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028ợୈ2ষỤ‫ݟ‬썻쎘쎢‫ݚ‬‫ڀ‬‫׆‬ಈ Mitsumeru—Seminars and ResearchesỘʦ‫ڀݚ‬ձʧ‫౎ژ‬쎅఻౷ٕज़쎩ະདྷ쎏‫ܨ‬썧쏡쏷쏂쎱쎹쏒
研究発表1ʮ‫ݹ‬๏썿‫ݱ‬๏쎂쎟쎢છ৫‫ࡐݪ‬ྉ쎅ಛੑ쎅ҧ썛쎂썻썛썽Ȃੜࢳ쎅੡ࢳɾ੡৫ํ๏쎩த৺쎂Ȃʯ೔࣌ɿ೥݄೔ʢ໦ʣ‫࣌ޙޕ‬ʙ‫࣌ޙޕ‬ձ৔ɿઍ័ຊࣾ쏝쏵֊쏥썗쏵ߨࢣɿ౦‫ژ‬จԽࡒ‫ॴڀݚ‬อଘՊֶ‫ڀݚ‬쏅쏽쏉썗म෮ࡐྉ‫ࣨࣨڀݚ‬௕ɹૣ઒యࢠ౦‫ژ‬จԽࡒ‫ॴڀݚ‬ແ‫ܗ‬จԽҨ࢈෦ओ೚‫ڀݚ‬һʢ౰࣌ʣɹ٠஑ཧ༧ࢀՃऀɿછ৫඼੡࡞ैࣄऀ໊ʕ
研究発表2

썤쎞썝 써 썸ʮ쎬쎹쏴쏵൘썿쏑쏂쏉쏵ٕज़쎩༻썛썶ᇄ᠁છ쎘쎅෮‫ڀݚݩ‬ʯ೔࣌ɿ೥݄೔ʢۚʣ‫࣌ޙޕ‬ʙ‫࣌ޙޕ‬ձ৔ɿઍ័ຊࣾ쏝쏵֊쏥썗쏵ߨࢣɿਆ‫ܳށ‬ज़޻Պେֶ‫ڭ‬तɹ쎇쎪쎇쎕썬썟ࢀՃऀɿછ৫඼੡࡞ैࣄऀ໊ʦ֓ཁʧ
఻౷త쎁છ৫ٕज़쎂썡썛썽࢖༻썬쎣쎢ࡐྉ썿ಓ۩쎆ɺۙ୅쎩‫ڥ‬쎂썮썽େ썤썦มԽ썮쎕썮썶ɻછྉ쎆ఱવછྉ썢쎠Խֶٕज़쎅Մೳੑ쎩࠶ߟ썰쎢썶쎘ɺઐ໳Ո쎩টᡈ썮썽썻쎅‫ݚ‬‫ڀ‬ձ쎩։࠵썮쎕썮썶ɻછྉ쎏ɺࢋ쎆쎟쎡௕썦썽ଠ썛ࢳ쎩ు썦쎟썝쎂඼छվྑ썣쎁썬쎣ɺ
੡ࢳ쎆ख࡞‫ۀ‬썢쎠‫ػ‬ց썣ओྲྀ썿쎁쎡쎕썮썶ɻٕज़‫ڀݚ‬쎩໨త

