5,000円以上のご購入で
送料無料
【モダン紅型】流水に紅葉 梅 菊/緑青 (ブックカバー)
5,000円以上のご購入で
送料無料
【モダン紅型】流水に紅葉 梅 菊/緑青 (ブックカバー)
【モダン紅型】流水に紅葉 梅 菊/緑青 (ブックカバー)
¥7,700
SOLD OUT
流水に紅葉の柄のブックカバーです。
色差し後、生地の上から渋木を引き染めをした後、ブックカバーに仕立ててます。
単行本が入ります。
しおり付き
サイズ 幅38.5cm(見開き)×高さ20.1cm/しおり 幅3.5cm×高さ20,2cm(紐込み)
染色生地:絹
【引き染めとは】
染色の技法の一種で、張木と伸子という道具を使い水平に張った反物に染料を刷毛を引いて布を染めていく技法です。
---------------
◎柄に込められた意味◎
<流水文>
弥生時代に流行した文様のひとつ。平行線の端部を屈折させてS字状に連ねた平行曲線文様。
水が川に流れているさまや池になどにたまっているさまを図案化しています。
水をモチーフにした文様は古くから見られ、流水文の出現はその中でも最も古いと言われています。流水文の特徴は植物や動物と組み合わせたものが多くみられます。
<紅葉文>
楓の葉などを図案化した文様です。春の桜と並んで、秋の紅葉は古くから文様として用いられ、唐草や波、流水など他の文様とも取り合わされてきました。
色づき落葉した楓の葉を「紅葉」と呼びます。「かえで」はこの形がカエルの手に似ているのでこの名があります。
<梅文>
植物文のうちでも梅は古来から日本人に最も親しまれ、文様としても取り入れられています。
原産地は中国ですが、奈良時代に日本に伝えられた梅は、その愛らしい花の姿、独特の幹や枝ぶり、寒中に漂う芳香から、万葉集にも数多く歌われています。
文様としては、絵巻や浮世絵や絵画、器物や屋内装飾など多様に表現されています。
<菊文>
菊は昔から秋を代表する植物です。絵画や工芸品にも多く取り入れられています。
菊文としての意匠化も鎌倉から室町時代に見られ、桃山時代には日本的意匠化の秋草の一つとして扱われるようになりました。江戸時代には鉢作りを競うほどに品種改良が進んで菊の種類も多くなり、それを映して菊の意匠も可憐な野菊から大輪のものまで、様々な表現が現れ、まさに菊文が咲きほこった時代となりました。
---------------
◎おかめ工房のブックカバー◎
すべて裏打ち技術を活かした
製品となります。
生地の表裏は
表装用の絹(裂地)や
古裂れ(着物や帯)を使用しており、
こだわりの一品となっております。
【裏打ち(うらうち)とは】
掛け軸や額装において本紙(布または紙)の裏面に
紙などを貼り付ける日本の伝統技術のことです。
---------------
◎商品特徴◎
表具(表装)の技術を活かし、
生地の裏に裏打ちをした
ブックカバーです。
裏打ちをすることによって、
布単体よりもハリが出て、
手によくなじみます。
本のサイズに合わせて
片側を折りこむ仕様になっております。
お手持ちの本の厚みに合わせて 片側を折ってご使用下さい。
◎注意点◎
・水に付けたり水拭きされたりすると、裏打ちの紙が生地から剥がれる恐れがあります。
洗濯は出来ませんので、ご注意下さい。
・カバーは素材の特性上、一度折ると折り目がつきますのでご了承ください。
・摩擦・水濡れにより色落ちが起こる場合があります。
・直射日光を避けて保管してください。変色、退色の原因となります。
---------------
※購入前に必ずご確認下さい※
・おかめ工房オリジナル商品です。
・手染めになりますので、一点ものになります。
・天然の顔料を使用しており、手染めのため、染めムラなどある場合がございますが、
手染めの特徴です。ご了承ください。また、時間とともに色が枯れていき、落ち着いた色合 いになります。
※商品の色は、可能な限り実物に近い色を出そうとしておりますが、携帯やパソコン、スマホのモニター環境により若干異なって見える場合がございます。
---------------
紅型染め工程
1.型彫り:デザインを決め、型紙へ転写し、模様部分から彫っていきます。
2.紗張り:型紙を紗という生地で補強、固定する作業です。カシュー液またはペンキを使用します。
3.糊置き:型紙の上からペースト状の防染糊をヘラで薄く均一に伸ばし、生地に模様を写し取っていきます。
4.豆引き:染料が糊の裏側に染み出るのを防ぎ、染料の染め付けを良くし、定着させる作業です。
5.色差し(1度塗り):模様部分(糊がおかれていない部分)を染めていきます。染料・顔料を調整し刷毛で布に刷り込み配色します。顔料は豆汁で溶くと固着剤の役割を果たし、にじみ防止になります。
6.色差し(2度塗り):2回色を刷り込む事で色ムラを無くし、しっかり色を入れます。
7.隈取り:紅型の大きな特徴の一つです。色の上から隈取り用の刷毛で濃い色のぼかしを入れ陰影をつけます。ぼかし染めは図柄にアクセントをつけ立体感を出す効果があります。
8.明礬作業:完全に乾いた後、色落ち止めとして主に明礬を用います。
9.水元:約3日程色を定着させた後、水に浸します。糊が柔らかくなったら、布を斜めに引っ張り糊をはがすように落とします。
10.湯のし:蒸気を使ってシワをきれいに伸ばしていきます。反物幅を均等に揃えるための加工のことです。
11.仕立て:着物や帯、作品に仕立てて完成します。全行程手作業で行っており、全て1点ものとなります。
沢山の工程があり、ひとつひとつ手作業で染色しています。
紅型本来である「顔料」という染料を使い、昔から変わらない工程や技法で本格的な紅型作品を制作しております。
----------------------------------------------------
This is a book cover with a pattern of autumn leaves on running water.
