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Fusuma
View on Wikipediafrom Wikipedia
 | This article relies largely or entirely on a single source. (August 2020) |
In Japanese architecture, fusuma (襖) are vertical rectangular panels which can slide from side to side to redefine spaces within a room, or act as doors.[1] They typically measure about 90 cm (2 ft 11 in) wide by 180 cm (5 ft 11 in) tall, the same size as a tatami mat, and are 2–3 cm (0.79–1.18 in) thick. The heights of fusuma have increased in recent years due to an increase in average height of the Japanese population, and a 190 cm (6 ft 3 in) height is now common. In older constructions, they are as small as 170 cm (5 ft 7 in) high. They consist of a lattice-like wooden understructure covered in cardboard and a layer of paper or cloth on both sides. They typically have a black lacquer border and a round finger catch.
Historically, fusuma were painted, often with scenes from nature such as mountains, forests or animals. Today, many feature plain mulberry paper, or have industrially-printed graphics of fans, autumn leaves, cherry blossom, trees, or geometric graphics. Patterns for children featuring popular characters can also be purchased.
Both fusuma and shōji are room dividers that run on wooden rails at the top and bottom. The upper rail is called a kamoi (鴨居; lit. "duck's place"), and the lower is called a shikii (敷居). Traditionally these were waxed, but nowadays they usually have a vinyl lubricating strip to ease movement of the fusuma and shōji. Fusuma are typically made of opaque cloth or paper, while shōji are made of sheer, translucent paper.[2]
Fusuma and shōji, along with tatami straw mats (for the floor), make up a typical Japanese room.
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See also
[edit]References
[edit]- ^ MATCHA. "Fusuma (Sliding Doors) - Japanese Encyclopedia". MATCHA - JAPAN TRAVEL WEB MAGAZINE. Archived from the original on 2020-02-02. Retrieved 2020-02-02.
- ^ Spacey, John (August 27, 2016). "Fusuma vs Shoji". simplicable.com. Archived from the original on January 26, 2020. Retrieved October 23, 2021.
External links
[edit]
Media related to Fusuma at Wikimedia Commons- English site explaining all about fusuma, with diagrams and photos Archived 2016-10-19 at the Wayback Machine
- Momoyama, Japanese Art in the Age of Grandeur, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on fusuma
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Fusuma
View on Grokipediafrom Grokipedia
Fusuma (襖) are traditional Japanese sliding doors composed of lightweight wooden frames covered with thick, opaque paper or fabric, designed to slide along tracks in the floor and ceiling to partition or separate rooms in a flexible manner.[1] These doors originated during the Muromachi period (1333–1573) as part of the shoin-style architecture, evolving from monastic study rooms into formal reception spaces in aristocratic homes and temples.[2] In construction, fusuma typically feature a lattice of cedar or bamboo within the frame, stretched with multiple layers of durable washi paper on both sides for opacity and sound insulation, distinguishing them from translucent shoji screens.[3] They are commonly used in tatami-matted rooms (washitsu) found in ryokans, tea houses, and traditional residences, allowing spaces to be reconfigured for privacy, gatherings, or seasonal airflow.[4] Historically, fusuma often served as canvases for artistic decoration, including paintings, calligraphy, or gold-leaf motifs by renowned artists, particularly during the opulent Momoyama period (1573–1615), enhancing their role in aesthetic and cultural expression.[2] Today, while modern adaptations incorporate synthetic materials for durability, authentic fusuma remain integral to preserving Japan's architectural heritage in cultural sites and heritage buildings.[1]
Definition and Characteristics
Physical Description
