88. Jiâu-se pho͘ tī seh téng-bīn pha̍k
Shmamura ê kū jiâu-se tiong-kan, hoān-sè ū Meiji (明治) chho͘-kî kàu Edo (江戶) bóe-kî ê mi̍h-kiāⁿ mā bô-tek-khak.
It-ti̍t kàu taⁿ, Shimamura iáu sī kā ka-tī ê jiâu-se the̍h khì "seh pha̍k". Múi-tang lóng kā m̄-chai sáng chhēng kòe ê kū-saⁿ the̍h kàu sán-tē khì pha̍k, sui-jiân mâ-hoân, m̄-koh siūⁿ tio̍h í-chá ko͘-niû tī chek-seh tiong-kan ê iōng-sim, tō hi-bāng kā the̍h kàu chit-pò͘ ko͘-niû tòa ê só͘-chāi, iōng chāi-tē ê hong-hoat kā pha̍k-pha̍k leh.
Pho͘ tī kāu seh téng-bīn ê pe̍h-môa jiâu-se, pha̍k tio̍h chá-khí ê ji̍t-thâu, ká-ná ní kah âng-âng, he âng, m̄-chai sī seh, a̍h sī jiâu-se. Chi̍t-ē siūⁿ tio̍h chit-khoán kéng-tì, tō kám-kak joa̍h-thiⁿ ê la-sâm lóng siau khì ah, mā ná ka-tī ê hûn-su pha̍k kah chin so͘-sóng. M̄-koh, in-ūi sī kau hō͘ Tokyo ê kū-saⁿ-tiàm khì pān, kó͘-chá pha̍k hoat sī-m̄-sī ū liû-thoân kàu taⁿ, che i tō m̄-chai ah-lah.
Chū kó͘ tō ū pha̍k se-á ê tiàm. Chit-pò͘ ko͘-niû chin-chió ka-tī pha̍k, tōa pō͘-hūn kau hō͘ pha̍k-tiàm khì pha̍k. Pe̍h-sek ê jiâu-se chit hó, ti̍t-chiap pho͘ tī seh téng-bīn pha̍k; ū sek ê jiâu-se, pháng chò sòaⁿ liáu, kòa tī tek-ko pha̍k. In-ūi tī kū-le̍k it-goe̍h kàu jī-goe̍h pha̍k, thiaⁿ-kóng mā ū-lâng pha̍k tī khàm seh ê chhân a̍h hûiⁿ.
M̄-koán sī jiâu-se a̍h se-sòaⁿ, lóng tio̍h seng iōng chio̍h-hoe-chúi chìm chi̍t-mê, keh-kang chá-khí iōng chheng-chúi koh sé kúi-ā piàn, chūn-ta chiah the̍h khì pha̍k. Tio̍h án-ne tiông-ho̍k kúi-ā kang.
Pe̍h jiâu-se tit-boeh pha̍k hó ê sî, hō͘ âng kì-kì ê chá-khí ji̍t-thâu pha̍k tio̍h ê hit-khoán kéng-tì, sī súi kah bô tit thang siá, chin ta̍t-tit hō͘ lâm-kok ê lâng khòaⁿ-māi chi̍t-ē, kó͘-chá lâng mā ū án-ne kì-chài. Jî-chhiáⁿ, jiâu-se pha̍k liáu mā piáu-sī chhun-thiⁿ boeh kàu Seh-kok ah.
Jiâu-se ê sán-tē óa-kīn chit-ê un-chôaⁿ-khu. He sī tī soaⁿ-kheⁿ chiām-chiām piàn khoah ê khe-lâu ê ē-lâu, ùi Shimamura ê pâng-keng ká-ná mā khòaⁿ ē-tio̍h. Chá-chêng ū khí jiâu-se chhī-tiûⁿ ê ke-á, taⁿ lóng ū siat hóe-chhia chām, taⁿ mā sī chhut-miâ ê pháng-chit kang-gia̍p khu.
M̄-koh, Shimamura m̄-bat tī chhēng jiâu-se ê joa̍h-thiⁿ, mā m̄-bat tī chit jiâu-se ê kôaⁿ-thiⁿ lâi kàu chit-ê un-chôaⁿ e̍k-tiûⁿ, iā tō bô ki-hōe hām Komako kóng khí jiâu-se ê tāi-chì. I mā m̄-sī ē khì thàm-hóng kó͘-chá bîn-kan gē-su̍t ê hit-chióng lâng.
