A kakejiku is not merely "a picture to be hung on a wall," but rather a cultural artifact deeply intertwined with space, season, and human behavior.
Unlike Western paintings that are always on display, the act of "hanging" itself holds meaning for a kakejiku.
It is hung at the appropriate time and in the appropriate place, quietly appreciated, and then put away again.
Through this repeated process, a temporary sense of tension and lingering atmosphere is created in the space.
In this article, we will provide an easy-to-understand overview of the basics of kakejiku, covering the following points:
・The history and origins of kakejiku
・The structure and mounting of kakejiku
・Differences in types and styles
・Methods of preservation and care
1. History and Origins of Kakejiku — From Appreciating Scrolls to Arranging Wall Spaces
The origin of kakejiku is closely related to the culture of calligraphic and pictorial handscrolls in early China. After paper and silk became the main materials for writing and drawing, artworks were stored as scrolls and unrolled for appreciation as needed.
As the culture of interior decoration and literati appreciation developed, a vertical format suitable for hanging on a wall gradually evolved, distinct from handscrolls which were unrolled horizontally on a desk to be read. This led to the form later known as "tatejiku."
Kakejiku is not merely a format for hanging; it signifies a change in the way art was appreciated. Artworks transformed from something read on a desk to something to be confronted and appreciated indoors.
This form was introduced to Japan along with Buddhism in the Asuka period, and developed into a unique kakejiku culture, intertwined with religious spaces, the tea ceremony, shoin architectural arrangements, and an aesthetic sense that values the seasons. This evolution can also be seen in sumi-e (ink wash painting) of the Kamakura period and ukiyo-e of the Edo period.
In Japan, kakejiku were not only used in temples and shoin (study rooms), but were also widely adopted in tea rooms, tokonoma (alcoves), and even everyday living spaces. Along with ikebana (flower arranging), kodo (incense ceremony), and tea utensils, they became an important element in creating a spatial aesthetic based on "simplicity" and "tranquility." Therefore, kakejiku can be said to be not merely a support for artwork in Japanese culture, but a language of room arrangement that resonates with homes, etiquette, and the changing seasons.
2. What is a Kakejiku? — Both an Artwork and a Structure
From a structural perspective, a kakejiku is not simply a picture glued to fabric. It incorporates a meticulously designed and complex mounting system. A kakejiku consists of the "honshi" (the calligraphy or painting itself) and the "hyoso" (the mounting) that supports it. The mounting part is composed of various elements such as fabric, tenchi (top and bottom borders), nakamawashi (inner borders/中廻し), futai (decorative tassels/風帯), jikuzaki (roller ends/軸先), and kakeo (hanging cord), forming a single unified mounting.
These elements are not merely incidental decorations. They are extremely important elements that contribute to the dignity and rhythm of the entire work, as well as its preservation.
3. Main Types of Kakejiku — Classification by Style and Mounting
In kakejiku, the mounting is not just an external finish. It is a crucial element that determines the overall atmosphere of the work. Here, "mounting" refers to the entire composition and combination of fabrics applied to the outside of the honshi (main artwork), and differences in this style can create entirely different impressions, even for the same artwork.
Among Japanese kakejiku, the most representative system of styles is "Shin(眞), Gyo(行), So(草)." Below this are eight more detailed classifications, such as "Shin no Shin" and "Shin no Gyo." The hierarchy of styles is generally [Shin(眞) > Gyo(行) > So(草)], and they are distinguished by differences in subject matter and use, as well as variations in the composition of the top and bottom borders (tenchi), inner borders (nakamawashi/中廻し), and decorative tassels (futai/風帯).
Shin Hyoso
Shin hyoso is a style generally used for Buddhist altars. It has a solemn and dignified impression, and its overall proportions are rigorously balanced. It is used for hanging Buddhist paintings as objects of worship in place of Buddhist statues, or for displaying ceremonial calligraphy or works suitable for formal settings.
Gyo Hyoso
Gyo hyoso is the most widely seen style for tokonoma hangings. It achieves a balance of dignity, ornamentation, and everyday appeal, and accommodates a variety of subjects such as landscapes, birds and flowers, and figures. It is the most common classification of kakejiku found in the market, as it is designed to be hung in the tokonoma of a Japanese room.
