regions all over Japan. Locations known for making kimono are often called {{transliteration\|ja\|sanchi}}. Many of these regional variations still exist today and are recognized as {{transliteration\|ja\|[[meibutsu]]}}, famous products of their place of origin.

	{\| class="wikitable"		{\| class="wikitable"

Ineffablebookkeeper: /* Sanchi, kimono production regions */

2024-08-20T11:29:35Z

Sanchi, kimono production regions

← Previous revision		Revision as of 11:29, 20 August 2024
Line 543:		Line 543:
	Kimono need to be [[Airing (air circulation)\|aired out]] at least seasonally and before and after each time they are worn. Many people prefer to have their kimono [[dry cleaning\|dry cleaned]]. Although this can be extremely expensive, it is generally less expensive than the traditional method of taking a kimono apart to clean it. This may, however, be impossible for certain fabrics or dyes.		Kimono need to be [[Airing (air circulation)\|aired out]] at least seasonally and before and after each time they are worn. Many people prefer to have their kimono [[dry cleaning\|dry cleaned]]. Although this can be extremely expensive, it is generally less expensive than the traditional method of taking a kimono apart to clean it. This may, however, be impossible for certain fabrics or dyes.

	=={{transliteration\|ja\|Sanchi}}, ~~Kimono~~ ~~Production~~ ~~Regions~~==		=={{transliteration\|ja\|Sanchi}}, kimono production regions==
	Kimono are produced in different regions all over Japan. Locations known for making kimono are often called {{transliteration\|ja\|Sanchi}}. Many of these regional variations still exist today and are recognized as {{transliteration\|ja\|[[meibutsu]]}}, famous products of their place of origin.		Kimono are produced in different regions all over Japan. Locations known for making kimono are often called {{transliteration\|ja\|Sanchi}}. Many of these regional variations still exist today and are recognized as {{transliteration\|ja\|[[meibutsu]]}}, famous products of their place of origin.

Qwerfjkl: Added 4 {{Bare URL inline}} tag(s) using a script. For other recently-tagged pages with bare URLs, see :Category:Articles with bare URLs for citations from August 2024

2024-08-16T12:46:22Z

Added 4 {{Bare URL inline}} tag(s) using a script. For other recently-tagged pages with bare URLs, see Category:Articles with bare URLs for citations from August 2024

← Previous revision		Revision as of 12:46, 16 August 2024
Line 414:		Line 414:
	[[File:OshimaTsumugiDetail.jpg\|thumb\|left\|Detailed {{nihongo\|\|[[wikt:絣\|絣]]\|[[kasuri]]}} on an [[Ōshima-tsumugi]] Kimono]]		[[File:OshimaTsumugiDetail.jpg\|thumb\|left\|Detailed {{nihongo\|\|[[wikt:絣\|絣]]\|[[kasuri]]}} on an [[Ōshima-tsumugi]] Kimono]]

	{{nihongo\|\|[[wikt:紬\|紬]]\|[[Tsumugi]]}} are casual silk kimono worn by both men and women. {{transliteration\|ja\|Tsumugi}} kimono traditionally referred to kimono woven in plain weave with [[silk noil]], short-[[staple (textiles)\|staple]] silk fibre, though now include various types of casual silk kimono whereby the pattern is produced by weave as opposed to surface dying.<ref>https://kimonoya3daime.hatenadiary.org/entry/20100207/1265518918</ref> [[Tsumugi]] kimono are often dyed with [[Kasuri]] patterns.<ref>https://www.motoji.co.jp/blogs/artists-origins/oshima-tsumugi</ref>		{{nihongo\|\|[[wikt:紬\|紬]]\|[[Tsumugi]]}} are casual silk kimono worn by both men and women. {{transliteration\|ja\|Tsumugi}} kimono traditionally referred to kimono woven in plain weave with [[silk noil]], short-[[staple (textiles)\|staple]] silk fibre, though now include various types of casual silk kimono whereby the pattern is produced by weave as opposed to surface dying.<ref>https://kimonoya3daime.hatenadiary.org/entry/20100207/1265518918 {{Bare URL inline\|date=August 2024}}</ref> [[Tsumugi]] kimono are often dyed with [[Kasuri]] patterns.<ref>https://www.motoji.co.jp/blogs/artists-origins/oshima-tsumugi {{Bare URL inline\|date=August 2024}}</ref>

	===={{anchor\|Komon}}{{transliteration\|ja\|Komon}}====		===={{anchor\|Komon}}{{transliteration\|ja\|Komon}}====
Line 600:		Line 600:
	\| [[Yūki, Ibaraki]]		\| [[Yūki, Ibaraki]]
	\|		\|
	{{transliteration\|ja\|[[Yūki-tsumugi]]}} kimono are often made with thread spun by hand. It can take up to three months to make enough thread for one kimono by an experienced weaver.<ref>https://kogeijapan.com/locale/en_US/yukitsumugi/</ref>		{{transliteration\|ja\|[[Yūki-tsumugi]]}} kimono are often made with thread spun by hand. It can take up to three months to make enough thread for one kimono by an experienced weaver.<ref>https://kogeijapan.com/locale/en_US/yukitsumugi/ {{Bare URL inline\|date=August 2024}}</ref>
	\|		\|
	\|		\|
Line 608:		Line 608:
	\| [[Amami Ōshima]]		\| [[Amami Ōshima]]
	\|		\|
	{{transliteration\|ja\|Ōshima Tsumugi}} kimono are dyed with mud and dyed from the bark of {{transliteration\|ja\|Sharinbai}} Tree creating a deep black color. Mud dyed [[kasuri]] threads are hand woven together to create patterns.<ref>http://www.tumugi.co.jp/english/index.html</ref>		{{transliteration\|ja\|Ōshima Tsumugi}} kimono are dyed with mud and dyed from the bark of {{transliteration\|ja\|Sharinbai}} Tree creating a deep black color. Mud dyed [[kasuri]] threads are hand woven together to create patterns.<ref>http://www.tumugi.co.jp/english/index.html {{Bare URL inline\|date=August 2024}}</ref>
	\|		\|
	\|}		\|}

Panamitsu: /* Heian period to Azuchi–Momoyama period (794–1600) */British spelling, replaced: stylized → stylised

2024-07-06T00:20:18Z

Heian period to Azuchi–Momoyama period (794–1600): British spelling, replaced: stylized → stylised

