WKD - shikishi Picture big and small

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Shikishi 　色紙　Decoration Art Board


Big Daruma and Small Daruma






I ran across this in my files the other day and thought you might like it. It is a ukiyo-e of two daruma dolls, titled appropriately "Big Daruma and Small Daruma". The artist is unknown but the print dates back to about 1900 and was about 22 x 19 cm.

Photo from my friend Hayato Tokugawa.


Thanks for sending this over, Hayato san!
I think it is a shikishi with Daruma and his little red princess.

GABI


"Shikishi" -
Japanese art board edged with gold colored trim-

Using "Shikishi", art boards, as interior decoration is a relatively new idea. Traditionally the custom was to use a hanging scroll. Generally, a hanging scroll is hung on the wall of the alcove of a Japanese-style room. But, it has been going out of use because Japanese-style rooms have become more and more scarce due to the Westernization of lifestyle and customs in Japan. Compared with a hanging scroll, an art board, on which the traditional characters (kanji) or traditional Japanese pictures are drawn has become more popular in recent years.

Because it is small, the price is lower, it can be used to decorate all types of places, and due to affordability, you can own more than one and change them depending on your mood. Art boards are an excellent way to exhibit the style and technique of the scroll painters in a more compact form. These beautiful little masterpieces of Japanese ink and brush painting can be displayed anywhere in your home ( such as in the entrance, hallway, by the window, on the desk, table and cabinet) to produce Japanese atmosphere.

SHIKISHI Look at some here.

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福かわら だるま.......

Good Luck Daruma walks your way ...



©　色紙工房、中野
大阪制作室　〒534-0025 大阪市都島区片町1-3-20-301

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Princess Daruma
押し絵色紙 だるま雛



© 有限会社ウイン２１/ WIN21 Co.,Ltd.

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Shikishi with a Daruma painting by Hakuin

色紙　白隠慧鶴禅師 "達磨図"



© 自休菴 .
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Google for more Daruma Shikishi "達磨色紙"


. Paintings of Daruma .
..... and
How to paint your own Daruma


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observance kigo for early autumn

. tanabata shikishi 七夕色紙（たなばたしきし）
Shikishi to write a Tanabata wish .

. . . CLICK here for Photos !

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五月雨や色紙へぎたる壁の跡
samidare ya shikishi hegitaru kabe no ato


The seasonal rain–
poetry cards have been peeled off,
leaving traces on the wall.
Tr. Ueda


midsummer rains -
traces on the wall where
poem-cards have peeled
Tr. Addiss



source :　itoyo/basho


1691, 元禄四年, Saga Nikki 嵯峨日記, 五月四日
He had stayed almost 20 days with Kyorai at Rakushisha 落柿舎 and has now to leave for Kyoto to meet Boncho 凡兆.
. Matsuo Basho 松尾芭蕉 - Archives of the WKD .

(This hokku has the cut marker YA at the end of line 1.)
hegitaru means hagitoru 剥ぎ取る.

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Edo Hyogu 江戸表具 scroll mounting

■ Traditional Technologies and Techniques

Scrolls:
（軸物 - - -掛軸、巻物）hanging scrolls, rolled scrolls)

1- Materials are selected and arranged in order to suitably bring out the characteristics of the works to be mounted.
2- Application of the first layer of mounting material is called hada-urauchi 肌裏打ち. When applied, care must be taken to prevent wrinkling. The next mounting layer is called mashi-urauch 増裏打ちi. It increases thickness and uniformity of the mount. It also provides firmness and resilience to it. The final layer of mounting material is called age-urauchi 上裏打ち. In this process, a nade-bake 撫刷毛 brush is used to brush pieces of mounting material into place as they are applied. The uchi-bake 打刷毛 brush is then used to damp the material down using a pounding motion. Finally, the mounting material applied is then thoroughly brushed again with a nade-bake brush.
3- During the kiritsugi 切継ぎ process, the mounting material is trimmed to an appropriate size and adhesive paste is applied to the edges. The elements are then pasted on in sequence with the work to be displayed situated in the center of the mount.

