In the last post I talked about why I like to use kakejiku for my artworks. Today, I want to tell you what they are and how they work.
In Japan, calligraphy, ink drawing (sumi-e), and painting (nihonga) are traditionally displayed on a kakejiku. There are various types of Kakejiku, each having its own layout and proportions, but we'll focus on the most common one, Yamato Hyoso Style, in this article.
This style is also known as sandan hyōsō, or "3-story style." The calligraphy (honshi) is framed by two distinct fabrics that have been layered in three sections.
The two pillars (hashira) at the left and right of the calligraphy, as well as the chūmawashi at the top and bottom, make up the central part. The fabric used to make hashira and chūmawashi is the same. The calligraphy is further embellished with two ichimonji accent lines, which are usually made of golden brocade.
The top and bottom parts, known as ten and chi, respectively, "heaven and earth," are made of a different colour fabric than the middle section.
The jiku wooden pole is at the bottom, around which the calligraphy is rolled up when put in storage. The jiku-saki serve as a decorative element as well as handles for rolling up the scroll. On the opposite side, there is a half-moon-shaped pole called hassō, which is connected to the hanging cord (kake-himo) and is used to "seal" the scroll rolled up.
Finally, on the upper section, there are two decorative vertical lines known as fūtai. They're usually made of the same material as ichimonji. Their bottom tip is sometimes shaped like a fan, which is known as tsuyu. The fūtai are a relic of an ancient Chinese tradition where calligraphies and paintings were displayed outside, and two pieces of fabric were left to flutter in the wind, acting as a scarecrow to keep swallows away from the kakejiku. The word fūtai means "wind belts" in English.
Well, how was it? It's quite complicated, isn't it?
Kakejiku is a rich, centuries-old Japanese tradition that originated in China and has evolved over time. Each main style contains at least three sub-styles with minute variations, to the point where even Japanese people are frequently confused as to which is which. Furthermore, many contemporary artists now use non-traditional kakejiku, incorporating new styles and modern materials including myself. Kakejiku is a dynamic culture that continues to evolve alongside Japanese society.
Next time you have a chance to see kakejiku at a museum, be sure to pay attention to the tailoring!”
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