← Previous revision		Revision as of 00:20, 6 July 2024
Line 66:		Line 66:
	During the [[Heian period]] (794–1193 CE), Japan stopped sending envoys to the Chinese dynastic courts. This prevented Chinese-imported goods—including clothing—from entering the [[Heian Palace\|Imperial Palace]]. This also prevented dissemination to the upper classes, who were the main arbiters of traditional Japanese culture at the time, and the only people allowed to wear such clothing.<ref>{{Cite journal \|date=March 18, 2000 \|title=The Arts of Edo Japan \|url=https://education.asianart.org/wp-content/uploads/sites/6/2019/12/Arts-of-Edo.pdf \|journal=Asian Art Museum}}</ref> The ensuing cultural vacuum facilitated the development of a Japanese culture independent from Chinese fashions. Elements previously lifted from the Tang Dynastic courts developed independently into what is known literally as "national culture" or {{nihongo\|"{{transliteration\|ja\|kokufū}} culture"\|国風文化\|kokufū-bunka}}. The term is used to refer to Heian-period Japanese culture, particularly that of the upper classes.<ref>[https://www2.nhk.or.jp/school/movie/clip.cgi?das_id=D0005310767_00000 平安時代の貴族の服装] {{Webarchive\|url=https://web.archive.org/web/20210819153341/https://www2.nhk.or.jp/school/movie/clip.cgi?das_id=D0005310767_00000 \|date=19 August 2021 }} [[NHK]] for school</ref>		During the [[Heian period]] (794–1193 CE), Japan stopped sending envoys to the Chinese dynastic courts. This prevented Chinese-imported goods—including clothing—from entering the [[Heian Palace\|Imperial Palace]]. This also prevented dissemination to the upper classes, who were the main arbiters of traditional Japanese culture at the time, and the only people allowed to wear such clothing.<ref>{{Cite journal \|date=March 18, 2000 \|title=The Arts of Edo Japan \|url=https://education.asianart.org/wp-content/uploads/sites/6/2019/12/Arts-of-Edo.pdf \|journal=Asian Art Museum}}</ref> The ensuing cultural vacuum facilitated the development of a Japanese culture independent from Chinese fashions. Elements previously lifted from the Tang Dynastic courts developed independently into what is known literally as "national culture" or {{nihongo\|"{{transliteration\|ja\|kokufū}} culture"\|国風文化\|kokufū-bunka}}. The term is used to refer to Heian-period Japanese culture, particularly that of the upper classes.<ref>[https://www2.nhk.or.jp/school/movie/clip.cgi?das_id=D0005310767_00000 平安時代の貴族の服装] {{Webarchive\|url=https://web.archive.org/web/20210819153341/https://www2.nhk.or.jp/school/movie/clip.cgi?das_id=D0005310767_00000 \|date=19 August 2021 }} [[NHK]] for school</ref>

	Women's clothing in the imperial palace became increasingly ~~stylized~~ in the formal {{transliteration\|ja\|[[jūnihitoe]]}}, with some elements being abandoned by both male and female courtiers, such as the round-necked and tube-sleeved {{transliteration\|zh\|chun ju}} jacket worn by both genders in the early 7th century. Others, such as the wrapped front robes also worn by men and women, were kept. Some elements, such as the {{transliteration\|ja\|mo}} skirt worn by women, continued to in a reduced capacity, worn only to formal occasions;<ref name="Dalby Fashioning Culture"/> the {{Nihongo\|{{ill\|Mo (Japanese clothing)\|lt=mо̄\|ja\|裳}}\|裳}} grew too narrow to wrap all the way around and became a trapezoidal pleated [[Train (clothing)\|train]].<ref name="Fgarments">{{cite web \|last1=Badgley \|first1=Joshua L. \|title=Women's Garments \|url=https://sengokudaimyo.com/garb/womens-garments \|website=Sengoku Daimyo}}</ref> [[Hakama]] (trousers) became longer than the legs and also trailed behind the wearer.<ref name=Foutfits>{{cite web \|last1=Badgley \|first1=Joshua L. \|title=Women's Outfits \|url=https://sengokudaimyo.com/garb/womens-outfits \|website=Sengoku Daimyo}}</ref>		Women's clothing in the imperial palace became increasingly stylised in the formal {{transliteration\|ja\|[[jūnihitoe]]}}, with some elements being abandoned by both male and female courtiers, such as the round-necked and tube-sleeved {{transliteration\|zh\|chun ju}} jacket worn by both genders in the early 7th century. Others, such as the wrapped front robes also worn by men and women, were kept. Some elements, such as the {{transliteration\|ja\|mo}} skirt worn by women, continued to in a reduced capacity, worn only to formal occasions;<ref name="Dalby Fashioning Culture"/> the {{Nihongo\|{{ill\|Mo (Japanese clothing)\|lt=mо̄\|ja\|裳}}\|裳}} grew too narrow to wrap all the way around and became a trapezoidal pleated [[Train (clothing)\|train]].<ref name="Fgarments">{{cite web \|last1=Badgley \|first1=Joshua L. \|title=Women's Garments \|url=https://sengokudaimyo.com/garb/womens-garments \|website=Sengoku Daimyo}}</ref> [[Hakama]] (trousers) became longer than the legs and also trailed behind the wearer.<ref name=Foutfits>{{cite web \|last1=Badgley \|first1=Joshua L. \|title=Women's Outfits \|url=https://sengokudaimyo.com/garb/womens-outfits \|website=Sengoku Daimyo}}</ref>

	During the later Heian period, various clothing edicts reduced the number of layers a woman could wear, leading to the {{transliteration\|ja\|[[kosode]]}} ({{lit\|small sleeve}}) garment—previously considered underwear—becoming outerwear by the time of the [[Muromachi period]] (1336–1573 CE). Originally worn with {{transliteration\|ja\|[[hakama]]}}, the {{transliteration\|ja\|kosode}} began to be held closed with a small belt known as an {{transliteration\|ja\|obi}} instead.<ref name="Dalby Fashioning Culture"/> The {{transliteration\|ja\|kosode}} resembled a modern kimono, though at this time the sleeves were sewn shut at the back and were smaller in width (shoulder seam to cuff) than the body of the garment. During the [[Sengoku period]] (1467–1615) and the [[Azuchi–Momoyama period]] (1568–1600), the decoration of the {{transliteration\|ja\|kosode}} developed further, with bolder designs and flashy colours becoming popular. By this time, separate lower-body garments, such as the {{transliteration\|ja\|mō}} and {{transliteration\|ja\|hakama}}, were almost never worn,<ref name=Foutfits/> allowing full-length patterns to be seen.		During the later Heian period, various clothing edicts reduced the number of layers a woman could wear, leading to the {{transliteration\|ja\|[[kosode]]}} ({{lit\|small sleeve}}) garment—previously considered underwear—becoming outerwear by the time of the [[Muromachi period]] (1336–1573 CE). Originally worn with {{transliteration\|ja\|[[hakama]]}}, the {{transliteration\|ja\|kosode}} began to be held closed with a small belt known as an {{transliteration\|ja\|obi}} instead.<ref name="Dalby Fashioning Culture"/> The {{transliteration\|ja\|kosode}} resembled a modern kimono, though at this time the sleeves were sewn shut at the back and were smaller in width (shoulder seam to cuff) than the body of the garment. During the [[Sengoku period]] (1467–1615) and the [[Azuchi–Momoyama period]] (1568–1600), the decoration of the {{transliteration\|ja\|kosode}} developed further, with bolder designs and flashy colours becoming popular. By this time, separate lower-body garments, such as the {{transliteration\|ja\|mō}} and {{transliteration\|ja\|hakama}}, were almost never worn,<ref name=Foutfits/> allowing full-length patterns to be seen.

