Kiryu　the roots of its Textile Tradition

Table of Contents

Overview of Kiryu Textile Manufacturing - page 1桐生織物産地の概要　－　５ページ

Kiryu Textile Manufacturers and Silk throwing Companies -A City of Water Wheels - page 7

桐生織物業と撚糸業者　－　９ページ

Kiryu Silk Manufacturing Chronology - page 10桐生おりもの年表　－　１１ページ

Procedures for Weaving Kiryu Ori - page 12桐生織物の製造工程　－　１６ページ

Kiryu Omeshi - page 17桐生織り７つの技法　－　１９ページ

The Life Cycle of a Silk Worm - page 20蚕の一生　－　２３ページ

Overview of Kiryu Textile Manufacturing

The city of Kiryu is located in the northern part of the Kanto Plain. It lies on the eastern border of Gunma Prefecture, near Tochigi Prefecture. Kiryu is situated on the east side of the well-known Mt. Akagi and is surrounded in all four directions by mountains. The Kiryu River flows on the east side of the city, and the Watarase flows through the north, west and south parts of the city. Kiryu lies in a valley between these two crystal clear rivers and the surrounding verdant green mountains. The history of Kiryu reaches far back to ancient times when the area was inhabited by prehistoric people from the Jomon and Yayoi Periods. Artifacts from these prehistoric eras have been excavated in the area. The name “Kiryu” is thought to have come from the fact that the area, located between mountains, is frequently veiled in fog and mist (“kiri” means fog). Another explanation is that paulownia trees (“kiri” also means paulownia) grew in abundance here, thus

lending their name to the city. It was in these natural surroundings then that Kiryu developed as a center for textile production. Although it is not known precisely when textile production began in Kiryu, it is thought to have begun over 1300 years ago. According to the Record of Contributions at Todaiji Temple in the year 714, “Ashiginu” (silk) woven in Kozuke no Kuni, an ancient name for Gunma Prefecture, was presented to the Imperial Court. Furthermore, in the year 905, it was decided that tax from Kozuke no Kuni would be paid in the form of Ashiginu (silk), according to the system of taxation at that time. These records clearly prove that silk was being woven in Kiryu during ancient times. During the period 1384-1392, it is known that “Nittayama Silk” produced in Kozuke no Kuni was being transported to areas outside the region. According to the “Hatagami Densetsu” (Legend of the Weaving God), or “Shirataki Hime Densetsu” (Legend of Princess Shirataki), a man by the name of Yamada from Nittayama, Yamada in Kozuke no Kuni (present day Kawauchicho, Kiryu) was sent to work at the Imperial Court and fell in love with one of the Court Ladies, known as Princess Shirataki. He wrote the following poem to her to express his devotion:

I envision you high above me, over the clouds, ShiratakiThough my love in its intensity rises up to youI fear from above in the lofty clouds,Shirataki cannot be aware of the love of a mere man named YamadaLooking down from high above the cloudsShirataki cannot be aware of the love of a mere man named Yamada

Yamada’s ardent protestations of love moved the heart of the princess and the Imperial Court took note of him. His presumption to love someone above his station forgiven, Yamada led Princess Shirataki back to his native home (present day Kawaichicho in Kiryu). There, Princess Shirataki

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a bridal “uchikake” kimono

introduced sericulture and weaving to the local people. And so, with the encouragement of the Imperial Court and Princess Shirataki, came the dawn of textile weaving in Kiryu. There are two models for the growth of textile manufacturing in Towns. The first is an urban textile manufacturing area, and the second model is an agricultural village which grows into a textile production area. The Nishijin textile producing city (Kyoto), with its cluster of weaving artisans, is a typical urban case in point. Textile production has prospered there and overseas technology has easily been adopted. In addition, artisans from the Asian continent could easily cross over to nearby areas such as Kyushu and Hakata. Kiryu, on the other hand, had no local “daimyo” (Feudal Lord) and was not strategically located in terms of transportation. The town developed from an agricultural settlement. Similar agricultural village models are Yonezawa, Yukari, Isesaki, Echo and Osawa. Kiryu is enclosed by two rivers, the Watarase River, whose headwaters spring from the foothills of the Ashio mountains, and the Kiryu River, a tributary of the Watarase. Because the arable land was limited and narrow, the inhabitants supplemented their income with sericulture and weaving. The Ashikaga district was located on the left bank of the Watarase River and the Nitta district was located on the right. During the Muromachi Era, the Ashikaga Daimyo from the Ryomo area took control of the realm. As a result of Kiryu(s association with the Ashikaga Clan, the town prospered as a textile producing area. Evidence of this is found with the powerful Hikobe Family (members of the Ashikaga Clan) of Kiryu. The family possesses in its archives an order for textiles issued by the Shogunate in 1575, which provides historical proof of Kiryu’s long textile weaving tradition. Further evidence stems from the historically significant year 1600, the year of the Great Battle at

Sekigahara. Tokugawa Ieyasu issued an order for Kiryu silk to be used as banners in battle. His decision to use Kiryu silk is based on the good fortune in battle the same silk banners had brought to his ancestor, Nitta Yoshitada. The order issued by Tokugawa was for 2,410 bolts of silk. According to one tradition, all this was woven in a single day, indicating that there must have been 2,410 looms in Kiryu at the time in order to achieve this remarkable feat. Tokugawa emerged the victor of the Battle of Sekigahara. During the ensuing Edo Era, whenever Kiryu weavers addressed correspondence to the Shogunate, they always began with “From the district of those who in days of old contributed silk banners to his Holiness, the god of Toshogu,” referring respectfully to the Shogun, Tokugawa Ieyasu. Toward the end of the Edo Era, production by handlooms underwent rationalization and textile manufacturing processes were implemented in factories. Located at the foot of Mt. Akagi, the Kiryu region produced a large quantity of high quality silk cocoons. As a result, Kiryu grew into a silk textile city with a thriving weaving industry.

