#: locale=pt ## Action ### URL LinkBehaviour_2B936DDF_3AA3_C912_419F_5D78FB988210.source = https://qrcode.umpratodos.com.br/projetos/japanhouse/kumihimo/ WebFrame_22F9EEFF_0C1A_2293_4165_411D4444EFEA.url = https://www.google.com/maps/embed?pb=!1m18!1m12!1m3!1d204.0455262575997!2d-46.64476104070779!3d-23.572270372493566!2m3!1f0!2f39.22090516532243!3f0!3m2!1i1024!2i768!4f35!3m3!1m2!1s0x94ce599627be8759%3A0x642bd6e0c4f64e6d!2sJapan%20House%20S%C3%A3o%20Paulo!5e1!3m2!1spt-BR!2sbr!4v1619529762343!5m2!1spt-BR!2sbr WebFrame_22F9EEFF_0C1A_2293_4165_411D4444EFEA_mobile.url = https://www.google.com/maps/embed?pb=!1m18!1m12!1m3!1d204.0455262575997!2d-46.64476104070779!3d-23.572270372493566!2m3!1f0!2f39.22090516532243!3f0!3m2!1i1024!2i768!4f35!3m3!1m2!1s0x94ce599627be8759%3A0x642bd6e0c4f64e6d!2sJapan%20House%20S%C3%A3o%20Paulo!5e1!3m2!1spt-BR!2sbr!4v1619529762343!5m2!1spt-BR!2sbr LinkBehaviour_B4B01B73_A4EF_6166_41D9_38A516AA92C1.source = https://www.japanhousesp.com.br/es/exposicao/kumi-himo/ LinkBehaviour_B4870480_A4E8_E7A2_41CC_D5871D690790.source = https://www.japanhousesp.com.br/es/exposicao/kumi-himo/ LinkBehaviour_ED3632EE_A5E8_E37E_41CB_6C4AC5447CFB.source = https://www.japanhousesp.com.br/exposicao/kumi-himo/ LinkBehaviour_EE6E2959_A5FB_2EA2_41E0_D7B046A7C724.source = https://www.japanhousesp.com.br/exposicao/kumi-himo/ LinkBehaviour_AA2594BB_A4E8_E7E6_41D7_EB64ABFE9A03.source = https://www.japanhousesp.com.br/ja/exposicao/kumi-himo/ LinkBehaviour_ABD680CB_A4EF_5FA6_41CE_1EDB6D007DB5.source = https://www.japanhousesp.com.br/ja/exposicao/kumi-himo/ PopupWebFrameBehaviour_586F0741_6EAD_9A50_41D2_0606C7D19B08.url = //www.youtube.com/embed/5QAecTyrMOs?v=5QAecTyrMOs PopupWebFrameBehaviour_BB475B8B_C20E_4964_41D2_93CAADC62D79.url = //www.youtube.com/embed/5QAecTyrMOs?v=5QAecTyrMOs ## Media ### Description album_433BF260_6D91_1209_4177_28B433FA14B8_0.description = 01. Beaded sash, from the Hōryūji temple 8th century | Replica of the original sash in its current condition album_433BF260_6D91_1209_4177_28B433FA14B8_1.description = 01. Beaded sash, from the Hōryūji temple 8th century | reproduction album_7142B046_6F9F_2EF7_41D5_0C6476D015FF_0.description = 02. Braided sash, from the Shōsōin repository (Andagumi, 8th century) album_7142B046_6F9F_2EF7_41D5_0C6476D015FF_1.description = 03. Braided sash, from the Shōsōin repository (Andagumi, 8th century) album_7142B046_6F9F_2EF7_41D5_0C6476D015FF_2.description = 04. Braided sash, from the Shōsōin repository (sasanamigumi, 8th century) album_7142B046_6F9F_2EF7_41D5_0C6476D015FF_3.description = 05. Braided sash, from the Shōsōin repository (yonkengumi, 8th century) album_7142B046_6F9F_2EF7_41D5_0C6476D015FF_4.description = 06. Braided sash, from the Shōsōin repository (Naragumi, 8th century) album_7142B046_6F9F_2EF7_41D5_0C6476D015FF_5.description = 07. Konghou harp cord, from the Shōsōin repository (Naragumi, 8th century) album_7142B046_6F9F_2EF7_41D5_0C6476D015FF_6.description = 08. Braided sash, from the Shōsōin repository (Andagumi, ichimai Kōraigumi, 8th century) album_7142B046_6F9F_2EF7_41D5_0C6476D015FF_7.description = 09. Braided Hirao court sash with space-dyed light blue threads (karakumi, 7th - 12th