I am currently reading a book called 「L’Affaire Ruffini」, focusing on sections about European painting materials and conservation. I was introduced to the fascinating world of materials by Kunisuke Ueda, a scholar in painting materials science. He taught me that "seeing the unseen" is crucial. There is a significant difference between viewing a painting's surface and understanding the materials and processes beneath it.
For example, years ago, a Japanese newspaper reported on an X-ray examination of **Red and White Plum Blossoms** by Kōrin Ogata, claiming that silver leaf had been used. Later, the same newspaper contradicted this claim without acknowledging the error, yet readers accepted it due to the newspaper's authority.
Creating a painting is akin to constructing a building: the foundation is crucial, and environmental conditions must be considered when selecting materials. In Japanese painting, **washi** (Japanese paper) is often used, but outside Japan, its process and materials must be carefully considered due to environmental factors that can cause deterioration. The same principles apply to Western painting; choosing appropriate materials for parchment, wood, or canvas is essential. For wood, treatment is needed to prevent tannins from affecting the work; for parchment, measures must be taken to prevent bleeding and neutralise tannins.
Simply applying paint limits the colours on the surface. By using textures and light refraction, colours can be enhanced. Painting involves painstakingly building up layers; many layers of pigment and adhesive are applied slowly. This also applies to oil painting.
Before applying colour, much thought must go into the process. Understanding the chemical aspects of painting materials allows one to bring out beautiful colours. The relationship between pigments and adhesives is crucial.
I didn't understand this significance before, but now I recognise the value of considering the "unseen" in the creative process. As I read 「L’Affaire Ruffini」
, these thoughts come to mind.
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