Framework underlayers:
（骨下地物 - - -屏風、和額、襖） folding screens, wagaku (Japanese picture frames), fusuma (paper sliding doors)

1- 下張り - When attaching layers of paper to framework underlayers, an adhesive paste is used (this is a process called hone-shibari 骨縛り). Paper is overlapped to prevent transparency (the ribs of the framework showing through the paper). The overlapping of paper also strengthens the hone-shibari further (called uchitsuke 打付け). Several layers of paper are added to the mounting to provide a cushioning effect (called mino-bari 蓑張り). Additional pieces of paper are added on top of previous layers in order to affix them in place (called mino-osae 蓑押え). Paper is attached with paste applied only on its edges (called fukuro-bari 袋張り). Finally, the finishing paper is applied to the mounting (called uwa-bari上張り).
2- 削付け Trimming is carried out parallel with the framework.
3- Strong washi (traditional Japanese paper) is used for the hanetsuke 羽根付け (the connecting portions between sections of a folding screen). A thin layer of paper known as an aisa 合差 is placed between section pairs of a folding screen to add a bit of looseness.

■ Traditionally Used Raw Materials
Fabric, mounting paper, lining paper, surface paper, backing paper, ribbing and frames, starch paste
裂地、表装紙、裏打紙、上張紙・下張紙、骨・ふち、澱粉糊など

■ History and Characteristics
Through agencies such as the Tang Missions, the Hyogu (scroll mounting) craft said to have been born during China's Tang Dynasty (618-907), arrived on Japanese shores approximately 1,000 years ago. Over time, this craft has evolved along with lifestyle and architectural changes in Japan. It has become something unique to the nation via both its refinement, and via the deep involvement with the flourishing of the tea ceremony which spanned across the Muromachi, Azuchi-Momoyama and Edo Periods (1333-1868).

The technological underpinnings of the Hyogu craft were initially developed in Kyoto, a city in which many shrines and temples congregated. It might be assumed that this was because the city generated great demand for scroll mountings that were capable of displaying Buddhist scriptures and religious pictures.

Initially, such craftsmen were generally referred to as kyoji 経師 (picture framers). However, the content of their work evolved and became more diversified with the passage of time. By the Edo Period (1603-1868), in that such craftsmen were handling kakejiku 掛軸 (hanging scroll), byobu 屏風 (folding screen) and fusuma 襖(sliding door) tasks, there were no longer distinctions between those who were still referred to as kyoji (picture framers) and those who were considered hyogushi 表具師 (scroll mounters).

With the construction of daimyo residences in Edo during the Genroku Era (1688-1704), many craftsmen indentured to the daimyo also settled themselves in the city. With the flowering of culture among the townspeople, the Edo Hyogu industry flourished as both calligraphy and art became pastimes that the general public began to appreciate.

A reverse of fortunes was experienced as demand for Hyogu declined with the coming of the Meiji Era (1868-1912). This development was in line with wider trends that sought to discard traditions in favor of westernization and modernization. While demand for the Hyogu craft was increased during the Taisho (1912-1926) and pre-war Showa Eras, the industry again experienced great difficulty after the Second World War. Currently, we are carving out a new path for ourselves.

Although the materials used in Hyogu such as Japanese paper, fabric, water and paste, seem to be very simple, it takes many years of training to expertly use the different types of paper and brushes. In this respect, Hyogu is referred to "as an art resulting from water and brushes."

In that very few names are listed in the records as masters of Hyogu, it can be understood that such craftsmen prefer to ply their trade away from the spotlight.

Tokyo Scroll Mounts Interior Association
- source : www.sangyo-rodo.metro.tokyo.jp


. - - - Welcome to Edo Crafts 　江戸 ! .


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