Nishijin-ori

A general term for textiles produced in Nishijin, Kyoto. It does not refer to a specific weave. Currently, when new textiles are made in Nishijin, there is a tendency to incorporate anything into the Nishijin weaving category if there is no appropriate name for it. Generally, it is a high-quality textile that belongs to the arts and crafts category, and includes textiles such as Nishiki, brocade, satin, and donsu, as well as textiles woven from silk, wool, cotton, and synthetic fibers, and is sometimes used as a representative name for Japanese textiles.

Its origins date back to when the capital was moved to Heian, when the Oribe Office was established and luxury fabrics were woven to meet the demands of the court officials. However, as the Ritsuryo system declined, the office was scaled down, and the Onin War caused weavers to scatter across the country. However, after the war ended, they returned to Hakuun Village outside the city, and by the time of the Edo period, they had further moved to the site of Nishijin under Yamana Sozen, where they had established a production group. Here, new weaving techniques that had been transmitted from China via Sakai were used to weave gold brocade, satin, velvet, and karanishiki, establishing the foundations of Nishijin as we know it today. Nishijin was always produced under the protection and nurturing of the shogunate, and the standard of weaving techniques was maintained. However, by the end of the Edo period, production areas such as Kiryu and Ashikaga were beginning to emerge that could rival Nishijin, and the Tenmei fire and the Tenpo silk ban had a major impact on production. The move of the capital to Tokyo in 1868 (Keio 4) also seemed to have dealt a devastating blow, but the government's policy of promoting industry through subsidies and other grants led to the import of jacquard looms and other modernization measures from Western Europe, reviving the traditional industry. The ban on luxury goods, known as the "7.7 Prohibition" of July 7, 1940 (Showa 15), also dealt a major blow to textile manufacturers, forbidding the use of luxury items such as gold and silver. Fortunately, however, Nishijin was spared from the flames of war, and the roots of tradition took root after World War II, leading to a revival.

Currently, automation of the weaving industry is progressing, breathing new life into a wide range of fields, including obi fabric, western clothing fabric, kimono fabric, ties, scarves and other apparel items, as well as interior decorations.

[Kadoyama Yukihiro]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

京都西陣から産出する織物の総称。特定の織物組織をさすものではない。現在、西陣で新しい織物がつくられたとき、適当な名称がないとなんでも西陣織に組み入れてしまう傾向がある。一般には美術工芸品に属する高級織物で、錦(にしき)・金襴(きんらん)・繻子(しゅす)・緞子(どんす)などをはじめ、絹・毛・木綿(もめん)・合繊などで織り出される織物が含まれており、日本の織物の代表的名称として使われることもある。

　起源は、平安遷都のとき織部司(おりべのつかさ)を設置し、宮廷官人層の需要に応じる高級織物を織り始めたが、やがて律令(りつりょう)制の衰退とともに縮小されることになり、応仁(おうにん)の大乱は織工たちを各地に分散させることになった。しかし大乱が終わったのちは、市外の白雲(はくうん)村に戻り、江戸時代に入るまでには、さらに山名宗全(やまなそうぜん)の西陣跡に居を移して生産集団をつくりあげた。ここでは、中国から堺(さかい)を通して伝わった新しい織物技術をもって、金襴・繻子・ビロード・唐錦(からにしき)などを織り出し、現在の基礎を確立した。そして西陣はつねに幕府の保護育成のもとに生産が行われ、織物技術の水準が維持された。しかし幕末ごろには桐生(きりゅう)・足利(あしかが)など西陣に対抗するような産地が生まれつつあったし、天明(てんめい)の大火や天保(てんぽう)の絹物禁止などは、生産に大きな影響を与えた。また、1868年（慶応4）の東京遷都により徹底的に打撃を受けたようにみえたが、御下賜金などによる殖産興業政策で、西欧からジャカード織機などを輸入して近代化を図り、伝統産業としての息吹を吹き返した。これも1940年（昭和15）7月7日のいわゆる「7.7禁令」とよばれる奢侈(しゃし)禁止令により、金・銀などの高級品の使用を禁止され、機業家に大きな打撃を与えた。しかし、幸いにも戦火から免れたため、伝統の根は第二次世界大戦後になって芽を吹き、復興をみた。

　現在では、機業のオートメ化も進行し、帯地、洋服地、着尺地、ネクタイ、マフラーなどの服飾品や室内装飾品など多彩な分野に新しい息吹が持ち込まれつつある。

［角山幸洋］

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