Markmcnbowe97: adding contemporary and regularly updated links/* External links */

2024-07-02T09:59:01Z

adding contemporary and regularly updated linksExternal links

← Previous revision		Revision as of 09:59, 2 July 2024
Line 641:		Line 641:
	{{Wiktionary}}		{{Wiktionary}}
	{{Wikivoyage\|Kimono buying guide}}		{{Wikivoyage\|Kimono buying guide}}
			*
⚫	* [http://www.civilization.ca/cmc/exhibitions/cultur/kimonos/kimoneng.shtml The Canadian Museum of Civilization - Archive of the exhibition "The Landscape Kimonos of Itchiku Kubota"]
			[https://www.motoji.co.jp/pages/english Articles on contemporary kimono artisans and production regions by Ginza Motoji]
			*
		⚫	[http://www.civilization.ca/cmc/exhibitions/cultur/kimonos/kimoneng.shtml The Canadian Museum of Civilization - Archive of the exhibition "The Landscape Kimonos of Itchiku Kubota"]
	* [http://www.iz2.or.jp/english/ The Kyoto Costume Museum - Costume History in Japan]		* [http://www.iz2.or.jp/english/ The Kyoto Costume Museum - Costume History in Japan]
	* [https://web.archive.org/web/20120324224115/http://immortalgeisha.com/ig_bb/ Archived link to the Immortal Geisha Forums; comprehensive resource on kimono knowledge and culture]		* [https://web.archive.org/web/20120324224115/http://immortalgeisha.com/ig_bb/ Archived link to the Immortal Geisha Forums; comprehensive resource on kimono knowledge and culture]
	* [http://www.vam.ac.uk/page/k/kimono/ Articles on kimono from the V&A Collection]		* [http://www.vam.ac.uk/page/k/kimono/ Articles on kimono from the V&A Collection]
			*[https://hirotatsumugi.jp/en/ Articles on kimono]

	{{Japanese clothing}}		{{Japanese clothing}}

Chalinkinkoc at 15:52, 4 June 2024

2024-06-04T15:52:21Z

← Previous revision		Revision as of 15:52, 4 June 2024
Line 64:		Line 64:

	=== Heian period to Azuchi–Momoyama period (794–1600)===		=== Heian period to Azuchi–Momoyama period (794–1600)===
	During the [[Heian period]] (794–1193 CE), Japan stopped sending envoys to the Chinese dynastic courts. This prevented Chinese-imported goods—including clothing—from entering the [[Heian Palace\|Imperial Palace]]. This also prevented dissemination to the upper classes, who were the main arbiters of traditional Japanese culture at the time, and the only people allowed to wear such clothing.{{~~citation~~ ~~needed~~\|date=~~February~~ ~~2023~~}} The ensuing cultural vacuum facilitated the development of a Japanese culture independent from Chinese fashions. Elements previously lifted from the Tang Dynastic courts developed independently into what is known literally as "national culture" or {{nihongo\|"{{transliteration\|ja\|kokufū}} culture"\|国風文化\|kokufū-bunka}}. The term is used to refer to Heian-period Japanese culture, particularly that of the upper classes.<ref>[https://www2.nhk.or.jp/school/movie/clip.cgi?das_id=D0005310767_00000 平安時代の貴族の服装] {{Webarchive\|url=https://web.archive.org/web/20210819153341/https://www2.nhk.or.jp/school/movie/clip.cgi?das_id=D0005310767_00000 \|date=19 August 2021 }} [[NHK]] for school</ref>		During the [[Heian period]] (794–1193 CE), Japan stopped sending envoys to the Chinese dynastic courts. This prevented Chinese-imported goods—including clothing—from entering the [[Heian Palace\|Imperial Palace]]. This also prevented dissemination to the upper classes, who were the main arbiters of traditional Japanese culture at the time, and the only people allowed to wear such clothing.<ref>{{Cite journal \|date=March 18, 2000 \|title=The Arts of Edo Japan \|url=https://education.asianart.org/wp-content/uploads/sites/6/2019/12/Arts-of-Edo.pdf \|journal=Asian Art Museum}}</ref> The ensuing cultural vacuum facilitated the development of a Japanese culture independent from Chinese fashions. Elements previously lifted from the Tang Dynastic courts developed independently into what is known literally as "national culture" or {{nihongo\|"{{transliteration\|ja\|kokufū}} culture"\|国風文化\|kokufū-bunka}}. The term is used to refer to Heian-period Japanese culture, particularly that of the upper classes.<ref>[https://www2.nhk.or.jp/school/movie/clip.cgi?das_id=D0005310767_00000 平安時代の貴族の服装] {{Webarchive\|url=https://web.archive.org/web/20210819153341/https://www2.nhk.or.jp/school/movie/clip.cgi?das_id=D0005310767_00000 \|date=19 August 2021 }} [[NHK]] for school</ref>