So Hyoso
So hyoso is a style generally used for chabana (tea ceremony flower arrangements). It has a lighter and more free-spirited feel compared to Shin and Gyo, and has been cherished as a mounting that resonates with the atmosphere of the tea room. Subjects often include Zen phrases, ink calligraphy, and haiku, and it serves as a tea utensil that harmonizes the overall ambiance of the space.
Even today, the differences among these three styles are clearly felt in antique art settings and tea ceremony spaces. Shin possesses solemnity, Gyo offers stability, and So embodies the beauty of empty space and refined taste.
Other mounting styles also exist, such as fukuro-hyoso (bag mounting) used for Chinese kakejiku, minchō-shitate and taimeichō-shitate (used in Japan for subjects like Chinese classics, Chinese poetry, and nanga painting), and highly artistic mountings tailored to the shape and material of the artwork—for example, daibari-hyoso (panel mounting), kurinuki-hyoso (cut-out mounting), senmen-hyoso (fan-shaped mounting), and creative mountings. Thus, the way kakejiku are presented can be remarkably diverse, depending on the purpose of display and the nature of the artwork.
4. Preservation and Care of Kakejiku
Finally, we will explain how to protect your precious kakejiku at home.
A kakejiku is a complex craft item made of paper, silk, glue, fabric, wood, and other materials. Therefore, more serious than a single impact causing damage is the cumulative damage over time caused by humidity, light, insect infestation, and improper handling. Most problems seen in old kakejiku are due to long-term storage conditions and handling practices.
Here are some basic tips for storing and preserving kakejiku.
1. Do not leave it hanging for long periods.
Kakejiku are intended to be "hung for appreciation, then stored for preservation." If left hanging for prolonged periods, they are susceptible to fading, warping, and loosening of paper or silk due to light, humidity, and continuous stress.
2. Check the environment and condition before storing.
Immediately after removing a kakejiku from a humid environment, it is best not to roll it up tightly. Instead, allow it to settle for a while in a well-ventilated, shaded area. By confirming that no moisture or dust remains on the surface before storing, you can prevent damage caused by trapped moisture.
3. Roll gently and straight.
Roll the kakejiku slowly from bottom to top, following its original direction. It is important to keep both sides advancing as evenly as possible and avoid rolling it diagonally. Rolling too tightly or applying pressure to only one side can cause creases, misalignment, and deformation.
4. Do not tie the hanging cord too tightly.
Once rolled, secure it gently with the hanging cord. The ideal is to have it neither too loose nor too tight. Tying it too tightly can leave pressure marks on the surface and over time put stress on the artwork and mounting.
5. Store horizontally as a basic rule.
Rolled kakejiku should ideally be stored lying horizontally. If left standing vertically for a long time, the weight distribution can become uneven. If you have a wooden box or a dedicated box, it will protect against impact and dust, leading to more stable preservation.
6. Basic storage conditions: dry, shaded, and stable.
For storage, avoid direct sunlight, high humidity, stuffiness, and sudden temperature changes. Do not place kakejiku in areas like kitchens, bathrooms, or where air conditioner drafts directly hit them.
7. Check periodically, but don't handle too frequently.
It's important to unroll the kakejiku briefly at regular intervals to check for mold, insect damage, warping, tears, etc. However, unrolling and re-rolling it more often than necessary will also lead to wear and tear. Inspection should be done moderately.
8. Do not attempt to repair damage yourself.
If you notice mold, water stains, tears, flaking, or significant distortion, it is best not to attempt repairs yourself. Instead, consult a professional conservator or hyogushi (scroll mounter). Kakejiku are complex craft items combining paper, silk, glue, and fabric, and self-repairs often worsen their condition.
Summary
Kakejiku attract people because the techniques and aesthetics inherited over many years, along with their connection to daily life, are quietly accumulated in their form.
The practice of changing kakejiku according to the season, and thereby adjusting the expression of the space, teaches us the richness of living with objects, more than simply owning a single item. The charm of kakejiku is not limited to appreciating the calligraphy or painting depicted on them, but also lies in their ability to bring a lingering atmosphere and spiritual focal point to a space.
We hope you will experience the quiet beauty unique to kakejiku in your daily life.
Our store also offers kakejiku that embody the unique historical charm and aesthetic sensibilities of different eras. Please enjoy discovering a scroll that resonates with your room and the season.
