Journal of Cultural Heritage最新文献

{"title":"Preserving the contemporary mural “Musica Popolare” by Orticanoodles in Milan, Italy: Deterioration processes and protection performance of commercial coatings","authors":"Nicolò Guarnieri ,&nbsp;Laura Pagnin ,&nbsp;Letizia Berti ,&nbsp;Sara Goidanich ,&nbsp;Davide Gulotta ,&nbsp;Francesca Caterina Izzo ,&nbsp;Lucia Toniolo","doi":"10.1016/j.culher.2025.08.004","DOIUrl":"10.1016/j.culher.2025.08.004","url":null,"abstract":"<div><div>This study aims to investigate the possibility of protecting real street artworks in urban outdoor conditions. Specifically, this paper focuses on a testing experimental work carried out on the mural “Musica Popolare” (2016) in Milan by Orticanoodles and includes: <em>i</em>) the assessment of the state of conservation through in-situ and micro-invasive techniques; <em>ii</em>) the set-up of an in-situ testing protocol to assess the compatibility and efficacy of protective treatments; <em>iii</em>) the one-year monitoring testing campaign. This study investigates the deterioration processes of the paint and evaluates the protective performances of various commercial coatings, which were previously tested under laboratory conditions. Notably, the mural experiences three distinct exposure conditions (fully exposed, partially exposed, and sheltered) allowing for a comparative evaluation of their effects. The coatings performance was evaluated by using a testing protocol including: portable digital microscopy, VIS reflectance spectroscopy, glossmetry, and vertical water contact angle measurements. After one year of natural ageing, the monitoring results indicate that acrylic-based coatings offered only limited protective action of the painted surface, ensuring a moderate colour retention but an insufficient protection towards liquid water. In sheltered areas, the application of protective coatings had a negative effect, making the treated surfaces more unstable than the original paintings without significantly improving water repellency (WCAs). An increase of particulate matter (PM) adhesion to the surfaces was also observed. Contact angle measurements indicated that only the fluorinated coatings achieved and maintained good water repellency over the one-year period. However, none of the tested coatings provided satisfactory protection over the monitoring period, highlighting the need for more innovative and effective preservation strategies for these artworks.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"75 ","pages":"Pages 326-332"},"PeriodicalIF":3.3,"publicationDate":"2025-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144925695","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Lac dye colours: A review of the origin, history and identification techniques in textiles","authors":"Mila Crippa ,&nbsp;Dominique Cardon ,&nbsp;Diego Tamburini ,&nbsp;Takumasa Kondo ,&nbsp;Paula Nabais","doi":"10.1016/j.culher.2025.07.026","DOIUrl":"10.1016/j.culher.2025.07.026","url":null,"abstract":"<div><div>Lac dye, the dyestuff derived from <em>Kerria</em> scale insects, has been valued for millennia by various civilizations, which have appreciated its deep red shades in textiles, paintings, and other cultural artefacts. The colour derived from lac dye is complex both in structure and history, and has been the topic of numerous discussions addressing its origin, history and multiple uses as a dyestuff, medicine or cosmetic. However, there is still a significant lack of cohesion between sources, and no publication to date has offered a comprehensive overview of lac dye. This review aims to fill this knowledge gap by exploring the biological sources from which lac dye derives; the historical importance in Asia and the Mediterranean area; and the variety of processing techniques according to technical written sources. Particular attention is given to the use of lac dye on textiles by comparing the existing dyeing manuals and identification in historical textiles by analytical methods such as high-performance liquid chromatography (HPLC) coupled to diode array (DAD) and mass spectrometry (MS) detectors or surface-enhanced Raman spectroscopy (SERS). The review also offers an updated overview on the taxonomy of <em>Kerria</em> lac insects, highlighting their geographical diversity and suggesting future perspective of research. The discussion provides new insights into the complexity of lac dye and its use in the dyeing traditions worldwide, by intersecting sources from history, science and art.