	Women's clothing in the imperial palace became increasingly stylized in the formal {{transliteration\|ja\|[[jūnihitoe]]}}, with some elements being abandoned by both male and female courtiers, such as the round-necked and tube-sleeved {{transliteration\|zh\|chun ju}} jacket worn by both genders in the early 7th century. Others, such as the wrapped front robes also worn by men and women, were kept. Some elements, such as the {{transliteration\|ja\|mo}} skirt worn by women, continued to in a reduced capacity, worn only to formal occasions;<ref name="Dalby Fashioning Culture"/> the {{Nihongo\|{{ill\|Mo (Japanese clothing)\|lt=mо̄\|ja\|裳}}\|裳}} grew too narrow to wrap all the way around and became a trapezoidal pleated [[Train (clothing)\|train]].<ref name="Fgarments">{{cite web \|last1=Badgley \|first1=Joshua L. \|title=Women's Garments \|url=https://sengokudaimyo.com/garb/womens-garments \|website=Sengoku Daimyo}}</ref> ~~{{transliteration\|ja\|~~Hakama}} (trousers) became longer than the legs and also trailed behind the wearer.<ref name=Foutfits>{{cite web \|last1=Badgley \|first1=Joshua L. \|title=Women's Outfits \|url=https://sengokudaimyo.com/garb/womens-outfits \|website=Sengoku Daimyo}}</ref>		Women's clothing in the imperial palace became increasingly stylized in the formal {{transliteration\|ja\|[[jūnihitoe]]}}, with some elements being abandoned by both male and female courtiers, such as the round-necked and tube-sleeved {{transliteration\|zh\|chun ju}} jacket worn by both genders in the early 7th century. Others, such as the wrapped front robes also worn by men and women, were kept. Some elements, such as the {{transliteration\|ja\|mo}} skirt worn by women, continued to in a reduced capacity, worn only to formal occasions;<ref name="Dalby Fashioning Culture"/> the {{Nihongo\|{{ill\|Mo (Japanese clothing)\|lt=mо̄\|ja\|裳}}\|裳}} grew too narrow to wrap all the way around and became a trapezoidal pleated [[Train (clothing)\|train]].<ref name="Fgarments">{{cite web \|last1=Badgley \|first1=Joshua L. \|title=Women's Garments \|url=https://sengokudaimyo.com/garb/womens-garments \|website=Sengoku Daimyo}}</ref> [[Hakama]] (trousers) became longer than the legs and also trailed behind the wearer.<ref name=Foutfits>{{cite web \|last1=Badgley \|first1=Joshua L. \|title=Women's Outfits \|url=https://sengokudaimyo.com/garb/womens-outfits \|website=Sengoku Daimyo}}</ref>

	During the later Heian period, various clothing edicts reduced the number of layers a woman could wear, leading to the {{transliteration\|ja\|[[kosode]]}} ({{lit\|small sleeve}}) garment—previously considered underwear—becoming outerwear by the time of the [[Muromachi period]] (1336–1573 CE). Originally worn with {{transliteration\|ja\|[[hakama]]}}, the {{transliteration\|ja\|kosode}} began to be held closed with a small belt known as an {{transliteration\|ja\|obi}} instead.<ref name="Dalby Fashioning Culture"/> The {{transliteration\|ja\|kosode}} resembled a modern kimono, though at this time the sleeves were sewn shut at the back and were smaller in width (shoulder seam to cuff) than the body of the garment. During the [[Sengoku period]] (1467–1615) and the [[Azuchi–Momoyama period]] (1568–1600), the decoration of the {{transliteration\|ja\|kosode}} developed further, with bolder designs and flashy colours becoming popular. By this time, separate lower-body garments, such as the {{transliteration\|ja\|mō}} and {{transliteration\|ja\|hakama}}, were almost never worn,<ref name=Foutfits/> allowing full-length patterns to be seen.		During the later Heian period, various clothing edicts reduced the number of layers a woman could wear, leading to the {{transliteration\|ja\|[[kosode]]}} ({{lit\|small sleeve}}) garment—previously considered underwear—becoming outerwear by the time of the [[Muromachi period]] (1336–1573 CE). Originally worn with {{transliteration\|ja\|[[hakama]]}}, the {{transliteration\|ja\|kosode}} began to be held closed with a small belt known as an {{transliteration\|ja\|obi}} instead.<ref name="Dalby Fashioning Culture"/> The {{transliteration\|ja\|kosode}} resembled a modern kimono, though at this time the sleeves were sewn shut at the back and were smaller in width (shoulder seam to cuff) than the body of the garment. During the [[Sengoku period]] (1467–1615) and the [[Azuchi–Momoyama period]] (1568–1600), the decoration of the {{transliteration\|ja\|kosode}} developed further, with bolder designs and flashy colours becoming popular. By this time, separate lower-body garments, such as the {{transliteration\|ja\|mō}} and {{transliteration\|ja\|hakama}}, were almost never worn,<ref name=Foutfits/> allowing full-length patterns to be seen.
Line 83:		Line 83:
	[[File:NDL-DC 1307775-Utagawa Kuniyoshi-夜の梅-cmb.jpg\|thumb\|The overall silhouette of the kimono transformed during the Edo period due to the evolution of the {{transliteration\|ja\|obi}}, the sleeves, and the style of wearing multiple layered kimono. ([[Utagawa Kuniyoshi]], ''Plum Blossoms at Night'', woodblock print, 19th century)]]		[[File:NDL-DC 1307775-Utagawa Kuniyoshi-夜の梅-cmb.jpg\|thumb\|The overall silhouette of the kimono transformed during the Edo period due to the evolution of the {{transliteration\|ja\|obi}}, the sleeves, and the style of wearing multiple layered kimono. ([[Utagawa Kuniyoshi]], ''Plum Blossoms at Night'', woodblock print, 19th century)]]

