Pattern Sourcebook:

Japanese Style
250 Patterns for Projects and Designs

Shigeki Nakamura

includes
CD-ROM
Pattern Sourcebook:
Japanese Style
250 Patterns for Projects and Designs

Shigeki Nakamura
© 2005 Shigeki Nakamura
Originally published in Japan by MdN Corporation, Tokyo, Japan

© 2008 by Rockport Publishers, Inc.

All rights reserved. No part of this book may be reproduced in any form without written permission of the copyright
owners. All images in this book have been reproduced with the knowledge and prior consent of the artists concerned, and
no responsibility is accepted by producer, publisher, or printer for any infringement of copyright or otherwise, arising from
the contents of this publication. Every effort has been made to ensure that credits accurately comply with information
supplied. We apologize for any inaccuracies that may have occurred and will resolve inaccurate or missing information in
a subsequent reprinting of the book.

First published in the United States of America by

Rockport Publishers, a member of
Quayside Publishing Group
100 Cummings Center
Suite 406-L
Beverly, Massachusetts 01915-6101
Telephone: (978) 282-9590
Fax: (978) 283-2742
www.rockpub.com

ISBN-13: 978-1-59253-498-2
ISBN-10: 1-59253-498-8

10 9 8 7 6 5 4 3 2 1

Printed in Singapore
 Preface

Japan has a long heritage of traditional colors, characters, and decorative designs,
which have been passed down through the ages. This book focuses on decorative
designs, providing a collection of materials and accompanying documentation for
approximately 60 categories and 250 examples of Japanese designs that today’s
designers consider essential.
All of the images introduced in this book have been selected from among the stock
of designs I have traced over the long years of my career, and they have been saved
as JPEG and PSD files on the accompanying CD-ROM. The PSD-formatted files can
be manipulated to modify the colors, textures, etc. of the background and foreground
layers of each design using the functions of Adobe Photoshop, thus giving birth to
original pieces and unlimited variation.
The commentary provided for the designs also includes a description of their
histories and origins, uses, characteristics, and more. I hope that this book will be
used widely as a practical Japanese-design production tool.

Shigeki Nakamura (Cobble collaboration)

Contents
Chapter 1 Plants/Spring 7
Spring Grasses 8-9
Cherry Blossoms – 1 10-11
Cherry Blossoms – 2 12-13
Cherry Blossoms – 3 14-15
Wisteria 16-17
Peony – 1 18-19
Peony – 2 20-21
• Climbing rose rendered on a Yuzen print/A rendition of seedling ferns on a dyed light cotton summer kimono 22

Chapter 2 Plants/Summer 23
Summer Grasses 24-25
Japanese Water Iris 26-27
Ivy 28-29
Clematis 30-31
Morning Glory and Bottle Gourd 32-33
Hollyhock 34-35
Arrowhead 36-37
• Makie lacquered tray/Komon pattern (Eggplant)/Komon pattern (Fireworks) 38

Chapter 3 Plants/Autumn 39
Autumn Grasses – 1 40-41
Autumn Grasses – 2 42-43
Autumn Grasses – 3 44-45
Chrysanthemum – 1 46-47
Chrysanthemum – 2 48-49
Chrysanthemum – 3 50-51
Chrysanthemum – 4 52-53
Bush Clover 54-55
Turning Leaves 56-57
• Komon pattern (Chestnut)/Komon pattern (Paulownia) 58

Chapter 4 Plants/Winter 59
Camellia – 1 60-61
Camellia – 2 62-63
Daffodils 64-65
Plum – 1 66-67
Plum – 2 68-69
Plum – 3 70-71
Pine 72-73
Bamboo 74-75
• Komon pattern(cylindrical semi-circular hail)/Komon pattern (Dew-drenched grass and bundles of straw) 76
Chapter 5 Creatures 77
Birds 78-79
Insects 80-81
Fish and Animals 82-83
• Komon pattern (Crane and turtle among a variety of treasures)/Komon pattern (Water and rain dragon pattern) 84

Chapter 6 Waves/Flowing Water 85

Waves and Flowing Water – 1 86-87
Waves and Flowing Water – 2 88-89
Waves and Flowing Water – 3 90-91
Waves and Flowing Water – 4 92-93
Waves and Flowing Water – 5 94-95
Waves and Flowing Water – 6 96-97
Waves and Flowing Water – 7 98-99
• Waves rendered using the stencil-dye technique/Wave crest rendered on a twill Noh costume 102

Chapter 7 Arabesque 103

Arabesque – 1 104-105
Arabesque – 2 106-107
Arabesque – 3 108-109
Arabesque – 4 110-111
Arabesque – 5 112-113
• Arabesque bellflower rendered on a cotton garment/Stencil-dyed arabesque hollyhock 114

Chapter 8 Geometry 115

Stripes – 1 116-117
Stripes – 2 118-119
Stripes – 3 120-121
Lattice – 1 122-123
Lattice – 2 124-125
Circles 126-127
• Linked hemp leaves/Mountain roads 128

Chapter 9 Utensils/Formats 129

Utensils 130-131
Tortoise Shell – 1 132-133
Tortoise Shell – 2 134-135
Tachiwaku 136-137
Characters 138-139
Yusoku 140-141
• Arabesque Yusoku 142-143
*The patterns preceded by a small black circle (•) at the end of each chapter are examples specially selected by the author
How to use this book
[Explanatory Notes]
● This book is an illustrated compilation of existing traditional designs and focuses on specific themes. The
name of each illustration represents the abbreviated name of the item followed by the name of the theme, (For
example, “Primrose on short-sleeved Yuzen print kimono [Yuzen-kosode Sakuraso]”)
● The purpose of the illustrations is to observe the origins of form from an evolutionary perspective. Divergent
size, color, lines, etc. are not intended to express the original form of an actual item.
● While designs are digitally reproduced as true to the original work as possible, some illustrations have been
modified using colors selected to ensure the least possible sense of discomfort in order to emphasize the theme.
● The chapters on plants were divided in this fashion not to represent the seasons at the time that the original
designs were established, but in accordance with our modern aesthetic sense of seasons. Here, many of the
winter plants are treated as representations of the coming of spring or spring plants in traditional patterns.
Furthermore, since pine and bamboo are perennial plants, they have been classified in the winter grouping of
pine, bamboo, and plum, which represent the festive “welcoming of spring.”
● While the files on the accompanying CR-ROM generally describe single units of complete samples, layout of
the images in this book may have required trimming and partial modification of colors.
● The images that relate to komon (literally, “small pattern”), such as kimono, which is among those recorded
on the accompanying CD-ROM, may be interlinked on all sides, left to right, top to bottom.

Page Layout
1
CD-ROM pattern data file number Chapter 6: Waves/Flowing Water

CD 06 163 – 166

2 Waves and Flowing Water – 5

Pattern name Japan’s most celebrated masterpiece of the wave pattern, seigaiha
The wave theme of diversely changing and evolving form

Concepts founded on the basics produce limitless, original wave

patterns
3 Seigaiha patterns are commonplace today. No other pattern has such chaotic beauty—or so beautifully
crashes—no matter how the pattern has evolved as long as the basic rules are observed. Surely no other
geometrical pattern themes would benefit from these characteristics. To form your own concepts you may want to
Commentary revisit the wave insignias rendered with the three lines that are most basic to the seigaiha.

4 2
4

3
Pattern layout (Associated by number
with the content below) 1 Evolving seigaiha rendered in Chinese-style
brocade CD 06_163
Though evolutions of seigaiha this sophisticated pattern
is classified in a special category of design. This piece is
beneficial to the study of conceptual freedom.
2 Seigaiha on a Choken Noh costume CD 06_164
A tasteful and refined rendition of seigaiha. There is an
indescribable elegance to the waveforms that consists of two
curved lines.
3 Komon kimono “seigaiha and plover”

5 CD 06_165
Plovers are placed inside the gaps formed by dividing units of
seigaiha. Such aspects were probably the starting point of the
conceptualization of this work.
Layout number/pattern name/pattern 4 Waves rendered on an embroidered foil-cloth
costume CD 06_166
data file no. The original work is a dazzling, luxurious garment pattern
depicting the phoenix and mandarin ducks atop the waves.
Content notation and supplementary Although an item of this level can no longer be referred to as
seigaiha, without a doubt, this example adheres to the chaotic
explanation style of seigaiha to form elegant waves that are full of life.

94 Pattern Sourcebook: Japanese Style

6
Pattern reference (250 total samples)

6 Pattern Sourcebook:Japanese Style

Chapter 1
Plants/Spring
Chapter 1: Plants/Spring

CD 01 001 – 004

Spring Grasses
■ The warmth of spring sunlight
■ A breath of spring and the joy of life

The flowering grasses of spring are reminiscent of the gentleness

of “hiragana” characters
While this chapter deals largely with the royal family of spring flowers–cherry blossoms, wisteria and peony–
the flowering grasses found in the fields of spring are also brightly and effectively rendered in abundance. The
flowering grasses of spring are not used as flower patterns as often as those of autumn, perhaps because they
are considered lyrically inferior. In fact, while “the seven grasses of autumn [aki no nana-kusa]” were selected
for the beauty of their flowers, by contrast, “the seven grasses of spring [haru no nana-kusa]” are treated as
“vegetables.”

1
4
2

1 Dandelions rendered in Nabeshima underglaze

CD 01_001
While somewhat flamboyant, the rendering of leaves replete
with a richness that is characteristic of Japanese expression
serves as a good reference for form.
2 Crabapple rendered in Nabeshima underglaze
CD 01_002
A well-balanced rendition of a luxuriant growth of flowers and
leaves that at the same time successfully avoids a heaviness
of expression.
3 Horsetails against brown in a short-sleeved Yuzen
print kimono
CD 01_003
This rendition can be considered a good example of simplicity
compensated for by the seductiveness of the linear subject
matter.
4 Primrose on a short-sleeved Yuzen print kimono
CD 01_004
Though a seemingly typical rendition of form, the beauty of the
flowers is complemented by the expression and pigmentation
of the leaves.

8 Pattern Sourcebook: Japanese Style

Chapter 1: Plants/Spring

CD 01 005 – 008

Cherry Blossoms — 1
■ Decorative patterns that do not suggest contrivance
■ Cherry blossoms firmly established as being representative of the “spirit” of Japan

A signature Japanese pattern that continues to command the

adoration the Japanese people
Numerous cherry blossom patterns have been designed since about the time that the cherry blossom became
more popular than the flowers of the plum tree as the theme of poems. Florid and most beautiful just before
they fall, how fitting the cherry blossom must have seemed in the hearts and minds of the Japanese people.
From innumerable varieties of flowers to broken branches, recreation, and so on, the cherry blossom pattern has
evolved magnificently by incorporating the diverse factors that influence these flowers.

1
4
2

1 Cherry blossom pattern on a long-sleeved Yuzen

print kimono CD 01_005
The realistic nature of its expression aside, this is more
effective as an example of pattern as design than as an
example of painting.
2 Broken branch of a cherry tree rendered on an
unlined kimono CD 01_006
This rendition of a broken branch and lilting petals evokes for
the viewer the image of cherry blossoms in full bloom.
3 Cherry blossom pattern rendered on a Chinese-
style brocade kimono CD 01_007
One’s attention is drawn to the alignment of these changing
double-flowering cherry blossoms where five-petal formations
lay atop eight-petal formations in a fashion reminiscent of an
armorial crest.
4 Cherry blossom pattern rendered on a decorative
collar CD 01_008
A lesson in the rendition of form and pigmentation of the
odiferous sensuality of the cherry blossom.

10 Pattern Sourcebook: Japanese Style

Chapter 1: Plants/Spring

CD 01 009 – 012

Cherry Blossoms — 2
■ The many fruits of highly advanced realism of expression in design
■ The aesthetic differences between the cherry blossom in nature and the cherry blossom rendered in
design patterns
The changable design of the charm of natural beauty
The cherry blossom, resplendent in natural beauty. It is often said that no other flower exists whose beauty is
as difficult to render true-to-life in paintings as the cherry blossom. This is one of the limitations of realistic
expression. In the case of decorative patterns, designs are created to rid the observer of the “real view”, and
implements and attire are attributed a unique flamboyance that successfully glamorizes the cherry blossom.

