Embroidery, as Mr Fukuda explains, is common to people and cultures around the globe, and has been practised for at least 5,000 years, with techniques gradually becoming more refined as they were passed down from generation to generation.  It is thought that embroidery has its origins in the Middle East, from whence it spread to all corners of the civilised world.  Evidence of ancient embroidery has been uncovered at archaeological digs in Egypt, central Asia and China.  Over the millennia, the basic task of embroidery has not changed, although it has progressed from being a purely functional medium to one that encompasses more aesthetic qualities.  Originally used as a method for binding furs and leaves to make clothing, the decorative form of embroidery that is known today appeared with the development of more refined tools such as fine needles, scissors and thread, which allowed embroiderers to think more in terms of beauty, colour and form.  How these elements were utilised varied in accordance with local cultures; in the Middle East and Asia, embroidery contributed to the development of religious art in both Islam and Buddhism, while in central Europe and Scandinavia, embroidery was employed in the decoration of everyday objects.

Embroidery is considered to have arrived in Japan from India and China via the Silk Road around the fifth century, when it was commonly found in embroidered designs of Buddha, called shubutsu, and other religious hangings.  By the early Heian Period (794–1185) embroidery in Japan was no longer merely replicating works from the rest of Asia, and a distinct Japanese style had begun to develop, involving very elaborate designs appealing to Japanese tastes.  During the 16th and 17th centuries, embroidery was increasingly used in beautiful kimono designs for use on stage.  Gold and silver thread were used extensively, along with metallic applique and dyeing.  Some of the most dazzling works were developed in this golden era of Japanese culture.

Modern embroidery took off after the Meiji Restoration in 1868, when Japan was reopened to foreign trade and adopted modern western technologies.  The quality seen today had been reached by about the 1930s, with intricate detail and lustrous thread allowing near-photographic representations of various designs.  In an era when colour photography was not yet readily available, embroidered artwork was very highly valued.

Embroidery has become established as a craft form peculiar to certain regions – Kyoto and Kanazawa are particularly noted for their styles of embroidery, known as Kyo-nui and Kaga-shishu, respectively.  Kyoto’s Kyo-nui style has been designated by the Japanese Government as an officially recognised traditional craft.

In Japan, embroidery traditionally employs a particular kind of thread called kamaito, which is a flat thread made from bundles of 4–12 silk strands that are twisted together before use.  Twisting the thread together maximises the lustre of the intertwining silk, and this lustre, says Mr Fukuda, is the most important quality that the thread should posess.  Cotton thread was introduced to Japanese embroidery comparatively recently, about 650 years ago; and although it was readily adopted for its lower cost, it has always been considered inferior to silk as it does not posess the same lustrous properties.  Recent developments in technology have, however, produced cotton thread that has a sheen as good as silk, and Mr Fukuda speaks enthusiastically of the high quality cotton available today.

Born in Kyoto in 1932, Mr Fukuda learnt his trade from his father, embroiderer Kizaburo Fukuda.  Perhaps surprisingly for someone of his talent and knowledge, Mr Fukuda originally had little interest in embroidery or other craft pursuits.  “I wanted to be an engineer,” he says, “but as the first-born son, I had to follow in my father’s footsteps.”  Did he resent his father?  “Not in the least,” replied Mr Fukuda, when asked this during his lecture, “although my father was a little crazy,” he added with a laugh.  More interested in the machines than the material, Mr Fukuda studied under his strict father’s gaze and reluctantly began to learn the intricacies of his craft.  His efforts were rewarded.  In 1992, he was officially recognised by Kyoto City as a ‘prefecturally designated holder of an intangible cultural asset’, and just five years later, in 1997, the Agency for Cultural Affairs designated him a National Living Treasure.  There are about one hundred National Living Treasures in Japan – although, as Mr Fukuda explains with a wry smile, the Agency never specifies the exact number in case someone has died before the announcement is made – but Mr Fukuda is the first, and remains the only National Living Treasure in his field.

Mr Fukuda’s works are renowned for their simplicity and beauty, using asymmetric designs that are nonetheless well balanced.  His designs reflect traditional motifs of flowers and insects, stylised representations of clouds and water, and geometric patterns balancing line with space.  He chooses his materials carefully, selecting exactly the right thread from his stock of 25,000 colours, to suit the gradation and texture of the cloth.  The gradation of colour in his chosen fabric imparts a fluidity to his expressions of natural elements such as the sky and water.  The six most important factors he considers are the beauty of the line, the quality of the embroidery, the suitable use of colour, the correct use of space in the design, the flexibility and feel of the fabric, and the way the finished product will ultimately be used.

Mr Fukuda works hard to produce his creations, kneeling in front of a loom for eight hours every day.  Strong lamps in his studio help to maintain a constant replication of natural light.  At nearly 76 years of age, he worries now about his eyesight – he wears glasses, but laments that they can distort his perception of the shape of his designs.  Despite this, he vows to continue until the end of his life – “as a National Living Treasure, I have an obligation to support the next generation.”  Still, Mr Fukuda is uncertain of the future for Japanese embroidery, as few young people are willing to take up traditional crafts in today’s modern society.  “Embroidery demands a lot of time, labour and discipline,” he says, “and in today’s world of economic rationalism, few people are willing to make that investment.”  Although fond of the old techniques, he accepts that traditions must change with the times.  “If you follow tradition blindly, the tradition will die,” he says.  “It is important to keep creating something new.”

Kijyu Fukuda gave his lecture at the Japan Foundation, Sydney on 21 January, and spoke to visitors to the Japan Foundation Gallery during his exhibition, which ran until 24 January.  The event was organised by the Japanese Society of Sydney (JSS) in cooperation with The Japan Foundation, Sydney, with the generous support of Japan Airlines.

Examples of Mr Fukuda’s work can be viewed online at the Japan Art Craft Association’s online gallery:
http://www.nihon-kogeikai.com/kokuho-e/fukuda-kiju-e/fukuda-kiju-sakuhin-e.html.