The 18th century was an exciting time for Japan. After unification in 1603, a remarkable spirit of innovation was to have pervaded as urban centers grew and the arts flourished, such as was the case with modern-day Tokyo, or Edo, as it was known then.

The creativity came about despite a policy of “sakoku” that the ruling Tokugawa shogunate enacted in 1633, to close Japan off from the world (it lasted until 1866). It sounds tragic, however sasoku resulted in the paradoxical effect of nurturing a deep fascination for everything foreign among Japan’s educated class, in secret!!

Which brings us to Japan’s passion with outside influences surrounding exotic dyed and woven textiles and their patterns, the Karakusa “Lion’s Arabesque” being one such treasure!

KARAKUSA or “Lion Arabesque” was born in Egypt, and passed through Persia, Greece, and finally to Japan via the “Silk Road” as did many other exquisite patterns. It first entered Japan as a pattern of Buddhist art, typically seen in the halos of Buddhist images; statues, murals, and in textiles.

Within its rich design is the Lion Arabesque “plant” which actually is a plant that doesn’t exist; its vines seem to intertwine and extend into infinity, a symbol of vitality for life, resilience, prosperity and longevity.

The Karakusa Lion Arabesque’s pattern is often seen used in fine arts, and it has developed to include even flowers that do not have vines, such as chrysanthemums and plums. Especially during the Edo period, it became an auspicious pattern on kosode (short-sleeve) kimono designs and wedding furniture. Even in modern times, we often see large wedding cloths with arabesque patterns covering wedding items, and furoshiki (wrapping cloths) with arabesque patterns used during formal ceremonies and gift-giving, becoming a celebratory cloth through the ages.