Hunting costume - kariginu

A type of clothing worn by nobles (kuge). It was worn as everyday wear. Originally a cloth upper garment used for hunting, it was also written as ryogi or ganigoru, and was also called kariao (kari door) because it was modeled after the ao (sliding doors) used from the Nara period to the early Heian period. It is a keteki (open armpit) style with openings at both armpits, but while the body of a robe (hou) is made of two widths, the body of a kariginu is narrow and only one width, so the sleeves are slightly sewn to the back body, leaving the area from the shoulders to the front open. In the late Heian period, kariginu made of silk fabric also came to be used, and those made of cloth (linen) came to be called hoi (cloth clothes). When wearing kariginu, a belt is placed around the waist and tied in front; this belt is called an ateobi or atekoshi.

Karinu was worn by retired emperors, princes, and ministers of the rank of Tenjobito or higher, while Jige wore Bun'i. It was not possible to visit the court in Karinu, but it was permitted for Imperial Court visitors. The composition of the Karinu was Eboshi, Karinu, Hitoe, Sashinuki, Shitabakama, Fan, Joushi, and Asaguttsu. Sometimes the robes were omitted, and sometimes karibakama, which were narrower than Sashinuki, were worn. Kanmuri was not used with Karinu, but Kebiishi, as their clothing became simpler, sometimes wore a crown over Shiraao (white Karinu), which was called Bun'ikan. Those of the rank of Tenjo or higher wore Karinu with a lined lining, but Jige could only wear Hitoe without a lining. As for the quality of the material, from the late Heian period onwards, gorgeous kariginu (hunting clothes) were sometimes used. Those of noble rank or above were allowed to wear futae fabrics, those of younger generations of noble families or above were allowed to wear floating fabrics, and those of noble rank or above were allowed to wear kataorimono (dyed twill), kneaded thin fabrics (koku made of raw warp and weft), and kenmonsha (patterned gauze).

The colours are free and up to preference, but a colour other than the original colour can be used, and in the case of lined kimono, a layered colour is created by combining the outer and lining fabrics. The Muromachi period court book "Ganishō" states, for example, that in spring, plum blossoms are white on the outside and safflower on the inside. Cherry blossoms are white on the outside and flower colour on the inside. Yamabuki is yellow on the outside and red on the inside. Wisteria is light purple on the outside and blue on the inside. In summer, irises are blue on the outside and deep red plum on the inside. Bellflowers are two indigo colours on the outside and blue on the inside. Lady's mantle flowers are yellow on the outside and blue on the inside. In autumn, sandalwood is safflower on the outside and yellow on the inside. Gentian is light safflower on the outside and blue on the inside. White chrysanthemums are white on the outside and safflower on the inside. Ao-momiji (green maple leaves) is green on the front and kuchiba (decaying leaves) on the back. In winter, Matsugasane (pine thickening) is blue on the front and sappan on the back. Kareiro (withered color) is incense on the front and blue on the back. The red color used throughout the four seasons is sappan on the front and indigo on the back. Hiwada (cypress bark) color is sappan on the front and indigo on the back. Miru (sea pine) color is black on the front and black-blue on the back.

For convenience of movement, a string was passed through the cuffs of the kariginu, which was then tightened and tied around the wrist, but the sleeve tying of the lined kariginu gradually became more formal and decorative, and for those of noble rank or above, a distinction was made based on age. Up to the age of 15, there was a type of oki-tsukuri, in which two twisted strings (white and red, red and yellow, yellow and blue, purple and blue, etc.) were passed through the cuffs, which were then unfolded and sewn into a tweezers shape, and two twisted strings (white and red, red and yellow, yellow and blue, purple and blue, etc.) were tied on the left and right sides in an Awaji knot, and the two strings were then tied in a plum blossom or wisteria flower shape and sewn into a tweezers shape.

From the age of 16 to 40, they wore thin, flat braided cords called Usuhira, which came in colors such as purple (purple and white stripes), green onion, haji, and och (purple, green onion, and white stripes). Those over 40 wore Atsuboso, which was thin but thick braided cords in colors such as yellow, indigo, navy, and incense. Seniors (over 50 years old) wore white twisted cords. Extremely old men wore Kome-tsukuri, which involved putting the cord inside the sleeve opening and letting only the tip, called Tsuyu, hang down from under the sleeve. The sleeves of undergarments were tied with white left and right twist regardless of age, and even nobles wore white left and right twist sleeves for their hitoe kariginu.