	During the [[Edo period]] (1603–1867 CE), both Japan's culture and economy developed significantly. A particular factor in the development of the Edo period was the early [[Genroku]] period (1688–1704 CE), wherein "[[Genroku culture]]" – luxurious displays of wealth and increased patronage of the arts – led to the further development of many art forms, including those of clothing. Genroku culture was led by the growing and increasingly-powerful [[chōnin\|merchant classes]] ({{transliteration\|ja\|chōnin}}), whose clothing was representative of their increasing economic power and rivaled the aristocracy and samurai classes, shown by their brightly-coloured kimono that utilised expensive production techniques, such as hand-painted dyework. {{transliteration\|ja\|[[Rinzu]]}}, a [[damask]] fabric, also became the preferred material for kimono at this time, replacing the previously-popular {{transliteration\|ja\|nerinuki}} plain-weave silk, which had been used to create {{transliteration\|ja\|[[tsujigahana]]}}.<ref>Ishimura Hayao et al. ''Robes of Elegance: Japanese Kimonos of the 16th-20th Centuries''. [[North Carolina Museum of Art]] (1988), p. 1. {{ISBN\|0-88259-955-0}}.</ref>		During the [[Edo period]] (1603–1867 CE), both Japan's culture and economy developed significantly. A particular factor in the development of the Edo period was the early [[Genroku]] period (1688–1704 CE), wherein "[[Genroku culture]]" – luxurious displays of wealth and increased patronage of the arts – led to the further development of many art forms, including those of clothing. Genroku culture was led by the growing and increasingly-powerful [[chōnin\|merchant classes]] ({{transliteration\|ja\|chōnin}}), whose clothing was representative of their increasing economic power and rivaled the aristocracy and samurai classes, shown by their brightly-coloured kimono that utilised expensive production techniques, such as hand-painted dyework.<ref>{{Cite web \|title=Genroku period {{!}} Edo culture, Ukiyo-e art & Kabuki theater {{!}} Britannica \|url=https://www.britannica.com/event/Genroku-period \|access-date=2024-06-04 \|website=www.britannica.com \|language=en}}</ref> {{transliteration\|ja\|[[Rinzu]]}}, a [[damask]] fabric, also became the preferred material for kimono at this time, replacing the previously-popular {{transliteration\|ja\|nerinuki}} plain-weave silk, which had been used to create {{transliteration\|ja\|[[tsujigahana]]}}.<ref>Ishimura Hayao et al. ''Robes of Elegance: Japanese Kimonos of the 16th-20th Centuries''. [[North Carolina Museum of Art]] (1988), p. 1. {{ISBN\|0-88259-955-0}}.</ref>

	In response to the increasing material wealth of the merchant classes, the [[Tokugawa shogunate]] issued a number of sumptuary laws on kimono for the lower classes, prohibiting the use of purple or red fabric, gold embroidery, and the use of intricately dyed {{transliteration\|ja\|shibori}} patterns.<ref>[https://www.jstage.jst.go.jp/article/fiber/64/7/64_7_P_242/_pdf 町人のきもの 1 寛文～江戸中期までの着物] Mami Baba. Sen'i gakkaishi vol.64</ref> As a result, a school of aesthetic thought known as [[Iki (aesthetics)\|''Iki'']] developed. They valued and prioritised the display of wealth through an almost mundane appearance, and the concept of kimono design and wear continues to this day as a major influence.		In response to the increasing material wealth of the merchant classes, the [[Tokugawa shogunate]] issued a number of sumptuary laws on kimono for the lower classes, prohibiting the use of purple or red fabric, gold embroidery, and the use of intricately dyed {{transliteration\|ja\|shibori}} patterns.<ref>[https://www.jstage.jst.go.jp/article/fiber/64/7/64_7_P_242/_pdf 町人のきもの 1 寛文～江戸中期までの着物] Mami Baba. Sen'i gakkaishi vol.64</ref> As a result, a school of aesthetic thought known as [[Iki (aesthetics)\|''Iki'']] developed. They valued and prioritised the display of wealth through an almost mundane appearance, and the concept of kimono design and wear continues to this day as a major influence.

← Previous revision		Revision as of 17:40, 24 October 2024
Line 633:		Line 633:
	* [[List of items traditionally worn in Japan]]		* [[List of items traditionally worn in Japan]]
	* {{transliteration\|ja\|[[Sokutai]]}}		* {{transliteration\|ja\|[[Sokutai]]}}
			* [[List of Traditional Crafts of Japan]]

	==Notes==		==Notes==

← Previous revision		Revision as of 11:29, 20 August 2024
Line 544:		Line 544:

	=={{transliteration\|ja\|Sanchi}}, kimono production regions==		=={{transliteration\|ja\|Sanchi}}, kimono production regions==
	Kimono are produced in different regions all over Japan. Locations known for making kimono are often called {{transliteration\|ja\|~~Sanchi~~}}. Many of these regional variations still exist today and are recognized as {{transliteration\|ja\|[[meibutsu]]}}, famous products of their place of origin.		Kimono are produced in different regions all over Japan. Locations known for making kimono are often called {{transliteration\|ja\|sanchi}}. Many of these regional variations still exist today and are recognized as {{transliteration\|ja\|[[meibutsu]]}}, famous products of their place of origin.

	{\| class="wikitable"		{\| class="wikitable"

← Previous revision		Revision as of 11:29, 20 August 2024
Line 543:		Line 543:
	Kimono need to be [[Airing (air circulation)\|aired out]] at least seasonally and before and after each time they are worn. Many people prefer to have their kimono [[dry cleaning\|dry cleaned]]. Although this can be extremely expensive, it is generally less expensive than the traditional method of taking a kimono apart to clean it. This may, however, be impossible for certain fabrics or dyes.		Kimono need to be [[Airing (air circulation)\|aired out]] at least seasonally and before and after each time they are worn. Many people prefer to have their kimono [[dry cleaning\|dry cleaned]]. Although this can be extremely expensive, it is generally less expensive than the traditional method of taking a kimono apart to clean it. This may, however, be impossible for certain fabrics or dyes.

	=={{transliteration\|ja\|Sanchi}}, ~~Kimono~~ ~~Production~~ ~~Regions~~==		=={{transliteration\|ja\|Sanchi}}, kimono production regions==
	Kimono are produced in different regions all over Japan. Locations known for making kimono are often called {{transliteration\|ja\|Sanchi}}. Many of these regional variations still exist today and are recognized as {{transliteration\|ja\|[[meibutsu]]}}, famous products of their place of origin.		Kimono are produced in different regions all over Japan. Locations known for making kimono are often called {{transliteration\|ja\|Sanchi}}. Many of these regional variations still exist today and are recognized as {{transliteration\|ja\|[[meibutsu]]}}, famous products of their place of origin.

