Most people who buy a work on paper do not think much about the paper itself. They look at the image, the ink, the composition. But the paper is doing a lot of work. It absorbs differently, ages differently, and responds to humidity and light in ways that affect how the work looks over decades. For artists working in ink and pigment in Japan, the choice of paper is not a background decision.
How washi is made ¶
Traditional washi is made from the inner bark of the kozo, mitsumata, or gampi plant. The bark is cooked, beaten into a pulp, and then formed into sheets by hand using a bamboo screen suspended in water. The fibres in handmade washi are long and randomly oriented, which gives the paper its characteristic strength and flexibility. A sheet of good kozo washi can be folded hundreds of times without tearing. Machine-made paper, which uses short wood-pulp fibres, cannot do that.
How it behaves with ink and pigment ¶
Handmade washi absorbs ink differently depending on the sizing applied during manufacture. Unsized washi, called nama-shi, absorbs ink immediately and produces soft, feathered edges. Sized washi, treated with a solution of konnyaku or alum, resists the ink slightly and allows for sharper lines and more control. Artists choose between these properties deliberately. Yuki Tanabe, whose washi works Cedar Blend Line has shown, uses Echizen washi from Fukui Prefecture with a light konnyaku sizing that gives her ink lines a slight resistance she describes as 'the paper pushing back'.
Longevity and care ¶
Washi made from kozo fibres is among the most stable paper materials available. The fibres are naturally slightly alkaline, which resists the acid degradation that yellows and brittles Western wood-pulp papers over time. Works on good washi, stored away from direct light and in stable humidity, can remain in excellent condition for several hundred years. The main risks are UV light, which fades pigments, and moisture, which can cause cockling and mould. Frame with UV-filtering glass and keep away from exterior walls.
What to ask when buying a work on paper ¶
Ask the gallery what paper the artist used and where it came from. A specific answer, such as 'Echizen kozo washi from Imadate-cho in Fukui' or 'Tosa washi from Ino-cho', tells you the artist made a deliberate choice. A vague answer, such as 'Japanese paper', tells you less. Also ask whether the work is framed with UV-filtering glass and whether the mount is acid-free. These details affect how the work ages and are worth knowing before you hang it.
Several works currently available at Cedar Blend Line are on handmade washi. If you want to see the paper up close before deciding, come in during open hours or arrange a private viewing. We are happy to show you the back of the work as well as the front.