1
4
2

1 Cherry blossoms on a Makie lacquered inkstone

case CD 01_009
This rendition depicting of the cherry tree in full bloom imparts
a sense of the gaiety of flower viewing.
2 Cherry blossom pattern on an embroidered long-
sleeved kimono CD 01_010
Easily rendered, the drooping cherry tree can be found in a
variety of settings from attire to knick-knacks.
3 Drooping cherry tree blossoms rendered on an
Urushie lacquered table CD 01_011
The gently curving branch and the effluvient showy pink of the
tips of the flowers and leaves depict one of the many facets of
the cherry blossom.
4 Cherry blossoms rendered on a Makie lacquered
inkstone case CD 01_012
An accurately realistic depiction that offers an intellectual
expression akin to the serene minds of people enjoying the
view of yamazakura.

12 Pattern Sourcebook: Japanese Style

Chapter 1: Plants/Spring

CD 01 013 – 016

Cherry Blossoms — 3
■ Falling cherry petals rendered on komon kimono
■ The only plant whose falling petals are considered a thing of beauty

Renditions of the eccentric and beautiful petals of fallen

cherry blossoms
Although the fleeting lifespan of the cherry blossom is often the subject of poetry and song, patterns of falling
cherry blossom petals are rarely found. Perhaps because even if the blooming cherry tree is accompanied by a
small amount of falling petals, there is an underlying resistance among the Japanese people to the idea of things
already “fallen”. Be that as it may, the beauty of the patterns introduced here can hold its own against the
splendor of any other pattern.

1
4
2

1 Komon kimono “kozakura” CD 01_013

Though these patterns may be considered lovely, they do not
impart a sense of the transience of the cherry blossom.
2 Komon kimono “scattered kozakura”
CD 01_014
An example of how the minor-key loudness of falling blossoms
can be quelled by integrating strips of paper and hail.
3 Komon kimono “ fl owing cherry blossom
filled water and young sweetfi sh” CD 01_015
A beautifully structured design depicting how fallen cherry
blossoms can be resurrected by the vibrancy of life.
4 Komon kimono “ fallen cherry blossoms on
tachiwaku” CD 01_016
A signature komon pattern depicting the beautiful mold of
cherry blossoms dispersed among dots. It was carved using a
gimlet on a tachiwaku armorial insignia.

14 Pattern Sourcebook: Japanese Style

Chapter 1: Plants/Spring

CD 01 013 – 020

Wisteria
■ The personification of the Japanese sense of aesthetics
■ The expression of graceful floral hues and a self-effacing mood

The effect of a decorative pattern that preserves and stabilizes

the balance between the “ears” of the wisteria’s flowers
Though the Japanese people find the use of expressions such as “descend," “depart,” and “scatter” to be taboo
and therefore distasteful, with the hanging blossoms of the wisteria coupled with their elegant coloration one
gets a sense more of modesty than pride, of blushing more than brazenness, and is conscious of the stability of
the wisteria as a decorative pattern.

1
4
2

1 Wisteria trellis rendered in Chinese-style brocade

CD 01_017
This rendition portrays wisteria with “ears” of diverse colors
interwoven on a trellis to enhance the effect of the pattern.
2 Wisteria rendered on a gold brocade Noh costume
CD 01_018
The symbolically trimmed ears of the wisteria flowers are
visible even in their lilac lines, creating an easily evolving
pattern.
3 Komon kimono “bamboo and wisteria pattern”
CD 01_019
This tracing of wisteria flowers undulated by the wind on a
tachiwaku armorial insignia provides a good example of the
method.
4 Wisteria rendered on a mitsudae (litharge) painted
box CD 01_020
A rare rendition, even among wisteria crests, depicting small
wing petals peering out from behind large butterfl y-shaped
petals.

16 Pattern Sourcebook: Japanese Style

Chapter 1: Plants/Spring

CD 01 021 – 024

Peony — 1
■ Celebrated even in China, the peony is a flower among flowers
■ Considered an auspicious flower, the peony pattern is often included in renditions of
deities and beasts (such as the Chinese lion-dog)

An opulent flower that forgives a consciously ornamental flamboyance

Referred to in China as “the king of one hundred flowers,” any observer of the opulent form of the peony is
left with a sense of “luxury and seduction.” When rendered in design, the peony naturally assumes a lavish
expression. Though excessive ornamentation tends to derogate from grace, one may also assert, of course, that in
that expression there also exists an expression of intentional flamboyance.

1
4
2

1 An arabesque portrayal of the peony in an exam-

ple of stencil and print dyed material CD 01_021
This steadily rhythmic rendition of abundant petals offers a
lesson in the kind of untutored expression observed only in the
design and ornamental skill of Japan.
2 An arabesque portrayal of peony on a Chinese-
style embroidered “jimba” battle surcoat
CD 01_022
Imbued with elegance as a result of its repetitive motif, this
peony pattern can also be used in regular design even though
originally used as a form of battle dress.
3 Peony rendered on old twill fabric CD 01_023
The mold of this pattern has its origins in the simply designed
flamboyance of the peony.
4 Peony on a Chinese-style brocade Noh costume
CD 01_024
This rendition is ranked at the pinnacle of expression of peony
design. There is a lot to learn from its timeless yet simple

18 Pattern Sourcebook: Japanese Style

Chapter 1: Plants/Spring

CD 01 025 – 028

Peony — 2
■ Japanese pattern without the influences of Chinese design
■ Design that imparts a sense of tranquility amidst flamboyance

A sophisticated Japanese sensitivity that has evolved from nobility

to elegance
Though diverse examples of patterns greatly influenced by Chinese design can still be found in the midst of the
peony motifs that exist today, Japan's unique sensitivity has caused the peony design pattern to evolve gradually
from being regal to being sophisticatedly elegant. The peony pattern, which has changed with the progression of
time, will eventually become a pattern free of both flamboyance and flowing elegance. Therein lies the peony’s
singular extravagance, the difficulty encountered in rendering the peony in design for common use.

1
4
2

1 Peony design rendered on Imari ware

CD 01_025
Though something of a paintinglike expression, this rendition
has an expression that is unlike examples found in Chinese
design.
2 Peony rendered on a makie-lacquered inkstone
case CD 01_026
Though an example of realism, the designer can learn much
from the economical expression of nature in this rendition.
3 Komon kimono CD 01_027
A rendition of peonies carved in small and large dots using a
gimlet. One can sense the quietly observant eyes of our fore-
fathers.
4 Peony rendered on an urushie-lacquered tray
CD 01_028
One can feel the characteristic Japanese affinity to neatness
and cleanliness in this rendition of the peony.

20 Pattern Sourcebook: Japanese Style

 ■ Climbing rose rendered on a Yuzen print CD 01_029 The rarity of the rose pattern suggests that the rose did not quite suit
the Japanese sentiment. Though the “rose” of the Edo period was decidedly the peony, these leaves are undoubtedly that of the rose.

■ A rendition of seedling ferns on a dyed light cotton summer kimono CD 01_030 Though little more than seedling
ferns rendered and scattered about in multiple layers, this design is prepossessing and devoid of any evidence of offensive expression.

22 Pattern Sourcebook: Japanese Style

 Chapter 2
Plants/Summer
Chapter 2: Plants/Summer

CD 02 031 – 034

Summer Grasses
■ Excellent works even among the unusual summer grass patterns
■ Free expression unhindered by conventionality

Exuberant summer grasses simplified to communicate beauty

Some of the grass patterns of summer are rendered with a free-mindedness not encountered with the Japanese
iris, vines (such as ivy, morning glory, bottle gourd, clematis), hollyhock, and so on used in ornamental design
and family crests. The patterns introduced on this page in particular have an inspiring form that excites.

1
4
2

1 Lotus rendered on a plate in multicolored

Kakiemon overglaze CD 02_031
This form of expression, remarkable for its delicate brushwork
and use of colors, can be applied to a variety of designs.
2 Lilies rendered on a short-sleeved Yuzen print
kimono CD 02_032
Renditions such as this require a sensitivity to such fine
details as the pliancy of petals and leaves.
3 Hydrangea on a makie lacquered multi-tiered box
CD 02_033
A bipolar expression of radiant hydrangea. This pattern offers
insight into form.
4 Thistle rendered on a short-sleeved Yuzen print
kimono CD 02_034
A fine example of the extent to which one can exquisitely
render the form of a subject so difficult to render despite its
beauty in the field.

24 Pattern Sourcebook:Japanese Style

Chapter 2: Plants/Summer

CD 02 035 – 038

Japanese Water Iris

■ A flower loved and appreciated by the aristocracy of dynasties
■ The sense of form in the streamlined shape of its flowers

The form of an elegant flower that continues to be loved by royalty

Siberian iris, water iris, and calamus share certain similarities. Their graceful and elegant appearances also
display few differences. It becomes even more difficult to distinguish between the three flowers when rendered in
patterns. No doubt these flowers were named to represent their uses with woven tools.

1
4
2

1 Water Iris rendered on an unlined kimono

CD 02_035
The placement of its flowers will also influence one’s ability to
render clusters of water irises attractively.
2 Water iris on a fl ower pattern unlined kimono
CD 02_036
Observe how each of the flowers in this bouquet of water iris
is uniquely rendered.
3 Komon kimono “Water Iris” CD 02_037
Rendering the leaves of the water iris in layers to resemble a
water crest provides the observer with hints as to form.
4 Water iris rendered on a short-sleeved yuzen print
kimono CD 02_038
This undecorated rendition of graceful and delicate water iris
is superb.

26 Pattern Sourcebook:Japanese Style

Chapter 2: Plants/Summer

CD 02 039 – 042

Ivy
■ A material often used in family crests in particular
■ A tangible image that is easy to render

Design that imparts more of a sense of wisdom and steadiness

than of glamour
Suggestive of thriving progeny and prosperous business, the image of flourishing ivy is said to have been
rendered as family crests and numerous other patterns. Their flowers aside, the charm of the vine lies mostly
in the designlike shape of its “leaves”. The fact that the vine can be made into attractive designs simply by
adjusting positioning also makes it interesting.

1
4
2

1 Ivy rendered on embroidery and foil-cloth

CD 02_039
A timeless illustration of ivy on the verge of turning colors.
2 Ivy rendered on a makie lacquered multi-tiered box
CD 02_040
The simplification of the veins of the leaves and the finely
spun expression of the ivy teaches us how to handle the
concept of body.
3 Komon kimono “vine tachiwaku” CD 02_041
There is an inevitability to the design of these vines fashioned
after a tachiwaku armorial insignia.
4 Ivy rendered on a makie uchishiki alter cloth
CD 02_042
Pertinent simplicity tells clearly of the intended use of this
material.

28 Pattern Sourcebook:Japanese Style

Chapter 2: Plants/Summer

CD 02 043 – 046

Clematis
■ The patterns of these new flowers are also exotic
■ These patterns are somewhat unsuited to the Japanese style of lyrical expression

The Clematis leaves room to enjoy the art of design

Since clematis is a relatively new flower imported from China early in the Edo Period, its unique nature quickly
led to the creation of numerous patterns. Though some methods of pattern design do not impart the sense
of “harmony”, the combination of the unerring form of the flowers of the clematis with other elements has
established the clematis as a pleasant pattern.

1
4
2

1 Clematis rendered on a short-sleeved yuzen print

crepe kimono CD 02_043
One’s impression of this traditional yuzen insignia is
dependent on how he perceives the few oddly rendered petals
of the clematis.
2 Arabesque clematis rendered on a Chinese-style
brocade kimono CD 02_044
True to its other name, “arabesque,” clematis has a slightly
Chinese feel to it.
3 Komon kimono “clematis” CD 02_045
This method of exploiting the characteristics of the vine to
create a pattern provides many hints to its origin.
4 Clematis rendered on a makie-lacquered tiered
picnic box CD 02_046
Although this pattern feels a little ostentatious in some places,
this rendering of beauty in design serves as an informative
reference.

