コレクションルーム

■所在地■

京都市中京区丸太町通室町西入道場町４（鈴木時代裂研究所４階）

4,Dojyo-cho,Nakagyo-ku,Kyoto City,Kyoto,6040001

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■公開時間■

午前十時～午後五時 （要予約、有料です）

お問い合わせ　TEL　075-231-2496　もしくは　お問合せ　まで

『展示にあたって』　鈴木　一

About the Exhibition          Hajime Suzuki

When my father was a student at what is now known as the Tokyo University of the Arts (March 1917) rooming as a student in accommodation provided by Kindo Kuroki (formerly the President of the Kagawa Arts and Crafts Academy) and under the pupelage of Saburosuke Okada, he began his lifelong passion and interest in meibutsu gire (auspicious fabric designs) and kowatari sarasa (dyed cotton designs that first arrived in Japan at the start of the 17th century).
Reproductions of the kowatari sarasa in the possession of the current Tokyo National Museum were combined with the items in my father’s collection to produce the retrospective Indian Sarasa Designs (Kogeisha Publishing, 1922), a rare color publication sold through the Shirokiya Department Store. The foreword was penned by Mori Ogai and Imaizumi Yusaku.
My father died suddenly shortly after the end of World War II, and I took it upon myself to continue his passion and interest in researching these fabrics and patterns. Almost 65 years later I was able to publish my own anthology – Examples of Noted Sarasa Designs (Mitsumura Suiko Publishers, 1985).
I have continued to work at my research into meibutsu gire auspicious fabric designs and I was happy to collate my life’s work in as the editor of a 1990 publication called A Complete Naming Guide to Auspicious Fabric Designs, an appendage to the Kadokawa Encyclopedia of Chado Tea Ceremony. I followed this with a CD-ROM Encyclopedia of Auspicious Fabric Designs in 2007.
I believe I have made some of my father’s dreams come true with my work.
The best way to train one’s eye is to start by observing and appreciating original works. Looking at fabrics without foreknowledge of the type of weave, dyeing, the name of the artisan or the era when it was made. The exhibition at the Collection Room at the Suzuki Research Institute is organized around the four seasons, which makes it easier to classify these works.

17世紀初頭に古田織部が中国人を招き竹屋町通りで作らせ、当初は織部紗と言

われましたが後に「竹屋町」となりました。

紗の生地に金箔と色糸を横糸に沿って縫います。織物ではなく刺繍です。京都の東西の道です。

The master of tea ceremony prized tea utensils, tea bowls, etc and stored in the pouches made of rare fabric. Those fabrics are categorized, gold brocade, donsu(kind of rinzu silk) kando(striped design) and zassai( repeated pattern).  The weaving fabric designed  based on Chinese authentic patterns.  At that time, the price of the tea container pouch of the fabric weaved in China, fetch up to current value of 8 million yen.

染め、織り、刺繍、絞りなどで珍しい布を集めてみました。

皆様と一緒に試行錯誤してみたいと思っています。

「ウーン」と唸ってもらえそうな染織品です。