Ōshima-tsumugi

Ōshima-tsumugi is a traditional craft textile produced in the Amami Islands (mainly Amami Ōshima) in southern Kagoshima Prefecture, Japan. It is a hand woven plain-weave silk cloth dyed in mud. The textile is most commonly used for making kimonos. Oshima-tsumugi kimonos are often simply called Ōshima.



Outline
Ōshima-tsumugi is considered one of the three finest textiles in the world, along with French Gobelin weaving, and Persian carpets in Iran. Ōshima-tsumugi has a long history of about 1,300 years.

Ōshima-tsumugi is known for being supple, lightweight, and wrinkle-resistant. Oshima tsumugi kimono are also traditionally dyed using mud and a dye produced from the bark of the　Techigi Tree (Rhaphiolepis umbellata) Indigo and other natural dyes as well as synthetic dyes are also used. Due to its hardwearing nature, it is often said that up to three generations can wear the same kimono. Ōshima-tsumugi kimono are hugely valued for their detailed kasuri patterns and deep black colour. They are known as one of the most expensive silk fabrics in Japan. The cheapest piece costs about 300,000 yen per bolt, or tanmono, and the highest quality costs several million yen.

In addition to Amami Oshima Island, the fabric is produced in Kagoshima City, Miyakonojo City, and various other areas. In Amami Oshima there is a "Honba Amami-Oshima Tsumugi Textile Cooperative Association" and Oshima tsumugi made in Amami Oshima according to certain rules are given the certification mark "Honba Amami-Oshima Tsumugi". Bolts of fabric sold with this certification mark are of high value. Today, the colors and patterns are becoming more and more diverse, including "colored Oshima" and "white Oshima. Though Ōshima-tsumugi is mainly used for making kimono, small items such as coasters, neckties, and purses are also popular. Unfortunately, there are fewer and fewer craftspeople creating Ōshima-tsumugi on the island, and the textile is facing extinction.

History
The origin of Oshima Tsumugi is unclear, though it has been reported that this ancient technique goes back at least 1,300 years.

The history of the important process of mud dyeing is long and is described in a book in the Shōsōin.

Traditionally, women would do the weaving at home, in between their chores, to contribute to the family income. By the latter half of the Edo period (1603–1867), Oshima tsumugi had become a specialty of Amami Oshima and, like sugarcane, islanders had to supply the fabric to the Satsuma domain in lieu of tax. This ended in 1879, when Amami Oshima became part of Japan. While production has decreased in recent years, many weavers still work at home.

Production
Oshima Tsumugi kimono are produced in a lengthy process with over 30 steps.

Noribari 則張り

To prepare for the shimebata binding stage, 16-20 threads of about 16 meters in lenght, are grouped together, stretched between two posts, and covered in Igisu, a jelly like paste madee from seaweed. The threads must dry perfectly round for the shimebata stage, in order to create sharp kasuri.



Shimebata　締機

Shimebata is the technique used to make the kasuri threads. The white silk threads are tightly woven with cotton threads creating a dense mat. Areas of the silk threads are exposed according to the design. When dyed only certain of the areas of the thread will take colour.

Dyeing　染め

There are two main dyeing processes, one using a dye from the bark of the Techigi tree, and the other, mud. The Techigi tree is cut into chips, and boiled down to a thick red liquid. The silk and cotton mats are first dyed in this dye turning them pink, and are then dyed repeatedly in the mud. The fabric goes from a light grey, to a reddish brown, and finally to a rich, warm black. The tannin in the dye of the Techigi tree and the iron in the iron rich mud reacts to create this black color, unique to Oshima Tsumugi.

Somestimes when there is not enough iron in the mud, it does not dye well. When the happens, leaves from the sotetsu tree and put in the mud strengthening the chemical effect of the dye.

Barasaki　バラ裂き

The silk threads are removed from the cotton threads, revealing the kasuri spots.

Hand Weaving　手織り

Hataori is a general term for fabrics woven in plain weave. The warp and weft threads are woven one by one. the black Honjo Amami Oshima silk is woven in order to dye each thread with dots that will become part of the pattern, and the dotted threads are then woven to make the fabric into a warp while matching the pattern.

Producers
There are currently four main producers (Hata-ya) of Oshima Tsumugi on the island of Amami.

Maeda Tsumugi Kogei

Tonari Orimono

Yumeorinosato

Hajime Shoji

Patterns
Many traditional patterns are named after village names. These patterns, along with many other contemporary patterns are currently produced.

Derived from Tatsugou village which is one of the biggest weaving region of Oshima tsumugi. The pattern often features the a pattern that depicts the skin of the poisonous Habu snake, and the zig zagged leaves of the Sotetsu plant. The flowers in the pattern are sometimes dyed red. It is one of the most iconic Oshima patterns and can be seen all over the island as
 * Tatsugo-gara　龍郷柄

Named after the village of Akina. Bara comes from the word for basket or sieve
 * Akinabara 秋名ﾊﾞﾗ


 * Arima


 * Saigo

Production areas
Ōshima-tsumugi is produced in three main areas:　The island of Amami Oshima, Kagoshima City, and the greater Kagoshima Prefecture. Honba Ōshima-tsumugi was developed in Amami Oshima, and it is said that this technique was introduced to the Kagoshima mainland in 1874. There are two Honba Oshima Tsumugi unions, one in Amami and the other in Kagoshima City. Kimono produced by the Amami union have a seal with a globe, and those produced by the Kagoshima union have a seal with two flags.