After coloring, the book cover is dyed with Shibumoku (wood) on top of the fabric.
It can hold a single book.
With a bookmark.
Size: 38.5 cm (width) X 20.1 cm (height) / Bookmark: 3.5 cm (width) X 20.2 cm (height) (including string)
Dyed fabric: silk
What is "Hiki-Dyeing"?
It is a kind of dyeing technique in which dye is brushed onto a horizontally stretched fabric using a tool called "hari-gi" and "shinko" to dye the fabric.
---------------
The meaning behind the patterns
<Ryusui pattern
One of the patterns popular during the Yayoi period (710-794). A parallel curvilinear pattern in which the ends of parallel lines are inflected to form a series of S-shapes.
The design depicts water flowing down a river or pooling in a pond.
Water motifs have been seen since ancient times, and the Ryusui pattern is said to be the oldest of them all. Nagaresui patterns are often combined with plants and animals.
<Maple leaf motif
This design is based on maple leaves. Along with cherry blossoms in spring, maple leaves in autumn have long been used as a pattern, and have been combined with other patterns such as arabesques, waves, and running water.
Maple leaves that have turned color and fallen off the leaves are called "momiji. Maple leaves with autumn leaves are called "maple leaves," and maple leaves with fallen leaves are called "maple leaves.
<Plum blossoms
Of all the botanical designs, the plum tree has been most familiar to the Japanese since ancient times and has been used as a pattern.
Originating in China, the ume was introduced to Japan in the Nara period (710-794), and its lovely flowers, unique trunk and branches, and fragrance that wafts through the cold air are often mentioned in the Manyoshu (Japan's oldest anthology of poetry).
The design has been used in a variety of ways, including in picture scrolls, ukiyoe woodblock prints, and paintings, as well as on vessels and for interior decorations.
<Chrysanthemum design
Chrysanthemums have long been a representative plant of autumn. It is often used in paintings and crafts.
The design of chrysanthemum patterns can be seen from the Kamakura (1185-1333) to Muromachi (1333-1573) periods. In the Edo period (1603-1867), the variety of chrysanthemums was improved to the extent that they competed with each other in making pots, and many kinds of chrysanthemums were produced, reflecting this trend.
---------------
◎Okame Kobo book covers ◎
All of our book covers are made using our backing technique.
The front and back sides of the fabric are lined.
The front and back of the fabric is made of
silk (SAKIJI) and old
and old ripped fabrics (kimono and obi) are used for the front and the back.
This is one of our most careful products.
What is urauchi?
Urauchi is a traditional Japanese technique of attaching paper or other materials to the reverse side of the original paper (cloth or paper) for hanging scrolls and frames.
Urauchi is a traditional Japanese technique of attaching paper or other materials to the reverse side of a hanging scroll or frame.
---------------
Product Features
This product is made by utilizing the techniques of omotegumi (mounting).
This is a book cover that is lined with a fabric backing.
The book cover is lined with a fabric backing using the technique of omotegumi (mounting).
By backing the fabric, the book cover has more bounce than the fabric itself.
the back of the cloth is more resilient than the cloth itself, and
and it fits well in the hand.
One side is folded to fit the size of a paperback book.
Fold one side to fit the size of your paperback book.
Please fold one side to match the thickness of your book.
