Pigmentos de origen mineral en el arte oriental y occidental: Pigmentos de origen mineral en el arte oriental y occidental: estudio comparativo a partir del siglo XIX aplicado en la técnica nihongaPigmentos de origen mineral en el arte oriental y occidental: estudio comparativo a partir del siglo XIX aplicado en la técnica nihonga

Abstract

Throughout history, the development of artistic creations has been closely related to mineral pigments. Even to this day, these pigments continue to be widely applied by artists from the innumerable pictorial schools around the world. As time has passed, different cultures, geographical areas and religions have made a different use of the materials applied in artistic expressions. The introduction of Buddhism in Japan is a clear example of this, as it entailed the use of mineral pigments from China. Some centuries later, during the Meiji Restoration, the greatest external influence had an impact in Japanese art: due to this Restoration, innovation in the manufacturing of pigments was promoted and progress was made towards a single system of classification of the particle sizes in mineral pigments (in more than 10 categories). From the 19th century onwards, the kind of Japanese painting focused on the use of those pigments was named Nihonga; it was characterized by its historical revision of traditional techniques and mineralogy by means of a theoretical and practical analysis to understand mineral pigmentation in depth, this new definition considered both national and international political aspects of that period, the historical development of pigments, the foreign cultural influence and, ultimately, some relevant characteristics, such as the manufacturing procedures or the applied theories of physics...