The process of colour-printing from wood-blocks, used in Japan from the
early part of the 18th century, has much in common with that of the
so-called _chiaroscuro_ wood-cuts first produced in Italy and Germany
during the 16th century, of which the work of Andrea Andreani (1540-1623)
supplies good examples. It is possible that the Japanese method was
derived from this source, either directly or by way of China. Japanese
tradition ascribes the invention to Takekawa Minosuke (Manji Period, A.D.
1658-1660); and a volume of Costume Designs in the Museum, dated 1667 (O4.
C. 20), is printed in colours, only one, however, being used on each
plate. The Chinese are known, with certainty, to have employed this
process before the end of the 17th century; but no Japanese colour-print
has yet been recorded, which can be placed, authentically, earlier than
the second quarter of the 18th century. Credit for the first production of
them is generally given to Torii Kiyonobu (1664-1729); but the greatest
development was due to Suzuki Harunobu (died A.D. 1770, aged 67 years).
Japanese authorities say that the improvements popularized by this artist
were invented by an engraver named Kinroku, in conjunction with a printer;
and that Harunobu, employing them to reproduce his pictures, about the
year 1765, thus laid the foundation of a school of artists who found their
chief occupation in designing for this class of work. Katsugawa Shunsho
(died A.D. 1792, aged 67 years) developed the process still further; and
it reached its highest technical level before the close of the 18th
century. Soon after the year 1800, a gradual decline is seen; which
manifested itself both in the increase of the number of blocks used, and
in the loss of quality in the colours. However, many prints of remarkably
high technical excellence were still produced up to about the year 1864;
soon after which time, all refinement both of engraving and printing seems
to have been lost. The last 20 years or so, have, however, witnessed a
sort of revival, by no means without merit in its way; and the adaptation
of the process to the requirements of book-illustration and the
reproduction of works of art, has reached a remarkably high standard in
such publications as the _Kokka_ and those of the _Shimbi ShoÌin._
It is not unimportant to add that this process, sometimes modified in
detail, has been revived in Europe; and is now practised by a considerable
number of artists. The Department of Engraving, Illustration, and Design
contains a representative collection of their productions, including a
consecutive set of working proofs (E. 20-26, 1904) of a print by Mr. J. D.
Batten and Mr. Morley Fletcher, who were the first to use the method in
England. The collection also includes a similar set of working proofs of
the modern development of the process, as used for the reproduction of
paintings by Old Masters by the _Shimbi ShoÌin_(E. 1862-2043, 1910).
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