Kiryu

 the roots of its Textile Tradition

 Table of Contents

Overview of Kiryu Textile Manufacturing - page 1

桐生織物産地の概要 − ５ページ

Kiryu Textile Manufacturers and Silk throwing Companies -

A City of Water Wheels - page 7
桐生織物業と撚糸業者 − ９ページ

Kiryu Silk Manufacturing Chronology - page 10

桐生おりもの年表 − １１ページ

Procedures for Weaving Kiryu Ori - page 12

桐生織物の製造工程 − １６ページ

Kiryu Omeshi - page 17

桐生織り７つの技法 − １９ページ

The Life Cycle of a Silk Worm - page 20

蚕の一生 − ２３ページ
 Overview of Kiryu Textile Manufacturing
The city of Kiryu is located in the northern part of
the Kanto Plain. It lies on the eastern border of
Gunma Prefecture, near Tochigi Prefecture. Kiryu is
situated on the east side of the well-known Mt. Akagi
and is surrounded in all four directions by mountains.
The Kiryu River flows on the east side of the city,
and the Watarase flows through the north, west and
south parts of the city. Kiryu lies in a valley between
these two crystal clear rivers and the surrounding
verdant green mountains.
The history of Kiryu reaches far back to ancient
times when the area was inhabited by prehistoric
people from the Jomon and Yayoi Periods. Artifacts
from these prehistoric eras have been excavated in the
area.
The name “Kiryu” is thought to have come from
the fact that the area, located between mountains, is
frequently veiled in fog and mist (“kiri” means fog).
a bridal “uchikake” kimono Another explanation is that paulownia trees (“kiri”
also means paulownia) grew in abundance here, thus
lending their name to the city. It was in these natural surroundings then that Kiryu developed as a
center for textile production.
Although it is not known precisely when textile production began in Kiryu, it is thought to have
begun over 1300 years ago. According to the Record of Contributions at Todaiji Temple in the year
714, “Ashiginu” (silk) woven in Kozuke no Kuni, an ancient name for Gunma Prefecture, was
presented to the Imperial Court. Furthermore, in the year 905, it was decided that tax from Kozuke
no Kuni would be paid in the form of Ashiginu (silk), according to the system of taxation at that
time. These records clearly prove that silk was being woven in Kiryu during ancient times.
During the period 1384-1392, it is known that “Nittayama Silk” produced in Kozuke no Kuni
was being transported to areas outside the region. According to the “Hatagami Densetsu” (Legend
of the Weaving God), or “Shirataki Hime Densetsu” (Legend of Princess Shirataki), a man by the
name of Yamada from Nittayama, Yamada in Kozuke no Kuni (present day Kawauchicho, Kiryu)
was sent to work at the Imperial Court and fell in love with one of the Court Ladies, known as
Princess Shirataki. He wrote the following poem to her to express his devotion:

I envision you high above me, over the clouds, Shirataki

Though my love in its intensity rises up to you
I fear from above in the lofty clouds,
Shirataki cannot be aware of the love of a mere man named Yamada
Looking down from high above the clouds
Shirataki cannot be aware of the love of a mere man named Yamada