Fusuma are vertical rectangular panels employed as sliding partitions or doors in traditional Japanese architecture, allowing spaces to be divided or reconfigured flexibly. They typically measure approximately 91 cm in width and 182 cm in height, corresponding to the standard dimensions of a tatami mat, though modern iterations often extend to 190 cm tall to suit contemporary human heights.[3] At their core, fusuma feature a lightweight wooden lattice frame composed of vertical kumite members and horizontal hirabone muntins, with reinforced corner boards and central supports for stability. This frame is covered on both sides with opaque materials such as thick washi paper, silk, or cloth, secured to the edges to ensure durability and privacy. A finishing border of lacquered or precious wood is then applied around the perimeter.[5] Each panel includes a hikite, or finger catch—typically a round pull made of wood, metal, or porcelain—mounted on a dedicated board that joins the central horizontal muntin, facilitating smooth side-to-side movement along tracks. Multiple fusuma panels integrate seamlessly in tatami-mat rooms, forming temporary walls or entrances while their lightweight construction, often around 2–3 cm thick, permits easy handling by a single person.[6][5] Unlike the translucent shoji panels, fusuma maintain full opacity through their dense coverings, prioritizing seclusion over light diffusion.[5]Distinction from Similar Elements
Fusuma panels are distinguished from shōji primarily by their opacity, as fusuma are covered with thick, opaque paper or cloth that blocks light entirely, whereas shōji feature translucent washi paper over a lattice frame to diffuse natural light softly into interiors.[3][7] This contrast in light permeability underscores their differing aesthetic roles: fusuma prioritize seclusion, while shōji enhance ambient illumination.[3] In terms of function, fusuma serve mainly as interior room dividers or sliding doors within traditional Japanese homes, allowing flexible reconfiguration of living spaces, whereas shōji are frequently employed as exterior windows or semi-permanent screens to connect indoor areas with outdoor views.[3][8] Fusuma typically measure around 91 cm wide by 182–190 cm high, aligning with tatami room proportions for seamless integration.[9] Fusuma exhibit a heavier and more durable build compared to the lightweight, easily removable shōji, enabling better privacy and sound insulation through their thicker materials, which muffle noise more effectively than shōji's permeable structure.[3][10] The term "fusuma" originates from the Japanese word for bedding or covering (衾), evoking its conceptual role as a protective "blanket" for rooms, and historically referenced an early hybrid form known as fusuma-shōji, which combined opaque coverings with sliding functionality.[11][12][13]History
Origins in Heian Period
The Heian period (794–1185 CE) marked the emergence of fusuma as a key element in Japanese architecture, particularly within the shinden-zukuri style that defined aristocratic residences in the capital of Heian-kyō (modern Kyoto). Influenced by Chinese imports of folding screens and room dividers introduced during the preceding Nara period (710–794 CE), fusuma were adapted to suit the flexible, open layouts of Japanese elite homes, emphasizing natural materials and spatial adaptability over rigid Chinese symmetrical designs.[14][15] In their original form, known as fusuma-shōji or karakami-shōji, these panels combined opaque coverings—typically layers of thick paper or silk—with early lattice frameworks, distinguishing them from purely translucent shōji while providing both durability and light diffusion for nobility residences. This hybrid design allowed for lightweight, slidable structures that replaced heavier wooden boards or fabrics, reflecting a maturation of sliding partition technology refined from Nara-era precedents.[11][14] Fusuma initially served as decorative room dividers in imperial palaces and high-ranking estates, evolving from hanging curtains (tsuitate) to fully operational slidable panels that enabled multi-room configurations for enhanced privacy in aristocratic settings. In shinden-zukuri layouts, they separated the central main hall (shinden) from subsidiary buildings connected by covered corridors, facilitating ceremonial and daily functions while maintaining an airy, interconnected interior.[14][16] Earliest evidence of fusuma appears in historical scrolls, such as the Genji Monogatari Emaki (Tale of Genji Picture Scroll, ca. 12th century), which depicts them in use within opulent court interiors, underscoring their role in delineating private spaces amid the era's elaborate social rituals. Archaeological reconstructions, including those of the Fujiwara family's Tōsandōden residence, further corroborate their presence through excavated post-and-beam foundations supporting slidable partitions.[16][14]Evolution Through Edo Period