century) album_7142B046_6F9F_2EF7_41D5_0C6476D015FF_8.description = 10. Braided Hirao court sash with space-dyed yellow threads (karakumi, 8th - 12th century) album_7142B046_6F9F_2EF7_41D5_0C6476D015FF_9.description = 11. Shutara, a decorative knotted cord from the kasaya robe of Buddhist priest, from the Kyōōgokokuji temple (kakuyatsugumi, 8th - 12th century) album_4E5DC308_6F91_127B_41D2_0A83B8D60FB3_0.description = 12. Braid found in the grave of Fujiwara no Hidehira, from the Chūsonji temple (Chūsonjigumi, 12th century) album_4E5DC308_6F91_127B_41D2_0A83B8D60FB3_1.description = 13. Scroll cord from a complete collection of Buddhist scriptures, from the Chūsonji temple (12th century) album_4E5DC308_6F91_127B_41D2_0A83B8D60FB3_2.description = 14. Scroll cord from the Lotus Sutra, from the Sensōji temple (ichimai Kōraigumi, 12th century) album_4E5DC308_6F91_127B_41D2_0A83B8D60FB3_3.description = 15. Decorative knotted braid from a portable shrine, from the Tomobuchi Hachiman shrine (Tomobuchigumi, 12th century) album_4E5DC308_6F91_127B_41D2_0A83B8D60FB3_4.description = 16. Cord for hanging a talisman, from the Shitennōji temple (Shitennōjigumi, 12th century) album_4E5DC308_6F91_127B_41D2_0A83B8D60FB3_5.description = 17. Cord for hanging a talisman, from the Shitennōji temple (Shitennōjigumi, 12th century) album_4E5DC308_6F91_127B_41D2_0A83B8D60FB3_6.description = 18. Tying cord for the protective cover of a Buddhist sutra, from the Jingoji temple (ichimai Kōraigumi, 12th century [1149 CE]) album_4E5DC308_6F91_127B_41D2_0A83B8D60FB3_7.description = 19. Scroll cord from a sutra offered by the Heike clan, from the Itsukushima shrine (Itsukushimagumi, 12th century [1164 CE]) album_4E5DC308_6F91_127B_41D2_0A83B8D60FB3_8.description = 20. Cord from a brocade scroll pouch placed inside a sculpture of the Buddha Sakyamuni, from the Saidaiji temple (Saidaijigumi, 13th century [1249 CE]) album_4E5DC308_6F91_127B_41D2_0A83B8D60FB3_9.description = 21. Cord from a brocade scroll pouch placed inside a sculpture of the Buddha Sakyamuni, from the Saidaiji temple (Naragumi, Mitakegumi, 13th century [1249 CE]) album_4E58B379_6F91_129D_41CF_2BBA07A87A02_0.description = 22. Curtain cords from a miniature shrine, from the Saidaiji temple (Itsukushimagumi, tobaraigumi, 13th century [1280 CE]) album_4E58B379_6F91_129D_41CF_2BBA07A87A02_1.description = 23. Braids representing internal organs placed inside a sculpture of Zendō Daishi, from the Chion’in temple (color-switch karauchi, 13th century) album_4E58B379_6F91_129D_41CF_2BBA07A87A02_2.description = 24. Belt from a set of laced armor, from the Bushū Mitake shrine (double-faced kikkōgumi, 13th century) album_4E58B379_6F91_129D_41CF_2BBA07A87A02_3.description = 25. Braid from a sacred costume, from the Kumano Hayatama shrine (double-faced kikkōgumi, 14th century) album_4E58B379_6F91_129D_41CF_2BBA07A87A02_4.description = 26. Scroll cord for a letter by Minamoto no Yoritomo, from the Tōdaiji temple (Itsukushimagumi, 14th–15th century) album_4E58B379_6F91_129D_41CF_2BBA07A87A02_5.description = 27. Scroll cord from the Lotus Sutra, from the Hyakusaiji temple (Itsukushimagumi, 14th–15th century) album_4E58B379_6F91_129D_41CF_2BBA07A87A02_6.description = 28. Cord from a small drum, from the Kasuga shrine (karauchi, 16th century) album_4E58B379_6F91_129D_41CF_2BBA07A87A02_7.description = 29. Sageo cord sword furnishing, pattern from the Mano family archive (Genjiuchi, 18th–19th century) album_4E58B379_6F91_129D_41CF_2BBA07A87A02_8.description = 30. Armor lacing, pattern from the Shikasūyō military encyclopedia (odoshiitouchi, 19th century) album_4E58B379_6F91_129D_41CF_2BBA07A87A02_9.description = 31. Patterned sageo cord sword furnishing (ayadashi, 18th–19th century) album_591DB2AD_6D93_321B_41B3_A7C684ED9D9F_0.description = 41. Sasanamigumi (3-core strand single layer 1-1) album_591DB2AD_6D93_321B_41B3_A7C684ED9D9F_1.description = 42. Unegumi (ribbed) album_591DB2AD_6D93_321B_41B3_A7C684ED9D9F_2.description = 43. Honkainokuchigumi (traditional seashell lip braid) album_591DB2AD_6D93_321B_41B3_A7C684ED9D9F_3.description = 44. Kikkōgumi (tortoise shell braid) album_591DB2AD_6D93_321B_41B3_A7C684ED9D9F_4.description = 45. Kainokuchigumi (seashell lip braid) album_591DB2AD_6D93_321B_41B3_A7C684ED9D9F_5.description = 46. Kōraigumi (double layer 2-2 twill) album_591DB2AD_6D93_321B_41B3_A7C684ED9D9F_6.description = 47. Andagumi (single layer 1-1) album_591DB2AD_6D93_321B_41B3_A7C684ED9D9F_7.description = 48. Ji’naikigumi (double layer 1-1) album_591DB2AD_6D93_321B_41B3_A7C684ED9D9F_8.description = 49. Kamakuragumi album_4E5F07FC_6F91_719B_41D9_827CE5A45B2D_0.description = 52. Yotsugumi (four-strand braid) album_4E5F07FC_6F91_719B_41D9_827CE5A45B2D_1.description = 53. Maruyatsugumi (round eight-strand braid) album_4E5F07FC_6F91_719B_41D9_827CE5A45B2D_2.description = 54. Karauchi (round sixteen-strand braid) album_4E5DD72B_6F91_32BE_41C0_361F9810AE29_0.description = 55. Naragumi album_4E5DD72B_6F91_32BE_41C0_361F9810AE29_1.description = 56. Kanmurigumi (crown braid) album_4E5DD72B_6F91_32BE_41C0_361F9810AE29_2.description = 57. Maru Genjigumi album_4EA5A71C_6F91_129B_41C1_6494098E804F_0.description = 58. Mitakegumi album_4EA5A71C_6F91_129B_41C1_6494098E804F_1.description = 59. Color-switch Mitakegumi album_4EA5A71C_6F91_129B_41C1_6494098E804F_2.description = 60. Karakumi (old Chinese braid) ### Title photo_485CDEF8_6FF1_139B_41C9_80C018859A76.label = IMG_1022 photo_2E3CE1D1_6C77_EE0B_41D1_2CD7D04D46B4.label = IMG_1501 panorama_9E882E64_81B2_A32B_41B3_8F35195D14D2.label = Kumihimo 01 panorama_7D918A12_6C65_7DED_41B8_F313170CBA56.label = Kumihimo 02 panorama_7DE8651A_6C64_961D_41C6_BADFC62C89E7.label = Kumihimo 03 panorama_7DEAFF62_6C64_922D_41CF_E17BEA8F3855.label = Kumihimo 04 panorama_7DE93A16_6C64_B215_41D5_27167F4684D6.label = Kumihimo 05 panorama_7DE92597_6C64_9613_41DA_63272E9C458E.label = Kumihimo 06 panorama_7DE9702F_6C64_8E32_41B3_8AE47CAC1D03.label = Kumihimo 07 panorama_7DE92AA0_6C64_F22D_41D3_F8DF6A237EE2.label = Kumihimo 08 panorama_7DE93F59_6C64_B21F_41B7_857C4C04C550.label = Kumihimo 09 panorama_7DE939E5_6C64_9E37_41D4_25FCF566669D.label = Kumihimo 10 panorama_7DE9F45F_6C6B_7613_41CE_62DD66858E9C.label = Kumihimo 11 panorama_7DE91E71_6C6B_722E_41D6_FCBADE55901D.label = Kumihimo 12 panorama_7DE9059D_6C64_9617_41CA_3ADDC2A2D9A6.label = Kumihimo 13 