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- Colour Images
(Front cover)
Portrait of Ichimaru by Kyoshi Kobayakawa (1898-1948). Hanging scroll, ink and colours on silk. Loan of Mrs. Fumi Suzuki.
(Back cover)
The Geisha Ichimaru, 1932 by Kyoshi Kobayakawa (1898-1948). Woodblock print. Collection of Steven F Savitt and Mary Lynn Baum.
33. tomesode with pines and clouds and 5 Nakamura family crests paste-resist dyeing; gold embroidery and stencilling; silk crepe
This is the most formal type of kimono, in black, with 5 crests and with the decoration only in the area from knee to the hem. This formality, combined with the pine tree motif (pine branches are one of the symbols of New Year�s) would make this kimono appropriate for ceremonial occasions associated with New Year�s. It might also have been worn by Ichimaru at the naming ceremony when she was granted the Nakamura family name. Ichimaru revived the Edo style popular song; the chanting style of singing used was that of the Kabuki theatre and especially of the Nakamura School of Kabuki that had been noted for this style of singing. In gratitude, the Nakamua School of Kabuki named her Headmistress of Edo style vocal training in the Nakamura Performing Arts School. The Nakamura crest is a stylized gingko leaf within a watch-tower outline.
34. tomesode, with cranes and clouds and 5 tachibana (tangerine flower) crests paste-resist dyeing; gold leaf and gold powder stencilling; silk crepe
The crane design is carried onto the inside of the opening of the kimono, where it would be seen as Ichimaru held the kimono up to move. The black color, 5 crests and padded hem indicate that Ichimaru would have worn this kimono for formal dancing or singing. The crane is an auspicious symbol, associated with long life.
35. homongi with trees and unidentified artist�s seal paste-resist dyeing; gold thread embroideiy; silk crepe
The decoration appears on the shoulders and sleeves as well as on the body of the kimono. The beige background is called �powdered tea colour� on the storage wrapper. The embroideiy is very fine, with couched stitches (cross stitches holding laid on lines of thread in place) and shading created by variation in stitch density.
36. homongi with peacocks and scattered peacock feathers
paste-resist dyeing; gold and coloured silk thread embroidery; silk crepe
This is another superb example of yuzen dyeing and embroidery, with the embroideiy varying in the technique from the �rough taste� style of the Momoyama period on the tail feathers to the �fine taste� on the body of the peacock. The contrast from the tan coloured peacock done only in yuzen dyeing to the blue and green one done with embroidery as well gives depth to the scene. The homongi is the more casual style of kimono, with decoration (the scattered peacock feathers here on the shoulders and sleeves, but this is one of the most splendid and expensive of Ichimaru�s kimonos in the exhibit.
37. homongi with scene of Yanagibashi paste-resist dyeing; silver stencilling; silk crepe
The bridge and riverbank depicted in black above a blue area with silver clouds represents Yanagibashi (Willow Bridge), the Tokyo geisha quarter where Ichimaru
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