Culture or time period: East Asian cultures / Loans: S1979-1980 #61: Oakland Museum of California (May 16, 1972–May 21, 2008) - Hearst Museum Portal Search Results

Start Over Culture or time period East Asian cultures Loans S1979-1980 #61: Oakland Museum of California (May 16, 1972–May 21, 2008)

Hearst Museum object titled Fabricated silk cocoons, accession number 9-15877a, described as PPIE silk cocoons for use with Japanese silk making diorama.

Hearst Museum object titled Fabricated silk worms, accession number 9-15874, described as ceramic and wax caterpillars - silk worms. These were part of an exact set up of how the worms were grown, fed and kept until cocoons were spun and collected. Goes with UCDD 3656-3677,

Hearst Museum object titled Hanging ornaments, accession number 9-15873a-k, described as HANGING ORNAMENTS. Cotton?, brass. Braiding, knotting, metal engraving, tassels. Brass, red, blue, white and cream. Flat brass hooks attached to red, blue, white braided cord finishing in a knotted bow from which hand two red and cream fiber tassels. A-h have brass hooks, I, J, K, have no hooks and are soiled. Goes with #'s 3656-3677. Tassels - 13 inches. a-k 30 inches long with variation.

Hearst Museum object titled Mannequin, accession number 9-15864a-h, described as Mannequin, life sized standing woman. A) head with wig. B,C) arms. D,E) elgs. F) kosode (woman's kimono with small sleeve size & opening), silk twill damask patterned with a large geometric fret. The damask, which was orignally white, has been paste resist dyed in a design of large dark blue fans with floral motifs, which are on top of strips of stencilled imitation tie-dyed fabrics. This imitation tie-dye has been very cleverly done because the edges of the stencil creates an irregular line which simulates the irregular lines created by the drawn threads in genuine tie-dye, shirori. The spotted patterning, called kanoko in genuine tye-dye is called suri-hitta in the stencilled version. It was first used in the Edo period. The flowers in one fan are cherry blossoms and grass orchids; on the other, chrysanthemums. The patterning of this kosode is influenced by the designs seen on prints of Middle Edo kimono and it may have been chosen for use in some aspect of the display relating to this period. Made from a kimono tan, which is a single length of patterned fabric 36cm wide and 13m long. G) obi, dark blue weft-faced plain weave patterned with continuous supplementary wefts made of narrow flat strips of gold paper. The design appears to be that of the incense symbols, konozu, used to distinguish the different fragrances used in the incense game. The chapters of "The Tale of Genji" are numbered konozu. Hence these are sometimes referred to as Genji incense symbols. H) obijime, green silk wtih gold designs. The simulated haneri (replaceable collar on the (under kimono) nagajuban) has a woven pattern with a few accents of embroidery. This is unlike real haneri which are embroidered. The garments were made for the mannequins and are not those actually worn by women. The visible undergarments are simply edgings of folded pieces of patterned fabrics sewn onto plain white undergarments. According to Mr. Tomoyuki Yamanobe the obi and kimono patterns are circa 1915. The hairstyle has "drooped" over the years and needs to be fixed (Fide Mrs. Mary Hays)

Hearst Museum object titled Mannequin, accession number 9-15866a-h, described as Mannequin, life sized kneeling woman. Made for exhibits in the Japanese Pavilion at the 1915 Panama-Pacific International Exhibit in San Francisco. A) head with wig. B,C) arms. D,E) wooden legs. F) kosode (woman's kimono with small sleeve size & opening), lightly padded, dark blue silk crepe (chirimen) damask with diaper of karabana, Chinese flower, with a lozenge formed by four leaves. The damask is stenciled paste resist dyed in a pattern of long green sprays of wisteria and flying birds and butterflies in red, yellow, and green with accents of embroidery in the same colors. The simple pattern of long sprays of light green wisteria on a dark blue background recalls the patterning of folk textiles in indigo and white. It seems a pattern fitting for a woman kneeling beside a basket of silk cocoons (fide Mrs. Mary Hays). Made from a kimono tan, which is a single length of patterned fabric 36cm wide and 13m long. G) obi, silk weft-faced plain weave in a pattern of large stripes and triangles in orange, yellow, green, blue, and gold. H) obijime, green and silver silk. The simulated haneri (replaceable collar on the (under kimono) nagajuban) has a woven pattern with a few accents of embroidery. This is unlike real haneri which re embroidered. The garments were made for the mannequins and are not those actually worn by women. The visible undergarments are simply edgings of folded pieces of patterned fabrics sewn onto plain white undergarments. According to Mr. Tomoyuki Yamanobe the obi and kimono patterns are circa 1915. Poor condition; kimono torn; wood of leg joint damaged; face and neck spotted. The hairstyle has "drooped" over the years and needs to be fixed (fide Mrs. Mary Hays)