在下一階段-主塊的準備（omohan） -雕刻師，雕刻師將參與這項工作。 The drawing would be pasted face downwards (Photo1) onto the pre-prepared block of mountain-cherry wood (yamazakura ) of the necessarysize.繪圖將被向下貼面（圖1）到所需的大小的山桃木（ 山櫻 ）的事先準備好的塊。All thelines would be clearly visible but in a mirror image of the drawing(Photo 2).所有的線將是清楚的（圖2）可見，但在該圖的鏡像。 The carver would mark off areas in black with hiscontour knife, cutting along the lines of the drawing with theutmost precision (Photo3).卡佛將標誌着關區以黑色與他的輪廓刀，沿圖中的線條與最高精度（照片3）切割。 All areas, which were to remain without colour orto be printed in other colours, were gouged out with specialcutting tools of varyingthicknesses.所有區域，這是保持沒有顏色或印在其他顏色，被挖出了不同厚度的專用切割工具。
從最初的離版畫藝術家是能夠區分其中將用於的表的其他部分顏色。 On the basis of the off-print made from the keyblock, the remaining ones ( kyōgōsuri ) would becarved.在關斷打印從密鑰塊製成的基礎上，其餘的（kyōgōsuri）將被雕刻。For eachcolour a separate block would then be carved as required (Photo4).每種顏色的要求（照片4）單獨的塊然後將雕刻。 On the basis of the marks provided by the artistthe carvers would make a separate block for eachcolour.由藝術家提供的商標為基礎的雕刻師會為每個顏色單獨的塊。 So-called 'guide marks' ( kentō),所謂的“引導標誌”（ 賢人 ），
被切出每塊上，並在字母“L”（照片5）被塑造，從而在打印過程中解決的紙頁的位置的形式，每塊小壁架的底部角落。Thisensured that the colours printed subsequently would be in exactlythe right place on eachoff-print.這確保了隨後打印的顏色是完全相同的每個關閉打印正確的地方。
In the'studio' system for the production of prints there existed narrowspecialization among the carvers, which testified to the individualcraftsman's particularskill.在“工作室”體系，為生產打印存在着狹隘的專門化的雕刻，這證明了個體工匠的特殊技能之一。Cutter-engravers belonged to one of threecategories: kashirabori – skilled craftsmen of the highestgrade who specialized in depicting faces, hair-styles and so on,dobori who cut the less difficult lines of bodies andcostumes and finally hanchiya , the apprenticeblock-carvers.切割機-雕刻屬於以下三類：kashirabori-最高等級誰專門描繪的面孔，髮型的樣式等等，dobori誰砍的身體和服裝的後難行，最後hanchiya，學徒塊的熟練技工雕刻師。
當一切都完成後，一套適當的準備塊被髮送到打印機，誰應用的顏色給每個塊（圖6）。
Afterthat a craftsman placed paper onto each of the carved blocks (Photo7) and made off-prints by hand or with help of a specialdisk-shaped and flat-bottomed tool known as a baren (Photo8).之後，工匠紙放置到每個刻塊（圖7），並提出了印痕用手或用被稱為巴倫（圖片8）一個特殊的圓盤狀和平底工具的幫助。 The colours for making the prints were of mineralor vegetable origin on a water base, to which rice paste and gluemade from rabbit hide were added to bind themtogether.顏色用於使印刷物的礦物或植物來源的一個水基中，向其中米糊和膠水從兔子皮製成加入到結合在一起。Thewashi , or Japanese paper, on which the prints werecreated was hand-made, long-fibred and thicker than the paper onwhich the original drawing and preliminary off-print had beenmade.在和紙，或者日本紙，其上創建了版畫是手工製作的，長纖和比其原來的圖紙和初步脱離印刷已經取得了紙張較厚。Itcontained processed pulp from the paper mulberry ( kōzo ),vegetable sizing, lime and ground shells, which lent the paperadditional whiteness.它包含了從紙張桑（ 康藏），蔬菜上漿，石灰和地面炮彈，其中借給了另外的紙張白度紙漿處理。 Many different kinds of washi paperexisted: for ordinary prints paper of a lower quality was used madefrom Japanese spindle – masa , which also containedtextile fibre ( ramie ) obtained from wild nettles, whilefor specially commissioned prints thick paper of higher quality -hoshogami – was used which only contained kōzopulp.許多不同種類的和紙存在：為質量較低的普通打印紙使用日本製造的主軸- 馬薩，其中還包含來自野生蕁麻取得的紡織纖維（ 苧麻 ），而特意委託印刷質量更高的厚紙-hoshogami -使用只包含小僧漿。
It wasthe tradition to make up to 200 prints of each composition, but anedition could be extended, if the first series soldwell.這是傳統補至200的打印各組合物的，但一個版本可以被擴展，如果第一系列暢銷。Ifnecessary, worn down lines on the blocks could be modified and madesharper.如果有必要，對塊磨損線可能會被修改，並提出尖鋭。
Thepublisher had overall control of the whole process involved in thecreation of a woodblock print – from the drawing and subsequentproduction to sales and distribution.出版商曾參與創建的木版印刷的全過程的整體控制- 從圖紙和後續生產到銷售及分銷。
Thetechnique was based on precision and strict linear execution of thedesign, which did not allow for any blurred brush-strokes, such aswould be found inpainting.該技術是基於精確度和設計的嚴格線性的執行，這也不允許任何模糊的筆觸，如將畫中找到。Thetraditional nature of the artistic language, the conditionsdictated by the technique of woodblock printing and the 'studio'process, involving the division of labour between various stages,together ensured a coherent artistic logic of line, colour zonesanddecoration.藝術語言的傳統性質，由雕版印刷和“工作室”過程的技術，涉及各個階段之間的分工，共同決定的條件，確保線條，色彩地帶和裝飾的連貫藝術邏輯。
木版印刷或打印的使用木塊的技術，同時為佛教的傳播作出了方式，從中國到日本在7 世紀 。Printsof this kind were used for making black-and-white prints withdepictions of various Buddhist saints and for illustratingsutratexts.這種版畫被用於製作黑色和白色打印各種佛教聖徒的描寫和説明佛經文本。
Theartist, carver and printer all had a part to play in the creationof polychrome Japanese color woodblockprints.藝術家，雕工和打印機都有一個參與創作彩瓷日本色木刻版畫的發揮。 Another important role was that of the publisher,who would study demand and decide on the number of prints to bemade for eachedition.另一個重要作用是，出版者，誰也學習需求，並決定打印每個版本作出的數目。Often itwas precisely he who determined the subject of a print orinfluenced the nature of an issue to be published, inviting aparticular artist, carver or printer to carry out thework.往往也正是他誰決定的打印主題或影響的問題要發佈的性質，邀請特定藝術家，雕工或打印機來開展工作。
Thecreation of a woodblock print would begin with the artist making apreparatory drawing ( shita-e ) with a brush and black inkon thin paper.的版畫創作將開始與藝術家製作的籌備圖紙（山下-E）用刷子和黑色墨水在薄紙上。 The sketch would be modified by its author manytimes, approved by the publisher and later by the censor aswell.草圖會被它的作者修改了很多次，批准發行，後來被御史為好。 Thedefinitive version of the composition would then be executed sothat it could be copied onto a block already bearing the publisherseal and the censor mark and signed by the author (hanshita-e).該組合物的最終版本將隨後被執行，以便它可以被複制到已經承載出版商密封和御史標誌塊和由作者（hanshita-E）簽署。
夢想與現實之間的磨合讓我讀懂很多生活的語言，風雖改變了方向，卻沒有改變我的行程-----
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