作者：（日）须藤玲子
出版社：新星出版社
格式: AZW3, DOCX, EPUB, MOBI, PDF, TXT
日本的布 2试读：
前言
無印良品重视“探索、发现”的理念，密切关注人们的生活，不断探索产品的制造之路。从2003年起，無印良品将这一活动命名为“Found MUJI”，开始了探索那些在漫长的时光中未曾被荒废，至今仍为人所用的物品的旅程。这一活动旨在以新的视角对各个领域进行重新审视，对发现的事物提出建议并加以修改，使其更加适应现代的生活与文化。
如果Found MUJI这项活动能够使我们重新审视日本的布，切实感受到传统的制布技法给现代的布料带来怎样的影响，也许就能从中发现今后日本布料的新发展方向。基于这样的想法，我们启动了“日本的布”项目。無印良品的面料设计团队踏上了探索之旅，一路造访了从冲绳县到山形县的多个纺织品生产地，会见了在车间和工作室里制作布料的工匠们。
日本的纺织业实在是丰富多彩，各种各样的布料从不同的生产地诞生。织染技术配合人们的日常需要日益进步，将人们身边的动植物、自然、生活风景等化为图案，呈现在布上。当地的自然风土和居民的智慧与心血，也都凝结在那一小块的布料之中。正因如此，世世代代的人们在使用布料时才倍加珍惜，不只将布料用于制衣，还用在了生活的方方面面。
然而，对于现代的我们来说，和服已是只在特殊场合才穿着的服饰，我们用肉眼和双手接触传统手工艺和日本的布的机会越来越少。如今，全国的纺织品生产地都面临艰难的处境。然而，日本的纺织业并未失去它博大精深的内涵，在日本，至今仍有许多富有魅力的纺织品生产地。只要它们仍存在，便还有希望。我一直以来的一大愿望，就是拜访传统的制布地区，对日本的布进行重新审视。
不同地区有不同的个性和气质。既有接受新思想的地区，也有一直坚守传统的染织方法的地区。比如在日本三大絣织产地久留米、备后和伊予当中，备后和伊予分别成了令全世界的时尚设计师为之着迷的冈山牛仔制品产地和四国今治毛巾的产地，发生了巨大的变化。而久留米地区依然作为絣织布料的产地坚挺地存留至今。我想拜访这种坚持使用传统技术和手法的地区，并与那里的工匠一起制作新的产品。关于久留米之旅和制布的成果，已经收录在《日本的布1》里。
走访纺织品生产地的旅行仍在继续。让年轻的设计师了解日本的布产地的魅力，也是此次项目的任务之一。实际造访日本的传统布料生产地，亲眼看到工匠们使用的技术和机器，见到布料背后的人，这令我们所有人都感到无比兴奋。此外，我们还听到了许多只有在现场与工匠面对面交流时才能听到的故事。
设计师只有亲自造访制布现场，亲眼看到制布过程，知道布料是如何制作出来的，才能产生该把这些布料转化为什么产品的灵感。那些灵感不仅在工匠们看来十分新颖，在顾客眼中也非常有吸引力，许多参加此次Found MUJI 项目的展览的顾客都对那些产品表现出很大的兴趣。由此，更多的人了解了日本的布的魅力，形成了喜悦的连锁循环。
归根结底，布是人与人之间联系的结晶。通过与人的相遇、交谈、共事，制作者们开始动用自己的情感和双手。而由他们制作的成品被展示在大众面前，再到达消费者手中，为人所用。从一个人到另一个人，从一只手到另一只手。
除了在Found MUJI项目里的展示，“日本的布”系列还另外召开过多次研讨会。2018年4月，我们在新加坡也成功举办了研讨会，向海外的朋友们介绍了日本布料的迷人魅力。今后Found MUJI寻找及制作布料的旅行还会继续，因为世界正等待着我们！须藤玲子纺织品设计师、无印良品咨询顾问
Introduction
MUJI takes the idea of “seek and find” very seriously. We look closely at the way people live to keep making products in tune with today's lifestyles. From 2003, this stance led in the direction of Found MUJI, and we set off in search of things that have enjoyed long, tirelessly useful lives. This Found MUJI project has given us fresh new perspectives on many areas of vernacular design across different cultures,and allowed us to tailor our finds to our own present-day needs.
