Inro Diagram

Below is a sample inro. This inro has three section that open to reveal compartments inside. A silk cord passes through the inro, then the ojime bead, and finally ends at the netsuke. The ojime bead is slid down against the top of the inro to keep it closed.

Ojime Beads

Beads have forever been a part of history, covering virtually every culture. Although most beads are used to embellish and adorn, they also serve a number of other functions, which covers political events, social circumstances, religious beliefs, symbolism of curative powers, and have even been used as currency. Beads are also made in a huge variety of colors and designs, and can be made from all types of materials to include wood, metal, glass, ivory, and plastic.

Many of the ojime beads made from ivory were first carved in China’s Heibei province. However, during the mid-1980s, ivory was banned at which time ojime beads were made from boxwood. These beads are not carved by just anyone, but actual master carvers who consider this a very valuable art form. Many master carvers can create up to five to ten designs and while some will vary in color, the density and fine grain are what makes them unique. For a single ojime bead to be crafted by a skilled master carver, approximately four to six hours is required. Once the carving is complete, the beads are then signed by the artist, hand polished, and waxed to bring out their lustrous shine before being sold.

With Ojime beads, these first originated in Japan. The beads are meant to work with the netsuke so the Japanese people could hang items on a sash from their kimono. Although these small beads are beautiful and intricately made, they had a very distinct purpose for every day life. Because of the amazing carving of the ojime beads, they soon became somewhat of a fashion statement.

Now keep in mind that during the 17^th Century in Japan, pockets were not a part of clothing design. Therefore, the Japanese people had no way to carry tobacco, currency, medicines, and other small personal items. Over time, the tobacco pouch was created along with a writing set to keep things together and organized. The Inro for example was a box with anywhere from two to seven layers, which were used to store small objects. To keep the Inro together, cords made of silk were braided and then run through the box vertically.

As a way of maintaining the integrity of the braid, ojime beads were used. Then to close off the end of the cord, a small toggle called the netsuke was placed. With this design, the Inro could dangle from the kimono out of the way yet within close reach. Soon, the beautifully designed ojime bead became a piece of art expressed by the artist. With so many different designs, the Japanese individual could choose the style, color, and design that best matched his or her personal preference. For instance, some of the designs included whales, dogs, monkeys, snakes, crabs, tigers, dogs, dragons, mice, bats, roosters, owls, and much more.

While you can still find authentic ojime beads, today, many reproductions are also available, which are quite charming and typically carved from boxwood found in China, but following the traditions of the Japanese. The design of the ojime bead consists of a hole drilled from the top all the way down through the bottom. Additionally, depending on the design of the bead, there may also be some holes running lengthwise. The original and reproduced ojime beads are indeed amazing, refined pieces of art that are actually very sophisticated.

Netsuke

Netsuke (pronounced “net-ski” or “net-skeh”) are tiny sculptures that originated in Japan as an accessory to traditional Japanese clothing. They have since evolved over a time period of three hundred years into works of art that are both collected and revered by art aficionados across the globe.

Originally, Netsuke served both functional and aesthetic purposes. The Japanese kimono did not have pockets, so women would hold small objects in their sleeves, and men would wear a silk cord on their obi, or sash. From the cord, they would hang items such as tobacco pouches and coin purses. These items were known as sagemono. To stop the silk cord from slipping under the weight of their sagemono, they would attach a small toggle to the cord. These toggles were known as netsuke, which literally means, “root for fastening”.

All three items (the obi, sagemono and netsuke) were beautifully decorated with carvings, lacquer work and inlays of precious metals, ivory, coral and other rare or expensive materials. Netsuke were often carved into different designs, and were shaped as everything from animals to humans to abstract patterns. Because of their individuality and uniqueness, netsuke quickly became highly collectable and their design became a coveted art form. Netsuke were also a sign of social status, as the craftsmanship and the quality of materials used varied between individual pieces. The wealthy tended to own better quality netsuke.

Netsuke can be made from a large variety of material, the most popular being ivory. However, it is not uncommon to find netsuke made from wood, animal tusks and antlers, amber, pottery, bamboo and more. There are many different styles of netsuke as well. The most common style is called katabori, or figural netsuke. These are the netsuke that resemble people or animals. Another type of netsuke are sashi, which are long and thin. Manju netsuke are named after a bean paste dish because of their round shapes that look similar to buttons. Kagamibuta, which means “mirror lid”, are netsuke that consist of a metal lid and a bowl. Finally, mask netsuke are fashioned after the masks in the Noh or Kyogen style plays that were popular in Japan at the time. Common netsuke subjects included the animal characters taken from the Asian zodiac as well as mythological figures, heroes and scenes from everyday life, but netsuke subject matter was hardly limted to these and they could take the form of anything the artist could possibly imagine.

By the 19^th century, netsuke were no longer needed in their functional role. Japanese culture, and thus dress, was heavily influenced by European styles, and the kimono and obi fashion fell out of favor. They still remained highly collectable however, as the startling amount of detail that went into each netsuke was a true jewel in the crown of Japanese art development. Today, netsuke fetch hefty prices from collectors around the world who admire the intricate and delicate craftsmanship, and the uniqueness and individuality of these beautiful works of Japanese art

Japanese Woodblock Prints

The Japanese Woodblock Print is an art form, which highlights flowing, curved outlines, simplistic forms as well as the detailing of flat areas containing color. This form of art has not only existed for a long time in Asian history, but it has also deeply impacted artists in both Europe and North America throughout the 19^th century.

Woodblock printing was first used in Japan in the 8th century to print religious texts. Buddhists traveling from China brought these texts, as well as the printing method itself, to Japan.

These first prints were made in a single color using only Sumi ink. The world would have to wait nearly 900 years for the first colored prints to appear. Early color prints were made using a single block and black ink. The colors were hand painted by workers in the print shops. It was only when the popularity of these prints exceeded the production capacity of the workshops that the true woodblock print evolved.

To meet the rising demand, the printers employed master carvers to make individual blocks for each of the colors in the print. Many of the finer woodblock prints contained 15 or more colors, requiring 15 different expertly carved wooden print blocks. Each of these blocks had to be carved with great precision to ensure that the colored sections met perfectly.

Earliest among these images were private calendars that were printed without first by Suzuku Hornbook (1725-1770), and later with other various artists. One of the most famous of Suzuku Hornbook’s print was the image "The Køya Jewel River”.

Beginning in the mid-1760s, the newly discovered color prints were sold commercially; their depictions included themes that were both classical as well as contemporary; these themes included literary scenes, the lives of celebrities, women of beauty, travel scenes, erotic scenes, as well as actors in their different dramatic roles.