A further impetus to growth was the introduction of the “takahata” drawloom in 1738 from the Nishijin district of Kyoto. This technology enabled Kiryu weavers to sit at a loom and weave silk gauze twill, a high quality textile. During the Meiji Period, the Jacquard loom which could weave designs into cloth was introduced in Kiryu along with the Piano Machine, used to punch holes into the Jacquard cards. These machines were

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Tokugawa banner

Mt. Akagi

introduced to Japan from overseas. In 1887, the Nihon Orimono Corporation was formed and was the first to employ modern manufacturing techniques. The adoption of these new management techniques imported from the West at a large-scale Kiryu textile mill marked the beginning of the city’s industrialization. In comparing the special characteristics of different textile producing areas, one can see that Nishijin weavers chose to use power looms to manufacture narrow width traditional textiles (for kimonos, etc.), whereas Kiryu weavers, envisioning overseas markets, adopted wide power looms to produce textiles for export. In Kyoto, the Lake Biwa Canal Incline was used to generate electricity to power electric lights and drive the Nishijin power looms. In Kiryu, the flow of the Watarase River was intercepted to generate electricity which was then supplied to the textile factories and powered the city’s electric lights. (The Watarase Water Power Electric Corp. was established in 1906. Electricity for lighting was first supplied in Kiryu in 1894 by the Kiryu Electric Light Partnership Corp.) These early achievements embellish modern Japanese manufacturing history.

Early on, railroads were constructed linking Oyama, Tochigi, Sano and Ashikaga in Tochigi with Kiryu, Isesaki, Maebashi and Takasaki in Gunma. This route became known as the Ryomo Line (opened in 1888), and served the textile producing towns in the area. This line could as well be called the North Kanto Silk Line. On another front, telecommunication between Kiryu and Tokyo was established with the first direct telephone circuit in 1907. The spread of industrialization among Kiryu textile companies took on a fever pitch during World War I (1914-1918) as a result of a dramatic increase in demand

for goods from overseas as well as from other parts of Japan. In response, in 1918, one large manufacturer after another was established, replacing handlooms with power looms. This was a truly remarkable development and served at the same time to form the foundations of Kiryu as a leading textile center. In 1923, the Great Kanto Earthquake disaster struck Tokyo, and with it came the dramatic changeover from traditional costumes to Western style clothing. By 1935, there were some 9,820 mechanized Jacquard weaving looms and 1,128 Dolby looms in Kiryu, comprising 58% of the total looms in the city. As a result, Kiryu textiles had become both elaborate in design and intricate in execution. For the most part, silk yarns were used, however, little by little, the more moderately priced synthetic silk fibers were also employed. At that time, most of the textiles for export were sent to China, India, Korea and Taiwan. However, as a result of events in Manchu and Shanghai, along with World War II, government control over manufacturing steadily increased. Weaving looms were appropriated for scrap metal to make armaments and large factories were taken over for the manufacture of military commodities. By the time the war was over, Kiryu textile industries were in a serious decline. Nevertheless, Kiryu weavers were quick to reestablish themselves, using looms constructed partly of wood (due to the shortage of metal). The rhythmic sounds of weaving could again be heard

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a Kiryu “sawtoothed roof” textile mill

throughout the city. Rayon scarves woven for export during this period contributed significantly to the rebirth of local industries. In a very short time, the city reestablished itself as the “Textile City, Kiryu.” Postwar, Japanese lifestyle underwent another change. Research and development of fabrics for Japanese women’s fashions became a pillar of the manufacturing foundations of Kiryu. People began to consider textile manufacturing as a part of the world of fashion. A natural division occurred between producers of traditional textiles such as obi, kimono, and tradition accessories, and producers of ladies’ wear and interior goods for export. Weaving textiles for the fashion world, Kiryu was quick to take part in overseas and domestic trade fairs and exhibitions, garnering high praise for excellence all the while. One reason for this is that, for the most part, Kiryu textiles are woven with extremely strong-ply yarns on Jacquard looms. The yarns themselves range from silk and other natural fibers to synthetic fibers. With the development of computers, Jacquard looms were digitalized and Jacquard CAD software became available. Ryomo Computing Systems (Kiryu) developed equipment to read in graphic designs and software and then convert the designs to obis, kimonos, interior goods and fabrics for overseas export. These tools can be used as well for producing lace, thus making them applicable to a wide range of textile design and manufacturing. Over the long history of Kiryu textile manufacturing, local weavers have established an honored tradition and high level of expertise. The textiles they weave are of the highest quality, achieved by maintaining only the highest of standards. (Translated from the website of the Textile Weavers Cooperative Association: www.kiryuorimono.co.jp/htm/gaiyou.htm)

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The hatchonenshiki silk throwing machine was invented and used in Kiryu from the 18th century.

The ability to produce large amounts of silk yarn contributed greatly to Kiryu’s growth as a major silk manufacturing center.

