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I’d Be Content to Die Tomorrow.

Yoshiko Munehiro, Weaver

Yoshiko Munehiro grew up in a home where she was constantly surrounded by her father’s apprentices at work. Her father, Rikizo Munehiro, was a designated holder of an Intangible Cultural Property (also known as a Living National Treasure) for tsumugi—silk pongee stripes and ikat weaving.

Rikizo and his apprentices
Rikizo and his apprentices

In her final year at the Kyoto Institute of Technology, her mother Tokiko passed away. Deeply affected by it, Yoshiko decided to follow in her mother’s footsteps by pursuing weaving—her mother’s favourite craft. Yoshiko trained at the Hongo Weaving Studio in Matsumoto, Nagano, and further refined her skills at her father’s workshop in Gujo Hachiman, Gifu. At 27, she became independent, returning to Nagano to establish her own career as both a dyer and a weaver.

It was in Nagano that she met her husband, Takeshi Yoshizawa, a koto (Japanese zither) craftsman. Together, they founded Studio YUI. They shared a passion for the craft and were committed environmental advocates. Takeshi’s dedication to community engagement eventually led him to join the city council, shaping local policy. During this time, Yoshiko, in her 30s, dedicated herself to supporting her husband’s political and social efforts while raising their five children.

Once her children became independent, Yoshiko finally had time to focus on her creation, but she initially struggled to find inspiration. This prompted her to experiment with thicker wefts made from bundled silk threads and explore brighter colours. These changes resulted in more vibrant tapestries and functional pieces, such as her signature bags for everyday use.

While some of her works reflect the influence of her father—visible in ikat and Yoshino plaid patterns—Yoshiko’s later creations demonstrate a broader artistic expression. She incorporated wild kibiso raw silk and paid homage to the contemporary painter Kiwako Shoji through playful interpretations of shapes and colours.

“I feel blessed to make a living doing what I love”
“I’ve had a good life. I’d be content to die tomorrow” were the two phrases she often repeated.

At 4:00 a.m. on October 21, 2020, Yoshiko Munehiro decided to rest peacefully and infinitely. She was 70.


It’s been four years and not a day has passed without thinking of her.

I’m honoured and grateful that the Kyoto Mingei Association is holding a special one-day exhibition of my mother’s (along with my grandfather’s) works on Sunday the 3rd of November, 2024.

Date: Nov 3rd, Sun, 2024

Time: 10am – 4pm

Location: Gallery Wajun, Chion-in

宗廣佳子 染織作家

重要無形文化財「紬縞織、絣織」保持者(人間国宝)の宗廣力三を父に持ち、紬織に励む家族や研究生に囲まれ育つ。京都工芸繊維大学卒業の年に母・都生(とき)子が他界。織ることが大好きだった母への想いから、卒業後は松本市の本郷織物工房にて織物を学ぶ。その後父・力三が主催する郡上工芸研究所にて紬織の技術を深め、1977年に27歳で独立。本郷織物工房時代の友人を頼って小諸市に移住し、個人作家として活動を開始。染めから織りまでの制作工程を一貫して行う。

Yoshiko Munehiro on her loom
Yoshiko Munehiro on her loom

その後、琴職人である夫・吉澤武と出会い、結婚。森や緑を守る活動に情熱を燃やし、市議会議員も務めた夫の活動を二人三脚で行う間も、家庭では5人の子育てに追われる怒涛の30代を過ごす。その後子育てが一段落するものの、制作意欲が湧かずに悩む。同時期に太めの緯糸でバッタンバッタンと織り上げていく布に取り組むようになり、タピストリーやバッグなど新しい作風が生まれる。

着物の絣紋様、吉野格子の帯など、明らかに宗廣力三の技法を継承しつつも、ざっくりとした生皮苧(きびそ)の風合いを生かしたタピストリーに見られる明るい色使い、庄司貴和子に触発され制作された作品に現れる遊び心溢れる形象には、宗廣佳子独自の表現が見られる。

「好きな仕事をして生活できるのが幸せ」

「幸せな人生だったから、明日死んでも満足」が口癖だった。

2020年10月21日逝去。享年70歳。


1日とて忘れたことはないけれど、あっという間に4年経ちました。
4年経った今もこうして思いを寄せて下さる方々がいらっしゃるのは大変ありがたく。
染織家宗廣佳子の作品展を、京都民藝協会の皆さんの御厚意にて、11月3日に開かれる「秋のつどい」の中で開催頂きます。

とき:2024年11月3日(日)午前10時~午後4時
ところ:総本山知恩院 和順会館地下1階 「ギャラリー和順」

宗廣佳子の記事

2 Comments

  1. healxo

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    • Tomo

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