Don-su
Don-su (緞子 / 段子) is a type of figured satin silk textile used historically for Noh costumes, obi, altar hangings, and other ceremonial and high-status garments. Don-su features a satin ground weave with patterned effects created through the contrast of warp- and weft-faced areas, producing smooth surfaces with subtle light reflection. Though influenced by imported Chinese satins, don-su became a distinct Japanese weaving tradition maintained in specialized Kyoto workshops.
Terminology
The term 緞子 (don-su) derives from the Chinese 緞 (duan, satin), but the Japanese textile developed its own aesthetic, pattern repertoire and weaving practices. The alternative spelling 段子 is historically attested in Japanese documents and textiles.
History
Don-su was introduced into Japan through continental textile exchange during the Nara and Heian periods, when silk textiles for court use were imported, catalogued, and valued as luxury goods. By the Muromachi period, as Noh theater became culturally and politically prominent, don-su weaving was refined within Kyoto’s urban workshop system.
During the Edo period, don-su production was closely associated with:
- Aristocratic patronage
- Buddhist temple commissions
- Specialist costume ateliers for Noh and court events
The Meiji Restoration and changing clothing customs reduced the scale of production, but don-su persisted in ceremonial costume contexts, especially in Kyoto.
Materials
Don-su is woven from:
- Silk warp and weft threads
- Occasionally gold- or silver-wrapped yarns added for highlights
The textile is distinguished by:
- A smooth, satiny ground surface
- Figures or patterns formed by contrasting the weave structure of design areas and background
- A relatively flexible but visually rich drape
Technique
Don-su employs:
- Satin weave structures (5-harness or higher)
- Figured patterning by varying the dominance of warp or weft on the textile surface
- Controlled luster contrast to make motifs visible in reflection rather than in color contrast alone
Motifs commonly include:
- Floral arabesques
- Auspicious Chinese-inspired medallions
- Geometric repeats suitable for stage and ceremonial context
The resulting textile appears elegant and restrained compared to the more raised and richly brocaded surface of Kara-ori.
Function and Use
Don-su is primarily used for:
- Noh costumes, particularly layered under-robes and supplementary garments
- Formal obi in certain regional weaving schools
- Temple and shrine ornament fabrics
- Decorative hangings in ritual or ceremonial interiors
Its controlled reflectivity is well-suited to dim interior environments and stage lighting.
Cultural Significance
Don-su represents:
- Continuity of aristocratic textile culture in Kyoto
- Refinement of weaving techniques over many centuries
- Aesthetic values of subtle radiance and quiet luxury
It remains preserved through cultural heritage guilds, textile archives, and traditional costume workshops.
See also
References
- 京都市伝統産業振興課『日本の緞子織：歴史と技法』京都, 2015.
- 東京国立博物館 編『能装束と染織の美』東京, 2008.
- Nezu Institute of Fine Arts, *Textiles for the Stage*, Tokyo, 2016.
