The Juni-hito of Heian Japan

by Sara M. Harvey

The Heian era of Japan encompasses approximate years of 792-1192 of the Common Era. It is generally seen as the "Golden Age" of Japanese culture. At this time, literacy was prized, especially among women, and art thrived. It was also the time of one of the greatest Courts in Japanese history. Out of this privileged court society grew some of the most intricate costume the world has ever seen. (Image 1). This beautiful style lives on both in contemporary ceremonial dress and in the traditional Hina Matsuri dolls.

The multi-layered style worn by women is commonly called juni-hito (or juni-hitoe), meaning "twelve layers" or "twelve clothes." "Literally ‘twelve layers,’ this term derived from a story about a lady-in-waiting who drowned trying to save the Child Emperor. It was said that her ‘twelve unlined robes’ weighted her down." [1] Exactly where this story came from is unknown. But this legend gave name to the style of court dress, even if it was a bit of a misnomer. Until the sumptuary laws were passed in 1074 CE, it was not uncommon to find noble women wearing up to forty layers. After 1074 CE, this number was reduced to five. Regardless how many layers were worn, their arrangement was most important. "The layered color pattern reflected many things including seasons, directions, virtues, and the elements of the earth as they related to the spirits of nature." [2] Exactly how this layering evolved in unknown. Some historians believe it occurred out of necessity due to the cold Japanese winters, while others contend that it was more of a matter of conspicuous consumption. However it occurred, the juni-hito has been an enduring symbol of tradition and wealth in Japan. The more accurate name for the juni-hito is karaginu mo, in reference to the types of clothing worn. Derived from Chinese court garments, the karaginu is a jacket and the mo is a stylized apron worn only by the high nobles. Although both terms are correct, juni-hito is more commonly used.

Juni-hito begins with the undergarments. In modern applications of this costume, a two-piece cotton or silk garment is worn next to the skin to help keep the outer layers, which are often vintage, away from perspiration or make-up. But in the Heian period, the layer worn next to the skin was the kosode. This was a short robe, falling to ankle or low-calf length. Its panels were 16 ½ inches wide instead of 14 inches wide. The traditional width of kimono fabric, even in the modern era, is 12- 14 inches. The kosode is made of silk and colored white or red. Red dye at the time was made from madder, a dyestuff made from a root that was thought to have beneficial medicinal properties for women, especially concerning menstruation. Women often wore madder dyed clothes next to the skin for this purpose. The kosode never showed.

Over the kosode is worn hakama. The hakama is a full pleated split skirt, worn also by men. It is made of unglossed, stiff, raw silk for regular wear and glossed silk for formal occasions. Formal hakama is called nagabakama or haribakama. Nagabakama is the term used to describe the hakama noble women wore. Women wore haribakama that were dyed red and young girls wore haribakama dyed dark purple-red. Haribakama is worn like a pair of pants over the kosode and tied on the right side of the waist by a sash. Regular hakama or haribakama comes to the ankle, while more formal nagabakama trail up to 1 ¼ feet behind. This type of garment is still seen on kabuki actors today.

The next layer is the hitoe. This was a light, unlined robe colored white, red, or blue-green. The sleeves of which often hang over the hands and the hem of which is 4 inches longer than the other robes. Hitoe are either plain colored or patterned in simple, geometric shapes. The hitoe is the first layer that is visible.

Uchigi translates simply to "robe" and is the basis of the layered look. Uchigi are made from fine silk and can be either lined or not. They are brightly colored and often patterned with more intricate details than the hitoe. Ten to forty uchigi were commonly worn until the sumptuary laws reduced that number to five in 1074 CE. Uchigi are wrapped one on top of the other leaving ½-1 inch of edge showing between each layer. For lower nobles, attendants, or for informal occasions, the dressing is finished. But for upper nobilty or for formal dress, the uchiginu is worn on top of the uchigi. The uchiginu is a beaten silk robe worn as stiffener and support for the outer robes. It is described as a stiff uchigi lined in scarlet silk.

Over the uchiginu goes the uwagi. The uwagi is also patterned like an uchigi but made of much finer woven and decorated silk. It is shorter and narrower than the robes beneath so the layers are not disturbed. The color and fabric of the uwagi is prescribed by rank. Only the Empress and the royal family could wear a brocaded uwagi. The royal attendants were allowed twilled silk. Red and blue could only be worn by royalty, or by special permission of the royal family. A courtier in red showed that she was favored by the Empress. Over the top is worn the karaginu or "Chinese jacket." It was described as "waist-length" but the hem comes closer to mid-thigh length. This is the only layer that does not close in front. The karaginu is intricately brocaded, embroidered, or painted silk that is lined with twilled silk and only worn by high-ranking nobles. Imperials wore red or blue, the Empress chiefly wearing red. Attendants again wore twilled silk with simpler, often geometric patterns. The mo is an apron-like remnant of a Chinese skirt. It is tied on over the uwagi and worn beneath the karaginu. The mo is usually white and either embroidered or painted with images. Popular choices were seascapes. The Empress and Princesses preferred take (bamboo) and hoh-oh (phoenix). Both the mo and the karaginu are optional and reserved for the highest ranked nobles and formal occasions. [3] (Images 2 and 3). During the summer months in the heat, all levels of court society wear light, unlined robes. Often, just one was worn over the hitoe.

