▁style ▁at ▁the ▁Tokyo ▁National ▁Museum , ▁and ▁decided ▁to ▁dev ote ▁his ▁life ▁to ▁recre ating ▁it . ▁Because ▁no ▁instructions ▁surv ive ▁that ▁explain ▁how ▁to ▁reproduce ▁the ▁complex ▁decor ative ▁techniques ▁seen ▁in ▁t su j ig ah ana , ▁and ▁because ▁the ▁sil k ▁fabric ▁necessary ▁for ▁its ▁successful ▁production ▁( ner inu ki ) ▁is ▁no ▁longer ▁w oven , ▁Kub ota ▁was ▁forced ▁to ▁experiment ▁by ▁himself ▁for ▁dec ades . ▁ ▁In ▁ 1 9 6 2 , ▁Kub ota ▁decided ▁that ▁there ▁were ▁too ▁many ▁technical ▁problems ▁surrounding ▁his ▁mission ▁to ▁re create ▁traditional ▁t su j ig ah ana . ▁He ▁would ▁instead ▁develop ▁his ▁own ▁form ▁of ▁t su j ig ah ana , ▁called ▁" It ch iku ▁T su j ig ah ana ," ▁subst itut ing ▁a ▁contemporary ▁sil k ▁cre pe ▁fabric ▁( ch ir imen ) ▁for ▁ner inu ki ▁and ▁synth etic ▁d yes ▁for ▁natural ▁colors . ▁In ▁ 1 9 7 7 , ▁when ▁Kub ota ▁was ▁ 6 0 ▁years ▁old , ▁he ▁displayed ▁his ▁decor ated ▁k im ono ▁for ▁the ▁first ▁time ▁in ▁an ▁exhibition ▁in ▁Tokyo . ▁ ▁Kub ota ' s ▁grand ▁scheme ▁was ▁a ▁series ▁of ▁k imon os , ▁called ▁Sym phony ▁of ▁Light , ▁that ▁would ▁dep ict ▁the ▁" gr ande ur ▁of ▁the ▁universe ". ▁ ▁An ▁exhib it ▁present ing ▁part ▁of ▁the ▁" gr ande ur ▁of ▁the ▁universe " ▁Kub ota ▁It