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Lettris is a curious tetris-clone game where all the bricks have the same square shape but different content. Each square carries a letter. To make squares disappear and save space for other squares you have to assemble English words (left, right, up, down) from the falling squares.
Boggle gives you 3 minutes to find as many words (3 letters or more) as you can in a grid of 16 letters. You can also try the grid of 16 letters. Letters must be adjacent and longer words score better. See if you can get into the grid Hall of Fame !
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|Part of a series on the|
|History of printing|
Ukiyo-e is the best known type of Japanese woodblock art print. Most European uses of the technique on paper are covered by the art term woodcut, except for the block-books produced mainly in the 15th century.
The wood block is carefully prepared as a relief matrix, which means the areas to show 'white' are cut away with a knife, chisel, or sandpaper leaving the characters or image to show in 'black' at the original surface level. The block was cut along the grain of the wood. It is only necessary to ink the block and bring it into firm and even contact with the paper or cloth to achieve an acceptable print. The content would of course print "in reverse" or mirror-image, a further complication when text was involved. The art of carving the woodcut is technically known as xylography, though the term is rarely used in English.
For colour printing, multiple blocks are used, each for one colour, although overprinting two colours may produce further colours on the print. Multiple colours can be printed by keying the paper to a frame around the woodblocks.
There are three methods of printing to consider:
In addition, jia xie is a method for dyeing textiles (usually silk) using wood blocks invented in the 5th-6th centuries in China. An upper and a lower block is made, with carved out compartments opening to the back, fitted with plugs. The cloth, usually folded a number of times, is inserted and clamped between the two blocks. By unplugging the different compartments and filling them with dyes of different colours, a multi-coloured pattern can be printed over quite a large area of folded cloth. The method is not strictly printing however, as the pattern is not caused by pressure against the block.
Dr. Henry, in his "Notes on the Economic Botany of China," refers to your wish to obtain specimens of the woods used in China for printing blocks.
The name which the neighbouring city of Wuchang enjoys for the excellence of its printing work has led me to inquire into the woods used there, and I am sending you specimens of them by parcel post.
The wood which is considered the best is the Veng li mu, which has been identified as the Pyrus betulcefolia, Bunge., and which grows in this Province. Slabs of this wood 1 ft. x 6 ins. x 1^ in. cost 150 cash, or about 5½.d.
A cheaper wood generally used for printing proclamations is the tu chung mu. Eucommia ulmoides, Oliv., has been determined to be the tu chung mu. The tu chung here used is a native of this Province.
A wood used in Kiangsu is the yin hsing mu, which is one of the names of the Salisburia adiantifolia.
Boxwood, huang yang mu, is obtained from Szechuen, but only in small pieces, which are mainly used for cutting the stamps used for private seals on letters and documents
. In the third volume of the Japanese work, the "So Mokn Sei Fu," a drawing is given of the huang yang, together with a quotation from the Chinese Materia Medica, which speaks of the tree as growing an inch a year, except in these years which have an intercalary moon, when it grows backwards. From this it would appear to be a slow growing tree.
W. R. Carles, Esq., to Royal Gardens, Kew, dated Her Majesty's Consulate, Hankow, July 25th, 1896.
The use of round "cylinder seals" for rolling an impress onto clay tablets goes back to early Mesopotamian civilization before 3000 BC, where they are the most common works of art to survive, and feature complex and beautiful images. A few much larger brick (e.g. 13 x 13 cm) stamps for marking clay bricks survive from Akkad from around 2270 BC. In both China and Egypt, the use of small stamps for seals preceded the use of larger blocks. In Europe and India, the printing of cloth certainly preceded the printing of paper or papyrus; this was probably also the case in China. The process is essentially the same—in Europe special presentation impressions of prints were often printed on silk until at least the 17th century.
It is clear that woodblock printing developed in Asia several centuries before Europe. The Chinese were the first to use the process to print solid text, and equally that, much later, in Europe the printing of images on cloth developed into the printing of images on paper (woodcuts). It is also now established that the use in Europe of the same process to print substantial amounts of text together with images in block-books only came after the development of movable type in the 1450s.
Block printing, called tarsh in Arabic was developed in Arabic Egypt during the 9th-10th centuries, mostly for prayers and amulets. There were different types of print blocks, including ones made from metal, wood and other materials. This technique, however, appears to have had little influence outside of the Muslim world. Though Europe adopted woodblock printing from the Muslim world, initially for fabric, the technique of metal block printing was also unknown in Europe. Block printing later went out of use in Islamic Central Asia after movable type printing was introduced from China.
In India the main importance of the technique has always been as a method of printing textiles, which has been a large industry since at least the 10th century. Large quantities of printed Indian silk and cotton were exported to Europe throughout the Modern Period.