30 Pattern Sourcebook:Japanese Style

Chapter 2: Plants/Summer

CD 02 047 – 050

Morning Glory and

Bottle Gourd
■ Summer flowers particularly loved by the common people
■ Their flowers, leaves, and vines are equally supple

Elegant patterns exuding an air of quietude and languidness

Morning glory and bottle gourd are inherently dissimilar plants. As the subject of design, these plants are
beautiful vine flowers that both epitomize summer and impart the sense of a certain evanescence. Perhaps for
these reasons, even patterns of these flowers that use diverse colors often have an atmosphere of beauty replete
with tranquility and languor.

1
4
2

1 Morning glory rendered on a Choken Noh costume

CD 02_047
The charm of this pattern resides in the harmony of the colors
used in the rendition of the flowers and leaves to create a
unified mood.
2 Embroidered Noh costume CD 02_048
One may observe the pure and tranquil expression as well as
the curvature of the supple leaves.
3 Komon kimono “calabash/bottle gourd”
CD 02_049
An evolving komon pattern where leaves and vines are unified
and the bottle gourds are rendered in negative and positive
fashion.
4 Bottle gourd rendered on a makie-lacquered ink-
stone case CD 02_050
This rendition of harmony between flowers, leaves, and vines
is superb.

32 Pattern Sourcebook:Japanese Style

Chapter 2: Plants/Summer

CD 02 051 – 054

Hollyhock
■ A traditional pattern made classical as a result of the origin of the insignia

Superior designability in the heart-shaped leaves and graceful

flowers
Though the designs of hollyhock and arrowhead do not receive much attention today, they are found in abundance
among traditional patterns. This is because in addition to being flowers that represent the social climate, there
was a preference for beautiful designs containing both flowers and leaves like these. Often rendered together
with water and as summer grass patterns, these flowers are indispensable for their pleasant image.

1
4
2

1 Hollyhock rendered on a short-sleeved Yuzen print

kimono CD 02_051
Pay attention to this rendition that reminds one of the water’s
edge and give’s one the sensation of the sunshine of summer.
2 Komon kimono “scattered hollyhock”
CD 02_052
This deft rendition of the leaves of the hollyhock in positive and
negative expression serves as a reference for methodology.
3 Komon kimono “hollyhock” CD 02_053
The simplification of the bi-lobed hollyhock and the expression
of its flowers in dots can be made to evolve limitlessly through
use and placement of color.
4 Hollyhock in fl owing water rendered on a yuzen
print CD 02_054
One is schooled in the design of pleasure by the lush
expression of hollyhock in concert with flowing water.

34 Pattern Sourcebook:Japanese Style

Chapter 2: Plants/Summer

CD 02 055 – 058

Arrowhead
■ Patterns that remind us of the arrowheads adored by warriors
■ A summer material capable of expressing wisdom and bravery

Evolving form that should be utilized more in modern times

Also known as “Shogun-so (warlord grass)”, the arrowhead shape of these flowers has a valiant air to it. Though
idiosyncratic, their simple shapes gives breadth to form, and patterns of these flowers were often used as the
family crests of samurai families.

1
4
2

1 Arrowhead rendered on a makie-lacquered chest

CD 02_055
Arrowheads at the ends of large swirls are beautiful in form
when rendered collectively.
2 Komon kimono “Arrowhead” CD 02_056
A fine example of how inherently unique individual units retain
their uniqueness, even when scattered without contrivance.
3 Family crest “Arrowheads embracing offspring”
”Arrowhead with fi ve twists” CD 02_057
These patterns are remarkable for their forms that seem
determined to surpass their existence as arrowheads.
4 Arrowhead rendered on a makie-lacquered tray
CD 02_058
Appropriate to the aesthetic of utility, one’s attention is drawn
to this gently finished tray that avoids being overly angular.

36 Pattern Sourcebook:Japanese Style

 ■ Komon kimono “Eggplant” CD 02_059 This background color goes by the Japanese name of “eggplant blue.” Here, one is
reminded of eggplants floating in a well in the heat of a summer day.

■ Komon kimono ”Fireworks” CD 02_060 Light, shape, and the summer activities where we enjoy sound are the themes of
this design. These flowers of light are rendered in an intimate and nostalgic form that is also exuberant.

38 Pattern Sourcebook:Japanese Style

Chapter 3
Plants/Autumn
Chapter 3: Plants/Autumn

CD 03 061 – 064

Autumn Grasses – 1
■ Autumn scenes that capture the hearts of the Japanese people
■ Autumn grasses that represent overabundant sentiment

Traditional patterns of autumn rendered as the counterparts of

verse and song
As suggested by the saying, “Mono no aware wa aki zo masareru” (No other season epitomizes the miserable
nature of things as excellently as autumn), written by the poet, Izumi Shikibu, autumn is celebrated in poetry
and song more often than any of the other seasons. The same is true of the traditional patterns. These patterns,
based on the themes of poetry and song, are more than mere decorative designs depicting the features of
autumn. They are, rather, expressions of a sense of the season incorporated with a sentiment shared with poetry
and song.

1
4
2

1 Dianthus rendered on embroidered foil-cloth

CD 03_061
Though merely flowers and leaves that have been rendered as
armorial insignias, this dainty and versatile rendition is also
somewhat contemporary.
2 Dianthus and fence rendered on a short-sleeved
kimono CD 03_062
There is much to learn from this rendition of the petals of
the pink that gives the observer a sense of naturally adept
expression.
3 Dragonfl y and patrinia on a Choken Noh costume
CD 03_063
As if to say that the song of insects and autumn fields go
hand in hand, this is a good example of the storylike nature of
autumn grasses rendered in design.
4 Moon and autumn grasses rendered on a kataginu
robe CD 03_064
Observe how rendering the wildly blooming Chinese bellflower,
patrina, and maiden grass in a single color keeps this piece
from appearing chaotic.

40 Pattern Sourcebook:Japanese Style

Chapter 3: Plants/Autumn

CD 03 065 – 068

Autumn Grasses – 2
■ Flower fields of deep autumn in transition
■ Memories alight on late autumn breezes

Descriptions of autumn filled with a pathos that strikes the

heartstrings of the Japanese people
Autumn scenes expressed in traditional patterns are perceived as more than merely beautiful; they are endowed
with a pathos that can be understood in the profound depths of our hearts. Perhaps this is because the echoes
of autumn stimulate our heartstrings, lulling us with the tune of their afterglow. Those who embrace elegant
aestheticism remain unchanged and are even now enticed by these images.

1
4
2

1 Kinpu fl owering grasses CD 03_065

Though a generally delicate rendition, there is much to learn
from this nonexcessively expressed design.
2 Silver grass rendered on an embroidered foil-cloth
short-sleeved kimono CD 03_066
Although this is thought to be a Noh costume, one is surprised
that such a method of rendering silver grass could be possible.
3 Begonia rendered in Chinese-style brocade
CD 03_067
This example of brocade embroidery originating from China
has not only been rendered with a sense of astringency, but
has also entered the realm of elegant expression.
4 Autumn grasses rendered on a makie-lacquered
multi-tiered box CD 03_068
Observe the superb balance in this rendition of bush clover,
silver grass, patrinia, joe-pye weed, tartarian aster and so on
swaying in the breeze.

42 Pattern Sourcebook:Japanese Style

Chapter 3: Plants/Autumn

CD 03 069 – 072

Autumn Grasses – 3
■ From neat and tidy to florid expressions
■ Diverse renditions of freely conceived expressions of autumn grasses

The taste of autumn residing in brilliant expression

Not all of these patterns assume sentimentality simply because they are characterized as autumn grasses.
The rendition of some patterns, depending on their subject matter, may require an expression of ornate beauty.
Particularly in the case of “garments,” a resonant harmony between purpose, weave, and expression is often
observed in diverse renditions that, even so, do not lose that unique sense of autumn.

1
4
2

1 Bellfl ower rendered on an embroidered foil-cloth

short-sleeved kimono CD 03_069
A variety of colored thread is used to successfully render
chaotic impression in streamlined form.
2 Bellfl ower on a yuzen print short-sleeved kimono
CD 03_070
In graceful and elegant expression one gets a sense of ethos
and intimate passion.
3 Patrinia rendered on an embroidered foil-cloth
short-sleeved kimono CD 03_071
Here, as with the bellflower rendered on an embroidered foil-
cloth short-sleeved kimono, one has much to learn from this
example of superior sense of design.
4 Bush clover and waterfall pattern rendered on a
Yuzen print short-sleeved kimono CD 03_072
As if you can hear only the sound of water among the scene,
try focusing your attention on this spatial rendition of an
autumn field.

44 Pattern Sourcebook:Japanese Style

Chapter 3: Plants/Autumn

CD 03 073 – 076

Chrysanthemum – 1
■ Another globally recognized national flower
■ The transition from natural to artificial beauty

A fundamental formative beauty that assumes a unique form of

magic
The chrysanthemum integrated with autumn grasses has finally assumed the leading role as representative of
autumn. When rendered as patterns in precise circles, the form of the chrysanthemum resembles the sun and
has evolved flamboyantly with a formative beauty imbued with a special kind of magic in family crests, garments,
and furnishings that epitomize Japan.

1
4
2

1 A chrysanthemum bouquet rendered on a Choken

Noh costume CD 03_073
There is something interesting about this harmonization of
chrysanthemum reminiscent of an armorial insignia combined
with autumn grasses to form a single pattern.
2 Chrysanthemum rendered on an embroidered foil-
cloth short-sleeved kimono CD 03_074
These vibrantly colored chrysanthemums have a unique
symbolic beauty that cannot be attributed to autumn grasses.
3 Arabesque chrysanthemum patterns rendered in
Chinese-style brocade CD 03_075
Both types of chrysanthemum have been rendered in circular
shapes, implementing a contemporary technique of concentric
circles to form an arabesque pattern.
4 Chrysanthemum in water (kikusui) rendered on
embroidered foil-cloth CD 03_076
A masterpiece of artificial beauty epitomizing the legend of
chrysanthemum immersed in water of perpetual youth and
longevity.

46 Pattern Sourcebook:Japanese Style

Chapter 3: Plants/Autumn

CD 03 077 – 080

Chrysanthemum – 2
■ Form perfectly rendered as the symbol of nobility
■ Chrysanthemums are predominantly rendered as decorative flowers

The beauty of the chrysanthemum ranks particularly high even

among the innumerable expressions of flowers
Though the Japanese people fundamentally adore natural beauty, the fact that they also have a love of
the artificial beauty of the flower as something to be appreciated is testimony to the unique nature of the
chrysanthemum. Their patterns are also rendered with a sense of the aesthetic of the chrysanthemum, giving
birth to diverse chrysanthemum patterns of unique formative beauty.

1
4
2

1 Medium-size chrysanthemum rendered on an

unbelted women’s outer garment (uchikake)
CD 03_077
Though clearly a chrysanthemum for appreciation unlike wild
chrysanthemum, this rendition incorporates autumn grasses
to impart a sense of nature.
2 Chrysanthemum rendered on short-sleeved
kimono cloth CD 03_078
In this rendition of somewhat realistic expression, the unbridled
use of color as a means for enhancing design is overflowing with
a sensitivity from which much can be learned.
3 Large-size chrysanthemum rendered on kimono
CD 03_079
This misshapen expression of chaotic large-size chrysanthemum
is rendered in an expression which is rare among chrysanthemum
patterns that are somewhat lacking in dynamism.
4 Chrysanthemum rendered on makie-lacquered
furniture CD 03_080
Observe the elaborate yet non-persisting sense of balance of
these multi-layered large-size chrysanthemums.

