Native triboelectric nanogenerator ion mobility-mass spectrometry of egg proteins relevant to objects of cultural heritage at picoliter and nanomolar quantities
Native triboelectric nanogenerator ion mobility-mass spectrometry of egg proteins relevant to objects of cultural heritage at picoliter and nanomolar quantities
复制标题
与文化遗产相关的皮升和纳摩尔量的鸡蛋蛋白的天然摩擦纳米发电机离子淌度质谱分析
DOI：
10.1016/j.aca.2023.341374
复制
发表时间：
2023
影响因子：
6.2
通讯作者：
Fernández, Facundo M.
中科院分区：
文献类型：
--
作者：
Vallejo, Daniel D.;Popowich, Aleksandra;Arslanoglu, Julie;Tokarski, Caroline;Fernández, Facundo M.
文化遗产（CH）物品中的材料，如绘画，跨越几个分子类别，从小分子（矿物颜料和有机染料）到用作粘合剂、涂料和粘合剂的聚合物（蛋白质、多糖、脂质、合成物）。对这些材料进行表征不仅对更好地理解和解释艺术家或制造者至关重要，而且还可以提供信息，以进一步识别制造和艺术家的技术，澄清归属，建立来源材料，并为后代更好地保存作品。研究涂料结合介质和粘合剂通常涉及研究蛋白质，自艺术诞生以来，蛋白质一直是CH对象中的重要分子类别。这些蛋白质有许多来源（例如鸡蛋，牛奶，血液，骨骼，皮肤等），[1]对画布和纸画以及多色雕塑上的颜料的外观和稳定性有重大影响[2]。尽管最近在理解CH对象中发现的蛋白质方面取得了进展[3]其高阶结构（HOS），以及蛋白质结构在其作为艺术材料的整个生命周期中的变化（即从鸡蛋，到与颜料混合以创建油漆，到干燥以获得有凝聚力的漆膜，到油漆制作，在油漆中干燥等），仍然被严重低估。HOS与物体中蛋白质的稳定性和功能直接相关，在物体的完整性和保存中起着关键作用，但分析的一个关键障碍是物体的超珍贵性质，以及相对于总样品的蛋白质丰度较低。用于阐明这些物体中材料结构的技术分为侵入性和非侵入性。非侵入性技术，如便携式傅里叶变换红外（FTIR）[4]和拉曼光谱[5]是非常有吸引力的，因为它们能够提取分子信息，而不消耗对象的宝贵材料。FTIR和拉曼被很好地验证，并且仍然是色素鉴定的金标准，并且可以用于确定物体表面上蛋白质材料的局部存在/不存在。然而，通过这些技术对蛋白质结构的询问仍然受到限制，这是由于来自样品中的其他材料的竞争信号，以及不同的蛋白质结构。
Materials in objects of cultural heritage (CH), such as paintings, span several molecular classes ranging from small molecules (mineral pigments and organic dyes) to polymers (proteins, polysaccharides, lipids, synthetics) used as binders, coatings, and adhesives. Characterizing these materials is essential to not only better understand and interpret the artist or maker, but to provide information that may serve to further identify manufacturing and artists’ techniques, clarify attributions, establish sourcing materials, and better preserve the work for future generations. Studying paint binding media and adhesives often involves studying proteins, which have been an important molecular class in objects of CH since the inception of art. These proteins, having numerous sources (eg egg, milk, blood, bone, skin, etc.),[1] have substantial effects on the appearance and stability of paints on canvas and paper paintings, and polychrome sculpture [2]. Despite recent advances in the understanding of proteins found in CH objects [3] their higher order structure (HOS), and the changes to the protein structure throughout its lifetime as an art material (ie from the egg, to mixing with pigments to create a paint, to drying to obtain a cohesive paint film, to paint making, drying in the paint, etc.), remains significantly understudied. HOS is directly correlated to the stability and function of proteins in objects and plays a pivotal role in the object’s integrity and preservation, but a critical hurdle to analysis is the ultra-precious nature of the objects, as well as the low abundance of proteins relative to the total sample.The technologies used to elucidate the structure of materials in these objects are categorized as either invasive or noninvasive. Non-invasive techniques such as portable Fourier transform infrared (FTIR)[4] and Raman spectroscopy [5] are highly attractive because of their ability to extract molecular information without consuming the object’s precious materials. FTIR and Raman are well validated and remain gold-standards for pigment identification, and may be used to determine the localized presence/absence of proteinaceous materials on an objects’ surface. However, the interrogation of protein structures through these techniques remains limited due to the competing signals from other materials in the sample, as well as differential