Until the introduction of aniline dyes and industrially produced paper in the 19th century, some garments in Japan were made using indigo-dyed “asa-jifu,” a fabric woven with paper thread and hemp, ramie or linen. While many people are familiar with the Japanese use of indigo dye, few outside the country know about the centuries-old process of creating thread from the inner bark of paper mulberry trees.
Waterscape VI by contemporary Japanese textile artist Shihoko Fukumoto combines both traditions: indigo dyeing and hand weaving with linen and paper threads. In this small and subtle piece, Fukumoto skillfully employs gradation dyeing and a double weave to evoke a sense of water and space. For the center section, she used a special brush to work wet weft threads to create “yoroke-nuno,” a wavelike weave traditionally used for “mizugoromo” jackets for the Noh stage.
Fukumoto studied painting at university, but discovered a passion for indigo when researching traditional Japanese dyeing methods after graduation. She has said of her work: “I have always felt that the color of the natural indigo dye of Japan has about it a spirituality, a special purity and beauty. I feel strongly that indigo dyeing embodies in my work a certain consciousness of space that I contain within myself.” Today, Fukumoto is known as a leading expert on indigo dyeing. Her work is included in major museum collections worldwide.
