KATAGAMI 型紙

Japanese Stencils for Textile Dyeing
KATAGAMI 型紙 consists of two characters: 型 (kata): MOULD, form, template, model, or standard; and 紙 (kami/gami): PAPER, the physical substrate. The same kanji appears in other paper terms: 和紙 (washi), 洋紙 (yōshi), 唐紙 (karakami), 奉書紙 (hōsho-gami).

ISE KATAGAMI is one of several renowned stencil techniques in the Japanese textile tradition. The technique and the stencils themselves take their name from Ise, in Mie Prefecture. Ise is primarily associated with Ise Jingū, one of Japan’s principal Shinto shrines, and from an artisanal perspective it is also a centre of excellence. These hand-cut stencils are remarkable for their durability (reused thousands of times), their minute details and patterns that sometimes have such large negative spaces that the delicate bridges and micro-cuts seem to float in space.

The rich chestnut-brown colour that is typical of ISE KATAGAMI derives from fermented persimmon tannin (kakishibu), which has various traditional uses. Tannin imparts strength, water resistance, and durability to the layered paper, hardening it while preserving sufficient flexibility for repeated handling and precise cutting. The polyphenolic compounds of the tannin react with the cellulose and residual proteins in the paper fibres, hardening and consolidating the structure.

Tannin is applied in two phases: (1) multiple layers of mulberry washi sheets are consolidated into a single sheet with tannin acting as a bonding agent, and (2) subsequent repeated application of tannin for saturation and curing. No glues are used, as these would interfere with the resist paste used in printing. In addition, a fine silk mesh is sometimes sandwiched between the washi layers to prevent tearing of very open designs.

PATTERN TYPES & PRODUCTION
ISE KATAGAMI may be divided into two groups: those intended to create a continuous repeat along a cloth bolt, and those conceived as self-contained motifs. The latter are often framed for display or used as bookmarks and presentation pieces. Modern, smaller items of this sort are relatively inexpensive compared to large antique specimens formerly employed in textile production. Contemporary stencil templates are typically machine-cut by laser or plotter, whereas traditional ISE KATAGAMI intended for recognised craft production continue to be hand-cut using specialised tools.

A bolt of kimono or yukata cloth (tanmono) typically measures 35–40 cm in width and 12–13 m in length. Appropriate stencils are sized according to these dimensions, so that the short side of the rectangular stencil fits the width of the tanmono, and the stencil is advanced progressively along the entire bolt, covering about 50 cm with each impression. Twenty-six or more impressions of a single stencil might thus be required to complete the bolt; if the design required an overlay of patterns or colours, the number of impressions would be far greater. Each impression followed the same sequence: position, print, lift, clean, repeat.

MATERIAL & PURPOSE
There are numerous terms in Japanese and English describing the minutest aspects of cloth, stencil, and dyeing. This is a highly technical field and these notes barely serve even as an introduction to the topic. The following is a brief overview of renowned Japanese textile stencils.

Material
– Paper (washi): Ise, Kyoto, Aizu, Echigo
– Paper + pigment ground: Ryukyu, Bingata
Reinforcement / Hardening
– Persimmon tannin (kakishibu): Ise, Kyoto, Aizu, Echigo
– Minimal or no tannin; pigment-resist context: Ryukyu, Bingata
Structural Reinforcement
– Silk/gauze insertion (sha-bari): Ise, Kyoto
– No internal mesh: Aizu, Echigo, Ryukyu, Bingata
Production System
– Large-scale / commercial kimono production: Ise, Kyoto
– Regional workshop / semi-commercial: Aizu, Echigo
– Court / regional art-dyeing tradition: Ryukyu, Bingata
Pattern Logic
– Precision repeat / okuri-gata capable: Ise, Kyoto
– Bolt-based but looser repeat: Aizu, Echigo
– Pictorial / placement-oriented: Ryukyu, Bingata

AT KOYASAN SPACE
We came across ISE KATAGAMI whilst searching for art stencils to create wall patterns at Koyasan Space; however, we realised that without proper expertise the stencils would be damaged and the results only passable, so these precious items are now stored and brought out for interested guests. Guests are welcome to see them, should their interest be piqued.

COPYRIGHT & ATTRIBUTION
These notes require many hours of preparation. Those who wish to reproduce them are requested to include clear reference and a link to the STYLE page:
https://koyasan-space.jp/style/

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