Weaving the Lines for Nishiki-e: Creativity of Craftsmen in Pre-Modern Japan.
This paper aims to re-examine the roles of engravers and printers in the producing process of Nishiki-e, multicolored woodblock prints made in 18th–19th century Japan. Previous research has privileged the creative ideas of artists while regarding the craftsmen's work as mere reproduction. In contras...
| Publicado en: | Humanities (2076-0787) Vol. 15; no. 1; pp. 3 - 19 |
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| Formato: | Artículo |
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MDPI
Jan2026
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=191217737&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 191217737 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 20760787 FDTT jtl: Humanities (2076-0787) issn: 20760787 maglogo: N pubinfo: dt: Jan2026 vid: 15 iid: 1 pid: 97109 pub: MDPI artinfo: ui: 191217737 10.3390/h15010003 ppf: 3 ppct: 16 formats: tig: atl: Weaving the Lines for Nishiki-e: Creativity of Craftsmen in Pre-Modern Japan. aug: au: Takahashi, Momoka affil: Department of Design, Graduate School of Design, Kyushu University, Fukuoka 815-8540, Japan su: Creative ability Woodcutting (Printmaking) Ingold, Tim Sprang Computer printers sug: subj: Creative ability Woodcutting (Printmaking) Ingold, Tim Sprang Computer printers keyword: correspondence improvisation line-making meshwork Nishiki-e ab: This paper aims to re-examine the roles of engravers and printers in the producing process of Nishiki-e, multicolored woodblock prints made in 18th–19th century Japan. Previous research has privileged the creative ideas of artists while regarding the craftsmen's work as mere reproduction. In contrast, this paper re-evaluates the Nishiki-e production process, comprising publishers, painters, engravers, and printers, as a "meshwork," a concept proposed by anthropologist Tim Ingold. By examining documents and specific works from three perspectives of imagery, coloring, and texture, this paper argues that the engravers and printers were also deeply involved in selecting lines and colors in the finished work. It reveals that Nishiki-e were products woven through the correspondence between humans and materials, reflecting economic factors and spectators' pleasure. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2026 holdings: @attributes: islocal: N |
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