48 Pattern Sourcebook:Japanese Style

Chapter 3: Plants/Autumn

CD 03 081 – 084

Chrysanthemum – 3
■ The chrysanthemum pattern observed through descriptive differences

Patterns that place their hopes in the intrinsic significance of the

chrysanthemum
It is necessary to disrupt the symmetry of the evenly linked chrysanthemum petals in order to transform the so-
called noble crests into patterns preferred by the common people. The realistic rendition of chrysanthemums
blooming in fields is one example of how this is done. However, rather than focusing on dignity, these
patterns exploit our faith in the traits of life prolongation, medicinal effect, good fortune, etc., with which the
chrysanthemum is intrinsically endowed in their freely transforming, freely changing rendition.

1
4
2

1 Chrysanthemum ring in stencil-dyed rendition

CD 03_081
The gentle expression of this stencil-dyed rendition has formed
an endearing pattern of chrysanthemum.
2 Chrysanthemum and fl owering grasses rendered
on a lidded food container CD 03_082
An autumn pattern in which chrysanthemums play the leading
role.
3 Komon kimono (abundant chrysanthemum)
CD 03_083
Chrysanthemum flowers rendered in diverse expressions
changing endlessly in kaleidoscopic patterns with the
placement of colors.
4 Korin chrysanthemum rendered on a kataginu robe
CD 03_084
One is surprised by this peculiar mixture of abstractly rendered
korin chrysanthemum and figuratively expressed leaves.

50 Pattern Sourcebook:Japanese Style

Chapter 3: Plants/Autumn

CD 03 085 – 088

Chrysanthemum – 4
■ Chrysanthemum pattern variation observed in small patterns
■ Diverse expression ranging from the sophisticated to the common

A highly diverse variety of patterns that appeals to the penchant

of the common people
Evenly linking eight or more petal shapes has created numerous small pattern designs by ingeniously arranging
the parts of the chrysanthemum flowers that are visible. Their evolving forms are endowed with limitless
permutability through the combination of petal shapes, forms of linkage (circular, oval, and argyle shapes), sizes
both large and small, colors, array, and other elements—catering to the preferences of the common people.

1
4
2

1 Komon kimono “chrysanthemum argyle”

CD 03_085
Argyle-shaped chrysanthemums are arrayed in unmatching
layers in an expression suggestive of the fragrant embrace of
the chrysanthemum.
2 Komon kimono “chrysanthemum and cherry
blossom” CD 03_086
A bright rendition, though reminiscent of the small patterns
of spring when the chrysanthemum is viewed as similar to the
Philadelphia daisy.
3 Komon kimono “chrysanthemum and bellfl ower”
CD 03_087
In this pattern it is easier to apply color to each flower and for
the flowers to evolve than it would have been had the design
been rendered in one color.
4 Komon kimono “chrysanthemum and butterfl y”
CD 03_088
By virtue of being expressions of large-size chrysanthemums,
even rendered on a large scale, these patterns form
reasonably acceptable komon patterns.

52 Pattern Sourcebook:Japanese Style

Chapter 3: Plants/Autumn

CD 03 089 – 092

Bush Clover
■ A Japanese pattern that one may consider synonymous with autumn
■ A flowering grass indispensable to the expression of autumn

The sight of delicate bush clover swaying in the wind is the very
expression of autumn
Bush clover is classified essentially as shrubbery. From the fact that the kanji character for bush clover is written
as the character for “autumn” crowned by the character representing “grass,” one gets a sense of the profound
nature of the sentiment of the ancients toward autumn.

1
4
2

1 Bush clover rendered on a dyed cloth

CD 03_089
Notice the balance in this rendition of supple, long branches
gathered together in a delicate ring of flowers and leaves to
form a single armorial insignia.
2 Komon kimono “bush clover and butterfl ies”
CD 03_090
The way in which tool-carved butterflies accent the dots of
bush clover leaves rendered using a gimlet is simply brilliant.
3 Komon kimono “bush clover and butterfl ies”
CD 03_091
Though the title of this piece is the same as that of figure 2
above, this is a good example of how differing methods of
expression can create images that are poles apart.
4 Bush clover rendered on an embroidered foil-cloth
short-sleeved kimono CD 03_092
What a beautiful rendition of bush clover. This colorful example
infallibly expresses another representation of autumn.

54 Pattern Sourcebook:Japanese Style

Chapter 3: Plants/Autumn

CD 03 093 – 096

Turning Leaves
■ A feast of magnificent beauty to crown the ending of the season
■ Seen from a distance, these ornamental leaves are central to the pattern

Charm resides in their natural palmlike form

As epitomized by the maple tree, the brilliance of the turning leaves of autumn goes without saying. A single
leaf taken in hand piques the appetite of the Japanese people with the all too designlike perfection of its natural
form. And, of course, it cannot help but stir creative desire. In the world of decorative patterns, as well, numerous
flamboyant works have been created that take advantage of the shape of the maple leaf.

1
4
2

1 Turning leaves of maple rendered on a makie-

lacquered sake bottle CD 03_093
Tatsutagawa (a place described in Japanese verse) is a
cornerstone of the momiji pattern. The contrast between the
curving lines of the river and the acute angles of the leaves is
brilliant.
2 Komon kimono “maple leaves and cherry
blossoms” CD 03_094
A fine example that harnesses the tastes of the ancients in
its simple expression of the cherry blossoms of spring and the
maple leaves of autumn.
3 Komon kimono “Gingko” CD 03_095
The gingko is second only to the maple tree for the beauty of
its autumn leaves. This piece has been inlcuded because of
its unique pattern of contiguous curving lines carved using a
gimlet
4 Turning leaves on an embroidered foil-cloth
Noh costume CD 03_096
In this example of Ayanishiki there is a great deal to be learned
from a vibrantly colored rendition that is quite different from
realistic expression.

56 Pattern Sourcebook:Japanese Style

 ■ Komon kimono “Chestnut” CD 03_097 The pointed part of the chestnut dominates our perception with a force beyond
expectation. The realization that this pattern is a rendition of chestnuts may conjure nostalgic memories and even a fresh surprise.

■ Komon kimono “Paulownia” CD 03_098 The larger dots among this conglomerate of dots of diverse sizes may well be
renditions of the paulownia flower. This expression of the leaves of the paulownia, however, is streamlined, and in light of the saying,
“Kiri hitoha ochite tenka no aki wo shiru (One leaf of the paulownia falls and we know autumn across the kingdom),” the author felt it
appropriate to include this work in this chapter.

58 Pattern Sourcebook:Japanese Style

Chapter 4
Plants/Winter
Chapter 4: Plants/Winter

CD 04 099 – 102

Camellia – 1
■ Pattern often religious in nature
■ These designs, including those of the meandering branches of the camellia tree,
are of great importance

The beauty of camellia patterns that do not evoke the sense of

recusal of the ancients
As if describing in written form the emotions of those who wait longingly for the coming of spring, when one
observes the deep red of the camellia flower blooming just before the onset of spring, one is charmed by a beauty
that seems to sweep away the flower’s fateful tradition.

1
4
2

1 Camellia rendered on an urushi lacquerware bowl

CD 04_099
One senses a kind of message in the powerful contrast of
black on red lacquer in this rendition of camellia.
2 Camellia on a natsume tea caddy CD 04_100
Though the real item is rendered in makie-lacquer, this
perfectly formed single pattern makes one want to apply
additional colors.
3 Camellia rendered on a makie-lacquered inkstone
case CD 04_101
Though the fl owers of the camellia are delicate, there is an
unmistakably vital energy expressed in the branches of the
tree and the leaves on the whole.
4 Camellia rendered on a kamakura-style carved
incense case CD 04_102
An expression of a flower worthy of being called voluptuous.
This ser ves as a valuable lesson in the boldness of
deformation.

60 Pattern Sourcebook: Japanese Style

Chapter 4: Plants/Winter

CD 04 103 – 106

Camellia – 2
■ Together with the pine tree, reverential of the life of the evergreen
■ Adoration of a flower blooming after enduring the severity of winter

The camellia, endowed with a profound ornamentality when

rendered in design
More than a flower that blooms prior the onset of spring, the camellia has from time long past been considered
a kind of spiritual tree that embodies the reverence of the Japanese people toward evergreen trees. As a result
of the religious and magical influences derived from this perception, the camellia has been treated somewhat
negatively as a flower. However, when observed purely from the perspective of design and form in traditional
patterns, there are few flowers that are as richly ornate as the camellia.

1
4
2

1 Camellia rendered on yuzen print fabric

CD 04_103
Observe the sensation of unity, the form, and coloration of
this seemingly unicursal rendition of camellia.
3 Camellia rendered on an embroidered foil-cloth
sash CD 04_104
Much can be learned from the strong literary sense perceived
in a free and unconstrained expression shared by the Korin
plum tree and the pine tree.
3 Camellia rendered on a makie-lacquered multi-
tiered box CD 04_105
One cannot ignore the presence of the camellia as the main
character in this altered rendition of a bouquet of camellia in
a flower basket.
4 Camellia on the garments of a lady-in-waiting
CD 04_106
The original item is an excellent example of descriptive power
with forceful brush strokes. This method gives one a sense of
the superb life force of the camellia.

62 Pattern Sourcebook: Japanese Style

Chapter 4: Plants/Winter

CD 04 107 – 110

Daffodils
■ A delicate flower swaying in cold winds
■ A posture that imparts purity and intellect

A flower not easily rendered in design

Pure white petals and a full stamen. Together with the deep-green of its free and easy leaves, these attributes
alone are virtually enough to be considered a complete and beautiful design. As such, failing to render even one
of these essential points will cause the daffodil to resemble something quite different from the flower that it is.
Herein lies the difficulty encountered in the development of these flowers as design. Even among the traditional
patterns, while all pieces are high-quality works, there are many patterns that are similar in form.

1
4
2

1 Daffodil rendered on a makie-lacquered tray

CD 04_107
Observe the rendition and good balance of the flowing curves
of the long and languid leaves.
2 Daffodil rendered on a short-sleeved yuzen print
kimono CD 04_108
The delicacy of these daffodils is more a slightly mundane
expression that hints at “innocence.”
3 Komon kimono “Argyle with daffodil pattern
trellis” CD 04_109
A rendition of small patterns that retains the immaculate
beauty of the daffodil.
4 Daffodils rendered on a plate decorated in
nabeshima overglaze enamels CD 04_110
The pristine and unvarnished expression and the leaves
arranged to match the curvature of the plate in this superb
rendition offers a lot to be learned.

64 Pattern Sourcebook: Japanese Style

Chapter 4: Plants/Winter

CD 04 111 – 114

Plum-1
■ Modest flowers that bloom in intense cold
■ A diverse variety of expression patterns

Used for a number of purposes, the plum is a recognized

representative patterns
At the time that these traditional patterns were established, when one spoke of “flowers,” it was the “flowers
of the plum tree” to which they referred. Originating from China, plum flowers were adored by nobility and
commonfolk alike. Testimony to this is the diverse array of plum patterns found in different colors and shapes,
from luxury products to everyday knick knacks, that have been created.

1
4
2

1 Plum rendered on a yuzen print short-sleeved

kimono CD 04_111
This somewhat planar rendition of deforme plum flowers and
branches expresses gentleness.
2 Plum on a mother-of-pearl box CD 04_112
One perceives a highly advanced artistic sense in the harmony
achieved between the shapes of the flowers, the buds, and the
branches.
3 Seaside plum rendered on a short-sleeved kimono
CD 04_113
This radically symbolic rendition of a wave crest is stimulated
by a rich conceptualization from which the Korin plum is
developed.
4 Plum tree rendered on a kanoko-dyed long-
sleeved kimono CD 04_114
This rendition of a patterned plum tree with branches in fluid
formation and the division of color is a superlative expression
of space.