　桐生市は関東平野の北部、群馬県の東端に位置し栃木県との県境にある。桐生市は明峰赤城山を西に望み、四囲に山々をめぐらし街の東には桐生川、西には渡良瀬川の二つの清流があり、その清流に挟まれた盆地の中に発達した山紫水明な街である。桐生の歴史は古く古代にその端緒を発しており縄文、弥生時代の先住民族の居住跡が発見され考古物、遺物によって明らかである。桐生市という市名の由来は元来この地方が山間部にあるため朝夕霧の発生が多かったので霧生の名が転化したものといわれ、また、桐の木が良く生えるので桐生の名が生まれたようである。このような桐生市を中心としたのが桐生織物産地であります。　さて、桐生織物の歴史はいつ頃から始まったかは、はっきりしないが今から1300年余の昔からといわれている。東大寺献物帳によれば、和銅7年（714年）に上野の国（今の群馬県）がはじめて「あしぎぬ」を織って朝廷にさしだしたことや延喜5年（905年）当時の租税制度に上野の国の税金は「あしぎぬ」と定めてあることからも、昔から織物があったことは確かである。元中年間（1384年～1392年）には産物として上野の国以外に移出した仁田山絹といわれるものがあります。その仁田山絹にまつわる機神伝説（白瀧姫伝説）によれば当時、上野国山田郡仁田山郷といっていた頃（現桐生市川内町）朝廷に仕えていた山田とい

う男子が官女白瀧姫を恋慕い31文字の歌に託して

　雲の上　　　目には見ゆけど　白瀧の　　　　　　　　　　　　　　　　　　　　　　八重に重いと落ちぬ君かな　　　　　　　　　　　　　　　　雲たにも　　懸らぬ峰の白瀧を　　　　　　　　　　　　　　　　　　　　　　さのみな恋ひぞ　山田男子よ　　　　　　　　　　　　　　　　雲井から　　ついに落ちたる　白瀧を　　　　　　　　　　　　　　　　　　　　　　さのみな恋ひぞ　山田男子よ切々とうったえた恋は姫の心を動かし、ときの朝廷の目にとまり、許されてかたく結ばれ、夫役満了となり白瀧姫をかれの故郷（現桐生市川内町）に連れて帰り、白瀧姫は里人に養蚕、機織の道を伝えたといわれ、朝廷のご奨励と白瀧姫によって桐生織物の発達の曙光をみるに至ったとされている。　さて織物産地をみるときに都市型の織物産地と農村で産地形成した農村型の産地があります。都市型の織物産地は西陣が代表するように都に職人が集まり、そこに織物が栄えたところ、そして外国の技術が入りやすく、職人が来やすく大陸に近いところの九州・博多であります。もう一つは大名もなく交通の要所でもない農村で発達した桐生産地であります。農村型の産地として他に米沢、結城、伊勢崎、越後、大島などがあります。桐生は足尾山麓を源とする渡良瀬川と、その支流の桐生川との流域に囲まれている地域で、耕地面積は少なく土地もやせておりましたので養蚕、機織りなどを副業として生活をしておりました。その渡良瀬川の左岸が足利地方で、右岸が新田地方になります。室町時代は両毛地区の雄である足利幕府が天下をとっておりましたので、桐生は足利家とのかかわりの中から織物産地として発展することとなります。このことの証は桐生の豪族彦部家（足利家の一族）に伝わる幕府からの織物の注文書（1575年）が歴史的に証明しております。そして、天下分け目の関が原の合戦（慶長5年・1600年）に、徳川家康の籏布に新田義貞（徳川家の祖先といわれる）の旗揚げの由来で縁起の良い桐生絹が使われました。その数は2,410疋、これを1日で織ったというので、2,410台の織機があったという証になるという説もあります。ご存知のとおり徳川家康が大勝を果たし、江戸時代になると、その吉例から桐生の機屋は幕府に請願する文書に必ず「東照神君御在世之砌、御籏絹献上之御吉例御由緒之地」と前書きしたそうです。　江戸時代後期には手工業的な生産システムを分業化しマニュファクチュア制度を確立していきます。桐生地域は赤毛山麓ですから品質の良いお蚕が沢山とれます。やがて絹織物の市が立ち大変賑やかに行なわれ、織物の産業都市となります。そして桐生が更に発展したのは、元文3年（1738年）に西陣から高機が入ります。腰掛けて織る高機になり紗綾織の技術がもたらされ、高度な織物が織れるようになりました。明治になると紋様を織り出すジャカードやピアノマシンも移入や輸入により入ってきます。明治20年（1887年）、在来の機織法を一掃した日本織物株式会社が創立します。これは純然たる西洋の経営法を採用した大