As someone who has always been involved with textiles, I longed to take the Found MUJI approach to Japanese textiles. If only we could get a feel for how our traditions of weaving and dyeing have influenced today's fashions, might that suggest a new way forward in fabrics?So began this Japanese textiles project, sending our MUJI fabric design team on a journey of discovery to countless textile mills and workshops from the southernmost islands of Okinawa to the far northern reaches of Yamagata, getting to know local artisans and technicians along the way.
The diversity of Japan's textile work is truly amazing.The sheer number of production centers making so many different types of fabric could fill these books many time over. Different weaves and colors to meet the demands of the day, often featuring patterns that depict the natural surroundings. Each piece of cloth a distillation of the ingenuity of the artisans from a particular environment,which is precisely why they have, over generations,continued to use it so faithfully, and why their clothes and household items have become a part of their daily life.
Yet Japanese now wear kimono only for special occasions. We have less and less contact with traditional crafts in general, let alone opportunities to touch and see how our Japanese textiles are created. Weaving and dyeing centers throughout the country are facing very difficult times, yet the profound wisdom and beauty of Japanese textile creation have not been lost. There are still towns where they spin and weave and dye and sew.
It has been a long-cherished wish to visit these traditional production centers to survey and assess the present landscape of Japanese textiles. Each locale has its individual character. Some places are receptive to new ideas, other places have clung hard and true to the old ways of weaving and dyeing. Among the “three great kasuri”centers of Kurume, Bingo, and Iyo, for instance, Bingo has transformed into a world-famous designer source of Okayama denim, while Iyo on the island of Shikoku has seen Imabari become a major maker of towels. Yet Kurume remains steadfast in its dedication to the kasuri dye-pattern weave kimono fabrics. Such places where traditions and skills are still alive- if not exactly thriving, perhaps-have been my dream destinations, places I wanted to go and create something together with the local community. The results of our trip to Kurume and collaboration with the artisans there are recorded in volume one of this series.
Our travels continue, as does our mission to make young designers aware of Japan's very special textile towns. Actually being in these places steeped in textile traditions, seeing the techniques they employ and the machines they use, meeting the people behind the fabrics- all this has been incredibly exciting. The stories we hear and the experiences they share are unforgettable.
Designers who make the effort to go to these places and see with their own eyes how these textiles are created will always be rewarded with ideas that can be turned into new products. And the production side will reflect those ideas with fresh energy, as the Found MUJI project itself has learned, spurred by the knowledge that a new generation will get to touch and feel the special qualities of these fabrics. Happy encounters come full circle.
In short, it's all about making connections between people. Visitors and locals meet, get to talking, take on a project, engage their feelings and hands. Then what we've made together gets shown, reaches consumer hands, gets used and appreciated. From person to person, from hand to hand.
In addition to our Japanese textiles exhibitions for Found MUJI, we've held many workshops. In April 2018 in Singapore, we introduced foreign participants to the fascinating appeal of Japanese fabrics. May our Found MUJI fabric search and textile creativity go on and on.There's a whole world out there!