panorama_7DE912BF_6C6B_B213_41C3_8421E9889543.label = Kumihimo 14 panorama_7DE94D8C_6C6B_B6F6_41B2_A37D571FF05B.label = Kumihimo 15 panorama_7DE917ED_6C6B_9237_41D4_579875598639.label = Kumihimo 16 panorama_7DE97CE6_6C6B_F635_41CF_393DB85134E1.label = Kumihimo 17 panorama_7DE93793_6C6B_9212_41CE_EEE09F4EA6BF.label = Kumihimo 18 panorama_7DE93271_6C6B_B22F_4157_54E892AFA02A.label = Kumihimo 19 panorama_7DE90443_6C64_B673_41DA_CB342C0F4F90.label = Kumihimo 20 panorama_7DE8FCFB_6C6B_B612_41BD_2DAF5FBFA46B.label = Kumihimo 21 panorama_7DE8C77B_6C6B_9213_41B5_A3C42562DA2B.label = Kumihimo 22 panorama_7DE8A1FB_6C6B_8E13_41B5_4E40F86893A8.label = Kumihimo 23 panorama_7DE8CC5E_6C6B_7612_41D1_81FC9C4DAD5F.label = Kumihimo 24 panorama_7DEF66B5_6C6C_9216_41DA_CF1ACA5032FA.label = Kumihimo 25 panorama_7DEF5109_6C6C_8FFE_41CA_EB6370D2A1D8.label = Kumihimo 26 panorama_7DEF8B3A_6C6C_B212_41C7_01CA097726CD.label = Kumihimo 27 panorama_7DEF844F_6C6C_9673_41C7_370C68DC0D54.label = Kumihimo 28 panorama_7DEFEE78_6C6C_921D_41A0_3D96180DE240.label = Kumihimo 29 panorama_7DEF88C1_6C6C_BE6F_41B0_B1EDEA708B93.label = Kumihimo 30 panorama_7DE9C4AC_6C6C_9635_4194_7B172330F7DE.label = Kumihimo 31 panorama_7DEF9FEC_6C6C_9235_41C9_029D2D079849.label = Kumihimo 32 panorama_7DEFA58B_6C6C_96F2_41B0_B06E1369FE6A.label = Kumihimo 33 panorama_7DE94266_6C6B_F232_41CB_D07EE644628B.label = Kumihimo 34 panorama_7DEF9A0D_6C6C_FDF6_41D5_57D11222F6B5.label = Kumihimo 35 panorama_7DE91896_6C6B_9E12_41D3_C470C2B64140.label = Kumihimo 36 panorama_7DEFA2E8_6C6C_923E_41C4_B897D0CDAB48.label = Kumihimo 37 panorama_7DEF8CFA_6C6C_9612_41CB_9703EEC3E348.label = Kumihimo 38 panorama_9F257FAA_81B1_A13E_4194_34B0399B22EA.label = Kumihimo 39 panorama_7DE89123_6C6D_8E32_41C0_CF1E8B477ED7.label = Kumihimo 40 panorama_7DE88B36_6C6D_9215_41C5_3A2917BA79D7.label = Kumihimo 41 panorama_7DE8AF5E_6C6D_B212_41C4_3817DA638843.label = Kumihimo 42 panorama_7DE8E9AF_6C6D_9E32_41B1_5C45B3F687E2.label = Kumihimo 43 panorama_7DE893CC_6C6D_F275_41D8_FADE97F166AD.label = Kumihimo 44 panorama_7DE8CDEE_6C6D_F635_41D0_EB2CCE11EA2E.label = Kumihimo 45 panorama_7DE897E1_6C6D_922F_41B7_6470B040AE99.label = Kumihimo 46 panorama_7DE841F9_6C6D_8E1E_41D6_7BF55C06FA0B.label = Kumihimo 47 panorama_7DE85C1B_6C6D_B612_41CE_FFF8EA4766A7.label = Kumihimo 48 panorama_7DE85612_6C6D_9212_41D8_F16964CDF956.label = Kumihimo 49 panorama_7DE86056_6C6D_8E15_41C7_B98C8A281113.label = Kumihimo 50 panorama_7DE82A68_6C6D_723D_41C0_C5248E773F7A.label = Kumihimo 51 video_9AA806A7_8156_A336_41C2_DBFBE97D166D.label = Kumihimo Braiding Process - 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35.
Ornamental braid
from the Hōryūji temple
7th century karakumi; reproduction
This sash is a replica of one of the oldest surviving Japanese braids, housed in the Hōryūji temple in Nara. Known as Bansuishoku, the braid was created using the Karakumi technique, a diamond-shaped pattern that was imported to Japan from continental Asia. Created in bright colors and with golden bells attached, the sash may have been used as a wall ornament in a Buddhist ritual, a decoration for a horse saddle or to fasten a curtain. The original item is registered as Important Cultural Property of Japan.
