Did Japanese Art Use Gold Ink or Gold Paepr

Nihonga, a general term for traditional Japanese painting, means, literally, "Japanese painting". Now in common utilize, this term originated during the Meiji period, to distinguish Japanese painting from Western-manner oil painting. The distinction between Western-mode oil painting and nihonga is thus, broadly speaking, the difference in the painting materials used. While some would argue that anything a Japanese creative person paints is nihonga, the distinction based on materials continues to be used.

The term nihonga was already in use in the 1880s. Prior to and then, from the early modern flow on, paintings were classified by school: the Kanō school, the Maruyama-Shijō school, and the Tosa school of the yamato-e genre, for example. At about the time that the Tokyo Fine Arts School was founded, in 1887, art organizations began to form and to hold exhibitions. Through them, artists influenced each other, and the before schools merged and composite. With the boosted influence of Western painting, today's nihonga emerged and adult.

Today, however, techniques, sensibilities, aesthetics, and styles based on tradition are changing with the times. Moreover, the question continues to be raised of what nihonga is and whether the distinction betwixt nihonga and Western-style painting has whatever validity in terms of painterly expression.

Nihonga materials

Nihonga is based on painting styles that have evolved for over a chiliad years. The materials used are also traditional elements adult during that long history. In general, the support is paper, silk, wood, or plaster, to which sumi ink, mineral pigments, white gofun (a white pigment made from pulverized seashells), animal or vegetable coloring materials, and other natural pigments were applied, with nikawa, an animal glue, as the agglutinative. Gold and other metals (in gilt leaf and other forms) were also effectively incorporated in paintings.

Those materials are not easy to use. Mastering the necessary techniques requires considerable time and conclusion. Artists go on to use them, nevertheless, because the resulting nihonga style suits the natural features of Nippon and the Japanese aesthetic sense and spiritual qualities.

＜Nihonga materials＞

Supports

Silk (kinu): Paintings on silk are known as kinue or kenpon. Silk is one of the most important support materials used in nihonga. The texture of silk, an outstanding cloth on which to paint, permits a variety of furnishings through, for example, applying colors or metallic leaf on the back of the silk back up.

Newspaper (washi); Paintings on paper are known as shihon. Newspaper is, with silk, one of the most important back up materials used in nihonga. Newspaper is longer lived than other support materials, and easy to handle. It thus remains the core material for nihonga today.

Pigments

Mineral pigments (iwaenogu): These pigments are produced by finely grinding natural minerals. The size of the particles determines the shade of the color produced. Such pigments can also exist roasted to change their color. Nikawa glue is used equally an adhesive.

Suihi-enogu : Ordinary soil or clay is used to make these pigments, which are often yellow or scarlet in hue. Nikawa glue is used equally an agglutinative.

Gofun : The finest quality gofun, a white pigment, now used in Japan is fabricated from natural oyster shells. The term originally referred to white lead, which was imported from Mainland china in the Nara period (eighth century). Since the Muromachi period (fourteenth through sixteenth centuries), all the same, gofun has generally been used to a textile based on oyster shells. Nikawa glue is used equally an agglutinative.

Coloring materials (senryō): These natural dyestuffs are derived from animal or constitute thing and used as pigments. Some cannot exist used as pigments without modification; in that example, gofun or lime is used to absorb the colors and produce pigments.

Sumi ink: Made mixing lampblack with nikawa glue, it is then placed in a wooden mould and immune to dry into a stick-like grade. To use it, water is placed on an inkstone or suzuri and the sumi stick rubbed on it to produce the liquid ink.

Metallic leafage and paint (haku and dei) : Metals such every bit gold, silver, or platinum are browbeaten until extremely sparse to produce metal leaf. Traditional techniques include attaching the metallic leaf as is to the painting and cutting information technology into thin strips (noge) or pulverizing information technology into a grainy, sand-like state and scattering on the movie plane (sunago). Metallic leaf reduced to a powder-like course is called dei, which is available in several types, depending on the metallic used. Metallic foliage, strips, or grains, or powder are all attached with nikawa glue.

Adhesives

Nikawa : A gelatin made by boiling and extracting protein from skins and bones of animals and fish, it has long been used as an adhesive. Since the pigments used in nihonga have no adhesive strength, the use of nikawa is needed to fix them to the surface of the painting. The two types commonly used now are shika nikawa (industrially processed from cow skin, bones, and tendons) and sanzenbon (which is made past hand, of the same materials). With too much nikawa, the paint will tend to cleft. With likewise little, it will tend to peel off.

Tools

Fude and hake brushes: Brushes are critically important tools for creating lines and areas of color; their utilize has a great bear on on the resulting painting. They are made of a variety of materials and forms to suit specific applications. Virtually use creature bristles.

Reference materials

Yomigaeru nihonga--dentō to keishō, 1000 nen no chie (Nihonga renaissance--tradition and succession, chiliad years of wisdom), edited by Japanese Painting (Conservation), Graduate Schoolhouse of Fine Arts, Tokyo University of the Arts. (Tokyo: The University Fine art Museum, Tokyo University of the Arts Associates, 2001).
Zukai: Nihonga no dentō to keishō--sozai, mosha, shūfuku (Nihonga tradition and succession--materials, copying, restoration), edited by Japanese Painting (Conservation), Graduate Schoolhouse of Fine Arts, Tokyo Academy of the Arts. (Tokyo: Tokyo Bijutsu, 2002).
An Illustrated Lexicon of Japanese-Style Painting Terminology, edited by Japanese Painting (Conservation), Graduate School of Fine Arts, Tokyo University of the Arts. (Tokyo: Tokyo Bijutsu, 2010).

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Source: https://www.yamatane-museum.jp/english/nihonga/

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