両研究会は文化庁2019年度文化芸術振興費補助金「地域と共働썿썮썶ۙ୅Ҏલ쎅છ৫඼쎩෮‫ݩ‬੡࡞썰쎢ࡍ쎂՝୊썿쎁쎢쎅썣ɺ

した博物館創造活動支援事業」のもとに実施しました。

썴썝썮썶છྉɺຨ쎅छྨɺ੡ࢳɾ੡৫ํ๏쎅ҧ썛썾썰ɻಓ۩썿ࡐྉ쎅ҧ썛썣ɺછ৫඼쎅࢓্썣쎡쎂େ썤썦Ө‫ڹ‬썰쎢썶쎘썾썰ɻ‫ػ‬ցԽ썣ਐ쎖ޮ཰Խ썬쎣썶Ұํ썾ɺද‫ݱ‬썾썤쎁썦쎁썺썶৭߹썛쎛෩߹썛쎙썙쎡쎕썰ɻઍ័썣ʙ೥쎂썢써썽ख썣써썶ॏཁจԽࡒʪଋᗌేจ༷ৼକʫʢੈ‫ل‬ʣ쎅෮‫ݩ‬੡࡞쎂썡썛썽쎆ɺఱવછྉ쎩༻썛썶৭࠼쎅࠶‫ݱ‬썣ࢼ쎖쎠쎣썶쎙쎅쎅ɺ‫ݜ‬쎂ؔ썮썽쎆‫ݱ‬୅쎅ຨ쎅छྨɺ੡ࢳɾ੡৫ํ๏쎩༻썛썽ɺՄೳ쎁‫ݶ‬쎡ߐ‫ށ‬࣌୅쎅ੜ஍쎅෩߹썛쎂ۙ썼써쎢ख๏쎂ࢭ쎕쎡쎕썮썶ɻ෩߹썛쎅ࠩҟ쎅‫ূݕ‬쎆ɺછྉ쎅ൃ৭썿쎅ؔ܎썿߹쎦썲썽՝୊썿썮썽࢒쎡쎕썮썶˞ɻ쎕썶ʙ೥쎂썢써썽औ쎡૊쎪썷Գग़ߜ쎡쎅ٕज़ௐࠪ쎂썡썛썽쎆ɺੜ࢈ऀ쎩ࣦ썺썶ಓ۩썾썙쎢Գ썿ٕ๏쎅ಛੑ쎂썻썛썽쎅‫ه‬࿥࡞੒쎆ߦ쎦쎣쎕썮썶썣ɺಓ۩쎅෮‫ݩ‬੡࡞쎛୅ସ썟쎅ಓ۩쎅‫ূݕ‬쎕썾쎆ࢸ썺썽썛쎕썲쎪 ɻ˞େྔੜ࢈ɾେྔফඅ쎅ࣾձత෩ை썣ऴᖼ쎩ܴ썟썻썻썙쎢ࡢࠓɺٕज़썿썿쎙쎂ಓ۩썿ࡐྉ쎅ಛੑ쎩վ쎘썽‫ূݕ‬썰쎢썪썿쎙ɺ఻౷쎅ٕ쎩쎟쎡쎟썛‫ܗ‬썾‫ܧ‬ঝ썰쎢썶쎘쎂ඞཁ썾썰ɻછ৫

※1 千總文化研究所 第2回研究会「日本の染色̶その色と技̶」『千總文化研究所 年報』2020年1月, pp.52〜61, および第3回特別鑑賞会・講演会「千總友禅̶束熨斗文様振袖の復元製作を巡って̶」『千總文化研究所 年報』2020年1月, pp.108〜115.
※2 千總文化研究所「桶出絞り技術継承プロジェクト」『千總文化研究所 年報』2020年1月, pp.84〜85.

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쎘쎢‫ݚ‬‫ڀ‬‫׆‬ಈ Mitsumeru—Seminars and ResearchesỘʦ‫ڀݚ‬ձʧ‫౎ژ‬쎅૷ଋจԽ쎅ັྗ쎩࠶ൃ‫ݟ‬쏡쏷쏂쎱쎹쏒೔࣌ɿ೥݄೔ʢՐ ‫࣌ޙޕ‬ʙ‫࣌ޙޕ‬ձ৔ɿઍ័ຊࣾ쏝쏵֊쏥썗쏵ʕ

研究発表ʮਅफେ୩೿쎅ྺ࢙썿จԽඣ࿏ધ৔ผӃຊಙࣉ썿౦ຊ‫ࣉئ‬쎅ؔ܎ੑ쎩த৺쎂ʯಉ๎େֶ෹‫ڭ‬จԽ‫ॴॴڀݚ‬௕ɹ҆౻໻ʕ

調査報告ʮඣ࿏ધ৔ผӃຊಙࣉॴଂ쎅ઍ੾԰૜ࠨӴ໳썣ख썣써썶છ৫඼쎂썻썛썽ʯਅफେ୩೿ᅵਖ਼ࣉॅ৬ɹࢁ‫ޱ‬ত඙தੈ೔ຊ‫ॴॴڀݚ‬௕ɹ쏬쏕쎵쏣썗쏐ઍ័จԽ‫ॴॴڀݚ‬௕ɹՃ౻݁ཧࢠࢀՃऀɿ૷ଋจԽ‫ऀڀݚ‬ɺછ৫‫ऀڀݚ‬ɺࣉӃؔ܎ऀɺ๏ҥ੡଄‫ऀۀ‬쎁쎀໊ʦ֓ཁʧਅफେ୩೿ඣ࿏ધ৔ผӃຊಙࣉʢҎԼɺધ৔ຊಙࣉʣ쎂Ҩ썬쎣썽썛쎢છ৫඼༨఺쎅ௐࠪใࠂ썿썮썽։࠵썮쎕썮썰쎢썿썿쎙쎂ɺഎ‫ܠ‬쎂썙쎢ྺ࢙ɾจԽ썿썿쎙쎂૷ଋ쎅஍ҬจԽࢿ‫ݯ‬Խ쎩໨ࢦ썮쎕썰ɻ썶ɻௐࠪ쎆ɺߐ‫࣌ށ‬୅‫ظޙ‬썢쎠େਖ਼࣌୅쎅‫࠰܌‬ɺ๏ҥɺଧෑ쎩ର৅썿썮썽ɺࡱӨɺ࠾ੇʢҰ෦ 쎩ߦ썛ɺௐॻ쎩࡞