← Previous revision		Revision as of 00:20, 6 July 2024
Line 66:		Line 66:
	During the [[Heian period]] (794–1193 CE), Japan stopped sending envoys to the Chinese dynastic courts. This prevented Chinese-imported goods—including clothing—from entering the [[Heian Palace\|Imperial Palace]]. This also prevented dissemination to the upper classes, who were the main arbiters of traditional Japanese culture at the time, and the only people allowed to wear such clothing.<ref>{{Cite journal \|date=March 18, 2000 \|title=The Arts of Edo Japan \|url=https://education.asianart.org/wp-content/uploads/sites/6/2019/12/Arts-of-Edo.pdf \|journal=Asian Art Museum}}</ref> The ensuing cultural vacuum facilitated the development of a Japanese culture independent from Chinese fashions. Elements previously lifted from the Tang Dynastic courts developed independently into what is known literally as "national culture" or {{nihongo\|"{{transliteration\|ja\|kokufū}} culture"\|国風文化\|kokufū-bunka}}. The term is used to refer to Heian-period Japanese culture, particularly that of the upper classes.<ref>[https://www2.nhk.or.jp/school/movie/clip.cgi?das_id=D0005310767_00000 平安時代の貴族の服装] {{Webarchive\|url=https://web.archive.org/web/20210819153341/https://www2.nhk.or.jp/school/movie/clip.cgi?das_id=D0005310767_00000 \|date=19 August 2021 }} [[NHK]] for school</ref>		During the [[Heian period]] (794–1193 CE), Japan stopped sending envoys to the Chinese dynastic courts. This prevented Chinese-imported goods—including clothing—from entering the [[Heian Palace\|Imperial Palace]]. This also prevented dissemination to the upper classes, who were the main arbiters of traditional Japanese culture at the time, and the only people allowed to wear such clothing.<ref>{{Cite journal \|date=March 18, 2000 \|title=The Arts of Edo Japan \|url=https://education.asianart.org/wp-content/uploads/sites/6/2019/12/Arts-of-Edo.pdf \|journal=Asian Art Museum}}</ref> The ensuing cultural vacuum facilitated the development of a Japanese culture independent from Chinese fashions. Elements previously lifted from the Tang Dynastic courts developed independently into what is known literally as "national culture" or {{nihongo\|"{{transliteration\|ja\|kokufū}} culture"\|国風文化\|kokufū-bunka}}. The term is used to refer to Heian-period Japanese culture, particularly that of the upper classes.<ref>[https://www2.nhk.or.jp/school/movie/clip.cgi?das_id=D0005310767_00000 平安時代の貴族の服装] {{Webarchive\|url=https://web.archive.org/web/20210819153341/https://www2.nhk.or.jp/school/movie/clip.cgi?das_id=D0005310767_00000 \|date=19 August 2021 }} [[NHK]] for school</ref>

	Women's clothing in the imperial palace became increasingly ~~stylized~~ in the formal {{transliteration\|ja\|[[jūnihitoe]]}}, with some elements being abandoned by both male and female courtiers, such as the round-necked and tube-sleeved {{transliteration\|zh\|chun ju}} jacket worn by both genders in the early 7th century. Others, such as the wrapped front robes also worn by men and women, were kept. Some elements, such as the {{transliteration\|ja\|mo}} skirt worn by women, continued to in a reduced capacity, worn only to formal occasions;<ref name="Dalby Fashioning Culture"/> the {{Nihongo\|{{ill\|Mo (Japanese clothing)\|lt=mо̄\|ja\|裳}}\|裳}} grew too narrow to wrap all the way around and became a trapezoidal pleated [[Train (clothing)\|train]].<ref name="Fgarments">{{cite web \|last1=Badgley \|first1=Joshua L. \|title=Women's Garments \|url=https://sengokudaimyo.com/garb/womens-garments \|website=Sengoku Daimyo}}</ref> [[Hakama]] (trousers) became longer than the legs and also trailed behind the wearer.<ref name=Foutfits>{{cite web \|last1=Badgley \|first1=Joshua L. \|title=Women's Outfits \|url=https://sengokudaimyo.com/garb/womens-outfits \|website=Sengoku Daimyo}}</ref>		Women's clothing in the imperial palace became increasingly stylised in the formal {{transliteration\|ja\|[[jūnihitoe]]}}, with some elements being abandoned by both male and female courtiers, such as the round-necked and tube-sleeved {{transliteration\|zh\|chun ju}} jacket worn by both genders in the early 7th century. Others, such as the wrapped front robes also worn by men and women, were kept. Some elements, such as the {{transliteration\|ja\|mo}} skirt worn by women, continued to in a reduced capacity, worn only to formal occasions;<ref name="Dalby Fashioning Culture"/> the {{Nihongo\|{{ill\|Mo (Japanese clothing)\|lt=mо̄\|ja\|裳}}\|裳}} grew too narrow to wrap all the way around and became a trapezoidal pleated [[Train (clothing)\|train]].<ref name="Fgarments">{{cite web \|last1=Badgley \|first1=Joshua L. \|title=Women's Garments \|url=https://sengokudaimyo.com/garb/womens-garments \|website=Sengoku Daimyo}}</ref> [[Hakama]] (trousers) became longer than the legs and also trailed behind the wearer.<ref name=Foutfits>{{cite web \|last1=Badgley \|first1=Joshua L. \|title=Women's Outfits \|url=https://sengokudaimyo.com/garb/womens-outfits \|website=Sengoku Daimyo}}</ref>

	During the later Heian period, various clothing edicts reduced the number of layers a woman could wear, leading to the {{transliteration\|ja\|[[kosode]]}} ({{lit\|small sleeve}}) garment—previously considered underwear—becoming outerwear by the time of the [[Muromachi period]] (1336–1573 CE). Originally worn with {{transliteration\|ja\|[[hakama]]}}, the {{transliteration\|ja\|kosode}} began to be held closed with a small belt known as an {{transliteration\|ja\|obi}} instead.<ref name="Dalby Fashioning Culture"/> The {{transliteration\|ja\|kosode}} resembled a modern kimono, though at this time the sleeves were sewn shut at the back and were smaller in width (shoulder seam to cuff) than the body of the garment. During the [[Sengoku period]] (1467–1615) and the [[Azuchi–Momoyama period]] (1568–1600), the decoration of the {{transliteration\|ja\|kosode}} developed further, with bolder designs and flashy colours becoming popular. By this time, separate lower-body garments, such as the {{transliteration\|ja\|mō}} and {{transliteration\|ja\|hakama}}, were almost never worn,<ref name=Foutfits/> allowing full-length patterns to be seen.		During the later Heian period, various clothing edicts reduced the number of layers a woman could wear, leading to the {{transliteration\|ja\|[[kosode]]}} ({{lit\|small sleeve}}) garment—previously considered underwear—becoming outerwear by the time of the [[Muromachi period]] (1336–1573 CE). Originally worn with {{transliteration\|ja\|[[hakama]]}}, the {{transliteration\|ja\|kosode}} began to be held closed with a small belt known as an {{transliteration\|ja\|obi}} instead.<ref name="Dalby Fashioning Culture"/> The {{transliteration\|ja\|kosode}} resembled a modern kimono, though at this time the sleeves were sewn shut at the back and were smaller in width (shoulder seam to cuff) than the body of the garment. During the [[Sengoku period]] (1467–1615) and the [[Azuchi–Momoyama period]] (1568–1600), the decoration of the {{transliteration\|ja\|kosode}} developed further, with bolder designs and flashy colours becoming popular. By this time, separate lower-body garments, such as the {{transliteration\|ja\|mō}} and {{transliteration\|ja\|hakama}}, were almost never worn,<ref name=Foutfits/> allowing full-length patterns to be seen.