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"75 ","pages":"Pages 307-325"},"PeriodicalIF":3.3,"publicationDate":"2025-08-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144866199","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Characterization of the imperial architectural ornament papers in the Yanqu Building, the Forbidden City","authors":"Yazhen Huang ,&nbsp;Shuxuan Shi ,&nbsp;Lifang Ji ,&nbsp;Yingchun Fu ,&nbsp;Shuya Wei","doi":"10.1016/j.culher.2025.08.001","DOIUrl":"10.1016/j.culher.2025.08.001","url":null,"abstract":"<div><div>Architectural pasting ornament, as a quintessential traditional Chinese interior finishing technique utilizing paper and textile materials, was particularly prominent in imperial constructions during the Ming-Qing transitional period. The exquisitely preserved ornament papers were found in the Yanqu Building (1772 CE) within the Qianlong Garden complex of the Forbidden City. A multidisciplinary analytical approach incorporating ultra-depth 3D video microscopy, polarized light microscopy (PLM), scanning electron microscopy with energy-dispersive X-ray spectroscopy (SEM-EDS), Raman spectroscopy, and thermally assisted hydrolysis-methylation pyrolysis gas chromatography/mass spectrometry (THM-Py-GC/MS) was systematically employed to investigate materials of the architectural ornament papers including the printed papers, pigments, and adhesives. The findings reveal that the multi-layer papers comprised mulberry bark papers and bamboo papers; pigment analysis identified copper resinate in passionflower floral scroll and coiled dragon motifs, lead white in swastika motifs, and muscovite as ground layer; adhesives characterization demonstrated the use of animal glue and pine resin in paint, with starch for paper laminations. The ornament papers had been renovated at least twice. Significantly, the first scientific identification of copper resinate - a translucent green glaze pigment - in the architectural decorations of the Forbidden City, provides new material evidence for understanding the technical evolution of Qing imperial decorative practices.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"75 ","pages":"Pages 298-306"},"PeriodicalIF":3.3,"publicationDate":"2025-08-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144852249","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Traces of additive manufacturing in early iron age anthropomorphic pendants","authors":"Andrea Smeriglio ,&nbsp;Raffaele Filosa ,&nbsp;Riccardo Cristoforo Barberi ,&nbsp;Armando Taliano Grasso ,&nbsp;Federica Caputo ,&nbsp;Raffaele Giuseppe Agostino ,&nbsp;Vincenzo Formoso","doi":"10.1016/j.culher.2025.07.025","DOIUrl":"10.1016/j.culher.2025.07.025","url":null,"abstract":"<div><div>Bronze pendants depicting anthropomorphic couples, dating back to the 8th century BC, were found in several protohistoric sites in Calabria. The historical and cultural context of the archaeological finds is linked to the Oenotrians, a population that settled in Southern Italy before Greek colonization. We present the results of the investigation on two bronze pendants dating back to the early Iron Age belonging to two different classes, namely “Type A” and “Type B”. By unveiling their manufacturing technology, we aim to inquire about the origins of these artifacts, their uses, and the relative historical period. To achieve our goals, we utilized two non-destructive techniques: X-ray microtomography (X-ray µCT) for 3D visualization of internal structures, and scanning electron microscopy with energy-dispersive X-ray analysis (SEM-EDX) for the chemical composition analysis of the bronze objects. Notable differences emerge between the two artifacts; “Type A” displays well-defined anatomical details that are absent in “Type B”. Furthermore, 3-D reconstructions reveal additional information on production techniques and alteration effects, such as fractures and voids. Evidence suggests that both pendants were cast in molds, but “Type A” underwent additional modeling, resulting in detailed anatomical features, a functional necklet hole, and added elements like knees and arms. In contrast, “Type B” displays smooth forms with minimal post-casting processing. SEM-EDX analysis revealed notable differences in composition: “Type A” contains a higher proportion of copper and lower tin content. In contrast, “Type B” has significantly more tin and less copper, with similar lead content.