{"id":"shibori","no":504,"name":"Shibori","ja":"絞り染め","era":"8th century–","family":"染織の伝統","kind":"技法","collection":"Dictionary expansion 25","addedAt":"2026-08-19","source":{"title":"Wikipedia — Shibori","url":"https://en.wikipedia.org/wiki/Shibori"},"reference":{"status":"verified","pageUrl":"https://en.wikipedia.org/wiki/Shibori","credit":"Wikipedia — Shibori","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Goj%C5%ABSanTsugi-MeishoZu'e%2C%20Narumi%20by%20Hiroshige.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Goj%C5%ABSanTsugi-MeishoZu'e%2C%20Narumi%20by%20Hiroshige.jpg","credit":"歌川広重《東海道五十三次名所図会 四十一 鳴海 名産有松絞店》1855年 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Fragment%20of%20a%20Kimono%20(Kosode)%20with%20Design%20of%20Chrysanthemums%20and%20Chevron%20Pattern%20LACMA%20M.39.2.248%20(2%20of%202).jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Fragment%20of%20a%20Kimono%20(Kosode)%20with%20Design%20of%20Chrysanthemums%20and%20Chevron%20Pattern%20LACMA%20M.39.2.248%20(2%20of%202).jpg","credit":"《菊菱文様小袖裂（鹿の子絞）》17世紀後半 ロサンゼルス郡立美術館 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Kosode%20Fragment%20with%20Tortoiseshell%20Pattern%2C%20Waves%2C%20and%20Cherry%20Blossoms%20LACMA%20M.39.2.293%20(1%20of%202).jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Kosode%20Fragment%20with%20Tortoiseshell%20Pattern%2C%20Waves%2C%20and%20Cherry%20Blossoms%20LACMA%20M.39.2.293%20(1%20of%202).jpg","credit":"《亀甲波桜文様小袖裂（鹿の子絞）》17世紀前半 ロサンゼルス郡立美術館 — Wikimedia Commons / Public domain"}]},"essence":"布を縫い、括り、板で挟んでから染めることで、圧力のかかった部分だけが白く残る技法。仕上がりは職人の手の力と布の動きに委ねられ、同じ型でも二つと同じ模様は出ない。","cues":["括りが残す滲んだ白","縫い締めによる規則的な粒","板締めの幾何学的な地紋","布の凹凸が残る質感"],"intents":["親密","懐かしさ","技術"],"works":["同じ型から一点ずつ違う面をつくる","手の圧力が残る質感を意図して使う"],"recipe":{"type":"手仕事の不均一に耐える、太めの文字を選ぶ","layout":"規則的な繰り返しの中に、意図した崩れを混ぜる","material":"括りと圧力で防染し、染料の滲みを許容する"},"avoid":"模様を印刷で再現すると別物になる。滲みと不均一こそが技法の記録である。","colors":["#e9e6dd","#67635d","#171615"],"motif":"graphic","pair":["batik","adire"],"study":["有松・鳴海の産地と技法群","板締め・縫い締め・帽子絞りの差","藍染との組み合わせ"],"en":{"essence":"A technique in which cloth is stitched, bound or clamped between boards before dyeing, so that only the parts under pressure stay white. The result is left to the strength of the craftsman's hands and the movement of the cloth, and no two pieces come out alike even from the same pattern.","cues":["The bled white left by binding","Regular grain from stitch resist","Geometric ground patterns from board clamping","A texture that keeps the relief of the cloth"],"works":["Making a surface that differs piece by piece from the same pattern","Using a texture that records the pressure of the hand on purpose"],"recipe":{"type":"Choose heavier letterforms that survive the unevenness of handwork.","layout":"Mix intended irregularity into a regular repeat.","material":"Resist the dye by binding and pressure, and allow the dye to bleed."},"avoid":"Reproducing the pattern in print makes it another thing entirely. The bleed and the unevenness are the record of the technique.","study":["The Arimatsu and Narumi centers and their families of technique","The differences among itajime, nuishime and bōshi shibori","Its combination with indigo dyeing"]}}