Yamada’s ardent protestations of love moved the heart of the princess and the Imperial Court
took note of him. His presumption to love someone above his station forgiven, Yamada led Princess
Shirataki back to his native home (present day Kawaichicho in Kiryu). There, Princess Shirataki
1
introduced sericulture and weaving to the local people. And so, with the encouragement of the
Imperial Court and Princess Shirataki, came the dawn of textile weaving in Kiryu.
There are two models for the growth of textile manufacturing in Towns. The first is an urban
textile manufacturing area, and the second model is an agricultural village which grows into a textile
production area. The Nishijin textile producing city (Kyoto), with its cluster of weaving artisans, is
a typical urban case in point. Textile production has prospered there and overseas technology has
easily been adopted. In addition, artisans from the Asian continent could easily cross over to nearby
areas such as Kyushu and Hakata.
Kiryu, on the other hand, had no local “daimyo” (Feudal Lord) and was not strategically located in
terms of transportation. The town developed from an agricultural settlement. Similar agricultural
village models are Yonezawa, Yukari, Isesaki, Echo and Osawa.
Kiryu is enclosed by two rivers, the Watarase River, whose headwaters spring from the foothills
of the Ashio mountains, and the Kiryu River, a tributary of the Watarase. Because the arable land
was limited and narrow, the inhabitants supplemented their income with sericulture and weaving.
The Ashikaga district was located on the left bank of the Watarase River and the Nitta district was
located on the right. During the Muromachi Era, the Ashikaga Daimyo from the Ryomo area took
control of the realm. As a result of Kiryu(s association with the Ashikaga Clan, the town prospered
as a textile producing area. Evidence of this is found with the powerful Hikobe Family (members of
the Ashikaga Clan) of Kiryu. The family possesses in its archives an order for textiles issued by the
Shogunate in 1575, which provides historical proof of Kiryu’s long textile weaving tradition.
Further evidence stems from the historically significant year 1600, the year of the Great Battle at
Sekigahara. Tokugawa Ieyasu issued an order for Kiryu silk to be used as banners
in battle. His decision to use Kiryu silk is based on the good fortune in battle the
same silk banners had brought to his ancestor, Nitta Yoshitada. The order issued
by Tokugawa was for 2,410 bolts of silk. According to one tradition, all this was
woven in a single day, indicating that there must have been 2,410 looms in Kiryu
at the time in order to achieve this remarkable feat.
Tokugawa emerged the victor of the Battle of Sekigahara. During the ensuing
Edo Era, whenever Kiryu weavers addressed correspondence to the Shogunate,
they always began with “From the district of those who in days of old
contributed silk banners to his Holiness, the god of Toshogu,” referring
respectfully to the Shogun, Tokugawa Ieyasu.
Toward the end of the Edo Era, production by handlooms underwent
rationalization and textile manufacturing processes were implemented in factories.
Located at the foot of Mt. Akagi, the Kiryu region produced a large quantity of
Tokugawa high quality silk cocoons. As a result, Kiryu grew into a silk textile city with a
banner thriving weaving industry.
A further impetus to growth was the
introduction of the “takahata” drawloom in
1738 from the Nishijin district of Kyoto.
This technology enabled Kiryu weavers to sit
at a loom and weave silk gauze twill, a high
quality textile. During the Meiji Period, the
Jacquard loom which could weave designs
into cloth was introduced in Kiryu along with
the Piano Machine, used to punch holes into
the Jacquard cards. These machines were Mt. Akagi
2
introduced to Japan from overseas.
In 1887, the Nihon Orimono Corporation was formed and was the first to employ modern
manufacturing techniques. The adoption of these new management techniques imported from the
West at a large-scale Kiryu textile mill marked the beginning of the city’s industrialization.
In comparing the special characteristics of different textile producing areas, one can see that
Nishijin weavers chose to use power looms to manufacture narrow width traditional textiles (for
kimonos, etc.), whereas Kiryu weavers, envisioning overseas markets, adopted wide power looms
to produce textiles for export.
In Kyoto, the Lake Biwa Canal Incline was used to generate electricity to power electric lights and
drive the Nishijin power looms. In Kiryu, the flow of the Watarase River was intercepted to
generate electricity which was then supplied to the textile factories and powered the city’s electric
lights. (The Watarase Water Power Electric Corp. was established in 1906. Electricity for lighting
was first supplied in Kiryu in 1894 by the Kiryu Electric Light Partnership Corp.) These early
achievements embellish modern Japanese manufacturing history.
Early on, railroads were constructed
linking Oyama, Tochigi, Sano and
Ashikaga in Tochigi with Kiryu, Isesaki,
Maebashi and Takasaki in Gunma. This
route became known as the Ryomo Line
(opened in 1888), and served the textile
producing towns in the area. This line
could as well be called the North Kanto
Silk Line. On another front,
telecommunication between Kiryu and
Tokyo was established with the first
direct telephone circuit in 1907.
The spread of industrialization among
Kiryu textile companies took on a fever
pitch during World War I (1914-1918) as
a Kiryu “sawtoothed roof” textile mill a result of a dramatic increase in demand
for goods from overseas as well as from other parts of Japan. In response, in 1918, one large
manufacturer after another was established, replacing handlooms with power looms. This was a
truly remarkable development and served at the same time to form the foundations of Kiryu as a
leading textile center.
In 1923, the Great Kanto Earthquake disaster struck Tokyo, and with it came the dramatic
changeover from traditional costumes to Western style clothing. By 1935, there were some 9,820
mechanized Jacquard weaving looms and 1,128 Dolby looms in Kiryu, comprising 58% of the total
looms in the city. As a result, Kiryu textiles had become both elaborate in design and intricate in
execution. For the most part, silk yarns were used, however, little by little, the more moderately
priced synthetic silk fibers were also employed.
At that time, most of the textiles for export were sent to China, India, Korea and Taiwan.
However, as a result of events in Manchu and Shanghai, along with World War II, government
control over manufacturing steadily increased. Weaving looms were appropriated for scrap metal to
make armaments and large factories were taken over for the manufacture of military commodities.
By the time the war was over, Kiryu textile industries were in a serious decline.
Nevertheless, Kiryu weavers were quick to reestablish themselves, using looms constructed partly
of wood (due to the shortage of metal). The rhythmic sounds of weaving could again be heard
3
throughout the city. Rayon scarves woven for export during this period contributed significantly to
the rebirth of local industries. In a very short time, the city reestablished itself as the “Textile City,
Kiryu.”
Postwar, Japanese lifestyle underwent another change. Research and development of fabrics for
Japanese women’s fashions became a pillar of the manufacturing foundations of Kiryu. People
began to consider textile manufacturing as a part of the world of fashion. A natural division occurred
between producers of traditional textiles such as obi, kimono, and tradition accessories, and
producers of ladies’ wear and interior goods for export.
Weaving textiles for the fashion world, Kiryu was quick to take part in overseas and domestic
trade fairs and exhibitions, garnering high praise for excellence all the while. One reason for this is
that, for the most part, Kiryu textiles are woven with extremely strong-ply yarns on Jacquard
looms. The yarns themselves range from silk and other natural fibers to synthetic fibers.
With the development of computers, Jacquard looms were digitalized and Jacquard CAD software
became available. Ryomo Computing Systems (Kiryu) developed equipment to read in graphic
designs and software and then convert the designs to obis, kimonos, interior goods and fabrics for
overseas export. These tools can be used as well for producing lace, thus making them applicable to
a wide range of textile design and manufacturing.
Over the long history of Kiryu textile manufacturing, local weavers have established an honored
tradition and high level of expertise. The textiles they weave are of the highest quality, achieved by
maintaining only the highest of standards.
(Translated from the website of the Textile Weavers Cooperative Association:
www.kiryuorimono.co.jp/htm/gaiyou.htm)

The hatchonenshiki
silk throwing
machine was
invented and used
in Kiryu from the
18th century.

The ability to
produce large
amounts of silk
yarn contributed
greatly to Kiryu’s
growth as a major
silk manufacturing
center.