In addition to the strict prescriptions of the kinds of robes worn, the colors were also just as important. The color combination is called Irome no Kasane. What modern scholoars know about it comes from a twelfth century manuscript called Nyobo no shozoku no iro written by Minamoto Masasuke,Master of Court Ceremony to Senior Grand Empress Tashi. Most of the combinations use five uchigi, less in the summer and more for special ensembles like the futatsu no iro ni, a term meaning "two of each color used." This ensemble was the most elaborate festival dress.

Matsugasane, "pine tree layers," is used for New Year’s celebrations and consists of two deep maroon uchigi and three green uchigi in graduating colors from darkest to lightest inner to outer layers. The hitoe is scarlet. Maroon robes were indicative of fall and spring called for pinks and greens. They have names that describe the colors used such as: futatsu iro ni ("two-by-two colors"), wakashobu ("young, sweet flag iris"), ao momji ("green maples"), and hana yamabuki ("kerria rose"). The linings of the robes were often done in contrasting or complimentary hues so they could be folded back at the hems to reveal more color. [4] (Image 4).

Women’s make-up was also quite involved. Faces were whitened with heavy rice powder. They often shaved their eyebrows and either redrew them in a perfect arch high above the natural brow line or gave themselves "thumbprints." To make "thumbprints," a woman would dip her thumbs into black make-up, cross them, then press them into the forehead. This left two symmetrical smudges towards the center of the forehead. An exaggerated hairline with a widow’s peak was sometimes drawn around the face, either to emphasize what was already there or to create what was not. It may also have been used to soften the border between the hairline and the face if a wig was being worn. Eyes were lined in black and occasionally in red. Lips were painted red but cheek blush was not regularly used at this time. Women also blackened their teeth, top and bottom. It was thought that the whiteness of the teeth was too reminiscent of the little white tiles used to venerate ancestors. It was not until the 20^th century that a Japanese woman of rank appeared with her natural face and tooth color in public.

The style of dress for men is similar but much less involved. Men wear the hakama, often in black or indigo, and colorful layers of short kimono or other coats over the top of the hakama. As with the women, rank and station dictated various fabrics, colors, and layer combinations but the rules were not quite so stringent for the men.

In the modern era, Heian-style costume is still worn for very formal occasions such as weddings and court functions. But the best modern representation of this form of dress is preserved in the Hina Matsuri dolls. These dolls are given to girls in honor of Girls’ Day, which occurs on the third day of the third month, March 3rd, by the modern calendar. Hina Matsuri translates to the "Festival of the Little Princess." The dolls emulate the Heian court and are meticulously hand-made by artisans. Fifteen dolls make up a whole set and they are often passed down from mother to daughter as heirlooms. The dolls are displayed on a seven tiered stand covered in red cloth. At the top of the stand appear the dairi-bina, the Emperor and Empress. They are also referred to as the Prince and Princess or the Lord and Lady. The Empress is always shown in juni-hito. (Images 5 and 6).

The only anachronism is in the elaborate hair ornaments sometimes used that are more reminiscent of the Edo Period, 1603-1868 CE. Heian era women usually wore their hair long and straight down their backs either loose or bound into a low ponytail. The hina matsuri dolls have curled and coifed hair that is bedecked with ornaments and combs and in the case of the Empress often includes a large crown with coils and spangles done in metal and "jewels." The dairi-bina preside over the top tier and below them their three female attendants serve sake. The three attendants wear juni-hito appropriate to their station. Below them are the Minister of the Right and the Minister of the Left. On the fourth level are five Noh-drama musicians and on the fifth are three servants who carry the Emperor’s shoes, hat, and parasol. Various items of miniature wooden, lacquered furniture including an oxcart, palanquin, and tea service sit on the sixth level. On the seventh and lowest level are representations of a cherry tree and a peach tree to represent the courtyard of the palace in Kyoto. Peach flowers decorate all the levels of the stand, as the peach flower is the symbol of the festival. A folding screen sits behind the dairi-bina on the top level. [5] (Image 7)

The Hina Matsuri dolls keep the past alive in the minds of each generation of Japanese children. They bring a piece of Japan’s "Golden Age" to the present. History is preserved through the costumes that are learned from and cared for by the daughters of the household. Although the wearing of kimono is becoming a vanishing tradition, the tradition of the Hina Matsuri dolls continues. Most modern households display only the dairi-bina, but they are the most finely dressed of the whole set, resplendent in their Heian Court costumes. Because of these dolls, the culture represented by the juni-hito will never be forgotten.

Endnotes