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工場で桐生織物業の工場工業化の始まりであります。産地の特徴として西陣が小幅伝統織物織機の機械動力化を推進し桐生は海外輸出を想定しながら広幅の織機を導入し動力化しました。そして、京都では琵琶湖疎水インクラインで発電し、電灯をともし織機を動力化するのに対して、桐生は渡良瀬川を堰き止めて発電（渡良瀬水力電機株式会社・明治39年・1906年創立）し織物工場に動力と電灯を供給しました。（電灯としては明治27年・1894年桐生電灯合資会社によって点火された）こうして、一つの近代日本産業史を飾っております。また、鉄道をいち早く建設し栃木県の小山、栃木、佐野、足利、そして群馬県の桐生市、伊勢崎市、前橋、高崎の繊維都市を両毛線（明治21年・1888年　開通）が結んでおります。これが北関東シルクラインといえます。さらに、通信手段としての電話開設も桐生・東京間に明治40年（1907年）に直通したのであります。　桐生織物業の工場工業化の本格的な展開は第一次世界大戦中（大正3年～大正7年・1914年～1918年）における需要の急激な増大、ことに輸出および移出に対応するため、大正7年に大企業が相次いで設立され織機も力織機に変わっていきました。こうして桐生織物業は、顕著な発展を遂げるとともに織都桐生の基礎を確立したのであります。大正12年（1923年）の関東大震災は従来の服装に一大変化を与え洋服が著しく進出しました。昭和10年（1935年）には、ジャカードを装置した力織機は9,820台、ドビーを装置した准紋織機は、1,128台で総力織機の58％となり、桐生織物は意匠柄合、組織の複雑な紋織物に変化していきました。そして原料は主として生糸を使用したが漸次廉価の人絹糸を使用するようになっていった。当時輸出織物として、満・関・支（満州・関東州・中国）印度および朝鮮、台湾向けが主であった。しかしながら、満州事変、上海事変、さらに大東亜戦争（昭和16年～20年・1939年～1945年）となり、国家統制が日増しに強化されていった。織機を屑鉄化して供出し、建坪の大きい工場は軍需工場へと転換されたのでした。桐生の織物業は壊滅状態で終戦を迎えたのであります。それでも、桐生はいち早く織物を手がけるようになり、半木製織機という織機でガチャガチャと織りはじめました。その時のレーヨンマフラーという輸出向けの商品が戦後復興に大きな貢献をいたしました。あっという間に桐生は「織物の街・桐生」として復活いたします。　そして生活文化様式も変化し、国内向け婦人服地を研究開発し一つの柱となります。繊維産業はファッション産業として人々の注目を集めることとなり、桐生産地織物業も伝統的な技術を継承している帯・着尺や服飾工芸品などの和装関連商品と輸出織物・婦人服地・インテリア資材などの洋装の商品とに分かれてまいりました。そして、桐生織物業はファッション産業の素材発信基地として、いち早く海外輸出見本市、国内見本市、内地求評会などの各種展示会を国内外で催し好評を博しております。それは、殆どがジャカードを主に活用した強撚糸使いの織物で、使用糸も生糸などの天然繊維から化学繊維まで、さまざまな糸を使用しております。やがて、コンピューターの発達とともに、ジャカードのＣＡＤコンピューター・デザインシステムのソフト開発に着手します。両毛電算システムという会社に画像読みとり装置を入れて、コンピューター・デザインソフトを帯・着尺・インテリア関係・服地・輸出織物さらにレースにも使えるというような総合型を基本方針とし完成し普及させております。　桐生産地はこうした歴史的経過をたどりながら、すばらしい伝統と匠な技を受け継いで高品質、高規格な織物を生産する産地として美しい織物の製造に取り組んでおります。

[桐生織物協同組合ホームページより（http://www.kiryuorimono.or.jp/htm/gaiyou.htm)]

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Kiryu Textile Manufacturers & Silk Throwing Companies- A City of Water Wheels -

During the Edo Era in Kiryu, the commonly used term “hataya” (loom company) was called “oriya” (weaving company), and “yoriya” (silk throwing company) was called “tsumugiya” (spinning company). In fact, long fibers such as silk are twisted or thrown unlike short fibers, such as cotton, which are spun. These varying terminologies indicate a degree of ambiguity regarding the various processes involved at the time.

Sericulture was common in the vicinity of Kiryu, and from around the middle of the Edo Era, 1738, Kiryu weavers began to weave with the drawloom, called a “takahata,” or more specifically, a “sorahikibata” which had been introduced to them by a Nishijin artisan. This type of handloom enabled them to weave patterns into the textiles. Kiryu, thus, became a center for the production of woven-pattern textiles. Between the years 1781-1788, Iwase Kichibe completed the construction of the hatchokuruma (now known as the

hatchonenshiki) silk throwing wheel. This maachine enabled silk throwers to mass-produce thrown silk for Kiryu weavers. Just at the time the hatchokuruma was gaining popularity and the use of water wheels increasing, yarn-dyed patterned silk weaving technology spread to Kiryu from Kyoto’s Nishijin weaving district. Kiryu weavers began producing yarn-dyed textiles, creating a growing demand for thrown silk yarn. There are basically two methods for manufacturing textiles. In the first method, textiles are first woven and then dyed afterwards. The other method involves first dyeing the yarn and then weaving the textile. Such textiles are called “yarn-dyed.” When dyeing takes place after the materials have been woven, it is not always necessary to throw the yarn first, however, in the case of yarn-dyed textiles, the fine filaments of raw silk are too easily damaged during weaving. For this reason, several silk fibers are twisted together in the process known as “throwing” before they are dyed and then woven. Weaving yarn-dyed textiles, therefore, requires the production of a large amount of thrown silk yarn. In Kiryu, the hatchokuruma (silk throwing wheel) was driven by the power provided by water wheels. This invention spread as well to Ashikaga, Hachioji, Hanbara (Aikawa Town in Kanagawa Prefecture).

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"sorahikibata" or overhead drawloom

Meiji Era whater wheels in Shinshuku, Kiryu

During the period 1830-1843, the division of labor in the manufacture of textiles became more defined, and many local guilds were formed, including an “oriya nakama” (textile weavers guild), “shikonya nakama” (yarn dyers guild), and a “tsumugiya nakama” (silk throwers guild), the last of which was formed in 1840. The term “nakama” refers to a guild or a manufacturers’ association in modern technology. By the year 1856, there were 222 silk throwing companies in Kiryu and in 1862, this had become 164 silk throwing companies with 58 subcontracting silk throwing firms for a total of 222 in all. The vast majority of the silk throwing companies used water wheels to drive the throwing machines. Many of them received raw silk from the weaving mills and were paid to throw the silk. A few of the silk throwers offered their own thrown silk for sale. Some were farmers who supplemented their income by throwing silk.

