Mannequin

Museum number:
9-15864a-h
Permalink:
ark:/21549/hm210915864a@2dh
Alternate number:
3670a-h (previous number (Design Dept.), PPIE) and L72.108.15a-h (OMCA loan number)
Accession number:
Acc.3032
Description:
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)
Donor:
Design Department (UC Berkeley)
Collection place:
Japan
Culture or time period:
Japanese
Maker or artist:
Yasumoto Kamehachi
Collector:
Japanese Government
Collection date:
1915
Materials:
Hair (material) (wig), Silk (kosode), Silk (obi), Silk (obijime), and Wood (plant material) (mannequin)
Object type:
ethnography
Object class:
Display manikins
Function:
2.4 Fine Clothes and Accoutrements not used exclusively for status or religious purposes
Production date:
1915
Accession date:
1974
Department:
Asia (except western Russia)
Dimensions:
mannequin— height 62 inches
Loans:
S1979-1980 #61: Oakland Museum of California (May 16, 1972–May 21, 2008)
Images:
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)
Legacy documentation:
Documentation associated with 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)Documentation associated with 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)Documentation associated with 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)Documentation associated with 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)Documentation associated with 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)Documentation associated with 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)

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