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36. Braiding technique for a Hirao court sash
37. Design for a custom ordered sword handle braid
38. Encyclopedia of knot tying techniques
39. Odoshi armor lacing pattern samples
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40.
Acrylic takadai
tall braiding stand
Threads for kikkōgumi display
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50.
Installation
Takadai (tall stand)
Kōraigumi braid
Glass weight
The takadai allows for the braiding of more complex kumihimo. It is particularly well-suited for the braiding of cords with a high row count, like flat cords. Threads are laid out to the right and left, and cords braided by moving the threads and beating them tightly together using a bamboo tool called a hera.
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51.
Acrylic marudai
(round braiding stand)
Threads for karakumi display
Counterweight
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61.
Installation
Marudai (round stand)
Mitakegumi braid
Glass weight
The marudai is a round disc mounted on legs that makes it easy even for beginners to braid a variety of kumihimo. A cord is braided below the disc by passing thread spooled on bobbins through the center, and crisscrossing them in a regular, predetermined order.
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62. Bamboo beater (hera)
63. Bobbin (tama)
64. Stand with pegs for keeping threads in the right position (koma)
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65. Thread winder
66. Swift
67. Reel
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68. Square stand
69. Ayatake stand
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70. Sling braid (Tibet, present day)
71. Yak neck ornament (Bhutan, present day)
72. Braid decoration (India, present day)
73. Skirt braid decoration (Russia, present day)
74. Mat braid for wrapping the dead (Ainu people, Japan, present day)
75. Sling braid (Peru, 10th century)
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76. Karakumi braids with multiple diamonds
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77.
Yonsō Seikaiha
2016
18 rows, 4 layers (ikkengumi)
One of the best-known designs produced by Domyo is a two-layered cord with alternating sections of color that terminate diagonally. This new cord adds yet another two layers to the original, bringing the total to four. However, while a four-layer construction, it is wide and its cross section shares the same aspect ratio as an ordinary flat cord, and on the surface, the different colors of each layer appear in alternating sequence.
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78.
Kizahashi
2014
12 rows, 4 layers (nikengumi)
This cord is composed of four layers of different widths braided in the Kōraigumi fashion, lined up on one side and braided together. Due to the nature of the tools used to make kumihimo, only cords with bilateral or point symmetry have been produced, but by adjusting the number of bobbins placed on the sides of a takadai stand, it has become possible for the first time to make a cord with trapezoidal cross-section. The name “Kizahashi” refers to a wide set of stairs used to ascend a special platform or podium in classical architecture.
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79.
Shiho
2014
6 hileras, 4 capas (sangengumi)
Esta trenza sangengumi de cuatro capas alterna partes con un tono azul oscuro y blanco, visibles en las caras. Entre ellas pasan hilos de oro y bicolores, que sólo aparecen en los puntos de las caras, donde se alternan las partes azules y blancas. Esos hilos de diferentes colores forman una bella composición en los laterales, creando una nueva estética de kumihimo, en la que la belleza se expresa no sólo en las caras, sino también en los lados de la pieza.
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81.
Medical Officer Tunic
Antique linen, melton wool, kumihimo
2021
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82.
Victorian Dolman
Antique linen, melton wool, kumihimo
2021
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83.
Example of a Disassembled Medical Officer Tunic
(Left half of a late 19th century military uniform)
Canvas
2021
Why do men wearing military uniforms project such bravery?
Through disassembly we can see the sturdy construction of the framework around the chest. The brown textile sticking out from the chest area is made of hemp fiber. It begins at the navel and covers the entire chest area before splitting into two parts, one going over the shoulder toward the shoulder blade, and the other passing under the arm toward the shoulder blade. The stitching of this area is also fascinating, which upon careful inspection reveals itself to be a single, continuous stitch. Looking inside, there is a thick, cushion-like layer of cotton in place. A full and striking chest was built up by concealing this kind of material inside.
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84.
Example of a Disassembled Victorian Dolman
(Left half of a late 19th century woman’s garment)
Canvas
2021
The unique construction of the sleeves that extend from the back of this garment can be understood in great detail through disassembly. The pattern is complicated, and sewing process difficult.
