Contents・Abstracts / 英文目次・英文要旨

Color frontispiece
Preface･････････････････････････････････････････････････････････････････････････････････････････････････････ Satoru SATO

Ⅰ：Scientific Perspectives on Paper“Papyrography”：Scientific Analysis of Paper opens the New Aspect of
Codicology ･･･････････････････････････････････････････････････････････････････････････････････ Kazuyuki ENAMI

About this title, you would ask “What is Papyrography ?”“Papyrography”：Scientiﬁc Analysis of Paper opens the New Aspect of Codicology
About this title, you would ask “What is Papyrography ?”Papyrography has its origin in French, a term of printing technique. It is a kind of lithographusing a paper plate instead of stone plate.
Metallography which is now accepted technical term for metallurgy, using the methods ofanalysing microstructure of metals and alloys by optical & electron microscopy and X-ray
analysis. The term metallography once was also used for the printing technique of lithography
by metal plate instead of stone plate.
Analogically, we here propose to adopt “Papyrography” as a new technical term for analysing
the morphology and microstructure of paper using methods shown below.
1. Observation of overall and microscopic morphology of paper by High-Resolution
Digital Microscopy.
2. Detection and identiﬁcation of remains of plants, insects, cloth, thread, ink, etc on/in thepaper.
3. Measurement of laid line pattern remained on paper; numbers /unit, and distribution,using Mathematical soft wear（Fast Fourier Transformation analysis）developed by
Ryukoku University.
4. Analysis of elements on/in the surface of paper, ink, pigments by X-ray Fluorescent
Analysis.

“Handmade Washi Paper: From Kozo Production to Paper”―Revealed to thisextent with a digital microscope ･･････････････････････････････････････････････Shigeru SAWAYAMA
In 2014, four types of traditional Japanese papermaking techniques, known as “Washi:
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Contents・Abstracts / 英文目次・英文要旨
handmade Japanese paper”, were registered by UNESCO. These are Echizen Washi, Hon-In that study we analyzed the paper used for ten works of Rembrandt of the Rovinsky

Mino Washi, Sekishu Washi, and Hosokawa Washi. These papers are prepared by traditional

Collection of the State Hermitage, using high resolution Keyence digital microscope.

handmade techniques and are highly valued for their quality and texture. By being registeredas intangible cultural heritage by UNESCO, these traditional techniques will be preserved tofuture generations.

It was found that Rembrandt really used Japanese Torinoko (Gampi) paper for his ten Copper
prints, at least. Here we show the results in the first time in Japanese for Japanese paper
researchers.

In this paper, we observed the microstructure of handmade washi samples made by traditional
methods using a high-performance digital microscope with an optical non-destructive method.
We clariﬁed the samples used and the measurement conditions to deepen the understandingof the materials and techniques used in washi production and to enable the reproducibility ofthe experiments even for non-specialist users of the measuring instruments. We showed an
example of the possibility of “visualizing” and “quantifying” the morphology of washi.

Measurement of Surface Roughness of Washi Paper Using a Digital Microscopeand Its Accuracy ･････････････････････････････････････････････････････････････････････････････Asuka YAMATO
Many digital microscopes in recent years have the ability to automatically focus on an
object of varying height by depth compositing to obtain an image with all parts in focus,
as well as to record three-dimensional image information in 3D. Various measurements
such as length (distance), volume, and surface roughness of arbitrary points can be easily
performed. However, despite its ease of use, depth composite methods require the selectionof various measurement conditions such as magniﬁcation, light source, and depth composite
measurement pitch, and the accuracy of the information obtained is expected to diﬀer for eachof these conditions. In this paper, we focus on the surface roughness measurement function of
the digital microscope and report the results of our veriﬁcation of appropriate measurement
conditions for roughness measurement using roughness standard specimens.

Ⅱ：Non-destructive analysis reveals art and classic books
Precise Microscopic Analysis of Japanese Torinoko Paper usued for Rembrandt
Copper Prints of The State Hermitage Collection

A Transdisciplinary Study of Da Qing Shengzu Ren (Kangxi) huang di shi lu:
Examining History by Paper Non-Destructive Analysis ････････････････････････ XU Xiaojie

Kangxi huang di shi lu ( 康熙帝實録 ) was edited from 1723 and completed in 1731. The Kangxi
huang di shi lu in the Toyo-Bunko collection is volumes 151-300 of the total of 300 volumes.
There are two versions of the manuscripts in the collection: Da Hongling Ben 大紅綾本(“thelarge red damask book”) which was stored in the Capital Archive (Huangshicheng 皇史宬);and the Ziling Ben 紫綾本(“the purple damask book”), which had been mended after 1901, atthe end of the Qing dynasty.
The paper used for Da Hongling Ben and Ziling Ben has been described as “Jingxian Bangzhi
涇県榜紙 ”(Top quality Xuan paper), but there is a suspicion that the type of paper used may
be diﬀerent. In order to clarify this question, due to the limitation of research based solely on
historical records, I used the Keyence VHX-7000 ultra-high precision digital microscope toobserve the surface of the paper, which allowed us to safely examine the raw materials used in
the paper of the manuscripts.
By the non-destructive method of examining the paper quality, we were able to clarify theappearance of the “Jingxian Bangzhi” as recorded in the literature. In addition, by going
beyond the limits of the textual information, and through non-destructive method, the paper
differences between the Da Hongling Ben and Ziling Ben were identified. The historicalbackground that gave rise to these diﬀerences was made more visible through the microscopic
world of paper quality and visual images. As described above, reconsidering history from thetwo angles of “text” and “objects” through the method of “the fusion of literature and science”
is extremely important for the new development of historical research.

