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EDO Mokuhanga (Woodblock Prints)

Tokyo

EDO Mokuhanga (Woodblock Prints) evolved from monochrome ink prints to prints with added color using brushes, developing into styles such as tan-e, beni-e, and urushi-e. Further innovations in printing colors using woodblocks led to the creation of two- or three-color prints (beni-zuri-e). In 1765, gold and silver were even incorporated, and intermediate colors could be printed using woodblocks, establishing the multi-color printing style.
The techniques and methods for manufacturing EDO Mokuhanga (Woodblock Prints) were established during the Edo period, and these techniques and methods have been refined and developed over time, continuing to be passed down to the present day, with traditional production centered in Tokyo.

  • Technology/techniques/raw materials

    Technology/techniques/raw materials

    Technology/techniques

    1. In the case of "carving," the following techniques or methods shall be used:
    (1) "Ink board" is the process of carving ink lines drawn in ink along the outline of the "printing template" using a small knife.
    (2) In the case of "scavenging," it shall be done using only a chisel.
    (3) Carve inverted L-shaped "key marks" and "pull marks" at a right angle to the bottom right corner of the "woodblock" using a knife or chisel.
    (4) "Colored board carving" involves using one "proof print" and carving each colored section onto the board with a knife or chisel.

     

    2. In the case of "printing," the following techniques or methods shall be used:
    (1) In the "proofreading" process, a "spinning stick," made by wrapping bamboo bark around a stick to form a small broom shape, is used to carry the paint onto the "woodblock," and the paint is then spread with a brush.
    (2) Place the paper according to the "registration mark," and using the "baren" tool, press firmly from the back of the Japanese paper to rub the paint into the fibers.
    (3) Applying paint in layers, from light to dark, using color-coded color plates.
    (4) The "final printing" shall be carried out using the same techniques or methods as the "proof printing".

     

    raw materials

    1. In the case of "printing blocks," they shall be "solid wood boards" made of cherry wood or materials of equivalent quality.

    2. The washi paper must be "raw-made hosho" paper.

    3. When applying sizing, use a solution made by mixing glue or alum and diluting it with water.

overview

Craft item name EDO Mokuhanga (Woodblock Prints)
Reading Edo Mokuhan
Classification of crafts Other crafts
Main Products Woodblock print
Main manufacturing area Tokyo: Arakawa Ward, Shinjuku Ward, Adachi Ward, Taito Ward, Chuo Ward, Bunkyo Ward, Meguro Ward, Nerima Ward, Nishitokyo City Chiba Prefecture: Matsudo City Ibaraki Prefecture: Joso City
Designated date March 9, 2007

contact address

■ Production area association

Tokyo Traditional Woodblock Printing Craftsmen's Cooperative Association
112-0005
2-4-19 Suido, Bunkyo-ku, Tokyo
TEL: 03-3830-6780
FAX: 03-3830-6781

http://edohanga.jp/

■ Visits to production areas from overseas
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EDO Mokuhanga (Woodblock Prints)- A Visit to the Production Area

Features

EDO Mokuhanga (Woodblock Prints) are characterized by their close connection to the lives of ordinary people in Edo; that is, they depict the daily lives of commoners, capture their joys, and print their dreams and aspirations. Another characteristic is that hundreds of woodblock prints were produced in large quantities from a single set of woodblocks.

How to make it

Using natural cherry wood as the woodblock, an engraver carves into it, a printer applies pigment to the finished block, and then handmade Japanese paper is placed on top of the block. The print is then made on top of the paper using a baren made from bamboo bark and leaves. The depth of the carving, whether too deep or too shallow, affects the subsequent printing process, and the amount of pigment applied to the woodblock is adjusted according to external changes such as temperature and humidity. To complete the work, subtle adjustments based on the experience of both the engraver and the printer are necessary, making it a process that relies entirely on manual labor. In addition, some prints are made more than 30 times, requiring extremely precise craftsmanship.

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