http://darumasan.blogspot.jp/2011/01/kamon-family-crest.html
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montsuki 紋付 formal wear with the family crest
CLICK for more photos !
monuwaeshi, mon uwa eshi 紋上絵師 painting family crests
The space for a family crest was usually left white by the cloth dyer and a special painter added the pattern and colors.
Since crests had become quite popular with the townspeople of Edo, they were used not only for official robes but also for decorations of every-day things, even 手ぬぐい tenugui hand towels.
The workshop of a crest painter did not take up much space and could be done in a small home in Edo.
- quote -
There are different styles of mon too. In the picture below, showing three variations of icho (ginko) mon, you can see three versions of a the mon: hinata – full sun (left), kage – shadow (middle), and nakakage – mid shadow (right). The more subtle versions are for slightly less formal occasions. There are also embroidered mon, called nui mon.
hinata mon 日向紋 - - - kage mon 陰紋 - - - nakakage mon 中陰紋
A family may choose a mon that is associated with their family (a family mon is called a kamon) or just opt for one they like instead. They are seen on all sorts of items in Japan: clothing, signs, boxes, ceramics, banners etc.
- source : wafuku.wordpress.com -
上絵の道具 tools of a crest painter
家紋を描くときに使う上絵道具の一部
（左から）from left to right
①分廻し（一本）bunmawashi compass to make a circle
②上絵筆（一本） ③定規 ④丸棒（二本） ⑤小刀（一本）
⑥丸刀（大、小） ⑦摺り込み刷毛（大，中、小） ⑧平刷毛（大、小）
⑨つや刷毛（大、中） ⑩平ゴテ ⑪丸ゴテ ⑫押さえゴテ
- Look at more photos how the tools are used:
- reference source : homepage2.nifty.com/montake/dougu -
「各種紋入れ加工」
「紋直し mon naoshi」「紋入れ・入れ紋 mon ire」「抜き紋 nuki mon」
「摺り込み紋 surikomi mon」「切り付け紋 kiritsuke mon 」
「のり落とし上絵 nori-otoshi uwa-e」「加賀紋 kaga mon」
(Kaga mon is a crest for a "fashionable person" and was very colorful, sometimes with embroidery.)
- with detailed descriptions
- reference source : homepage2.nifty.com/montake/eigyo -
- Check out the detailed page of 紋章上絵師
Itoo 伊藤武雄 Ito Takeo
- reference source : homepage2.nifty.com/montake/mon -
- quote -
Family-crest master fears he's one of a dying breed
- Tomoko Ontake - Japan Times -
Dressed in a black kimono and wearing a pair of eye-catching black, triple-framed spectacles, Shoryu Hatoba straightens his back as he sits on the tatami floor of his quaint studio in Ueno, central Tokyo, holding a pair of bamboo compasses fitted with a brush dipped in ink in place of a pencil.
- snip -
But 56-year-old Hatoba is now one of a dying breed of monshō uwae shi (family-crest painters and designers). "I'm an endangered species," the Tokyo native concedes.
That's because Japan is now on the verge of losing the tradition of making and preserving the ritual or everyday use of kamon (family crests) — which pretty much everyone in the nation once had. That's despite the fact that its first known family crests date from the eighth century, when nobles at the Imperial court, and then samurai warriors, started using them as badges of identity or ownership.
But unlike in the West, where family crests were exclusively for the nobility, in Japan their adoption grew exponentially during the Edo Period (1603-1867), and especially during its economically and culturally vibrant golden age known as the Genroku era (1688-1704), Hatoba explains.
Then everyone, but men mostly, started featuring them in whatever design they liked on their kimono. That even included commoners — who mostly had no family names at all until a law in the modernizing Meiji Era (1868-1912) required everyone to have one — though Hatoba says women were generally late to the kamon party, only adopting them at the end of the Edo Period.
- snip -
The crests' motifs are derived from a wide range of plants, birds and other animals.
- snip -
As a profession, monshō uwae shi demands microscopic attention to detail and command of many sophisticated techniques — not to mention aesthetic sensibilities. And, as Hatoba explains, a crest's component parts all have to be rendered in a circular design on average only 38 mm in diameter for men's kimono, and 21 mm for women's. Interestingly, too, the number of crests on a kimono ranges from one to five — with more crests reflecting an occasion's greater formality.
Hatoba, who apprenticed under a kamon craftsman for five years before opening his shop, is determined to keep the tradition alive. To do that, he has collaborated with creators and corporations in various genres, featuring kamon designs on everything from bags to boxes of wagashi (traditional Japanese) sweets.