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"75 ","pages":"Pages 291-297"},"PeriodicalIF":3.3,"publicationDate":"2025-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144827699","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Detecting pigments of cave paintings hidden beneath calcite layers: The potential of magnetic susceptibility and visible-to-infrared (400-2500 nm) reflectance spectroscopy","authors":"Morgane Jal ,&nbsp;Christophe Durlet ,&nbsp;Fabrice Monna ,&nbsp;Chloé Morales ,&nbsp;Franck Smektala ,&nbsp;Carmela Chateau-Smith","doi":"10.1016/j.culher.2025.07.024","DOIUrl":"10.1016/j.culher.2025.07.024","url":null,"abstract":"<div><div>Detecting cave paintings, protected but hidden beneath calcite layers, is an important step in completing the inventory of prehistoric art, yet it poses significant challenges. The mechanical removal of calcite is often invasive; image enhancement is often of limited effectiveness. This study investigates two non-invasive, complementary approaches to detect these hidden paintings: magnetic susceptibility and visible-to-infrared reflectance spectroscopy (400 to 2500 nm).</div><div>Reflectance measurements give detailed insights into pigment composition, while magnetic susceptibility measures the magnetic properties of materials and is particularly effective in detecting iron-based pigments such as hematite and goethite. The two methods were first tested in the laboratory on a limestone slab painted with various pigments and covered with calcite speleothem masks of varying thickness. This setup was a proxy for prehistoric cave paintings covered by opaque calcite speleothems. Both reflectance spectroscopy and magnetic susceptibility were used to assess pigment detectability. Results showed that magnetic susceptibility could detect iron-based pigments beneath thin calcite layers (up to 7 mm in laboratory conditions), while reflectance spectroscopy analysis identified the spectral differences between all the materials tested, although the signal decreased with speleothem thickness.</div><div>These findings were then validated in field tests at the Grande Grotte (Arcy-sur-Cure, France) where three prehistoric red ochre paintings covered by calcite were analysed. Both techniques were suitable for non-invasive detection: magnetic susceptibility was more effective for iron-based pigments, while reflectance spectroscopy provided broader mineralogical information.</div><div>While these methods are not yet fully operational for field use, this preliminary study shows that it should be possible to use both magnetic susceptibility and reflectance spectroscopy probes to detect and delineate paintings hidden (and protected) beneath opaque calcite layers.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"75 ","pages":"Pages 279-290"},"PeriodicalIF":3.3,"publicationDate":"2025-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144827698","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Pseudoboleite as an alteration product of azurite in the painted stone of the mullioned windows of the Bargello Palace (Florence)","authors":"Maria Letizia Amadori ,&nbsp;Gianluca Poldi ,&nbsp;Parviz Holakooei ,&nbsp;Fabiano Ferrucci ,&nbsp;Giuseppe Cruciani ,&nbsp;Alessia Andreotti ,&nbsp;Mara Camaiti ,&nbsp;Valeria Mengacci","doi":"10.1016/j.culher.2025.07.023","DOIUrl":"10.1016/j.culher.2025.07.023","url":null,"abstract":"<div><div>During the recent restoration of the Bargello courtyard and façades (13th-14th century), initiated in 2020, traces of painted polychrome decoration were identified on Pietraforte intrados and extrados of the mullioned windows. On the stone intrados, blackish lozenge-shaped impressions –likely remnants of a metallic leaf– were against a pale blue background. To investigate the original materials and painting technique, a combination of non-invasive in situ methods (digital microscopy, energy-dispersive X-ray fluorescence spectroscopy, and reflectance spectrometry) and micro-invasive analyses (optical microscope, micro-Raman, SEM-EDS, XRD, FT-IR, GC–MS, PY-GC–MS) was applied. The integrated analyses of the blue decorations revealed the presence of azurite, pseudoboleite and rare particles of lead white, along with Cu-oxalates and Ca-oxalates. The occurrence of pseudoboleite, a rare greenish mineral, suggests it formed as a result of alteration processes involving azurite and lead white, potentially triggered by chlorine-based cleaning treatments. Rare Hg-S-based particles, likely associated with vermilion, were identified in the extrados. Additionally, trace amounts of egg and a non-drying fat were detected.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"75 ","pages":"Pages 267-278"},"PeriodicalIF":3.3,"publicationDate":"2025-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144828902","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"DEArt: Building and evaluating a dataset for object detection and pose classification for European art","authors":"Artem Reshetnikov ,&nbsp;Maria-Cristina Marinescu ,&nbsp;Joaquim More Lopez ,&nbsp;Sergio Mendoza ,&nbsp;Nuno Freire ,&nbsp;Monica Marrero ,&nbsp;Eleftheria Tsoupra ,&nbsp;Antoine Isaac","doi":"10.1016/j.culher.2025.07.022","DOIUrl":"10.1016/j.culher.2025.07.022","url":null,"abstract":"<div><div>Annotation of cultural heritage artefacts allows finding and exploration of items relevant to user needs, supports functionality such as question answering or scene understanding, and in general facilitates the exposure of the society to our history and heritage. But most artefacts lack a description of their visual content due to the assumption that one sees the object; this often means that the annotations effort focuses on the historical and artistic context, information about the painter, or details about the execution and medium.