2019年度文化庁文化芸術振興補助金「地域と共働した博物館創੒썮쎕썮썶ɻ썶썿썝ࢴ쎂แ쎕쎣썶૷ଋ쎅த썢쎠ɺʮ‫૷ޚ‬ଋࢣ

造活動支援事業」のもと実施いたしました。

ઍ੾԰૜ࠨӴ໳ʯ썿썮썽౰࣌쎅ઍ័썣खֻ써썶썿ߟ썟쎠쎣쎢૷ଋ쎩఺֬ೝ썮쎕썮썶ɻ쎕썶ࠓ‫ޙ‬쎅‫ڀݚ‬쎩ࢹ໺쎂ɺઍ័쎂࢒썬쎣썽썛쎢ߐ‫࣌ށ‬୅썢쎠େਖ਼࣌୅쎂썢써썽쎅‫࠰܌‬쎩쎆썯쎘썿썰쎢૷ଋ쎅ਤҊ఺༨썿ɺଧෑ썿ਫҾ쎅ਤҊ఺༨쎅ࡱӨɺ࠾ੇɺ๽ॻ쎅຋ࠁ쎙ߦ썛쎕썮썶ɻ‫ڀݚ‬ձ썾쎆ɺ೥쎟쎡ધ৔ຊಙࣉ쎅จԽࡒ쎩ௐࠪ썮ɺ࢙ྉ쎅లࣔެ։쎂औ쎡૊쎪썾썛쎢҆౻໻ࢯ썣ɺધ৔ຊಙࣉ썿౦ຊ‫ࣉئ‬썿쎅ີ઀쎁ؔ܎썿썴쎅ྺ࢙ɺ‫ٶ‬த썢쎠쎙썶쎠썬쎣썶จԽ쎛஍Ҭࣾձ썿쎅썻쎁썣쎡쎂썻썛썽ߨٛ썮쎕썮썶ɻௐࠪใࠂ썾쎆ɺࢁ‫ޱ‬ত඙ࢯ썣ᧁীɺ‫ޒ‬৚‫࠰܌‬ɺ৞‫࠰܌‬ɺྠ‫࠰܌‬쎁쎀쎅૷ଋ쎅ண༻쏁썗쏽썿৭쎛ૉࡐ쎅࢖썛෼써썿ҙຯ쎂썻썛썽ɺ쏬쏕쎵 쏣썗쏐ࢯ썣ɺീ౻쎛Դ୮쎁쎀ਅफେ
୩೿쎂ಛ௃త쎁จ༷쎩த৺쎂ɺ썴쎅‫ܗ‬쎅쏾쎫쏴쎲썗쏁쏱쏽쎛ੜ஍૊৫쎅ҧ썛쎩ઍ័쎅࢙ྉ썿쎅ൺֱ썿‫ڞ‬쎂ղઆ썮쎕썮썶ɻࠓ‫ޙ‬쎙ਅफେ୩೿ࣉӃ썣ॴଂ썰쎢࢙ྉ썿ઍ័쎅࢙ྉ쎅ൺֱ썿ମ‫ܥ‬త੔ཧ쎩‫ܧ‬ଓ썮ɺ‫૷ޚ‬ଋࢣ쎅‫׆‬ಈ쎩໌쎠썢쎂

【プロジェクト共同研究者（順不同・敬称略 )】・真宗大谷派圓正寺 住職 山口昭彦
・同朋大学仏教文化研究所 客員所員 青木 馨
・中世日本研究所 所長 モニカ ベーテ
・中世日本研究所 宮尾素子
・大阪芸術大学 講師（当時）小出祐子
・京都文化博物館 学芸員 林 智子

