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| Same Origin but Different Trends: A Comparative Study of Chinese Blue Calico and Japanese Komon |
| Sheng Yu |
| Ningbo University-University of Angers Joint Institute at Ningbo University, Ningbo 315211, China |
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Abstract The technical principles underlying Chinese blue calico and Japanese komon are fundamentally identical. Nevertheless, they manifest divergent stylistic characteristics, encompassing ruggedness and subtlety. Conducted through comprehensive field research and comparative analysis, the investigation revealed distinctions not only in substrates, anti-dyeing pastes, printing, and dyeing techniques, but also in pattern modeling elements, organizational structures, pattern themes, and color selections. These differences collectively contribute to a pronounced disparity in artistic styles between the two. The Chinese blue calico pattern endeavors to establish a harmonious interplay between central and peripheral elements, primary and secondary components. This concerted effort aims at constructing a visual representation imbued with ethical and moral significance, conveying auspicious meanings. Japanese komon never cares about extra meanings, it achieves visual purity from weaker individuality and cluster effect, by refining stylistic elements, attenuating image contrasts, and simplifying organizational structures, to express the object itself. Outwardly, the craftsmen specializing in blue calico and komon have crafted distinct styles through the implementation of technological innovations and a strategic division of labor. In reality, despite the widespread popularity of blue calico in rural areas and the urban development of komon, the two textile forms cater to distinct user demographics. Furthermore, their respective association with different societal classes gives rise to varied consumer needs. To effectively align with the preferences of their target consumers, diverse product types and usage scenarios have been developed, thereby presenting distinctive aesthetic appearances. In terms of technology, during the Song Dynasty, when the process of medicine spot cloth became mature, the processes of brocade, embroidery and Kossu had been perfected and widely accepted by the upper class, while the alkaline anti-dyeing agent of the medicine spot cloth process was harmful to silk, thereby precluding the fabric from achieving high-grade status. Consequently, it found popularity predominantly within the realm of folklore. Because of the stable social structure of rural China, limited spending power of farmers, therefore, there’s no technological impetus. Due to the stable social structure prevailing in rural China and the constrained spending capacity of farmers, a notable absence of technological impetus is observed. During the early years of the Edo period in Japan, the jacquard manufacturing technology was in its nascent stages, lacking the maturity necessary to meet the substantial demand for clothing among the samurai class. Embracing an ethos of “solidity and robustness”, the samurai prioritized functional everyday attire, leading to the codification of a standardized style known as “Kamishimo”. Faced with limited options for embellishing public clothing, the Samurai Society turned to type paste dyeing as a viable alternative. This choice not only fulfilled a practical need but also catalyzed the evolution of a distinctive style known as “Edo komon”. The product gained significant traction among affluent townspeople, leading to an expansion of the consumer base and providing an additional avenue for growth. This momentum was further bolstered by the imposition of restrictions on luxury, thereby presenting the product with a renewed opportunity for advancement. The discerning quality standards upheld by the samurai, coupled with the substantial purchasing power of affluent merchants, compelled craftsmen to undertake technical innovations. This, in turn, elevated the overall standard of craftsmanship associated with komon. Examining the perspective of aesthetic appreciation, Chinese aesthetics underwent a significant influence from Confucianism, contributing to the development of the intertwined notions of beauty and goodness. This influence, coupled with a prevalent image-centric thought paradigm, facilitated a widespread inclination towards auspicious themes within Chinese folklore. Consequently, this inclination manifested in the creation of intricate designs and patterns, constructing an imaginative realm beyond the tangible world. This imaginative world, characterized by visual elements, served as a conduit for expressing aesthetic principles intertwined with collective consciousness, seamlessly integrated into the fabrics of daily life. Individuals derived genuine or imaginative satisfaction from this aesthetic imagination, thereby mitigating existential anxieties and providing solace to the human spirit. The space constrained and frequently calamity-prone geographical setting in Japan has fostered the cultivation of a distinctive aesthetic ethos that places emphasis on nature, prioritizes emotional resonance, and pursues meticulous attention to details. This cultural milieu has also engendered an attitude characterized by a genuine concern for the present and an appreciation for the tangible world. Craftsmen, in adherence to this ethos, exhibit a profound respect and reverence for the inherent value of objects. This reverence is internalized into the guiding principles of craftsmanship, promoting the maximization of utility and the relentless pursuit of perfection. Edo komon, as a manifestation of this ethos, emerges as an art form closely tethered to reality. Often initiated by the observation of evocative details in nature, it adeptly captures and interprets subtle rhythms, resulting in the creation of an elegant and delicately nuanced komon—a testament to the cultural and historical context in which it flourished.
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Received: 27 July 2023
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2024, Vol. 54 
