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fuutai@•—‘Ρ
KEY WORD :@art history / paintings
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A term used for one of the parts of the mounting of a hanging scroll *kakemono Š|•¨. The fuutai@usually consists of two long narrow strips of cloth sewn to the upper crosspiece *hassou ”­‘•, of the mounting and hung down. Their lengths match the height of the upper portion of the mounting, the tenchi “V’n or *jouge γ‰Ί. By their positioning they divide the tenchi vertically into three equal sections. Their width generally will be the same as that of the lower fabric strip *ichimonji ˆκ•ΆŽš, or perhaps a little wider. Fuutai are generally in pairs, but in the case of narrow mountings, such as the hashirakakushi ’Œ‰B, only one fuutai is used. Formal fuutai are called sagefuutai ‚•—‘Ρ or ichimonji fuutai ˆκ•ΆŽš•—‘Ρ because the same high quality cloth is used for both the fuutai and the ichimonji portions of the mounting. They are called chuuberi fuutai ’†‰•—‘Ρ or chuufuutai ’†•—‘Ρ if they employ the same cloth used for the central border fabric *chuuberi ’†‰. In this case the cloth used is generally not as fine quality as that used for the ichimonji. When the fuutai do not hang loose, and are instead attached to the mounting, they are called oshifuutai ‰Ÿ•—‘Ρ. The oshifuutai is used in what is called the sou ‘, or informal style of mounting. In this case, the cloth used is the same quality as that used for the chuuberi. The name chuufuutai is also used. A chuufuutai is considered more mundane and is used in typical mountings. In cases where a refined sense is sought in a paper mounting, a white oshifuutai is used. Attached to the right and left sides of the lower end of each sagefuutai are cotton or silk threads in the form of small tassels or tufts called tsuyu ˜I. They are attached from 4.5mm to 6mm above the lower edge of the fuutai and extend to below the edge. In the time of Sen Rikyuu η—˜‹x (1522-91), these were called tsuyu in general, but more specific designations also came to be used. The small bunches of thread can also be called tsuyu if referring to white threads, hana ‰Τ, when the tufts consist of colored thread, and mizu … when asagi σ”K (*asagi-iro σ”KF; a kind of light blue with a touch of green) is used. Today, the four colors primarily used for tsuyu are asaasagi σX”K (a lighter asagi), moegi –G‰© (*moegi-iro –G‰©F; a light yellow-green; a color halfway between blue and yellow), purple/violet and white. Formerly red and koiasagi ”Zσ”K (a darker version of asagi) appear to have also been used. The tone of the tsuyu should harmonize with the style of the painting or calligraphy as well as the cloth used in the mounting. White is most commonly used. The shapes the tsuyu vary; straight, fan-shaped, and round.
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