Traditional designs (Gara) of Amami-Ohshima Tsumugi
A special feature of traditional Ohshima tsumugi dyeing is the use of a dark black mud dug by the farmers from their rice fields. Bundles of woof and warp threads bound with cotton string in carefully measured sequences are repeatedly immersed in the mud. After many immersions and much rubbing, all the exposed areas are dyed a rich black-brown. After unwrapping the thread and weaving it on the ancient handlooms, simple geometrical patterns are produced that the weavers have traditionally named for ordinary everyday objects which they find around them. The following patterns are examples of traditional designs of Amami-Ohshima Tsumugi which are especially found on female kimonos.
| 1. Tatsugo gara (female): an abstract motif of the combination of cycad plants and snakeskin of the poisonous Habu, which exists only in the Amami islands. This design originated in the region of Tatsugo. |  |
| 2. Akinabara (female): abstracts the weave of bamboo baskets called Sanbara. There are different colors of red, blue, and purple, originally designed in the region of Akina |  |
| 3. Warikomi gara (female): It is said to be very difficult to weave the complicated kasuri patterns. It almost looks like a Japanese pen and ink painting (“sumi-e”). |  |
| 4. Kikkoh gara (male): Unlike designs for female’s tsumugi, repeated small designs are often used for male’s tsumugi. The design of kikkoh (turtle shells) is one of the most popular traditional designs, which is originally from the 7th century in Japan. |  |
In addition to these, lucky designs of seigaiha (waves), manji-gara (swastikas), and uroko-gara (fish scales) are traditionally used as talismans in Japanese design and are now used as lucky designs which bring happiness.
To understand the cultural background and the aesthetic of Tsumugi is to appreciate the history of the cultural value of art in Japan. The kimono has always been a wonderful communicative tool of art for people to express their cultural aesthetics.