When introduced to the technique, Kiranada was immediately
enchanted. In 1981, she planned an 18-month trip to Kyoto, Japan, to
continue her study of the design and construction of kimonos. However,
once she discovered the art of rozome, she stayed for 18 years, immersing
herself in the culture and artistry of her host country and teaching English
the rozome panels above were part of Kiranada’s “A Sense of Place, An
Artist’s Tribute to the Seven Continents” exhibit at the Peabody Essex
Museum in Salem, Massachusetts. They are (from left), “Asian Leaves,”
“Asian Sachiko,” “Australian Rabbits,” and “Australian Coral.” The “Song of
Silence Scroll” (facing page) hangs in Kiranada’s New Hampshire studio.
to support herself while learning from a number of rozome masters.
“I had the opportunity to see the finest work in this field and to personally know the masters of the rozome technique,” said the artist in an
interview in the members’ magazine of the Peabody Essex Museum in
Salem, Massachusetts, where her work is in the permanent collection.
Her teachers, Master Dyer Yusuke Tange of Kyoto among them, recognized the rhythm in her work, which grew to include kesas (the ceremonial
robe worn by Buddhist monks), scrolls, tapestries, and paintings. Her choice
of colors, including a gold powder called kinsai, her use of silk for the background, and her strong yet delicate strokes all combined to give her rozome
PHOTOS THIS PAGE COUR TES Y THE PEABOD Y ESSEX MUSEUM; FACING PAGE, PHO TO COUR TES Y BE TS Y S TERLING BENJAMIN