The three necessary components for woodblock printing are the wood block, which carries the design cut in relief; dye or ink, which had been widely used in the ancient world; and either cloth or paper, which was first developed in China, around the 3rd century BC or 2nd century BC. Woodblock printing on papyrus seems never to have been practised, although it would be possible.
Because Chinese has a character set running into the thousands, woodblock printing suits it better than movable type to the extent that characters only need to be created as they occur in the text. Although the Chinese had invented a form of movable type with baked clay in the 11th century, and metal movable type was invented in Korea in the 13th century, woodblocks continued to be preferred owing to the formidable challenges of typesetting Chinese text with its 40,000 or more characters. Also, the objective of printing in the East may have been more focused on standardization of ritual text (such as the Buddhist canon Tripitaka, requiring 80,000 woodblocks), and the purity of validated woodblocks could be maintained for centuries. When there was a need for the reproduction of a text, the original block could simply be brought out again, while moveable type necessitated error-prone composition of distinct "editions".
The difference between East Asian woodblock printing and the Western printing press had major implications for the development of book culture and book markets in East Asia and Europe.
Woodblock printing in China is strongly associated with Buddhism, which encouraged the spread of charms and sutras. In the Tang Dynasty, a Chinese writer named Fenzhi first mentioned in his book "Yuan Xian San Ji" that the woodblock was used to print Buddhist scriptures during the Zhenguan years (AD 627~649).
An early example of woodblock printing on paper was discovered in 1974 in an excavation in Xi'an (then called Chang'an, the capital of Tang Dynasty), Shaanxi, China, whereby individual sheets of paper were pressed into wooden blocks with the text and illustrations carved into them. It is a dharani sutra printed on hemp paper and dated to 650 to 670 AD, during Tang Dynasty (618–907). Another printed document dating to the early half of the Chinese Tang Dynasty has also been found, the Snddharma pundarik sutra printed from 690 to 699.
Another old printing example is the Dharani sutra that is dated between AD 704 and 751. It was found at Bulguksa, South Korea in 1966. Its Buddhist text was printed on a 8-×-630 cm (3.1-×-250 in) mulberry paper scroll in the early Korean Kingdom of Unified Silla. Another version of the Dharani sutra, printed in Japan around AD 770, is also frequently cited as an example of early printing. One million copies of the sutra, along with other prayers, were ordered to be produced by Empress Shōtoku. As each copy was then stored in a tiny wooden pagoda, the copies are together known as the Hyakumantō Darani (百万塔陀羅尼, "1,000,000 towers/pagodas Darani").
The world's earliest dated (AD 868) printed book is a Chinese scroll about sixteen feet long and containing the text of the Diamond Sutra. It was found in 1907 by the archaeologist Sir Marc Aurel Stein in Mogao Caves in Dunhuang, and is now in the British Museum. The book displays a great maturity of design and layout and speaks of a considerable ancestry for woodblock printing. The colophon, at the inner end, reads: Reverently [caused to be] made for universal free distribution by Wang Jie on behalf of his two parents on the 13th of the 4th moon of the 9th year of Xiantong [i.e. 11 May, AD 868 ].
In late 10th century China the complete Buddhist canon Tripitaka of 130,000 pages was printed with blocks, which took between 1080 and 1102, and many other very long works were printed. Early books were on scrolls, but other book formats were developed. First came the Jingzhe zhuang or "sutra binding", a scroll folded concertina-wise, which avoided the need to unroll half a scroll to see a passage in the middle. About AD 1000 "butterfly binding" was developed; two pages were printed on a sheet, which was then folded inwards. The sheets were then pasted together at the fold to make a codex with alternate openings of printed and blank pairs of pages. In the 14th century the folding was reversed outwards to give continuous printed pages, each backed by a blank hidden page. Later the bindings were sewn rather than pasted. Only relatively small volumes (juan) were bound up, and several of these would be enclosed in a cover called a tao, with wooden boards at front and back, and loops and pegs to close up the book when not in use. For example one complete Tripitaka had over 6,400 juan in 595 tao.
The technique is found through East and Central Asia, and in the Byzantine world for cloth, and by AD 1000 examples of woodblock printing on paper appear in Islamic Egypt. Printing onto cloth had spread much earlier, and was common in Europe by 1300. "In the 15th century the Chinese technique of blockprinting was transmitted to Europe," soon after paper became available in Europe. The print in woodcut, later joined by engraving, quickly became an important cultural tradition for popular religious works, as well as playing cards and other uses.
Many early Chinese examples, such as the Diamond Sutra (above) contain images, mostly Buddhist, that are often elaborate. Later, some notable artists designed woodblock images for books, but the separate artistic print did not develop in China as it did in Europe and Japan. Apart from devotional images, mainly Buddhist, few "single-leaf" Chinese prints were made until the 19th century.
