“Nihonga” (Japanese-style paintings) have continued to evolve for over one thousand years. However, the technique of mixing natural mineral pigments (“tennen iwa-enogu”) with animal glue, which is central to the tradition, has remained unchanged. Materials, such as “sumi” ink, wood, silk, and paper, also continue to be used. Moreover, even metals are used in nihonga and render a unique world of sublime beauty. Although it is possible to make various colors artificially today, historically, colors that could not be found in mineral pigments were derived from natural vegetable dyes.
Nihonga have been executed since old times on such materials as rock surface, earthen walls, wood, linen, silk, and paper, on which it is possible to stabilize pigments by using animal glue. The materials that function as support for paintings and painting techniques are closely related and have developed together.

Paintings made for framing are often different from ones made for kakejiku, in how the artist applies iwa-enogu (mineral pigments). Iwa-enogu are often applied heavily to paintings for framing, so they can’t be mounted in kakejiku. This is because they may be damaged if we roll them up. Recently, a “futomaki” (roller clamp) is sometimes used to prevent it. It is a large roller rod used to cover the already-attached roller rod, when rolling a kakejiku. By making the diameter of the roller rod bigger, creasing, distortion, and other forms of tension on the main work can be prevented. However, there is a limit to the effect of a futomaki, so the pigments in kakejiku paintings are usually applied lightly.