[Takada Yamato]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

公家(くげ)の衣服の一種。平常着として使われた。元来狩猟に用いた布製の上衣で、猟衣とか雁衣とも書かれ、奈良時代から平安時代初期にかけて用いられた襖(あお)を原型としたものであるため、狩襖(かりあお)ともいわれた。両腋(わき)のあいた仕立ての闕腋(けってき)であるが、袍(ほう)の身頃(みごろ)が二幅(ふたの)でつくられているのに対して、狩衣は身頃が一幅で身幅が狭いため、袖(そで)を後ろ身頃にわずかに縫い付け、肩から前身頃にかけてあけたままの仕立て方となっている。平安時代後期になると絹織物製の狩衣も使われ、布（麻）製のものを布衣(ほい)とよぶようになった。狩衣の着装は腰に帯を当てて前に回して締めるが、この帯を当帯(あておび)または当腰(あてこし)とよんだ。

　狩衣は上皇、親王、諸臣の殿上人(てんじょうびと)以上が用い、地下(じげ)は布衣を着た。狩衣姿で参朝することはできなかったが、院参は許されていた。狩衣装束の構成は烏帽子(えぼし)、狩衣、衣、単(ひとえ)、指貫(さしぬき)、下袴(したばかま)、扇、帖紙(じょうし)、浅沓(あさぐつ)で、衣を省略することもあり、指貫より幅の狭い狩袴をはくこともあった。狩衣に冠は用いられないが、検非違使(けびいし)は服装の簡略化に伴って白襖(しらあお)（白の狩衣）に冠をかぶり、布衣冠と称したものを用いることがあった。殿上人以上は裏をつけた袷(あわせ)の狩衣を用いたが、地下は裏をつけない単のものしか着られなかった。地質については、平安後期以降、華美な狩衣を用いることもあった。公卿(くぎょう)以上に二陪(ふたえ)織物、公卿家以上の若年に浮織物、殿上人以上に固織物(かたおりもの)（先染めの綾）、練り薄物（生経練緯(きだてねりぬき)の縠(こく)）、顕文紗(けんもんしゃ)などの使用が許された。

　色目は自由で好みによるが、当色以外のものを用い、袷の場合は表地と裏地の組合せによる襲(かさね)色目とした。室町時代の有職(ゆうそく)書『雁衣抄』に、たとえば春に梅は表白、裏蘇芳(すおう)。桜は表白、裏花色。裏山吹は表黄、裏紅。藤は表薄紫、裏青。夏に菖蒲(しょうぶ)は表青、裏濃紅梅。桔梗(ききょう)は表二藍(ふたあい)、裏青。女郎花(おみなえし)は表黄、裏青。秋に檀(まゆみ)は表蘇芳、裏黄。竜胆(りんどう)は表薄蘇芳、裏青。白菊は表白、裏蘇芳。青紅葉(あおもみじ)は表青、裏朽葉(くちば)、冬に松重(まつがさね)は表青、裏蘇芳。枯色(かれいろ)は表香、裏青。四季通用の赤色は表蘇芳、裏縹(はなだ)。檜皮(ひわだ)色は表蘇芳、裏二藍。海松(みる)色は表黒、裏黒青とある。

　行動の便を考えて、狩衣の袖口に括(くく)りの緒を差し通し、それを引き締めて手首に結ぶようにしたが、袷の狩衣の袖括りはしだいに形式的なものとなって装飾化し、殿上人以上のものには年齢による区別が生じた。15歳までは、置括りといって白と赤、赤と黄、黄と青、紫と青など2本ずつの左右撚(よ)りの紐(ひも)を通してから広げ、毛抜形にして縫い止めたものと、2本ずつ左右より淡路(あわじ)結びとし、さらにその間を梅花または藤花形に結んで縫い止めたものとがある。

　16歳より40歳までは薄平(うすひら)といって、薄平たく組んだ紐を差し通したが、その色は紫緂(むらさきだん)（紫と白のだんだら）、萌葱(もえぎ)緂、櫨(はじ)緂、楝(おうち)緂（紫・萌葱・白のだんだら）などであった。40歳以上は厚細(あつぼそ)といって、細いが肉の厚い組紐で、その色は黄緂、縹(はなだ)緂、紺緂、香緂などであった。また宿老（50歳以上）は白の左右撚りの紐。極老人は、籠(こめ)括りといって、括りの緒を袖口の中に入れて先端の部分の露(つゆ)といわれるもののみ袖の下より垂らした。地下の袖括りは年齢にかかわらず白左右撚りで、また殿上人も単の狩衣には白左右撚りを用いた。

［高田倭男］

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