Cautions
Please note that the backing paper may come off from the fabric if it is soaked in water or wiped with a damp cloth.
Please note that it is not washable.
Please note that the cover will have a crease once folded due to the characteristics of the material.
The color may fade due to friction or wetting.
Please keep the product out of direct sunlight. It may cause discoloration or fading.
---------------
Please be sure to check before purchase.
This is an Okame Kobo original product.
This product is hand-dyed, so it is one-of-a-kind.
Because of the use of natural pigments and hand-dyeing, there may be uneven dyeing, but this is a characteristic of hand-dyeing.
This is a characteristic of hand-dyeing. Please understand that this is a characteristic of hand-dyeing. The color will fade over time and become more subdued.
We try to make the colors of our products as close to the real thing as possible, but they may look slightly different depending on the monitor environment of your cell phone, PC, or smartphone.
---------------
Bingata Dyeing Process
1. Katabori: Decide on a design, transfer it to a stencil, and carve it starting from the patterned part.
2.Gauze stretching: The katagami is reinforced and fixed with a fabric called gauze. Cashew solution or paint is used.
3.Glueing: A paste of antistaining glue is spread thinly and evenly over the pattern with a spatula, and the pattern is copied onto the fabric.
4.Mamegaki: This process prevents the dye from seeping through to the underside of the paste, and helps the dye to adhere and fix in place.
5.Color-application (one coat): Dyeing the patterned area (the area not covered with glue). Dye and pigment are adjusted and brushed onto the cloth with a brush to distribute the colors. Dissolving the pigments in soybean juice acts as an adhesive and prevents blotting.
6.Color is applied twice to the cloth to eliminate unevenness in color and to ensure that the color is applied firmly.
7.Kuma-ori (shading): This is one of the main characteristics of Bingata. A kumakiri brush is used to add shades of darker colors on top of the colors. Bokashi-dyeing has the effect of accentuating the design and giving it a three-dimensional effect.
8.Alumite: After the color has completely dried, alumite is mainly used to prevent the color from fading.
9.After allowing the colors to set for about three days, the cloth is dipped in water. When the glue softens, pull the cloth diagonally and peel off the glue.
10. Yunoshi: The wrinkles are neatly stretched out using steam. This process is used to make the width of the fabric even.
11.Tailoring: The kimono, obi, or work of art is made into a finished product. The entire process is done by hand, and each piece is unique.
There are many processes and each piece is dyed by hand.
We produce authentic Bingata works using dyes called "pigments," which are the original Bingata, and using processes and techniques that have remained unchanged since ancient times.
色差し後、生地の上から渋木を引き染めをした後、ブックカバーに仕立ててます。
単行本が入ります。
しおり付き
サイズ 幅38.5cm(見開き)×高さ20.1cm/しおり 幅3.5cm×高さ20,2cm(紐込み)
染色生地:絹
【引き染めとは】
染色の技法の一種で、張木と伸子という道具を使い水平に張った反物に染料を刷毛を引いて布を染めていく技法です。
---------------
◎柄に込められた意味◎
<流水文>
弥生時代に流行した文様のひとつ。平行線の端部を屈折させてS字状に連ねた平行曲線文様。
水が川に流れているさまや池になどにたまっているさまを図案化しています。