← Previous revision		Revision as of 15:52, 4 June 2024
Line 64:		Line 64:

	=== Heian period to Azuchi–Momoyama period (794–1600)===		=== Heian period to Azuchi–Momoyama period (794–1600)===
	During the [[Heian period]] (794–1193 CE), Japan stopped sending envoys to the Chinese dynastic courts. This prevented Chinese-imported goods—including clothing—from entering the [[Heian Palace\|Imperial Palace]]. This also prevented dissemination to the upper classes, who were the main arbiters of traditional Japanese culture at the time, and the only people allowed to wear such clothing.{{~~citation~~ ~~needed~~\|date=~~February~~ ~~2023~~}} The ensuing cultural vacuum facilitated the development of a Japanese culture independent from Chinese fashions. Elements previously lifted from the Tang Dynastic courts developed independently into what is known literally as "national culture" or {{nihongo\|"{{transliteration\|ja\|kokufū}} culture"\|国風文化\|kokufū-bunka}}. The term is used to refer to Heian-period Japanese culture, particularly that of the upper classes.<ref>[https://www2.nhk.or.jp/school/movie/clip.cgi?das_id=D0005310767_00000 平安時代の貴族の服装] {{Webarchive\|url=https://web.archive.org/web/20210819153341/https://www2.nhk.or.jp/school/movie/clip.cgi?das_id=D0005310767_00000 \|date=19 August 2021 }} [[NHK]] for school</ref>		During the [[Heian period]] (794–1193 CE), Japan stopped sending envoys to the Chinese dynastic courts. This prevented Chinese-imported goods—including clothing—from entering the [[Heian Palace\|Imperial Palace]]. This also prevented dissemination to the upper classes, who were the main arbiters of traditional Japanese culture at the time, and the only people allowed to wear such clothing.<ref>{{Cite journal \|date=March 18, 2000 \|title=The Arts of Edo Japan \|url=https://education.asianart.org/wp-content/uploads/sites/6/2019/12/Arts-of-Edo.pdf \|journal=Asian Art Museum}}</ref> The ensuing cultural vacuum facilitated the development of a Japanese culture independent from Chinese fashions. Elements previously lifted from the Tang Dynastic courts developed independently into what is known literally as "national culture" or {{nihongo\|"{{transliteration\|ja\|kokufū}} culture"\|国風文化\|kokufū-bunka}}. The term is used to refer to Heian-period Japanese culture, particularly that of the upper classes.<ref>[https://www2.nhk.or.jp/school/movie/clip.cgi?das_id=D0005310767_00000 平安時代の貴族の服装] {{Webarchive\|url=https://web.archive.org/web/20210819153341/https://www2.nhk.or.jp/school/movie/clip.cgi?das_id=D0005310767_00000 \|date=19 August 2021 }} [[NHK]] for school</ref>

	Women's clothing in the imperial palace became increasingly stylized in the formal {{transliteration\|ja\|[[jūnihitoe]]}}, with some elements being abandoned by both male and female courtiers, such as the round-necked and tube-sleeved {{transliteration\|zh\|chun ju}} jacket worn by both genders in the early 7th century. Others, such as the wrapped front robes also worn by men and women, were kept. Some elements, such as the {{transliteration\|ja\|mo}} skirt worn by women, continued to in a reduced capacity, worn only to formal occasions;<ref name="Dalby Fashioning Culture"/> the {{Nihongo\|{{ill\|Mo (Japanese clothing)\|lt=mо̄\|ja\|裳}}\|裳}} grew too narrow to wrap all the way around and became a trapezoidal pleated [[Train (clothing)\|train]].<ref name="Fgarments">{{cite web \|last1=Badgley \|first1=Joshua L. \|title=Women's Garments \|url=https://sengokudaimyo.com/garb/womens-garments \|website=Sengoku Daimyo}}</ref> ~~{{transliteration\|ja\|~~Hakama}} (trousers) became longer than the legs and also trailed behind the wearer.<ref name=Foutfits>{{cite web \|last1=Badgley \|first1=Joshua L. \|title=Women's Outfits \|url=https://sengokudaimyo.com/garb/womens-outfits \|website=Sengoku Daimyo}}</ref>		Women's clothing in the imperial palace became increasingly stylized in the formal {{transliteration\|ja\|[[jūnihitoe]]}}, with some elements being abandoned by both male and female courtiers, such as the round-necked and tube-sleeved {{transliteration\|zh\|chun ju}} jacket worn by both genders in the early 7th century. Others, such as the wrapped front robes also worn by men and women, were kept. Some elements, such as the {{transliteration\|ja\|mo}} skirt worn by women, continued to in a reduced capacity, worn only to formal occasions;<ref name="Dalby Fashioning Culture"/> the {{Nihongo\|{{ill\|Mo (Japanese clothing)\|lt=mо̄\|ja\|裳}}\|裳}} grew too narrow to wrap all the way around and became a trapezoidal pleated [[Train (clothing)\|train]].<ref name="Fgarments">{{cite web \|last1=Badgley \|first1=Joshua L. \|title=Women's Garments \|url=https://sengokudaimyo.com/garb/womens-garments \|website=Sengoku Daimyo}}</ref> [[Hakama]] (trousers) became longer than the legs and also trailed behind the wearer.<ref name=Foutfits>{{cite web \|last1=Badgley \|first1=Joshua L. \|title=Women's Outfits \|url=https://sengokudaimyo.com/garb/womens-outfits \|website=Sengoku Daimyo}}</ref>