Kazuyuki ENAMI, Yoshihiro OKADA, Elena SHISHKOVA, Roman GRIGORYEV

Scientific Study of paper used for Ukiyoe Pictures published in the Edo-era by
High-resolution Digital Microscope

It is well known among paper historians in Japan that Rembrandt used Japanese Torinoko
paper (Gampi paper) for his Copper prints. While no concrete results by Scientiﬁc analysis
of paper of those Copper prints directly had not been shown until our study “Encounter ofJapanese paper with Europeans. From Portuguese Jesuit Missionary to Rembrandt”, “ENAMI
Kazuyuki, SAKAMOTO Shoji, OKADA Yoshihiro, TOYOSHIMA Masayuki, ISHIZUKAHarumichi, Elena SHISHKOVA, Roman GRIGORYEV, IPH 2014 Congress Book, 2017,vol.20, pp. 111-123”,.

Ukiyoe is world collectorsʼ item today, but the price of an Ukiyoe picture in Edo era was very
cheap only 480~720 JPYen equivalent in todayʼs price level. It has been generally believedthat pure Kozo (Broussonetia kazinoki) paper “Hosho” (thick and sized by alum) had beenused for Ukiyoe printing, until now. However, to use higher price (400 JPYen or more/sheet;as above) “Hosho” paper was absurd. In addition, Ukiyoe was really Pop arts for ordinary
citizens and from the beginning of full colour Ukiyoe publishing Nishikie originated by

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Kazuyuki ENAMI, Yoshihiro OKADA, Satoru SATO

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Contents・Abstracts / 英文目次・英文要旨
Harunobu in the ﬁrst time in 1764 to 1880s, over 200 million sheets had been printed and gave
citizens pleasure to touch full colour Pop arts. To prepare such tremendous amount of “Hosho”

1,Problems Arising in Identifying Raw Materials Based on the Width of Plant Fibers and Their
Solutions:paper, or Nishinouchi Kozo paper and Iyo Kozo paper for not high quality Ukiyoe was reallyimpossible.
To give the answer to the question “What kind of paper was for Ukiyoe used really?” is theConventional data on plant ﬁber widths often exhibit signiﬁcant variations among diﬀerent
measurers. To address this issue, it becomes imperative to individually measure the fiber
width of each plant using modern Japanese paper as a standard sample and establish a basic
ledger as a reference. Additionally, we recommend incorporating the length of plant ﬁbers as
a supplementary criterion for identifying raw materials, following the methods employed inpaleography. As a precondition, it is essential to acknowledge the diﬃculty in identifying raw
materials solely based on the width of plant ﬁbers.

main purpose of the present study. We studied that paper used for around 100 works of
Ukiyoe published during 1680s to 1880s of artists, including Picture books, printed by Sumizuri (B&W ) of originators of Ukiyoe art, HISHIKAWA Moronobu, NISHIKAWA Sukenobu,
SUZUKI Harunobu, and Nishikie (full colour Ukiyoe:Nishikie) artists :KATSUKAWA
Shunko, Utamaro, Hokusai, Toyokuni 1st, Hiroshige, Kunisada(Toyokuni 3rd), Kuniyoshi,
Kiyochika, and others (all private collection of an author E.K.) were analysed using digital
microscope Keyence VHX-5000. It was found that paper used for all works analysed in thepresent study was mixed paper made from Kozo and Mitsumata (Edogeworthia papyrifera) or
rice straw ﬁbres, ﬁlled with rich amount of rice powder (not glue). Hereafter, we will show ourquite new results on paper used for Ukiyoe.

Classical Literature, Arts and Advanced Technology･･･････････････････････････････････････

Taketoshi HIBIYA, Shigeru SAWAYAMA, Asuka YAMATO

Rice starch granules had been historically recognized as sizing materials for Japanese washi,
so that high quality of writing and printing were assured. Conventionally a rice starch granuleon paper surface had been detected by observing its shape and size using a microscope.
The authors identiﬁed successfully an extinction cross of rice starch granules by polarizing
microscopy with the crossed Nicol condition using epi-illumination. An extinction cross canbe observed in a rice starch granule, because it shows a spherulite structure with opticallyuniaxial symmetry. This crystallographic structure is accompanied with birefringence. Using asensitive color board, rice starch granules are easily identiﬁed. The eﬀect of background color
on visibility for an extinction cross was discussed on a paper surface. In comparison to lightcolor of background, dark color background can suppress scattering of polarizing light andresults in better visibility. In recent years basic data of colorants used for woodblock prints has
been prepared and fulﬁlled. This would enhance scientiﬁc research on woodblock prints.

