Alike other stories, this one, respectively presents another important
symbol of Japan; in “Snow Country” Kawabata prized geisha and her profound role
in Japanese society, in the novel “Thousand of Cranes” Kawabata prized the tea
making culture, “The Old Capital” novel focuses on the meticulous and
secret business of kimono making, another distinguishable part of Japan.
The plot concentrates on the young
girl Chieko, a daughter of a kimono-maker. This lovely girl has to face with a
secret. Kawabata introduces here not
only on the traditional spirit of Japan which stands for kimono but
also describes the sad truth of being orphaned, abandoned by parents and the closest
relatives. The truth that may open different possibilities and helps to accept
the inner being, the fact that one is who they are, and nothing more, is sometimes so difficult to deal with.
Not accidentally Kawabata chooses Kyoto, that former capital of Japan stands for everything which is
quintessential for this country, from cultural heritage to social virtues.
Our
protagonist is a hyper-sensitive girl, yet, she thinks about her adoptive
parents, doesn’t believe in a fairy tale that says she has been stolen sleeping
under a cherry tree, one of many spread by her foster parents. She wants to
know the truth. She has got a boyfriend, yet, she seems to be astounded seeing him
sleeping, as if she had seen a sleeping boy for the first time.
The region
Kawabata describes in his novel is well-known from geisha, kimonos and tea
making culture, cherry trees, unbelievable tranquil surrounding. The elegiac tone
of the book makes a contrast to vibrant festivals; the Jiadi Festival and the Gozen Fire Festival, the Festival of
Ages.
Every detail
matters, from the floral design put on the fabric of future kimono to the truth
of how, when Chieko was found and adopted, who left her behind in a basket
right by the threshold....
The sensuous
description are about to show the balance in nature, there is a balance between humane
nature and the seasons that pass by, irreversibly changing the countryside.
For our
protagonist the life is full of surprise, shortly after she found out she was
adopted, she was also acknowledged she has got a twin sister- Naeko, who spent
this whole time with their biological parents
“ (…) There
were two designs. One was of chrysanthemums arranged among leaves. It was rendered in such a novel way that one
did not recognize them as chrysanthemum leaves.
-
They're lovely (…) Both of them are fine, but . . .
-
Could you make a design of mountains with cedars and
red pines?
-
But it(…)It wasn't me you promised the obi to on the
bridge at Shijo at the festival. You mistook someone else for me (…)
-
Did I meet your ghost? Was it your ghost I talked to?
Do ghosts appear at the Gion Festival? Hideo did not mention the old
superstition of seeing the phantom of one's beloved (…)
-
Hideo, the girl you talked to was my sister. . . . I
had just met her for the first time that night. . . . I haven't even told my
mother and father about her yet. . . . You know the Kitayama log village? She
works there. . . . Give that girl one of your obis.
-
All right. But won't it be too good for a girl like
her? (…)”
The twin
sisters rebuilds the bound long time broken by the ruthless time and circumstances.
No one would tell them apart, they are indistinguishable. The role of
kimono changes as well, it is gradually replaced by westernized outfit of a
dress. The design changes become less oriental, more trendy, more modern.
The spirit of Buddha is omnipresent, the father of Cheiko secludes himself in the temple
in search for inspiration, he has to see the pattern he wants to engrave on the
fabric to make it unique, attaching and exceptional.
“(…) Father’s
designs come from the depth of spiritual weave (…)”
The softness
of descriptions, the sensuality – touch and moves, the symbolism of cherry trees in not
only a symbol of rejoice, a symbol of spring, but also a symbol of
sexuality – of being feminine, delicate as kimono itself, innocent and fragile.
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