During the 19^th century, some of the most exhibited and represented artists of Japanese Woodblock Prints are Utagawa Toyokuni I (1769-1825), Utagawa Kunisada (1786-1865), Utamaro Kitagawa (1750-1806), and Andø Hiroshige (1797-1858).

The techniques that were used were varied, but were absolutely critical to the final print. While working, the artist is required to keep a very specific goal in mind while creating the blocks. This mindset should be in line with the Japanese tradition of demonstrating the precise direction of the brush that would be painting the picture, so that the features of the original piece, as well as the written characters, are not in any way destroyed. So from the artist’s point of view, the direction of the knife should match identically the direction of the brush, which initially inscribed the picture. This being said, it is easy to understand that it takes an extremely skilled hand to replicate the unique and exact features captured in the originals, while simultaneously demonstrating the artist’s own skill and character.

The wood that is used for Japanese Woodblock Prints is selected very carefully. The woods considered include only very specific types of trees, and only certain textures of wood within those different species. No matter what, the texture of the wood must be extremely fine and very hard.

The differences between old and modern methods of Japanese woodcutting are as follows: the method of cutting on wood - as the ancient woodcuts is deeper than the ones that are made today. However, though more shallow, the present day pieces allow for much greater detail.

The majority of the woodblock prints were produced in the cities of Osaka, Kyoto, and Tokyo (formerly Edo). Workshops in Kyoto still produce woodblock prints today, which is the source of the prints we offer for sale on our site.

Ukiyo-e

Ukiyo-e is probably the best known and most popular style of Japanese art. Like artistic eras in other parts of the world, Ukiyo-e art was produced in a variety of different media, including painting. Ukiyo-e, which is Japanese for "pictures of the floating world”, is primarily associated with a style of woodblock print making that depicted scenes of harmony and carefree everyday living. Because it used woodblocks to make a number of prints, Ukiyo-e took art from being the domain of the upper classes and royalty. This then made it more accessible to the common people.

Ukiyo-e became popular around the mid-nineteenth century. One of the first major artists in the Ukiyo-e was Monorobu Hishikawa, who produced single color prints made with woodblocks. Hishikawa, who was an illustrator for a book publisher, had to argue very hard to convince his superiors that printing and selling single sheet artworks would be a lucrative enterprise. This is certainly ironic, since Ukiyo-e became one of the most popular and lucrative forms of art the world has ever seen.

Hishikawa became the first Ukiyo-e "master”, and once his works had achieved widespread fame, he began to accept pupils. His actions created a trend, and soon other master artists were working with students to promote several different styles of print-making. The most popular subjects for Ukiyo-e prints at first were women, usually prostitutes, or "courtesans", and Ukiyo-e became known for its almost pornographic qualities. However, not all Ukiyo-e prints featured nudity. In fact, many were full length portraits of women displaying their kimonos not unlike modern fashion models.

The first Ukiyo-e prints used a single color – custom prints with added color had to be finished by hand. Though later developments allowed the use of three, and then finally multiple colors, the process of woodblock printing remained basically the same. The artist would produce a master painting, which was then traced by craftsmen who carefully marked where each color would be placed. Then these craftsmen would make templates for each color, producing a separate woodblock for each one. The woodblocks were then pressed sequentially onto the paper in a certain order, producing the final product.

The Ukiyo-e style remained popular into the nineteenth century. While courtesans and other women remained popular subjects, landscapes, city scenes, and many other scenes from everyday life began to emerge as popular subjects as the art form became more widespread. Ando Hiroshige, a woodblock artist who began producing works around the beginning of the nineteenth century, is widely regarded as one of the best Ukiyo-e artists. His master works, a series of prints called Fifty-Three Stations of the Tokaido, are considered as some of the finest Ukiyo-e prints, and his passing in 1858 more or less coincided with the end of the Ukiyo-e woodblock printing era.

Japanese Kimono

When we think of traditional Japanese dress, we inevitably think of the kimono as a garment that has been around throughout the course of Japan's history. However, this is not the case. While it is true that the kimono is the national costume of Japan, which is why it is the first thing we think of but the garment in its first recognizable form did not appear until the 7^th century. In fact, what we think of when we refer to a kimono today was not developed until the Edo period.

Kimonos are breathtakingly beautiful and somewhat daunting to the eye of the westerner that might find it tempting to try to wear one. It looks a bit like a bathrobe but much, much more complex than traditional Western wear. Does the word "kimono" convey any special insight into how to wear this garment by its meaning? Unfortunately not! The word kimono simply means "something to wear". Historians specializing in period clothing tell us that the name kimono came to be known to us about at the same time that Japan, after years of being closed to foreigners, was first entertaining visitors from the west. "Something to wear" was the answer given to curious inquiries about the Japanese style of dress. The name "kimono" stuck.

Much of the tradition surrounding kimonos comes from the Chinese. We know that Japan and Chinese nurtured a thriving trade between them. During travel, Japanese traders brought back clothing traditions from the Chinese court, which were adapted in Japan and remained popular until diplomatic relations between these countries cooled off in the early Heian period. For example, the fact that kimonos are always crossed left over right. That tradition started in China, where it was considered very poor taste and breeding to cross right over left.

Kimonos changed through the different periods of Japan's history to reflect the lifestyle and culture of the time. The cut, color, fabric, and decorations of a kimono may vary according to the sex, age, and marital status of the wearer, the season of the year, and the occasion for which the kimono is worn. During the Heian period, sitting on the floor became an important part of the Japanese lifestyle. Clothing became stiffer and made up of multiple layers to help people be more comfortable. It was not unusual for women in Japanese society to wear as many as twenty layers. The layered color pattern reflected many things including seasons, directions, virtues, and elements of the earth as they related to spirits of nature. The multiple layers also helped stay warm in winter.

The next period in Japan's history - the Muromachi period (1192-1573 A.D.) - saw the rise of the Samurai tradition in Japan. Kimonos became simpler to reflect the needs of the more active Samurai lifestyle. With the increase in industrialization and the growth of the merchant class during the subsequent Edo period (1601-1867 A.D.), kimonos went through their final evolution to the single layer garment tied with the obi sash we recognize today. One interesting fact is that up until the Edo period, the belt of a kimono, the obi, was always tied in the front. The Edo period saw the tradition change to what it is today, with the obi tied in the back.

The Imperial household of Japan still uses kimonos of the Heian period for special occasions such as coronations and weddings. To Japanese clothing historians, the Heian period is known as a time when the Japanese began expressing their perception of the seasons and especially color changes associated with the changing of the seasons through the design of their kimonos.

