Abstract
In Meiji period, dyeing and textiles works for artistic appreciation were highly evaluated, sending to the exhibitions. Especially, those play an important role as the links between a picture and a technical art. Although some studies on the relation are being done, they are limited merely yuuzen-zome at Takashimaya. Jimbei Kawashima the Second succeeded, as textile designs drawn by Japanese painters were accepted to local industry. In this paper, paying attention to his strategy of tsuzure tapestry, I tried to suggest a new view of dyeing and textiles in modern Kyoto. His strategy of tsuzure tapestry was to embody typical Japanese culture by subjects such as birds and flowers and human affairs. The motif of pictures was represented elaborately, so it reflected his view of textile arts controlled painters. And its goal was to send his works to large-scaled exhibitions. He employed painters in order to realize his own ideas, compared with Takashimaya who entrusted to draw a design to painters. Thus, considering these facts, I clarified that the leadership of making tsuzure tapestry was not on the side of painters but manufacturers.
