| Description |
Yuki-tsumugi is the production technique for pongee fabric. The fabric of Yuki-tsumugi is warm, comfortable, light and durable and is completed through numerous, intricate processes. Only the finest fabric, made by members of the bearing body of the technique, the Association for the Preservation of Honba Yuki-tsumugi Weaving Technique, following the requirements for designation below can be termed as a work of Important Intangible Cultural Property. The requirement for its designation defines especially distinctive handiwork and the use of traditional tools among the processes. By setting these requirements, the transmission of this tradition is secured.
The requirements for the designation:
i) A yarn should be spun by hand out of silk floss. A hard twist yarn cannot be used;
ii) To make an Ikat (kasuri) pattern, the skein should be tied only by hand before the dyeing process;
iii) A back-strap loom should be used;
The traditional techniques to produce Yuki-tsumugi have been transmitted by the members of the Association for the Preservation of Honba Yuki-tsumugi Weaving Technique. They have been directly engaged in maintaining the high standards of spinning, dyeing and weaving that have been passed down from generations to generations for a long time within the community.
They recognize Yuki-tsumugi as a very important cultural property and strongly believe that it is their vocation to preserve and transmit it to the future. Moreover, they are very proud of ‘Yukitsumugi’.
One of the reasons for the continuous refinement of this technique to produce qualified silk pongee fabrics is that the fertile lands in a warm climate of this area, where mulberry trees can grow well, are suited for the sericulture. Some researchers point out that the local mentality is the reason for the persistent observance of the tradition; the people tend to protect their own lands inherited from their ancestors and to succeed to the occupations of their parents.
The National Government designated Yuki-tsumugi as Important Intangible Cultural Property in 1956 for its high artistic value, and the precious techniques needed for this art, its significant position in the history of industrial arts, and cultural characteristics of the community.
The designation system of Important Intangible Cultural Property under the Japanese Law for the Protection of Cultural Property raises the interest of the Japanese in intangible property, and helps deepen their understandings. Today, most Japanese consider that all designated elements of Important Intangible Cultural Property are priceless heritage of Japan.
In modern times, due to the rapid changes and the westernization of Japanese lifestyle, opportunities to wear kimono have decreased. However, there are still many Japanese, especially women, who are very fond of kimono. Kimono can be worn as formal attire at ceremonial occasions, as well as less formal, social events. It can be said that kimono is a traditional Japanese costume. The existence of Yuki-tsumugi can help to continue the customs of this tradition, and pass them down to future generations.
Although Yuki-tsumugi had been known as a specialty by the Edo era (1603-1867), even today, the production of pongee fabrics continues to have an important social function of supporting the lives of the people of the community through the sericulture industry. The empty cocoons after the hatch of moths cannot be spun into qualified yarn. Together with the deformed cocoons, they are made into silk floss which is raw material of yarn for Yuki-tsumugi. This recycling process of materials has a socially significant meaning in today’s society.
With the introduction of chemical fabrics, and the development of machinery for spinning, those who bear the technique of Yuki-tsumugi have declined in number; hand-made fabrics take a lot of time, but very unprofitable. There were 171 members in the Association for the Preservation of Honba Yuki-tsumugi Weaving Technique in 1976, but at present, the number has decreased to 128. Nevertheless, the members continue with their efforts to preserve this tradition.
The Association for the Preservation of Honba Yuki-tsumugi Weaving Technique constantly aims for the preservation and transmission, and through this aim, its unity is strongly identified.
The traditional skills are transmitted through their activities of exchanging their skills, training for young generation, demonstration and promotion of the skills, thus leading to their continuity to the future. Such activities have important meaning for the people who transmit Yuki-tsumugi of which they are proud of; they are strongly supported by the local community of Yuki City, Oyama City, and local governments of Ibaraki and Tochigi Prefecture. |
| Social and cultural significance |
The members of the Association for the Preservation of Honba Yuki-tsumugi Weaving Technique have been directly engaged in maintaining the high standards of spinning, dyeing and weaving that have been passed down for a long time within the community.