By the year 1897, the number of water wheels located along the Akaiwa Channel (which runs between the Watarase and Kiryu rivers) peaked at 237. In the Shinshuku district alone there were 150 water wheels, with another 87 located in Sakaino according to a report on Kiryu commerce and industry published in 1904.(translated from Kiryu Orimono to Nenshiyo Suisha Kioku, Kiryu shi Rojin Club Rengokai, 2003 pp. 14-15)

The use of very tightly twisted silk yarn, produced most effectively by the hatchonenshiki and driven by water wheels, was integral in the manufacture of Kiryu Omeshi, a kind of high quality silk. The production of this silk has been designated a Traditional Industry by the National Government and is produced only in Kiryu by traditional techniques. The use of silk yarn, tightly twisted in opposite directions for the loom's weft and warp, creates the crepe effect characteristic of Kiryu's traditional silk textile known everywhere as "Kiryu Omeshi."

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"Hatchonenshiki"Silk Throwing Wheel

Akaiwa Channel in Nishikicho

桐生織物業と撚糸業者

１）織屋（機屋 [はたや]）と績屋（撚屋 [よりや]） 江戸時代の桐生では、機屋[はたや]は織屋と呼ばれ、撚屋[よりや]は績屋といわれた。績屋は「つむぎや」と読むが、絹糸のような長繊維を撚るのが、綿糸のような短繊維の紡績と区別がつかなかったか、または類似していたからの命名であろう。桐生では近隣の養蚕地帯をひかえ、江戸中期の元文3年（1738）、京都西陣の「高機[た

かはた]」（空引き機）という手織機を導入し、紋織物も生産できるようになり、絹織物産地として発達した。天明年間（1781～1788）には、先ず当地の岩瀬吉兵衛が水力八丁車（八丁撚糸機[はっちょうねんしき]は現代用語）を完成し、水車を用い大量の撚糸を製造することが可能となった。また、同時に先染[さきぞめ]紋織物の技法が西陣の職人から伝えられた。先染[さきぞめ]織物が製造されるようになり、益々撚糸の需要が増加するようになった。織物は製造方法により二種類に分類される。織物を織り出してから染色加工する後染織物および、原料糸を染色してから織り出す先染[さきぞめ]織物がある。後染織物では必ずしも撚糸を使う必要はないが、先染[さきぞめ]織物のときは生糸が細くていたみやすいこともあり、生糸を何本か撚り合わせる撚糸工程を経てから染色に移す。従って、先染[さきぞめ]織物の製造には多量の撚糸を必要とするわけで、桐生で水力八丁車が生み出され、足利・八王子・半原（神奈川県愛川町）などに伝えられた。天保年間（1830～1843）には織物製造工程の分業化が進み、織屋仲間、糸紺屋仲間などと共に績屋（撚屋[よりや]）仲間が天保11年（1840）に設立するほどに成長した。仲間とは現在の同業組合のようなものである。桐生には安政3年（1856）は222軒、文久2年（1862）は164軒もの撚屋[よりや]が存在していた。明治初年は撚屋[よりや]164軒、賃撚屋[ちんよりや]58軒、計222軒あり、殆どが村方に存在した。賃撚屋[ちんよりや]は撚屋[よりや]の下受けであろう。以上の撚屋[よりや]は賃撚屋[ちんよりや]を含めて大半が撚糸水車を使用したと思われる。撚屋[よりや]は大半織屋から原料糸を預かり賃金を得て仕事をする人たちと、少数の撚糸製造販売人から成る。当時の撚屋[よりや]の中には農家の兼業者もいたのである。明治30年（1897）、桐生最大の赤岩堰用水の水車数は237（旧新宿150、境野87）であると、『桐生商工案内』（明治37年）は伝えている。つぎに岩瀬吉兵衛の業績について江戸期の絵図を利用して考察しておきたい。

「NPO法人桐生地域情報ネットワークホームページより(http://www.npokiryu.jp/asuenoisan/)]

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KIRYU SILK MANUFACTURING CHRONOLOGY

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- “Kiryu Ori” is designated a Traditional Industrial Art.- Computers are used in the weaving of Jacquard-style textiles.

19771985

Showa

- Synthetic silk yarn is used to weave the “Bunka Obi.”1918Taisho

- Modern textile manufacturing machinery is imported from the US.- Moriyama Yoshihei & Goto Sadakichi adopt the use of chemical dyes.- Seiaisha Textile Corp. is established. It is the 1st company to employ modern machinery for weaving. Satin is produced. (beginning of manufacturing)- Conversion from hand looms to power looms progresses.

187018771880

1897

Meiji

- Many orders for Kiryu textiles are received from Tokyo and Kyoto - Nishijin (Kyoto) weavers issue a request to keep out Kiryu textiles.- Iwase Kichibe adopts the water wheel to drive the Hatchonenshiki yarn throwing machine.- Kaneko Keneimon produces chirimen (crepe) and offers it to Shogun Ienari. It is called “Omeshi.”- Handkerchiefs are produced for export around the end of the shogunate.

