The technique of Japanese printmaking
- Cabinet Gauchet Art Asiatique
- Apr 30
- 4 min read
Woodcut, or xylography , is one of Japan's most emblematic artistic techniques, although it originated in China. Imported and adapted, it became a fundamental pillar of Japanese printmaking, particularly during the Edo period (1603-1868). Initially reserved for the illustration of Buddhist religious texts, it gradually transformed into a refined form of artistic expression, blending artisanal tradition and aesthetic creativity. This meticulous know-how, the result of a collaboration between several artisans, gave rise to works of remarkable technical and visual richness, still admired today.
Woodblock printing favors sharp contours and strong solid tints, strongly influencing the visual style of prints. This technical constraint led to a stylized art, with refined forms and sinuous lines. Colors, essential, gave rhythm to the image, shaped the space, and emphasized the volumes. The aesthetic demands of the public and the talent of artists allowed this technique to be considerably refined.
The creation of a print relied on the collaboration of four actors :
The publisher : project manager, financed and coordinated production;
The artist : produced the initial drawing, sometimes at the request of a client;
The engraver : carved the plates from the drawing;
The printer : ensured the printing of copies.
The prints were sold in bookstores or by peddlers.
The design, traced in Indian ink on translucent paper, was glued upside down onto a board made of cherry wood, a dense and durable material. The engraver cut the board according to the relief design using knives, chisels, and gouges, sometimes using a mallet for added force. Markers called kentô were added to ensure perfect alignment between the different layers of color.
Each color required a separate plate. The engraver used a transparent sheet of paper to transfer the design onto several plates, each corresponding to a shade. Printing was done using a baren , a circular pad that was rubbed by hand to make the ink adhere to the paper.
The printer applied the inks according to the artist's instructions: choice of colors, gradients, special effects. Some prints required up to fifteen plates to achieve all the nuances. The quality of the print depended on the fineness of the pressure, the texture of the wood, and the care taken with the inking.
The pigments used were of plant or mineral origin. Prussian blue, imported in the 19th century, was very popular, especially in landscapes. The addition of metallic powders (gold, silver, copper) required an additional step: application of glue, dusting, and then drying. Embossing (karazuri), achieved by shaping the wet paper with the fingers or elbow, added relief to certain parts of the print.
The micaceous backgrounds , which were difficult to produce, required two impressions: the first for the color, the second to fix the mica. The titles and seals were then printed on top, using a separate plate.
The number of copies and their quality varied depending on budget and target audience. The first editions, carefully produced on luxury paper, were aimed at an elite. Later editions, often simplified and printed on less refined paper, were aimed at a wider audience.
Posthumous prints, or even copies, were regularly made for commercial purposes, particularly with the Western craze for Japanese art.
The first prints (late 17th century), in black and white, called sumizuri-e , were enriched from 1700 with a red tint applied with a brush. In the following decades, other colors were added manually.
Around 1740, prints in pink and green were experimented with ( benizuri-e ). Then, around 1765, Harunobu revolutionized printmaking with the nishiki-e or "brocade print," rich in color and sophisticated effects, often commissioned by clubs of refined amateurs.
The publisher Tsutaya Jûzabûro played a key role in the dissemination of luxurious prints, particularly those illustrating humorous poems by Utamaro.
The varied formats of prints greatly influenced artistic composition. The vertical format, derived from the Chinese scroll, imposed a top-down reading and a stylization of space. It was enthusiastically adopted by Japanese artists and also influenced the Nabis in Europe.
Here are some common formats:
Hashira-e (730 x 120 mm): narrow vertical format, very popular with Harunobu, Koryûsai, Utamaro, etc.
Ôban (380 x 255 mm): ideal for large portraits, used by Kiyonaga, Sharaku…
Hosoban (330 x 145 mm): preferred format for actor portraits.
Chûban , Ô-Ôban , Tate-e , Yoko-e : other formats depending on the subjects and contexts.
Polyptychs (several sheets assembled) were reminiscent of screens or horizontal scrolls.
Washi paper
Made from plant fibers, washi came in several qualities:
Hôsho : very white and opaque, used for luxury prints.
Kôzo : soft and semi-transparent, made from mulberry.
Gampi : resistant, with long, silky fibers.
Japanese crepe paper: a Western discovery
Chirimen-e , or Japanese crepe paper, were inexpensive prints on crumpled, textile-like paper. This medium fascinated European artists such as Van Gogh, Rodin, and Matisse, who were seduced by the brilliance of their chemical colors. Matisse emphasized that these images had revealed to him the expressive power of pure color.
Over the centuries, this technique has continued to evolve, blending technical innovations, subtle visual effects, and a keen sense of refinement. Far from being frozen in time, it continues to inspire artists and collectors in both Japan and the West. A precious testament to Japanese visual culture, printmaking remains a bridge between art, craftsmanship, and the poetry of everyday life.
Gauchet Art Asiatique, with its extensive experience in Asian art, offers authentication and appraisal services for Vietnamese ceramics, including Chu Đậu porcelain, Bát Tràng glazed stoneware, and traditional Phù Lãng pottery. Through in-depth analysis of materials, manufacturing techniques, and decorative motifs, Gauchet Art Asiatique's experts help collectors and dealers identify the origin and value of pieces, ensuring confident acquisitions.
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