Let us first examine the structure of the sleeve. While the sleeve of a Victorian dolman is indeed just that, the pattern must also extend to the structure of the back. It is laid out such that a single piece of material runs from back to front, allowing the hands to clasp around the area of the navel. The pattern for the front part of the sleeve was made by taking measurements with the elbow bent. The body of this garment was also made in a fascinating way, and has no part in the area under the arm. Instead, elastic bands run from both sides of the body and converge in the back, supporting the entire front of the piece. By doing so, even if snugly fitted at the waist, it is actually quite comfortable when worn. I feel the greatest joy when I have the outstanding techniques of previous generations such as this laid out before me.
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85.
Branching and Merging of Kumihimo based on the Geodesics of the Tetrahedron
Flat silk cords of six different colors
2021
In a cord braided in the karauchi manner, the simplest form of round braid, constituent strands pass from one end to the other in both a clockwise and counterclockwise spiral. This strand movement can be seen as the geodesics of a cylindrical surface (i.e., the generalization of a straight line drawn a curved surface).
We created a taught, curved structure floating in space, in which twelve flat cords of six different colors were further braided into cylindrical karauchi braids that merge into and branch out of one another. These karauchi braids come from four directions and converge to form a tetrahedron, created with a kagome weaving technique based on geodesic division. Each cord enters the tetrahedron via one karauchi braid, and leaves through another. This collaboration between Domyo and Tachi Lab mathematically expands the potential of kumihimo to create new graphical patterns, three-dimensional structures, and functional systems.
A regular tetrahedron can be triangulated along its geodesics. In this case, the grid can contain a twist, and the division can be expressed as a pair of non-negative integers (a,b). If the equilateral triangles of the geodesic division are substituted by a kagome weave pattern, a closed tetrahedral basketry is created. By the nature of geodesics, each constituent cord does not intersect itself, but cycles around and back. In particular, when two integers (a,b) are prime to one another, the tetrahedron can be made with only three cords.
This work is composed of kagome tetrahedrons with karauchi braids connecting at each corner. What is a single cord in the kagome tetrahedron becomes four cords that connect the vertices: two cords spiraling clockwise and two cords spiraling counterclockwise. This work is a curved structure that employs a small tetrahedron (3,1) and a large tetrahedron (2,7) to merge and branch karauchi braids coming from six directions. The paths around the tetrahedrons change depending on the integer pair (a,b), but a single cord always passes from one vertex to another without intersecting itself or coming back.
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KUMIHIMO – The Art of Japanese Silk Braiding by Domyo
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Akira Hasegawa
Born in the Ibaraki prefecture in 1989, Akira Hasegawa is a garment modelist who incorporates kumihimo into his work with antique Western garments. For many years, he worked as a modelist for an apparel company but has been independent since 2016.
“I am working to convey the emotions of one hundred years ago, one hundred years later. What moves me is the structural beauty and feeling of comfort found in old clothes. To uncover the source of this beauty, I deconstruct garments and create models that make their inner structures visible. And from these individual parts, I draw out patterns and make reproductions to know how they feel when worn. To share the results of this investigation, I organized a solo exhibition entitled “Demi Deconstruction”, which I would like to bring overseas in the future.”
Clothes and Reconstructing Kumihimo
81.
Medical Officer Tunic
Antique linen, melton wool, kumihimo
2021
This tunic was worn by a French medical officer around 1890. The characteristic decorations in the chest area are called “Russian braids”, but to the Japanese eye this type of clothing would be called “ribbed”. Russian braids were originally employed to protect the internal organs of cavalrymen fighting on the frontlines, but Napoleon Bonaparte broadened the use of the design beyond the uniforms of light cavalrymen. It is also said that Napoleon’s army was the first to have an organized emergency medical unit. These officers would divide wounded soldiers according to their injuries and administer the appropriate treatments. The key color in their uniforms was purple, which is why purple textiles were used in the collars and cuffs. One hundred-year-old antique linen from France and Belgium was used in part of the medical officer tunic made for this occasion, and the overall form was created with a patchwork of antique and contemporary textiles, using thread running from the kumihimo.
82.
Victorian Dolman
Antique linen, melton wool, kumihimo
2021
The Victorian dolman was an outer garment worn by women in the 19th century, and the shape of its eye-catching sleeves is a characteristic feature. In pattern books such as “The Self-balancing System of Cutting Ladies’ Garments”, published in America in 1891, these sleeves are referred to as the “Japanese Sleeve”, suggesting that they may have been inspired by the Japanese kimono in the time of Japonisme. The sleeve extends from the back and incrementally shapes to the arm, creating a form that remains beautiful to this day.