Reiko Sudo
Textile Designer
Member, MUJI Advisory Board
产地
Production Areas注染
Chūsen清凉的布注染在所有“日本的布”中算得上是人气No.1。这种染色法始于明治时代后期，主要用于制作浴衣和手巾。制作工序是在布上涂上糨糊，把染料注入没有上糊的部分。这一技法的特点是布料的正反面会被染成相同的图案。
2012年，我们参观了位于东京足立区的浴衣布料染色工厂“旭染工”。它位于足立区北部，处在绫濑川沿岸通往花畑·大鹫神社的道路旁。工厂创立于1955年，现在的负责人阿部晴吉是第二代厂长，已被评为京都传统手工艺大师。
进入院子，展现在我们眼前的是闪闪发光的白布，挂在足有15米高的晾晒台上。这是注染最初的工序，即在染色之前去除布匹上的糨糊，把白色的底布在太阳下晾干。借助太阳光自然干燥，布料的纤维能够完整无损地保持直立，令染料渗透得更彻底。
注染的纸样由工匠手工刻成，尺寸是40厘米×95厘米的手巾大小，属于纸样里的“中型”。把染色部分的周边用“阴刻”法去除，蒙上纱，固定在木框中。在木框上打进两根钉子，在印染台上也以同样的间隔打上两根，以确保两者的位置始终保持一致。[1]
将自然干燥的白色底布以两反为一组卷起，再依次展开并放上纸样，用防染糨糊制作图案。这一工序叫作“上糊”。防染糨糊由糙米粉和米糠混合而成的米糊加上盐和石灰制成。之后再把布折起来，利用糨糊制作印花图案。通过不断重复折叠布料和涂抹糨糊的工序，最终在一匹布中夹进12—13张纸样，完成图案制作的工序。
图案制作完成之后，在布匹上撒上木屑，转移到染色台的钢丝网上，在布匹周围覆上一层薄薄的橡胶膜，避免空气进入。接下来用喷壶把染料倒在有图案的部分，再用染色台下方的真空泵抽气，便能使染料从最上方一直渗透进被折起的整匹布料的最下方。注染使用的是化学染料，不需要像使用靛蓝染料时那样反复染色，只需一次染色便能完成。并且先将叠成几层的手巾的正面染色，再翻转过来将背面染色，便能制成正反面完全相同的布料。在经验丰富的手艺人的手中，这一工序进行得十分富有节奏感，令人百看不厌。
接下来是冲洗工序。这一工序在关东地区被称为“水元”，在关西地区则被叫作“海滨”，而负责冲洗的工匠则被称为“水元”或“滨方”。从前人们常常用工厂旁边的绫濑川的河水冲洗糨糊，现在则把井水引入工厂，在长长的水槽中用机器搅动水流，将糨糊冲落。之后再用脱水机将水汽甩干，最后放在晾晒台上干燥。
由于这种染色方法是专为手巾和浴衣设计的，所以我们决定在“日本的布”项目中也通过手巾来加以展示。颜色采用的是略带紫色的素净的淡灰色。世上最先被发明出来的化学染料就是一种叫作“苯胺紫”（aniline mauve）的紫色染料。在那之前，欧洲只有一种名叫“贝紫”的价格高昂的紫色染料。我们制作了两种纹样，一种是条纹，另一种是由多种圆形组成的纹样，两种都很符合Found MUJI的风格，在各式各样的“日本的布”中展现出了富有手巾特点的清凉，也许这就是它们极具人气的理由。
能够将布料的正反两面染成同样效果的注染技法起源于明治时期的大阪。由于不需要等糨糊干燥，也不需要用蒸汽加热来固定染料，染色工序能够高效开展，注染技法迅速在日本各地，特别是在河川沿岸的染色工匠中传播普及，并世代传承下来。
此次在“日本的布”中展示的注染布料，是在旭染工工厂和位于流经宇都宫中心的田川附近的中川染工厂完成的染色工序。注染手巾／图案：条纹、圆形Chūsen tenugui / pattern: stripes, circlesBreezy Summer Cotton
Without a doubt the most popular of all our Japanese textiles are chūsen fabrics. Chūsen dyeing-literally the poured-dye method-dates from a little over a century ago late in the Meiji era (1868-1912 ) and is used mainly for yukata cotton summer kimonos and tenugui handtowels.In a relatively simple process, a nori paste resist is screened onto the fabric, then dye is applied to unmasked areas,creating a pattern that goes straight through both sides of the fabric, no front or back.
In 2012, we visited Asahi Senko dyeworks in Tokyo's northern Adachi Ward near Hanahata Otori Shrine on the Ayase River. Founded in 1955, Asahi Senko is modest in scale, but its second-generation director Harukichi Abe has been designated a traditional master craftsman by the Tokyo Metropolitan Government.
Entering the compound, we see lengths of gleaming white cloth hanging on a daté drying rack easily 15 meters tall. This is the first stage of the process, when unfurled bolts of plain cotton rinsed clean of starch are hung to dry in the sun. Natural sun drying leaves the woven fibers intact and helps the dye penetrate more thoroughly.
