Furisode with Hi-ogi (Heian Imperial Fans)
1911-1939
Physical Qualities
Silk, dye, pigments, gold and silver foil; silk, and gold and silver metal-leafed paper wrapped around cotton core embroidery threads, silk lining, 72 1/2 x 49 1/2 in. (184.2 x 125.7 cm.)
Credit Line
Gift of Mrs. D.M. Cheston, Baltimore
Object Number
1990.113
Furisode with Hi-ogi (Heian Imperial Fans)
1912-1940, Taisho/Early Showa Eras
Japan
Silk, dye, pigments, gold and silver leaf foil; silk, and gold and silver metal-leafed paper wrapped around cotton core embroidery threads, silk lining
Gift of Mrs. D.M. Cheston, Baltimore
BMA 1990.113
This bridal furisode (long sleeve kimono) incorporates motifs associated with the Heian court to proclaim the bride as “Princess for a Day.” The design is dominated by hi-ogi, large folding fans made of wide cypress slats similar to those carried by Heian noblewomen in palace ceremonies. The hi-ogi are patterned with beautiful textile designs and many auspicious motifs. Those most closely linked to the Heian Era (794-1185) are the noble’s carriage (gosho-guruma) and the misu—wide palace blinds formed of thin bamboo slats that allowed ladies to look outside their quarters without being seen themselves.
Vertical undulating lines (tatewaku), a pattern once restricted to Heian courtiers, add to the regal feel of the garment. Gold and silver stylized “clouds of good fortune” contained within these lines suggest the elevated status that Heian nobles had enjoyed centuries earlier. (137)
Techniques
Yuzen (paste resist outline dyeing), Surihaku (impressed metal foil over hand painted and stenciled adhesive), Katazome (stencil dyeing), Nui (embroidery), Koma-nui (couching), Kaki-e (hand painting), rinzu (woven monochromatic patterned fabric)
Photo, Caption:]
Detail, noble’s carriage (gosho-guruma) to the right and center of the kimono.
[Photo,:Caption:]
Detail, bamboo palace blinds (misu) on the lowest fan (hi-ogi) of the sleeve to the left.
The Baltimore Museum of Art by gift; Mrs. D.M. Cheston, Baltimore by purchase in Tokyo, Japan, 1952; by donation to bazaar.
Anita Jones and Ann Marie Moeller, The Baltimore Museum of Art, Baltimore, MD, "Kimono and Obi: Romantic Echoes from Japan's Golden Age," July 10, 2016 - January 15, 2017.
"Kiimono & Obi: Romantic Echoes from Japan's Golden Age, BMA TODAY, Summer, 2016, cover illustration (detail) p.1, color illustration (detail) p, 3, and full illustration with copy p. 7.
Andre, Linda, and Jessica Skwire Routhier, eds. The Baltimore Museum of Art: Celebrating A Museum. Baltimore, Maryland: Baltimore Museum of Art, 2014.
Anita Jones, "In the Spotlight: Recent Accession," BMA Today, March 1992, pp. 18 and 19, illus. p. 18 and cover.
Markings: Five Kamon family crests are found on this kimono located in their traditional positions; on the front 2 crests are centered on each front panel 6" below the shoulder line; on the back are 3 crests, one in the upper 2" below the neck, two others are centered on each sleeve 3" below the upper sleeve edge. The crest is an ivy leaf and it was once used by the Ashikaga shoguns.
