#art #ukiyo-e #pigment #chemistry #chemie #metallurgy #metallurgie

HISTORY OF TECHNOLOGY IN JAPAN -- A CASE STUDY?

A catch-all term for Japanese-style paintings made with traditional methods and materials is "nihonga" (日本画). -- see Wikipedia "Nihonga" https://en.wikipedia.org/wiki/Nihonga   After 1860, the Tokugawa shogunate relaxed its very severe restrictions on Western imports, and "new" colors began to be used in nihonga

CASE STUDY.  In the late 19th century, the evolution of nihonga using Western analine dye colors becomes an illustrative example of a process.  The introduction of new colors in the popular culture artwork of Edo is a case study in the history of technology.

A more specific Japanese term for color woodblock prints is "nishiki-e" or "uklyo-e" --see wikipedia "Nishiki-e"https://en.wikipedia.org/wiki/Nishiki-e; and see "Ukiyo-e"  https://en.wikipedia.org/wiki/Ukiyo-e   The introduction of synthethic dye colors in the late 19th century was an evolutionary change in the technology of Japanese print-making.

Spectroscopic studies of nishiki-e after 1860 show that most of the traditional pigments continued in use; and imported color is used, too. -- see image below, front & back of 1870 nishiki-e of a woman

SYNTHETIC COLOR PIGMENTS The introduction -- or acceptance -- of synthetic dyes was gradual and selective.

A. ROSANILINE PURPLE.  In 1864, the purple dye rosaniline became the first synthetic dye to be used in nishiki-e. -- see Cesaratto, A. et al. "A timeline for the introduction of synthetic dyestuffs in Japan during the late Edo and Meiji periods," Heritage Science 6, 22 (2018) doi:10.1186/s40494-018-0187-0 https://heritagesciencejournal.springeropen.com/articles/10.1186/s40494-018-0187-0; and see Wikipedia "Fuchine" https://en.wikipedia.org/wiki/Fuchsine

B. CARMINE RED.  In 1869, the use of safflower as the dominant red in nishiki-e was replaced by cochineal carmine. -- see Cesaratto, "A timeline"; and see Wikipedia "Carmine" https://en.wikipedia.org/wiki/Carmine

C. EOSINE RED. In 1877, eosine became the first synthetic red dye in nishiki-e. -- see Cesaratto, "A timeline"; and see Wikipedia "Eosin" https://en.wikipedia.org/wiki/Eosin

D. NAPTHOL RED. After 1889, a succession of red naphthol dyes were used in nishiki-e. -- see Cesaratto, "A timeline"; and see Wikipedia "Napthol Red" https://en.wikipedia.org/wiki/Naphthol_Red 

COLORS OF PROGRESS:   A term for the use of  "new" colors after 1860 was "kakushin no iro"  (革新の色) or "colors of progress." -- see  "Aniline Dyes in Meiji Nishiki-e
Toyohara Kunichika (John Fiorillo) https://www.viewingjapaneseprints.net/texts/topics_faq/anilinedyes.html; and see below, 1861 nishiki-e image of Americans by Utagawa Yoshikazu

QUESTION:  Does the story of these very specific dates and identifiable changes in the history of Japanese print-making provide an example of STEM-focused synergies?  Is this a case study in the history of technology? Is it possible that this little story could become a teaching tool?
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QOTO = Question Others to Teach Ourselves?