66 Pattern Sourcebook: Japanese Style

Chapter 4: Plants/Winter

CD 04 115 – 118

Plum – 2
■ The perpetual permutation of designs made possible by their simple form
■ Patterns that render the diversity of expression in easy-to-understand fashion

Rounded links that are simple, yet able to provoke creativity

Five circles can be linked together to create the form of the plum flower. The fact that no two works among the
innumerable plum patterns are the same is testimony not only to the topical visual diversity seen in the rendition
of colors, shape, and descriptive method, but also to the diverse nature of the intended images of their creators.

1
4
2

1 Plum rendered on a transom CD 04_115

A rendition of plum blossoms that have not particular charm.
Its uniqueness rests in the integration of old wood within the
frame of the transom.
2 Rounded plum rendered on dyed fabric
CD 04_116
Though the petals are not especially remarkable, this rendition
surmounts stereotype by adding diversity to the stamens.
3 Komon kimono “plum and bush warbler”
CD 04_117
Using branches to link the plum blossoms and distribute bush
warblers throughout, transform this rendition into a unique
pattern.
4 Plum rendered on a makie-lacquered letterbox
CD 04_118
The straightforward form of the plum, rendered in monotone,
appears surreal and unique.

68 Pattern Sourcebook: Japanese Style

Chapter 4: Plants/Winter

CD 04 119 – 122

Plum – 3
■ A collection of patterns where each plum blossom is uniquely rendered
■ The elements of elegance, color, and fragrance

Plum patterns that give one a sense of the limitless possibilities

of expression
Since the era of Myriad Leaves, when Japan's sentiment toward the elegance, hue, and fragrance of the plum
blossom which had established themselves in our hearts came to be rendered as form, a greater number of plum
patterns were created. And when the plum crest became popular as family insignias, the creation of unique plum
blossoms expanded the world of the plum pattern even more.

1
4
2

1 Komon kimono “plum” CD 04_119

Rendering the representative plum insignia as a small
pattern design has given birth to a refined gimlet-carved dot
expression.
2 Komon kimono “plum pot” CD 04_120
This teaches of the appeal of scattering single units of
armorial insignia to form a different insignia.
3 Komon kimono “fallen pine, bamboo and plum”
CD 04_121
A unique rendition of plum blossoms formed by using a
gimlet to carve small plum flowers inside the petals of a plum
insignia.
4 Komon kimono “scattered small fl ower pattern”
CD 04_122
Though this design is a rendition of komon, it is also an
expression of form that bears appreciation even if the flowers
are rendered as large patterns.

70 Pattern Sourcebook: Japanese Style

Chapter 4: Plants/Winter

CD 04 123 – 126

Pine
■ The concept of “pine” in original Japanese interpretation
■ Views of pine that enrich our lives

A collection of patterns that represent the sophisticated spiritual

culture of the ancients
The fondness that the Japanese people have toward the pine, which remains constant throughout the four
seasons, need not be expressed in words after all this time. It would be no exaggeration to say that the scenes of
pine depicted in traditional patterns represent the profound spiritual culture of the ancients. This is graphically
telling in well-polished and overwhelming artistry.

1
4
2

1 Pine rendered on an unlined kimono

CD 04_123
This rendition of pine, which is often depicted in stately
fashion, is a colorful and lightly designed picture.
2 Pine rendered on an oribe glaze mukozuke dish
CD 04_124
A fine example of how affinity and profound spirituality is
expressed through motif.
3 Komon kimono “pine” CD 04_125
A good example of the use of gimlet carving to render a very
stylized pine insignia, scattering the patterns to create a
different atmosphere for the pine.
4 Pine rendered on a makie-lacquered small box
CD 04_126
This portrayal of pine leaves is a preview of the style of pine
to be later rendered as armorial insignia.

72 Pattern Sourcebook: Japanese Style

Chapter 4: Plants/Winter

CD 04 127 – 130

Bamboo
■ The bamboo is reminiscent of refreshing dynamism
■ The ever-changing demeanor of bamboo rendered erect and pliable

Patterns depicting the effort put into expressing the tall figure of
bamboo
The attributes of bamboo have been widely used as tools in daily life since ancient times. Since it is difficult to
render the tall figure of bamboo in the composition of design, it is often found as decorative design on garments
of longer lengths. Otherwise, it is often rendered as bamboo grass.

1
4
2

1 Bamboo rendered on a plate decorated in

nabeshima overglaze enamels CD 04_127
Though this does not depict the rigidity of the bamboo, this
piece serves as a reference to the many possibilities for the
evolution of form.
2 Bamboo rendered on a cloissone nail head cover
CD 04_128
This sensitive depiction focused on the leaves of the bamboo
teaches us a method of expression that exploits the beauty of
purposeful utility.
3 Komon kimono “bamboo stripes” CD 04_129
The appeal of this contrast resides in the amazing sensitivity
of a creator who has rendered a work made possible only for
its use of bamboo.
4 Bamboo rendered on silk wrapping cloth
CD 04_130
Though the contrast is slightly strong, this rendition depicts
the many expressions of the bamboo.

74 Pattern Sourcebook: Japanese Style

 ■ Komon kimono “cylindrical semi-circular hail” CD 04_131 Though namako refers to a cylindrical semi-circular shape,
this rendition could also be said to express large and small eye-shaped hail. This pattern may appear as a painful expression when
observed vertically and a rough pattern when viewed diagonally.

■ Komon kimono “dew-drenched grass and bundles of straw” CD 04_132 Only in an extremely relaxed state could one
have the emotional comfort to render such subject matter in design.

76 Pattern Sourcebook: Japanese Style

Chapter 5
Creatures
Chapter 5: Creatures

CD 05 133 – 136

Birds
■ Adoration for the figure of the bird flying freely through the air
■ Birds signifying auspicious signs, military spirit, and more

Often renditions of realistic expression, these designs can be

somewhat difficult to use in contemporary design
The crane, which is considered an auspicious bird, is often found among bird patterns. In design, eagles, hawks,
and mandarin ducks are rendered as spectacular, while plovers, sparrows, and swallows, are depicted as lovely
birds. Since bird patterns are generally realistic expressions and difficult to use in contemporary design, this
chapter will introduce the more expansive examples.

1
4
2

1 Komon kimono “fl ying cranes” CD 05_133

Observe the light touch rarely found in bird patterns and the
more beautiful simplicity.
2 Chumon “willow and sparrow” CD 05_134
This design of sparrows gathering among branches of willow
is superb. None of the sparrows suffer by comparison with any
of the others.
3 Komon kimono “plovers” CD 05_135
These lovely plovers are rendered naturally in a design made
more effective by their uncontrived placement.
4 Waves and plovers rendered on a kyogen costume
CD 05_136
Waves are exquisitely balanced, and together with the plovers,
overflow with dynamic beauty in this contemporary pattern.

78 Pattern Sourcebook: Japanese Style

Chapter 5: Creatures

CD 05 137 – 140

Insects
■ A soft material aiming at a new kind of pattern expression
■ The changing form of the highly popular and overwhelmingly abundant butterfly

The elegantly dancing form of beautifully colored butterflies and

the endlessly evolving nature of design
In the world of patterns, one is always inclined to select materials that are pleasing to the eye. In order to impart
the appearance of autumn as elegantly as possible, some patterns are decorated with autumn grasses and
singing insects. Ultimately, from the perspective of their beauty in flight and evolvability of design, no other
subject matter surpasses the butterfly.

1
4
2

1 Komon kimono “winning insect” CD 05_137

These simplified dragonflies are winsome, rendered in
a random array as if no other method could have been
conceivable.
2 Komon kimono “butterfl y” CD 05_138
Though the concept here is the same as the “winning insect”
described in figure 1 above, one gets the impression that this
rendition could benefit from slightly fewer butterflies.
3 Komon kimono “butterfl y stripes” CD 05_139
Looking at this pattern, one gets a hint of the possibilities of
endlessly extending stripe patterns.
4 Komon kimono “silver grass and butterfl ies”
CD 05_140
Unique for uniform round dots formed using a gimlet, the
strong points of these alien-like materials lie less in their
assertiveness than in the impression they give when observed
from a distance.

80 Pattern Sourcebook: Japanese Style

Chapter 5: Creatures

CD 05 141 – 144

Fish and Animals

■ A feeling for materials selected for specific uses
■ The story of using materials mindful of tools

Untold significance inherent in traditional patterns that continue

to exist today
Shrimp represented long life, the fox was the emissary of the gods, the bat was thought to be the herald of
fortune, and the carp was the symbol of success… The ancients selected a diverse array of creatures from the
universe in which to entrust their happiness. For this reason, even in contemporary times one feels somewhat
uncomfortable with designs that confound the significance and tools of tradition.

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2

1 Komon kimono “shrimp” CD 05_141

From the layout it seems as if the shrimp are jumping.
Effectively combining this rendition with waves would perhaps
add additional appeal.
2 Komon kimono “fox” CD 05_142
Could the foxes be running about in the snow? This gaiety
inspiring picture does away with the slightly negative image
of the fox.
3 Komon kimono “bat” CD 05_143
Like the “Fox” in figure 2 above, this rendition also lacks
negativity, and its uniqueness as a pattern even offers insight
into the tricks of the designer’s trade.
4 Chumon “circular carp and peony”
CD 05_144
One mistaken brushstroke alone could transform this design
into a tasteless work. It would benefit from a slightly more
ingenious integration of materials.

82 Pattern Sourcebook: Japanese Style

 ■ Komon kimono “crane and turtle among a variety of treasures” CD 05_145 Perhaps the cranes and turtles, bags of
treasure, lucky mallets, pine, bamboo, balls, and cloves will be measured against bundo weights (units shaped like eyes). When one
begins to question why there are no hooks and umbrellas, this work becomes a lively pattern that could tell tales.

■ Komon kimono “water and rain dragon pattern” CD 05_146 Though dragons are imaginary animals of fortune thought
to reside in lakes, swamps, and the ocean, rising into the sky on occasion to evoke rain from the clouds, they have appeared often in
design. Rain and the dragon exist together like a pair.

84 Pattern Sourcebook: Japanese Style

 Chapter 6
Waves/Flowing Water
Chapter 6: Waves/Flowing Water

CD 06 147 – 150

Waves and Flowing Water – 1

■ Elegance possible only in this land of oceans and fields overgrown with reeds
■ The temporal beauty of the momentary transformation of water

The strength of traditional design is indispensable to the

expression of water
Scenes of the oceans and rivers are so pervasive in the Japanese mind that they are taken for granted.
Consequently, when the need to render water arises, establishing its extremely free and difficult to grasp
existence in design can be rather difficult without taking an extremely careful approach. At such times one feels
the need to refer to the spirituality and form of the water patterns handed down to us by our ancestors.

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2

1 Waves rendered on a short-sleeved embroidered

yuzen print kimono CD 06_147
Though seemingly insignificant, the ripples and foam wave
crests depict shallows with a tranquil atmosphere.
2 Flowing water rendered on a short-sleeved yuzen
print kimono CD 06_148
When shown such an image of flowing water, one loses all
hesitancy toward the shape of the subject on which the pattern
is to be rendered and feels empowered to create.
3 Waves rendered on a short-sleeved yuzen print
kimono CD 06_149
Though the same can be said of figure 2, through this piece
one gets the sense of space in a profound spirituality that
belies the simplicity of its own rendition.
4 Waves rendered on a patterned short-sleeved
kimono CD 06_150
A collection of unhesitatingly elegant lines superimposed with
rhythmical wave crests. A masterpiece from which one does
not sense the hard work that went into its creation.

86 Pattern Sourcebook: Japanese Style

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CD 06 151 – 154

Waves and Flowing Water – 2

■ The truth of waves that bring to mind a powerful reason
■ The abstraction of essence rendered through methodology of expression

A high-quality finished form realized solely through the design of

the waves
As is the case with the four examples introduced here, waves rendered in traditional patterns are not always
depicted alone, but are rather accompanied by floating flowers, the turning leaves of autumn, boats, rabbits, and
other elements. If one were to compare a wave pattern stripped of its accompanying elements to its original form,
he or she would be surprised at the beauty made whole by the design of the waves alone.