	During the later Heian period, various clothing edicts reduced the number of layers a woman could wear, leading to the {{transliteration\|ja\|[[kosode]]}} ({{lit\|small sleeve}}) garment—previously considered underwear—becoming outerwear by the time of the [[Muromachi period]] (1336–1573 CE). Originally worn with {{transliteration\|ja\|[[hakama]]}}, the {{transliteration\|ja\|kosode}} began to be held closed with a small belt known as an {{transliteration\|ja\|obi}} instead.<ref name="Dalby Fashioning Culture"/> The {{transliteration\|ja\|kosode}} resembled a modern kimono, though at this time the sleeves were sewn shut at the back and were smaller in width (shoulder seam to cuff) than the body of the garment. During the [[Sengoku period]] (1467–1615) and the [[Azuchi–Momoyama period]] (1568–1600), the decoration of the {{transliteration\|ja\|kosode}} developed further, with bolder designs and flashy colours becoming popular. By this time, separate lower-body garments, such as the {{transliteration\|ja\|mō}} and {{transliteration\|ja\|hakama}}, were almost never worn,<ref name=Foutfits/> allowing full-length patterns to be seen.		During the later Heian period, various clothing edicts reduced the number of layers a woman could wear, leading to the {{transliteration\|ja\|[[kosode]]}} ({{lit\|small sleeve}}) garment—previously considered underwear—becoming outerwear by the time of the [[Muromachi period]] (1336–1573 CE). Originally worn with {{transliteration\|ja\|[[hakama]]}}, the {{transliteration\|ja\|kosode}} began to be held closed with a small belt known as an {{transliteration\|ja\|obi}} instead.<ref name="Dalby Fashioning Culture"/> The {{transliteration\|ja\|kosode}} resembled a modern kimono, though at this time the sleeves were sewn shut at the back and were smaller in width (shoulder seam to cuff) than the body of the garment. During the [[Sengoku period]] (1467–1615) and the [[Azuchi–Momoyama period]] (1568–1600), the decoration of the {{transliteration\|ja\|kosode}} developed further, with bolder designs and flashy colours becoming popular. By this time, separate lower-body garments, such as the {{transliteration\|ja\|mō}} and {{transliteration\|ja\|hakama}}, were almost never worn,<ref name=Foutfits/> allowing full-length patterns to be seen.
Line 83:		Line 83:
	[[File:NDL-DC 1307775-Utagawa Kuniyoshi-夜の梅-cmb.jpg\|thumb\|The overall silhouette of the kimono transformed during the Edo period due to the evolution of the {{transliteration\|ja\|obi}}, the sleeves, and the style of wearing multiple layered kimono. ([[Utagawa Kuniyoshi]], ''Plum Blossoms at Night'', woodblock print, 19th century)]]		[[File:NDL-DC 1307775-Utagawa Kuniyoshi-夜の梅-cmb.jpg\|thumb\|The overall silhouette of the kimono transformed during the Edo period due to the evolution of the {{transliteration\|ja\|obi}}, the sleeves, and the style of wearing multiple layered kimono. ([[Utagawa Kuniyoshi]], ''Plum Blossoms at Night'', woodblock print, 19th century)]]

	During the [[Edo period]] (1603–1867 CE), both Japan's culture and economy developed significantly. A particular factor in the development of the Edo period was the early [[Genroku]] period (1688–1704 CE), wherein "[[Genroku culture]]" – luxurious displays of wealth and increased patronage of the arts – led to the further development of many art forms, including those of clothing. Genroku culture was led by the growing and increasingly-powerful [[chōnin\|merchant classes]] ({{transliteration\|ja\|chōnin}}), whose clothing was representative of their increasing economic power and rivaled the aristocracy and samurai classes, shown by their brightly-coloured kimono that utilised expensive production techniques, such as hand-painted dyework. {{transliteration\|ja\|[[Rinzu]]}}, a [[damask]] fabric, also became the preferred material for kimono at this time, replacing the previously-popular {{transliteration\|ja\|nerinuki}} plain-weave silk, which had been used to create {{transliteration\|ja\|[[tsujigahana]]}}.<ref>Ishimura Hayao et al. ''Robes of Elegance: Japanese Kimonos of the 16th-20th Centuries''. [[North Carolina Museum of Art]] (1988), p. 1. {{ISBN\|0-88259-955-0}}.</ref>		During the [[Edo period]] (1603–1867 CE), both Japan's culture and economy developed significantly. A particular factor in the development of the Edo period was the early [[Genroku]] period (1688–1704 CE), wherein "[[Genroku culture]]" – luxurious displays of wealth and increased patronage of the arts – led to the further development of many art forms, including those of clothing. Genroku culture was led by the growing and increasingly-powerful [[chōnin\|merchant classes]] ({{transliteration\|ja\|chōnin}}), whose clothing was representative of their increasing economic power and rivaled the aristocracy and samurai classes, shown by their brightly-coloured kimono that utilised expensive production techniques, such as hand-painted dyework.<ref>{{Cite web \|title=Genroku period {{!}} Edo culture, Ukiyo-e art & Kabuki theater {{!}} Britannica \|url=https://www.britannica.com/event/Genroku-period \|access-date=2024-06-04 \|website=www.britannica.com \|language=en}}</ref> {{transliteration\|ja\|[[Rinzu]]}}, a [[damask]] fabric, also became the preferred material for kimono at this time, replacing the previously-popular {{transliteration\|ja\|nerinuki}} plain-weave silk, which had been used to create {{transliteration\|ja\|[[tsujigahana]]}}.<ref>Ishimura Hayao et al. ''Robes of Elegance: Japanese Kimonos of the 16th-20th Centuries''. [[North Carolina Museum of Art]] (1988), p. 1. {{ISBN\|0-88259-955-0}}.</ref>

	In response to the increasing material wealth of the merchant classes, the [[Tokugawa shogunate]] issued a number of sumptuary laws on kimono for the lower classes, prohibiting the use of purple or red fabric, gold embroidery, and the use of intricately dyed {{transliteration\|ja\|shibori}} patterns.<ref>[https://www.jstage.jst.go.jp/article/fiber/64/7/64_7_P_242/_pdf 町人のきもの 1 寛文～江戸中期までの着物] Mami Baba. Sen'i gakkaishi vol.64</ref> As a result, a school of aesthetic thought known as [[Iki (aesthetics)\|''Iki'']] developed. They valued and prioritised the display of wealth through an almost mundane appearance, and the concept of kimono design and wear continues to this day as a major influence.		In response to the increasing material wealth of the merchant classes, the [[Tokugawa shogunate]] issued a number of sumptuary laws on kimono for the lower classes, prohibiting the use of purple or red fabric, gold embroidery, and the use of intricately dyed {{transliteration\|ja\|shibori}} patterns.<ref>[https://www.jstage.jst.go.jp/article/fiber/64/7/64_7_P_242/_pdf 町人のきもの 1 寛文～江戸中期までの着物] Mami Baba. Sen'i gakkaishi vol.64</ref> As a result, a school of aesthetic thought known as [[Iki (aesthetics)\|''Iki'']] developed. They valued and prioritised the display of wealth through an almost mundane appearance, and the concept of kimono design and wear continues to this day as a major influence.