During the Muromachi period (1336–1573), fusuma underwent significant advancements in their application within Zen Buddhist temples, integrating seamlessly into monastic architecture to facilitate flexible spatial divisions. At Daitoku-ji in Kyoto, a prominent Rinzai Zen temple complex, fusuma were employed in sub-temples to partition rooms while allowing for the display of ink paintings that aligned with Zen principles of simplicity and introspection.[17] This period's shift in political power to the samurai class further influenced fusuma's evolution, as temple designs began incorporating elements suited for guest reception and ceremonial functions, building on earlier Heian influences.[16] The intervening Momoyama period (1568–1615) represented a pinnacle for fusuma in elite settings, particularly daimyo castles, where they were used to subdivide expansive, dimly lit interiors into multifunctional spaces that emphasized grandeur and authority. These fusuma often featured lavish decorations applied to wooden frames covered in opaque paper or cloth, reflecting the era's opulent aesthetic and reinforcing social hierarchies among the military elite.[18] Such innovations in castle architecture highlighted fusuma's role as both practical partitions and symbols of power during a time of unification and castle construction booms. By the Edo period (1603–1868), fusuma achieved widespread standardization in everyday architecture, driven by explosive urban growth in cities like Edo, where the population exceeded one million due to the shogunate's sankin kōtai system requiring daimyo to maintain residences. This urbanization extended fusuma beyond temples and castles into common homes, including shogunate kaisho gathering halls for social and administrative purposes. A key shift occurred in materials, with the adoption of more affordable Edo Karakami paper—featuring thousands of accessible, colorful woodblock-printed patterns—enabling their proliferation in merchant machiya townhouses and lower-ranking samurai dwellings, democratizing a feature once reserved for nobility.[16][19][20]Construction and Materials
Frame and Covering
The frame of a fusuma panel is constructed as a lightweight wooden lattice, typically using Japanese cedar or bamboo for their strength, low weight, and resistance to warping under tension.[21][22] Fusuma panels typically measure 91.5 cm (36 in) wide by 183 cm (72 in) high and 3–4 cm (1.2–1.6 in) thick.[3] This lattice consists of thin horizontal and vertical laths joined with techniques such as hozo joins to form a stable core that evenly distributes stress.[21] The outer edges of the frame are protected and finished with black lacquer applied over cypress wood reinforced with gauze, providing both durability against wear and a refined aesthetic.[21][23] Additional cloth or paper reinforcements are incorporated during assembly to further bolster the structure.[21] Coverings are applied to both sides of the lattice using rice paste, typically comprising multiple layers of thick washi paper—such as kozo made from mulberry bark—for opacity, insulation, and a smooth surface.[21][24] The layering process begins with a strong base of thick paper, followed by intermediate sheets blended with gampi fibers and clay for added resilience and evenness, then topped with finer kozo layers.[21] Variations in covering materials include silk or cloth for elite panels, especially in earlier constructions, which increase thickness and provide a luxurious texture compared to standard mulberry paper applications.[24][25] These assemblies ensure the panels remain lightweight yet robust, facilitating their role in flexible interior spaces.[21]Sliding Mechanism
The sliding mechanism of fusuma relies on a system of wooden rails that guide the panels along precise tracks, enabling smooth horizontal movement while maintaining structural integrity in traditional Japanese interiors. The upper rail, known as the kamoi, is a head jamb typically constructed from wood and featuring grooves on its underside to accommodate the top edges of the fusuma panels.[26] Complementing this is the lower rail, or shikii, a square timber threshold embedded in the floor with shallow grooves aligned level with the tatami mats, which supports and directs the bottom of the panels during operation.[27] These wooden components, often integrated into the building's frame during construction, ensure the panels glide effortlessly without additional support, with the grooves providing both guidance and stability for multiple panels to slide and stack adjacent to one another when opened.[28] In traditional setups, the fusuma panels are suspended and guided solely by plain wood grooves in the kamoi and shikii, where the panel edges fit directly into the channels, allowing for low-friction movement achieved through careful woodworking.