4
 桐生市は関東平野の北部、群馬県の東端に位置し栃木県との県境にある。桐生市は明峰赤城山を西に望
み、四囲に山々をめぐらし街の東には桐生川、西には渡良瀬川の二つの清流があり、その清流に挟まれた盆
地の中に発達した山紫水明な街である。桐生の歴史は古く古代にその端緒を発しており縄文、弥生時代の先
住民族の居住跡が発見され考古物、遺物によって明らかである。桐生市という市名の由来は元来この地方が
山間部にあるため朝夕霧の発生が多かったので霧生の名が転化したものといわれ、また、桐の木が良く生え
るので桐生の名が生まれたようである。このような桐生市を中心としたのが桐生織物産地であります。
 さて、桐生織物の歴史はいつ頃から始まったかは、はっきりしないが今から1300年余の昔からといわれ
ている。東大寺献物帳によれば、和銅7年（714年）に上野の国（今の群馬県）がはじめて「あしぎぬ」を
織って朝廷にさしだしたことや延喜5年（905年）当時の租税制度に上野の国の税金は「あしぎぬ」と定め
てあることからも、昔から織物があったことは確かである。元中年間（1384年∼1392年）には産物とし
て上野の国以外に移出した仁田山絹といわれるものがあります。その仁田山絹にまつわる機神伝説（白瀧姫
伝説）によれば当時、上野国山田郡仁田山郷といっていた頃（現桐生市川内町）朝廷に仕えていた山田とい
う男子が官女白瀧姫を恋慕い31文字の歌に託して
 雲の上   目には見ゆけど 白瀧の
                      八重に重いと落ちぬ君かな
                雲たにも  懸らぬ峰の白瀧を
                      さのみな恋ひぞ 山田男子よ
                雲井から  ついに落ちたる 白瀧を
                      さのみな恋ひぞ 山田男子よ
切々とうったえた恋は姫の心を動かし、ときの朝廷の目にとまり、許されてかたく結ばれ、夫役満了となり
白瀧姫をかれの故郷（現桐生市川内町）に連れて帰り、白瀧姫は里人に養蚕、機織の道を伝えたといわれ、
朝廷のご奨励と白瀧姫によって桐生織物の発達の曙光をみるに至ったとされている。
 さて織物産地をみるときに都市型の織物産地と農村で産地形成した農村型の産地があります。都市型の織
物産地は西陣が代表するように都に職人が集まり、そこに織物が栄えたところ、そして外国の技術が入りや
すく、職人が来やすく大陸に近いところの九州・博多であります。もう一つは大名もなく交通の要所でもな
い農村で発達した桐生産地であります。農村型の産地として他に米沢、結城、伊勢崎、越後、大島などがあ
ります。
桐生は足尾山麓を源とする渡良瀬川と、その支流の桐生川との流域に囲まれている地域で、耕地面積は少な
く土地もやせておりましたので養蚕、機織りなどを副業として生活をしておりました。その渡良瀬川の左岸
が足利地方で、右岸が新田地方になります。室町時代は両毛地区の雄である足利幕府が天下をとっておりま
したので、桐生は足利家とのかかわりの中から織物産地として発展することとなります。このことの証は桐
生の豪族彦部家（足利家の一族）に伝わる幕府からの織物の注文書（1575年）が歴史的に証明しておりま
す。そして、天下分け目の関が原の合戦（慶長5年・1600年）に、徳川家康の籏布に新田義貞（徳川家の
祖先といわれる）の旗揚げの由来で縁起の良い桐生絹が使われました。その数は2,410疋、これを1日で
織ったというので、2,410台の織機があったという証になるという説もあります。ご存知のとおり徳川家
康が大勝を果たし、江戸時代になると、その吉例から桐生の機屋は幕府に請願する文書に必ず「東照神君御
在世之砌、御籏絹献上之御吉例御由緒之地」と前書きしたそうです。
 江戸時代後期には手工業的な生産システムを分業化しマニュファクチュア制度を確立していきます。桐生
地域は赤毛山麓ですから品質の良いお蚕が沢山とれます。やがて絹織物の市が立ち大変賑やかに行なわれ、
織物の産業都市となります。そして桐生が更に発展したのは、元文3年（1738年）に西陣から高機が入り
ます。腰掛けて織る高機になり紗綾織の技術がもたらされ、高度な織物が織れるようになりました。明治に
なると紋様を織り出すジャカードやピアノマシンも移入や輸入により入ってきます。明治20年（1887
年）、在来の機織法を一掃した日本織物株式会社が創立します。これは純然たる西洋の経営法を採用した大

