Unmasking the Rainbow: When Science Peeks Behind Ancient Japanese Masterpieces

Step right up, art aficionados. Today, we’re diving headfirst into the dazzling world of Ukiyo-e, those captivating “pictures of the floating world” that tickled the fancy of 17th to 19th-century Japan. Think vibrant scenes of Kabuki actors striking dramatic poses, sumo wrestlers locked in epic battles, and beauties radiating an almost otherworldly charm. Sprinkle in some historical tales, breathtaking landscapes, and a dash of delightful flora and fauna, and you’ve got the essence of this beloved art form.

Now, imagine being tasked with recreating these masterpieces, not just with a similar vibe, but with the exact same quality as the originals. That’s the delightful dilemma faced by our hero, Mr. Yuya Shimoi, a true Ukiyo-e whisperer from Shimoi Woodblock Printing Co., Ltd. in Kamakura. He realized that to truly capture the spirit of these ancient artworks, he needed to get down to the nitty-gritty – the very pigments and dyes that gave them their breathtaking hues.

Forget dusty art history books alone. Mr. Shimoi, a man clearly ahead of his time (or perhaps perfectly in tune with the past.), turned to the realm of science, specifically the brilliant minds and cutting-edge gadgets at HORIBA’s Hakaru LAB in Tokyo. Think of it as Sherlock Holmes meets Hokusai.

You see, reproducing Ukiyo-e isn’t just about carving woodblocks and slapping on some vaguely similar colors. As Mr. Shimoi eloquently put it, there’s a world of difference between a mere “reprint” and a true “reproduction” that captures the soul of the original. Apparently, some modern Ukiyo-e “reprints” take artistic liberties, boldly changing colors to suit modern tastes, often with materials completely different from what the Edo-era artists used. It’s like ordering a vintage recipe and ending up with a microwave dinner – the idea is there, but the magic is lost.

The traditional Ukiyo-e reproduction process involves a skilled artisan carving the outlines and then meticulously performing “color separation” by eye, figuring out which colors were used and how many. This works well enough for well-preserved pieces, but what about the actual paint itself? What secret concoction of minerals and plants gave those prints their enduring vibrancy? Sadly, much of this knowledge hasn’t been passed down through the ages. Trying to guess the paint material just by looking is like trying to bake a cake with only a picture of the finished product – you might get something resembling a cake, but the flavor will be a mystery.

This is where Mr. Shimoi’s scientific quest began. “I decided to incorporate scientific precision analysis in order to find out the essence that I wanted to achieve,” he declared, driven by the desire to truly understand “how to make the same quality.” But his curiosity went beyond mere reproduction. He felt a calling to unravel the very mysteries of Edo-period Ukiyo-e paints, not just for his craft, but for the sake of art history itself.

His research revealed a tantalizing lack of clear data. While historical texts might mention different types of “yellow” paint, for example, previous surveys hadn’t actually detected them in the artworks. It was a world of educated guesses and frustrating unknowns. The paints varied by artist and era, and who knows what happened to the artworks in the centuries since their creation?

So, Mr. Shimoi embarked on a quest to analyze actual Ukiyo-e originals. His search for the right partner led him to HORIBA, the only company he found that specialized in analyzing cultural properties, even the elusive dyes used in Ukiyo-e. Imagine the excitement. Each color, he mused, held a secret connection to the background of its time.

The chosen artifact for this scientific adventure was “Tokaido 53rd Nouchi Mizuguchi Choemon” (Kaei 5/1852) by the popular Utagawa Toyokuni. This print, set against the backdrop of Hiroshige’s famous “Fifty-three Stations of the Tokaido,” cleverly featured popular actors in scenes related to each post.

Now for the science-y magic. Ukiyo-e paints are a fascinating mix of pigments (think ground-up minerals, like those used in Japanese and Western paintings) and dyes (often plant-based, like turmeric and safflower, particularly unique to Edo-period Ukiyo-e). To tackle this dual nature, HORIBA brought out the big guns: the XGT-5200 X-ray Analytical Microscope and the LabRAM HR Evolution Confocal Raman Microscope.

Think of the X-ray microscope as a super-powered elemental detective, revealing the atomic ingredients of the mineral pigments. Meanwhile, the Raman microscope acts like a molecular whisperer, identifying the organic compounds that make up the plant-based dyes by analyzing how light scatters off their unique molecular structures.

Together, these incredible instruments allowed Mr. Shimoi and the HORIBA team to delve into the very essence of the Ukiyo-e paints, finally shedding light on the long-held mysteries of this captivating art form. The secrets held within those vibrant hues, painted centuries ago, were finally beginning to be revealed, all thanks to a curious artist and the power of scientific sleuthing. Who knew art and science could be such a colorful collaboration?

Read the full story

Enjoy the blog? Sign up for your monthly dose of whimsical spectroscopy insights.