This paper discusses the use of a small ultraportable hyperspectral camera in the VIS-NIR (Visible-Near Infrared) range for archaeological fieldwork and its hardware, data processing workflows, and spectral information that can be used for in situ screening. Hyperspectral imaging is a widespread, non-destructive analytical technique used in various disciplines for highlighting invisible patterns and mapping the spectral signatures of selected targets. In archaeology, it has mostly been applied for remote sensing satellite imagery to uncover information about features that are hidden underground. Targeted applications of hyperspectral imaging have been developed in the last few years, opening new perspectives for material analysis based on spectral mapping. Recent advances in portable instrumentation have led to the development of small and rugged cameras that can be used directly in the field for investigating different materials.

Feathers and featherworks are a traditionally less studied area within cultural heritage and offer a diverse range of coloring mechanisms, as the color can originate from pigments, structural colorants, or a combination of the two. In this study, a set of objects fabricated via tian-tsui, a craft utilizing kingfisher feathers to create complex designs, was investigated using a multianalytical approach that aided in material characterization and identification, ranging from adhesive and gilding materials to bird species and pigments. Notably, this work includes the first analysis and characterization of feathers and structural colorants using hyperspectral imaging techniques. By integrating spectroscopic and imaging methodologies, we show how a multimodal approach can reveal complex hybrid color systems and establish a framework for studying light–material interactions in organic and inorganic composites, highlighting the importance of understanding feather colorant properties to generate a comprehensive examination of objects’ materiality. Furthermore, the concepts explored provide new insights into the development of methodologies for systematically investigating featherworks and into how biological nanostructures contribute to color, advancing nondestructive strategies for heritage science and broader applications across materials science fields such as photonics, optics, and biomimetic design.

When one approaches the subject of 18th century colours, the common thought is immediately oriented towards pastel or even dull colours. Tapestries from this period are no exception to the rule.