5
工場で桐生織物業の工場工業化の始まりであります。産地の特徴として西陣が小幅伝統織物織機の機械動力
化を推進し桐生は海外輸出を想定しながら広幅の織機を導入し動力化しました。そして、京都では琵琶湖疎
水インクラインで発電し、電灯をともし織機を動力化するのに対して、桐生は渡良瀬川を堰き止めて発電
（渡良瀬水力電機株式会社・明治39年・1906年創立）し織物工場に動力と電灯を供給しました。（電灯
としては明治27年・1894年桐生電灯合資会社によって点火された）こうして、一つの近代日本産業史を
飾っております。また、鉄道をいち早く建設し栃木県の小山、栃木、佐野、足利、そして群馬県の桐生市、
伊勢崎市、前橋、高崎の繊維都市を両毛線（明治21年・1888年 開通）が結んでおります。これが北関
東シルクラインといえます。さらに、通信手段としての電話開設も桐生・東京間に明治40年（1907年）
に直通したのであります。
 桐生織物業の工場工業化の本格的な展開は第一次世界大戦中（大正3年∼大正7年・1914年∼1918年）
における需要の急激な増大、ことに輸出および移出に対応するため、大正7年に大企業が相次いで設立され
織機も力織機に変わっていきました。こうして桐生織物業は、顕著な発展を遂げるとともに織都桐生の基礎
を確立したのであります。大正12年（1923年）の関東大震災は従来の服装に一大変化を与え洋服が著し
く進出しました。昭和10年（1935年）には、ジャカードを装置した力織機は9,820台、ドビーを装置し
た准紋織機は、1,128台で総力織機の58％となり、桐生織物は意匠柄合、組織の複雑な紋織物に変化して
いきました。そして原料は主として生糸を使用したが漸次廉価の人絹糸を使用するようになっていった。当
時輸出織物として、満・関・支（満州・関東州・中国）印度および朝鮮、台湾向けが主であった。しかしな
がら、満州事変、上海事変、さらに大東亜戦争（昭和16年∼20年・1939年∼1945年）となり、国家統
制が日増しに強化されていった。織機を屑鉄化して供出し、建坪の大きい工場は軍需工場へと転換されたの
でした。桐生の織物業は壊滅状態で終戦を迎えたのであります。それでも、桐生はいち早く織物を手がける
ようになり、半木製織機という織機でガチャガチャと織りはじめました。その時のレーヨンマフラーという
輸出向けの商品が戦後復興に大きな貢献をいたしました。あっという間に桐生は「織物の街・桐生」として
復活いたします。
 そして生活文化様式も変化し、国内向け婦人服地を研究開発し一つの柱となります。繊維産業はファッ
ション産業として人々の注目を集めることとなり、桐生産地織物業も伝統的な技術を継承している帯・着尺
や服飾工芸品などの和装関連商品と輸出織物・婦人服地・インテリア資材などの洋装の商品とに分かれてま
いりました。そして、桐生織物業はファッション産業の素材発信基地として、いち早く海外輸出見本市、国
内見本市、内地求評会などの各種展示会を国内外で催し好評を博しております。それは、殆どがジャカード
を主に活用した強撚糸使いの織物で、使用糸も生糸などの天然繊維から化学繊維まで、さまざまな糸を使用
しております。やがて、コンピューターの発達とともに、ジャカードのＣＡＤコンピューター・デザインシ
ステムのソフト開発に着手します。両毛電算システムという会社に画像読みとり装置を入れて、コンピュー
ター・デザインソフトを帯・着尺・インテリア関係・服地・輸出織物さらにレースにも使えるというような
総合型を基本方針とし完成し普及させております。
 桐生産地はこうした歴史的経過をたどりながら、すばらしい伝統と匠な技を受け継いで高品質、高規格な
織物を生産する産地として美しい織物の製造に取り組んでおります。

[桐生織物協同組合ホームページより（http://www.kiryuorimono.or.jp/htm/gaiyou.htm)]

6
 Kiryu Textile Manufacturers & Silk Throwing Companies
- A City of Water Wheels -

During the Edo Era in Kiryu, the commonly used term “hataya” (loom company) was called
“oriya” (weaving company), and “yoriya” (silk throwing company) was called “tsumugiya”
(spinning company). In fact, long fibers such as silk are twisted or thrown unlike short fibers, such
as cotton, which are spun. These varying terminologies indicate a degree of ambiguity regarding the
various processes involved at the time.
Sericulture was common in the vicinity
of Kiryu, and from around the middle of
the Edo Era, 1738, Kiryu weavers began
to weave with the drawloom, called a
“takahata,” or more specifically, a
“sorahikibata” which had been
introduced to them by a Nishijin artisan.
This type of handloom enabled them to
weave patterns into the textiles. Kiryu,
thus, became a center for the production
of woven-pattern textiles.
Between the years 1781-1788, Iwase
Kichibe completed the construction of
"sorahikibata" or overhead drawloom the hatchokuruma (now known as the
hatchonenshiki) silk throwing wheel. This maachine enabled silk throwers to mass-produce thrown
silk for Kiryu weavers.
Just at the time the hatchokuruma was gaining popularity and the use of water wheels increasing,
yarn-dyed patterned silk weaving technology spread to Kiryu from Kyoto’s Nishijin weaving
district. Kiryu weavers began producing yarn-dyed textiles, creating a growing demand for thrown
silk yarn.
There are basically two methods for manufacturing textiles. In the first method, textiles are first
woven and then dyed afterwards. The other method involves first dyeing the yarn and then weaving
the textile. Such textiles are called “yarn-dyed.” When dyeing takes place after the materials have
been woven, it is not always necessary to
throw the yarn first, however, in the case of
yarn-dyed textiles, the fine filaments of raw
silk are too easily damaged during weaving.
For this reason, several silk fibers are twisted
together in the process known as “throwing”
before they are dyed and then woven.
Weaving yarn-dyed textiles, therefore,
requires the production of a large amount of
thrown silk yarn. In Kiryu, the hatchokuruma
(silk throwing wheel) was driven by the power
provided by water wheels. This invention
spread as well to Ashikaga, Hachioji, Hanbara
(Aikawa Town in Kanagawa Prefecture). Meiji Era whater wheels in Shinshuku, Kiryu

7
 During the period 1830-1843, the division of labor in the
manufacture of textiles became more defined, and many local guilds
were formed, including an “oriya nakama” (textile weavers guild),
“shikonya nakama” (yarn dyers guild), and a “tsumugiya nakama”
(silk throwers guild), the last of which was formed in 1840. The
term “nakama” refers to a guild or a manufacturers’ association in
modern technology.
By the year 1856, there were 222 silk throwing companies in
Kiryu and in 1862, this had become 164 silk throwing companies
with 58 subcontracting silk throwing firms for a total of 222 in all.
The vast majority of the silk throwing companies used water
wheels to drive the throwing machines. Many of them received raw
silk from the weaving mills and were paid to throw the silk. A few
of the silk throwers offered their own thrown silk for sale. Some
Akaiwa Channel in Nishikicho were farmers who supplemented their income by throwing silk.
By the year 1897, the number of water wheels located along the Akaiwa Channel (which runs
between the Watarase and Kiryu rivers) peaked at 237. In the Shinshuku district alone there were
150 water wheels, with another 87 located in Sakaino according to a report on Kiryu commerce and
industry published in 1904.
(translated from Kiryu Orimono to Nenshiyo Suisha Kioku, Kiryu shi Rojin Club Rengokai, 2003
pp. 14-15)

