A term used for one of the parts of the mounting of a hanging scroll, *kakemono 掛物. The fūtai usually consists of two long narrow strips of cloth sewn to the upper crosspiece, *hassō 発装, of the mounting and hung down. Their lengths match the height of the upper portion of the mounting, the tenchi 天地 or *jōge 上下. By their positioning they divide the tenchi vertically into three equal sections. Their width generally will be the same as that of the lower fabric strip, *ichimonji 一文字, or perhaps a little wider. Fūtai are generally in pairs, but in the case of narrow mountings, such as the hashirakakushi 柱隠, only one fūtai is used. Formal fūtai are called sagefūtai 垂風帯 or ichimonji fūtai 一文字風帯 because the same high quality cloth is used for both the fūtai and the ichimonji portions of the mounting. They are called chūberi fūtai 中縁風帯 or chūfūtai 中風帯 if they employ the same cloth used for the central border fabric, *chūberi 中縁. In this case the cloth used is generally not as fine quality as that used for the ichimonji. When the fūtai do not hang loose, and are instead attached to the mounting, they are called oshifūtai 押風帯. The oshifūtai is used in what is called the sō 草, or informal style of mounting. In this case, the cloth used is the same quality as that used for the chūberi. The name chūfūtai is also used. A chūfūtai is considered more mundane and is used in typical mountings. In cases where a refined sense is sought in a paper mounting, a white oshifūtai is used. Attached to the right and left sides of the lower end of each sagefūtai are cotton or silk threads in the form of small tassels or tufts called tsuyu 露. They are attached from 4.5 mm to 6 mm above the lower edge of the fūtai and extend to below the edge. In the time of Sen no Rikyū 千利休 (1522-91), these were called tsuyu in general, but more specific designations also came to be used. The small bunches of thread can also be called tsuyu if referring to white threads, hana 花, when the tufts consist of colored thread, and mizu 水 when asagi 浅葱 (*asagi-iro 浅葱色; a kind of light blue with a touch of green) is used. Today, the four colors primarily used for tsuyu are asāsagi 浅々葱 (a lighter asagi), moegi 萌黄 (*moegi-iro 萌黄色; a light yellow-green; a color halfway between blue and yellow), purple/violet, and white. Formerly red and koiasagi 濃浅葱 (a darker version of asagi) appear to have also been used. The tone of the tsuyu should harmonize with the style of the painting or calligraphy as well as the cloth used in the mounting. White is most commonly used. The shapes of the tsuyu vary; straight, fan-shaped, and round.