Kimonos appear deceptively simple to wear. There are some styles of tying the obi knot that require half and hour to complete. Even a simple shopkeeper's kimono involves a complex folding and tying procedure in order to wear properly. Today, modern men and women in Japan prefer yofuku, which is a western style dress for everyday wear. Kimonos are still favored by some for special occasions and ceremonies, like traditional weddings. Kimonos are expensive, though providing a new business opportunity in Japan providing kimonos "for rent" for those times when only this traditional garment would do.

Bonsai Trees

In recent years, many North American gardeners have discovered the joy of growing and caring for Bonsai trees. These small trees, which are kept indoors although they can be grown outdoors as well, provide hours of enjoyment. Additionally, the bonsai has tremendous success at reducing stress and centering the gardener's thoughts. In fact, many experts assert that growing a Bonsai tree is more about spirituality and achieving artistic perfection than it is about gardening! While Bonsai trees were once confined to Japan and other Asian countries, they are now becoming increasingly popular in the West, as more and more people look for activities that will help them deal with their hectic and stressful lives.

"Bonsai" is a Japanese word that means, "Tray planted." Bonsai trees are called this because they are planted in a small pot or tray and kept indoors, although good Bonsai trees are more than hardy enough to leave outside all year round. There is not one specific species of tree used for Bonsai trees. Instead, a variety of conifer or small-leafed deciduous trees can be used along with other interesting and beautiful plants and trees. Regardless of the species chosen, it is important that the tree and the pot match each other harmoniously since the goal of Bonsai is to have a pleasing shape from top to bottom. Your Bonsai tree can be a variety of different sizes ranging from miniature trees that are only two inches high at maturity to average trees that reach up to two feet in height or more.

Bonsai trees are usually grown from seedlings, allowing them to be carefully controlled. The idea of a Bonsai tree is to produce an image in your mind that you want your tree to look like, preferably that of an old tree. Then, the bonsai is trained to that shape. Training of Bonsai trees is achieved through constant pruning. By limiting growth in certain directions, your Bonsai tree "learns" not to grow that way. You can also shape your Bonsai tree's trunk and branches by using wires to limit growth. However, the wires should be removed before maturity to prevent scarring.

Bonsai tree horticulture has become somewhat of an art form in Japan. Bonsai artists with skill can evoke images of the age of the tree, or can even grow their trees to show seasons. The history of Bonsai can be traced to China more than 1,000 years ago, but it is in Japan that that Bonsai has matured as an art form. The spiritual element of Bonsai dates back to a time when only Buddhist monks raised Bonsai trees. Before pruning, the monks would meditate to find a vision of harmony and then try to make that vision a reality. Much the same is true today, which is why Bonsai trees are so useful at reducing stress. To care for your Bonsai tree properly, you should first center yourself by thinking of the tree. This kind of deep contemplation has the effect of blocking out other concerns, at least for a short time.

The Zen garden

The Zen garden has a long and impressive history and in fact, there are several different types of Zen garden. The most famous is the dry garden, which is called Karesansui. This word translates into “dry mountain, and water garden” and to create the look, rocks and gravel are used.

This type of Zen garden is designed in such a way that the raked gravel resembles water. Then to create the look of water flowing, small rocks, pebbles, and sand are used. Often in the dry Zen garden, you will see one large rock that is the predominant feature. This rock is representative of the mountains that tower over the countryside. With this type of garden, it is believed that the stillness of the “water”, being the gravel is the peace and tranquility of the mind. In ancient China, Zen priests would take the majestic view of the mountainside and create the Zen garden based upon Shakkei, which translates to “borrowed scenery”.

Another type of Zen garden is one that is lush and green, and interestingly, would often be designed as a compliment to the dry Zen garden. This type of garden creates a magical illusion of a long journey found within a specific space. Many of the gardens have paths that meander through the garden, making their way around beautiful trees and shrubs as well as over streams and near waterfalls and statues. Each twist and turn of the path is designed to keep the individual’s mind on the spiritual journey.

The Zen garden has been a major part of history for centuries. However, they did not evolve into what we know them to be until the late 6^th Century. Most of the early Zen gardens were quite large and provided the opportunity for Buddha Priests to stroll throughout the garden. Then in the 11^th Century, the dry landscape was adopted. It was then in the 13^th Century that the principles of the Zen garden were finally established to what we know them to be today.

You might hear people refer to a Zen garden as a Strolling Garden, Dry Garden, Japanese Garden, and other names, which are all aspects or have a connection to the Zen garden. The purpose of the Zen garden is to provide a place of meditation and contemplation. When the Zen garden was first created by a Zen priest, it was actually called a Contemplation Garden, or Kansho-niwa. It was here in the United States that the term “Zen” began.

The nice thing about a Zen garden is that you do not need to have a huge piece of property to create one of your own. In fact, there is even Zen gardens so small they can fit on an office desk. It is not about the size of the garden but the elements. Whether creating a Zen garden inside your home or outside, you will feel the peace and tranquility projected from this type of garden.

Types of Koi

Koi are a type of carp Cyprinus carpio that are bred for their distinctive colorations and patterns. Some authorities believe that Koi originated in Persia and were introduced throughout the ancient world by traders moving to or from the Middle East. The fossils of carp have been discovered in South China about 20 million years ago.

In Japanese they are known as nishikigoi which means 'brocaded' carp. They were first described in a Chinese book that dates back to the Western Chin Dynasty, 265-316 A.D. and were described as white, red, black and blue.

Colorations

Koi are bred in every country of the world and are considered to be the most popular fish for ornamental ponds. And, no wonder. Their colorations are so lovely that they are sometimes referred to as "living jewels" or "swimming flowers".

Typically, the coloration of koi includes several colors, white, orange, yellow, gray-blue and black. The bluish color occurs because of black coloration underneath the skin. There are infinite color combinations possible, but there are certain patterns which are considered most desirable, for example, a round patch on the forehead and a stepping stone pattern down the back. Sometimes a diamond design is created by missing scales.

Koi breeders have named a number of varieties of koi based on their patterns. There is a great deal of secrecy among breeders because the breeding process is quite involved and many varieties are not easily bred. Hence, much of the knowledge about how to breed koi for certain characteristics is not well known. Some koi with rare and desirable markings can cost hundreds or even thousands of dollars.

Keeping Koi

Koi are a very hardy fish and can be kept in ponds and containers of various sizes. However, they grow very quickly and soon outgrow small tubs. They do much better in a pond that is at least half a meter deep. Koi are cold water fish, so if you live in a place where the summers get very warm, you'll need to have a fairly deep pond.

