Ryukyu Bingata
Ryukyu Bingata (琉球びんがた) is a dyeing craft produced in Naha, Okinawa Prefecture, with fabric fragments surviving from the 14th century and the technique's origins estimated to the 13th century. It was designated as a Traditional Craft Product by the Minister of Economy, Trade and Industry under the name Ryukyu Bingata on May 31, 1984. In the name, bin (紅) refers to colors in general, and gata (型) refers to various patterns.
History
Bingata (紅型) is a traditional dyeing technique representing Ryukyuan dyeing and Okinawa. Fabric fragments of bingata from the 14th century survive, and the origin of the technique is estimated to be around the 13th century. In old documents, bingata appears written as 形付 or 形附 rather than the modern kanji 紅型; the scholar Kamakura Yoshitaro first used the term 紅型 in 1924, and this kanji writing spread widely during the Showa period. Most old bingata designs are based on Chinese auspicious patterns (吉祥文様).
During the Ryukyu Kingdom era, bingata was dyed primarily as clothing for royalty and samurai. The royal government placed dyeing workshops around Shuri Castle and patronized them. What is currently called ko-bingata (old bingata) consists mostly of works from the Edo period, produced as clothing for women of the royal and samurai class and males before adulthood. After the Satsuma invasion of Ryukyu, dyeing technology advanced dramatically due to policies promoting production. During the Edo period, bingata was also used for small items such as pouches; from the Meiji era onward, it was applied to kimono as well. With the abolition of the royal government in the Meiji era, dyeing workshops lost their patronage and many craftsmen left Shuri, causing bingata to decline.
Many stencil papers and tools were burned during World War II. Some stencil papers were brought to the Japanese mainland and preserved by Kamakura Yoshitaro. Following the war, due to material shortages, craftsmen used discarded Japanese military maps as stencil paper, broken record discs as paste-spreading spatulas, lipstick as a substitute for pigment, and bullet casings as paste tube tips. Postcards for American military personnel were also dyed during this period. Shiroma Eiki of the Shiroma family and Chinen Sekiko of the Chinen family contributed to the postwar revival of bingata using stencils received from Kamakura.
Techniques & Production Process
The production of Ryukyu Bingata involves several distinct stages of stencil making and dyeing. In the stencil-making process, a preliminary drawing is first made on thin paper and pasted onto shibugami (persimmon-tannin-treated paper). In the stencil carving stage, a small knife is held with the blade facing forward and carving is done by thrusting from the near side. Once the surrounding areas are carved away, a technique called sha-bari is employed, in which silk gauze (紗) is stretched over the entire stencil to fix the pattern in place.
For dyeing, the ji-bari process involves applying paste of appropriate moisture to the stencil board and stretching the fabric to avoid wrinkles. In the subsequent kata-oki process, the stencil is placed on the fabric and resist paste is applied from above with a spatula to transfer the pattern. Until the mid-19th century, when synthetic dyes were invented, all bingata dyes were natural pigments and dyes. The natural source of blue dye is Yamaaoi (山藍); yellow is derived from the bark of Fukugi (フクギ); and red comes from an insect that parasitizes cacti (サボテン). A variant known as Eigata (藍方) uses indigo dyeing in shades of blue, and was intended for elderly people and lower-class samurai.
How to Identify Ryukyu Bingata
Ryukyu Bingata is distinguished by its notably free approach to color application. Unlike naturalistic dyeing traditions such as Kyo-yuzen or Kaga Yuzen, bingata dyes motifs in unconventional hues — for example, cranes may be rendered in red or green, and cherry blossoms in yellow or crimson. Designs frequently draw on Chinese auspicious patterns (吉祥文様). The indigo-only variant, Eigata (藍方), is identifiable by its blue color palette, in contrast to the polychrome character of standard bingata.
The Craft Today
Ryukyu Bingata continues to be produced in Naha, Okinawa Prefecture, where it has been practiced since at least the 14th century. The craft has expanded beyond its historical use as aristocratic attire; it is now applied to a range of textile items. Ryukyu Bingata is promoted alongside other Japanese traditional crafts through institutions such as Aoyama Square in Tokyo, operated by the General Foundation for the Promotion of Traditional Craft Industries (一般財団法人 伝統的工芸品産業振興協会). Bingata can be distinguished from other Japanese stencil-dyed traditions — such as Tokyo Some-komon, Edo Komon, Kyo Komon, and Nagaita Chugata — by its Okinawan origins and distinctive polychrome palette. Other related Japanese dyeing traditions include Shinshu-tsumugi, Nagoya Yuzen, Kyo Kanoko Shibori, and Arimatsu-Narumi Shibori.
Frequently Asked Questions
What does the name "bingata" mean?
In bingata, bin (紅) refers to colors in general, and gata (型) refers to various patterns. In older documents, the craft was written as 形付 or 形附; the current kanji writing 紅型 was first used by Kamakura Yoshitaro in 1924 and became widespread during the Showa period.
When was Ryukyu Bingata designated as a Traditional Craft?
Bingata was designated as a Traditional Craft Product by the Minister of Economy, Trade and Industry under the name Ryukyu Bingata on May 31, 1984.
What is Eigata, and how does it differ from standard bingata?
Eigata (藍方) is an indigo-dyed variant of bingata rendered in shades of blue. It was historically intended for elderly people and lower-class samurai, distinguishing it from the polychrome bingata produced for royalty and higher-ranking samurai.
What natural materials were traditionally used to make bingata dyes?
Until synthetic dyes became available in the mid-19th century, all bingata dyes were natural. Blue was derived from Yamaaoi (山藍), yellow from the bark of Fukugi (フクギ), and red from an insect that parasitizes cacti (サボテン).
How was bingata revived after World War II?
Many stencil papers and tools were destroyed during World War II. Some stencils had been brought to the Japanese mainland and preserved by Kamakura Yoshitaro. Using these stencils, Shiroma Eiki of the Shiroma family and Chinen Sekiko of the Chinen family led the postwar revival of the craft. Due to material shortages, craftsmen improvised with discarded military maps as stencil paper, broken record discs as spatulas, lipstick as pigment substitute, and bullet casings as paste tube tips.
Sources
Find your craft type
Who are you hoping to find something for?
日本工芸を、誰の暮らしに届けたいですか？