The use of very tightly

"Hatchonenshiki"
twisted silk yarn, Silk Throwing Wheel
produced most effectively
by the hatchonenshiki and
driven by water wheels,
was integral in the
manufacture of Kiryu
Omeshi, a kind of high
quality silk. The
production of this silk has
been designated a
Traditional Industry by
the National Government
and is produced only in
Kiryu by traditional
techniques. The use of
silk yarn, tightly twisted
in opposite directions for
the loom's weft and warp,
creates the crepe effect
characteristic of Kiryu's
traditional silk textile
known everywhere as
"Kiryu Omeshi."

8
 桐生織物業と撚糸業者

１）織屋（機屋 [はたや] ）と績屋（撚屋 [よりや] ）

江戸時代の桐生では、機屋[はたや]は織屋と呼ばれ、撚屋[よりや]は績屋といわれた。績屋は
「つむぎや」と読むが、絹糸のような長繊維を撚るのが、綿糸のような短繊維の紡績と区
別がつかなかったか、または類似していたからの命名であろう。
桐生では近隣の養蚕地帯をひかえ、江戸中期の元文3年（1738）、京都西陣の「高機[た
かはた]」（空引き機）という手織機を導入し、紋織物も生産できるようになり、絹織物産

地として発達した。天明年間（1781∼1788）には、先ず当地の岩瀬吉兵衛が水力八丁
車（八丁撚糸機[はっちょうねんしき]は現代用語）を完成し、水車を用い大量の撚糸を製造す
ることが可能となった。また、同時に先染[さきぞめ]紋織物の技法が西陣の職人から伝えら
れた。先染[さきぞめ]織物が製造されるようになり、益々撚糸の需要が増加するようになっ
た。
織物は製造方法により二種類に分類される。織物を織り出してから染色加工する後染織物
および、原料糸を染色してから織り出す先染[さきぞめ]織物がある。後染織物では必ずしも
撚糸を使う必要はないが、先染[さきぞめ]織物のときは生糸が細くていたみやすいこともあ
り、生糸を何本か撚り合わせる撚糸工程を経てから染色に移す。従って、先染[さきぞめ]織
物の製造には多量の撚糸を必要とするわけで、桐生で水力八丁車が生み出され、足利・八
王子・半原（神奈川県愛川町）などに伝えられた。天保年間（1830∼1843）には織物
製造工程の分業化が進み、織屋仲間、糸紺屋仲間などと共に績屋（撚屋[よりや]）仲間が天
保11年（1840）に設立するほどに成長した。仲間とは現在の同業組合のようなものであ
る。
桐生には安政3年（1856）は222軒、文久2年（1862）は164軒もの撚屋[よりや]が存在
していた。明治初年は撚屋[よりや]164軒、賃撚屋[ちんよりや]58軒、計222軒あり、殆どが
村方に存在した。賃撚屋[ちんよりや]は撚屋[よりや]の下受けであろう。以上の撚屋[よりや]は
賃撚屋[ちんよりや]を含めて大半が撚糸水車を使用したと思われる。撚屋[よりや]は大半織屋
から原料糸を預かり賃金を得て仕事をする人たちと、少数の撚糸製造販売人から成る。当
時の撚屋[よりや]の中には農家の兼業者もいたのである。明治30年（1897）、桐生最大の
赤岩堰用水の水車数は237（旧新宿150、境野87）であると、『桐生商工案内』（明治
37年）は伝えている。つぎに岩瀬吉兵衛の業績について江戸期の絵図を利用して考察し
ておきたい。

「NPO法人桐生地域情報ネットワークホームページより(http://www.npokiryu.jp/asuenoisan/)]

9
 KIRYU SILK MANUFACTURING CHRONOLOGY
ERA YEAR EVENT
Nara 749 CE - Shoshoin Temple receives Ashiginu silk as tribute from the area.
- Nittayama Yoshitada’s banners are used -
Kamakura 1333
Nittayama tsumugi (Nittayama Shrine)
- An order for silk from Hikobe Manor is issued by Shogun Ashikaga
Muromachi 1575
Yoshiteru
1600 - Tokugawa Ieyasu uses 2,410 banners (battle flags) from Kiryu at the
Ando-
battle of Sekigahara
Momoyama
1615 - The silk market opens on the compound of Tenmangu Shrine
1742 - Many orders for Kiryu textiles are received from Tokyo and Kyoto -
Nishijin (Kyoto) weavers issue a request to keep out Kiryu textiles.
1783 - Iwase Kichibe adopts the water wheel to drive the Hatchonenshiki yarn
Edo throwing machine.
1838 - Kaneko Keneimon produces chirimen (crepe) and offers it to Shogun
Ienari. It is called “Omeshi.”
1860 - Handkerchiefs are produced for export around the end of the shogunate.
1870 - Modern textile manufacturing machinery is imported from the US.
1877 - Moriyama Yoshihei & Goto Sadakichi adopt the use of chemical dyes.
1880 - Seiaisha Textile Corp. is established. It is the 1st company to employ
Meiji
modern machinery for weaving. Satin is produced. (beginning of
manufacturing)
1897 - Conversion from hand looms to power looms progresses.
Taisho 1918 - Synthetic silk yarn is used to weave the “Bunka Obi.”

