Light-ageing characteristics of Māori textiles: Colour, strength and molecular change

Lowe, Bronwyn; Smith, Catherine A.; Fraser‐Miller, Sara J.; Paterson, Rachel A.; Daroux, F.Y.; Ngarimu-Cameron, Roka; Ford, Bruce; Gordon, Keith C.

doi:10.1016/j.culher.2016.11.012

Cited by 15 publications

(8 citation statements)

References 12 publications

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“…Comparisons among non-dyed muka and paru-dyed muka indicate that the initial dye process itself reduces the tensile properties of muka prior to any artificial ageing occurring. This finding is in agreement with previous research (Lowe et al, 2016), and may be relevant to decisions related to the display of artefacts constructed entirely from non-dyed or tanekaha-dyed muka compared with paru-dyed muka (Lowe et al 2014). Current general display guidelines for sensitive artefacts (i.e.…”

Section: Tensile Propertiessupporting

confidence: 92%

“…These results suggest that both paru dye in general, and sodium alginate itself were generally stable to extended periods of light exposure. These results also indicate that both non-dyed and parudyed muka colour is substantially more stable in UVfiltered light than previously recognised (Lowe et al 2016) thus potentially warranting a re-classification of artefacts made from paru-dyed muka to an 'intermediate' category for light sensitivity (e.g. artefacts that perceptibly fade with 0.4-3.6 MLux hours: sensitive, 10-100 Mlux hours: intermediate; Victoria and Albert Museum, London, United Kingdom (Derbyshire and Ashley-Smith 1999;Ashley-Smith, Derbyshire, and Pretzel 2002).…”

Section: Colour Changesupporting

confidence: 69%

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Consolidation of Black-dyed Māori Textile Artefacts: Evaluating the Efficacy of Sodium Alginate

Smith

Paterson

Lowe

et al. 2016

Studies in Conservation

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Black-dyed artefacts are found in museums worldwide, many produced using an irontannate compound. Deterioration of iron-tannate dyed artefacts is an international preservation issue: in New Zealand the deterioration of paru (iron-tannate) dyed Māori textiles is widespread. This article reports experimental work testing the efficacy of sodium alginate, a consolidant developed for deteriorated paru-dyed muka (fibre from harakeke; Phormium tenax). The colour stability, strength retention, and acidity of paru-dyed muka consolidated with sodium alginate (0.25, 0.5, and 1% w/v in water) was tested pre-and post-artificial light ageing. This study found that sodium alginate had no negative effect on paru-dyed muka and in some cases provided benefit. Interestingly, the colour of parudyed muka is substantially more stable in UV-filtered light than previously recognised. Also microfading results were in agreement with visual assessments of colour change at 1 Mlux hour exposure, providing confidence in this relatively new technique to assess colour change.

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Section: Tensile Propertiessupporting

confidence: 92%

Section: Colour Changesupporting

confidence: 69%

Consolidation of Black-dyed Māori Textile Artefacts: Evaluating the Efficacy of Sodium Alginate

Smith

Paterson

Lowe

et al. 2016

Studies in Conservation

Self Cite

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show abstract

“…Buildings with plenty of daylight positively influence occupants' well-being in an indoor environment. However, in ancient and historical heritage buildings light exposition must be reduced as much as possible to maintain sufficient visibility but minimize damage of light-sensitive materials [33,34]. It appears reasonable that historical monuments and architecturally valuable interiors should have a controlled daylighting strategy [35].…”

Section: Discussionmentioning

confidence: 99%

Analysis of Daylight Control in a Chateau Interior

et al. 2018

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Assessment of daylighting in the residential hall of a historical chateau is presented. The evaluation is based on both the daylight measurement and simulations. Illuminance levels in the interior were controlled in accordance with requirements for light exposition of light sensitive materials. Valuable paintings and claddings as well as wallpapers and furniture upholstery in the hall are extremely light sensitive and they need to be protected from light damage. The daylight measurements and simulations give an overview of daylight conditions in the annual profile for clear sky conditions and for different levels of window shadings.

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“…The light aging experiment is a popular international method to study the lighting damage of cultural relics 10 , 11 , and the selection of experimental evaluation parameters is the key. As a mature chromatic index, the color difference is widely used in the evaluation of color damage of dyed cultural relics 12 – 14 . It is a quantitative evaluation of color change by detecting specimens’ color coordinates before and after irradiation and calculating the color difference value by using the formula.…”

Section: Introductionmentioning

confidence: 99%

The mathematical expression of damage law of museum lighting on dyed artworks

Dang

Wang

Song

et al. 2021

Sci Rep

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Dyed artworks are highly sensitive to light and are easily affected by museum lighting, resulting in irreversible permanent color damage such as fading and discoloration. Exposure, light source spectrum and material properties are the three indicators causing damage to artworks. Therefore, it is the basis for effective lighting protection to reveal the quantitative influence of exposure and light source spectrum composition on the damage degree of different pigments and establish a mathematical model that can accurately express the above rules. At present, the color damage calculation model of dyed artworks under three parameters’ coupling action is missing. This research established a visual three-dimensional change surface of the color difference values of 23 pigments varying with the spectral wavelength and exposure through experimental methods. The relative responsivity function ΔEn = fn(λ, Q), where n = 1 ~ 23, was obtained for 23 pigments under the coupling effects of exposure and light source spectra. Furthermore, a mathematical model $$D_{n} = \mathop \smallint \limits_{380}^{780} S\left( \lambda \right) \cdot f_{n} \left( {\lambda ,Q} \right)d\lambda$$ D n = ∫ 380 780 S λ · f n λ , Q d λ calculating the color damage of pigments in the range of visible light was proposed. The proposed model was verified by the experimental method, which realizes the mathematical expression of the damage law of museum lighting on dyed artworks.

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Light-ageing characteristics of Māori textiles: Colour, strength and molecular change

Cited by 15 publications

References 12 publications

Consolidation of Black-dyed Māori Textile Artefacts: Evaluating the Efficacy of Sodium Alginate

Consolidation of Black-dyed Māori Textile Artefacts: Evaluating the Efficacy of Sodium Alginate

Analysis of Daylight Control in a Chateau Interior

The mathematical expression of damage law of museum lighting on dyed artworks

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