水をモチーフにした文様は古くから見られ、流水文の出現はその中でも最も古いと言われています。流水文の特徴は植物や動物と組み合わせたものが多くみられます。
<紅葉文>
楓の葉などを図案化した文様です。春の桜と並んで、秋の紅葉は古くから文様として用いられ、唐草や波、流水など他の文様とも取り合わされてきました。
色づき落葉した楓の葉を「紅葉」と呼びます。「かえで」はこの形がカエルの手に似ているのでこの名があります。
<梅文>
植物文のうちでも梅は古来から日本人に最も親しまれ、文様としても取り入れられています。
原産地は中国ですが、奈良時代に日本に伝えられた梅は、その愛らしい花の姿、独特の幹や枝ぶり、寒中に漂う芳香から、万葉集にも数多く歌われています。
文様としては、絵巻や浮世絵や絵画、器物や屋内装飾など多様に表現されています。
<菊文>
菊は昔から秋を代表する植物です。絵画や工芸品にも多く取り入れられています。
菊文としての意匠化も鎌倉から室町時代に見られ、桃山時代には日本的意匠化の秋草の一つとして扱われるようになりました。江戸時代には鉢作りを競うほどに品種改良が進んで菊の種類も多くなり、それを映して菊の意匠も可憐な野菊から大輪のものまで、様々な表現が現れ、まさに菊文が咲きほこった時代となりました。
---------------
◎おかめ工房のブックカバー◎
すべて裏打ち技術を活かした
製品となります。
生地の表裏は
表装用の絹(裂地)や
古裂れ(着物や帯)を使用しており、
こだわりの一品となっております。
【裏打ち(うらうち)とは】
掛け軸や額装において本紙(布または紙)の裏面に
紙などを貼り付ける日本の伝統技術のことです。
---------------
◎商品特徴◎
表具(表装)の技術を活かし、
生地の裏に裏打ちをした
ブックカバーです。
裏打ちをすることによって、
布単体よりもハリが出て、
手によくなじみます。
本のサイズに合わせて
片側を折りこむ仕様になっております。
お手持ちの本の厚みに合わせて 片側を折ってご使用下さい。
◎注意点◎
・水に付けたり水拭きされたりすると、裏打ちの紙が生地から剥がれる恐れがあります。
洗濯は出来ませんので、ご注意下さい。
・カバーは素材の特性上、一度折ると折り目がつきますのでご了承ください。
・摩擦・水濡れにより色落ちが起こる場合があります。
・直射日光を避けて保管してください。変色、退色の原因となります。
---------------
※購入前に必ずご確認下さい※
・おかめ工房オリジナル商品です。
・手染めになりますので、一点ものになります。
・天然の顔料を使用しており、手染めのため、染めムラなどある場合がございますが、
手染めの特徴です。ご了承ください。また、時間とともに色が枯れていき、落ち着いた色合 いになります。
※商品の色は、可能な限り実物に近い色を出そうとしておりますが、携帯やパソコン、スマホのモニター環境により若干異なって見える場合がございます。
---------------
紅型染め工程
1.型彫り:デザインを決め、型紙へ転写し、模様部分から彫っていきます。
2.紗張り:型紙を紗という生地で補強、固定する作業です。カシュー液またはペンキを使用します。
3.糊置き:型紙の上からペースト状の防染糊をヘラで薄く均一に伸ばし、生地に模様を写し取っていきます。
4.豆引き:染料が糊の裏側に染み出るのを防ぎ、染料の染め付けを良くし、定着させる作業です。
5.色差し(1度塗り):模様部分(糊がおかれていない部分)を染めていきます。染料・顔料を調整し刷毛で布に刷り込み配色します。顔料は豆汁で溶くと固着剤の役割を果たし、にじみ防止になります。
6.色差し(2度塗り):2回色を刷り込む事で色ムラを無くし、しっかり色を入れます。
7.隈取り:紅型の大きな特徴の一つです。色の上から隈取り用の刷毛で濃い色のぼかしを入れ陰影をつけます。ぼかし染めは図柄にアクセントをつけ立体感を出す効果があります。
8.明礬作業:完全に乾いた後、色落ち止めとして主に明礬を用います。
9.水元:約3日程色を定着させた後、水に浸します。糊が柔らかくなったら、布を斜めに引っ張り糊をはがすように落とします。
10.湯のし:蒸気を使ってシワをきれいに伸ばしていきます。反物幅を均等に揃えるための加工のことです。
11.仕立て:着物や帯、作品に仕立てて完成します。全行程手作業で行っており、全て1点ものとなります。
沢山の工程があり、ひとつひとつ手作業で染色しています。
紅型本来である「顔料」という染料を使い、昔から変わらない工程や技法で本格的な紅型作品を制作しております。
----------------------------------------------------
This is a book cover with a pattern of autumn leaves on running water.
After coloring, the book cover is dyed with Shibumoku (wood) on top of the fabric.
It can hold a single book.
With a bookmark.
Size: 38.5 cm (width) X 20.1 cm (height) / Bookmark: 3.5 cm (width) X 20.2 cm (height) (including string)
Dyed fabric: silk
What is "Hiki-Dyeing"?
It is a kind of dyeing technique in which dye is brushed onto a horizontally stretched fabric using a tool called "hari-gi" and "shinko" to dye the fabric.
---------------
The meaning behind the patterns
<Ryusui pattern
One of the patterns popular during the Yayoi period (710-794). A parallel curvilinear pattern in which the ends of parallel lines are inflected to form a series of S-shapes.
The design depicts water flowing down a river or pooling in a pond.
Water motifs have been seen since ancient times, and the Ryusui pattern is said to be the oldest of them all. Nagaresui patterns are often combined with plants and animals.
<Maple leaf motif
This design is based on maple leaves. Along with cherry blossoms in spring, maple leaves in autumn have long been used as a pattern, and have been combined with other patterns such as arabesques, waves, and running water.