Because koi are so brightly colored they are an easy mark for predators. Herons, kingfishers, raccoons, cats, and foxes can clean out a pond overnight. One way to keep herons away from koi is to be sure that the pond is too deep for herons to stand in. Savvy pond owners also create overhangs that are high enough above the water so that raccoons can't reach in and help themselves. However, in the end it may be necessary to place netting over the pond to protect the koi from predation.

Koi are herbivorous and eat vegetation. In fact, if you may have noticed that most koi ponds are devoid of any plant material. Koi can be voracious eaters and are not usually compatible with plants in a garden pond. They devour water plants. Because koi are bottom feeders, most koi owners feed their fish commercial food pellets that float to encourage them to come to the surface. Koi can become very tame, even to the point that they can be trained to eat from your hands.

Koi Varieties

There are many different varieties of Koi. Here is a list of some of the more popular ones:

	Asagi - light blue on top, red/orange on bottom, blue scales bordered in white
	Bekko - primary color red/orange/yellow/white, with black patches
	Goshiki - mostly black, with red, white, brown, and blue accents
	Hikari utsuri mono - two metallic colors
	Hikarimoyo mono - two colors; one flat, one metallic
	Kawari mono - miscellaneous
	Kinginrin - bright metallic sheen, silver highlights
	Kohaku - red accents on white body
	Koromo - red and white overlaid with blue or silver
	Ogon - uniform yellow or white
	Platinum ogon - pure white
	Showa sanke - black with red and white markings
	Shusui - similar to asagi, but with large scales in a dorsal row
	Taisho sanke - primarily white, with red and black markings
	Tancho - primarily white, with a red patch on the forehead
	Tancho kohaku - pure white, round red head patch
	Utsuri mono - uniformly black, with red, white, and yellow markings

Raising Koi

Koi are a variety of the common carp that were developed by the Japanese over 2000 years ago. They were originally bred only for food; protein supplements for the largely vegetarian Japanese diet. Today, they have gained the reputation of being some of the most beautiful fish in the world, and they inhabit fish ponds built especially for them to compliment garden settings everywhere. They are called the national fish of Japan and are often described as works of art referred to as “living jewels” or “swimming flowers”. Koi lovers have created many organizations across the globe, and annual Koi competitions are held to determine who has the most beautiful of these fascinating fish.

Most collectors value size in Koi. They can range in size from four inches to three feet long, but it will vary based on a number of conditions including the size of pond the Koi live in and the quality of food, water and environment. Koi can grow rapidly under the right conditions, and it is not uncommon for a fish to grow up to six inches or more a year. Koi come in a multitude of varieties. They are classified based on their many bright colors and patterns that they can develop.

Koi are more than just mere eye candy however. They can make excellent pets as well. The fish are smart, and have the ability to show a range of emotions. They can even be trained to eat right out of their owner’s hand. As well, Koi have excellent hearing that is three times better than standard fish, and they have an abundance of taste buds all over their bodies, including their lips, tails and fins. Koi can show they are under stress by “blushing”, in which a bright red appears in the fins and on their bodies. Blushing can occur when handling a frightened Koi, or if the fish’s pond environment is poorly maintained.

Koi are voracious eaters, and will overeat at every chance they’re given. They have been known to flop up on lily pads to retrieve bits of food as well as skim, dolphin-like, across the surface of the water grabbing for food as it is thrown to them. This is a comical, yet dangerous quirk of the Koi. The danger lies in the amount of ammonia the fish produces when it eats in abundance. Ammonia is produced and released into the water as the fish eats through gill respiration and in the fish’s urine and feces. If an owner is not careful with how much food they feed their Koi, the ammonia levels in a Koi pond can quickly escalate, turning it into a toxic soup and endangering the fish.

If Koi are fed carefully, and their pond is cleaned and maintained regularly, they can be an excellent addition to any garden or landscaping effort. They are colorful and beautiful, and each one offers a unique personality that will often surprise those unfamiliar with the fish. Koi not only add to the beauty of any garden, but they make great pets as well.

Koi

Koi, which are Japanese carp, are beautiful fish found most often in ponds in Japanese gardens. Although they come in a number of different color variations, the bright orange and red are the most easily recognized. Koi typically measure from 6 to 10 inches in length when they are young but as they mature, they can reach 20 feet or more. This full-grown size usually takes about two years and watching them grow is an interesting process.

Koi tend to be gentle fish that love to be handfed. While most people will simply toss food pellets on the surface of the water, if you place pellets inside a closed fist and then carefully lower your hand into the water, the Koi will become curious and slowly start paying attention. By releasing just a few pellets, the Koi will come even closer. As you open your hand, the Koi will actually come right up to your hand and eat from it. You will feel a strong sucking as the Koi inhale the food.

The scales of Koi are shaped as diamonds with some having a metallic appearance. Koi are amazingly beautiful and for being so large, very graceful. The colors are always brilliant and the movement of the Koi, peaceful.

Below are the various types of Koi:

• Asagi Shusui – This is a combination of two species with the Asagi representing scales with a white edge, giving the Koi a net-like look. The belly is bright red, extending to the pectoral fins, gill covers, and lips.
• Bekko – This is a reference to any Koi that has two colors
• Goshiki – This name translates to “five colors” and consists of many different patterns of red, blue, black, white, and gray
• Hikari-Utsurimono – Predominantly black, the scales on this type of Koi are a very shiny metallic
• Koromo – Similar to the Asagi, the scales on this Koi have a darkened center, giving the fish a blue-like appearance
• Oringi Koi – This Koi is bright orange with non-metallic scales
• Ogon – Extremely shiny, this Koi can be yellow, gold, white, orange, or even platinum
• Showa-Sanshoku – This is a three-colored Koi that consists of white, red, and black
• Shusui – The scales of this Koi are smooth with orange that runs down the sides and on the cheeks, and the body is white with a blue streak. For a Koi to fall into this category, the head must be white.
• Tancho – Of all the Koi species, this is the most interesting. The fish is white and on the head is a perfect circle of red, making the fish look exactly like the flag of Japan.
• Taisho-Sanke – This Koi has three colors with black being the minor color. To be a Taisho-Sanke Koi, the black must never be more than the color red. Additionally, the head must be red and account for 50% or more of the head color.

Kabuki Theater

A wonderful combination of ancient traditions and cutting-edge modern life, Japan has it all. It is one of the world’s most fascinating places to visit as many wonders and revelation await you. You can try your hand at Origami, the popular art of paper folding, or take a walk down the serene paths of a temple or you may step into a theatre and take in a performance - the Kabuki Theatre is a must see in Japan as it is the most famous of the traditional Japanese theatres and depicts one of the various aspects of performing arts.