1742

1783

1838

1860

Edo

- Tokugawa Ieyasu uses 2,410 banners (battle flags) from Kiryu at the battle of Sekigahara- The silk market opens on the compound of Tenmangu Shrine

1600

1615

Ando-Momoyama

- An order for silk from Hikobe Manor is issued by Shogun Ashikaga Yoshiteru

1575Muromachi

- Nittayama Yoshitada’s banners are used - Nittayama tsumugi (Nittayama Shrine)

1333Kamakura

- Shoshoin Temple receives Ashiginu silk as tribute from the area.749 CENara

EVENTYEARERA

Edo Era illustration of the “Hatchokuruma” silk throwing wheel

きりゅう織物年表

「桐生織」が伝統工芸品に指定される。コンピューター利用の紋織物生産を開始する。

1977年1985年昭和

人造絹糸使用の「文化帯」を創り出す。1918年大正

アメリカより近代設備を取り入れる。森山芳平、後藤定吉らが化学染料を取り入れる。成愛社設立。近代設備で朱子の生産を始める。（マニファクチャア誕生）手織機より力織機に切り替えが盛んになる。

1870年1877年1880年

1897年

明治

江戸、京都より大量の桐生織物注文がくる。（西陣織業、桐生織物が入ってこないように願い出る）岩瀬吉兵衛、八丁撚糸に水車動力を取り入れる。その後、撚度計を発明する。金子善衛門、縞縮緬を作り、将軍家斉に献上する。「お召」の名称となる。幕末期、絹ハンカチを輸出する。

1742年

1783年

1838年

1860年

江戸

関ヶ原合戦に徳川方に旗絹2410本を収める。（御旗絹の由来）絹市を天満宮で開く。

1600年

1615年

安土・桃山

足利義輝将軍より絹織物注文がくる。（彦部文書）

1575年室町

新田義貞の軍旗に仁田山紬が使われる。（新田神社）

1333年鎌倉

794年 正倉院御物収納。（あしぎぬを収める）奈良

内　　　　　　　容西　暦時代

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PROCEDURES FOR WEAVING KIRYU ORI(using “nukinishiki ori” as an example)

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1. Yarn (ito)The filaments pulled from a cocoon arereferred to as raw silk (kiito). The widthis measured in denier units.

2. Throwing (nenshi)The process of twisting the yarn. Tightly twisted yarn is used to weave silk crepe (chirimen).

3. Dyeing (senshoku)Raw silk is first de-gummed and then dyed. This yarn is referred to as pre-dyed (sakizome) or dip-dyed (shinzen).

4. Spooling (itokuri)Reeled yarn is spooled onto bobbins. This process is preparation for warping and weft winding.

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5. Warping (seikei)The thread count and width of the warp yarn is set and then mounted on the loom at the prescribed length.

6. Weft Winding (kuda maki)Weft yarn is wound onto bobbins. This is sometimes done by hand, by machine or by automatic winders.

7. Design Creation (kikaku / zuan)Formulating the design upon which a textile pattern is based.

8. Graphing (isho)The design is transferred to graph paper. This is also called plotting the design.

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9. Making Jacquard Cards (mongami)Using a “piano machine”, holes are punched in the Jacquard cards according to the design on the graph paper. These holes control the Jacquard loom.

10.Jacquard Device. (Jakaado)11. Mounting it on the Loom (katakoshirae)The Jacquard device with its tape of hole-punched cards is mounted over the weaving loom. This enables the loom to weave patterns into the cloth by controlling the selection of warp yarns.

12. Weaving (hataori)Warp yarn is lifted in “sheds” to allow the weft yarn to pass through. The repetition of this process creates the patterned weave. The Jacquard machine can be used on hand looms or power looms.

13. Adjusting (seiri)The completed fabric is removed from the loom and adjustments are made where necessary.

the Takahata loom at the Textile Museum “Yukari”

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14. Finishing (shiage)The width and length of the fabric are measured. The material is inspected for imperfections or spots. Repairs are made where necessary.

15. Shipping (seihin / shukka)Finished textiles are sent to wholesalers, department stores, boutiques, etc.

桐生織物の製造工程

（１）糸（いと） 繭（まゆ）から製糸したままの糸を生糸（きいと）といいます。太さの単位はデニールです。

（２）撚糸（ねんし） 糸を撚る（よる）工程です。強い撚りのものはちりめんに使います。

（３）染色（せんしょく） 生糸を精練（せいれん）し色糸に染めます。先染（さきぞめ）または浸染（しんぜん）ともい います。

（４）糸繰り（いとくり） かせ糸を木管（ボビン）に捲（ま）きあげます。整経（せいけい）、管捲き（くだまき）の準

備工程です。

（５）整経（せいけい） たて糸の本数・幅をきめ、所定の長さに整えます。

（６）管捲き（くだまき） よこ糸を木管に捲きます。手動、機械、自動捲きがあります。

（７）企画・図案（きかく・ずあん） 織物にする元のデザイン画です。

（８）意匠（いしょう） 意匠紙という方眼紙に図案を描きうつします。意匠・星つきともいいます。

（９）紋紙（もんがみ） 意匠図の指図により、紋紙に穴をあけます。ジャカードの運動データです。

（10）ジャカード

（11）機拵え（はたごしらえ） ジャカードの運動を通糸からたて糸に伝えて開口させ、紋様をつくる装置です。

（12）機織（はたおり） たて糸を開口させてよこ糸を入れ筬打ちし、これを繰り返して機を織ります。手織機・力織 （はた）機があります。

（13）整理（せいり） 織りあがった生機（きばた）を整理して、風合いをよくします。

（14）仕上げ（しあげ） 幅や長さを計り、きずや汚れなどの検査をし、補修をします。

（15）製品・出荷（せいひん・しゅっか） 仕上がった織物は、商社に出荷され、デパート、小売店などに売られます。

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KIRYU OMESHI

.

