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Foil

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On black background, in the upper left, bamboo canes crisscrossed. Two rectangular figures with plant motifs, the upper one with white and red peony flowers and the lower one, arranged obliquely, with pine branches and blue clouds. Between the figures three plants with elongated leaves, like ribbons, in white and red. On the design the number 18. \The red flowers of the peony, which became so popular in Spain through the Manila shawls, came to the Japanese imagination from China long before, in the 8th century. Symbol of good luck and prosperity, they soon became one of the favourite flowers of painters and textile artisans. Pine trees, symbols of winter, are associated with concepts of love, fidelity and longevity. The pines of Suminoe and Takasago are famous, a marriage of trees that is a paradigm of the long-lasting mutual love of human marriages. \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, and often showed 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 series of designs 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.
The Digital Network of Museum Collections in Spain
Title: Foil
Description:
On black background, in the upper left, bamboo canes crisscrossed.
Two rectangular figures with plant motifs, the upper one with white and red peony flowers and the lower one, arranged obliquely, with pine branches and blue clouds.
Between the figures three plants with elongated leaves, like ribbons, in white and red.
On the design the number 18.
\The red flowers of the peony, which became so popular in Spain through the Manila shawls, came to the Japanese imagination from China long before, in the 8th century.
Symbol of good luck and prosperity, they soon became one of the favourite flowers of painters and textile artisans.
Pine trees, symbols of winter, are associated with concepts of love, fidelity and longevity.
The pines of Suminoe and Takasago are famous, a marriage of trees that is a paradigm of the long-lasting mutual love of human marriages.
\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, and often showed 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 series of designs 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.

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