Maple leaves that have turned color and fallen off the leaves are called "momiji. Maple leaves with autumn leaves are called "maple leaves," and maple leaves with fallen leaves are called "maple leaves.
<Plum blossoms
Of all the botanical designs, the plum tree has been most familiar to the Japanese since ancient times and has been used as a pattern.
Originating in China, the ume was introduced to Japan in the Nara period (710-794), and its lovely flowers, unique trunk and branches, and fragrance that wafts through the cold air are often mentioned in the Manyoshu (Japan's oldest anthology of poetry).
The design has been used in a variety of ways, including in picture scrolls, ukiyoe woodblock prints, and paintings, as well as on vessels and for interior decorations.
<Chrysanthemum design
Chrysanthemums have long been a representative plant of autumn. It is often used in paintings and crafts.
The design of chrysanthemum patterns can be seen from the Kamakura (1185-1333) to Muromachi (1333-1573) periods. In the Edo period (1603-1867), the variety of chrysanthemums was improved to the extent that they competed with each other in making pots, and many kinds of chrysanthemums were produced, reflecting this trend.
---------------
◎Okame Kobo book covers ◎
All of our book covers are made using our backing technique.
The front and back sides of the fabric are lined.
The front and back of the fabric is made of
silk (SAKIJI) and old
and old ripped fabrics (kimono and obi) are used for the front and the back.
This is one of our most careful products.
What is urauchi?
Urauchi is a traditional Japanese technique of attaching paper or other materials to the reverse side of the original paper (cloth or paper) for hanging scrolls and frames.
Urauchi is a traditional Japanese technique of attaching paper or other materials to the reverse side of a hanging scroll or frame.
---------------
Product Features
This product is made by utilizing the techniques of omotegumi (mounting).
This is a book cover that is lined with a fabric backing.
The book cover is lined with a fabric backing using the technique of omotegumi (mounting).
By backing the fabric, the book cover has more bounce than the fabric itself.
the back of the cloth is more resilient than the cloth itself, and
and it fits well in the hand.
One side is folded to fit the size of a paperback book.
Fold one side to fit the size of your paperback book.
Please fold one side to match the thickness of your book.
Cautions
Please note that the backing paper may come off from the fabric if it is soaked in water or wiped with a damp cloth.
Please note that it is not washable.
Please note that the cover will have a crease once folded due to the characteristics of the material.
The color may fade due to friction or wetting.
Please keep the product out of direct sunlight. It may cause discoloration or fading.
---------------
Please be sure to check before purchase.
This is an Okame Kobo original product.
This product is hand-dyed, so it is one-of-a-kind.
Because of the use of natural pigments and hand-dyeing, there may be uneven dyeing, but this is a characteristic of hand-dyeing.
This is a characteristic of hand-dyeing. Please understand that this is a characteristic of hand-dyeing. The color will fade over time and become more subdued.
We try to make the colors of our products as close to the real thing as possible, but they may look slightly different depending on the monitor environment of your cell phone, PC, or smartphone.
---------------
Bingata Dyeing Process
1. Katabori: Decide on a design, transfer it to a stencil, and carve it starting from the patterned part.
2.Gauze stretching: The katagami is reinforced and fixed with a fabric called gauze. Cashew solution or paint is used.
3.Glueing: A paste of antistaining glue is spread thinly and evenly over the pattern with a spatula, and the pattern is copied onto the fabric.
4.Mamegaki: This process prevents the dye from seeping through to the underside of the paste, and helps the dye to adhere and fix in place.
5.Color-application (one coat): Dyeing the patterned area (the area not covered with glue). Dye and pigment are adjusted and brushed onto the cloth with a brush to distribute the colors. Dissolving the pigments in soybean juice acts as an adhesive and prevents blotting.
6.Color is applied twice to the cloth to eliminate unevenness in color and to ensure that the color is applied firmly.
7.Kuma-ori (shading): This is one of the main characteristics of Bingata. A kumakiri brush is used to add shades of darker colors on top of the colors. Bokashi-dyeing has the effect of accentuating the design and giving it a three-dimensional effect.
8.Alumite: After the color has completely dried, alumite is mainly used to prevent the color from fading.
9.After allowing the colors to set for about three days, the cloth is dipped in water. When the glue softens, pull the cloth diagonally and peel off the glue.
10. Yunoshi: The wrinkles are neatly stretched out using steam. This process is used to make the width of the fabric even.
11.Tailoring: The kimono, obi, or work of art is made into a finished product. The entire process is done by hand, and each piece is unique.
There are many processes and each piece is dyed by hand.
We produce authentic Bingata works using dyes called "pigments," which are the original Bingata, and using processes and techniques that have remained unchanged since ancient times.
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