Kabuki originated in the Edo period and was more popular with the lower social class as compared to the higher social classes. The word 'Kabuki' is composed of three Japanese characters: 'ka' meaning 'songs', 'bu' meaning 'dance' and 'ki' meaning 'skill'. Its more likely a Japanese version of Shakespeare’s plays being performed in an Opera. But Kabuki is more entertaining, energetic and awesome in the use of color, makeup, movements and often other spectacular effects.

The passion for Kabuki Theatre began with first performance by the shrine dancer Okuni at Kyoto in 1603. This performance was a unique blend of folk dance and religious dance and soon became popular with the lower classes. In the early phase of the 17^th century, women were banned from performing because women performers were lured to the business of prostitution and were getting undue attention from male admirers. This led to the development of art of female impersonation wherein males also played female parts. The beginning of the 18^th century marked the development of Kabuki into a more matured form and was starting to become popular even with the higher classes of society.

Kabuki plays are composed of certain varying elements that help it become so colorful and glamorous. These elements include: Story, Musical Elements, Dramatic Content, Dance, Costume, Make-up, Theatre Design, and Actor/Audience Relationship. Kabuki plays are about society in a particular period, historical events, moral conflicts, love relationships etc. and are performed using a combination of dramatic dialogue and dance, and accompanied by drums, flutes, stringed instruments called shamisen, and chanting. The Kabuki music also employs special spectacular audio-effects. The most exceptional among them is the sounding of wooden clappers signaling the opening and the closing of a Kabuki play. The actors/performers wear costumes that reflect the contemporary styles of the day. The costumes play a major role to emphasize the character’s role being portrayed by the performer, as they themselves are full of complexity and hidden meaning. Along with the costumes, make-up is also considered as an integral part of Kabuki performance. The theatrical designs have changed over a period of time, ranging from raised platforms on a riverbed to the modern day theatres having rotating stages and a whole range of gadgets. The last but not the least is the Actor-Audience Relationship as there are instances in a Kabuki play when an actor would come out of his role and address the audience directly.

Kabuki performers are very famous in Japan and this theatrical art is usually passed from one family generation to the next, but the National Theater in Tokyo also has a school for training young and upcoming performers. The costumes and conventions of the traditional Kabuki are still being incorporated in the modern Kabuki plays. However, the new generation performers are finding out new ways to update plays in-order to attract more and more audiences.

You can only appreciate the theatrical creativity of this art form by visiting a Kabuki performance and a good tip would be to go with a Japanese national who is familiar with the Kabuki Theatre.

Famille Rose

Famille Rose was developed during the Kangxi reign of the Qing Dynasty, and is based on the Wucai and Docai styles. Famille rose porcelains feature complex, ornate patterns with a balanced tone, detailed drawing, and steady color.

Docai Porcelain

Docai Porcelains feature an unusual combination of exquisite patterns, color coordination, and well-executed color filling. It reached its height in the Yonzhen and Kangxi reigns during the Qing Dynasty. The blue-white color is first applied under the glaze. Then red, green, and yellow are filled over the glaze and the piece is fired at low temperatures.

Wucai Porcelain

Wucai is a type of overglaze decoration. After firing the piece at a low temperature; red, green, yellow, blue, and purple enamels are applied to the white ware. Wucai has been popular since the early Qing Dynasty.

Blue and White Porcelain

Drawing the design with cobalt pigment onto the stoneware body, and painting over it with a transparent glaze creates the blue-white style, also known as “underglaze blue”. The piece is then fired at a high temperature. Blue-white porcelain was introduced during the Yuan Dynasty and has been continuously in production ever since, thanks to is bright colors, simple yet elegant patterns, and smooth glaze that never fades.

Celadon Yingqing Porcelain

The production of monochromatic ceramics matured over several centuries in Northern China, achieving particular success with green-glazed or “celadon” pieces. These were developed as Ru, Guan, Ge, and Jingdezhen ware to a high level. The delicately lobed and rounded bodies of these porcelains reflect the mastery of the artisans from this period.

Yaobian Porcelain

Yaobian vases feature a simple, natural shape combined with sophisticated colors. Their dominant purple-red glaze flows into cyan and moon white in a pattern that takes on a life of its own and enhances the beauty of the vase. Glazing the fired body of the vase multiple times, then baking at a low temperature creates such patterns. The copper, cobalt, titanium, manganese, and iron coloring elements combine to produce a variety of shades, mingling with the red glaze on the porcelain to create striking hues.

Canton enamel

Canton enamel is named for the city where it was first manufactured. Canton is located in southern China in the province of Guandong. While the Chinese had used enamels to paint artistic scenes on stoneware for centuries, Canton enamel was a new technique whereby painted enamels were painted onto the whole surface of copper, ceramics, and other earthenware pieces. The technique was developed in Limoges, France in the seventeenth century. It has been reported that this technique was brought to China in the late seventeenth century by French missionaries. The earliest examples of Canton enamel date back to approximately 1740.

Canton enamel was applied to a wide variety of different pieces. The pieces which have become perhaps the most synonymous with the words "Canton enamel" are metals, which have been painted with enamels in a variety of different scenes. These pieces often depicted court life in China, being decorated with elaborate floral borders. The metal most often used in the earliest pieces is copper, which was first shaped into vases, plates, cups, and tea sets. Once the artwork was completed, the pieces were heated to bond it firmly to the surface, creating a colorful piece that exudes color and liveliness. As the industry developed and demand increased for pieces made with the Canton enamel process, manufacturers began working with many different materials.

Canton enamel artwork could soon be found on porcelain and other stoneware and in fact, this technique started being used in other Chinese cities and districts. Porcelain tea sets made during the eighteenth and early nineteenth centuries are considered real art works. Chinese enamels are generally divided into classifications based on the color palettes used in each piece. Some examples include famille verte (green colors), wucai (bright colors), and fencai (pale colors). Canton enamel pieces are generally created with famille rose (family of red) colors, which are opaque and filmy. Typically, these include red, peach, yellow, and opaque white. The opaque color scheme tends to give Canton enamel an ethereal quality not seen in other pieces from China, many of which have bright, bold colors.

Canton enamel pieces produced in the eighteenth and nineteenth centuries are highly prized. These include tea sets, cups, and plates while the pieces created in the twentieth century lean more toward a commercial appearance although they too are beautiful decorative and functional ash trays, tea sets, and so on

Famille Rose & Famille Verte

When western explorers first made contact with the Chinese, they returned with word of many fascinating art forms, products, and innovations. One of these art forms was Chinese porcelain, which subsequently became known as what else - China. The making of China is an art that goes back centuries in China, and it is one that evolved with the various dynasties that make up Chinese history. Over the years, the type of glazing and enamel applied to China changed as new designs and colors became fashionable.

