Surrounding the crest and filling each of the corners are a flying crane (“tsuru”), a long-tailed tortoise (“kame” or “minogame”) and “shochikubai” (pine, plum and bamboo). “Sho” represents the pine tree for longevity, “chiku” represents the bamboo for tenacity, and “bai” represents the plum tree with its blossoms for beauty. The crane is one of the luckiest and happiest symbols in Japanese animal lore, and it is most closely associated with the New Year and with marriage ceremonies. The tortoise is believed to live to an exceptional age, at which time it develops a flowing white tail. In the Japanese art design known as "tsuru to kame,” the tortoise is teamed with the crane, also a symbol of longevity, and the two animals frequently appear with pines, plums and bamboo, just as they do on this wonderful textile.

This futon cover is made of four panels of coarse hand spun woven cotton that have been hand sewn together to make a large rectangle. This is the only way authentic old futon covers were made in Meiji Japan because loom widths were narrow, typically 12 to 14 inches. The assembled futon cloth was then dyed using a rice paste resist and all natural dyes for the colors. Indigo textiles were the fabric of the countryside in Japan, and they are wonderful examples of Japanese folk art or mingei.

The “tsutsugaki” technique involves freely drawn designs that are applied to cotton with paste resist squeezed through a paper cone having a tubular metal tip. The textile is then dipped repeatedly in indigo dyes. Where the paste lines had once been, white lines now remain, outlining the design in sharp contrast to the deep indigo blue background. Country dyers produced tsutsugaki textiles -- often with mythical and auspicious designs -- as bedding, wrapping clothes, banners and celebratory textiles for weddings, births and other important events. These tsutsugaki textiles were part of a bride’s trousseau which parents prepared for their daughter as a prayer for the well being of her new family as well as her happiness, so great care was taken in their handling as they were regarded as necessary for an auspicious future.

CONDITION is excellent and near perfect. The futon cover has been washed and used, but there are no holes, tears, repairs or other problems. There are one or two very tiny brown spots here and there, but you have to look hard to see them. This Japanese folk textile has it all: the larger size, varying shades of indigo dyes, a family crest, numerous auspicious symbols, and great condition.

The process of dyeing textiles from stencils is principally a resist technique which involves covering the area to be protected with a soluble rice paste applied directly to the fabric. After the application of the paste, the stenciler then carefully removes the stencil and moves it to an adjacent position to repeat the process, continuing the entire length of the yardage to be stenciled. “Katagami,” the special papers used in the process of stencil cutting, were made from the inner bark of the mulberry bush. Soaked in the juice of aged persimmons, two or three sheets were laminated together and smoke cured. After the paper was cured, the tannin from the persimmon juice formed a plastic-like waterproof coating which made the shiny paper stiff yet pliable and served to waterproof it against the dissolving effect of the water-based resist paste used in the process of dyeing. The cutting process required the utmost skill and the sharpest of separate knives for the different cuts required by the pattern design. Highly skilled craftsmen cut the paper using circular punches and knives to create elaborate patterns of minute landscapes, flowers, birds, insects and other detailed designs with extreme care and patience. Many designs took months to cut. (See “Traditional Japanese Stencil Designs” edited by Clarence Hornung.)

Over the past few decades, the obi has gained popularity as a home decorating accessory. The exquisite silk fabric, made into intricate patterns with stunning colors, makes the obi desirable as an accent in any room. There are no restrictions when it comes to decorating with obi. From contemporary to traditional interiors, the draping of an obi in a room can soften hard lines and add color to an otherwise drab area. Japanese obi take on a life of their own when used to enhance a coffee or dining room table, making one of the most striking statements in a room. Although the most popular use for the obi with Westerners is as a table runner, it can also be used as a wall hanging or as an accent on furniture such as chests, pianos and mantels. The maru obi is the most favored as an accessory due to its length and width and the fact that it is reversible. Also, maru obi tend to be made of the finest brocades. (See the book entitled “Design with Japanese Obi” by Diane and Ann Wiltshire for lovely illustrations of obi used as decorative objects in interior design settings.)

