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Foil
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Plants of lilies with geometric stems and flowers represented on a geometric surface (cubes) joined together to form an irregular figure. They alternate the colours white mauve and violet. In the dondo the representation of water through fine wavy lines. \The lilies are a symbol of strength, vitality, power and eloquence. \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.
Title: Foil
Description:
Plants of lilies with geometric stems and flowers represented on a geometric surface (cubes) joined together to form an irregular figure.
They alternate the colours white mauve and violet.
In the dondo the representation of water through fine wavy lines.
\The lilies are a symbol of strength, vitality, power and eloquence.
\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.
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