that dates from the early Edo period, Nikko-geta likewise date to such a time and were originally made for priests serving in the Toshogu precincts.
Besides the plaited bamboo padding which surely makes wearing them infinitely more pleasant, the thong is wrapped in white canvas. Previously, only priests were allowed to wear white thonged geta and all others wishing to have a similar pair for their own personal use had to be content with black thongs. Times change as we all know far too well, and it’s a buyer’s market these days. White or black, it’s up to you, although the kanushi at Toshogu still affect only the white.
There are a number of other geta that have padding but only the Nikko variety uses bamboo skins. Most others use water rushes which wear through much faster.
The perfect finishing touch to a man’s kimono ensemble should be a pair of these finely made and bearably useful native clogs. Even if they don’t feel all that comfortable, once you tune into the clip-clop sound they make when you walk, you’ll be hard put to take them off.
| 10 | IBARAKI |
| KATAEZOME & AIZOME | |
KATAEZOME and AIZOME-NO-SHIMA are two related but visibly different types of indigo dyed cloth found in Ibaraki-ken. They are both made in the same area but no longer in any great quantities as both require enormously time-consuming production techniques. The patterns created in kataezome cloth are varied and many. Many are floral and most lend themselves to unobtrusive repetition.
The printing process for kataezome involves cutting a delicate stencil from heavy washi thickened and strengthened by persimmon juices. Nowadays one can often find these stencils mounted and sold in antique shops all over the country. Even well-worn, they have a special design appeal. If the pattern is especially fine, a netting of fine threads are adhered to the cut stencil to give it added life and usefulness.
When blank cloth to be dyed is prepared, the stencil is repetitively placed over the length of cloth. Each placement is painted with a rice glue paste that leaves the cutout pattern clearly visible. Patterns are usually cut into stencils in such a manner that they fit perfectly together when placed end to end. Usually dying is accomplished in only one indigo shade, although multiple tones can be and are used not infrequently.
When the pasted cloth is completely stenciled, it is turned into a vat of heated dye. These huge tubs are usually dug into the ground and their long use gives the dye house an eerie sense of being out of the underworld of King Emma. When the dye has taken, the cloth is washed, usually in a nearby fastflowing stream. The paste compound is then removed and voila, the covered areas have retained their original color (most commonly white cotton). A colour close up is on page 123.
Aizome-no-shima is related but this cloth uses predyed threads to create striped material in tones of indigo. The weaving plan determines the depth of color the cloth will take on in its finished state. The threads are dyed in the same huge ground-level vats that the kataezome was done in, but the threads are washed before weaving and sometimes the finished cloth is washed once more for sizing. This woven cloth is much heavier than yukata material but is still summer-weight. Fine-striped bolts are generally reserved for a man’s kimono, while the widely spaced and multitoned stripes are popular for ladies wear.
| 11 | TOKYO |
| MANEKI-NEKO | |
The origin of this “good fortune” symbol is based on an actual incident. Around 1800, there existed outside the gate of the Ekoh-in Temple in Ryogoku, two similar tea shops. Business was neither good nor bad but the rivalry of the two shops was still intense. To attract customers, both shops had porcelain statues of a beckoning cat made for outside their entryways. One was golden hued and the other silver. Such an unusual feature were these two cats that they attracted much attention and were often mentioned in local publications.
The owner of the one shop (fronted by the golden cat) was a layabout given to wasting both time and money. Were it not for the abilities of his charming wife, business would long before have faded to nothing. Needing money to pay her husband’s debts forced this lady to borrow from an admiring clothing merchant. But the money the merchant eventually lent her was not his and by giving it away thus, he brought ruin on his trusted friend.
To atone for his mistake, he resolved to throw himself into the Sumida River from Ryogoku-bashi. As he rested against the bridge railing summoning up the courage who happens along but his vainly loved lady. He reproached her for bringing him to this situation. On hearing the full tale, she resolved to join him in shinju (double suicide) and join her lover on his journey into the other world. Over the bridge they went and the ensuing sensation caused by their dramatic deaths brought much fame to the shop of the golden cat and in turn economic ruin to its rival neighbor.
The fortune “beckoning” abilities of the cat were soon picked up on by local hucksters apparently in collusion with temple authorities. It quickly became important to buy a small copy of this cat on the first dragon day of each month. A set of 48 collected over a four-year period was required for future financial success. The hitch in this scheme (and scheme it was indeed) was that if any misfortune such as a death occurred, the collected cats must be disposed of and a new collection begun. Ever try to go through even a single year without some mishap that could well be construed as “misfortune”?
The golden coloring together with multiple collecting have been dropped in favor of single images in more natural shades — primarily a black spotted white. Next you see one of these come hither felines, reflect on why after nearly 200 years it’s still drawing crowds and you just may unlock the economic secret of this fascinating land.
| 12 | CHIBA |
| UCHIWA | |
Southeast of Tokyo proper is the Boso Peninsula (Boso Hanto), one of two seaward stretched arms that enfold Tokyo Bay. The whole of the peninsula belongs to Chiba-ken and is a popular vacation spot, especially along the Pacific coastline which is a quasi-national park. The nearly year-round fair weather of the area makes it a natural truck farm arena, sometimes humorously referred to as the “kitchen of Tokyo” because it is from there that most fresh vegetables reach the populous consumer market of the nation’s capital. It is also due to the exceptionally mild weather in Boso that bamboo proliferates in many varieties, from tall, thick stemmed “moso” to a slender leafy type generally used for ground cover.
Why is bamboo so important? Without the light and easy formed structure of a bamboo stalk, fans would undoubtedly look quite different. UCHIWA is the Japanese term given one variety of fan found throughout the country. Round and flat, it cannot be folded like its relative, the SENSU. Tateyama-shi, located almost at the southernmost tip of the peninsula, is where the best uchiwa are made.
Production of this handpowered cooler takes an exceptionally steady hand. The selected piece of bamboo stem will be divided neatly into carefully cut long fingers. Each is skived to brittle thinness. When these segments are spread, the basic fan shape evolves. Two sheets of durable handmade washi are prepared and it is between these two layers of paper that the spread ribs of the uchiwa are bonded in place. Paper used for Tateyama uchiwa is called tejika washi — especially strong paper that will allow long life for the finished product. A rim strip of semiprotective bamboo is sometimes slipped over the unspread ribs. This is attached to the outer edge of the paper/rib/paper bonding to give added strength and durability. A photo of production is included on page 135.
With simple stenciled patterns in one, two or three tones,
