Suminagashi referencesHello to all on the list,
I have been told about the following references concerning Suminagashi. Do we have any Suminagashi fans on this list that knows of or possesses these articles? The last reference from the Kojien dictionary mentioning using adzuki beans to create a size, and using alum for mordanting is very intriguing. Was there a method of a size based marbling known in Japan? I'm not sure how old it is, or if the technique was properly translated.
I own the books written by Don Guyot, Ann Chambers and Robin Heyeck. If there is anything in addition to these references, I'd like to know about it.
Tokushi, Yusho. Suminagashi moyo = Flowing-ink design. Washi kenkyu; 7. [S.l.: s.n., n.d.].
A small article in "Washi Jiten - Encyclopedia of Japanese Paper"(Asahi
Shinbun 1986) talks about the change of patterns and color from the Heian
period (8th century) to the Edo Period (19th century), but nothing is in
detail. This article mentions the Hiroba family in Takeo city, Fukui
prefecture is known for keeping the tradition of Suminagashi.
There is an interesting column in "Kojien - a Japanese Dictionary".
(1)A technique to create a image on the surface of water.
Adzuki bean powder 4 grams, Huang Bo (Phellodendrom Amurense Rutaceae -
Siberian Cork Tree) 2 grams, Alum 1/2gram, wrap in a linen cloth. Wet and
pound onto a sheet of paper (I suppose a Japanese paper.). Draw a image (It
is not clear how to draw.). Place the sheet on top of water and thrust
with something like a tooth pick. Paper sinks and the image will be left
on the top of water. (You can find Adzuki Beans at a health food or Asian
grocery stores, Huang Bo at the Chinese pharmacies).
usual Suminagashi. It shows an example from an old literature.
"Suminagashi Habahiro no Torinoko 30-mai"(Nanshiki Taikan). The traslation
of this is "30sheet of Suminagashi on the wide Torinoko paper"(Homosexual's
- Hello Jake,
My marbling book The Ultimate Marbling Handbook has a 15 page chapter devoted
to Suminagashi marblng (basic and advanced techniques.) Most of the info and
illustrations deal with contemporary Suminagashi and a Western approach to
the art, with overmarbling, frisket work and methods of creating fractured