094

［特別鑑賞会・講演会］

ઍ័쎽쏶쎹쏁쏱쏽썿‫ڞ‬쎂ɺ೔ຊจԽ쎅ະདྷ쎩ߟ썟쎢ୈ  ճʮઍ័썿ඒज़છ৫ʕ৽썶쎁࣌୅쎂‫ٻ‬쎘쎠쎣썶ඒ썿ٕʕʯ೔࣌ɿ೥݄̓೔ʢ౔ ‫࣌ޙޕ‬ʙ‫࣌ޙޕ‬෼ձ৔ɿઍ័ຊࣾ쏝쏵֊쏥썗쏵ợୈ
3ষỤ‫ܨ‬썧࠵ࣄɾߨԋձ Tsunagu—Special Exhibitions and LecturesỘʦ֓ཁʧ‫ٸ‬଎쎁ۙ୅Խ u ੢ԤԽ쎩਱썩썶໌࣏࣌୅썢쎠ত࿨࣌୅ʦߨࢣʧଠా࠼ʢ썡썡썶썙쎛ॳ‫ظ‬쎂썢써썽ɺʮඒज़છ৫ʯ썿‫ݺ‬쎇쎣쎢޻ܳ෼໺썣Ұੈ쎩‫಺ٶ‬ிࡾ쎅‫ؙ‬ঘଂ‫ֶࣨܳ ؗ‬ओ೚‫׭ڀݚ‬ʢ౰࣌ʣɻௗऔ‫ݝ‬෩ᴆ썮쎕썮썶ɻֆը쎅쎟썝쎁ਤ༷쎩ɺછ쎘쎛৫쎡쎅ٕ๏썾ੜ쎕쎣ɺಸྑେֶจֶ෦จԽࡒֶՊଔ‫ۀ‬ɻಸྑࠃཱത෺ද썮ɺେ썤쎁ֹ쎛িཱ쎁쎀쎂࢓ཱ썽썶쎙쎅썾ɺ༸෩쎅ࣨ಺‫ֶܳؗ‬՝ඇৗ‫ۈ‬৬һ쎩‫ܦ‬썽ɺ‫ݱ‬৬ɻߖࣨ఻དྷ쎅ඒज़඼ྨ쎩૷০썰쎢썶쎘쎂੡࡞썬쎣ɺւ֎썾쎙ਓ‫ؾ‬쎩ത썮쎕썮썶ɻ쎅ௐࠪ썿อଘ쎂‫ܞ‬쎦쎡ɺʬಈ২࿅ֆʭ෯मཧࣄ‫ۀ‬쎂쎙ؔઍ័쎆ɺେ썤쎁ࣾձมಈ쎂൐썛‫౎ژ‬쎅છ৫‫ۀ‬ք썣ଧܸ쎦쎢ɻओ쎁࿦จu ஶॻ쎆ʰҏ౻एႌ ࡞඼ूʱʢ౦‫ژ‬ඒज़ ɺ쎩ड써쎢தɺఱ᳕ឿ ༑ષ쎅૑Ҋ쎛೔ຊըՈ쎅‫༻ى‬쎁쎀ɺʰখ‫܀‬൑‫׭‬썿রखඣʱʢ౦‫ژ‬ඒज़ ɺʮҏ౻एႌ썿ʰಈ২៌ैདྷ쎅༑ષછ쎛ࢗव쎅ٕज़쎩ൃల썬썲ɺඒज़છ৫쎅ૅ쎩ֆʱʯʮएႌɺඳࣸ쎅ົٕʯʢʰҏ౻एႌಈ২៌ֆશࡾे෯ʱங썤쎕썮썶ɻখֶ‫ ؗ‬ɺʮۙੈ‫ٶ‬ఊඒ쎅୲썛ख썿ఈྗʯʢ‫ཱࠃ౎ژ‬ത෺‫ؗ‬‫಺ٶ‬ிࡾ쎅‫ؙ‬ঘଂ‫ؗ‬쎟쎡ଠా࠼ࢯ쎩ܴ썟ɺ౰࣌쎅‫಺ٶ‬ʰ‫ॴޚ౎ژ‬쎝썢쎡쎅ࢸๅʱలਤ࿥ ɺʮʬສࠃֆਤሯ෩ʭ썣ল썢쎠‫ޚ‬Լ໋쎩ड써썽ઍ័썣ख썣써썶࡞඼쎩த৺쎂ɺඒ쎙썶쎠썮썶੒Ռ썿՝୊ʯʢ쎿쏽쏒쏴썗ඒज़‫ ؗ‬u ਆ‫ཱࢢށ‬ത෺ज़છ৫쎅ོ੝썿ྺ࢙తҙٛ쎂썻썛썽࢕썛쎕썮썶ɻ‫ؗ‬ʰೆ൮ඒज़쎅ޫ썿Өʱలਤ࿥ 쎁쎀ɻ౰࣌쎅‫಺ٶ‬ল쎂ೲ쎘쎠쎣썶ʪఱ᳕ឿ༑ષʮཛྷ쏘ਤʯֻ෯ʫʢ 쎅‫ݪ‬ըɾ໦ౡᓎ୩ʪ໠࿯ਤʫʢ ɺʪԘ੉༑ષ쎂ࢗवʮᤳ ᤶ쎂޸੃ਤʯֻ෯ʫʢࠒ 쎅Լֆɺ౰࣌쎅ࣸਅࢿྉ쎁쎀쎩లཡ썮쎕썮썶ɻ112ʦಛผؑ৆ձɾߨԋձʧઍ័쎽쏶쎹쏁쏱쏽썿‫ڞ‬쎂ɺ೔ຊจԽ쎅ະདྷ쎩ߟ썟쎢ୈ  ճʮઍ័썿৿‫ޱ‬㛋඙ʕ༑ષ쎅ັྗ썿썿쎙쎂ʕʯ
