Kakejiku: Exploring the Artistry and Styles of Japanese Hanging Scrolls
- Fuh-mi
- Sep 7, 2023
- 3 min read
Updated: Sep 27
What Is a Kakejiku?
A kakejiku (掛軸) is a traditional Japanese hanging scroll used to display calligraphy, ink drawings (sumi-e), or paintings (nihonga). Unlike framed artworks, a kakejiku is designed for temporary, seasonal display and is rolled up for storage—embodying the Japanese appreciation of impermanence and harmony with nature.
At its core, a kakejiku is not merely decoration. It often serves as the focal point in a tea room or interior, selected specifically to reflect the season or honor a guest. The way it is mounted—called hyōsō (表装)—can dramatically shift the impression it gives.
Anatomy of the Yamato Hyōsō Style
The most common format, Yamato Hyōsō style, also known as sandan hyōsō (“three-section style”), consists of three visual layers:
Honshi (本紙): The central artwork or calligraphy.
Ichimonji (一文字): Gold brocade strips above and below the honshi.
Chūmawashi (中廻し) and Hashira (柱): Surrounding fabric that frames the work vertically and horizontally.
Ten (天) and Chi (地): Top and bottom sections in contrasting fabric, meaning “Heaven” and “Earth.”
Fūtai (風帯): Two hanging silk strips made from ichimonji material, often ending in a fan shape (tsuyu). These originally served as wind deterrents when scrolls were hung outside in ancient China.
Kake-himo (掛紐) and Hassō (八双): The hanging cord and upper bar.
Jiku-bō (軸棒) and Jiku-saki (軸先): The wooden rod and decorative end caps used to roll and store the scroll.
This layout balances elegance with symbolism, using fabric contrasts to draw the viewer’s attention inward toward the honshi.
Maru Hyōsō Style: Simplified and Spacious
The Maru Hyōsō style is a more simplified version of Yamato, with uniform fabric used throughout the scroll. It maintains the core structure but with fewer color and fabric changes.
Used for larger or longer works, such as vertical poetry or tall kanji compositions.
Seen as less formal than Yamato style.
Ideal for contemporary settings or for artists seeking a minimalist frame that doesn’t distract from the work.
Personally, I often choose the Maru style for my own calligraphy. I love how its simplicity allows the surrounding yohaku (intentional blank space) to shine—quietly emphasizing the brushwork without competing against it.
Butsu Hyōsō Style: Rich, Layered, and Sacred
The Butsu Hyōsō style, derived from Buddhist traditions, is typically reserved for spiritual works—such as Bodhisattva images, Buddhist scriptures, or sacred phrases. It is visually rich and multilayered:
Includes Ichimonji mawashi (inner gold frame) and Chūbashira (inner vertical fabric pillars) in addition to standard ichimonji and chūmawashi.
Suji: Narrow accent lines used to separate fabric layers.
Fūtai: Made from the same fabric as chūmawashi, offering a unified look.
Hassō-kanagu: Metal fittings on the upper bar that coordinate with golden jiku-saki.
This structure creates a majestic impression, perfect for honoring sacred texts or adding gravitas to a space.
Kakejiku as Evolving Art
Although kakejiku originated in China, the Japanese version has evolved into a deeply cultural and artistic expression. Within each style—Yamato, Maru, Butsu—are multiple sub-styles, each with slight but meaningful variations. Even for Japanese people, distinguishing them can be confusing.
Today, many contemporary artists—including myself—explore non-traditional approaches. We use unconventional textiles, minimalist mounting, or even materials like denim and acrylic to reinvent what a scroll can be, while respecting the scroll’s philosophical roots.
Conclusion: A Living Scroll Culture
A kakejiku is not just a frame—it is a living, breathing format that reflects ma (間)—the beauty of space and timing. Whether formal or casual, spiritual or avant-garde, it serves as a vertical poem of the moment, designed to meet the viewer in quiet dialogue.
So next time you visit a Japanese tea house, a museum, or even a modern art fair—look closely at the kakejiku. You may find that it’s not only the brushwork, but the structure itself that’s speaking to you.
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