A holistic multimodal approach to the non-invasive analysis of watercolour paintings
A holistic multimodal approach to the non-invasive analysis of watercolour paintings
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DOI：
10.1007/s00339-015-9425-4
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发表时间：
2015-11-01
影响因子：
2.7
通讯作者：
Liang, Haida
中科院分区：
文献类型：
--
作者：
Kogou, Sotiria;Lucian, Andrei;Liang, Haida
一个整体的方法，使用非侵入性的多模态成像和光谱技术来研究材料（颜料，绘画材料和纸张）和水彩画的绘画技巧。非侵入性成像和光谱技术包括VIS-NIR反射光谱和多光谱成像、显微拉曼光谱、X射线荧光光谱（XRF）和光学相干断层扫描（OCT）。这三种光谱技术在色素鉴定中互为补充。多光谱成像（近红外波段）、OCT和显微拉曼在绘图材料的可视化和识别方面相互补充。OCT可探测基材的微观结构和光散射特性，而XRF可检测元素组成，从而确定施胶方法和填料含量。本研究以46幅19世纪中国出口水彩画为研究对象，分别来自于维多利亚和阿尔伯特博物馆（V&A）以及皇家园艺学会（RHS），旨在探讨非侵入性分析技术在多大程度上可以相互补充，以及可以提取多少有用的信息来解决艺术保护和历史问题。一种微褪色光谱的微破坏性技术被用来评估绘画对光暴露的脆弱性。发现大多数油漆和纸基材比ISO Blue Wool 3更稳定。调色板被发现主要由中国传统颜料组成。虽然在一些画作中发现了欧洲制造的合成颜料普鲁士蓝，但在1817年至1831年之间的RHS画作中没有发现，尽管已知普鲁士蓝在此期间被进口到中国。几乎在每一幅画上都检测到了介壳虫染料，紫胶和胭脂虫，包括那些在确定的日期范围内的画。据了解，在同一时期，胭脂虫也被进口到中国。虽然V&A绘画中的绘画使用了碳基墨水，但RHS的大多数绘画都使用了石墨铅笔。RHS的大部分绘画都是在西方的纸上，但几乎所有的V&A绘画都是在中国的纸上。几乎所有的V&A绘画基板和几乎没有任何的RHS绘画大小与明矾。在几乎所有的RHS纸上，无论是中国还是西方的纸上，都检测到了Cu、Zn、Ti和Pb等元素。这些要素在脆弱性和适应文件中基本上没有出现。这两个系列之间的差异反映了它们各自的起源和预期目的。
A holistic approach using non-invasive multimodal imaging and spectroscopic techniques to study the materials (pigments, drawing materials and paper) and painting techniques of watercolour paintings is presented. The non-invasive imaging and spectroscopic techniques include VIS-NIR reflectance spectroscopy and multispectral imaging, micro-Raman spectroscopy, X-ray fluorescence spectroscopy (XRF) and optical coherence tomography (OCT). The three spectroscopic techniques complement each other in pigment identification. Multispectral imaging (near-infrared bands), OCT and micro-Raman complement each other in the visualisation and identification of the drawing material. OCT probes the micro-structure and light scattering properties of the substrate, while XRF detects the elemental composition that indicates the sizing methods and the filler content. The multiple techniques were applied in a study of forty-six nineteenth-century Chinese export watercolours from the Victoria and Albert Museum (V&A) and the Royal Horticultural Society (RHS) to examine to what extent the non-invasive analysis techniques employed complement each other and how much useful information about the paintings can be extracted to address art conservation and history questions. A micro-destructive technique of micro-fade spectrometry was used to assess the vulnerability of the paintings to light exposure. Most of the paint and paper substrates were found to be more stable than ISO Blue Wool 3. The palette was found to be composed of mostly traditional Chinese pigments. While the synthetic pigment, Prussian blue, made in Europe, was found on some of the paintings, none was found on the RHS paintings accurately recorded as being between 1817 and 1831 even though it is known that Prussian blue was imported to China during this period. The scale insect dyes, lac and cochineal, were detected on nearly every painting including those that fall within the identified date range. Cochineal is known to have been imported to China in the same period. While carbon-based ink was used for the drawings in the V&A paintings, graphite pencil was used in most of the RHS paintings. The majority of RHS paintings were on Western papers, but nearly all of the V&A paintings were on Chinese papers. Nearly all of the V&A painting substrates and hardly any of the RHS paintings were sized with alum. Elements such as Cu, Zn, Ti and Pb were detected on nearly all of the RHS papers regardless of whether they were Chinese or Western papers. These elements were largely absent from the V&A papers. The differences between the two collections reflect their discrete origins and intended purposes.