Pub Date : 2025-11-01Epub Date: 2025-10-27DOI: 10.1016/j.culher.2025.10.002
Mingcan Cao , Jingjing Wu , Zhenpei Liu , Zhuocheng Wei , Qu−ao Li , Junxia Yuan , Xuegang Liu , Lixia Yang
This work aims at developing a mild yet efficient quaternary rust conversion to address the challenges during the restoration of the Yuquan Iron Pagoda, such as “bone rust” growing in the generated pores due to mechanical rust removal, and hard−to−remove rust in concealed areas. The rusted antique cast iron with highly−simulated Yuquan Iron Pagoda was firstly prepared, the microstructure, surface characteristics and electrochemical performance of rust layers treated with different ratios of tannic acid, phosphate, molybdate and acetic acid were studied in detail, and the optimum formula was determined based on orthogonal experiments analysis. The results showed that the composition proportion of conversion system exerted a significant influence on the properties of rust layers. The converted rust layers mainly consisting of ferric tannate and phosphate exhibited markedly improved density accompany the reduction of harmful rust dominated by γ−FeOOH, thus effectively blocking the penetration of corrosive ions with water contact angle increasing by up to 18.75° and surface roughness decreasing. The significant improvement in electrochemical performance was manifested as elevated impedance and reduced corrosion current density, achieving corrosion inhibition efficiency up to 94.9 %. The conversion mechanism and interaction among components were also proposed, tannic acid played an important role in the conversion process and molybdate ions promoted the formation of ferric tannate to some extent.
{"title":"A mild rust conversion strategy with high corrosion inhibition efficiency for iron cultural relics","authors":"Mingcan Cao , Jingjing Wu , Zhenpei Liu , Zhuocheng Wei , Qu−ao Li , Junxia Yuan , Xuegang Liu , Lixia Yang","doi":"10.1016/j.culher.2025.10.002","DOIUrl":"10.1016/j.culher.2025.10.002","url":null,"abstract":"<div><div>This work aims at developing a mild yet efficient quaternary rust conversion to address the challenges during the restoration of the Yuquan Iron Pagoda, such as “bone rust” growing in the generated pores due to mechanical rust removal, and hard−to−remove rust in concealed areas. The rusted antique cast iron with highly−simulated Yuquan Iron Pagoda was firstly prepared, the microstructure, surface characteristics and electrochemical performance of rust layers treated with different ratios of tannic acid, phosphate, molybdate and acetic acid were studied in detail, and the optimum formula was determined based on orthogonal experiments analysis. The results showed that the composition proportion of conversion system exerted a significant influence on the properties of rust layers. The converted rust layers mainly consisting of ferric tannate and phosphate exhibited markedly improved density accompany the reduction of harmful rust dominated by γ−FeOOH, thus effectively blocking the penetration of corrosive ions with water contact angle increasing by up to 18.75° and surface roughness decreasing. The significant improvement in electrochemical performance was manifested as elevated impedance and reduced corrosion current density, achieving corrosion inhibition efficiency up to 94.9 %. The conversion mechanism and interaction among components were also proposed, tannic acid played an important role in the conversion process and molybdate ions promoted the formation of ferric tannate to some extent.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"76 ","pages":"Pages 218-226"},"PeriodicalIF":3.3,"publicationDate":"2025-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145416615","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}
Pub Date : 2025-11-01Epub Date: 2025-09-13DOI: 10.1016/j.culher.2025.08.005
Anzhelika Mezina, Vojtech Schiller, Radim Burget
Forgery detection in paintings presents a significant challenge with substantial implications for the art world and forensic sciences. Given the high variability of artistic techniques and materials, forensic analysis must provide compelling, reproducible, and scientifically robust evidence. This paper introduces a novel technique for identifying anomalous regions in paintings, based on the detection of differences between visible and X-ray spectra, while also suppressing irrelevant artifacts, such as painting frames. Our model, the so-called ForgAnoNet, employs an architecture similar to O-Net but with several enhancements tailored to meet these specific needs. This architecture is the first to be applied to the fields of forensics and cultural heritage research. A methodology that is repeatable, accurate, and can suppress false detection from irrelevant irregularities. We proposed a novel neural network model that enhances both the precision and speed of detecting irregularities, such as cracks, voids, and previous restoration efforts. To evaluate the performance, we compared the methodology with five state-of-the-art models on the created datasets, which contained 4888 samples. A comprehensive evaluation of diverse X-ray images from various artworks demonstrates the effectiveness of our approach in practical applications. The newly developed ForgAnoNet achieves an accuracy of 98.08 %, significantly outperforming all other models in the study. Additionally, ForgAnoNet demonstrates precision, achieving a value of 0.4403, which effectively reduces false-positive rates and improves the reliability of anomaly detection in paintings.
