Chapter Three. Of Women's Hair

1 THE hair of the younger daughter of the family is very long; and it is a spectacle of no small interest to see it dressed. It is dressed once in every three days; and the operation, which costs four sen, is acknowledged to require one hour. As a matter of fact it requires nearly two. The hairdresser (kamiyui) first sends her maiden apprentice, who cleans the hair, washes it, perfumes it, and combs it with extraordinary combs of at least five different kinds. So thoroughly is the hair cleansed that it remains for three days, or even four, immaculate beyond our Occidental conception of things. In the morning, during the dusting time, it is carefully covered with a handkerchief or a little blue towel; and the curious Japanese wooden pillow, which supports the neck, not the head, renders it possible to sleep at ease without disarranging the marvellous structure. [1]

After the apprentice has finished her part of the work, the hairdresser herself appears, and begins to build the coiffure. For this task she uses, besides the extraordinary variety of combs, fine loops of gilt thread or coloured paper twine, dainty bits of deliciously tinted crape- silk, delicate steel springs, and curious little basket-shaped things over which the hair is moulded into the required forms before being fixed in place.

The kamiyui also brings razors with her; for the Japanese girl is shaved - cheeks, ears, brows, chin, even nose! What is here to shave? Only that peachy floss which is the velvet of the finest human skin, but which Japanese taste removes. There is, however, another use for the razor. All maidens bear the signs of their maidenhood in the form of a little round spot, about an inch in diameter, shaven clean upon the very top of the head. This is only partially concealed by a band of hair brought back from the forehead across it, and fastened to the back hair. The girl-baby's head is totally shaved. When a few years old the little creature's hair is allowed to grow except at the top of the head, where a large tonsure is maintained. But the size of the tonsure diminishes year by year, until it shrinks after childhood to the small spot above described; and this, too, vanishes after marriage, when a still more complicated fashion of wearing the hair is adopted.

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Such absolutely straight dark hair as that of most Japanese women might seem, to Occidental ideas at least, ill-suited to the highest possibilities of the art of the coiffeuse. [2] But the skill of the kamiyui has made it tractable to every aesthetic whim. Ringlets, indeed, are unknown, and curling irons. But what wonderful and beautiful shapes the hair of the girl is made to assume: volutes, jets, whirls, eddyings, foliations, each passing into the other blandly as a linking of brush- strokes in the writing of a Chinese master! Far beyond the skill of the Parisian coiffeuse is the art of the kamiyui. From the mythical era [3] of the race, Japanese ingenuity has exhausted itself in the invention and the improvement of pretty devices for the dressing of woman's hair; and probably there have never been so many beautiful fashions of wearing it in any other country as there have been in Japan. These have changed through the centuries; sometimes becoming wondrously intricate of design, sometimes exquisitely simple - as in that gracious custom, recorded for us in so many quaint drawings, of allowing the long black tresses to flow unconfined below the waist. [4] But every mode of which we have any pictorial record had its own striking charm. Indian, Chinese, Malayan, Korean ideas of beauty found their way to the Land of the Gods, and were appropriated and transfigured by the finer native conceptions of comeliness. Buddhism, too, which so profoundly influenced all Japanese art and thought, may possibly have influenced fashions of wearing the hair; for its female divinities appear with the most beautiful coiffures. Notice the hair of a Kwannon or a Benten, and the tresses of the Tennin - those angel-maidens who float in azure upon the ceilings of the great temples.

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The particular attractiveness of the modern styles is the way in which the hair is made to serve as an elaborate nimbus for the features, giving delightful relief to whatever of fairness or sweetness the young face may possess. Then behind this charming black aureole is a riddle of graceful loopings and weavings whereof neither the beginning nor the ending can possibly be discerned. Only the kantiyui knows the key to that riddle. And the whole is held in place with curious ornamental combs, and shot through with long fine pins of gold, silver, nacre, transparent tortoise-shell, or lacquered wood, with cunningly carven heads. [5]

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