Ⅲ：Japanese Literature Research by Non-destructive Analysis
Challenges in Identifying Fragments as Origination from the Same Manuscript andHow to Address Them: Methodology for Paper Analysis Using High-Deﬁnition
Digital Microscope ･･･････････････････････････････････････････････････････････････････････ Kazuya FUNAMI
The primary issues and corresponding measures to address them are outlined in three main points.
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2,Challenges Arising from the Coexistence of Multiple Types of Plant Fibers and Plant Skin in
the Same Paper, and Their Resolution:
When identifying and asserting the presence of plant fibers from different species than the
primary plant ﬁbers that constitute the paper, it is crucial to provide a detailed explanation
supporting such a conclusion in written form. Furthermore, including a comparative image will
aid others in understanding the diﬀerentiation. Additionally, it is essential to clarify whether
the inclusion of plant fibers from different species was intentional or accidental during thepapermaking process. Since the method of distinction is not yet established, its development
becomes necessary. Moreover, if the presence of elements such as plant epidermis, besides
plant ﬁbers, is identiﬁed and one seeks to attribute it to the primary plant ﬁbers forming thepaper, it is imperative to explain and provide a representative sample image of the epidermis
for others' observation.
3,Accurately Describing the Shape of Plant Fibers:
The shape of plant ﬁbers varies between diﬀerent varieties. Utilizing 2D images and text alone
may not be suﬃcient to eﬀectively communicate the characteristics of plant ﬁbers to others.
To provide a comprehensive explanation of the plant ﬁber shape, it is recommended to include
data such as 3D images of plant ﬁbers and cross-sectional views of paper.

A Study of ʻMABOROSHIʼ of The Tale of Genji, said to have been written by
Fujiwara no Tameie―Research through paper quality investigation using highdefinition digital microscope, high-resolution scanner, and X-ray fluorescenceanalyzer･･･････････････････････････ Takashi YOKOI, Shigeru SAWAYAMA, Taketoshi HIBIYA
The manuscript of The Tale of Genji, said to have been written by Fujiwara no Tameie (11981275),is an old and important manuscript dating back to the middle of the Kamakura period.
However,only onevolume retains its originel form; all the others have been renovated and havebeen reduced to fragments. the restoration of the Tameie version is an important task for the
study of The Tale of Genji.
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Currently,manuscripts and fragments that can be confused with the Tameie manuscript are
intricate,and it is difficult to determine which is the genuine manuscript using cinventional
research methods.
In this article,we will verify whether the newly released material(the scroll 'MABOROSHI'
owned by Jissen Women's University) is the genuine Tameie version. We attempted to use
high-deﬁnition digital microscopes,high-deﬁnition scanners,and X-ray ﬂuorescence analyzer,
as a method to guarantee objectivity and reproducibility for veriﬁcation.The process of thatanalysis is reported here.

Myoyu, Uchigami, and the Myoyu version of The Tale of Genji, etc. ･････ Eiko UENO
Among the many manuscripts of the Tale of Genji, the “Myoyu-bon” is considered to be thesecond most important text after the “Fujiwara Teika's handwritten manuscript.”

In this article (1), I will ﬁrst introduce the person named Myoyu, who compiled the Myoyubon, and that he was a descendant of Fujiwara Teika and was from the Reizei family, which
specialized in waka poetry. He was active during the Sengoku-period. He was a monk of the“Jishu-Group”, which was all the rage at the time. And he taught waka and classical works to
Jishu's followers as a poetry expert.
In (2), the Myoyu-bon includes a volume that imitates “Fujiwara Teika's autograph” and a
volume (eight chapters) that imitates Teika's handwriting. I will discuss that the method of
copying Teika's handwriting was often practiced by Myoyu's father, Tamekazu Reizei, and that
the Myoyu version was likely inﬂuenced by this method.
Regarding (3), I will discuss the paper manufacturing technology at the time when the
Myoyu-bon was formed, especially the Uchigami technology. As paper-making methods had
progressed, Uchigami was no longer an essential task. However,I also mentioned that in thecase of high-quality paper, Uchigami was sometimes requested as a special order, and that
there were various cases in which Uchigami could be easily done at home.
In (4), I introduced the results of observing Myoyu-bon using a high-definition digital
microscope, along with images. I also reported that some had been beautifully Uchigamipaper, while others had no process at all, and that there were a variety of plants used as raw
materials for paper. In the case of The Tale of Genji, it is normal to use the same paper, but
in the case of Myoyu-bon, it seems that a large quantity of paper of the same quality was notavailable. I suggested that Myoyu may have created the Myoyu-bon using paper donated by
Jishu's followers.

Editorial postscript ･･････････････････････････････････････････････････････････････････････････････ Takashi YOKOI

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