It also became common for designs originating in China to become widely popular in Europe. In fact, many Chinese porcelain innovations were trend setters for the European markets. One of these innovations was the color "family" known as Famille Verte. But European influences can also be found to have influenced Chinese designs; this is the case with the color family and designs associated with Famille Rose.

Famille Verte originated in the early eighteenth century. Famille Verte is French for the "green family," and indeed the colors in Famille Verte are based on different shades of green. These green colors are then combined with hues of red, blue, and yellow and the enamel baked onto the porcelain in intricate patterns and designs. Famille Verte is a wholly Chinese innovation and builds upon patterns developed in the earlier Ming dynasty, which was characterized by a "five color" pattern of decoration.

Famille Rose, on the other hand, was influenced heavily by colors introduced from Europe. The pink and rose hues of this classification of China are deviations from previous Chinese designs, and the pieces that were produced with the Famille Rose are much more closely associated with the forms of China popular in modern European and Western markets than with older Chinese designs. The Famille Rose palette of colors is more opaque than other color and design groupings. Additionally gold colorations are used more than the deeper red hues of previous designs.

Many Famille Rose patterns were exported to Europe, and the fanciers of China there often refined and redesigned these patterns and sent these designs back to China for production. Thus, while many of the Famille Rose patterns are wholly of Chinese origin, others have roots that intermingle with European designs and ideas. The Famille Rose "era" is from about 1730 to the 1790s. Early Chinese pieces are characterized by large flowers, while later pieces adopt smaller flowers that were more popular in European markets.

The making of fine porcelain pieces is an ancient art in China, practiced for centuries before the area was even explored by the west. However, once the export market became an important part of the Chinese economy, various influences began to influence the colors and designs produced by the country's many kilns and productions sites. Famille Verte and Famille Rose are two of the best examples of these styles, and pieces made with these enamel color families are prized by collectors still.

Imari Porcelain

When most people think of ceramics production in eastern Asia they think of Chinese ceramics – such as vases, tea sets, and figurines. However, Japan also has a rich history of ceramic arts, dating back several thousand years. Although the Japanese have been producing ceramics for a long period of time, the art did not become well known in the rest of the world until the seventeenth century when Imari porcelain became highly popular in European markets. Imari porcelain became well known for its striking blue colors on a white background, and for a time Dutch traders brought large amounts of Imari porcelain back to European markets. Pieces of Imari porcelain came in many different grades of quality depending on the market they were bound for – but regardless of their quality, older examples of Imari porcelain are highly prized by collectors.

Ironically, Imari porcelain is generally believed to have been first produced by Korean potter Ri Sanpei, who was brought to Japan from Korea following the Japanese invasion of Koran in 1597. Examples of Imari porcelain from the early 1600s used only blue colors on a white glaze background; as the art matured through the mid-1600s other colors became a part of Imari porcelain, including red, yellow, green, and gold. The popularity of Imari porcelain was somewhat enhanced by political turmoil in China, which closed Chinese markets and forced European traders to seek new production sources. Imari porcelain also remained consistently popular on the Japanese market, with different grades of pieces being available for almost every different social class.

Imari porcelain was mostly produced on the southern Japanese island of Kyushu. While porcelain production was well established in countries like China and Korea, Japanese potters had a hard time finding the clay necessary for making porcelain. Once a source of this clay was found near Arita Japanese porcelain production progressed rapidly, although it never achieved the scale found in China.

Imari porcelain (and indeed most porcelain) has a white base color, to which early potters added a blue cobalt dye before firing to create an under glaze. Later artists painted designs on top of the fired pure porcelain with enamels, and the colors used for these designs changed over time. Imari porcelain pieces were produced for both artistic and functional uses. There were several different grades of Imari porcelain produced, with the higher quality works generally reserved for the wealthy elite. Plates, rice bowls, tea sets, and sake sets were all produced in Imari porcelain, and many Japanese families still use these articles in their homes.

Imari porcelain can make a fine addition to any Asian art collection. Some pieces can also be pressed into functional use serving sake or Japanese tea. Imari porcelain is still produced today, and examples of older pieces are widely available at antique shops and auction.

Mexican Talavera Pottery

Around the area of Puebla, there are two of the most impressive volcanoes in all of Mexico - Iztaccihuatl (Is-Tah-She-Wha-Tell) and Popocateptl (Popo-Caw-Tay-Pet-Tell). However, this part of Mexico also has another legend of Talavera pottery. As you look at the many buildings such as churches and monasteries, you will see this type of pottery used as adornment, adding vibrant color. However, Talavera pottery is also found in most kitchens and on patios.

Talavera pottery is majolica earthenware, which is white and glazed, although you will also find pieces of blue, green, yellow, and so on. Talavera pottery was first introduced by the Spanish but interestingly, the term used, “Talavera” is more commonly heard in Mexico than it is in its originating country of Spain. Of all tin-glazed ceramic, Talavera is the oldest. While its beauty is one of the great aspects of this pottery, the fact that the same methods from 16^th century are still used today, adds interest.

During Colonial times, the capital of Mexico, now called Mexico City, was known as Nueva Espana. It was there that this earthenware was produced and such an important part of the economy. Shortly after Nueva Espana was established, the production of Talavera pottery, tiles, and other ceramic ware began, sometime around 1531.

This particular region of Mexico is also known for its fine quality clay, a real advantage in creating Talavera pottery. Very soon after experimenting with the clay and various techniques, amazing quality and beauty was achieved and with that, popularity of this type of pottery around the continent. Another fascinating aspect of Talavera pottery is that there are several legends to its origin.

For example, one theory is that Spanish monks coming from Danto Domingo monastery located in Puebla had sent for the artisans of Talavera de la Reina, asking them to come to the region to teach the native people how to make magnificent pieces, using the natural resource of clay. The result was that the indigenous people made ceramic pieces and tiles very similar to what was produced in Spain. With the completed pieces, the monasteries and churches were decorated, adding color and enhancing the religious sculptures.

We know that these natives were very skilled and had a long history of making quality earthenware but they were not trained in using the pottery wheel or in tin glazing the finished pieces. Because this is one of the main characteristics of Talavera pottery, it obviously created a serious problem. Now, while that theory sounds plausible, there were others.

