- Rowley , M. 1992 . Kanji Pict-O-Graphix 7 Berkeley CA : Stone Bridge Press .
- Wood , F. 1995 . Did Marco Polo Go To China? 69 London : Secker & Warburg .
- Dresser , C. 1994 . Traditional Arts and Crafts of Japan 283 New York; London : Dover .
- 1985 . The Paper Conservator , 9 : 32 – 41 . For a description of several Japanese support papers, see Masuda, Katsuhiko, ‘Japanese paper and Hyogu’,-.For a history and description of silks used as painting supports, see Winter, J., ‘Paints and supports in Far Eastern pictorial art’, The Paper Conservator 9 (1985): 24–25
- Nikawa solution was made from sanzebon (dried glue sticks). This is a high quality form of nikawa made with cow or horse hide only (no bones etc.) to about 6% w/v with water, but was reduced by at least half with more added water, dependent on the paper or silk and the type of work to be carried out. Nikawa came in many grades, the best being the least refined and without additives
- Animal proteins are composed of chains of amino-acids, containing both acid and basic functional groups and are, therefore, amphoteric, that is substances that can behave both as acids and bases
- Masschelein-Kleiner , L. 1985 . Ancient Binding Media, Varnislies and Adhesives Edited by: Bridgland , J. , Walston , S. and Werner , A. E. Rome : International Centre for the Study and the Restoration of Cultural Property . trans, by (66
- Winter 26
- Koyano , M. 1979 . Japanese Scroll Paintings 48 – 74 . Washington, DC : American Institute for Conservation .
- Winter 29
- Tsugiyoshi , D. 1977 . Momoyama Decorative Painting Edited by: Crawford , E. B. New York : Weatherhill . trans, by (40
- Binyon , L. 1908 . Painting in the Par East: An Introduction to the History of Pictorial Art in Asia, Especially China and Japan 14 New York; London : Dover .
- Le Comte , L. D. Memoirs and Observations…Made in a Late journey Through the Empire of China 185 – 189 . 2nd ed. (Dublin: Archbishop Marsh's Library, 1698)
- Nishio , Y. 1987 . ‘Pigments used in Japanese paintings’ . The Paper Conservator , 11 : 39
- Daniels , V. , Donnithome , A. and Smith , P. , eds. Works of Art on Paper, Books, Documents and Photographs London : International Institute for Conservation of Historic and Artistic Works . In this article I will not address every pigment used, for a comprehensive list see Grantham, S., ‘Japanese painted paper screens: Manufacturing materials and techniques’, eds. (2002) 86
- Nishio 45
- ‘Lake’, a name applied to any pigment made by precipitating organic colouring matter or dye on a base or substrate which was usually an insoluble, finely divided, semi-transparent, inert inorganic material such as aluminium hydroxide (alumina), calcium sulphate, barium sulphate, China clay or gofun—known as colour striking. The dye can be present as a staining agent or in the form of a complex with the base. Natural and synthetic lakes are most usually produced using the ‘one stage process’, precipitating the base and combining it with the dye
- Philip , Meredith , ed. Higashiyama Kaii Conservator of Japanese Paintings, Department of Asian Conservation (AIM), Museum of Fine Arts, Boston, personal communication, 2006
- Meredith
The Paper Conservator
Volume 30, 2006 - Issue 1