Furthermore, if combined with single-point spectroscopic analytical methods, this technique can give reliable results in terms of identifying inorganic pigments and, to some extent, organic dyes. Multispectral imaging has been used several times to study Japanese woodblock prints, providing useful information on the distribution of painting materials. As a consequence, imaging and spectroscopic techniques are the most adopted. As far as we know, only a few studies involving destructive techniques have been reported, namely liquid chromatography with mass spectrometry (HPLC-MS) and surface-enhanced Raman spectroscopy (SERS). Since the risk of damaging the appearance of this type of objects can be very high, they are considered too fragile to allow sampling and non-invasive techniques are preferred for their investigation. Several scientific methods have been proposed in the literature for studying the materials of Japanese woodblock prints. The pressure applied by the baren ensured that the texture of the fabric was embossed throughout that specific shape. The Nunomezuri technique required, instead, a piece of fabric glued to a woodblock carved shape. They both gave to ukiyo-e prints three-dimensional details, but in the case of kimedashi, the paper was pushed down into the carved spaces of the block with a tool different from the traditional circular pad, known as a baren, so that the embossed texture appeared more convex and less deep. The karazuri and the kimedashi employed separate woodblocks, cut in the shape required for the blind-printed impression. Ukiyo-e prints were indeed enriched by special effects such as gradations ( bokashi techniques) or embossing ( karazuri, kimedashi and nunomezuri techniques). The image obtained, at the end of the entire printing process, was the consequence of multiple impressions of a set of blocks to one single sheet of paper. Each block (color) could be printed in more than one impression, in order to reach a more and more saturated result. Their combination could also imply the use of different materials with the same hue. To achieve the desired tone, these traditional inks were sometimes mixed and/or overprinted on each other. ![]() RTI data were further processed to enhance the texture visualization. The materials identified were completely in agreement with those traditionally used in the Edo period in the 19th century, while the computational imaging technique RTI gave an additional amount of information in terms of surface characterization that could not be overlooked when studying these works of art. The results obtained represent a set of very important information for these never-before-studied works of art, useful to the different professionals involved: historians, conservators and curators. ![]() Then fiber optics reflectance spectroscopy (FORS), spectrofluorimetry, Raman and reflectance Fourier-transform infrared (FTIR) spectroscopies were successfully applied in synergy for the investigation of the printing materials (pigments, binders, support). The campaign started with high resolution multiband imaging (visible, multiband fluorescence, near infrared) followed by reflectance transformation imaging (RTI) to characterize and highlight the peculiar printing techniques and the condition of the support. Chiossone” (Genoa, Italy), was performed in situ. In the present work, a complete non-invasive scientific investigation of six Utagawa Kunisada’s woodblock prints ( nishiki-e) belonging to the Oriental Art Museum “E.
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