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[Article] Japanese Pigment Names “Gunjo” (blue) and “Yoko” (red) and their Compositions in the Edo and Meiji Periods
Get PDFapplication/pdf江戸後期以降，欧米から輸入された合成顔料には，従来使われてきた天然顔料と色調の似た顔料があり，群青と呼ばれる二種類の青色顔料がこれにあたる。群青は，工業分野では合成ウルトラマリンブルーを意味し，日本絵画や彩色歴史資料を扱う分野では，藍銅鉱（アズライト）から作る顔料を示す。前者は1828年にフランスで合成方法が確立し，日本にも19世紀後半には輸入されていた。明治期までは「舶来群青」，「人造群青」などと呼ばれたが，工業分野で広く用いられるようになると，接頭語がなくても合成ウルトラマリンブルーを表すようになった。一方，前近代の日本では，アズライトを原料とする青色顔料に，紺青と呼ばれたものもあった。群青よりもこい青色のものを紺青と称したことから，現在の工業分野では合成顔料プルシアンブルーの和名とされている。
洋紅は，明治期の錦絵に多用されたといわれており，名前が示す通り，輸入の赤色顔料である。もともとは南米大陸原産のカイガラムシ，コチニールから作るカーマインレーキであったが，合成染料の種類が多くなるころには，必ずしもコチニールではなく，赤色の合成染料に変わっていた可能性が高い。
本研究では，これらの群青・紺青，洋紅について，名称と原材料がどのように理解されていたのかを，文献調査と実資料の分析を通して整理した。群青と紺青のように材質と名称が分野により異なっているのは，江戸後期に色調の似た合成顔料が輸入されたことが契機といわれているが，実際には，明治後期以降であったと考えられる。明治期にさまざまな外国産の顔料が輸入されたことにより，在来の顔料の名称と色調から日本語の顔料名が付けられた。一方で，分野によっては，江戸時代から使われていた顔料を名称とともに継続して使っていた。江戸時代後期から明治期の顔料については，当時の名称と材質との関係は一定ではなく，どのような文脈で使われているかを理解する必要があろう。Some synthetic pigments have been imported from foreign countries since the late Edo period. The colors of certain pigments are similar to traditional pigments, such as those made from natural stones. “Gunjo” indicates two types of blue pigments, where one is used industrially (synthetic ultramarine blue), and the other is used in the field of Japanese paintings and polychrome historical objects (azurite). Ultramarine blue was patented in France in 1828 and was imported by Japan in the late 19th century. Until the middle of the Meiji period, imported ultramarine blue was called “Hakurai-gunjo” or “Jinzo-gunjo,” literally meaning “from overseas” or “artificial,” respectively. When it became widely used industrially, it came to be known only as “Gunjo,” indicating a synthetic ultramarine blue pigment. However, before the Meiji period, the azurite pigment had been given two names according to their colors — “Gunjo” and “Konjo.” Since “Konjo” indicated a darker blue pigment, the name Konjo also indicates another synthetic dark blue pigment, Prussian blue, industrially.
An imported red pigment “Yoko,” meaning “western red,” was assumed to be widely used in Nishiki-e prints in the Meiji period. It was originally a carmine lake made from cochineal insects in South America. After the discovery of different types of synthetic pigments and lakes, “Yoko” could have also been made from these newly synthesized pigments or dyes.
This study, through the investigation of references and objects, aims to organize and clarify what the pigment names “Gunjo,” “Konjo,” and “Yoko” meant when they were used in the aforementioned instances, and their possible origins. The timing of the name of the pigment indicates that more than two types of pigments, such as “Gunjo,” are often assumed to occur when similar pigments were imported in the late Edo period. However, this seems to have occurred during the late Meiji period. When new types of pigments were imported from abroad, some were given Japanese names based on their similarity to the traditional pigments. In the field of Japanese painting, they continued to use traditional pigments and their names. As the composition of pigments that came into use during the late Edo and early Meiji periods may differ from the current composition, it would be better to understand the context in which the terms were used.departmental bulletin pape
[Article] The Change in the Blue Colorants Used in the Making of Green and Purple Colors in Nishiki-e
Get PDFapplication/pdf本稿では，青色色材が変化したとされる文政期以降の錦絵に着目し，青色箇所に用いられた色材が変化した際，青色を混色して彩色する緑色と紫色に用いられる青色色材も同様に変化するのかを検討するため，国立歴史民俗博物館に収蔵された錦絵37点に対して調査を実施した。調査には，光学顕微鏡による通常光と紫外線蛍光観察，蛍光エックス線分析法，可視光反射スペクトル分析法を用いた。
結果，文政十二年（1829）の錦絵の青色箇所では，従来用いられていた天然染料の藍から，海外で製造された安価な合成顔料であるベロ（プルシアンブルー）が使われ始めることを確認した。青色と黄色の色材の混色によって表現される緑色箇所においては，錦絵の青色箇所にベロの使用が浸透していく中で，わずかな誤差を持ち，後を追うかたちで藍からベロへと変化し落ち着いた。しかし，青色と赤色の混色である紫色箇所においては，青色箇所の色材が藍からベロへと使用が変化した文政末以降も，その変化に影響を受けず，文久元年（1861）頃まで天然染料の藍や露草を青色色材として用いていた。しかし，慶応期頃から，従来の紫色に用いられていた赤色有機色材が使われなくなり，合成染料と思われる赤紫色の色材が利用されるようになると，長年紫色の表現に利用されていた露草や藍といった天然染料の青色色材が全く使用されなくなり，合成顔料であるベロが混色の色材として用いられるようになった。This study investigates whether blue colorants used as blue colorants were also used to make green and purple colors. While we know that blue pigments were used, we did not have information about the exact colorants. The investigation focuses on Nishiki-e after the Bunsei era in which the blue colorant is deemed to have changed. A survey of 37 Nishiki-e pieces from the National Museum of Japanese History was conducted. Optical microscopy for ordinary light and ultraviolet fluorescence microscopy, X-ray fluorescence (XRF) analysis, and UV-visible reflectance spectroscopy were used.
The results confirmed that the blue areas of Nishiki-e made in Bunsei 12 (1829) used Prussian blue, an affordable, foreign synthetic pigment, in lieu of indigo, which is a traditionally used natural dye. It was only after the use of Prussian blue became widespread that it started being used with yellow to make green. Colorants from indigo and the Asiatic dayflower were used to make purple with red. This practice continued until the first year of the Bunkyū era (1861), unaffected by the transition to Prussian blue from indigo at the end of the Bunsei era. Organic red colorants that were traditionally used to make purple have fallen into disuse in favor of synthetic burgundy since the Keiō era. Similarly, as a colorant for mixed colors, the natural blue colorants used to make purple were replaced by the synthetic Prussian blue pigment.departmental bulletin pape
[Report on Investigation and Research Activity] Archaeological Report on the Chronology of a Human Bone of the Jomon Period Excavated at Nakatsu Shell Mound, Kurashiki-shi, Okayama Pref.
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[Report on Investigation and Research Activity] Mitochondorial DNA Analysis of Human Bones Excavated in Tokunoshima Island, Kagoshima Pref. : Omonawa No.1 Shell Midden, Tomachin Site and Shitabaru Cave Site
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