日本的雕版印刷技术精选手工

在下一阶段-主块的准备（omohan） -雕刻师，雕刻师将参与这项工作。 The drawing would be pasted face downwards (Photo1) onto the pre-prepared block of mountain-cherry wood (yamazakura ) of the necessarysize.绘图将被向下贴面（图1）到所需的大小的山桃木（山樱）的事先准备好的块。All thelines would be clearly visible but in a mirror image of the drawing(Photo 2).所有的线将是清楚的（图2）可见，但在该图的镜像。 The carver would mark off areas in black with hiscontour knife, cutting along the lines of the drawing with theutmost precision (Photo3).卡佛将标志着关区以黑色与他的轮廓刀，沿图中的线条与最高精度（照片3）切割。 All areas, which were to remain without colour orto be printed in other colours, were gouged out with specialcutting tools of varyingthicknesses.所有区域，这是保持没有颜色或印在其他颜色，被挖出了不同厚度的专用切割工具。

从最初的离版画艺术家是能够区分其中将用于的表的其他部分颜色。 On the basis of the off-print made from the keyblock, the remaining ones ( kyōgōsuri ) would becarved.在关断打印从密钥块制成的基础上，其余的（kyōgōsuri）将被雕刻。For eachcolour a separate block would then be carved as required (Photo4).每种颜色的要求（照片4）单独的块然后将雕刻。 On the basis of the marks provided by the artistthe carvers would make a separate block for eachcolour.由艺术家提供的商标为基础的雕刻师会为每个颜色单独的块。 So-called 'guide marks' ( kentō),所谓的“引导标志”（贤人），

被切出每块上，并在字母“L”（照片5）被塑造，从而在打印过程中解决的纸页的位置的形式，每块小壁架的底部角落。Thisensured that the colours printed subsequently would be in exactlythe right place on eachoff-print.这确保了随后打印的颜色是完全相同的每个关闭打印正确的地方。

In the'studio' system for the production of prints there existed narrowspecialization among the carvers, which testified to the individualcraftsman's particularskill.在“工作室”体系，为生产打印存在着狭隘的专门化的雕刻，这证明了个体工匠的特殊技能之一。Cutter-engravers belonged to one of threecategories: kashirabori – skilled craftsmen of the highestgrade who specialized in depicting faces, hair-styles and so on,dobori who cut the less difficult lines of bodies andcostumes and finally hanchiya , the apprenticeblock-carvers.切割机-雕刻属于以下三类：kashirabori-最高等级谁专门描绘的面孔，发型的样式等等，dobori谁砍的身体和服装的后难行，最后hanchiya，学徒块的熟练技工雕刻师。

当一切都完成后，一套适当的准备块被发送到打印机，谁应用的颜色给每个块（图6）。

Afterthat a craftsman placed paper onto each of the carved blocks (Photo7) and made off-prints by hand or with help of a specialdisk-shaped and flat-bottomed tool known as a baren (Photo8).之后，工匠纸放置到每个刻块（图7），并提出了印痕用手或用被称为巴伦（图片8）一个特殊的圆盘状和平底工具的帮助。 The colours for making the prints were of mineralor vegetable origin on a water base, to which rice paste and gluemade from rabbit hide were added to bind themtogether.颜色用于使印刷物的矿物或植物来源的一个水基中，向其中米糊和胶水从兔子皮制成加入到结合在一起。Thewashi , or Japanese paper, on which the prints werecreated was hand-made, long-fibred and thicker than the paper onwhich the original drawing and preliminary off-print had beenmade.在和纸，或者日本纸，其上创建了版画是手工制作的，长纤和比其原来的图纸和初步脱离印刷已经取得了纸张较厚。Itcontained processed pulp from the paper mulberry ( kōzo ),vegetable sizing, lime and ground shells, which lent the paperadditional whiteness.它包含了从纸张桑（康藏），蔬菜上浆，石灰和地面炮弹，其中借给了另外的纸张白度纸浆处理。 Many different kinds of washi paperexisted: for ordinary prints paper of a lower quality was used madefrom Japanese spindle – masa , which also containedtextile fibre ( ramie ) obtained from wild nettles, whilefor specially commissioned prints thick paper of higher quality -hoshogami – was used which only contained kōzopulp.许多不同种类的和纸存在：为质量较低的普通打印纸使用日本制造的主轴- 马萨，其中还包含来自野生荨麻取得的纺织纤维（苎麻），而特意委托印刷质量更高的厚纸-hoshogami -使用只包含小僧浆。

It wasthe tradition to make up to 200 prints of each composition, but anedition could be extended, if the first series soldwell.这是传统补至200的打印各组合物的，但一个版本可以被扩展，如果第一系列畅销。Ifnecessary, worn down lines on the blocks could be modified and madesharper.如果有必要，对块磨损线可能会被修改，并提出尖锐。

Thepublisher had overall control of the whole process involved in thecreation of a woodblock print – from the drawing and subsequentproduction to sales and distribution.出版商曾参与创建的木版印刷的全过程的整体控制- 从图纸和后续生产到销售及分销。

Thetechnique was based on precision and strict linear execution of thedesign, which did not allow for any blurred brush-strokes, such aswould be found inpainting.该技术是基于精确度和设计的严格线性的执行，这也不允许任何模糊的笔触，如将画中找到。Thetraditional nature of the artistic language, the conditionsdictated by the technique of woodblock printing and the 'studio'process, involving the division of labour between various stages,together ensured a coherent artistic logic of line, colour zonesanddecoration.艺术语言的传统性质，由雕版印刷和“工作室”过程的技术，涉及各个阶段之间的分工，共同决定的条件，确保线条，色彩地带和装饰的连贯艺术逻辑。

木版印刷或打印的使用木块的技术，同时为佛教的传播作出了方式，从中国到日本在7 世纪。Printsof this kind were used for making black-and-white prints withdepictions of various Buddhist saints and for illustratingsutratexts.这种版画被用于制作黑色和白色打印各种佛教圣徒的描写和说明佛经文本。

Theartist, carver and printer all had a part to play in the creationof polychrome Japanese color woodblockprints.艺术家，雕工和打印机都有一个参与创作彩瓷日本色木刻版画的发挥。 Another important role was that of the publisher,who would study demand and decide on the number of prints to bemade for eachedition.另一个重要作用是，出版者，谁也学习需求，并决定打印每个版本作出的数目。Often itwas precisely he who determined the subject of a print orinfluenced the nature of an issue to be published, inviting aparticular artist, carver or printer to carry out thework.往往也正是他谁决定的打印主题或影响的问题要发布的性质，邀请特定艺术家，雕工或打印机来开展工作。

Thecreation of a woodblock print would begin with the artist making apreparatory drawing ( shita-e ) with a brush and black inkon thin paper.的版画创作将开始与艺术家制作的筹备图纸（山下-E）用刷子和黑色墨水在薄纸上。 The sketch would be modified by its author manytimes, approved by the publisher and later by the censor aswell.草图会被它的作者修改了很多次，批准发行，后来被御史为好。 Thedefinitive version of the composition would then be executed sothat it could be copied onto a block already bearing the publisherseal and the censor mark and signed by the author (hanshita-e).该组合物的最终版本将随后被执行，以便它可以被复制到已经承载出版商密封和御史标志块和由作者（hanshita-E）签署。

梦想与现实之间的磨合让我读懂很多生活的语言，风虽改变了方向，却没有改变我的行程-----

来源网址：_感谢独茂兰石授权转载，再转请保留本信息。