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UTokyo Tachi Lab x Yusoku Kumihimo Domyo
Seri Nishimoto, Fuki Ono, Tomohiro Tachi
Kiichiro Domyo
Tachi Lab researchers at the University of Tokyo create deployable structures and cellular materials with unique properties based on the geometries of origami, linkage, differential geometry, polyhedral packing, and so on. They try to understand the nature of form and function through both the observation and creation of a variety of phenomena.
Seri Nishimoto
Department of Architecture, Graduate School of Engineering, The University of Tokyo. Her research is focused on the creation of three-dimensional structures using the mathematics of geodesics.
Fuki Ono
Department of Architecture, Graduate School of Engineering, The University of Tokyo. Her research is focused on the generation of surfaces with negative curvature through the shear deformation of grids.
Tomohiro Tachi
Associate Professor, Graduate School of Arts and Sciences, The University of Tokyo. He specializes in computational origami, structural morphology, and computational fabrication, and has developed origami design software such as Origamizer and Freeform Origami.
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Yusoku Kumihimo Domyo
For some one hundred years since the Meiji period, Domyo has conducted surveys of historical kumihimo in all parts of Japan, and has completed the restoration and replication of nearly all that are known in the country today. Using the technological expertise gained from over 1500 years of development in Japanese kumihimo as a foundation, Domyo has created new compositional structures never seen before.
Kumihimo with New Structures
100% silk, gold thread
The three kumihimo introduced here were designed in the 21st century, but technically based on the most complicated historical 4-layered structures of kumihimo such as Chūsonjigumi and Shitennōjigumi. They were made to have the grace and structural beauty of classical cords, but with contemporary designs and functionality that will lead to new endeavors in the future.
The cross-sectional profiles of kumihimo are determined by the number of lateral rows and the number of vertical layers. Cross-sectional diagrams make it easy to understand the structure of each cord. The places in the diagrams where the points of the squares contact one another are where threads are hooked in the braiding process and linked together.
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Braids
From time to time, Japan House São Paulo includes in its program some exhibitions that were entirely conceived and developed in Japan, selected by a committee organized by the country’s Ministry of Foreign Affairs. These shows travel to Japan House’s three units: São Paulo, London (England), and Los Angeles (USA).
KUMIHIMO – A arte do trançado japonês com seda, por Domyo [Kumihimo – The art of Japanese silk braiding, by Domyo] is in this category and was in Los Angeles before disembarking here. Its conception and presentation allow our public to get to know this unique technique and the cords made with it through the weaving together of a group of threads. The characteristics of kumihimo especially highlighted by the curators are its strength and elasticity, which can be surprising when we note that the threads are made of silk.
The act of weaving threads is also part of Brazilian culture and can be observed, for example, in the hammocks and baskets created by indigenous cultures. Recognizing these points in common between the two countries and pointing out their differences – such as the way the braiding is done, the type of material, and how the creations are used – are of great value, in our view.
Exhibitions like this one reinforce Japan House’s mission to present the Japan of today with practices that can be perpetuated for centuries. And they reiterate our closeness also based on symbolic braidings.
We hope that the displayed pieces, the explanatory texts, and the exhibition design that recreates the marudai and takadai stands allow the visiting public to discover the Japanese kumihimo and be enchanted by it.
Natasha Barzaghi Geenen
Cultural Director
#KumihimonaJHSP
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HISTORY
In Japan, the history of kumihimo began with the importing of techniques from continental Asia. Through technical innovations, an advanced, uniquely Japanese phenomenon evolved with highly refined, sophisticated designs. One early development is the standard square cord (kakugumi), a thick type of kumihimo that is used as a base element to create more robust and complicated patterns. Joining single cords to each other increases the width and depth of the final cord. These individual cords are not sewn together, as in the ancient kumihimo of Central Asia; instead, they are bound together using carefully devised braiding techniques that make the individual elements of a single kumihimo inseparable.
For example, one kakugumi cord (kakuyatsugumi or Narugumi) could be combined with a second kakugumi to produce a two-part kakugumi called a kanmurigumi or Mitakegumi cord. Combining four kakugumi cords produces the four-part kakugumi or Chūsonjigumi, while combining six produced the Shitennōjigumi, and combining eight produces the double-faced kikkōgumi.
The first section of this exhibition features replicas of well-known historical Japanese kumihimo, dating from the eight to the nineteenth centuries. Whether used for mounts to hang swords from the hip or for tying handscrolls, kumihimo have been structured and designed for specific purposes throughout history.
