住江織物株式会社 京都美術工芸所

天平鴛鴦唐草文錦
てんぴょうえんおうからくさもんにしき
"Nishiki in the Tenpyo Period,with Tendril Roundels Enclosing Mandarin Ducks"

DAF-121

●絹100％●幅：約1200mm

価格27,300円（本体：26,000円）/ m

「鴛鴦唐草文は、中国・六朝時代の意匠にしばしば見られるもので、鴛鴦は昔より夫婦相愛と和合を象徴しております。 我が国では、正倉院宝物の中に多種多様な形で鴛鴦文が見られ、中でもこの錦に見る鴛鴦は華麗でしかも格調の高さが注目されるものです。

The pattern showing tendril roundels enclosing mandarin ducks often appears in cloths produced in China during the "Six Dynasty" era. Since ancient times, mandarin ducks have been the symbol of love and harmony between husband and wife.
The mandarin duck pattern is used in various forms for treasures housed in the Shoso-in Repository in Japan. Among these treasures, this nishiki is noteworthy due to the gorgeousness and nobleness of its pattern.

円紋白虎朱雀文錦
えんもんびゃっこしゅざくもんにしき
"Nishiki, With Roundels Enclosing Byakko And Shuzaku"

DAF-130

●絹100％●幅：約1200mm

価格25,725円（本体：24,500円）/ m

この錦は円紋の中に古代中国の思想による四神（青龍・白虎・朱雀・玄武）の内、白虎（西）と朱雀（南）を織り出しています。

原本は法隆寺に収められており、中国3～4世紀の織物の技術を伝えるものと考えらえています。仏教と、仏教が中国に入る以前の中国固有の思想が重なり合って、きわめて複雑な文化の様相をしめした時代が、この錦の文様にもよく表れています。

※青龍…東方に配する神。　朱雀…南方に配する神。
白虎…西方に配する神。　玄武…北方に配する神。

The pattern of this nishiki shows roundels enclosing Byakko and Shuzaku, two of the four gods believed by ancient Chinese people.

The original nishiki is stored in Horyuji Temple. This cloth is thought to be an example of textiles manufactured in China during the 3rd to 4th century. The pattern of this nishiki testifies to the highly complex development of culture in China at that time, when Buddhism was mingling with indigenous beliefs.

天平装鏡宝相華文錦
てんぴょうそうきょうほうそうげもんにしき
"Nishiki, With Hosoge Flower Patterns Derived From A Mirror Of The Tenpyo Period"

DAF-128

●絹100％●幅：約1200mm

価格25,725円（本体：24,500円）/ m

正倉院に秘蔵される鏡類は、その背面に種々の文様を表しています。例えば鋳出しの文様、あるいは金銀平脱、螺鈿、七宝等の装飾を施したものなど実に豊富な意匠をしめます。

ここではその鏡背の精巧な文様を選んで錦に織り上げました。唐時代の美意識をしめす左右対称の構成がきわめて厳格な感じを与え、さらに洗練された端正な趣をしめします。この宝相華は空想上の花ですが、意匠のあらゆるところに取り上げられて、人々の寿福を願う心を表します。このように、天平文化はまさに華麗な唐文化の影響を受けて国際色豊かに花開きました。その成果は正倉院に伝えられる宝物類に窺えます。

The backs of mirrors stored in the Shoso-in Repository are decorated with various patterns. These patterns were formed with a great variety of techniques, such as molding, heidatsu-lacquering, and inlaying with shells, gold, silver, or jewels.

This nishiki has an intricate pattern derived from one of the mirror backs. The symmetrical composition of the pattern, characteristic of esthetics in the T'ang age, gives an impression of utmost rigor. As a whole, the pattern has the charm of refined classicism. Imaginary hosoge flowers appear everywhere in the pattern, symbolizing hopes for happiness and longevity.

As witnessed by this nishiki, the Tenpyo period was a golden age of Japanese culture characterized by internationalism. The magnificent culture of the T'ang dynasty was the key influence on the flourishing Tenpyo culture. Treasures housed in the Shoso-in Repository are examples of the high cultural achievements in Japan during this period.

ペルシャ狩猟文錦
ぺるしゃしゅりょうもんにしき
"Persian Brocade, With Hunting Motif"

DAF-133(DB),DAF-134(G),DAF-135(R)

●絹100％●幅：約1200mm

各色　価格24,675円（本体：23,500円）/ m

狩猟の場面を意匠に取り上げるのは、はるか古代に源流があり、世界各地でしかも各時代特有の表現を示しました。

これはイラン、サファヴイ朝（1502-1736）の宮廷織物の中に見出したいわゆる「ペルシャ錦」によるものであります。

技法は錦地という組織に緯糸で文様を表した緯錦で、ここでは特に異国情緒あふれる色彩を駆使し、ペルシャの王宮の華麗さを再現しました。

Since ancient times, the hunting motif has been used for textile patterns in various parts of the world. Such patterns are characteristic of the taste which prevailed in a certain region during a certain period.