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1. Omeshi Ori (figured silk crepe)This fabric is characterized by its crepe-like contours. Very tightly twisted yarn, thrown on the “hatchonenshiki” machine, is used to produce the ripple effect in the textile. The density of the warp yarn is over 100 threads per centimeter

2. Yoko Nishiki Ori or Nuku Nishiki Ori(horizontal weave brocade)This fabric is woven using yarn-dyed silk on a Jacquard loom. the design of the textile is produced by the weft yarn, employing 8 or more colors. This fabric can also be woven on a hand loom.

3. Tate Nishiki Ori (vertical weave brocade)This fabric is produced using yarn-dyed silk on a Jacquard loom. The motif in the fabric is produced by the warp yarn, employing 3 or more colors. More than 2 colors of weft yarn can also be alternately interwoven.

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4. Futsu Ori (futsu weave)A manner of weaving in which the warp and weft of different colors are interlaced such that the upper and under sides of cloth are woven in a counter design. Woven on a Jacquard loom, the density of the warp yarn is over 120 threads per centimeter, and the weft yarn is over 40 threads per centimeter.

5. Ukitate Ori (raised pattern weave)This textile is produced using yarn-dyed silk on a Jacquard loom. The density of warp yarn is over 150 threads per centimeter and can be more than 2 colors. The design in the fabric is said to be “ukitate” or raised, or “enuki” as in hoizontally drawn.

6. Tate Kasurimon Ori (vertical splash-pattern weave)This fabric is woven on a Jacquard loom using yarn-dyed hand thrown silk. Special techniques, such as paper stenciling, etc., are used to dye the threads which produces a design when woven.

7. Mojiri Ori (mojiri weave)This layered fabric is woven on a Jacquard loom using yarn-dyed silk. It is sometimes referred to as a “wave design” because of the wave-like pattern created by layering the fabric. This textile is made from a variety of silk gauze and gossamer yarns. The pattern in the weave is only revealed by the juxtaposition of 2 layers. This kind of silk is frequently used for light summer kimonos.

桐生織７つの技法

お召し織（おめしおり）しぼ（織物面の凹凸）のある織物です。しぼをだすためのよこ糸は八丁撚糸機（はっちょうねんしき）という機械を使用します。たて糸の密度は１センチメートル間１００本以上

です。

緯錦織（よこにしきおり）または（ぬきにしきおり）ジャガード機を用いた先染紋織物（さきぞめもんおりもの）で、紋様はよこ糸で表されます。よこ糸の色数は８色以上となります。また、手なげび、引び（ひきび）で織ったもの

もあります。

経錦織（たてにしきおり）ジャカード機を用いた先染紋織物（さきぞめもんもりもの）で、紋様はたて糸で表されま

す。たて糸は３色以上となります。よこ糸は２色以上を交互に打ち込みます。

風通織（ふうつうおり）ジャカード機を用いた紋織物で、たて糸、よこ糸とも２色以上を使います。たて糸の密度は１センチメートル間１２０本以上、よこ糸の密度は１センチメートル間４０本以上で

す。

浮経織（うきたており）ジャカード機を用いた先染紋織物（さきぞめもんおりもの）です。たて糸は２色以上で１センチメートル間の密度は１５０本以上です。紋様は「浮きたて」と「絵緯（えぬき）」

で表されます。

経絣紋織（たてかすりもんおり）ジャカード機を用いた先染紋織物（さきぞめもんおりもの）です。たてかすり糸の染め方は、「手くくり」「板締め（いたじめ）」または「型紙捺染（かたがみなっせん）によります。紋様は「絵緯（えぬき）」または「縫取り紋（ぬいとりもん）」です。

もじり織（もじりおり）ジャカード機を用いた先染め搦み織（からみおり）です。「紋振い（もんふるい）」または「変わり筬（おさ）」を用います。紗（しゃ）・絽（ろ）などがあります。

「桐生市ホームページより（http://www.city.kiryu.gunma.jp)]

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The Life Cycle of a Silkworm

“The life cycle of Bombyx mori demonstrates the most advanced form of metamorphosis. Termed holometabolous, the serial progressions of four distinct stages of development complete one generation of the species: ova, larva, pupa and imago.” (Silkworm Life Cycle, www.sericulum.com)

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1. Silkworm Ova: incubation 10-14 daysTiny gray eggs are the ova of the silk moth, Bombyx mori. “The egg of Bombyx mori is a very small and hard structure, about the size of a pin head and resembling a poppy seed. The egg shell provides a protective covering for embryonic development. When first laid, an egg is light yellow. ertile ova darkerns to a blue-gray within a few days.” (Silkworm Life Cycle)

2. Hatching: beginning larval stage - 27 days, 5 instarsThe larvae eat their way out of the eggs and hatch one after another. Just hatched larvae are approximately 3 mm long. The black larvae are called “ant worms” because they resemble ants. Their bodies are covered with minute hairs.

3. First Instar*: Larvae eat man-made feedThe 3 mm long larvae grow to 7 mm in 3 days. Two to three days after hatching, the larvae stop eating and enter a rest period. During this period, the larvae grow a new skin. Once this happens, the larvae molt and enter the next stage.

4. Second InstarThe heads of the silkworms are black, however, their bodies have turned gray in color. After two to three days, the worms again stop eating and enter a rest period. After resting, the silkworms molt. They are now about 12 mm long.