{"title":"ForgAnoNet: A Neural Network for Anomaly Detection in Artworks Using X-ray and Visible Spectrum Imaging","authors":"Anzhelika Mezina, Vojtech Schiller, Radim Burget","doi":"10.1016/j.culher.2025.08.005","DOIUrl":"10.1016/j.culher.2025.08.005","url":null,"abstract":"<div><div>Forgery detection in paintings presents a significant challenge with substantial implications for the art world and forensic sciences. Given the high variability of artistic techniques and materials, forensic analysis must provide compelling, reproducible, and scientifically robust evidence. This paper introduces a novel technique for identifying anomalous regions in paintings, based on the detection of differences between visible and X-ray spectra, while also suppressing irrelevant artifacts, such as painting frames. Our model, the so-called ForgAnoNet, employs an architecture similar to O-Net but with several enhancements tailored to meet these specific needs. This architecture is the first to be applied to the fields of forensics and cultural heritage research. A methodology that is repeatable, accurate, and can suppress false detection from irrelevant irregularities. We proposed a novel neural network model that enhances both the precision and speed of detecting irregularities, such as cracks, voids, and previous restoration efforts. To evaluate the performance, we compared the methodology with five state-of-the-art models on the created datasets, which contained 4888 samples. A comprehensive evaluation of diverse X-ray images from various artworks demonstrates the effectiveness of our approach in practical applications. The newly developed ForgAnoNet achieves an accuracy of 98.08 %, significantly outperforming all other models in the study. Additionally, ForgAnoNet demonstrates precision, achieving a value of 0.4403, which effectively reduces false-positive rates and improves the reliability of anomaly detection in paintings.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"76 ","pages":"Pages 29-38"},"PeriodicalIF":3.3,"publicationDate":"2025-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145047506","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}
Pub Date : 2025-11-01Epub Date: 2025-09-18DOI: 10.1016/j.culher.2025.09.004
Zheng Zhou , Puheng Nan , Zhimin Li , Zhihua Gan , Qinglin Ma , Changjiao Xu , Jialiang Luo , Benyuan Zhou
The Tang Dynasty iron oxen (8th-century CE) at Pujindu Site, Shanxi, exhibit severe oxidative degradation from environmental weathering, with corrosion exfoliation compromising their aesthetic and structural integrity as archaeometallurgical artifacts. This study employed confocal Raman spectroscopy, SEM, and EDS to analyze three corrosion samples from the iron oxen group. The objectives were to characterize the compositional profiles of corrosion products and elucidate the corrosion-mineralization interplay. The results demonstrate that low-mineralization corrosion samples predominantly contain α-FeOOH (goethite), β-FeOOH (akaganéite), γ-FeOOH (lepidocrocite), and uncorroded ternary phosphide eutectic structures, with significant graphite aggregates observed within the rust layers. The distribution of β-FeOOH exhibits a certain correlation with that of chlorine (Cl), as expected given its chloride-incorporating nature. High-mineralization corrosion samples are dominated by α-FeOOH and Fe₂O₃ (hematite), where the Fe₂O₃ content decreases with increasing corrosion depth. The phosphorus eutectic structures (steadite) suggests that under alkaline conditions, steadite could form a passivation film, thereby halting further corrosion progression. The non-ferrous minerals are primarily composed of silica (SiO₂), albite (NaAlSi₃O₈), and calcite (CaCO₃), with silica predominantly distributed within highly mineralized porous rust layers and macroscopic fissures. Their formation mechanisms potentially reflect early-stage geochemical processes—specifically albitization, silicification, and calcification—during geological sedimentation. This study links casting defects in Pujindu Site iron oxen to corrosion product distribution, aiding corrosion assessment and conservation optimization.