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2

1 Waves rendered on a makie-lacquered garment

box cover CD 06_151
A lidded container for storing and transporting folded
kimonos. Rendering the container itself to resemble water
imparts a refreshing mood.
2 Waves rendered on a makie-lacquered tiered
picnic box CD 06_152
The actual piece depicts a plover resting on a wave crest.
This is such an excellent example of skill in forming the wave
pattern that the bird feels superfluous.
3 Waves rendered on a makie-lacquered sake bottle
CD 06_153
One wonders if the owner used to pour sake into this sake
bottle to carry with him on excursions for flower viewing
or viewing the turning of autumn leaves. The original
work depicts turning leaves rendered with the flowing
water of Tatsutagawa. Observing the waves without their
accompanying elements gives one the impression that he or
she is viewing the streamlined form of an abstract painting.
4 Flowing water rendered on a makie-lacquered
flower viewing lunchbox CD 06_154
In this rendition, the lines are even more refined than those in
figure 3 above. A line of wave crests come together to create a
break in this sharply cutting depiction of flowing water.

88 Pattern Sourcebook: Japanese Style

Chapter 6: Waves/Flowing Water

CD 06 155 – 158

Waves and Flowing Water – 3

■ Renditions of waves that require powerful techniques to create a design transformed by desire
■ Waves give us clues as to how to escape formalized beauty

Traditional patterns that school us in love for and observation of

flowing water
“Yuku kawa no nagare-wa taezushite, shikamo moto no mizu ni arazu.” (The flow of the river is ceaseless and
its water is never the same.) As suggested by this saying by poet Kamo no Chomei, as quickly as flow manifests
itself in form and sentiment in the back of our minds, just as quickly do those manifestations disappear.

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2

1 Flowing water rendered on a makie-lacquered

inkstone case CD 06_155
An almost completely abstract rendition of flowing water, this
piece teaches us how to grasp the points that make one want
to say “I am certain I have seen this type of water insignia
before.”
2 Waves rendered on colored paper CD 06_156
This is the most typically Japanese and well-known example of
the wave. How many designers have created renditions evolved
from these waves?
3 Komon kimono “fl owing water” CD 06_157
Looking at this pattern, we are taught that “there is no
particular need to exert oneself anew.”
4 Flowing water rendered on the cover of a book of
Noh songs CD 06_158
Compliments to the philosophical completeness of this
attempt to make the freely flowing nature of the water our own,
as suggested by the name of this pattern, “tomoemizu” (or
swirling waters).

90 Pattern Sourcebook: Japanese Style

Chapter 6: Waves/Flowing Water

CD 06 159 – 162

Waves and Flowing Water – 4

■ Brilliant patterns that transform turbulent waves into a world of tranquility
■ Methods of describing temporal moments in the movement of water

The form of the curvatures of the waves are the key factors in
expressing the athleticism of the wave crests
Though designs of wave crests rendered as pattern are by no means rare, any new wave creation must express
the shape of wave crests influenced by the moving curves of the water that precedes them. Otherwise, no matter
how much the rendition may resemble a wave in form, it will not impart the sense of the dynamism of the wave.
The waves of traditional patterns do an excellent job of this.

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2

1 Waves on a makie-lacquered inkstone case

CD 06_159
In this rendition, a visually rhythmic pattern is repeated to
create an excellent expression of the dynamic beauty of the
wave.
2 Waves rendered on a makie-lacquered wooden
tray CD 06_160
This rendition focuses on the interesting nature of fleeting
wave crests. We can learn from this example in which waves
are rendered in both close and distant expressions.
3 Waves on a lacquered mother-of-pearl pot
CD 06_161
While at first glance this depiction shows the inverted roll of
the waves with a violent expression, the fact that it does not
feel unnatural is fascinating.
4 Waves rendered on a makie-lacquered chest
CD 06_162
A masterpiece of dynamic wave crests seemingly induced by
the curves of the surface layers of the waves in an expression
that beckons the next wave to follow.

92 Pattern Sourcebook: Japanese Style

Chapter 6: Waves/Flowing Water

CD 06 163 – 166

Waves and Flowing Water – 5

■ Japan’s most celebrated masterpiece of the wave pattern, seigaiha
■ The wave theme of diversely changing and evolving form

Concepts founded on the basics produce limitless, original wave

patterns
Seigaiha patterns are commonplace today. No other pattern has such chaotic beauty—or so beautifully
crashes—no matter how the pattern has evolved as long as the basic rules are observed. Surely no other
geometrical pattern themes would benefit from these characteristics. To form your own concepts you may want to
revisit the wave insignias rendered with the three lines that are most basic to the seigaiha.

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2

1 Evolving seigaiha rendered in Chinese-style

brocade CD 06_163
Though evolutions of seigaiha this sophisticated pattern
is classified in a special category of design. This piece is
beneficial to the study of conceptual freedom.
2 Seigaiha on a Choken Noh costume CD 06_164
A tasteful and refined rendition of seigaiha. There is an
indescribable elegance to the waveforms that consists of two
curved lines.
3 Komon kimono “seigaiha and plover”
CD 06_165
Plovers are placed inside the gaps formed by dividing units of
seigaiha. Such aspects were probably the starting point of the
conceptualization of this work.
4 Waves rendered on an embroidered foil-cloth
costume CD 06_166
The original work is a dazzling, luxurious garment pattern
depicting the phoenix and mandarin ducks atop the waves.
Although an item of this level can no longer be referred to as
seigaiha, without a doubt, this example adheres to the chaotic
style of seigaiha to form elegant waves that are full of life.

94 Pattern Sourcebook: Japanese Style

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CD 06 167 – 170

Waves and Flowing Water – 6

■ Highly unique renditions of waves and flowing water developed by creators of arts and crafts
■ Excellent works of traditional design that cultivate creative skill

A boldness capable of capturing a single moment of dynamism,

a self-possessed perspective capable of reproducing flow
Though the waves rendered by these artists certainly need no commentary at this point, these examples have
achieved a mastery that is unique. Furthermore, they charm their innumerable admirers. The almost too famous
waves of artists such as Katsushika Hokusai are not introduced here. This is because we could never achieve
greater heights no matter how much we refer to these masters’ works. One is charmed, however, simply by
observing the examples presented here.

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2

1 Waves rendered on a ninsei tea cup

CD 06_167
Observe this rendition that reminds you of the water’s edge
and give’s one the sensation of the sunshine of summer.
2 Flowing water rendered on korin kohaku umezu
CD 06_168
This def t rendition of the leaves of the hollyhock in
positive and negative expression serves as a reference for
methodology.
3 Wave rendered in a Hokusai cartoon
CD 06_169
Katsushika Hokusi and Utagawa Hiroshige are both renown
ukio-e masters. This wave is a section of waves rendered in a
cartoon.
4 Wave crests rendered by Ito Jakuchu
CD 06_170
Ito Jakuchu, a mid-Edo Period cartoonist. Waves rendered in
one section of “Phoenix in the Rising Sun” (Asahi hoo-zu).

96 Pattern Sourcebook: Japanese Style

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CD 06 171 – 174

Waves and Flowing Water – 7

■ Renditions that do away with the grave dignity encountered in garments
■ Dynamic yet not overly light expression

Wave and flowing water patterns arouse our awareness of

beautifully curving lines
The waves encountered in garments are often rendered as a part of the scenery. All the more reason that we tend
to overlook the interesting aspects of waveform when we observe the other themes presented. Extracting only the
waves as we have done here allows us to reaffirm the beauty inherent in their curvature.

1
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2

1 Waves rendered on a short-sleeved crepe kimono

CD 06_171
Rendered in carefree and elegant curves, these waves avoid
being violent and have a gentleness suitable for use with
garments.
2 Waves rendered on a kaga yuzen print short-
sleeved kimono CD 06_172
The dynamics of the waves create a beautiful harmony even
as this work retains the trademark yuzen obfuscation.
3 Waves rendered on suo men’s kimono
CD 06_173
A garment worn by the warriors of Kyogen. The bold expression
of seigaiha-style realistic form of waves viewed from close
proximity serves as a reference to form.
4 Waves rendered on a stencil-dyed unlined kimono
CD 06_174
The slightly hushed waves rendered using the stencil-dye
method are interesting and do a good job of expressing the
characteristics of the dyeing technique.

98 Pattern Sourcebook: Japanese Style

 ■ Waves rendered on an unbelted women’s garment CD 06_175 From the wave crests, whose curvature could be
referred to as the Bohemian expression of ocean waves, one is schooled in the state of the free and intellectual mind.

100 Pattern Sourcebook: Japanese Style

Pattern Source Book: Japanese Style 101
 ■ Waves rendered using the stencil-dye technique CD 06_176 A carefree and elegant wave pattern. The skilled lines
borne of an unerring carver’s sword.

■ Wave crest rendered on a twill Noh costume CD 06_177 The excellent observant eye of the ancients is rendered here in
such unique form that one look will render it absolutely unforgettable.

102 Pattern Sourcebook: Japanese Style

Chapter 7
Arabesque
Chapter 7: Arabesque

CD 07 178 – 181

Arabesque – 1
■ The arabesque pattern is stately and majestic

A collection of honeysuckle-like arabesque patterns frequently

observed in Buddhist designs
Japan’s classical arabesque designs are often found in images of the Buddha, the canon, architecture, and other
Buddhist products. While generally disciples of the honeysuckle arabesque pattern, there are as many variations
of rhythm, terminal curvature, thickness, mood, twist and linkage as there are things Japanese. There is perhaps
no other pattern that demonstrates more ornamental and evolutionary traits.

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2

1 Mandorla on an eleven-headed Kannon statue

CD 07_178
Though the form of the mandorla itself is unique, its multi-
layered arabesque expression is also majestic.
2 The center portion of a copper mirror “honey-
suckle arabesque” CD 07_179
Simplifying and organizing the lines creates a complete units
of patterns that can be used even in contemporary design.
3 Embroidered Noh costume “honeysuckle
arabesque” CD 07_180
Shedding its Chinese influences, this beautiful arabesque
pattern is rendered with a sensitivity unique to Japan.
4 The mandorla portion of a non-fl ying Kannon
statue “honeysuckle arabesque” CD 07_181
A three-dimensionally carved example. As a manual for the
rendition of form, the continuity of this arabesque pattern is
natural and streamlined.

104 Pattern Sourcebook: Japanese Style

Chapter 7: Arabesque

CD 07 182 – 185

Arabesque – 2
■ Patterns passed down from China that have been remarkably transformed to suit
the sensibilities of the Japanese people
■ Unique names given to patterns to match the classification of their motifs

The life force of vines entrusted with our aspirations rendered in

auspicious patterns
In addition to vines, arabesque patterns also use flowers, leaves, and fruit as the subject of motifs, thus
incorporating a wide variety of plants in their designs. Patterns are classified as peony arabesque or
chrysanthemum arabesque, and so on, depending on the type of motif. Considered symbols of longevity, the
proliferous vines are used widely as an auspicious design.

1
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2

1 Indigo blue cotton fabric dyed using a pattern

overlay “cherry blossom arabesque” CD 07_182
This is an excellent example of Japanese-style arabesque
rendered in a pattern of sophisticated and refined beauty.
2 Indigo blue cotton fabric dyed using a pattern
overlay “chrysanthemum arabesque” CD 07_183
The stems and leaves of the chrysanthemum formed in
arabesque patterns are a good example of how normally
unthinkable subject matter can be rendered in design.
3 Makie-lacquered tea case “Chinese fl ower pattern
arabesque” CD 07_184
While one could point out the influences of Chinese decoration
techniques on the form of this Chinese flower pattern, there is
no overlooking the overall Japanese quality of its beauty.
4 Indigo blue cotton fabric dyed using a pattern
overlay “peony arabesque” CD 07_185
This quiet yet amiable design, where color is applied to the
vines, takes full advantage of the characteristics of pattern
overlay dyeing methods. It is brilliant.