As an example, it is also believed that the Dominican friars, who were very skilled in creating Talavera pottery, were actually the people who taught the Indians how to make the ceramic pieces and tiles. We do know from documents that many of the artisans from Talavera de la Reina in the 16^th century had workshops where they made the various ceramic wares and tiles. Because of such high demand, the businesses were flourishing.

However, eventually, special ordinances were established whereby all potters making Talavera pottery had to follow very strict guidelines for each piece made. The purpose of these ordnances was to ensure customers were buying only quality pottery that had consistent standards and that each of the Talavera pottery pieces had a distinct style, meeting only the highest excellence.

To give you an idea of what this gild required, blue was used only for the finest of ceramic pieces. The reason is that the mineral pigments required to produce the color blue were very costly. With this, customers would immediately be able to tell if the Talavera pottery was excellent quality and unique. Now, keep in mind that all of the Talavera pottery pieces are of high quality but those made from blue are at the top.

Then, to ensure people were not making fake Talavera, each of the master potters were required to leave their mark or signature on the pottery. Next, Talavera pottery was broken down into three specific categories, depending on the quality. These included “Fine”, “Semi-Fine”, and “Daily Use.” Finally, all of the artisans were required to pass an annual test to ensure they met the high standards required for making Talavera pottery.

Keep in mind that while Talavera pottery was often used to make religious figures, plates, pots, and jars, you will also find it used in many other aspects, especially in today’s world. In fact, many of the Spanish style kitchens will use Talavera tiles for the incredible color and durability. If you are planning a trip to Puebla, Mexico, you will marvel in all of the pottery and ceramic that adorns the city.

Today, Talavera pottery has not lost its popularity and although a little expensive to produce, it is magnificent and well worth the money. Just be sure you look for the mark or signature of the master potter and look on the base to make sure it states it comes from Puebla. The oldest company still producing Talavera pieces is called Uriarte, which makes extraordinary pieces. If you like, you can visit this company and watch as the pieces are made by a master’s hands.

Weaving

Weaving is an ancient textile art and craft that involves placing two sets of threads or yarn made of fiber called the warp and weft of the loom and turning them into cloth. This cloth can be plain (in one color or a simple pattern), or it can be woven in decorative or artistic designs, including tapestries.

The majority of commercial fabrics are woven on computer-controlled Jacquard looms. In the past, simpler fabrics were woven on other dobby looms and the Jacquard harness adaptation was reserved for more complex patterns. The efficiency of the Jacquard loom makes it more economical for mills to use them to weave all of their fabrics, regardless of the complexity of the design.

Hand weaving, along with hand spinning, is a popular craft. Weavers use wooden looms to create rugs, fabrics, and tapestries. Fabric in which the warp and/or weft is tie-dyed before weaving is called ikat. Fabric decorated using a wax resist method is called batik.

Process

In general, weaving involves the interlacing of two sets of threads at right angles to each other: the warp and the weft. The warp's many threads are held taut and in parallel order by means of a loom. The loom is dressed, or set up, with the warp threads. The weft threads can be wound onto shuttles. The weft thread crosses the warp in some over/under sequence. The nature of that sequence gives rise to many possible patterns and structures from the simplest plain weave, through twills and satins to complex computer-generated interlacing.

Both warp and weft can be visible in the final product. By spacing the warp more closely, it can completely cover the weft that binds it, giving a warp-faced textile. Conversely, if the warp is spread out, the weft can slide down and completely cover the warp, giving a weft faced textile, such as a tapestry or a Kilim rug. There are a variety of loom styles for hand weaving and tapestry. In tapestry, the image is created by only placing weft in certain areas, rather than in the weave structure itself.

OAXACAN WOOD CARVING

OAXACAN WOOD CARVING

All throughout the various villages of Mexico, you will find various forms of whimsical art. Oaxacan wood carvings are carved from the Copal tree while the wood is still green. The name of the art originates from the State of Oaxaca (Wa-HAH-Ka), specifically in the villages of Arrazola, La Union Tejalapan, and San Martin Tilcajete. Interestingly, this area of Mexico is quite large but in a state of poverty. Even so, the folk art traditions are considered among the most creative and richest in the world.

These wood carvings are extremely popular and because of their movement, humor, and vibrant colors, they look great in any home, office, or as a gift! The design of each carving comes from the carver’s own superstition and imagination. Since magic and myth are a huge part of the culture in this region, the Oaxacan wood carvings can be dramatic in design.

Some of the options include lizards, which are common in Mexico, along with demon creatures, gazelles, pelicans, frogs, cats, dragonflies, and roosters, all favorites. After the shape has been carved, the carver painstakingly sands it down and then paints bright colors and unique designs, making many of the designs appear realistic. Most Oaxacan wood carvings are quite complex, comprised of flowing tails, intricate detailing, and creative artistry.

The originality seen in each Oaxacan wood carving is unsurpassed in wizardry and color. Because of the time and effort the carvers put into these creations, they are considered prized possessions. Most of the Oaxacan wood carvings are known as Alebrijes, which are created by Zapotec Indians who live primarily in southern Mexico, down in the Oaxaca Valley. The techniques and ability of these people dates back hundreds of generations. In fact, the legend is so wide spread that in 1991, the Oaxacan wood carvings graced the cover of Smithsonian Magazine.

In the Oaxaca Valley, you will find just a few hundred families that consist of poor farmers. To pass the time in the fields, they work on carvings. In addition to a great pastime, many of these villagers believe in gods and rituals, using Oaxacan wood carvings as a way of keeping the culture alive. Although many of the people in the Oaxaca Valley are skilled carvers, the most legendary is a man named Manuel Jimenez. As the pioneer of this amazing art form, today five of his own grandsons are carrying on the tradition.

Even more interesting is that the tools used to create the Oaxacan wood carvings are not sophisticated, often referred to as “crude.” Typically, the carver begins with a large piece of the wood, cutting it down with a machete. As the piece of wood becomes smaller, rustic knives are used to being the detailing process. These carvings have a mysterious nature about them, depicting everyday life of the villagers along with their strong religious beliefs. Whether buying a rabbit, iguana, monkey, tiger, burro, pig, peacock, coyote, or porcupine, you will love the cheer it brings to any room.

Serapes

Serapes are commonly known as a type of Mexican shawl or blanket. This traditional item began as a masculine garment that reflected the technological and socioeconomic aspect of its production, distribution, and use, as well as the weaver’s personal experience. The designs vary tremendously, some that are simplistic and others quite elaborate.

The Mexican serape has a long and interesting history associated with the production of wool and cotton, two materials commonly used for a number of textiles by the Mexican people. The serape is made in numerous areas of the country, which is why it actually has many different names. For instance, the serape is also called chamarro, jorongo, cobiga, cotton, frazada, tilme, and gaban.