They recognize Yuki-tsumugi as a very important cultural property and strongly believe that it is their vocation to preserve and transmit it to the future. Moreover, they are very proud of ‘Yukitsumugi’.
One of the reasons for the continuous refinement of this technique to produce qualified silk pongee fabrics is that the fertile lands in a warm climate of this area, where mulberry trees can grow well, are suited for the sericulture. Some researchers point out that the local mentality is the reason for the persistent observance of the tradition; the people tend to protect their own lands inherited from their ancestors and to succeed to the occupations of their parents.
The National Government designated Yuki-tsumugi as Important Intangible Cultural Property in 1956 for its high artistic value, and the precious techniques needed for this art, its significant position in the history of industrial arts, and cultural characteristics of the community.
The designation system of Important Intangible Cultural Property under the Japanese Law for the Protection of Cultural Property raises the interest of the Japanese in intangible property, and helps deepen their understandings. Today, most Japanese consider that all designated elements of Important Intangible Cultural Property are priceless heritage of Japan.
In modern times, due to the rapid changes and the westernization of Japanese lifestyle, opportunities to wear kimono have decreased. However, there are still many Japanese, especially women, who are very fond of kimono. Kimono can be worn as formal attire at ceremonial occasions, as well as less formal, social events. It can be said that kimono is a traditional Japanese costume. The existence of Yuki-tsumugi can help to continue the customs of this tradition, and pass them down to future generations.
Although Yuki-tsumugi had been known as a specialty by the Edo era (1603-1867), even today, the production of pongee fabrics continues to have an important social function of supporting the lives of the people of the community through the sericulture industry. The empty cocoons after the hatch of moths cannot be spun into qualified yarn. Together with the deformed cocoons, they are made into silk floss which is raw material of yarn for Yuki-tsumugi. This recycling process of materials has a socially significant meaning in today’s society.
With the introduction of chemical fabrics, and the development of machinery for spinning, those who bear the technique of Yuki-tsumugi have declined in number; hand-made fabrics take a lot of time, but very unprofitable. Nevertheless, the members continue with their efforts to preserve this tradition.
The Association for the Preservation of Honba Yuki-tsumugi Weaving Technique constantly aims for the preservation and transmission, and through this aim, its unity is strongly identified.
The traditional skills are transmitted through their activities of exchanging their skills, training for young generations, demonstration and promotion of the skills, thus leading to their continuity to the future. |
| Transmission method |
The traditional techniques to produce Yuki-tsumugi have been transmitted by the members of the Association for the Preservation of Honba Yuki-tsumugi Weaving Technique. They have been directly engaged in maintaining the high standards of spinning, dyeing and weaving that have been passed down from generations to generations for a long time within the community.
They recognize Yuki-tsumugi as a very important cultural property and strongly believe that it is their vocation to preserve and transmit it to the future.
In modern times, due to the rapid changes and the westernization of Japanese lifestyle, opportunities to wear kimono have decreased. However, there are still many Japanese, especially women, who are very fond of kimono. Kimono can be worn as formal attire at ceremonial occasions, as well as less formal, social events. It can be said that kimono is a traditional Japanese costume. The existence of Yuki-tsumugi can help to continue the customs of this tradition, and pass them down to future generations.
Although Yuki-tsumugi had been known as a specialty by the Edo era (1603-1867), even today, the production of pongee fabrics continues to have an important social function of supporting the lives of the people of the community through the sericulture industry. The empty cocoons after the hatch of moths cannot be spun into qualified yarn. Together with the deformed cocoons, they are made into silk floss which is raw material of yarn for Yuki-tsumugi. It has recycling process of materials.