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ԋձ Tsunagu—Special Exhibitions and LecturesỘʦ֓ཁʧ༑ષછ쎆ɺߐ‫ ࣌ށ‬୅தࠒ쎟쎡ൃ ୡ썮썶છ৭ٕ๏썾썰ɻʦߨࢣʧ৿‫ޱ‬㛋඙ʢ쎙쎡썧썸썦쎂쎉썪‫ކ‬๷છ쎩༻썛쎢썪썿썾ણࡉ쎁จ༷쎙ɺֆը쎅쎟썝쎂࣮ࣸత೥ɺ‫౎ژ‬ੜ쎕쎣ɻ‫ཱࢢ౎ژ‬ඒज़େֶʢ‫ཱܳࢢ౎ژݱ‬쎁ਤฑ쎙ࣗ༝ࣗࡏ쎂࠶‫ݱ‬썾썤쎢썶쎘ɺࠓ೔쎂ࢸ쎢쎕썾썬쎕썭ज़େֶ ೔ຊըՊଔ‫ޙۀ‬ɺ쏛쏴ࠃཱߴ౳૷০ඒज़ֶߍ썾쎕쎁ද‫ݱ‬썣ੜ쎖ग़썬쎣썽썤쎕썮썶ɻ쎺쏳쏟쎭쏍쎹u쏑쏀쎮쏽쎩ֶ쎍ɻ‫ޙࠃؼ‬ɺ෕썾썙쎢৿‫ޱ‬՚߂ॏཁແ‫ܗ‬จԽࡒʮ༑ષʯอ࣋ऀ썾썙쎢৿‫ޱ‬㛋඙ࢯ쎆ɺʢô 쎅‫ݩ‬썾༑ષ쎅मߦ쎩࢝쎘쎢ɻ೥ɺ೔ຊʮࣘ‫ކ‬ʯ썿‫ݺ‬쎇쎣쎢ࡉ썢쎁ཻঢ়쎅‫ކ‬쎩༻썛썶쎺쏳쏟쎭쎵쏵쎁఻౷޻ܳలॳೖબɺҎ‫ࠓޙ‬೔쎕썾࿈ଓೖબɺड৆ଟ਺ɻจ༷썾༑ષ쎅Մೳੑ쎩௥‫ٻ‬썬쎣썽썪쎠쎣쎕썮썶ɻҰํɺઍʮࣘ‫ކ‬ʯ쎅ٕ๏쎩༻썛썶‫ز‬Կֶจ༷썾ɺ༑ષછ쎅৽‫ڥ‬஍័쎆ʮࢳ໨‫ކ‬ʯ썿‫ݺ‬쎇쎣쎢ࡉ썛ྠֲઢ쎩༻썛썶۩৅త쎁จ쎩੾쎡։썛썶ɻ༷쎅ඒ쎩ड써‫ܧ‬썛썾썤쎕썮썶ɻ೥ɺୈճ೔ຊ఻౷޻ܳల ؑࠪҕһब೚ɺҎ‫ؑޙ‬࣌୅쎛ࣾձ쎅มԽ쎩৐쎡ӽ썟쎢ɺ썮썶썶썢쎁༑ષ쎅ັ৹ࠪҕһྺ೚ɻ೥ॏཁແ‫ܗ‬จԽࡒʮ༑ષʯอ࣋ऀʢਓྗ썿쎆쎁쎂썢ɻ౰‫ॴڀݚ‬ཧࣄ썾쎙썙쎢৿‫ࢯޱ‬썣‫ئ‬썝ʮจԽؒࠃๅ 쎂ೝఆ썬쎣쎢ɻ쎅ະདྷʯʕɻ썴쎣쎆ʮ쎙쎅썼썦쎡쎩௨썯썽ɺจԽ쎅ҟ쎁쎢쏟쏳쏽쏃ɺ쏃쎮쏃ɺ쏑쏽쏨썗쎹ɺ쎮쎸쏴쏃쎂썡썛썽‫ݸ‬ల쎩։࠵썮ɺਓʑ썣ҧ썛쎩ଚॏ썮썻썻ɺ‫ڞ‬쎂࣋ଓՄೳ쎁ࣾձ쎩ங썦썪썿ʯɻ࡞඼쎆ࠃ಺֎쎅ඒज़‫ؗ‬쎂ऩଂ썬쎣썽썛쎢ɻ೥쏟쏳쏽쏃༑ષ쎩Ұ썻쎅੾쎡‫ޱ‬썿썮쎁썣쎠ɺ఻౷쎩‫ܧ‬ঝ썰쎢썪썿ɺ৽੓෎ܳज़จԽ쏁쏯쏾쎫쏴쎲ষɺ೥ܳज़બ঑จ෦େਉ썮썛쎙쎅쎩૑଄썰쎢썪썿ɺඒ쎩௥‫ٻ‬썰쎢썪썿쎁쎀ɺ쎙쎅쎩썻৆ɺ೥ࢵद๙ষɺ೥Ѵ೔தदষଞɺड৆ଟ਺ɻ썦쎢썪썿쎏쎅ࢥ썛쎩࢕썛쎕썮썶ɻ೥݄ઍ័จԽ‫ॴڀݚ‬ઃཱ࣌쎟쎡ɺ౰‫ॴڀݚ‬ཧࣄɻ৿‫ޱ‬㛋඙ࢯ쎅࡞඼ʪ։Ֆʫɺ෕u ৿‫ޱ‬՚߂ࢯ쎂쎟쎢ࠇཹକɺ
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125

