https://edoflourishing.blogspot.com/2013/10/ezooshi-illustrated-books.html
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Azuma Nishiki-E 東錦絵 Nishiki-e from Tokyo
Edo-e 江戸絵 Edo prints
The Principle of Nishiki-e
Sustainability in Japan's Edo Period--300 Years Ago!
Japan in the Edo era had technologies to make it possible to mass-produce nishiki-e, plate prints in multicolor. Nishiki-e is one of the most original art forms created by the Japanese. Nishiki-e artwork was a creative commodity for the general public. It not only nurtured the Japanese people's sensitivity to art over the centuries, but also inspired French impressionists so much that its influence is still evident in today's visual art of the world.
It was rare in those days
to have a product where so much value was added into one piece of paper that was being mass produced. However, because the whole production process required only simple materials--paper and board and painting tools--the energy consumption did not rise above the levels of solar energy obtained during the preceding few years.
We call this ability to rapidly create great value while best meeting consumer needs with only limited resources, the "Nishiki-e Principle". It is for certain this principle was the basis for leading a better-quality life while only using scarce solar energy resources.
All nishiki-e materials, except for the blades of the woodblock carving knives, were made from sustainable botanical resources. Other than the simple materials, only the detailed work of human hands is required. The Japanese paper used for Nishiki-e were made from young branches of paper mulberry matured in the preceding year or two at the most. Woodblocks were mainly made from cherry wood and craftsman fully utilized this resource, by using both sides of woodblock boards. Except in the case where one whole side was one color, one woodblock would be carved for several colors. It was typical to use only five woodblocks to print a nishiki-e in ten colors. More interestingly, professional craftsmen were hired specifically to shave used woodblock boards flat so that they could be reused over and over.
Since the technology of nishiki-e had made it possible
to print complex colors and figures easily, nishiki-e became a popular local product of the Edo town, being also called "azuma-nishiki-e" or simply, "edo-e." As many nishiki-e shops were built in several parts of Edo town in the early 19th century, the nishiki-e price fell down to an affordable 16 or 32 mon, often found in children's pocket money. ("Mon" is a monetary unit of the Edo Period. Sixteen mon is about U.S.$3-6.)
Just like today's children
collect their favorite character goods, it appears that their Japanese counterparts in the Edo era bought woodcut prints produced by their favorite artists such as Toyokuni or Kunisada (popular nishiki-e artists of the era). Those ordinary children who lived in the community flats along narrow streets were playing with picture cards created by artists who have become highly renowned and valued worldwide today.
In a matured society, some people appear to become patrons and aid creators of artwork. In Europe, such patrons were found among royalties, aristocracy or rich local magnates. In Edo Japan, plain commoners including children fulfilled the role of patrons through the purchase of their favorite nishiki-e woodcut prints with pocket change. Thanks to the invention of nishiki-e, the Japanese received many benefits-some of which they were not conscious of.
The effect of the nishiki-e principle
is seen most visibly in hand-crafted products. Today manual production may appear to be inferior to mass-production in efficiency, as no matter how experienced the artists are they can never make exactly the same item in shape or function twice. However, this apparent inefficiency in nishiki-e was in fact a huge benefit in disguise. The strongest point is that because each item is slightly different, customers could easily choose the items that struck their fancy. It is said in Japanese, "ten people, ten colors"--hand-made art is easily adapted for each person's unique tastes.
Take the example of a hoe, ...
- continued here
- source : japanfs.org/en... Eisuke Ishikawa -
..............................................................................................................................................
..............................................................................................................................................
- quote -
Azuma Nishiki-E 東錦絵 Nishiki-e from Tokyo
Edo-e 江戸絵 Edo prints
The Principle of Nishiki-e
Sustainability in Japan's Edo Period--300 Years Ago!
Japan in the Edo era had technologies to make it possible to mass-produce nishiki-e, plate prints in multicolor. Nishiki-e is one of the most original art forms created by the Japanese. Nishiki-e artwork was a creative commodity for the general public. It not only nurtured the Japanese people's sensitivity to art over the centuries, but also inspired French impressionists so much that its influence is still evident in today's visual art of the world.
It was rare in those days
to have a product where so much value was added into one piece of paper that was being mass produced. However, because the whole production process required only simple materials--paper and board and painting tools--the energy consumption did not rise above the levels of solar energy obtained during the preceding few years.
We call this ability to rapidly create great value while best meeting consumer needs with only limited resources, the "Nishiki-e Principle". It is for certain this principle was the basis for leading a better-quality life while only using scarce solar energy resources.
All nishiki-e materials, except for the blades of the woodblock carving knives, were made from sustainable botanical resources. Other than the simple materials, only the detailed work of human hands is required. The Japanese paper used for Nishiki-e were made from young branches of paper mulberry matured in the preceding year or two at the most. Woodblocks were mainly made from cherry wood and craftsman fully utilized this resource, by using both sides of woodblock boards. Except in the case where one whole side was one color, one woodblock would be carved for several colors. It was typical to use only five woodblocks to print a nishiki-e in ten colors. More interestingly, professional craftsmen were hired specifically to shave used woodblock boards flat so that they could be reused over and over.
Since the technology of nishiki-e had made it possible
to print complex colors and figures easily, nishiki-e became a popular local product of the Edo town, being also called "azuma-nishiki-e" or simply, "edo-e." As many nishiki-e shops were built in several parts of Edo town in the early 19th century, the nishiki-e price fell down to an affordable 16 or 32 mon, often found in children's pocket money. ("Mon" is a monetary unit of the Edo Period. Sixteen mon is about U.S.$3-6.)
Just like today's children
collect their favorite character goods, it appears that their Japanese counterparts in the Edo era bought woodcut prints produced by their favorite artists such as Toyokuni or Kunisada (popular nishiki-e artists of the era). Those ordinary children who lived in the community flats along narrow streets were playing with picture cards created by artists who have become highly renowned and valued worldwide today.
In a matured society, some people appear to become patrons and aid creators of artwork. In Europe, such patrons were found among royalties, aristocracy or rich local magnates. In Edo Japan, plain commoners including children fulfilled the role of patrons through the purchase of their favorite nishiki-e woodcut prints with pocket change. Thanks to the invention of nishiki-e, the Japanese received many benefits-some of which they were not conscious of.
The effect of the nishiki-e principle
is seen most visibly in hand-crafted products. Today manual production may appear to be inferior to mass-production in efficiency, as no matter how experienced the artists are they can never make exactly the same item in shape or function twice. However, this apparent inefficiency in nishiki-e was in fact a huge benefit in disguise. The strongest point is that because each item is slightly different, customers could easily choose the items that struck their fancy. It is said in Japanese, "ten people, ten colors"--hand-made art is easily adapted for each person's unique tastes.
Take the example of a hoe, ...
- continued here
- source : japanfs.org/en... Eisuke Ishikawa -
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