Textile Fabrics.
Textile fabrics constitute a class of art productions for which the Japanese are well known and which they appear to have manufactured as early as the fifth century, when silk brocades are said to have been made by Chinese weavers. The designs are very varied, and executed in every possible manner and material; at one time in pure gold, at another, in the most delicate colours just heightened with gold, while sometimes all the richest colours are thrown together, producing bold but harmonious effects. However powerful they are in their colouring, it is a power which comes of absolute knowledge based on the instinctive feeling for colour, peculiar to oriental nations.
The general dresses of the ladies and the robes of the nobles, in years past, were fine specimens of art manufacture, not only in respect to the innumerable designs embracing every kind of ornament, natural and conventional, affording perfect studies of decorative art, but also in the variety and richness of the material; from the richest satins, plain, decorated and brocaded, the softest silks and crapes, to the most gossamer-like gauzes. Each Daimio had his private loom for weaving the brocade bearing his own crest, which he, with the ladies of his house and all his retainers wore on their dresses; these crests were woven in white, or light colours on light silks, and in gold, or dark colours, on black or dark materials. The crests decreased in size in proportion to the rank of the wearer; servants wearing them covering the back of their blouses or tunics and generally printed on the material, while the retainers of highest rank wore them scarcely larger than a florin. Ladies frequently wore a coloured embroidered crêpe, over a rose-coloured silk, which gave it a peculiarly delicate effect of bloom. The crêpes were made in various thicknesses, plain, and wrought into a granulated surface, or in folds and wrinkles, as if in imitation of the skin of an animal; sometimes they were dyed in various shaded colours, the effect being produced by tying up a series of small portions of the surface of white crêpe with cord, forming a pattern; when dyed the colour desired, the cords were cut, and the pattern not only left white, but actually standing in relief on the crêpe, a method which is still retained. Another process is to print a design in white on the material, and to heighten it by embroidering certain parts; for instance, on a robe covered with a design of fir and bamboo, the fir would be embroidered here and there in shades of green, while the bamboo stem would be left white, and the leaves occasionally accentuated by embroidery; in another design, of Wisteria, the flowers are embroidered in parts, and occasionally the leaves, while some birds are wholly embroidered. Their printed cottons are also very effective and covered with charming patterns. In the colours of their grounds, and in the contrasts and harmonies of their designs, the taste of the Japanese is absolutely perfect, combining the most delicate gradations of tints, with equally delicate harmonies or richest contrasts.