లཡձ‫ྗڠ‬[Special Exhibitions and Lectures]113

Sixth Special Exhibition and Lecture

Exploring the Future of Japanese Culture with Chiso Collection
Chiso and Kunihiko Moriguchi—Fascinations of Yūzen Dyeing
Date: Friday, January 24, 2020, 2:30 pm to 4:00 pm

Venue: Chiso Head Office, Hall (5th floor)ợୈ3ষỤ‫ܨ‬썧࠵ࣄɾߨԋձ

SummaryThe yūzen dyeing technique has been developing since

Lecturer:
Kunihiko Moriguchi

the middle of the Edo era. Yūzen dyeing, using a paste

Kunihiko Moriguchi was born in Kyoto in 1941. After

resist, can perfectly reproduce intricate patterns and realistic

graduating from the Department of Traditional Japanesedesigns comparable with pictures, thus creating a variety ofPainting of Kyoto City University of Arts, he studied

expressions that have been achieved to date.

graphic design at the École Nationale Supérieure des Arts

Kunihiko Moriguchi, a holder of Important Intangible

Décoratifs in Paris. He returned to Japan and began learning

Cultura l Propert y (yūzen dyeing ), has explored theyūzen dyeing techniques under his father Kakō Moriguchi

possibilities of yūzen dyeing using fine pellets of resist paste(1909–2008). In 1967, his work was accepted for the firstcalled makinori to create graphical patterns. Chiso express

time for the Nihon Dento Kogeiten (Japan Traditional Artthe beauty of representational designs by traditionally using

Crafts Exhibition). Since then, many of his works have beenitomenori (outline paste), which leaves thin outlines on theaccepted some consecutive times and won prizes in thefabric.

event. By designing geometric patterns using the makinori

How can we define the appeal of yūzen that remains
unchanged over the changing times and society? Moriguchi,

or sprinkled resist paste technique, Moriguchi broke new
ground in yūzen dyeing.

who also serves as a commissioner of the Institute for Chiso

In 1974, he was appointed as a member of the screening

Arts and Culture, hopes that the culture in the futurecommittee for the 21st Japan Traditional Art Crafts

will help build a society where people overcome culturalE x hibition, a nd ha s been a reg u la r member of t hedifferences and create a sustainable world together. He

committee since then. In 2007, Moriguchi was designatedshared his thoughts on craftsmanship, focusing on carrying

as a holder of Important Intangible Cultural Property,

on tradition, developing creativity, and seeking for beautyyūzen dyeing, known as Living National Treasure.

in the field of yūzen dyeing.

He held solo exhibitions in France, Switzerland,

At the exhibition, Kaika(blooming) by KunihikoDenmark, and the UK. His artworks are stored in museums

Moriguchi, a kurotomesode (a married woman’s formal

in and outside of Japan. Many awards that he won include

kimono with a black ground) and an irotomesode (a married

the Chevalier de l’Ordre des Arts et des Lettres (Knight ofwoman’s forma l k imono with a colored ground) by

the Order of Arts and Letters) awarded by the French

Kunihiko’s father Kakō Moriguchi, and the bridal kimono

government (1988), the Minister of Education, Science andof the wives of Nishimura XIV and XV of Chiso wereCulture’s Art Encouragement Prize (1992), the Medal withdisplayed to showcase the different expressions of yūzen

Purple Ribbon (2001), and the Order of the Rising Sun,kimono.

Gold Rays with Neck Ribbon (2013).
He has served as a director of the Institute for Chiso
Arts and Culture since its founding in March 2017.