106 Pattern Sourcebook: Japanese Style

Chapter 7: Arabesque

CD 07 186 – 189

Arabesque – 3
■ Arabesque patterns that have evolved into uniquely Japanese patterns
■ Techniques of expression unique to Japanese dyeing methods

The diverse ornamental qualities of the arabesque pattern

stimulates the sensitivity of designers
The classical arabesque patterns of contemporary Japan were handed down from China, and – if one were to
venture even further into the depths of history – most likely had originated with the nations along the Silk Road.
Their diverse ornamental qualities inspire the sensitivities of Japanese designers. Over time, these patterns have
achieved a completeness and transformation that are completely unique to Japan.

1
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2

1 Indigo blue dyed pattern “wild chrysanthemum

arabesque” CD 07_186
Though simple, this is the kind of frank work of profound
aesthetics loved by the Japanese people.
2 Indigo blue dyed pattern “peony arabesque”
CD 07_187
The simplification of the veins of the leaves and the finely
spun expression of the ivy teaches us how to handle the
concept of body.
3 Indigo blue dyed pattern “lion’s mane
arabesque” CD 07_188
No matter what material is used, one is empowered by this
method that uses the qualities of the material to create
independent patterns.
4 Indigo blue dyed pattern “chrysanthemum
arabesque” CD 07_189
This example of an amply comfortable configuration and frank
yet elegant descriptive method should be used widely as a
reference.

108 Pattern Sourcebook: Japanese Style

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CD 07 190 – 193

Arabesque – 4
■ Endearing decorative patterns popular even among the general public
■ A uniquely Japanese sense of nature that gives birth to variation

Advancements in dyeing techniques have given “arabesque”

patterns mass appeal
The numerous patterns created since arabesque patterns came to be known simply as “arabesque,” consequently
assuming a more “common” aspect, are not completely unrelated to advancements in dyeing techniques. Though
the art of dyeing is part of the larger category of “graphic arts,” the advancements made in dyeing techniques
have increased the pace of the spread of popular items and increased variation among designers.

1
4
2

1 Indigo blue dyed pattern “lion’s mane

arabesque” CD 07_190
An example of lion's mane arabesque expressed with great
precision. Commonplace and appealing to the masses, but
also dignified.
2 Stencil-dyed pattern “dots and arabesque”
CD 07_191
It is not clear how to classify this example of arabesque
design. However, the dots rendered in contrast to the
arabesque pattern are living examples of evolving form.
3 Stencil-dyed pattern “octapus arabesque”
CD 07_192
The fact that octopus legs rendered in arabesque form have
been used in ceramic works produced in the Kutani-yaki and
Imari-yaki schools of pottery is testimony to the depth of the
freedom enjoyed by the Japanese people.
4 Indigo blue fabric dyed using a pattern overlay
“chrysanthemum arabesque” CD 07_193
This shows chrysanthemum precisely rendered by alternating
the base colors. A bold yet not overpowering example of
elegant arabesque patterns.

110 Pattern Sourcebook: Japanese Style

Chapter 7: Arabesque

CD 07 194 – 197

Arabesque – 5
■ The transition from normal arabesque to normal flower patterns
■ The sense of the possibilities of variation

Innovative designs that exploit the rhythm of arabesque patterns

A new form of design that takes advantage of the rhythm of the arabesque pattern to form arabesque motifs
that do not feel “arabesque” has also been developed. Unlike the rhythm of the undulating curvature of the vines
introduced thus far, these are pretty and refined arabesque patterns similar to the usual flower patterns.

1
4
2

1 Dyed pattern “Chinese fl ower arabesque”

CD 07_194
The flowers used here give this rendition a slightly religious
feel. However, the curvature of the branches and leaves and
repeating units of design makes this an innovative arabesque
pattern.
2 Kyo Karakami fusuma paper “(boke) arabesque”
CD 07_195
Light and pretty form from which diverse variations could
easily evolve.
3 Kyo Karakami fusuma paper “primrose
arabesque” CD 07_196
Viewed in this way, one gets the impression that any flower
could be rendered in arabesque form, giving breadth to the
conceptualization of the flower in design.
4 A lacquered hot water pot “Chinese fl ower
arabesque” CD 07_197
An attractive contemporary design. One may learn much
from the streamlined rendition of the proliferating leaves and
branches of the vine.

112 Pattern Sourcebook: Japanese Style

 ■ Arabesque bellflower rendered on a cotton garment CD 07_198 Here, these two forms of arabesque patterns have
created a two distinct renditions of arabesque vines and arabesque leaves and flowers. There are surprisingly many arabesque patterns
where the main object (flowers) seems to have been added after the arabesque background was created.

■ Stencil-dyed arabesque hollyhock CD 07_199 This type of karakusa pattern is intended to bury the main subject in the
curvature of arabesque patterns. It has a very different significance for the woven pattern from that of arabesque patterns in which the
vines, flowers, and leaves are integrated as one. Therefore, the arabesque vines themselves do not express any traits that would make
them a focal point in this rendition.

114 Pattern Sourcebook: Japanese Style

Chapter 8
Geometry
Chapter 8: Geometry

CD 08 200 – 203

Stripes – 1
■ Straight and curved lines that form design
■ A unique Japanese world developed from an integration of methods of embroidery and dyeing

Simple and straightforward patterns that reached the height of

popularity as the brilliance of the Edo Period
Of all the geometric stripe patterns, Japanese people feel the greatest affinity for the Japanese stripe design
rendered on the kimono. Without particular focus on the flower, bird, wind,or moon motifs, these patterns only use
lines to establish themselves against the backdrop of the culture of the townspeople of Edo. Straight lines are
boldly distributed to form simple yet powerful configurations that have no equal.

1
4
2

1 Shikan stripe pattern CD 08_200

A stripe pattern endeared by the kabuki artist, Nakashia
Shikan. Each kabuki artist had their own unique patterns.
2 Flagstone pattern in transition CD 08_201
Laid out in a latticelike arrangement, two different types of
flagstone become the base design in this bold and modern
pattern.
3 Thin stripes CD 08_202
Vertical stripes highlight the design, while brackets shaped
like the Japanese character “ko” are positioned to form
an argyle pattern that accentuates and strengthens the
impression of the pattern.
4 Yoshihara tsunagi linked pattern CD 08_203
A famous pattern that was used in the fireplace in Yoshihara
tea shops. The slightly indented four-cornered design is
distinctive.

116 Pattern Sourcebook: Japanese Style

Chapter 8: Geometry

CD 08 204 – 207

Stripes – 2
■ Patterns featuring large and small dots and rows of highly unique shapes
■ Diverse patterns that one never gets tired of looking at

Stripes constructed of familiar elements designed on the basis

of unfettered concepts
The elements that comprise the stripes are diverse, and the patterns derive their charm form their rich
transformations. Though not typical, these patterns that render elements of nature and the utensils of daily life
as small pattern designs on kimono and furnishings enjoyed the overwhelming advocacy of the common folk of
the Edo Period

1
4
2

1 Stripes in transition CD 08_204

This rendition is charming for the rhythmical nature of
the continuity of the uniform dots and the pictogram-like
lightness of its taste.
2 Water stripes CD 08_205
A variety of forms of water are integrated to form two
contrasting stripe patterns.
3 Arrow fl etchings rendered as stripes
CD 08_206
The arrow is significant for its ability to ward off evil spirits,
and being superstitious, the Japanese people have rendered
the arrow in a variety of designs. Here, arrows have been
arranged in equal intervals to create a design based on the
fletchings.
4 Crafted stripes CD 08_207
This pattern, comprised of diamonds and circles, is light and
seemingly so comfortable that it will sweep away the summer's
heat in an instant.

118 Pattern Sourcebook: Japanese Style

Chapter 8: Geometry

CD 08 208 – 211

Stripes – 3
■ Original concepts unrestricted by the framework of the pattern
■ Taking on the new challenge of rendition as playfully and freely as possible

The round shapes dance and the curving lines undulate. Patterns
given life by creativity groping for innovative expression
During the Edo Period the straightforwardness of the vertical stripe pattern enjoyed wide popularity. One may
also observe patterns that have made an attempt to venture into a new world of values while remaining true
to the fundamental rule of the vertical stripe. This was a period of history during which such innovations were
considered stylish and sophisticated.

1
4
2

1 Wavy bamboo stripes CD 08_208

The leaves of the bamboo accentuate this pattern of wavelike
amplitude rendered with gently curving dot shapes.
2 Wavy stripes CD 08_209
Patterns of slightly billowing shapes, referred to as “wavy,"
have given birth to a variety of free-wheeling designs. These
patterns are not completely unrelated to the rise of the
townspeople classes of the Edo Period.
3 Broken stripes in transition CD 08_210
Though at first glance it would seem that this pattern does not
merit repetition, the creator has rigidly protected the integrity
of his pattern. But one marvels at the degree of freedom
evident in this example.
4 Wavy stripes in transition CD 08_211
Here, the movement of water has been simplified to an extreme
to render this pattern. The impression of the liveliness the
water communicates well.

120 Pattern Sourcebook: Japanese Style

Chapter 8: Geometry

CD 08 212 – 215

Lattice – 1
■ A fundamental design among textile patterns
■ Well-received by the common people, an attempt at solicitation that shattered the borders
of the lattice pattern

A popular pattern that epitomized its era

The lattice introduced here is a design based on complex repeating patterns that are rich with Japanese beauty.
These patterns, crisscrossing on a vertical and horizontal axis, are form-enriched and quite avant-garde.
During the Edo Period, as the culture of the townspeople thrived, these excellent patterns began to appear with
increasing frequency.

1
4
2

1 Iris and kuginuki pattern CD 08_212

Here, kuginuki refers to the small square in the center of the
diamond shapes rendered in this linked pattern depicting
cored metal washers.
2 Lattice pattern in transition CD 08_213
Consisting mainly of three thick vertical lines and two thick
horizontal lines that encapsulate designs rendered to resemble
the fletchings of an arrow, this pattern was intentionally
created to seem complicated.
3 Lattice pattern in transition CD 08_214
Broken lines are intermittently integrated with thick and thin
vertical lines, attributing a sense of rhythm that rids the
rendition of monotony.
4 Lattice and cranes CD 08_215
Despite the use of thick uniform lines, this is a highly refined
pattern. The form of the cranes has been rendered in a
design seemingly intended to be a simplified model for the
observation of nature.

122 Pattern Sourcebook: Japanese Style

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CD 08 216 – 219

Lattice – 2
■ Diagonal lines in effectively arrayed variation
■ The standard pattern elements take on a certain significance and enhance elegance

Despite their complicated appearance, the basic form of the

lattice pattern supports the faithful rendition of design
The diamond-shaped lattice could be referred to as an argyle variant of the usual lattice pattern. The lines that
intersect each other diagonally create a stronger effect than the straightforward vertical and horizontal lines.
Modifying the shape, number, and angle of the lines that comprise the stripes enables the free expression of
delicacy, strength, and other traits. In effect, the possibilities for variation are limitless.

1
4
2

1 Matsukawa overlapping argyle patterns

CD 08_216
At first glance, this composition seems complicated and
lacking in unity, but in fact, this is a design that combines
two patterns to create a strong impression.
2 A transitioning contiguous argyle pattern
embedded with flowers CD 08_217
From this design of argyle patterns with flowers embedded in
openings, one can see the well-balanced pattern area and get
a sense of its stable cohesiveness.
3 Argyle pattern CD 08_218
In this culmination of form, the argyle cross lines, the circles,
and decorative patterns come together in a well-balanced
composition that unconsciously incorporates all of the
composite elements of the pattern.
4 Narihira-hishi pattern CD 08_219
The sizes of the dots that comprise the lines are exquisitely
rendered in this delicate and intellectual pattern where even
the most minute details stimulate the senses

124 Pattern Sourcebook: Japanese Style

Chapter 8: Geometry

CD 08 220 – 223

Circles
■ The form of the minimal structural unit used in planer patterns
■ Elements required to establish the best layout for harmonization of a pattern

The basic element of geometric design that expresses peace and

spiritual stability
For a long time circles have been integrated in patterns as designs of good fortune that signify spiritual stability
and peace. Prior to the Edo Period, there were numerous examples of designs featuring circular patterns. After
the Edo Period, however, arcs also came to be used as a unit of patterns in geometric design.

