Search Results (7)

This article concerns nōsatsu, also known in Japanese as senjafuda and generally known as “votive slips” in English. Nōsatsu emerged in the 18th century out of popular practices related to pilgrimage in the city of Edo. Nōsatsu practitioners who visited Buddhist temples or Shinto shrines would paste votive slips on walls or other surfaces in the belief that the pasted slip would function as a proxy for the pilgrim, continuing in prayer vigil after the pilgrim had left. Practitioners persisted in their pasting activities in the face of opposition from temples and shrines. Later, nōsatsu evolved into full-color pictorial woodblock prints meant for exchanging and collecting, rather than pasting, but the early history of pilgrimage, proxy devotion, and institutional resistance remained in both the memories of the practitioners and the iconography of the slips themselves. Through close visual analysis of several slips depicting Buddhist themes, this article will describe the attitude of transgressive devotion that characterizes nōsatsu culture. Full article

Ten ukiyo-e woodblock prints from the collection of the Museo delle Culture in Lugano (Switzerland) were analyzed to identify the materials used in their production. These Japanese artworks were traditionally created with colors derived from minerals and plants, mixed with diluted animal glue and applied to paper using wooden matrices. Due to their fragility, non-invasive external reflection infrared spectroscopy and imaging analysis were employed. Spectral data were compared with reference samples of Japanese pigments and existing literature, reflecting the growing interest in the characterization of ukiyo-e prints. Within the limits of the non-invasive approach, several colorants were identified, including akane (madder), suo (sappanwood), yamahaji (Japanese sumac), kariyasu (Eulalia), and kio (orpiment), along with a proteinaceous binding medium. The extensive use of bero-ai (Prussian blue), applied both as a pure pigment and in mixtures, was confirmed. Notably, mica was detected in the background of one print, providing the first analytical evidence of the kirazuri decorative technique, which produces a sparkling, silver-like effect. Ultraviolet-induced fluorescence imaging further contributed to the assessment of conservation status, revealing faded decorative motifs and signs of previous water damage. Full article

This paper examines the Nanatsu-dera manuscript of the Dafangguang Rulai Xingqi Weimizang Jing (RXWJ) through the lens of scribal practices, with a focus on variant characters (yitizi, 異體字) and textual transmission. As a “separately produced scripture” (bie sheng jing, 別生經), the RXWJ was not included in the woodblock-printed editions of the Chinese Buddhist canon, which limited its circulation and made manuscript copies—such as the Nanatsu-dera manuscript—critical for reconstructing its textual evolution, transmission, and scribal modifications. A detailed paleographic investigation reveals scribal variants, orthographic fluidity, and phonetic substitutions, illustrating both intentional adaptations and unintentional errors in textual transmission. Comparative analysis with Dunhuang fragments and the Taishō Canon further contextualizes these variations, shedding light on the interpretive challenges scribes and readers face. The findings suggest that the Nanatsu-dera manuscript underwent three stages of transmission: (1) it originated from the Fifty-Fascicle edition circulating in China, (2) it was used as a base text (diben, 底本) for manuscript copying in Japan, and (3) it was subsequently re-copied and preliminarily collated by Japanese scribes. By tracing scribal variants and textual transmission through a paleographic approach, this research underscores the critical role of manuscript culture in preserving texts outside the canonical tradition, offering new insights into the mechanisms of Buddhist textual transmission and adaptation in medieval East Asia. Full article

This work examines variations in Utagawa Hiroshige’s “The Plum Garden at Kameido” by studying 82 surviving impressions of the print. Through comparative analysis, differences were observed across printings, driven by changes in woodblocks, block wear, colourants and printing techniques. Four distinct printing ‘states’ were identified, reflecting evolving production methods and adaptations to meet commercial demands, but also woodblock wear. Early impressions preserve Hiroshige’s artistic intent more faithfully, featuring intricate printing effects, a greater number of printing steps and minimal block wear. Later states demonstrate alterations to colour schemes, reduced printing complexity, printing misalignment and woodblock anomalies, highlighting the pressures of mass production and publisher-driven decisions. Evidence of fading was observed in several impressions, indicating the original colours would have been more vibrant. This research underscores the importance of detailed analysis in understanding the material and artistic evolution of Japanese ukiyo-e prints. It offers new insights into the publication chronology of “The Plum Garden at Kameido” and calls for further studies to explore the technological, artistic and commercial factors shaping ukiyo-e printmaking. Few in-depth investigations exist that have explored the evolution of specific designs over time. Full article

Color fading naturally occurs with time under light illumination. It is triggered by the high photon energy of light. The rate of color fading and darkening depends on the substance, lighting condition, and storage conditions. Color fading is only observed after some time has passed. The current color of objects of interest can only be compared with old photographs or the observer’s perception at the time of reference. Color fading and color darkening rates between two or more points in time in the past can only be determined using photographic images from the past. For objective characterization of color difference between two or more different times, quantification of color in either digital or printed photographs is required. A newly developed image analysis and comparison software (PicMan) has been used for color quantification and pixel-by-pixel color difference mapping in this study. Images of two copies of Japanese wood-block prints with and without color fading have been selected for the exemplary study of quantitative characterization of color fading and color darkening. The fading occurred during a long period of exposure to light. Pixel-by-pixel, line-by-line, and area-by-area comparisons of color fading and darkening between two images were very effective in quantifying color change and visualization of the phenomena. RGB, HSV, CIE L*a*b* values between images and their differences of a single pixel to areas of interest in any shape can be quantified. Color fading and darkening analysis results were presented in numerical, graphical, and image formats for completeness. All formats have their own advantages and disadvantages over the other formats in terms of data size, complexity, readability, and communication among parties of interest. This paper demonstrates various display options for color analysis, a summary of color fading, or color difference among images of interest for practical artistic, cultural heritage conservation, and museum applications. Color simulation for various moments in time was proposed and demonstrated by interpolation or extrapolation of color change between images, with and without color fading, using PicMan. The degree of color fading and color darkening over the various moments in time (past and future) can be simulated and visualized for decision-making in public display, storage, and restoration planning. Full article

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. Chiossone” (Genoa, Italy), was performed in situ. 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. 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 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. 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. RTI data were further processed to enhance the texture visualization. Full article

Examining how insects are represented in artwork can provide insight into people’s perceptions and attitudes towards arthropods, as well as document human–insect interactions and how they change through time. Fireflies are well-known bioluminescent beetles (Coleoptera: Lampyridae) of great cultural significance, especially in Japan. A selection of online museum collections, art databases, and dealer websites were used to find artwork featuring fireflies, with an emphasis on Japanese ukiyo-e wood block prints from the Edo, Meiji, and Taishō time periods (1600–1926). Quotes from early twentieth century texts were used to provide additional historical context. Over 90 different artists created artwork featuring fireflies, including several renowned masters. Artists depicted adult fireflies in a variety of ways (e.g., relatively accurately, more generalized, symbolic or abstract, yellowish dots) in the absence and presence of people. Most images were set outdoors during the evening near water, and primarily featured women and children, groups of women, and large parties catching fireflies or observing caged fireflies. ‘Beauties’, geisha, courtesans, kabuki actors, and insect vendors were also common subjects. Various types of collecting tools and a diversity of cages were featured, as well as insect vendors. The artwork highlights the complex connections between fireflies and humans. Insect-related art can contribute to education and conservation efforts, particularly for dynamic insects such as fireflies that are facing global population declines. Full article