Intricate patterns are etched into beautiful silk. From a distance, they appear as simple dots, but up close, the intricate designs become apparent. Edo komon is characterized by its delicate designs, ranging from shark and continuous patterns to cherry blossom, chrysanthemum, and animal motifs. Komiya Dyeing Factory, a prestigious Edo komon dyeing factory, has recognized two generations of Komiya Kosuke and Yasutaka as holders of Important Intangible Cultural Properties (Living National Treasures). We visited third-generation Komiya Yasumasa at his workshop in Shinkoiwa, Tokyo. Edo komon is said to have its roots in the Muromachi period, and as technology developed, it became widely popular during the Edo period. Originally used on samurai ceremonial kimonos, it flourished in the peaceful culture of the mid-Edo period and later. Eventually, Edo komon, which developed alongside samurai culture, became beloved by commoners as well. "The name Edo komon isn't that old," says Komiya. It was named in 1955, when his grandfather, Komiya Kosuke, was recognized as a holder of Important Intangible Cultural Properties, so it's only been around for about 60 years.

■ Change connects tradition

Edo komon uses a technique known as stencil dyeing. Komiya's job is to dye two to four layers of Japanese paper, which are glued together with persimmon tannins, using stencils carved with patterns. When we visit the workshop where this highly skilled "stencil dyeing" process is carried out, it is pitch black. There is a single fir board. The board is coated with raw glue (made from glutinous rice and bran), and water is sprayed on with a spray bottle to restore the glue's viscosity. Once the white fabric is attached, the "stencil dyeing" process begins. The stencil is placed on the fixed fabric, and the glue is spread with a spatula; the glue only adheres to the areas where the stencil is carved, creating the pattern. The glue contains a dye-resistant agent, which prevents the dye from staining those areas. Once the stencil dyeing is complete, the fabric is dried and then goes through a process called "shigoki," which involves dyeing the base color, and steaming, before the beautiful komon is finally complete. "The faster you can work, the better the job. It's important to plan ahead and hone your skills," says Komiya.

Even within traditional techniques, Komiya believes that "if something new emerges, it will be incorporated into the traditional techniques." Take dyes, for example. Edo Komon currently uses synthetic dyes. "If we continue to use the same old methods, the world won't accept them," says Komiya. Tradition is the accumulation of innovations, and once change stops, tradition will die, whether in materials or techniques.

It's not just dyes and techniques that change. Today, most artisans no longer begin their training as apprentices, as in the past. Instead, they begin their training immediately after graduating from school, meaning they no longer have the time to master their skills while living and working the same jobs. Also, while the stenciling process used to be done by mouth rather than using a spray bottle, this method is no longer used. It's only natural that the workplace and environment that preserve tradition will change in this way.

■ "Komiya Colors" Born from Carrying On Tradition

The beauty of the Edo Komon created by Komiya lies not only in the patterns, but also in the profound colors that captivate many. It is the "nature of the color" that creates these colors. Each dye has a different character and personality. Some dyes remain attached to the fibers, while others penetrate them smoothly. They are never consistent, truly iridescent. Color is a three-dimensional world, not a two-dimensional one. Experience plays a large role in creating these miracles of color combination.

"I don't judge colors with my eyes, I judge them with my head. I know their properties and think, 'If I combine these dyes, this color will have this kind of feel.' If I only looked with my eyes, sometimes when I layered the colors a customer wanted, the color might match, but the feel might not."

Color is three-dimensional. Just as we love the sky, the sea, and jewels, people love and find comfort in the colors found in nature. That's why customers say, "I never get tired of Komiya Komon."

■ Passing on Traditions from Person to Person

More often referred to as Living National Treasures, Komiya's grandfather and father have also been recognized as holders of Important Intangible Cultural Properties. While this system recognizes the technique itself, not the Edo Komon itself, as an Important Cultural Property, both her grandfather and father have also taken on the responsibility of conveying the craft's approach and its mission to the next generation. "My grandfather had stencils made for the next 100 years before Ise Katagami disappeared. However, none of the stencils carved at that time are used. This is because there are papermakers, blacksmiths, and stencil craftsmen today. The tradition can only be passed on once the next generation has grown. It's wonderful that the work of creating stencils for 100 years is supporting Edo Komon."

Komiya's father, also an Edo Komon craftsman, told her, "Finish all your work by the time you're 40." And at 35, she had a moment when she felt it was time to end. A small compromise, a difference in willpower. It was a change within himself that those around him would never notice. "What makes up for that is the taste that comes with age. I believe that the things you acquire through experience become fertilizer. So now, all I can do is live one day at a time. I need to keep creating, accumulating each day," says Komiya.

However, Komiya adds, "Even so, my desire to create something and my approach to crafting remain unchanged. I believe that by passing on that spirit and approach, tradition will be passed on from person to person."

From Komiya's dedicated work and words as he works on Edo Komon, I learned that tradition is not something far away, but something that is right there. It is not just something to preserve, but something to pass on, a daily endeavor.


【Profile】
Yasumasa Komiya
Born in 1956. After graduating from junior high school, he studied under his father, Yasutaka. At the age of 24, he was selected for the Japan Traditional Crafts Exhibition for the first time. In 2010, he received the Purple Ribbon Medal. Currently, both his eldest and second sons are training under his father.


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