Quilt Artistry will transform the way that readers think about quilts. Author Yoshiko Jinzenji began quilting after she came upon quilts made by Canada's Mennonite people and was deeply moved by their resonant, sacred quality. The richly minimalist quilts she makes today are as powerful as the works that originally inspired her. Quilt Artistry presents her unforgettable quilt creations in 100 color photos and in 300 black-and-white photos and diagrams. Detailed patterns and instructions are included for all projects shown. In addition to full-size quilts, Jinzenji demonstrates how to make quilted pillows, clutch purses, necklaces, decorative objects, table mats, tiny miniature quilt "mandalas," even a hammock. There are a total of 90 projects, for everyone from beginners to the most advanced quilters. Jinzenji is also a superb natural dyer and often makes quilts from fabric or fiber she colors herself, including very subtle and rich bamboo-dyed white silk. In other quilts she uses antique fabric collected from around the world, and in still others vibrant tropical natural dyes or innovative synthetics such as black metallic cloth created by well-known textile designer Jun'ichi Arai. No matter what the material, her quilts all have a remarkable quiet power. They resonate with a spiritual quality like that of classic North American quilts, but one that is rooted in an Asian, even Buddhist sensibility. Jinzenji has always wanted to "give something back" to the Western quilting tradition that first motivated her own work, and with this book she is wonderfully successful. Quiltmakers and all others with an interest in textiles or design will find Quilt Artistry as inspirational as it is practical. "During her 30 years of artisanal quilt making, Jinzenji has synthesized a wide range of cultural styles, from the stitching handiwork of Amish and Mennonite quilts and the patchwork altar cloths of her native Japan to the dyeing traditions of Bali. Jinzenji conveys a sense of spiritual portentousness in her approach: 'What I am striving for is to bring out and add to the essential textures of the cloth, to create shadows and light, and to find a balance between minimalism and a sense of richness.' Incorporating lustrous fabrics, some made by textile designer Jun'ichi Arai, and handmade paper, as well as competing patterns and cross textures, Jinzenji sometimes seems to err on the side of richness over minimalism. Her work succeeds best, however, when it's at its most subtle and clean. - Publishers Weekly "This book is as beautiful as her quilts, and reveals the mystery behind some of the best of her works." -Joe Cunningham, author of Quilting with Style "The serenity of the chosen textiles presented in such peaceful settings is amplified by her stunning workmanship and enchanting photography." - Yvonne Porcella, founder of Studio Art Quilt Associates "Yoshiko's work is a rarity even in the world of art-to-wear and its nonwearable textile art relatives: utterly unique." -Dana De Zoysa, Curled Up with a Good Book "...beautiful, inspiring...The subtler works, those with only a few shades and tones of color are the epitome of sophistication"- Surface Design Journal "Yoshiko Jinzenji can see the universe in a quilt block." - The Paducah Sun "It is [a] feast for both the eyes and soul." - The Professional Quilter "EDITOR'S CHOICE - the latest must have-book for your library." - Quilts With Style "Inspiration, practical information, and beautiful photography make this book a winner." - Picework [The opening pages of the first section of Part 1, accompanied in the original by three full-color photos and two black-and-whites] Part 1: Quilts Made from Antique Cloth and New Textiles My Quilting Journey I have a very clear memory of my first encounter with quilts. It was in Toronto in the winter of 1970, in the furniture section of Eaton's department store downtown. There, surrounded by standardized fluffy bedspreads, were two handmade quilts draped over wooden racks. I went over to them as if drawn by a magnet and took them in my hand, wondering what on earth these handmade quilts were doing in the middle of a display of manufactured goods. The oddity of the combination was stunning. The quilts were made by joining together many small pieces of cloth and then covering the whole with fine hand stitching. Each had a price tag, and I was stunned again to see that they were not much more expensive than the manufactured spreads. Who could have made these, I asked myself, and what had inspired their beautiful handwork? The riddle of the quilts' existence made them endlessly fascinating tome and the search for answers became all-consuming. I soon found out that they had been made by women of the Mennonite community of Waterloo County, dozens of miles west of Toronto. On weekend expeditions, little by little I became acquainted with the religious community of men and women who dressed in simple black clothes and