[28] The design permits easy removal by lifting the panels out of the tracks, facilitating seasonal reconfiguration of room layouts to adapt to changing needs, such as opening spaces for gatherings or storage.[26] This removable quality underscores the mechanism's flexibility, with panels typically installed in floor-to-ceiling tracks spanning the width of interior openings, supported by the lightweight wooden frames detailed in fusuma construction.[28] Modern variants of fusuma incorporate enhancements for reduced friction and durability, often replacing traditional grooves with ball-bearing rollers attached to the top frame of the panels, which roll along metal or reinforced tracks for quieter and smoother operation in contemporary settings.[29] Some installations use vinyl strips lining the tracks to minimize wear and noise, particularly in homes blending traditional aesthetics with updated hardware, while retaining the core suspension via top-mounted wheels or hooks that engage the upper rail.[30]Decoration and Artistic Traditions
Fusuma-e Paintings
Fusuma-e denotes the artistic tradition of painting directly on the paper surfaces of fusuma panels, a practice that flourished under the Kano school, where artists utilized mineral pigments known as iwa-enogu for their vivid, long-lasting hues derived from natural minerals. These pigments, ground into fine powders and mixed with animal glue, allowed for bold, layered applications that captured intricate details in landscapes, figures, and natural elements. The Kano school's dominance in this medium during the late Muromachi through Edo periods established fusuma-e as a hallmark of Japanese interior decoration, transforming functional sliding doors into expansive mural-like compositions.[31][32] Techniques for creating fusuma-e often involved the mekuri process, in which panels were detached from their wooden frames to enable easier painting in a studio setting, sometimes resulting in their later remounting as byōbu folding screens for portability or display. In elite contexts, such as castles and temples, artists incorporated gold leaf to produce kin-fusuma, where thin sheets of gold created luminous backgrounds that enhanced the ethereal quality of the scenes and symbolized opulence and divine light. This method, applied over the paper surface after gesso priming, reflected the period's emphasis on integrating artistry with architectural luxury.[24][33] The peak of fusuma-e production occurred in the 16th and 17th centuries, coinciding with the Momoyama and early Edo periods, when patronage from warlords and shoguns spurred monumental works infused with Zen Buddhist philosophy. Motifs frequently evoked impermanence (mujō), such as cherry blossoms in fleeting bloom or birds in flight, underscoring the transient beauty of life in line with wabi-sabi aesthetics. Notable examples include the nature scenes at Obai-in Temple, a subtemple of Daitoku-ji in Kyoto, painted by Unkoku Togan during the Momoyama period (late 16th century), featuring dynamic landscapes with temples and foliage that blend Chinese ink traditions with Japanese vitality. Similarly, at Daitoku-ji's Shinjuan subtemple, late Muromachi period panels by Soga Jasoku depict ink landscapes with Zen influences through expressive brushwork and minimalist compositions.[34][17][35]Symbolic Motifs and Styles
Fusuma decorations frequently feature motifs drawn from seasonal nature, such as mountains, forests, and animals, which evoke the transient beauty of the natural world.[36] These elements, including pine trees, cherry blossoms, and birds, symbolize the impermanence and imperfection central to wabi-sabi aesthetics, a Japanese philosophy that embraces the fleeting cycles of life and the rustic charm of the imperfect.[37][38] In traditional designs, such motifs transform the panels into reflective surfaces that harmonize interior spaces with the external environment, underscoring themes of transience without overt narrative complexity. Stylistically, fusuma decorations contrast Yamato-e, a native Japanese approach emphasizing stylized landscapes and seasonal motifs with bright colors and gold accents, against Chinese-influenced ink paintings (kara-e) that adopt monochromatic brushwork and more formal compositions.[39] Yamato-e motifs often depict indigenous scenes like rolling hills or autumn foliage, rendered in a manner that prioritizes emotional resonance over realism, while kara-e introduces subtle gradients and philosophical depth inspired by Tang dynasty traditions.