{"title":"Corrosion components and mechanisms of the iron oxen of tang dynasty at Pujindu Site, Shanxi Province, China","authors":"Zheng Zhou , Puheng Nan , Zhimin Li , Zhihua Gan , Qinglin Ma , Changjiao Xu , Jialiang Luo , Benyuan Zhou","doi":"10.1016/j.culher.2025.09.004","DOIUrl":"10.1016/j.culher.2025.09.004","url":null,"abstract":"<div><div>The Tang Dynasty iron oxen (8th-century CE) at Pujindu Site, Shanxi, exhibit severe oxidative degradation from environmental weathering, with corrosion exfoliation compromising their aesthetic and structural integrity as archaeometallurgical artifacts. This study employed confocal Raman spectroscopy, SEM, and EDS to analyze three corrosion samples from the iron oxen group. The objectives were to characterize the compositional profiles of corrosion products and elucidate the corrosion-mineralization interplay. The results demonstrate that low-mineralization corrosion samples predominantly contain α-FeOOH (goethite), β-FeOOH (akaganéite), γ-FeOOH (lepidocrocite), and uncorroded ternary phosphide eutectic structures, with significant graphite aggregates observed within the rust layers. The distribution of β-FeOOH exhibits a certain correlation with that of chlorine (Cl), as expected given its chloride-incorporating nature. High-mineralization corrosion samples are dominated by α-FeOOH and Fe₂O₃ (hematite), where the Fe₂O₃ content decreases with increasing corrosion depth. The phosphorus eutectic structures (steadite) suggests that under alkaline conditions, steadite could form a passivation film, thereby halting further corrosion progression. The non-ferrous minerals are primarily composed of silica (SiO₂), albite (NaAlSi₃O₈), and calcite (CaCO₃), with silica predominantly distributed within highly mineralized porous rust layers and macroscopic fissures. Their formation mechanisms potentially reflect early-stage geochemical processes—specifically albitization, silicification, and calcification—during geological sedimentation. This study links casting defects in Pujindu Site iron oxen to corrosion product distribution, aiding corrosion assessment and conservation optimization.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"76 ","pages":"Pages 65-73"},"PeriodicalIF":3.3,"publicationDate":"2025-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145107132","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}
Pub Date : 2025-11-01Epub Date: 2025-11-07DOI: 10.1016/j.culher.2025.10.020
Ruiwen Ma , Ming Tang , Qinglin Ma , Tongxiu Zheng , Hui Fang , Zhimin Li
The fire-gilding technique represents a revolutionary advancement in the history of metal surface treatment, embodying the creative application of gold and mercury’s physicochemical properties in artistic craftsmanship. A gilded copper ornament unearthed from a Western Han (西汉) Dynasty (206BCE-25CE) tomb in China exhibits abnormal coloration in its gilded layer, characterized by yellow and pale-yellow hues rather than the typical golden-yellow tone. This study utilizes multiple microscopic techniques—including metallographic microscopy, scanning electron microscopy (SEM), and transmission electron microscopy (TEM)—to characterize the artifact, with sample preparation incorporating traditional methodologies and focused ion beam (FIB) technology. The gilded layer of the copper ornament displays a three-layered architecture. Variations in elemental composition across layers account for the color discrepancies and corroborate the implementation of ancient multi-layer fire-gilding techniques. Pore-like defects induce gilded layer peeling at varying degrees, revealing distinct sub-layers and their characteristic hues. A transitional bonding layer formed via solid-state atomic diffusion ensures a robust interface between the gilded layer and substrate, with mechanical interlocking structures enhancing adhesion. The soft Au-Hg amalgam solidifies into a stable phase during thermal treatment. This study unveils novel physicochemical characteristics of ancient gilded layers, demonstrates the efficacy of multi-method approaches in gilded artifact research, deepens the understanding of fire-gilding techniques, and provides critical insights for the conservation of fire-gilded cultural relics.
