Designs for Japanese colour-prints were made by artists, who, as a rule,
were adherents of the Popular _(Ukiyoye)_ School and, socially, of the
rank of artisans. The drawing was done with a brush on very thin _Mino_ or
_Gampi_ paper, the colours used being washes of water-colour worked with
rice-paste medium. To correct the design, the portions to be altered were
covered with pieces of paper, on which the revised drawing was made. The
completed design (generally, to begin with, in black lines only, or with
only a little tint as a guide to the engraver) was then fastened face
downwards on the block with rice starch weakened with water. As much as
possible of its upper surface was rubbed away, some oil being used to make
the remainder more translucent, and thus to enable the engraver more
easily to follow the lines of the drawing.
It is evident that this process resulted in the destruction of the
designs. The Museum, however, has acquired a number of unused drawings,
which fully illustrate this stage; and the series of blocks exhibited (E.
4136-4322, 1909) have, in several instances, remains of the paper still
adhering to the uncut portions of their surfaces.
1. ILLUSTRATION of a colour-print artist making a design; showing his
position when drawing and method of holding the brush. A
colour-print in the Japanese manner, by Emil Orlik, of Prague. E.
796-1903(1)
2. ORIGINAL DRAWING (not engraved) for a colour-print, showing the
Artist’s corrections. By Utagawa Kuniyoshi (A.D. 1797-1861). J.D.
1008. _Subject_—The celebrated swordsmith Sanjo Kokagi Munechika
forging a blade in the grounds of the Inari Temple, assisted by a
Fox-Spirit in the form of a woman.
3. ORIGINAL DRAWING (not engraved) for a 3-sheet colour-print, showing
the Artist’s corrections. By Hiroshige I. (A.D. 1796-1858). J.D.
2440 _Subject_—Street scene in Akabane, Tokyo.
4. BRUSHES used by (Japanese) painters of the Chinese School. E.
4203-4206-1911. Founded by Josetsu (2nd half of the 14th century).
The style is still practised.
5. BRUSHES used by painters of the Tosa School. E. 4200-4202-1911. The
School (the National School of Japanese Painting) was first composed
of a number of groups, more or less related, which coalesced under
the name of Tosa in the time of Kasuga Tsunetaka (early 13th
century), who seems to have been the first to use this appellation.
The style is still practised.
6. BRUSHES used by painters of the Sesshiu School. E. 4190, 4191-1911.
Founded by Sesshiu (1420-1506), and based on the methods of the
Chinese painters of the Sung Dynasty (960-1280). The style is still
practised.
7. BRUSHES used by painters of the Kano School. E. 27-29-1913. Founded
by Kano Masanobu (1453-1550). The style is still practised.
8. BRUSHES used by painters of the Maruyama and Shijo Schools
(Naturalistic). E. 4192-4199-1911. Founded by Okyo Maruyama
(1733-1795); and Matsumura Goshun (1752-1811). The style is still
practised.
9. BRUSHES common to painters of various Schools. E. 4207-4212-1911.
10. BRUSHES used by painters in lacquer. E. 4213-4232-1911.
11. BRUSHES used for writing. E. 170-187-1911.
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