[39] For minimalist rooms, particularly in tea houses or everyday dwellings, undecorated mulberry paper (washi) covers provide a subdued, plain aesthetic that enhances spatial serenity and aligns with wabi-sabi principles of simplicity.[3] The evolution of fusuma styles reflects broader artistic shifts, transitioning from the ornate gold-leaf embellishments of the Momoyama period (1573–1615), where lavish motifs adorned grand castle interiors to convey power and opulence, to the more subdued patterns of the Edo period (1615–1868) suited for urban homes and merchant spaces.[18][31] In the Momoyama era, decorations featured bold, layered gold backgrounds with dynamic natural scenes, but by the Edo period, simpler printed karakami papers with restrained floral or geometric designs became prevalent, promoting accessibility and everyday elegance.[40] As movable walls, fusuma embody the flexibility inherent in Japanese spatial philosophy, allowing rooms to adapt fluidly to social needs and emphasizing the concept of ma—the dynamic interplay of space and void.[41] This functional symbolism reinforces transience by enabling impermanent divisions, mirroring wabi-sabi's acceptance of change and impermanence in architectural form.[38]Usage and Cultural Significance
Role in Traditional Architecture
Fusuma played a central role in traditional Japanese machiya townhouses and castles by enabling the creation of flexible, multi-purpose rooms without relying on fixed walls. In the narrow layouts of machiya, these opaque sliding panels allowed residents to divide and reconfigure spaces for living, working, and storage, adapting to the constraints of urban environments.[42] Similarly, in castles, fusuma partitioned expansive interiors into versatile areas for administrative duties, sleeping quarters, and defense preparations, supporting the dynamic needs of feudal residences.[43] These panels also enhanced airflow and light management in Japan's humid subtropical climate, improving the comfort of tatami-floored spaces. By sliding open, fusuma facilitated cross-ventilation with air velocities reaching approximately 2 m/s near openings and 1.5 m/s within rooms, effectively reducing indoor humidity and promoting natural cooling.[44] Their heavy paper covering diffused soft, indirect light while blocking harsh glare, creating serene environments that complemented the absorbent properties of tatami mats for overall livability.[45] Socially, fusuma supported reconfiguration for hosting guests, maintaining privacy in family zones, or expanding areas for ceremonies, reflecting the fluid nature of Japanese domestic life. This versatility permitted rapid adjustments to spatial arrangements, such as opening panels to welcome visitors or closing them to shield intimate family interactions.[25] In shogunate residences, fusuma were used to divide rooms for formal gatherings, banquets, and poetry sessions in reception areas like kaisho halls, underscoring their importance in elite social and political functions.[46]Influence on Tea Ceremony and Social Spaces
In the Japanese tea ceremony, known as chanoyu, fusuma played a pivotal role in creating intimate and impermanent spaces within soan tea houses, as exemplified by the designs of Sen no Rikyū in the late 16th century. These humble structures emphasized simplicity and humility, with fusuma serving as opaque partitions that could be adjusted to foster a sense of transience and focus on the ritual, aligning with wabi aesthetics that prioritize rustic imperfection over grandeur.[16][47] The symbolic flexibility of fusuma mirrored core Zen principles of adaptability and mindfulness, allowing hosts to reconfigure spatial arrangements dynamically during ceremonies to enhance the contemplative atmosphere. By enabling fluid transitions between areas, fusuma supported essential host-guest dynamics, where the host could guide interactions through subtle environmental cues, promoting harmony (wa) and respect (kei) in the ritual's flow.[16][47] In the residences of daimyo and powerful warlords during the Azuchi-Momoyama period (1573–1603), fusuma evolved into ornate panels that displayed wealth and reinforced social hierarchy, often adorned with lavish gold-leaf paintings by artists like those of the Kano school. These decorations influenced etiquette by delineating spaces according to rank, where the opulence of fusuma in reception halls underscored the patron's status and shaped formal interactions among elites.[31][16] Spanning a thousand-year tradition originating in the Heian period (794–1185), fusuma represented the culmination of tea room design, integrating practical division with profound cultural symbolism to embody Japanese spatial philosophy.[5][16]Modern Adaptations and Preservation