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Here we present a variety of publications and documents from the Edo (1603-1868) and Meiji (1868-1912) periods that offer instructions for braiding kumihimo and combining differently colored cords to bind platelets of armor.
32. Instructions for braiding from the Mano family archive
33. Instructions for braiding from the Mano family archive
34. Eight sets of armor in the Itsukushima shrine
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Yusoku Kumihimo Domyo
The planner and organizer of this exhibition, Yusoku Kumihimo Domyo, was founded in 1652 in the city of Edo (modern-day Tokyo), and has a shop there still today in the Ikenohata area of Ueno. As a cord merchant in the Edo period, Domyo primarily produced cords for sword scabbards and handles, and from the Meiji period onward dealt in obijime for kimono sashes, and haorihimo for tying the open chested haori jacket. To this day, all of their products are hand-dyed and braided by their in-house craftsmen and women. Another important aspect of their work is to survey, research, restore, and reproduce historical kumihimo, both at the behest of the Office of the Shōsōin, Imperial Household Agency; and various temples, shrines, and museums throughout Japan. These activities have yielded a broad wealth of kumihimo-related techniques, knowledge, and documentation that are proving useful in the academic study, preservation, spread, and advancement of kumihimo technology.
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Kumihimo of the World
Braided cords have been made and used throughout many parts of the world, not only Japan. Using locally sourced materials such as silk, hemp, or animal hair, they have been used in a variety of ways, from the ornamentation of clothes and household items, to that of slings for throwing stones and even for use with livestock. There is a particularly long history of using kumihimo in South America. In fact, a textile fragment discovered in the Guitarrero Cave of Peru carbon dated to between 8650 – 5780 BCE is thought to be the oldest part of a flat kumihimo cord known today.
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FUTURE
Most people in Japan today recognize kumihimo in the form of the obijime cord used to bind the sash of a woman’s kimono. But if one attempts to break free from this conventional perception and consider possibilities beyond the adornment of traditional Japanese dress, the function and design of kumihimo can find applications in a variety of products and even architecture.
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KUMIHIMO – The Art of Japanese Silk Braiding by Domyo
Kumihimo are braided cords, which are made by tying off three or more strands of thread at one end, and diagonally overlapping them in a consistent, uniform fashion. Complex braiding can contain upwards of 140 strands of thread, but the simplest form is the so-called “French braid” – the well-known three-strand gathered plait often used to braid long hair. It is a completely different technique from weaving, in which a warp and weft intersect and alternately overlap at right angles to form a flat piece of material; and knitting, in which stiches are made with yarn in consecutive rows to similar effect. Braided kumihimo excel in both strength and elasticity, and because its strength can be determined by the braiding and tying methods employed, it has been highly valued as a tool to bind things together for centuries in many parts of the world, including Asia, Europe, and South America.
In Japan, decorative patterns impressed on pottery using a primitive form of kumihimo have been excavated in Tokyo from the early Jōmon period (some 5,000 – 6,000 years ago), and an actual cord of braided tree bark from the same period was discovered in the Sannai Maruyama site in Aomori Prefecture. But kumihimo in Japan made its greatest leaps forward from the Asuka period (592–710) onward.
The nation of Japan was founded in the 6th century, and as it took its place in the international community of East Asia, a variety of cultures, faiths, advanced technologies, and the techniques for braiding high-quality kumihimo were brought in from the continent. For the some 1400 years since, the Japanese have used silk thread in the conception and production of the most complex kumihimo found anywhere in the world, using them in a wide variety of contexts, including furnishings for arms and armor, ceremonial court dress, decorative elements on portable shrines and other religious objects, in the performing arts, and other everyday applications.
Many Japanese people today will recognize the type of kumihimo called obijime – the cord used to secure the sash of a traditional kimono. But because of the variability in fiber orientation angles and its unique properties of strength and rigidity, a number of industrial applications that have structures contiguous with kumihimo but replace the silk with fiber-reinforced plastics can be found in aircraft, golf clubs, artificial limbs, and so on.
This exhibition is not only a broad overview of the historical development and beautiful designs of kumihimo in Japan, but it also hopes to explain the complicated structure and production process, and explore future possibilities that break free of history and tradition.
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Structure
From simple to complex, the structures and compositions of kumihimo developed in a unique way in Japan. The work is so fine and detailed that it is difficult to visually understand, but enlarged models of braiding frames help to make things clear.
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