This futon cover is made of four panels of hand spun woven cotton that have been hand sewn together to make a large rectangle. This is the only way authentic old futon covers were made in Meiji Japan because loom widths were narrow, typically 12 to 14 inches. The assembled futon cloth was then dyed using a rice paste resist and all natural dyes for the colors. Indigo textiles were the fabric of the countryside in Japan, and they are wonderful examples of Japanese folk art or mingei.

The tsutsugaki technique involves freely drawn designs that are applied to cotton with paste resist squeezed through a paper cone having a tubular metal tip. The textile is then dipped repeatedly in indigo dyes. Where the paste lines had once been, white lines now remain, outlining the design in sharp contrast to the deep indigo blue background. Country dyers produced tsutsugaki textiles -- often with mythical and auspicious designs such as this one -- as bedding, wrapping clothes, banners and celebratory textiles for weddings, births and other important events. These tsutsugaki textiles were part of a bride’s trousseau which parents prepared for their daughter as a prayer for the well being of her new family as well as her happiness, so great care was taken in their handling as they were regarded as necessary for an auspicious future.

The process of dyeing textiles from stencils is principally a resist technique which involves covering the area to be protected with a soluble rice paste applied directly to the fabric. After the application of the paste, the stenciler then carefully removes the stencil and moves it to an adjacent position to repeat the process, continuing the entire length of the yardage to be stenciled. “Katagami,” the special papers used in the process of stencil cutting, were made from the inner bark of the mulberry bush. Soaked in the juice of aged persimmons, two or three sheets were laminated together and smoke cured. After the paper was cured, the tannin from the persimmon juice formed a plastic-like waterproof coating which made the shiny paper stiff yet pliable and served to waterproof it against the dissolving effect of the water-based resist paste used in the process of dyeing. The cutting process required the utmost skill and the sharpest of separate knives for the different cuts required by the pattern design. Highly skilled craftsmen cut the paper using circular punches and knives to create elaborate patterns of minute landscapes, flowers, birds, insects and other detailed designs with extreme care and patience. Many designs took months to cut. (See “Traditional Japanese Stencil Designs” edited by Clarence Hornung.)

This futon cover is made of four panels of coarse hand spun woven cotton that have been hand sewn together to make a large rectangle. This is the only way authentic old futon covers were made in Meiji Japan because loom widths were narrow, typically 12 to 14 inches. The assembled futon cloth was then dyed using a rice paste resist and all natural dyes for the colors. Indigo textiles were the fabric of the countryside in Japan, and they are wonderful examples of Japanese folk art or mingei.

The tsutsugaki technique involves freely drawn designs that are applied to cotton with paste resist squeezed through a paper cone having a tubular metal tip. The textile is then dipped repeatedly in indigo dyes. Where the paste lines had once been, white lines now remain, outlining the design in sharp contrast to the deep indigo blue background. Country dyers produced tsutsugaki textiles -- often with mythical and auspicious designs -- as bedding, wrapping clothes, banners and celebratory textiles for weddings, births and other important events. These tsutsugaki textiles were part of a bride’s trousseau which parents prepared for their daughter as a prayer for the well being of her new family as well as her happiness, so great care was taken in their handling as they were regarded as necessary for an auspicious future.

Throughout the Meiji and Taisho periods, these carpets were in great demand by the upper classes for the tea ceremony, where they were placed over tatami mats in the tea room. They always enjoyed a reputation for quality and good taste and were made for rich and prosperous clients. In a spacious room, several rugs with the same pattern were spread around. Knotted carpets did not appear in Japan until the late 17th century when the technique was introduced from China. Although the Japanese imported woolen carpets from China, the climate in Japan did not suit the breeding of sheep, so cotton was generally used to make dantsu. Ako began producing rugs in 1849, with production climaxing around 1925 and ending by the time World War II began. The rug-making industry never restarted after the war, and it has now virtually disappeared in Japan. Only the Saga Prefectural Museum of Arts and a small group of enthusiasts are left to preserve Ako carpet making history.

We were unaware of the existence of Japanese carpets until we read a fascinating article by Takehara Shinji on the subject in DARUMA 13 several years ago. Original Aka carpets are rare and highly collectible even in Japan. They are seldom found on the market today.