Contemporary Applications
In contemporary Japanese architecture and interiors, fusuma continue to be integrated into renovated urban homes to maximize space efficiency in compact apartments. For instance, large multi-panel configurations, such as sets of up to nine panels, are employed to conceal functional areas like bathrooms, storage shelves, or office nooks, allowing seamless transitions between private and open spaces while preserving a sense of fluidity.[3][48] This approach is evident in projects like the Villa Nagiso Renovation, where fusuma panels adapt traditional partitioning to modern living requirements, enhancing versatility without compromising aesthetic harmony.[48] Hybrid fusuma designs incorporate synthetic materials such as vinyl or laminated surfaces over traditional wooden frames, improving durability and ease of maintenance for non-residential settings like offices and commercial spaces. These adaptations replace fragile paper coverings with tear-resistant alternatives, making fusuma suitable for high-traffic environments while retaining their sliding functionality.[49] Such innovations allow fusuma to function as flexible dividers in contemporary workspaces, blending cultural elements with practical needs.[49] For aesthetic enhancement in hospitality venues, modern fusuma panels often feature printed graphics inspired by traditional motifs, including cherry blossoms or folding fans, to evoke seasonal beauty and cultural depth. These digitally printed designs appear in hotels and ryokans, where they serve as decorative focal points on room dividers, contributing to immersive guest experiences without altering the core sliding structure.[49][50]Restoration and Cultural Heritage Efforts
Efforts to restore and preserve fusuma have gained momentum in recent decades, driven by recognition of their role in Japan's intangible cultural heritage. In 2020, UNESCO inscribed traditional Japanese architectural craftsmanship, including techniques for conserving timber-framed structures like fusuma, on its Representative List of the Intangible Cultural Heritage of Humanity, emphasizing the importance of skilled artisans in maintaining historical buildings against environmental threats.[51] This recognition has bolstered temple conservation projects, such as those at Obai-in, a sub-temple of Daitoku-ji in Kyoto, where Momoyama-period (1568–1615) fusuma panels depicting landscapes and figures are preserved, ensuring their survival through meticulous repair methods.[34] A primary challenge in fusuma preservation is deterioration caused by high humidity, which warps paper surfaces, fades pigments, and weakens adhesives over time.[52] Miyaeshi artisans, specialists in temple and shrine decoration, address these issues through miyaeshi techniques, such as reapplying traditional glues, repairing damaged paper edges, and repainting with mineral-based colors to restore structural integrity and aesthetic fidelity.[52] One notable example is the 2020 recreation of the "Chigusa no Hana no Maru" fusuma at Daiou-in Temple in Kyoto, where artist Yasukawa Nyofu—Japan's sole practicing miyaeshi—reproduced 43 circular flower motifs based on Meiji-era sketches by Shibata Zeshin, using gold paper and natural pigments to revive lost imperial designs while adhering to historical methods.[53] Modern exhibitions and private initiatives further promote public access to restored fusuma, enhancing cultural appreciation. The Nezu Museum in Tokyo hosted a 2022 exhibition, "Fusuma Paintings in the Shoguns’ Residence," which reconstructed Muromachi-period (1336–1573) designs through surviving folding screens, highlighting preservation strategies for vanished artworks and their ties to shogunal aesthetics.[54] Similarly, a 400-year-old set of "Kacho-zu" (birds and flowers) fusuma panels, owned by the Miyakoshi family in Aomori Prefecture since the early 20th century, has been made available for public viewing at their estate during seasonal openings, with plans for joint exhibitions alongside matching panels at the British Museum to underscore collaborative heritage efforts (as of 2024).[55]References
- https://en.wikisource.org/wiki/Japanese_Homes_and_Their_Surroundings/Chapter_3