 Tsunagu—Special Exhibitions and LecturesỘ[Seminar]029

ʕợୈ2ষỤ‫ݟ‬썻쎘쎢

Presentation 1:Date: Thursday, February 13, 2020, 14:00 pm to 16:00 pm
Venue: Chiso Head Office, Hall (5th floor)

Riyo Kikuchi (Senior Researcher of Department of Intangible Cultural Heritage, Tokyo National Research Institute for Cultural
Properties [at the time])
Participants: 11 who associating with producing textileʕPresentation 2:

Restoration of Kyōkechi-zome (Plate-dyeing) Using Acrylic Plates with Digital Technology
Date: Friday, February 28, 2020, 14:00 pm to 16:00 pm
Venue: Chiso Head Office, Hall (5th floor)
Masae Bamba (Professor at Kobe Design University)
Participants: 12 who associating with producing textile

Summary
Materia ls a nd tools used wit h traditiona l textile
techniques have changed dramatically in the late modernperiod. Chemic a l dyes have replaced natura l dyes,
silkworms have been improved to spin longer and thicker
threads, and silk throwing, once performed by hand, isnow mostly conducted by machines. Such changes indyes, species of cocoon, and silk throwing and weaving
techniques present major challenges in reproducing textile
products before the modern period for technical research.
The tools and materials used can largely affect the finishesof textile products. Although mechanization has increased
the production efficiency, some colors and textures are nolonger achievable.
In 2015 to 2017, Chiso reproduced the Furisode Kimono
with Noshi Bundle Design, (the 18th century), which isdesignated as an Important Cultural Property of Japan.
In this project, natural dyes were used to reproduce theoriginal colors. The silk fabric for the kimono, however,was produced using cocoons of currently available species
and with modern throwing and weaving techniques toreproduce the texture of the fabric from the Edo era asclosely as possible. Differences in the texture and theireffects on how the dyes develop color are the subject of ourfuture research*.

In a research project conducted between 2017 and 2019
on the techniques of okedashi shibori (tie-dyeing using abucket), we examined and documented the characteristicsof the buckets, which are no longer manufactured, as wellas the dyeing techniques, but did not restore the tools nor
explore possible replacements for the tools**.
With the recent social trends of mass production andmass consumption coming to an end, re-examining
the characteristics of tools and materials as well as thetechniques for textile production is crucial to hand down
the traditional skills to future generations in a better way.
We hosted the two seminars, with invited by experts, wherewe reconsidered the possibilities of textile techniques.
The seminars were held within the framework of the Project to Support CreativeActivities at Museums with the Local Community supported by the 2019 subsidy
for the promotion of culture and arts granted by the Agency for Cultural Affairs,Government of Japan.
ñSecond Seminar: Traditional Japanese Dying—Colors and Techniques in Institutefor Chiso Arts and Culture Annual Report[First issue]2020, pp.52-61. Third Special
Exhibition and Lecture: Chiso Yūzen—Reproducing the Furisode Kimono withNoshi Bundle Design, ibid., pp.108-115.
ññOkedashi Shibori: Technique Succession Project by the Institute for Chiso Artsand Culture, ibid., pp.84-85.

Ộ Mitsumeru—Seminars and Researches

Cultural Properties)

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Noriko Hayakawa (Head of the Restoration Materials Section, Center for Conservation Science, Tokyo National Research Institute for

Differences in the Characteristics of Traditional and Modern Textile Material—Focusing on Throwing and Weaving of Raw Silk

Project for Handing Down the Traditional Techniquesin Kyoto to Future Generations

[Seminar]
033

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Wataru Andō (Director of Doho University Institute of Buddhist Culture)ʕAkihiko Yamaguchi (Chief priest at the Enshōji Temple), Monica Bethe (Director of the Medieval Japanese Studies Institute), andYuriko Katō (Director of the Institute for Chiso Arts and Culture)

For future comparative research, we photographed andmeasured over 200 designs for vestments including kesa,
and over 90 designs for uchishiki and mizuhiki (Buddhistaltar cloth under uchishiki) produced from the Edo era to
the Taishō era, all preserved at Chiso, and also transcribed
inscriptions for those items.
We invited Wataru Andō who has been engaged ininvestigating cultural properties preserved at Hontokuji
Temple and exhibiting historical materials to the public
since 2009. At the seminar, he talked about the closeconnection bet ween Hontokuji Temple and Higashi
Honganji Temple and its history, as well as cultures adopted
from the Imperial Court and the relationship between theImperial Court and the local community. In the research
report session, Akihiko Yamaguchi shared his knowledgeof Buddhist vestments such as hōmo (ceremonial vestment),
gojōgesa (five-panel kesa), tatamigesa (folded vestment stole),and wagesa (circular vestment stole), explaining about theoccasions for which these vestments are worn as well as, thecolors and the fabrics used for different purposes, and theirmeanings. Monica Bethe focused on the motifs specificto the Shinshū Ōtani-ha branch, such as yatsufuji (eightbunches of wisteria) and botan (tree peony), while referringto their varying shapes and weave structures and comparing
them to historical materials preserved at Chiso.
The seminar had 27 participants including researchersin vestment culture and textiles, priests, temple workers,
representatives of Buddhist vestment manufacturers, andthose from textile product manufacturers. Aiming at
providing regional cultural resources concerning vestments
and their historical and cultural backgrounds, we willcontinue to conduct comparative research on historicalmaterials preserved at temples of the Shinshū Ōtani-haand at Chiso, organizing the materials systematically, andclarifying the activities conducted by vestment purveyors.
This project was conducted within the framework of theProject to Support Creative Activities at Museums withthe Local Community that is supported by the JFY 2019subsidy for the promotion of culture and arts granted by theAgency for Cultural Affairs, Government of Japan.
Co-researchers of the project (listed in random order, with their honorific titlesomitted)
Akihiko Yamaguchi (Chief priest at the Enshōji Temple)
Kaoru Aoki (Visiting researcher at Doho University Institute of Buddhist Culture)
Monica Bethe (Director of the Medieval Japanese Studies Institute)
Motoko Miyao (Medieval Japanese Studies Institute)Yūko Koide (Associate Professor at Osaka University of Arts [at the time])
Tomoko Hayashi (Curator at The Museum of Kyoto)Ộ Mitsumeru—Seminars and Researches

