今月の作品は山口県岩国市の錦帯橋です。5つのアーチが連なる約190メートルの木造の橋は数度の架け替えを経て今も350年前の姿がそのままに遺された優美な橋です。
この作品は画面サイズが36×64．8㎝あり、井堂雅夫の作品の中では大きなサイズに分類されます。木版画は作品サイズが大きくなると、色の版を摺り重ねる時に二人がかりでないと版の上の正確な位置(見当)に和紙を置く事が難しくなります。また他にも気候による湿度の変化でおこる和紙の伸び縮みが大きくなり、それに対応して誤差を調整することが求められます。
職人たちは江戸時代から今日まで、版元から求められるさまざまな要求に応えるべく工夫を重ね、知恵と手先の器用さで新たな技を生み出し木版画文化を支えて来ました。
錦帯橋が今も職人の技で修復されながら往時の姿を伝えていることも含めて、日本の工芸や建築などさまざまな分野でも独自の繊細な感性で自然と寄り添いながら技を生み出す日本人の力はすばらしく、この世界に携われていることを誇りに感じずにはいられません。
Blog post
Feb. 2025
“Kintai Bridge”
This month's work is Kintai Bridge in Iwakuni City, Yamaguchi Prefecture. 190-meter wooden bridge with five arches has been rebuilt several times, but it is still a beautiful bridge that retains its original appearance of 350 years ago.
The size of this work is 36 x 64.8 cm, which is a large size among Masao Ido's works.The larger the size of a woodblock print, the more difficult it becomes to place the Japanese paper in the correct position (register) on the plate unless two people are involved in the process of printing the color plates.In addition, the expansion and contraction of the washi caused by changes in humidity due to climate increases, and the error must be adjusted accordingly.
Since the Edo period (1603-1867), craftspeople have been devising ways to meet the various demands of the publishers, and their wisdom and dexterity have supported the culture of woodblock printmaking by creating new techniques.
Including the fact that the Kintai Bridge is still being restored by craftsmen to its original appearance,The Japanese people's ability to create techniques while remaining close to nature with their unique and delicate sensibilities is amazing in a variety of fields, including crafts and architecture, and I cannot help but feel proud to be involved in the world of woodblock printing.
株式会社 雅堂
京都市北区平野宮屋敷町27
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