History, uses, and conservation of gofun in nihonga painting: an interdisciplinary analysis

DOI: https://doi.org/10.5209/aris.100593
Keywords: gofun, nihonga, conservation, japanese aesthetics, traditional materials
Agencies: This work was financially supported by the “Conservation and Research Center” of Cheng Shiu University (CSU) from The Featured Areas Research Center Program within the framework of the Higher Education Sprout Project by the Ministry of Education (MOE) in Taiwan.

Abstract

Nihonga painting, shaped by Chinese, Buddhist and courtly influences, underwent a transformation after the Westernisation driven by the Meiji restoration and the period of decline following World War II. This process allowed for the integration of Western aspects into traditional elements, giving rise to a unique expression that encapsulates the essence of Japanese identity through this artistic form. In this context, gofun, an essential white pigment, played a crucial role in the historic evolution of nihonga. Gofun is classified by its purity and refinement. Its preparation requires meticulous technical precision, once considered a secret formula. However, preserving gofun poses significant challenges in terms of adverse environmental conditions such as dampness and acidity, among others.

The pigment not only reflects Japanese cultural heritage, it also shows how artistic materials are profoundly linked to their conservation. Detailed study of artistic materials such as gofun provides deeper technical knowledge while raising awareness of the need to protect these works from future risks, thereby contributing to the preservation of artistic and cultural heritage.

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Author Biographies

Wanting Yang, Universidad Cheng Shiu

Graduated in 2015 with the Outstanding Academic Achievement Award in Fine Arts from TungHai University, Taiwan, specializing in nihonga (traditional Japanese painting). In 2018, she earned a Master’s in Art: Idea and Production from the University of Seville, focusing on the intersection of traditional and contemporary artistic practices. In 2023, she completed her PhD with honors (cum laude) at the Complutense University of Madrid, with a dissertation on materials and techniques in contemporary Japanese art.
Currently, she is a researcher in the Chemical Analysis Department at the Conservation Center of Cheng Shiu University, Taiwan, where she focuses on the study and preservation of artworks. Her academic training is complemented by various specialized courses and workshops, as well as active participation in exhibitions, conferences, and scientific publications.
Her research interests include mineral pigments in nihonga, the conservation of contemporary Japanese painting, the preservation of metal leaf in artworks, and the integration of traditional materials with modern methodologies and technologies. She is dedicated to the preservation and study of cultural heritage, bridging traditional art forms with innovative conservation practices.

Icheng Li, Universidad Cheng Shiu

During his doctoral studies in Spain, he contributed to the establishment of the Conservation Center at Cheng Shiu University. This center created a specialized department focused on the conservation and restoration of oil paintings, wood, paper, and objects, achieving international certifications and promoting the motto "Advancing craftsmanship with science and engineering." Under his leadership, an interdisciplinary team of nearly 50 members has managed industry-academia collaboration projects with funding exceeding 170 million New Taiwan dollars. These efforts have resulted in multiple patents and recognition through international invention awards, solidifying the center's role in the preservation of tangible cultural heritage.

Collaborations with the university's science and engineering departments have enabled the integration of national cultural heritage restoration and the promotion of outcomes in artistic institutions. Over the past decade, the center has led high-level academic research, organized international seminars, and strengthened exchanges with the global academic community, establishing itself as a benchmark in cultural conservation and restoration.

Chunshan Tai, Universidad Cheng Shiu

A graduate of the Institute of Cultural Relics Conservation and Museology at Tainan National University of the Arts, she is currently the head of the Oriental Paper Team at the Conservation and Research Center of Cheng Shiu University in Taiwan and a full-time assistant professor in the Master's Program in Cultural and Creative Design and Art Conservation.

Specializing in the restoration and conservation of oriental paper artifacts, she has extensive experience in restoring works created with ink, gouache, calligraphy, and other artistic techniques. Additionally, she has worked on the preservation and exhibition of paper-based works using various traditional mounting techniques, such as hanging scrolls, hand scrolls, and albums.

At the same time, she has devoted consistent efforts to teaching, guiding her students in the study of new conservation materials, and promoting innovation in the field of restoration.

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Published
2025-07-03
How to Cite
Yang W., Li I. y Tai C. (2025). History, uses, and conservation of gofun in nihonga painting: an interdisciplinary analysis. Arte, Individuo y Sociedad, 37(3), 581-596. https://doi.org/10.5209/aris.100593
Issue
Vol. 37 No. 3 (2025)
Section
Articles

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