</div><div>Without a significant body of visual content annotation, machines cannot integrate all this data to allow further analysis, query and inference, and cultural institutions cannot offer advanced functionality to their users and visitors. Given how time-consuming manual annotation is, and to enable the development of new technology and applications for cultural heritage, we have provided through DEArt the most extensive art dataset for object detection and pose classification to date. The current paper extends this work in several ways: (1) we introduce an approach for generating refined object and relationship labels without the need for manual annotations, (2) we compare the performance of our models with the most relevant state-of-the-art in both computer vision and cultural heritage, (3) we evaluate the annotations generated by our object detection model from a user viewpoint, for both correctness and relevance, and (4) we briefly discuss the fairness of our dataset.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"75 ","pages":"Pages 258-266"},"PeriodicalIF":3.3,"publicationDate":"2025-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144828903","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The conservation soft box (CSB): An innovative, versatile, and low-cost technique to preserve cultural heritage","authors":"Marco Samadelli ,&nbsp;Alice Paladin ,&nbsp;Matilde Veneziano ,&nbsp;Massimo Donegá ,&nbsp;Irene Lara Ibeas ,&nbsp;Albert Zink ,&nbsp;Werner Tirler","doi":"10.1016/j.culher.2025.07.020","DOIUrl":"10.1016/j.culher.2025.07.020","url":null,"abstract":"<div><div>Ensuring the long-term preservation of cultural heritage, in accordance with conservation standards in museum collections, is a complex challenge that demands conservators to address various critical issues. Particularly, organic findings (e.g., textiles, paper, wood, human remains) require special measures to prevent chemical-physical and microbiological deterioration because of their delicate nature. One of the factors contributing to their degradation is the emission of Volatile Organic Compounds (VOCs) emitted for example by materials normally used in museum showcases, which contribute significantly to corrosive processes. Although numerous studies have been conducted to understand VOCs, there are currently no conservation systems available that provide adequate insulation and ensure complete protection against pollutants and degenerative agents. This study demonstrates how modern analytical techniques, and innovative polymeric materials have enabled the design and creation of a new storage system for the preservation of cultural heritage. This is the Conservation Soft Box (CSB), a device with a high level of tightness that allows the reproduction of customised environments tailored to specific conservation requirements. CSB’s constructive materials were validated for their low emissions of VOCs demonstrating compliance with safety standards. Additionally, a solution with activated carbon was tested to remove latent VOCs, which proved to be completely effective. In conclusion, the proposed innovative conservation system could represent a promising advancement in the preservation of cultural heritage, as its chemical safety, constructional versatile and cost-effective, and facilitates the procurement of suitable materials.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"75 ","pages":"Pages 207-216"},"PeriodicalIF":3.3,"publicationDate":"2025-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144780715","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Multimodal and multiscale non-invasive study of Leonardo’s mural painting in Sala delle Asse (Milan): A tool supporting cleaning evaluation","authors":"Alessandra Botteon ,&nbsp;Claudia Conti ,&nbsp;Chiara Colombo ,&nbsp;Maria Catrambone ,&nbsp;Marco Realini ,&nbsp;Costanza Miliani ,&nbsp;Sotiria Kogou ,&nbsp;Sammy Cheung ,&nbsp;Haida Liang ,&nbsp;Francesca Tasso ,&nbsp;Michela Palazzo ,&nbsp;Antonio Sansonetti","doi":"10.1016/j.culher.2025.07.017","DOIUrl":"10.1016/j.culher.2025.07.017","url":null,"abstract":"<div><div><em>Sala delle Asse</em> in the Milan Sforza Castle was decorated by Leonardo da Vinci and his workshop at the end of the XV century. Due to historical events involving the Duchy of Milan, the decoration of the room was interrupted in 1499 and some areas remained devoid of polychrome paintings. For this reason, the painted surfaces were whitewashed and forgotten for a long-time, but during the 19th and 20th centuries, they were rediscovered and restored twice, uncovering the remnants of original layers.