5. Third InstarAfter molting for the second time, the silkworms raise their heads, resting. Their heads have changed from black (2nd instar) to white (3rd instar). After about 4 days pass, the silkworms enter a third rest period.

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6. Fourth InstarWhen the 3rd instar silkworms molt, they emerge as 4th instar silkworms. The 4th instar lasts about 5 days. While the silkworms produce fecal matter, they do not pass urine.

7. Fifth InstarHaving reached the 5th instar, the silkworms grow ravenous. They have increased their body weight some 10,000 times since the 1st instar, and are about 7 cm long. During this period, the silkworms are producing the silk fluid in their bodies. Eventually, the silkworms stop eating and search for a place to spin their cocoons.

8. Spinning: beginning pupa stage - 14 daysThe silkworms move their heads in a figure 8, spinning out a finefilament. It takes about two days for the worms to complete spinning their cocoons.

9. White CocoonsEach white silk cocoon with a single thread. It is about 1,000 m in length. It is this thread which serves as the raw material for weaving silk textiles.

10. From Larva to PupaOnce the larvae have molted several times, they become pupae. Just-molted pupae have soft skins and are defenseless. To protect themselves, they spin cocoons. The final skin of the larvae which they have shed, can be found discarded near the pupae.

11. From Pupa to Imago - Growing Wings - 7 daysIt takes about 12 days for the pupae in the cocoons to grow into imago. The pupae release a special liquid from their mouths, softening the cocoon. By pushing on the shell of the cocoon, they force their way out (eclosion).

Translated from the text and photos from www.withlove.co.jp/bio_lab/aseptic_life.html, website of the With Love Corp.

instar: the period between successive molts is called an instar (Silkworm Life Cycle, Sericulum.com)

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12. The Birth of a Silk MothSilk moths cannot fly. Having been domesticated by man, they have lost their ability to fly. “Moths are flightless and lack functional mouth parts, so are unable to consume nutrition.”(Silkworm Life Cycle, Sericulum.com)

13. ReproductionWhen males and females met, they mate. Mating coutinues for several hours.

14. OvipositionAfter mating, females begin to lay eggs. A female silk imago can lay about 500 eggs. Silk moths do not eat and die after about one week. Silk worms grows into moths in order to lay eggs and their lives continue through the eggs they have laid.

蚕のたまご灰色の粒粒のものは蚕のたまごです。

孵化たまごの殻を食い破って次々と生まれてきます。生まれたばかりの幼虫は３mmぐらい。黒くて蟻のように見えるので「蟻蚕」と呼ばれ、体に毛がはえているので「けご」とも呼ばれます。

人工飼料を食べている１齢の幼虫約３mmのけごが３日間で７ｍｍになり、孵化から2-3日経つと、食べなくなり「眠」に入ります。この眠の間に体の中で新しい皮膚ができます。その後、古い皮を脱いで２齢になります。

２齢の幼虫1齢の幼虫が脱皮すると、２齢。頭は黒い色をしていますが、体は灰色になります。2-3日経つと、食べなくなり再び「眠」に入り、そのうち、二回目の脱皮をします。体は１２mmぐらいになります。

脱皮を終えたばかりの３齢の幼虫２齢の幼虫が終わると、３齢になります。脱皮を終えて、頭を持ち上げて、一休みの３齢起蚕。頭の色は２齢の黒から白に変わりました。４日ぐらい経つと、三回目の眠に入ります。

４齢の幼虫３齢の幼虫が脱皮すると、４齢になります。４齢はおよそ五日間です。幼虫の間、蚕は糞をしますが、尿はしません。

５齢の幼虫５齢になると、食欲も旺盛でもりもり食べます。体重は１齢の約１万倍以上になり、７cmぐらいに成長します。この間、体の中に液状の絹の原料が作られ、貯められます。そのうち餌を食べなくなり、糸を吐く場所を求めて、歩き回ります。

孵化

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蚕は頭を８の字のように振りながら、糸を吐きます。約二日間かかってまゆは完成します。

白いまゆ真っ白い蚕の繭、繭の一つ一つはすべて一本の糸からできています。長さ１０００ｍ以上があります。これらの糸は私たちの着物などの原料になります。

幼虫から蛹へ　蛹化幼虫が最後の脱皮を経て、蛹に変わります。脱皮が終わったばかりの蛹は皮膚が柔らかく、怪我をしやすいです。体を守るために、繭で包まれているでしょうね。蛹のそばにあるぼろくずのようなものは蛹になるときに脱ぎ捨てた幼虫の皮です。

蛹から成虫へ　羽化繭の中で蛹はおよそ１２日間で成虫になります。口から特別な液を出して、繭を柔らかくし中からおしあけ、外へ出てきます。

カイコガの誕生カイコガは飛べません。人間に飼育され、飛ぶ能力を失ったからです。

交尾オスとメスが出会って、交尾をします。交尾は数時間続きます。左の方がメス、右の方がオスです。

産卵交尾が終わると、メスはたまごを産み始めます。一匹のメスが産む卵の量は約５００個。成虫は何も食べずに一週間で死にます。たまごを生むために成虫になりますが、その命はたまごの中に受け継がれます。

[（株）ウィズラブホームページより（http://www.withlove.co.jp/bio_lab/aseptic_life.html)]

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Kiryu International Exchange AssociationKiryu City Hall

1-1 Orihimecho, Kiryu CityGunma Prefecture 376-8501Phone: 0277-46-1111ext. 537

Fax: 0277-43-1001E-mail: office@kiea.jp

URL: www.kiea.jp