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88. 皺紗鋪 tī 雪頂面曝
Shmamura ê 舊皺紗中間, 凡勢有 Meiji (明治) 初期到 Edo (江戶) 尾期 ê 物件 mā 無的確.
一直到今, Shimamura 猶是 kā 家治 ê 皺紗提去 "雪曝". 每冬攏 kā 毋知 sáng 穿過 ê 舊衫提到產地去曝, 雖然麻煩, 毋過想著以早姑娘 tī 積雪中間 ê 用心, tō 希望 kā 提到織布姑娘蹛 ê 所在, 用在地 ê 方法 kā 曝曝 leh.
鋪 tī 厚雪頂面 ê 白麻皺紗, 曝著早起 ê 日頭, ká-ná 染 kah 紅紅, he 紅, 毋知是雪, 抑是皺紗. 一下想著這款景致, tō 感覺熱天 ê la-sâm 攏消去 ah, mā ná 家治 ê 魂軀曝 kah 真酥爽. 毋過, 因為是交予 Tokyo ê 舊衫店去辦, 古早曝法是毋是有流傳到今, 這伊 tō 毋知 ah-lah.
自古 tō 有曝紗仔 ê 店. 織布姑娘真少家治曝, 大部份交予曝店去曝. 白色 ê 皺紗織好, 直接鋪 tī 雪頂面曝; 有色 ê 皺紗, 紡做線了, 掛 tī 竹篙曝. 因為 tī 舊曆一月到二月曝, 聽講 mā 有人曝 tī 崁雪 ê 田 a̍h hûiⁿ.
毋管是皺紗 a̍h 紗線, 攏著先用石灰水浸一暝, 隔工早起用清水 koh 洗幾 ā 遍, 捘焦才提去曝. 著 án-ne 重複幾 ā 工.
白皺紗得欲曝好 ê 時, 予紅 kì-kì ê 早起日頭曝著 ê 彼款景致, 是媠 kah 無得通寫, 真值得予南國 ê 人看覓一下, 古早人 mā 有 án-ne 記載. 而且, 皺紗曝了 mā 表示春天欲到雪國 ah.
皺紗 ê 產地倚近這个溫泉區. 彼是 tī 山坑漸漸變闊 ê 溪流 ê 下流, ùi Shimamura ê 房間 ká-ná mā 看會著. 早前有起皺紗市場 ê 街仔, 今攏有設火車站, 今 mā 是出名 ê 紡織工業區.
毋過, Shimamura m̄-bat tī 穿皺紗 ê 熱天, mā m̄-bat tī 織皺紗 ê 寒天來到這个溫泉浴場, 也 tō 無機會和 Komako 講起皺紗 ê 代誌. 伊 mā 毋是會去探訪古早民間藝術 ê 彼種人.
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88.
There may have been among Shimamura's kimonos one or more woven by these mountain maidens toward the middle of the last century.
He still sent his kimonos back for "snow-bleaching." It was a great deal of trouble to return old kimonos-that had touched the skin of he could not know whom-for rebleaching each year to the country that had produced them; but when he considered the labors of those mountain maidens, he wanted the bleaching to be done properly in the country where the maidens had lived.
The thought of the white linen, spread out on the deep snow, the cloth and the snow glowing scarlet in the rising sun, was enough to make him feel that the dirt of the summer had been washed away, even that he himself had been bleached clean. It must be added, however, that a Tokyo shop took care of the details for him, and he had no way of knowing that the bleaching had really been done in the old manner.
From ancient times there were houses that specialized in bleaching. The weavers for the most part did not do their own. White Chijimi was spread out on the snow after it was woven, colored Chijimi bleached on frames while still in thread. The bleaching season came in January and February under the lunar calendar, and snow-covered fields and gardens were the bleaching grounds.
The cloth or thread was soaked overnight in ash water. The next morning it was washed over and over again, wrung, and put out to bleach.
The process was repeated day after day, and the sight when, as the bleaching came to an end, the rays of the rising sun turned the white Chijimi blood-red was quite beyond description, Shimamura had read in an old book. It was something to be shown to natives of warmer provinces. And the end of the bleaching was a sign that spring was coming to the snow country.
The land of the Chijimi was very near this hot spring, just down the river, where the valley began to widen out. Indeed it must almost have been visible from Shimamura's window. All of the Chijimi market towns now had railway stations, and the region·was still a well-known weaving center.
Since Shimamura had never come to the snow country in midsummer, when he wore Chijimi, or in the snowy season, when it was woven, he had never had occasion to talk of it to Komako; and she hardly seemed the person to ask about the fate of an old folk art.
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