With the introduction of chemical fabrics, and the development of machinery for spinning, those who bear the technique of Yuki-tsumugi have declined in number; hand-made fabrics take a lot of time, but very unprofitable. There were 171 members in the Association for the Preservation of Honba Yuki-tsumugi Weaving Technique in 1976, but at present, the number has decreased to 128. Nevertheless, the members continue with their efforts to preserve this tradition.
The traditional skills are transmitted through their activities of exchanging their skills, training for young generations, demonstration and promotion of the skills. they are strongly supported by the local community of Yuki City, Oyama City, and local governments of Ibaraki and Tochigi Prefecture.
The following measures are taken for the transmission of Yuki-tsumugi, and the sufficient recognition of the Japanese intangible cultural heritage.
The ‘Association for the Preservation of Honba Yuki-tsumugi Weaving Techniques’ undertakes the following measures for the preservation and promotion of traditional techniques of Yukitsumugi, cooperating with the ‘Preservation Association for the technique of Yuki-tsumugi: an intangible cultural property’: (i) holding workshops on Yuki-tsumugi technique: (ii) training for transmitters of the skills for Yuki-tsumugi: (iii) demonstration and promotion of the skills.
The ‘Preservation Association for the technique of Yuki-tsumugi : an intangible cultural property’ organizes 1) seminars on spinning technique, 2) seminars on the preservation of indigo dyeing and 3) competitions and selling of the works made by the techniques, to promote the important traditional techniques of Yuki-tsumugi. Yuki City, Oyama City and related cities and towns financially contribute to the management of the ‘Preservation Association’.
Ibaraki Prefecture established the ‘Textile Industry Guidance Service’ in the ‘Ibaraki Prefectural Industrial Technology Center’ while Tochigi Prefecture established the ‘Tsumugi Technique Support Center’ in the ‘Tochigi Prefectural Industrial Technology Center’. Both centers hold programs related to the transmission of Yuki-tsumugi.
Ibaraki Prefecture held a special exhibition ‘Tsumugi: beauty and skills of silk’ in 2001 at Tenshin Memorial Museum of Art, Ibaraki. Tochigi Prefecture held a special exhibition ‘Yuki-tsumugi: skills and beauty of tsumugi textiles’ in 2004 at the prefectural museum. Works of Yuki-tsumugi were widely displayed in the respective exhibitions.
The Agency for Cultural Affairs purchases works made by the traditional craft techniques for preservation and promotion. Nine works of Yuki-tsumugi have been bought by the Agency since 1957.
The Agency for Cultural Affairs has held ‘The skills and beauty of craftsmanship in Japan Important Intangible Cultural Properties and the people who support them’, exhibition every year since 1997. This exhibition, which takes place at two locations in Japan each year, has shown all works from holders or holding groups for designated Important Intangible Cultural Properties since the system of designation and recognition began. Works of Yuki-tsumugi are included in the exhibition every year, giving the people of Japan a chance to learn about this heritage. |
| Community |
‘Association for the Preservation of Honba Yuki-tsumugi Weaving Techniques’
This is the bearing body established in 1976 and mainly composed of craftsmen. Currently, approximately 130 members, who have been directly engaged in spinning, dyeing and weaving for a long time, transmit this technique.
All of them live their lives in this area as farmers, and silk weaving is their second job.
The office of the Association is set up within the Board of Education in Yuki City, Ibaraki Prefecture.
‘Preservation Association for the technique of Yuki-tsumugi: an intangible cultural property’ is an organization concerned with Yuki-tsumugi in a broad sense, but the ‘transmission’ is not its purpose. It has been organized in cooperation of the municipalities concerned in order to financially assist the proper preservation of the technique. In this sense, this is not the organization of the bearers of Yuki-tsumugi weaving technique. This is why we do not consider this organization to be a part of the community concerned. |
| Type of UNESCO List |
Representative List of the Intangible Cultural Heritage of Humanity |
| Incribed year in UNESCO List |
2010 |