1977 - “Kiryu Ori” is designated a Traditional Industrial Art.

Showa
1985 - Computers are used in the weaving of Jacquard-style textiles.

Edo Era illustration of

the “Hatchokuruma”
silk throwing wheel

10
 きりゅう織物年表

時代 西 暦 内       容
奈良 794年 正倉院御物収納。（あしぎぬを収める）
1333年 新田義貞の軍旗に仁田山紬が使われる。
鎌倉
（新田神社）
1575年 足利義輝将軍より絹織物注文がくる。
室町
（彦部文書）
1600年 関ヶ原合戦に徳川方に旗絹2410本を収める。
安土・
（御旗絹の由来）
桃山 1615年 絹市を天満宮で開く。
1742年 江戸、京都より大量の桐生織物注文がくる。
（西陣織業、桐生織物が入ってこないように願い出る）
1783年 岩瀬吉兵衛、八丁撚糸に水車動力を取り入れる。その
江戸 後、撚度計を発明する。
1838年 金子善衛門、縞縮緬を作り、将軍家斉に献上する。「お
召」の名称となる。
1860年 幕末期、絹ハンカチを輸出する。
1870年 アメリカより近代設備を取り入れる。
1877年 森山芳平、後藤定吉らが化学染料を取り入れる。
明治 1880年 成愛社設立。近代設備で朱子の生産を始める。
（マニファクチャア誕生）
1897年 手織機より力織機に切り替えが盛んになる。
大正 1918年 人造絹糸使用の「文化帯」を創り出す。
1977年 「桐生織」が伝統工芸品に指定される。
昭和 1985年 コンピューター利用の紋織物生産を開始する。

11
 PROCEDURES FOR WEAVING KIRYU ORI
(using “nukinishiki ori” as an example)

1. Yarn (ito) 2. Throwing (nenshi)

The filaments pulled from a cocoon are The process of twisting the yarn.
referred to as raw silk (kiito). The width Tightly twisted yarn is used to weave
is measured in denier units. silk crepe (chirimen).

3. Dyeing (senshoku) 4. Spooling (itokuri)

Raw silk is first de-gummed and then Reeled yarn is spooled onto bobbins.
dyed. This yarn is referred to as pre- This process is preparation for
dyed (sakizome) or dip-dyed (shinzen). warping and weft winding.

12
5. Warping (seikei) 6. Weft Winding (kuda maki)
The thread count and width of the Weft yarn is wound onto bobbins.
warp yarn is set and then mounted on This is sometimes done by hand, by
the loom at the prescribed length. machine or by automatic winders.

7. Design Creation (kikaku / zuan) 8. Graphing (isho)

Formulating the design upon which a The design is transferred to graph
textile pattern is based. paper. This is also called plotting the
design.

13
9. Making Jacquard Cards (mongami)
Using a “piano machine”, holes are
punched in the Jacquard cards according
to the design on the graph paper. These
holes control the Jacquard loom.
12. Weaving (hataori)
Warp yarn is lifted in “sheds” to allow
the weft yarn to pass through. The
repetition of this process creates the
patterned weave. The Jacquard
machine can be used on hand looms or
power looms.
14
10.Jacquard Device. (Jakaado)
11. Mounting it on the Loom (katakoshirae)
The Jacquard device with its tape of hole-
punched cards is mounted over the weaving
loom. This enables the loom to weave patterns
into the cloth by controlling the selection of
warp yarns.
13. Adjusting (seiri)
The completed fabric is removed
from the loom and adjustments are
made where necessary.
14. Finishing (shiage)
The width and length of the fabric are
measured. The material is inspected
for imperfections or spots. Repairs are
made where necessary.
15. Shipping (seihin / shukka)
Finished textiles are sent to
wholesalers, department stores,
boutiques, etc.

the Takahata loom at the Textile Museum “Yukari”

15
 桐生織物の製造工程
（１）糸（いと）
繭（まゆ）から製糸したままの糸を生糸（きいと）といいます。太さの単位はデニールです。

（２）撚糸（ねんし）
糸を撚る（よる）工程です。強い撚りのものはちりめんに使います。

（３）染色（せんしょく）
生糸を精練（せいれん）し色糸に染めます。先染（さきぞめ）または浸染（しんぜん）ともい
います。

（４）糸繰り（いとくり）
かせ糸を木管（ボビン）に捲（ま）きあげます。整経（せいけい）、管捲き（くだまき）の準
備工程です。

（５）整経（せいけい）
たて糸の本数・幅をきめ、所定の長さに整えます。

（６）管捲き（くだまき）
よこ糸を木管に捲きます。手動、機械、自動捲きがあります。

（７）企画・図案（きかく・ずあん）
織物にする元のデザイン画です。

（８）意匠（いしょう）
意匠紙という方眼紙に図案を描きうつします。意匠・星つきともいいます。

（９）紋紙（もんがみ）
意匠図の指図により、紋紙に穴をあけます。ジャカードの運動データです。

（10）ジャカード
（11）機拵え（はたごしらえ）
ジャカードの運動を通糸からたて糸に伝えて開口させ、紋様をつくる装置です。

（12）機織（はたおり）
たて糸を開口させてよこ糸を入れ筬打ちし、これを繰り返して機を織ります。手織機・力織
（はた）機があります。

（13）整理（せいり）
織りあがった生機（きばた）を整理して、風合いをよくします。

（14）仕上げ（しあげ）
幅や長さを計り、きずや汚れなどの検査をし、補修をします。

（15）製品・出荷（せいひん・しゅっか）
仕上がった織物は、商社に出荷され、デパート、小売店などに売られます。

16
KIRYU OMESHI

.
1. Omeshi Ori (figured silk crepe)
This fabric is characterized by its crepe-like
contours. Very tightly twisted yarn, thrown on the
“hatchonenshiki” machine, is used to produce the
ripple effect in the textile. The density of the warp
yarn is over 100 threads per centimeter

2. Yoko Nishiki Ori or Nuku Nishiki Ori

(horizontal weave brocade)
This fabric is woven using yarn-dyed silk on a
Jacquard loom. the design of the textile is
produced by the weft yarn, employing 8 or more
colors. This fabric can also be woven on a hand
loom.