Block-books, where both text and images are cut on a single block for a whole page, appeared in Europe in the 1460s as a cheaper alternative to books printed by movable type. These are different from woodcuts illustrated books using images, perhaps with a title, cut in a single block and used as a book illustration with the adjacent text printed using movable type. The only example of the blockbook form that contains no images is the school textbook Latin grammar of Donatus.
The most famous block-books are the Speculum Humanae Salvationis and the Ars moriendi, though in this the images and text are on different pages, but all block-cut. The Biblia pauperum, a Biblical picture-book, was the next most common title, and the great majority of block-books were popular devotional works. All block-books are fairly short at less than fifty pages. While in Europe movable metal type soon became cheap enough to replace woodblock printing for the reproduction of text, woodcuts remained a major way to reproduce images in illustrated works of early modern European printing. See old master print.
Most block-books before about 1480 were printed on only one side of the paper — if they were printed by rubbing it would be difficult to print on both sides without damaging the first one to be printed. Many were printed with two pages per sheet, producing a book with opening of two printed pages, followed by openings with two blank pages (as earlier in China). The blank pages were then glued together to produce a book looking like a type-printed one. Where both sides of a sheet have been printed, it is presumed a printing-press was used.
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.
The earliest known woodblock printing dates from 764-770, when an Empress commissioned one million small wooden pagodas containing short printed scrolls - typically 6 × 45 cm (2.4 × 18 in) - to be distributed to temples. Apart from the production of Buddhist texts, which became widespread from the 11th century in Japan, the process was only adopted in Japan for secular books surprisingly late, and a Chinese-Japanese dictionary of 1590 is the earliest known example.
Though the Jesuits operated a movable type printing-press in Nagasaki, printing equipment brought back by Toyotomi Hideyoshi's army from Korea in 1593 had far greater influence on the development of the medium. Four years later, Tokugawa Ieyasu, even before becoming shogun, effected the creation of the first native movable type, using wooden type-pieces rather than metal. He oversaw the creation of 100,000 type-pieces, which were used to print a number of political and historical texts.
An edition of the Confucian Analects was printed in 1598, using a Korean moveable type printing press, at the order of Emperor Go-Yōzei. This document is the oldest work of Japanese moveable type printing extant today. Despite the appeal of moveable type, however, it was soon decided that the running script style of Japanese writings would be better reproduced using woodblocks, and so woodblocks were once more adopted; by 1640 they were once again being used for nearly all purposes.
It quickly gained popularity among artists of ukiyo-e, and was used to produce small, cheap, art prints as well as books. Japan began to see something of literary mass production. The content of these books varied widely, including travel guides, advice manuals, kibyōshi (satirical novels), sharebon (books on urban culture), art books, and play scripts for the jōruri (puppet) theatre. Often, within a certain genre, such as the jōruri theatre scripts, a particular style of writing would come to be the standard for that genre; in other words, one person's personal calligraphic style was adopted as the standard style for printing plays.
Woodblock printing on wallpaper became famous in France at the end of the 18th century. Manufactures like Joseph Dufour et Cie (1797 - c. 1830) or Zuber et Cie (founded 1797) used the woodblock printing for wall paper production. In 1806, in collaboration with the artist Jean-Gabriel Charvet, Dufour et Cie produced a twenty-panel set of scenic wallpaper entitled Sauvages de la Mer du Pacifique (Savages of the Pacific), which became very famous. It was the largest panoramic wallpaper of its time, and marked the burgeoning of a French industry in panoramic wallpapers. Dufour realized almost immediate success from the sale of these papers and enjoyed a lively trade with America. The Neoclassic spirit currently in favor was accented handsomely in houses of the Federal period by the exaggerated elegance of Charvet's scenes. Like most of 18th century wallpapers, the panorama was designed to be hung above a dado.
For its production Zuber uses woodblocks out of an archive of more than 100,000 engraved from the 17th and 19th century which are classified as a "Historical Monument". It offers panoramic sceneries such as "Vue de l'Amérique Nord", "Eldorado Hindoustan" or "Isola Bella" and also wallpapers, friezes and ceilings as well as hand-printed furnishing fabrics.
In East Asia, woodblock printing proved to be more enduring than in Europe, continuing well into the 19th century as the major form of printing texts, especially in China, even after the introduction of the European printing press.
In countries using Arabic, Turkish and similar scripts, works, especially the Qur'an were sometimes printed by lithography in the 19th century, as the links between the characters require compromises when movable type is used which were considered inappropriate for sacred texts.
Block printing has also been extensively used for decorative purposes such as fabrics and wallpaper. This is easiest with repetitive patterns composed of one or a small number of motifs that are small to medium in size (due to the difficulty of carving and handling larger blocks). For a multi-colour pattern, each colour element is carved as a separate block and individually inked and applied. Block printing was the standard method of producing wallpaper until the early 20th century, and is still used by a few traditionalist firms. It also remains in use for making cloth, mostly in small artisanal settings, for example in India.