The fascinating aspect of the Mexican serape is that it is a perfect blend of weaving traditions such as European and Mesoamerican. That means that with the European style of weaving, you would see cotton and dyes used to create wonderful designs whereas for the Mesoamerican style, wool is used and mounted on a look to create designs. In other words, one is dyed to make unique designs while the other is weaved.

The woven styles associated with the Mesoamerican way of weaving the serape has been used primarily in the 18^th and 19^th centuries. During the time this style of serape was developed, the quality in factories and workshops was amazingly good, created most often in states such as Coahuila, Guanajuato, Michoacan, Puebla, Quetetaro, and Zacatecas.

Another interesting fact about the Mexican serape is that it was a common garment used by people of all lifestyles. For example, it was common to see horsemen, workers, town residents, and even lepers all preferring to wear the serape. Keep in mind that these serapes were the type woven.

Now, the type of serape that used cotton and dyes was considered a luxury garment whereby aristocrats and hacienda owners would wear them. These serapes were worn to high society parties, for walks along the avenues, or simply out for a leisurely stroll. These serapes were so gorgeous that famed artists and travelers from other countries would marvel at their distinct and colorful design.

The Mexican serape was even worn by insurgents fighting in the War of Independence along with patriots in wars where the French and Americans fought. This means that the serape was a garment of choice whether a conservative or liberal. In fact, the Mexican serape was actually used in refuge camps to keep people warm and for clothing, as a shroud for loved ones killed in battle, and the Revolutionary’s flag. To this day, in the country of Mexico, this one item as well as the famous sombrero is what define the Mexican.

Serapes are also very versatile, being used as a shawl to dress up, a pillow on which to lay the head, as a coat for keeping warm, or even a bedcover. Even horsemen working the cold mountains and hot deserts use the serape as protection against the sun, rain, and snow. Remember, depending on the technique use for weaving, the serape can be a very sophisticated and elegant garment, a blanket on the back of a horse, or a blanket for a baby’s crib.

Although you can still find people in Mexico that make serapes by hand, whether with dye or the weaving process, because factories have made it possible for mass production, the popularity of the serape is increasing dramatically. Today, we see incredible colors and designs that were not available years ago. Typically, these more colorful serapes come from places like Contla, Chiauhtempan, and Tlaxcala.

Many of the designs you see used in serapes come from landscapes or photographs seen by the weavers of serapes that are made in Contla, Guadalupe, San Bernandino, Tlascala, Tlaxiaco, Teotitlan del Valle, Oaxaca, and Zacatecas. The serapes made in Oaxaca and Santa Ana del Valle are most often made with natural colored fibers with the designs being replicates of paintings created by well-known artists.

The serapes woven will commonly have two woven sections that are then sewn together although there are some looms capable of creating one, large serape. Serapes made out of the finest wool usually come from the Cora and Huichol Indians. Then, the serapes made with wool and chichicazatle, which is a vegetable fiber that produces a green color and has a tick texture usually comes from Oaxaca, San Pedro Mixtepec, Santa Catalina Zhanaguia, and San Juan Guivine.

Another fascinating fact about serapes is that in 1835 during the Texan War, soldiers would wear this garment over their uniforms that were very different from what the commanders wore. This particular war limited the number of serapes that could be made because of the high demand of the soldiers. When done wearing them for fighting, the soldiers would take the serape and give it to their girlfriends or wives, other family members, or simply use it as adornment for their home.

Without doubt, the Mexican serape is one garment that has a rich and diverse history. Today, serapes are just as popular, often used for garments, throws on the back of a couch, or an extra blanket on the bed to keep the chilly weather at bay. You can purchase serapes in Mexico and many South American’s country or you can find them online. With the connection to other countries through the internet, many weavers are taking advantage of the opportunity by selling beautiful serape creations online.

Zapotec weavings

When it comes to Zapotec weavings, not only will you be treated to an amazing creation by a local artisan but also provided with information about that person’s village, lifestyle, and history through the chosen design. These weavings are made with vibrant colors, which are then woven into both traditional and modern rugs, wall hangings, and other pieces. The Zapotec people work very hard to bring life to each of their weavings, which is very apparent by the quality of work.

This ancient tribe were originally hunters but over the years, transitioned into craftsman, often working with pottery. Then sometime around 500 BC, the Zapotec people settled in small communities in the Oaxaca valley of Mexico and by 450 AD, the population had expanded to around 25,000 with an empire so large it would easily cover Mexico City as we know it today. Then as 900 AD rolled around, the Mixtecs defeated the Zapotecs and then hundreds of years later, were themselves defeated by the Aztec Indians.

Today, you still find Zapotec people in Mexico, although the total population is only around 500,000. These people still hold onto their ancient beliefs, maintain a traditional type of culture, and speak their own language, although there are a variety of dialects. While the Zapotecs now work in more modern type jobs, the weavings continue to thrive. That means this style of weaving can be traced back between 200 and 800 AD and is still going strong today, a unbroken line of talent seldom seen.

For Zapotec weavings, the people use Merino wool that is grown locally or they will purchase sheep from Indians living in Mitla. The first step involves carding the wool, which means to remove any sticks, seeds, leaves, and other type of debris. Once the wool is clean, it is spun, usually on an ancient wooden spinning wheel that turns the wool into yarn. For just a small weaving, the Zapotec would need to spin wool for about two to three days. The warp, which are threads running lengthwise in the loom are placed on the loom first. Then, the Zapotec would pass the threads horizontally, which is what creates the unique and detailed designs. These horizontal threads are called “woof” or “weft.”

After the wool is spun, it is then colored with natural dyes that come from special formulas passed down from one generation to another. Interestingly, each Zapotec family will have their own way of mixing the dyes, which is why you see so many variations within the same community. For the dye to be made, several natural resources are used.

First, the color red comes from the cochineal insect, blue comes from indigo, black is made from the ink of the sea snail or huisache tree, and for the colors yellow or brown, rock moss is used. What makes this so fascinating is that by using these resources, the Zapotec people can produce more than 40 different colors/tones.

For the design, the Zapotec people use a combination of pre-Columbian and regional, which is what you would find in the tapetes, a highly collectible type of weaving. Keep in mind that for the Zapotec people to create just one small weaving - something around four by five feet - the process could very well take an entire month. Then for the large weavings, which are often used as rugs or bedding, the weaver would require at least a year, if not longer. We are fortunate in that Zapotec weavings from Mexico live on, allowing us today to enjoy a valuable part of history!