伊勢型紙の歴史と技法

抄録

Ise katagami can be understood not only as a dyeing technique but also, within the broader history of printing, as part of the lineage of stencil-based printing. This paper proposes a perspective that reconsiders Ise katagami not merely as a tool for textile dyeing, but as a visual media system that enables the repetitive reproduction and circulation of designs through the use of stencils. By relating the carving techniques used to cut patterns into stencil paper, the reinforcement methods of thread insertion and silk gauze backing, and the dyeing process using resist paste to the concepts of plate types and processes in stencil printing, it becomes evident that dyeing with Ise katagami embodies fundamental printing principles. Moreover, diverse carving methods—such as tsukibori, kiribori, dōgubori, and shimabori—can be categorized as distinct forms of plate expression corresponding to dots, lines, and planes. The reinforcement techniques of thread insertion and gauze backing preserve stencil apertures while ensuring structural stability, and they share clear structural similarities with the mesh systems used in modern screen printing. Furthermore, examination of the nationwide distribution networks established by stencil merchants during the Edo period highlights another key aspect of Ise katagami: its function as a medium for the wide-area circulation of visual information in the form of patterns. From these perspectives, Ise katagami—despite employing different materials and techniques from woodblock printing—can be recognized as an important lineage in the history of Japanese stencil-based printing culture, defined as a technical system characterized by reproducibility, repeatability, and stencil-mediated circulation.