3. Tate Nishiki Ori (vertical weave brocade)

This fabric is produced using yarn-dyed silk on a
Jacquard loom. The motif in the fabric is
produced by the warp yarn, employing 3 or
more colors. More than 2 colors of weft yarn
can also be alternately interwoven.

17
 4. Futsu Ori (futsu weave)
A manner of weaving in which the warp and
weft of different colors are interlaced such
that the upper and under sides of cloth are
woven in a counter design. Woven on a
Jacquard loom, the density of the warp yarn
is over 120 threads per centimeter, and the
weft yarn is over 40 threads per centimeter.

5. Ukitate Ori (raised pattern weave)

This textile is produced using yarn-dyed silk
on a Jacquard loom. The density of warp yarn
is over 150 threads per centimeter and can be
more than 2 colors. The design in the fabric is
said to be “ukitate” or raised, or “enuki” as in
hoizontally drawn.

6. Tate Kasurimon Ori (vertical splash-

pattern weave)
This fabric is woven on a Jacquard loom using
yarn-dyed hand thrown silk. Special
techniques, such as paper stenciling, etc., are
used to dye the threads which produces a
design when woven.

7. Mojiri Ori (mojiri weave)

This layered fabric is woven on a
Jacquard loom using yarn-dyed silk. It is
sometimes referred to as a “wave design”
because of the wave-like pattern created
by layering the fabric. This textile is
made from a variety of silk gauze and
gossamer yarns. The pattern in the weave
is only revealed by the juxtaposition of 2
layers. This kind of silk is frequently
used for light summer kimonos.

18
 桐生織７つの技法

お召し織（おめしおり）
しぼ（織物面の凹凸）のある織物です。しぼをだすためのよこ糸は八丁撚糸機（はっちょ
うねんしき）という機械を使用します。たて糸の密度は１センチメートル間１００本以上
です。

緯錦織（よこにしきおり）または（ぬきにしきおり）
ジャガード機を用いた先染紋織物（さきぞめもんおりもの）で、紋様はよこ糸で表されま
す。よこ糸の色数は８色以上となります。また、手なげび、引び（ひきび）で織ったもの
もあります。

経錦織（たてにしきおり）
ジャカード機を用いた先染紋織物（さきぞめもんもりもの）で、紋様はたて糸で表されま
す。たて糸は３色以上となります。よこ糸は２色以上を交互に打ち込みます。

風通織（ふうつうおり）
ジャカード機を用いた紋織物で、たて糸、よこ糸とも２色以上を使います。たて糸の密度
は１センチメートル間１２０本以上、よこ糸の密度は１センチメートル間４０本以上で
す。

浮経織（うきたており）
ジャカード機を用いた先染紋織物（さきぞめもんおりもの）です。たて糸は２色以上で１
センチメートル間の密度は１５０本以上です。紋様は「浮きたて」と「絵緯（えぬき）」
で表されます。

経絣紋織（たてかすりもんおり）
ジャカード機を用いた先染紋織物（さきぞめもんおりもの）です。たてかすり糸の染め方
は、「手くくり」「板締め（いたじめ）」または「型紙捺染（かたがみなっせん）により
ます。紋様は「絵緯（えぬき）」または「縫取り紋（ぬいとりもん）」です。

もじり織（もじりおり）
ジャカード機を用いた先染め搦み織（からみおり）です。「紋振い（もんふるい）」また
は「変わり筬（おさ）」を用います。紗（しゃ）・絽（ろ）などがあります。

「桐生市ホームページより（http://www.city.kiryu.gunma.jp)]

19
 The Life Cycle of a Silkworm

“The life cycle of Bombyx mori demonstrates the most advanced form of metamorphosis.
Termed holometabolous, the serial progressions of four distinct stages of development complete one
generation of the species: ova, larva, pupa and imago.” (Silkworm Life Cycle, www.sericulum.com)

1. Silkworm Ova: incubation 10-14 days

Tiny gray eggs are the ova of the silk moth, Bombyx mori. “The
egg of Bombyx mori is a very small and hard structure, about the
size of a pin head and resembling a poppy seed. The egg shell
provides a protective covering for embryonic development. When
first laid, an egg is light yellow. ertile ova darkerns to a blue-gray
within a few days.” (Silkworm Life Cycle)

2. Hatching: beginning larval stage - 27 days, 5 instars

The larvae eat their way out of the eggs and hatch one after
another. Just hatched larvae are approximately 3 mm long. The
black larvae are called “ant worms” because they resemble ants.
Their bodies are covered with minute hairs.

3. First Instar*: Larvae eat man-made feed

The 3 mm long larvae grow to 7 mm in 3 days. Two to three
days after hatching, the larvae stop eating and enter a rest period.
During this period, the larvae grow a new skin. Once this
happens, the larvae molt and enter the next stage.

4. Second Instar
The heads of the silkworms are black, however, their bodies have
turned gray in color. After two to three days, the worms again
stop eating and enter a rest period. After resting, the silkworms
molt. They are now about 12 mm long.