The katagami paper stencils used in chūsen dyeing are cut by hand. Medium-size stencils for tenugui measure a standard 40cm × 95cm. The negative areas around the pattern to be dyed are trimmed away, a step known as kagebori "shadow carving," then the paper is backed with gauze and fixed taut in a frame. Two pegs affixed in the frame and two more in the print bed ensure the stencil always sits spaced in proper register.
Two bolts of sun-dried cloth are taken down together and unrolled one stencil length at a time to "lay" the nori resist made of unpolished rice flour, rice bran, salt and lime. The cloth is then folded back and the process repeated,effectively sandwiching the resist between folded layers of cloth. One bolt of fabric will accommodate 12 or 13 pattern repeats.
Once the resist patterns have been laid, the cloth is covered with sawdust, transferred to a wire-mesh dyeing stand, and thin rubber sheets laid over it to seal off contact with air. Next, a yakan watering device pours dye onto the pattern areas while a vacuum pump below the stand sucks it through the entire folded stack so that the tint is even throughout. These days Asahi Senko uses chemical dyes which, unlike indigo, require only a single bath. Moreover,tenugui layers do not need to be turned over as the design is the same on both sides. In the hands of an experienced artisan, the rhythmic procedure is a wonder to watch.
Next comes rinsing. In the Kanto region around Tokyo this task is known as the mizumoto "sluice"; in the Kansai region around Osaka it's called hama "seashore" and the artisan who does the rinsing is a hamakata "shoreman."Here in Adachi they used to wash away nori resist in the Ayase River, but today well water is drawn into long troughs where machines churn a flowing current. After this process, the moisture is spun out and the dyed cotton is draped again on the daté rack to dry.
Since this method of dyeing was designed for tenugui and yukata, we decided to try our hand producing tenugui for our Japanese textiles project as well. For the color,we settled on a calm gray blushed with violet. ( A sidebar here: The first chemical dye was aniline mauve, which wa discovered by accident in London in 1856; previously, the only purple dye had been an extremely costly extract from sea snails.) The designs we selected were a striped pattern and one with various circle motifs, exactly in keeping with the aims of the Found MUJI project, breezy and perfect for summer.
Thischūsen technique for dyeing both sides of the cloth at once is said to have originated in Osaka during the Meiji era and became popular because the nori resist does not have to be dried or steam-fixed, making for very streamlined production. The process spread quickly throughout Japan,especially among dyeing artisans working alongside rivers.
Thechūsen fabrics for our project were made at Asahi Senko and at Nakagawa Senko dyeworks beside the Tagawa River that flows through the center of Utsunomiya, Tochigi Prefecture, an hour north of Tokyo.纸样由工匠手工雕刻而成。Stencil hand-cut by artisan.比屋顶还高的晾晒台。把布料上的糨糊洗掉后，将白色底布在阳光下晒干，对布料进行染色前的预处理。Rooftop daté drying rack.Bolts of white cotton rinsed clean of starch are sun-dried prior to dyeing.注染的工序The chūsen process1 雕刻纸样 Cutting the stencil
在柿漆纸（涂抹柿漆的和纸）上放上图案的设计图纸，用工匠手制的刻刀小心地进行雕刻。
A design drawn on washi paper coated with persimmon tannin is skillfully hand-cut by an artisan.2 Laying the stencil 制作印花图案
把纸样固定在木框上，把布料夹在木框中，用橡胶滚轴涂上糨糊，再在糨糊上撒上木屑。
The paper stencil fixed onto a wooden frame is positioned over the unrolled fabric,and resist is spread with a squeegee, then covered with sawdust.3注染 Dyeing
把染料倒在涂好糨糊的布料上。通过脚踏真空泵的操作杆抽吸，使染料充分渗透进整块布料，完成染色。
Dye is poured over theresist-laid fabric and suckedthrough all layers by a footpedal-controlled vacuumpump.4冲洗 Rinsing
将染好的布料用井水彻底冲洗，去除糨糊和多余的染料，再进行甩干，并在阳光下晾晒。
The dyed fabric is thoroughlyrinsed in well water to removeresist and excess dye, thendrained and sun-dried.把纸样固定在木框上。纸样上标记有布料的种类和颜色。Paper stencil fixed onto wooden frame. Markings on the stencil indicate the type of fabric and color of dyes.
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