日本画とは(その1 )では、日本画様式について、かなり強引なくくり方をしましたが、今回は、もうひとつの重要な枠組みとなる、膠や顔料などの画材です。
画材（素材）の違いから日本画を捉えている方は多く、私自身も明礬ドーサと膠の組み合わせが
日本画という考えを、今でも持っています。
日本画の画材は、岩絵具(天然/鉱石、新岩/人口鉱石、合成/方解末 等)、水干絵具(胡粉を含む)をはじめ、墨、染料、貝殻、虫、などから作られた絵具で特殊な材料が多いのも、画材の虜になってしまう要因の１つと考える。それ故、伝統工芸的＝職人的な技術と繋がる事も頷ける。
また基底材も特殊で、絹本/ 絹、麻紙 (雲肌麻紙、高知麻紙、白麻紙、美濃紙 等）がある。
令和の時代に、アナログ的な部分を多く持つ画材だが、数百年前から使用されている魅力的な素材
であることは確かである。
世界に通用する絵画をと明治期に「日本画」という言葉と共に再生され、結果的にはそれ以前の絵画（琳派、狩野派、円山派 等）が世界の人々を魅了し続け、現代ではサブカルチャー的な要素も加わり、日本画（日本）のイメージが形成されてきている。
「日本画とは」その頃から常に複雑な文脈があり、ハッキリと「これが日本画である」というのはかなり難しい。
そして様式と画材で分けたことにおいても、今回改めて考察したことで限界も感じた。
日本画の画材は、決して扱いやすいものではなく、その技法を自分の作品に自由に使える迄には、
情熱と時間そして根気も必要である。
それが時代と共に変化しながらも繋がっていることは、日本画の様式や画材が,日本の風土や日本人の美意識、そして精神性にも合っているからなのかもしれない。
In "What is Nihonga (No.1 )," I made a rather aggressive distinction between the different styles of Nihonga.
Many people consider Japanese-style painting based on the difference in painting materials, and I myself still hold the view that the combination of alumina dosa and glue is Japanese-style painting.
I myself still hold the view that the combination of alum dosa and glue is a Japanese-style painting.
I believe that one of the reasons why people are captivated by painting materials is that Japanese painting materials include rock paints (natural/ore, new rocks/populated ores, synthetic/calcite, etc.), suihi paints (including gofun), ink, dyes, shells, insects, etc., and many other special materials. It is no wonder that this is connected to the traditional craftsmanship of artisans.
The base material is also special and includes silk, silk stock, and hemp paper (kumohada hemp paper, Kochi hemp paper, white hemp paper, Mino paper, etc.).
In the age of the 2025's, these materials have many analog aspects, but they are certainly fascinating materials that have been used for several hundred years.
It is certain that it is a fascinating material that has been used for hundreds of years.
The term "nihonga" was coined during the Meiji period (1868-1912) in an effort to create world-class paintings, and as a result, paintings from earlier schools (Rimpa school, Kano school, Maruyama school, etc.) have continued to attract people from around the world.
Japanese painting has always had a complex context since that time, and it is quite difficult to clearly define "this is Japanese painting.
And even in the division into style and painting materials, this renewed examination has made me aware of its limitations.
The materials used for Japanese painting are not easy to handle, and it takes passion, time, and patience to be able to use these techniques freely in one's own work,
It takes passion, time, and perseverance to be able to use these techniques freely in one's own work.
The fact that Japanese painting styles and materials have remained connected with the times, while changing with the times, maybe because they are suited to the climate of Japan, the aesthetic sense of the Japanese people, and their spirituality.