1
4
2

1 Contrary circles CD 08_220

A contiguous pattern of complex linked overlapping circles,
among the yusokumon patterns which were used to determine
one’s level or title. They were also known as “seven treasures.”
2 An interlocking “seven treasures” pattern
embedded with small flowers CD 08_221
A pattern with small, five-petaled flowers randomly placed in
the center of a “seven treasures” pattern. The circular shape
of the “seven treasures” pattern signifies happiness and
peace.
3 Interlocking circles CD 08_222
A pattern of linked overlapping circles, this term has the same
meaning as “contrary circles” in figure 1 above. This pattern
further incorporates bands of stripes in a more complex
fashion.
4 Circle patterns and columns of fl owers
CD 08_223
As a geometrical structural element, four-petaled flowers
with cross-shaped stamen are effectively distributed in this
pattern.

126 Pattern Sourcebook: Japanese Style

 ■ Linked hemp leaves CD 08_224 Owing to the hemp leaflike shapes, this hexagonal pattern containing numerous evolving
forms has been named “hemp leaf.” While this rendition of “hemp leaf” adheres to the basic pattern, it also boldly transforms the
structural elements, creating a exceptionally liberated design.

■ Mountain roads CD 08_225 Also known as “mountain path”, this pattern is comprised of zigzagging lines and shapes that
symbolize the roads going from mountain to mountain. This zigzagging form is used often in stripe patterns as well.

128 Pattern Sourcebook: Japanese Style

 Chapter 9
Utensils/Formats
Chapter 9: Utensils/Formats

CD 09 226 – 229

Utensils
■ Designs that arose from observing one’s immediate surroundings
■ The discovery of ideas that develop and evolve through random change

The technique of observing and then simplifying the shapes of

objects and sights from everyday life
Designs based on implements or tools are employed in both interior and exterior environments. The most
impressive trait of this category is the way the designs are based on simplified forms of the implements so
integral to the Japanese sense of everyday life. Perhaps these patterns seem so natural because they are used in
clothes and furnishings that are parts of weddings and other ritual events.

1
4
2

1 Komon pattern “maple leaves on the surface of

fans” CD 09_226
Perhaps as a result of the motif of fans and maple leaves, the
different dots and lines cultivate a sense of elegance.
2 Komon pattern “entwined patterns”
CD 09_227
Created from scattered, intertwined patterns, the design
expresses a loose playfulness.
3 Komon pattern “oriental pipe pattern”
CD 09_228
The idea of basing a pattern on oriental pipes is ingenious.
While this pattern lacks the rich imagery of designs based
on fans and umbrellas, one can say that it compensates with
novelty.
4 Spool CD 09_229
With sprawling threads and spools as accents, this design
inspires the viewer and hints at new designs.

130 Pattern Sourcebook: Japanese Style

Chapter 9: Utensils/Formats

CD 09 230 – 233

Tortoise Shell – 1
■ Highly valued as a design that represents good omens
■ A fundamental, infinitely repeating pattern

A sense of joyous creativity that has escaped fixed patterns and

grown into a crest
Since the Heian Period, the association with good omens has made the tortoise shell design one of the Yusoku
Monyo, a group of designs used in official buildings and ceremonious settings. Designs composed of tiled or
repeating tortoise shell designs are called “kameko tsunagi” (linked tortoise shells), and designs composed of
tortoise shells containing flower patterns are called “kameko hanamon” (tortoise shell flower patterns). People in
those days had an amazing artistic sensibility, and we can all learn from their joyous sense of creativity.

1
4
2

1 Komon pattern “hanagatsumi in tortoise shell”

CD 09_230
When one thinks of tortoise shell patterns, one usually thinks
of fixed patterns. However, one could also call this lovely
tortoise shell a kind of flower pattern.
2 Komon pattern “embedded pattern linked
tortoise shells” CD 09_231
A design of patterns within patterns, this design provides
an example of using the tortoise shell pattern’s order while
allowing the motif to make a statement from within.
3 Komon pattern “linked tortoise shells”
CD 09_232
Though a simple design, we can learn a great deal from the
fact that the illusion of depth is created so easily.
4 Komon pattern “embedded pattern linked
tortoise shells” CD 09_233
By encapsulating and overlaying komon, this design becomes
complex and gorgeous without seeming chaotic because the
order imposed by the tortoise shell lattice never breaks down.

132 Pattern Sourcebook: Japanese Style

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CD 09 234 – 237

Tortoise Shell – 2
■ An independent motif for which there should be a separate name
■ A fundamental, infinitely repeating pattern

A new fixed pattern motif, the evolution of the tortoise shell into
pure design
Bishamon kameko is an evolved form of the tortoise shell pattern. Made from units of three tortoise shells
arranged together, this pattern is named after the pattern on the armor of Bishamonten. The virtue of this
variation on the tortoise shell motif is that it allows the pattern to be infinite for whatever range of space on
which it is rendered.

1
4
2

1 Komon pattern “bishamon-linked tortoise shells”

CD 09_234
With points that have a softer feeling than the conventional
tortoise shell motif, this pattern is suitable for garments.
2 Komon pattern “bishamon-linked tortoise shells”
CD 09_235
It is easy to see that even when using the same materials the
results can vary depending on the expression.
3 Komon pattern “obi tortoise shell”
CD 09_236
A unique and modern variation on the primary form, this
design also allows for an infinitely extendable pattern.
4 Komon pattern “embedded pattern bishamon-
linked tortoise shells” CD 09_237
Like number 4 on page 132, “embedded pattern linked tortoise
shells,” this design is both complex and gorgeous.

134 Pattern Sourcebook: Japanese Style

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CD 09 238 – 241

Tachiwaku
■ Continuing patterns that use twin curves to portray concave and convex surfaces
■ A standard design that widely uses themes like chrysanthemums, bamboo grass, and clouds

A pattern that suggests steam twisting and rising in symmetry

The impetus to create a design from the undulation one finds in the natural world reveals a great deal about the
distinctive artistic sensibility of the Japanese. A fundamental supporting element of Japanese design, this motif's
widespread visibility in varied settings is testament to the strength of its symbolism and the softness of its
characteristic curves.

1
4
2

1 Komon pattern “tachiwaku and fans”

CD 09_238
A creative variation which breaks out of the category of
Yusoku Monyo by tracing the curved edges of the fans.
2 Komon pattern “rain dragon tachiwaku on
seigaiha” CD 09_239
Even the tachiwaku contains a pattern. The seigaiha pattern–
created by overlaying concentric circles and half-circles–is
used as a design over a broad range; surely the design was
intended to leverage the resulting contrast.
3 Komon pattern “tachiwaku with bamboo joints”
CD 09_240
Depending on what is placed inside the bulges of the
tachiwaku, we have names like “chrysanthemum tachiwaku,”
“paulownia tachiwaku,” and “cloud tachiwaku,” so this
pat tern should be “bamboo tachiwaku.” This design
communicates the humor of the artist well.
4 Komon pattern “tachiwaku with cherry blossom
pattern” CD 09_241
By reducing the cherry blossoms to symbols and using the
white tachiwaku line to make it a repeating pattern, the
impact of the design itself is strengthened.

136 Pattern Sourcebook: Japanese Style

Chapter 9: Utensils/Formats

CD 09 242 – 245

Characters
■ A pattern that concretely communicates a message
■ Character patterns that combine connotations of good omens with an inherent aesthetic value

A clear and precise pattern that directly links the originator to the
recipient of the image
One might consider these designs as representations of a particular message. For example, a woman wearing a
lovely, unspoiled flower crest perhaps chose that design as a signal to express to the viewer her interests and the
image she wants to convey. If patterns are conceived of in this way, then character patterns can be thought of as
attempts to more clearly and definitely communicate what could be the vague “signal” of a noncharacter pattern.

1
4
2

1 Komon pattern “stylized good fortune

characters” CD 09_242
Most commonly used good fortune characters are “long life/
kotobuki,” “prosperity/ fuku,” and “luck/ kichi.” In this crest,
the characters are stylized, so looking at them one still gets
an idea that they are somewhat associated with good fortune.
2 Komon pattern “genjiko and pine, bamboo, and
plum” CD 09_243
Genjikou is a game in which five rectangular sticks of incense
are used in distinguishing between the incense.
3 Komon pattern “three variations of ryo”
CD 09_244
Perhaps this is an attempt to infuse the sixth tone of ancient
Japanese Gagaku court music and the number three with
meaning. An interesting design.
4 Hanten character CD 09_245
These patterns seem to have been useful in fostering
group pride by illustrating the superior, inferior, and peer
relationships between organizations of the same type and
profession.

138 Pattern Sourcebook: Japanese Style

Chapter 9: Utensils/Formats

CD 09 246 – 249

Yusoku
■ Garment crests used in the Imperial Court that were regulated by court rank
■ Pinnacles of artistic beauty that should be maintained

Designs unparalleled in well-ordered and dignified beauty

In the Heian Era, these patterns were restricted by social class and tradition (clothing, officials, rank, age, etc.),
so it was not possible to use them freely for clothing and furnishings. These patterns are without equal for the
beauty of their well-ordered and dignified designs. As time has passed, these patterns have lost their beauty, but
they have come to be comparatively freely modified and altered.

1
4
2

1 Whirlpools on embroidered foil-cloth

CD 09_246
Because this pattern was used in the “Kanzesui Ryu” of Noh,
it came to be known as “Nuihaku no Kanzesui.” It seems that
a noble classic pattern was employed as a Yusoku Monyo.
2 Komon pattern “tortoise shell fl ower argyle
pattern” CD 09_247
Four argyle shapes, each containing flower petals arranged
in an argyle formation is another of the Yusoku Monyo. This
pattern, with the flower argyle pattern within the celebratory
tortoise shell pattern carries strong connotations of the Heian
Period.
3 Komon pattern “cloud tachiwaku pattern”
CD 09_248
It is hard to find a pattern that has been transformed into an
icon to the extent of the cloud tachiwaku pattern. One reason
might be because it is so modern.
4 Peony arabesque rendered on a twill short-
sleeved kimono CD 09_249
A famous rendition of this same pattern is known as the “crab
peony/ kani botan”, because the peony, being woven in red,
looks like a crab.

140 Pattern Sourcebook: Japanese Style

 ■ Arabesque yusoku CD 09_250 A rarely seen member of the Yusoku Monyo group. One can see the originality in this pattern
which faithfully follows the fixed pattern of the "seven treasures."

142 Pattern Sourcebook: Japanese Style

Pattern Sourcebook: Japanese Style 143
[About the Attached CD-ROM]
The Attached CD-ROM: Using the Material Provided
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[About the Author]

Shigeki Nakamura An art director since 1964, he established Cobble Corporation Co. Ltd. in 1987. The company published a
book of ESP Pattern Library Digital Materials, which can be seen on its website (http://www.cobbleart.com/). He has received
many awards, such as the Minister of International Trade and Industry Award, and he is a member of the JAGDA (Japanese
Graphic Designer Association).
 The unique collection of pattern designs in Pattern Sourcebook:
Japanese Style captures Japan’s heritage of traditional color,
characters, and decorative designs passed down through the
ages. Each design was carefully selected for use by artists and
designers in both their professional projects and personal
work. This book offers a collection of 250 Japanese-style
decorative patterns across sixty categories and provides
examples in both print format and as JPEG and PSD files
on a companion CD-ROM. Use this guide as a source of
inspiration for your next project or customize the patterns
to create your own unique pattern designs. This easy-to-use
and practical reference is a valuable sourcebook for anyone
working in visual art.

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