Colour
The earliest woodblock printing known is in colour—Chinese silk from the Han Dynasty printed in three colours.
On paper, European woodcut prints with coloured blocks were invented in Germany in 1508 and are known as chiaroscuro woodcuts.
Colour is very common in Asian woodblock printing on paper; in China the first known example is a Diamond sutra of 1341, printed in black and red at the Zifu Temple in modern day Hubei province. The earliest dated book printed in more than 2 colours is Chengshi moyuan, a book on ink-cakes printed in 1606 and the technique reached its height in books on art published in the first half of the 17th century. Notable examples are the Treatise on the Paintings and Writings of the Ten Bamboo Studio of 1633, and the Mustard Seed Garden Painting Manual published in 1679 and 1701.
In Japan, a multi-colour technique, called nishiki-e ("brocade pictures"), spread more widely, and was used for prints, from the 1760s on. Japanese woodcut became a major artistic form, although at the time it was accorded a much lower status than painting.
In both Europe and Japan, book illustrations were normally printed in black ink only, and colour reserved for individual artistic prints. In China, the reverse was true, and colour printing was used mainly in books on art and erotica.
Read more about this topic: Woodblock Printing
Famous quotes containing the word colour:
“I allow a Beauty to be as much to be commended for the Elegance of her Dress, as a Wit for that of his Language; yet if she has stolen the Colour of her Ribbands from another, or had Advice about her Trimmings, I shall not allow her the Praise of Dress, any more than I would call a Plagiary an Author.”
—Richard Steele (1672–1729)
“Iconic clothing has been secularized.... A guardsman in a dress uniform is ostensibly an icon of aggression; his coat is red as the blood he hopes to shed. Seen on a coat-hanger, with no man inside it, the uniform loses all its blustering significance and, to the innocent eye seduced by decorative colour and tactile braid, it is as abstract in symbolic information as a parasol to an Eskimo. It becomes simply magnificent.”
—Angela Carter (1940–1992)
“No one knows the colour of a flower
till it is broken.”
—Hilda Doolittle (1886–1961)