Woodblock printing in Japan (木版画, moku hanga) is a technique best known for its use in the ukiyo-e artistic genre; however, it was also used very widely for printing books in the same period. Woodblock printing had been used in China for centuries to print books, long before the advent of movable type, but was only widely adopted in Japan surprisingly late, during the Edo period (1603-1867). Although similar to Woodcut in Western printmaking in some regards, moku hanga differs greatly in that water-based inks are used (as opposed to western woodcut which uses oil-based inks), allowing for a wide range of vivid color, glazes and color transparency. Woodblock-printed books from Chinese Buddhist temples were seen in Japan as early as the eighth century. In 764 the Empress Shotuku commissioned one million small wooden pagodas, each containing a small woodblock scroll printed with a Buddhist text (Hyakumanto Darani). These were distributed to temples around the country as thanksgiving for the suppression of the Emi Rebellion of 764. These are the earliest examples of woodblock printing known, or documented, from Japan.
By the eleventh century, Buddhist temples in Japan were producing their own printed books of sutras, mandalas, and other Buddhist texts and images. For centuries, printing was restricted only to the Buddhist sphere, as it was too expensive for mass production, and did not have a receptive, literate public to which such things might be marketed. Woodblock printing, though more tedious and expensive than later methods, was far less so than the traditional method of writing out each copy of a book by hand; thus, Japan began to see something of literary mass production. While the Saga Books were printed on expensive fancy paper, and used various embellishments, being printed specifically for a small circle of literary connoisseurs, other printers in Kyoto quickly adapted the technique to producing cheaper books in large numbers, for more general consumption. The content of these books varied widely, including travel guides, advice manuals, kibyōshi (satirical novels), sharebon (books on urban culture), art books, and play scripts for the jōruri (puppet) theatre. Often, within a certain genre, such as the jōruri theatre scripts, a particular style of writing would come to be the standard for that genre; in other words, one person's personal calligraphic style was adopted as the standard style for printing plays.
The text or image would first be drawn onto washi (Japanese paper), and then glued onto a plank of wood, usually cherry. Wood would then be cut away, based on the outlines given by the drawing. A small wooden hard object called a baren would be used to press or burnish the paper against the inked woodblock, thus applying the ink onto the paper. Although this may have been done purely by hand at first, complex wooden mechanisms were soon invented and adopted to help hold the woodblock perfectly still and to apply proper pressure in the printing process. This would be especially helpful once multiple colors began to be introduced, and needed to be applied with precision atop previous ink layers. While, again, text was nearly always monochrome, as were images in books, the growth of the popularity of ukiyo-e brought with it demand for ever increasing numbers of colors and complexity of techniques.
By the eleventh century, Buddhist temples in Japan were producing their own printed books of sutras, mandalas, and other Buddhist texts and images. For centuries, printing was restricted only to the Buddhist sphere, as it was too expensive for mass production, and did not have a receptive, literate public to which such things might be marketed. Woodblock printing, though more tedious and expensive than later methods, was far less so than the traditional method of writing out each copy of a book by hand; thus, Japan began to see something of literary mass production. While the Saga Books were printed on expensive fancy paper, and used various embellishments, being printed specifically for a small circle of literary connoisseurs, other printers in Kyoto quickly adapted the technique to producing cheaper books in large numbers, for more general consumption. The content of these books varied widely, including travel guides, advice manuals, kibyōshi (satirical novels), sharebon (books on urban culture), art books, and play scripts for the jōruri (puppet) theatre. Often, within a certain genre, such as the jōruri theatre scripts, a particular style of writing would come to be the standard for that genre; in other words, one person's personal calligraphic style was adopted as the standard style for printing plays.
The text or image would first be drawn onto washi (Japanese paper), and then glued onto a plank of wood, usually cherry. Wood would then be cut away, based on the outlines given by the drawing. A small wooden hard object called a baren would be used to press or burnish the paper against the inked woodblock, thus applying the ink onto the paper. Although this may have been done purely by hand at first, complex wooden mechanisms were soon invented and adopted to help hold the woodblock perfectly still and to apply proper pressure in the printing process. This would be especially helpful once multiple colors began to be introduced, and needed to be applied with precision atop previous ink layers. While, again, text was nearly always monochrome, as were images in books, the growth of the popularity of ukiyo-e brought with it demand for ever increasing numbers of colors and complexity of techniques.
No comments:
Post a Comment