Foil

On a black background, a set of white round elements outlined in blue, grey and green, with a central hole, joined together by groups of five with red cords. \The groups with the outside of the circle outlined make one think of the old round coins with a central hole, common throughout East Asia following the Chinese model, a model shared with many amulets (sometimes the legal tender coins themselves were used as such). For a long time, and due to devaluation, in Japan coins of this type were strung on strings and used by weight. On the other hand, amulet coins or coins used as such were also often strung with red string, a good luck colour. \The groups of elements without external outline, on the other hand, are reminiscent of tree blossoms. Tree blossoms, especially cherry blossoms, are a major symbol in Japan. Japanese cherry trees are planted exclusively for their blossoms, as they do not produce edible fruit. As early as the 16th century, the Portuguese Luis Fróis wrote about Japanese cherry trees: "Our cherry trees bear many beautiful cherries; those of Japan bear very small and bitter cherries, and very beautiful flowers which the Japanese esteem. \The short life of flowers reflects the Buddhist idea that the world is a transitory illusion, and their fragility embodies the ideal of impermanence as a condition of beauty. As the lines of a famous poem by Motoori Norinaga (1730-1801) put it, if anyone asks about the soul of Japan, it is like the scent of cherry blossoms in the bright morning. \Books of this type were known in Japan as hinagata-bon (literally, books of beautiful forms), and began to be printed as early as the late 16th century so that customers could choose designs for their clothes. They usually showed an entire kimono per page, and their features remained unchanged with little change until the early 19th century. By the Meiji period (1868-1912), to which our books belong, the hinagata-bon had become more formally daring, often showing designs asymmetrically and partially. These compendiums of textile motifs were changed every spring and autumn, and copies of the previous collection were resold on the second-hand market. Some came to the attention of Westerners, and thus a number of hinagata-bon have ended up in European and American collections, including that of the Costume Museum Library. \This wonderful five-volume design series entitled Nihon or Nippon, i.e. Japan, is curiously anonymous; there is no record of place of publication, date or publisher. However, its characteristics suggest that it was printed in Kyoto in the early years of the 20th century.