</div><div>In recent years, the hall has been the focus of a comprehensive project aimed at thoroughly assessing the conservation issues of its walls and optimizing the necessary intervention methods. One of the primary objectives of this project is to restore the legibility of the original painting remnants. For this purpose, cleaning tests have been conducted with different methodologies on specific sections of the walls.</div><div>This study employs a multimodal and multiscale approach conducted in situ on both cleaned and uncleaned polychrome areas of the walls to provide an overview of the pigments used by Leonardo da Vinci and his workshop. Additionally, it evaluates the effectiveness of cleaning procedures in removing 19th and 20th century overpainting, thereby revealing the underlying painted layers.</div><div>The non-invasive approach includes portable micro-X-Ray Fluorescence (point-based measurements and micro-mapping), portable Raman spectroscopy (point measurements and micro-spatially offset Raman spectroscopy), and mobile remote standoff spectral imaging, carried out at a stand-off distance of ∼ 10 m. The integration of imaging and point-based data collected at remote and close distance, with centimetre scale field of view and sub-millimetres spatial resolution (remote standoff imaging) and millimetres and micrometres spot size (point measurements), provided valuable insights on elemental and molecular composition of the materials present both in the uncleaned and cleaned areas of the mural painting, permitting a partial reconstruction of the stratigraphy and thus shedding light on the 15th century paint residues; moreover, the study expands the up-to-date protocols for the non-invasive identification of pigments and for an integrated evaluation of cleaning effectiveness.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"75 ","pages":"Pages 217-225"},"PeriodicalIF":3.3,"publicationDate":"2025-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144780716","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A novel traditional technique: Study on microstructure and performance of copper inlay decorative treatment on steel blades","authors":"Chaoqun Bu ,&nbsp;Wei Wu ,&nbsp;Xiaocen Li ,&nbsp;Qian Zhang ,&nbsp;Ping Chen ,&nbsp;Wenming Tian","doi":"10.1016/j.culher.2025.07.011","DOIUrl":"10.1016/j.culher.2025.07.011","url":null,"abstract":"<div><div>In the generational inheritance of traditional crafts, a great deal of important technique information is not directly recorded in literature or archaeological materials. This study analyzes the traditional copper inlay technique used on Longquan Blades, including the inlaying of pure copper and brass on both sides of the steel blade. The main findings of this study are presented as follows based on the use of OM, SEM, EDS, microhardness testing, and electrochemical measurements: (1) Copper is inlaid through a solid-liquid-solid phase transition, successfully bonding the copper decoration with the steel blade matrix, thereby forming a stable inlay interface, demonstrating the feasibility of the liquid copper inlay technique for metal ware decoration. However, the metallurgical bond was not formed at the interface. (2) Hardness test results show that the surface hardness of the steel blade matrix (167.5∼206.3 HV) &gt; copper/steel bonding interface (152.3∼183.9 HV) &gt; copper decoration zone (76.4∼91.9 HV). This hardness gradient is likely to exacerbate stress concentration at the bonding interface. (3) Further electrochemical analysis reveals that the corrosion resistance of the samples follows the order: L01-A &lt; L02-A &lt; L01-C &lt; L02-B &lt; L01-B. This indicates that the composite material interface with inlaid copper has a greater corrosion tendency than single materials. Additionally, the corrosion rate at the bonding interface of brass-inlay samples is lower than that of pure copper-inlay samples. Therefore, this study provides a practical method for reconstructing endangered craftsmanship and technical pathways, underscoring the broader significance of this study.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"75 ","pages":"Pages 194-206"},"PeriodicalIF":3.3,"publicationDate":"2025-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144739190","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}