This brocade is modeled after a Persian brocade used at the court of the Safawid Dynasty (1502-1736) in Iran.

The patterns of this brocade are formed with weft on a ground. Exotic colors hint at the magnificence of the Persian palace.

花唐草段モール
はなからくさだんもーる
"Laced Textile, With Patterns Of Rowed Floral Vine Scrolls"

DAF-143

●絹100％（金糸使用）●幅：約1500mm

価格47,250円（本体：45,000円）/ m

インドのムガール最盛期である17世紀後半から18世紀末に製作されたもので、淡黄地に色や文様を異にした段を等間隔に配し、銀モール糸を中心として文様を織り出しています。地の平織部分に縮みができて、文様の部分との間に裂の厚みの違いをしめす意匠に注目されます。

文様は精巧に織り出され流動的な唐草文と静的な唐草文に対比に工夫があり、ペルシャ風の趣がまた見所といえます。

This textile was manufactured in India during a period from the latter half of the 17th century to the end of the 18th century, when the Mogul Empire was at the height of its prosperity. The pattern of the textile is formed on a light yellow ground, mainly with a silver chenille yarn.

Strips with different colors and patterns are laid on the ground at the same interval. It is noteworthy that the plain-weave portion of the textile is wrinkled, showing the difference in thickness between this portion and the patterned portion.

江戸和久田金襴
えどわくたきんらん
"Edo-Wakuta Kinran"

DAF-144

●絹100％（金糸使用）●幅：約700mm

価格19,320円（本体：18,400円）/ m

江戸和久田金襴は、江戸時代初期、江戸在住の織工・和久田が愛用したところからこの名で呼ばれています。

華やかな八色の縦縞に十筋の横細段を色替わりに交互に織り込み、段の間に花や鳥・鹿をおさめた木こうを表しています。

現状は渋く深味ある趣が魅力になっていますが、中国から船載された当時は縞の各色が冴え、目をあざむく鮮やかな美しさが人々を感動させたのです。

The edo-wakuta kinran is so named because Wakuta, a weaver who lived in Edo (now Tokyo) in the early Edo era, possessed and cherished this brocade.

The patterns on the kinran show eight gorgeously and differently colored vertical stripes, crossing 10 thin strips also different in color. Flowers, birds and deer appear between the strips. This type of pattern is called a mokko pattern.

Presently, the charm of the kinran lies in its deep and somber colors.

When it was imported from China, however, the brocade impressed people with the vivid and bright colors of its stripes.

石畳緞子
いしだたみどんす
"Ishidatami(Tartan Check)Damask"

DAF-148

●絹100％●幅：約1200mm

価格23,625円（本体：22,500円）/ m

小堀遠州の好んだ名物裂の中で最も著名なもので、遠州緞子の名で知られています。

白地と縹地で大石畳文を織り出し、白の唐花文と縹地の輪違い七宝文を織っています。

花色に近い薄い縹の地合いは「清」と「寂」そして「知性」を思わせ、七宝は吉祥を表し、牡丹花は富貴の象徴とされており、瀟洒な寂びの世界を醸し出しています。

The original work is the most famous among the meibutsu-gire cherished by Enshu Kobori (renowned master of chanoyu during the early Edo era). Accordingly, the work is known as the "Enshu damask."

An ishidatami (tartan check) pattern is formed with white and light blue grounds. Kara-hana floral patterns appear on the white grounds, and wachigai-shichiho patterns with intersecting circles, on the light blue.

The light blue ground of the damask is symbolic of cleanness, tranquility and intellect. Shichiho ("seven treasures") are the emblem of good luck, peony flowers that of wealth. The pattern's fascination lies in its serene tastefulness.

赤地花文錦
あかじかもんにしき
"Nishiki, With Floral Patterns On A Red Ground"

DAF-129

●絹100％●幅：約1200mm

価格25,725円（本体：24,500円）/ m

中国で、唐花文が最も爛熟し完成したのは盛唐期です。この錦の文様は唐花文の前様形式で、隋・初唐期のものと考えられ、のちに発達して唐花の主文となる六弁花文と副文の菱形花文とが、同じ大きさで存在しています。赤地に白・黄・水色の六弁花の縦縞部と，赤地に白・黄・緑の菱形花文の縦縞部とが交互に繰り返され、四色一経の経錦です。

The kara-hana pattern was developed to its most mature and complete from in China during the mid-T'ang era. The pattern of the original work, which is thought to date back to the Sui or early T'ang era, has the characteristic of a style earlier than this most highly developed style. The pattern shows six-petaled and lozenge-shaped flowers of the same size; in a pattern of the later style, the former flowers would be shown as the main motif, the latter flowers serving as subsidiary motif. Vertical patterns comprising white, yellow and light blue six-petaled flowers on a red ground alternate with others comprising white, yellow and green lozenge-shaped flowers on a red ground. Four differently colored yarns are used as warp.