- snip -
- source : Japan Times 2013 -
. Edo shokunin 江戸の職人 Edo craftsmen .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
.................................................................................
montsuki 紋付 formal wear with the family crest
CLICK for more photos !
monuwaeshi, mon uwa eshi 紋上絵師 painting family crests
The space for a family crest was usually left white by the cloth dyer and a special painter added the pattern and colors.
Since crests had become quite popular with the townspeople of Edo, they were used not only for official robes but also for decorations of every-day things, even 手ぬぐい tenugui hand towels.
The workshop of a crest painter did not take up much space and could be done in a small home in Edo.
- quote -
There are different styles of mon too. In the picture below, showing three variations of icho (ginko) mon, you can see three versions of a the mon: hinata – full sun (left), kage – shadow (middle), and nakakage – mid shadow (right). The more subtle versions are for slightly less formal occasions. There are also embroidered mon, called nui mon.
hinata mon 日向紋 - - - kage mon 陰紋 - - - nakakage mon 中陰紋
A family may choose a mon that is associated with their family (a family mon is called a kamon) or just opt for one they like instead. They are seen on all sorts of items in Japan: clothing, signs, boxes, ceramics, banners etc.
- source : wafuku.wordpress.com -
上絵の道具 tools of a crest painter
家紋を描くときに使う上絵道具の一部
（左から）from left to right
①分廻し（一本）bunmawashi compass to make a circle
②上絵筆（一本） ③定規 ④丸棒（二本） ⑤小刀（一本）
⑥丸刀（大、小） ⑦摺り込み刷毛（大，中、小） ⑧平刷毛（大、小）
⑨つや刷毛（大、中） ⑩平ゴテ ⑪丸ゴテ ⑫押さえゴテ
- Look at more photos how the tools are used:
- reference source : homepage2.nifty.com/montake/dougu -
「各種紋入れ加工」
「紋直し mon naoshi」「紋入れ・入れ紋 mon ire」「抜き紋 nuki mon」
「摺り込み紋 surikomi mon」「切り付け紋 kiritsuke mon 」
「のり落とし上絵 nori-otoshi uwa-e」「加賀紋 kaga mon」
(Kaga mon is a crest for a "fashionable person" and was very colorful, sometimes with embroidery.)
- with detailed descriptions
- reference source : homepage2.nifty.com/montake/eigyo -
- Check out the detailed page of 紋章上絵師
Itoo 伊藤武雄 Ito Takeo
- reference source : homepage2.nifty.com/montake/mon -
- quote -
Family-crest master fears he's one of a dying breed
- Tomoko Ontake - Japan Times -
Dressed in a black kimono and wearing a pair of eye-catching black, triple-framed spectacles, Shoryu Hatoba straightens his back as he sits on the tatami floor of his quaint studio in Ueno, central Tokyo, holding a pair of bamboo compasses fitted with a brush dipped in ink in place of a pencil.
- snip -
But 56-year-old Hatoba is now one of a dying breed of monshō uwae shi (family-crest painters and designers). "I'm an endangered species," the Tokyo native concedes.
That's because Japan is now on the verge of losing the tradition of making and preserving the ritual or everyday use of kamon (family crests) — which pretty much everyone in the nation once had. That's despite the fact that its first known family crests date from the eighth century, when nobles at the Imperial court, and then samurai warriors, started using them as badges of identity or ownership.
But unlike in the West, where family crests were exclusively for the nobility, in Japan their adoption grew exponentially during the Edo Period (1603-1867), and especially during its economically and culturally vibrant golden age known as the Genroku era (1688-1704), Hatoba explains.
Then everyone, but men mostly, started featuring them in whatever design they liked on their kimono. That even included commoners — who mostly had no family names at all until a law in the modernizing Meiji Era (1868-1912) required everyone to have one — though Hatoba says women were generally late to the kamon party, only adopting them at the end of the Edo Period.
- snip -
The crests' motifs are derived from a wide range of plants, birds and other animals.
- snip -
As a profession, monshō uwae shi demands microscopic attention to detail and command of many sophisticated techniques — not to mention aesthetic sensibilities. And, as Hatoba explains, a crest's component parts all have to be rendered in a circular design on average only 38 mm in diameter for men's kimono, and 21 mm for women's. Interestingly, too, the number of crests on a kimono ranges from one to five — with more crests reflecting an occasion's greater formality.
Hatoba, who apprenticed under a kamon craftsman for five years before opening his shop, is determined to keep the tradition alive. To do that, he has collaborated with creators and corporations in various genres, featuring kamon designs on everything from bags to boxes of wagashi (traditional Japanese) sweets.
- snip -
- source : Japan Times 2013 -
. Edo shokunin 江戸の職人 Edo craftsmen .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
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