Textiles and Garments at Himeji Semba Betsuin Hontokuji Temple, that Were Produced under
Chikiriya Sōzaemon

Summary
The seminar was conducted as a research report featuringover 100 textile products stored in Himeji Semba BetsuinHontokuji Temple of the Shinshū Ōtani-ha branch. Inpreparing the report, we photographed items including kesa
(Buddhist priest’s vestments), religious vestments calledhōe, and uchishiki (Buddhist altar clothes) from the late Edo
era to the Taishō era and measured select items. Amongthe vestments in kimono wrappers, we identified 13 items
that are considered to have been produced by Chikiriya
Sōzaemon.

‫ݚ‬‫ڀ‬‫׆‬ಈResearch Report:

History and Culture of the Shinshū Ōtani-ha Branch of Shin Buddhism–focusing on therelationship between Himeji Semba Betsuin Hontokuji Temple and Higashi Honganji Temple

[Special Exhibition and Lecture]
095

Fifth Special Exhibition and Lecture

Exploring the Future of Japanese Culture with Chiso Collection
Chiso and Artistic Textiles—Beauty and Techniques Expected for the New Era

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Date: Saturday, July 27, 2019, 2:00 pm to 3:30 pm

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Summary
The craft field of artistic textiles predominated fromLecturer:Aya Ōta

the Meiji era to the early Shōwa era, a time of rapid

Aya Ōta is a senior researcher (at the time) at the curator’s

modernization and westernization. Japanese ornamental

office of the Museum of the Imperial Collections owned bytextiles include designs similar to paintings expressed using

the Imperial Household Agency. She was born in Tottori

dyeing and weaving techniques and are mounted on large

Prefecture and graduated from the Department of Cultural

frames or tsuitate (panel screens), which were produced

Heritage Studies in the Faculty of Letters, Nara University.

as western interior ornaments and also gained popularity

After working part-time at the Nara National Museum, sheabroad.

took her current post. She specializes in the research andWhile the textile industry in Kyoto was being hit bypreservation of artworks inherited from the Imperial House

major social changes, Chiso developed the traditionalof Japan and also joined the repair project for the 30-scroll

techniques of yūzen dyeing and embroidery with theset of Dōshoku Sai-e (Colorful Realm of Living Beings).

invention of velvet yūzen-dyed textiles and the appointment

Her research papers and books include Ito Jakuchū sakuhinof Japanese-style painters to lay the foundation of artisticshū (Tokyo Bijutsu Co.,Ltd), Oguri Hangan to Terutehimetextiles.

(Tokyo Bijutsu Co.,Ltd), “Ito Jakuchū to Dōshoku Sai-e”

We invited Aya Ōta from the Museum of the Imperialand “Jakuchū byōsha no myōgi” in Ito Jakuchū Dōshoku

Collections owned by the Imperial Household Agency. SheSai-e zen sanju fuku (Shogakukan Inc.), “Kinsei kyūteibi

spoke about the prosperity and historical significance ofno ninaite to sokojikara” in Kyoto Gosyo : recalling great

artistic textiles with a focus on works produced by Chisotreasures of court culture (The Kyoto Shimbun Co.,Ltd.),

under the command of the Ministry of Imperial Householdand “Bankoku ezu Byōbu ga motarashita seika to kadai” inat the time.

Light and shadows in Namban (Nikkei Inc.).

The work s we ex hibited include Eagle (1903) byKonoshima Ōkoku, which is the original painting of thevelvet yūzen-dyed textile Storm in yūzen-dyeing on velvet(1903) delivered to the Ministry of Imperial Household atthe time. The draft of embroidery on Hall crabapples andPeafowls (about 1882), and photographic materials.

 Tsunagu—Special Exhibitions and LecturesỘ