Studies on the Identification of Pigments on Relics and the Analysis of Color Changes by Fiber Optics Reflectance Spectroscopy

Wang, Liqin; Dang, Gaochao; Zheng, Lixin; Wang, Xiaoqi

doi:10.1081/al-100107304

Cited by 11 publications

(6 citation statements)

References 1 publication

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“…Under the ageing process, the changes of water contact angles of this polymer were similar with those of TDI-based polyurethane, which indicates that under UV radiation HDI-based polyurethane was degraded gradually as well. Figure 8 shows relative changes of reflectance at 480 nm (∆R/R) of the polyurethanes by fiber optics reflectance spectroscopy technique, 13,14 which indicates that the color change of HDI-based polyurethane after the ageing is smaller than those of TDI and MDI-based polyurethanes and more details will be reported in another paper. …”

Section: Hdi-based Polyurethanementioning

confidence: 98%

Photochemical Degradation Study of Polyurethanes as Relic Protection Materials by FTIR‐ATR

et al. 2005

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Polyurethanes are one kind of relic protection materials commonly used. During artificial photo-ageing, three polyurethanes, HDI-based polyurethane, MDI-based polyurethane and TDI-based polyurethane, have been considered to undergo UV radiation. Photochemical degradation of the polyurethanes has been monitored by means of Fourier transform infrared spectroscopy with attenuated total reflection accessory (FTIR-ATR). It was proved that the mechanism of the photochemical degradation of polyurethanes might be the scissions of carbamate (urethane) groups and the re-reactions of radical groups formed in the scission reactions. From the experiment results HDI-based polyurethane, an aliphatic diisocyanate, could be considered to be more suitably used as relic protection materials among these three polyurethanes for its ageing products with less color.

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Section: Hdi-based Polyurethanementioning

confidence: 98%

Photochemical Degradation Study of Polyurethanes as Relic Protection Materials by FTIR‐ATR

et al. 2005

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“…It is worth noting that IFAC 14 and Cosentino 15 have developed spectral databases for the commonly used pigments in western paintings, respectively, which could be significant references for other researchers in this field. In China, Wang et al 16 applied a simple low-cost optical fiber reflectance spectrophotometer to the identification of the lacquer bowl excavated in Yang Ling mausoleum and rock carvings in DaZu. Noninvasive visible reflectance spectroscopy is now a relatively well established technique for material composition identification of colored artworks.…”

Section: Introductionmentioning

confidence: 99%

“…In China, Wang et al. 16 applied a simple low-cost optical fiber reflectance spectrophotometer to the identification of the lacquer bowl excavated in Yang Ling mausoleum and rock carvings in DaZu. Noninvasive visible reflectance spectroscopy is now a relatively well established technique for material composition identification of colored artworks.…”

Section: Introductionmentioning

confidence: 99%

In Situ Identification of Pigment Composition and Particle Size on Wall Paintings Using Visible Spectroscopy as a Noninvasive Measurement Method

Wan

et al. 2016

Appl Spectrosc

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Noninvasive examination methods of chemical composition and particle size are presented here based on visible spectroscopy to achieve the identification and recording of mineral pigments used on ancient wall paintings. The normalized spectral curve, slope and curvature extracted from visible spectral reflectance are combined with adjustable weighting coefficients to construct the identification feature space, and Euclid distances between spectral reflectance from wall paintings and a reference database are calculated in the feature space as the discriminant criterion to identify the chemical composition of mineral pigments. A parametric relationship between the integral quantity of spectral reflectance and logarithm of mean particle size is established using a quadratic polynomial to accomplish the noninvasive prediction of mineral pigment particle size used on ancient wall paintings. The feasibility of the proposed methods is validated by the in situ nondestructive identification of the wall paintings in the Mogao Grottoes at Dunhuang. Chinese painting styles and historical evolution are then analyzed according to the identification results of 16 different grottoes constructed from the Sixteen Kingdoms to the Yuan Dynasty.

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“…So far, many methods have been proposed to treat the visible spectral reflectance for pigment identification. For instance, Dupuis et al applied the wavelength corresponding to the peak value of the visible spectral reflectance to identify the pigments used in "Worship of the Child" [26]; Wang et al applied the derivative of visible spectral reflectance to identify the pigments used in "Dazu Stone Carvings" and "Hanyang Mausoleum Lacquer Bowl" [27]. However, most of the pigments used in ancient wall paintings are mineral pigments.…”

Section: Pigment Identificationmentioning

confidence: 99%

Pigment Identification of Ancient Wall Paintings Based on a Visible Spectral Image

Xie

et al. 2020

Journal of Spectroscopy

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Many ancient wall paintings are confronted with the threat of irreversible damages and in urgent requirement of restoration. This work provides the superpixel segmentation method and pigment identification method for the visible spectral image of ancient wall paintings to guide the scientific restoration of the paintings. The superpixel segmentation method for the visible spectral image is an extension of SLIC (Simple Linear Iterative Clustering) for the RGB image by redefining the feature of the visible spectral image. It can extract the outline of wall paintings and limit the pigment filling area in restoration of wall paintings. 44 kinds of commonly used pigments with size variations are selected to construct a visible spectral reference database for pigment identification. The pigment used in each superpixel is identified by searching the database in a specifically constructed feature space to find the nearest reference sample. This can provide guidance to pigment selection in restoration of wall paintings. At last, the methods are validated using the visible spectral image captured from Mogao Grottoes in Dunhuang by using a multispectral imaging system.

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Studies on the Identification of Pigments on Relics and the Analysis of Color Changes by Fiber Optics Reflectance Spectroscopy

Cited by 11 publications

References 1 publication

Photochemical Degradation Study of Polyurethanes as Relic Protection Materials by FTIR‐ATR

Photochemical Degradation Study of Polyurethanes as Relic Protection Materials by FTIR‐ATR

In Situ Identification of Pigment Composition and Particle Size on Wall Paintings Using Visible Spectroscopy as a Noninvasive Measurement Method

Pigment Identification of Ancient Wall Paintings Based on a Visible Spectral Image

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