RAMPO HAORI COLLECTION
日本の粋、競い合ったクラフトマンシップ
時をまとう アンティーク羽織
羽織に描かれた憧れ
扇 -Ōgi-
末広がりの形をしていることから繁盛や海運のモチーフで、この柄は「未来への展望が明るい」という意味を持ち、発展や繁栄を願う縁起のよい柄とされる。扇は平安時代の貴族のアクセサリーや遊び道具として愛用され、扇文様は用いる人々の高貴な優美さを表し、古くから貴族の衣装の文様に用いられた。扇の中に美しい草花を描き、飾り紐などを付けた扇文様はとても華やかな図柄である。
The motif of prosperity and maritime transportation, represented by its fan-like shape, symbolizes “bright prospects for the future” and is considered an auspicious pattern wishing for development and prosperity.
Fans were beloved accessories and toys among the aristocrats during the Heian period, and fan motifs represented the noble elegance of those who used them, often used in the patterns of aristocratic attire since ancient times. Decorating fans with beautiful flowers and attaching decorative cords resulted in very glamorous patterns.
Fans were beloved accessories and toys among the aristocrats during the Heian period, and fan motifs represented the noble elegance of those who used them, often used in the patterns of aristocratic attire since ancient times. Decorating fans with beautiful flowers and attaching decorative cords resulted in very glamorous patterns.
おかめひょっとこ -Okame Hyottoko -
思わず笑いを誘う表情で、ともに日本文化を伝える祭事や演劇、踊りに欠かせない「おかめひょっとこ」。おかめは「福を招く神様」、ひよっとこは「火を守る神様」、二人合わせて「家庭円満の神様」として町民文化が花開いた江戸時代の文様。
With an expression that naturally brings a smile, the “Okame” and “Hyottoko” are indispensable figures in festivals, traditional Japanese theater, and dance, both contributing to the transmission of Japanese culture. “Okame” represents the “goddess of good fortune,” while “Hyottoko” symbolizes the “god of fire protection.” Together, they embody the spirit of “harmony in the household,” flourishing during the Edo period as symbols of town folk culture.
富士山と宝船 - Fujisan,Takarabune -
日本の象徴である富士山を背景に、米俵や宝珠（ほうじゅ）などの宝物を積んだ帆掛け船を文様化したもの。昔は、正月の2日の夜に、縁起のよい初夢を見るために、宝船の絵を枕の下に敷いて寝るまじないがあった。当初は、帆掛け船に宝物を積んだ図柄だったが、江戸時代になると七福神の乗ったものも描かれるようになった。
This design features a sailing ship laden with treasures such as rice bags and jewels, set against the backdrop of Japan’s iconic symbol, Mount Fuji. In the past, there was a superstition of placing an image of a treasure ship under one’s pillow on the night of January 2nd to ensure auspicious dreams for the new year. Initially, the motif depicted a sailing ship loaded with treasures, but during the Edo period, it began to include depictions of the Seven Lucky Gods aboard the ship.
龍神 - Ryujin -
龍は伝説の聖獣で、中国では皇帝を意味する最も高貴なもの。その昔、龍紋は皇帝以外の着用は許されていなかった。また霊力があり、魔や悪鬼を制圧する最高の力を持ったものとして崇拝され、着物に使われる龍の柄には『出世』や『飛躍』などの意味があったとされる。
The dragon is a legendary creature, revered as the sacred beast in Chinese culture, symbolizing the utmost nobility, often associated with the emperor. In ancient times, only the emperor was permitted to wear garments adorned with dragon motifs. Revered for its spiritual power, the dragon was believed to possess the highest authority to subdue demons and evil spirits. The dragon motif used in kimono was believed to symbolize meanings such as “success” and “leaping forward.”
龍と小判 - Ryū,Koban -
「金銭文」で中央に四角い穴のある円形を特色としている。銭は、中国の道教や仏教において、財宝八宝の一つとされて貴ばれ、「有文銭」には、『永楽通宝』や『寛永通宝』などと嘉（か）字をあてた年号を入れたものが多く、縁起のいいものとして文様化された。吉祥の文字や文様も用いられ、江戸時代以降、庶民性の強い、しゃれた感覚の文様として愛された。
“Kinsen mon” features a circular shape with a square hole in the center as its distinctive characteristic. “Sen” (coins) are highly valued in Chinese Taoism and Buddhism as one of the eight treasures of wealth. Many “Yūmon sen” (coins with characters) bear the era names such as “Eiraku Tsūhō” and “Kan’ei Tsūhō,” adding auspicious meanings, and have been patterned as symbols of good fortune. Auspicious characters and motifs have also been used, and since the Edo period, they have been cherished as patterns with a strong sense of populism and stylishness.
狛犬 - Komainu -
神社にある邪気を払うと言われる狛犬は、獅子に起源があると言われている。狛犬の起源はインドの仏教寺院にその象を２個設置したことに始まる。それが中国に伝わり唐獅子となり、朝鮮半島を経由して飛鳥時代に仏教とともに日本に伝来。呼び方は獅子像であっても一般的に狛犬と呼ばれ愛された。
The komainu, said to dispel evil spirits at Shinto shrines, is said to have its origins in lions.
The origin of komainu dates back to when the image was set up in pairs at Buddhist temples in India. This practice spread to China, where it became known as Tang lions, and then reached Japan via the Korean Peninsula during the Asuka period along with Buddhism. Although they are called lion statues, they are commonly referred to and loved as komainu in Japan.
The origin of komainu dates back to when the image was set up in pairs at Buddhist temples in India. This practice spread to China, where it became known as Tang lions, and then reached Japan via the Korean Peninsula during the Asuka period along with Buddhism. Although they are called lion statues, they are commonly referred to and loved as komainu in Japan.
日本の情景 - Nihon no jōkei -
雪の結晶の六角形をモチーフとして円状にデザインされた「雪輪取り」という装飾的な構図である。
輪の中には日本を象徴する原風景が描かれた情感溢れる文様となっている。
輪の中には日本を象徴する原風景が描かれた情感溢れる文様となっている。
“Yukiwadori” is a decorative composition characterized by a circular design featuring hexagonal snowflake motifs. Within the circle, an emotionally rich pattern is depicted, portraying the primitive landscape that symbolizes Japan.
夫婦獅子 - Meoto-shishi -
獅子は一般的にライオンを指すが、日本では長らく想像上の霊獣とされてきた。唐獅子は唐代の中国から伝わり、頭、首、胴体、尾に巻き毛があり、大きな目と口が特徴である。微笑ましい夫婦の獅子が刺繍で描かれた表地は、その豊かな表情が印象的で「しつけ糸」が付いたままというヴィンテージ感溢れる一枚。
While lions are typically referred to as “shishi” in Japan, they have long been considered mythical spirit beasts. The “Tang shishi” was introduced from Tang Dynasty China, characterized by its curly mane on the head, neck, body, and tail, with large eyes and mouth. The embroidered fabric featuring a charming pair of lion figures highlights their rich expressions, giving off a vintage vibe, complete with leftover “guide threads.”