5. Third Instar
After molting for the second time, the silkworms raise their
heads, resting. Their heads have changed from black (2nd instar)
to white (3rd instar). After about 4 days pass, the silkworms
enter a third rest period.

20
6. Fourth Instar
When the 3rd instar silkworms molt, they emerge as 4th instar
silkworms. The 4th instar lasts about 5 days. While the
silkworms produce fecal matter, they do not pass urine.

7. Fifth Instar
Having reached the 5th instar, the silkworms grow ravenous.
They have increased their body weight some 10,000 times since
the 1st instar, and are about 7 cm long. During this period, the
silkworms are producing the silk fluid in their bodies. Eventually,
the silkworms stop eating and search for a place to spin their
cocoons.

8. Spinning: beginning pupa stage - 14 days

The silkworms move their heads in a figure 8, spinning out a fine
filament. It takes about two days for the worms to complete
spinning their cocoons.

9. White Cocoons
Each white silk cocoon with a single thread. It is about 1,000 m
in length. It is this thread which serves as the raw material for
weaving silk textiles.

10. From Larva to Pupa

Once the larvae have molted several times, they become pupae.
Just-molted pupae have soft skins and are defenseless. To protect
themselves, they spin cocoons. The final skin of the larvae which
they have shed, can be found discarded near the pupae.

11. From Pupa to Imago - Growing Wings - 7 days

It takes about 12 days for the pupae in the cocoons to grow into
imago. The pupae release a special liquid from their mouths,
softening the cocoon. By pushing on the shell of the cocoon, they
force their way out (eclosion).

21
 12. The Birth of a Silk Moth
Silk moths cannot fly. Having been domesticated by man, they
have lost their ability to fly. “Moths are flightless and lack
functional mouth parts, so are unable to consume nutrition.”
(Silkworm Life Cycle, Sericulum.com)

13. Reproduction
When males and females met, they mate. Mating coutinues for
several hours.

14. Oviposition
After mating, females begin to lay eggs. A female silk imago can
lay about 500 eggs. Silk moths do not eat and die after about one
week. Silk worms grows into moths in order to lay eggs and their
lives continue through the eggs they have laid.

Translated from the text and photos from www.withlove.co.jp/bio_lab/aseptic_life.html, website of

the With Love Corp.

instar: the period between successive molts is called an instar (Silkworm Life Cycle,
Sericulum.com)

22
蚕のたまご
灰色の粒粒のものは蚕のたまごです。

孵化
たまごの殻を食い破って次々と生まれてきます。生まれたばかりの幼虫は３mmぐらい。
黒くて蟻のように見えるので「蟻蚕」と呼ばれ、体に毛がはえているので「けご」とも呼
ばれます。

人工飼料を食べている１齢の幼虫
約３mmのけごが３日間で７ｍｍになり、孵化から2-3日経つと、食べなくなり「眠」に
入ります。この眠の間に体の中で新しい皮膚ができます。その後、古い皮を脱いで２齢に
なります。

２齢の幼虫
1齢の幼虫が脱皮すると、２齢。頭は黒い色をしていますが、体は灰色になります。2-3
日経つと、食べなくなり再び「眠」に入り、そのうち、二回目の脱皮をします。体は１２
mmぐらいになります。

脱皮を終えたばかりの３齢の幼虫
２齢の幼虫が終わると、３齢になります。脱皮を終えて、頭を持ち上げて、一休みの３齢
起蚕。頭の色は２齢の黒から白に変わりました。４日ぐらい経つと、三回目の眠に入りま
す。

４齢の幼虫
３齢の幼虫が脱皮すると、４齢になります。４齢はおよそ五日間です。幼虫の間、蚕は糞
をしますが、尿はしません。

５齢の幼虫
５齢になると、食欲も旺盛でもりもり食べます。体重は１齢の約１万倍以上になり、７
cmぐらいに成長します。この間、体の中に液状の絹の原料が作られ、貯められます。そ
のうち餌を食べなくなり、糸を吐く場所を求めて、歩き回ります。

孵化

23
蚕は頭を８の字のように振りながら、糸を吐きます。約二日間かかってまゆは完成しま
す。

白いまゆ
真っ白い蚕の繭、繭の一つ一つはすべて一本の糸からできています。長さ１０００ｍ以上
があります。これらの糸は私たちの着物などの原料になります。

幼虫から蛹へ 蛹化
幼虫が最後の脱皮を経て、蛹に変わります。脱皮が終わったばかりの蛹は皮膚が柔らか
く、怪我をしやすいです。体を守るために、繭で包まれているでしょうね。蛹のそばにあ
るぼろくずのようなものは蛹になるときに脱ぎ捨てた幼虫の皮です。

蛹から成虫へ 羽化
繭の中で蛹はおよそ１２日間で成虫になります。口から特別な液を出して、繭を柔らかく
し中からおしあけ、外へ出てきます。

カイコガの誕生
カイコガは飛べません。人間に飼育され、飛ぶ能力を失ったからです。

交尾
オスとメスが出会って、交尾をします。交尾は数時間続きます。左の方がメス、右の方が
オスです。

産卵
交尾が終わると、メスはたまごを産み始めます。一匹のメスが産む卵の量は約５００個。
成虫は何も食べずに一週間で死にます。たまごを生むために成虫になりますが、その命は
たまごの中に受け継がれます。

[（株）ウィズラブホームページより
（http://www.withlove.co.jp/bio_lab/aseptic_life.html)]

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Kiryu International Exchange Association
Kiryu City Hall
1-1 Orihimecho, Kiryu City
Gunma Prefecture 376-8501
Phone: 0277-46-1111ext. 537
Fax: 0277-43-1001
E-mail: office@kiea.jp
URL: www.kiea.jp