{"title":"Analysis of fire-gilded copper objects based on multiple microscopic methods: New data","authors":"Ruiwen Ma , Ming Tang , Qinglin Ma , Tongxiu Zheng , Hui Fang , Zhimin Li","doi":"10.1016/j.culher.2025.10.020","DOIUrl":"10.1016/j.culher.2025.10.020","url":null,"abstract":"<div><div>The fire-gilding technique represents a revolutionary advancement in the history of metal surface treatment, embodying the creative application of gold and mercury’s physicochemical properties in artistic craftsmanship. A gilded copper ornament unearthed from a Western Han (西汉) Dynasty (206BCE-25CE) tomb in China exhibits abnormal coloration in its gilded layer, characterized by yellow and pale-yellow hues rather than the typical golden-yellow tone. This study utilizes multiple microscopic techniques—including metallographic microscopy, scanning electron microscopy (SEM), and transmission electron microscopy (TEM)—to characterize the artifact, with sample preparation incorporating traditional methodologies and focused ion beam (FIB) technology. The gilded layer of the copper ornament displays a three-layered architecture. Variations in elemental composition across layers account for the color discrepancies and corroborate the implementation of ancient multi-layer fire-gilding techniques. Pore-like defects induce gilded layer peeling at varying degrees, revealing distinct sub-layers and their characteristic hues. A transitional bonding layer formed via solid-state atomic diffusion ensures a robust interface between the gilded layer and substrate, with mechanical interlocking structures enhancing adhesion. The soft Au-Hg amalgam solidifies into a stable phase during thermal treatment. This study unveils novel physicochemical characteristics of ancient gilded layers, demonstrates the efficacy of multi-method approaches in gilded artifact research, deepens the understanding of fire-gilding techniques, and provides critical insights for the conservation of fire-gilded cultural relics.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"76 ","pages":"Pages 350-356"},"PeriodicalIF":3.3,"publicationDate":"2025-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145462593","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}
Pub Date : 2025-11-01Epub Date: 2025-11-08DOI: 10.1016/j.culher.2025.10.023
Laura Andrés-Herguedas , Daniel Jiménez-Desmond , Chiara Ricci , Francesca Zenucchini , Teresa Rivas , Carolina Cardell , José Santiago Pozo-Antonio
Laser cleaning of soiled wall paintings is a conservation practice that has been adopted for decades. However, the increasingly widespread availability of laser technology highlights the need to optimize the choice of laser systems and, consequently, the parameters used on a case-by-case basis. In this study, three Nd:YAG lasers (1064 nm) with different pulse durations were tested: a short free-running system (110 µs), long Q-switched system (100 ns), and Q-switched (8 ns). These lasers were tested on tempera painting mock-ups made of one pigment (i.e. malachite, azurite, lead white, orpiment, or cinnabar) mixed with an organic binder (i.e. egg yolk or rabbit glue) applied to a lime mortar. Each laser was also evaluated in tablets composed solely of one pigment. The reference and irradiated temperas were studied using stereomicroscopy, spectrophotometry, attenuated total reflectance Fourier transform infrared spectroscopy (ATR-FTIR), and scanning electron microscopy with energy-dispersive X-ray spectroscopy (SEM-EDX). The pigment tablets were also analyzed with micro X-ray diffraction (µXRD).
All samples suffered blackening after laser irradiation, the intensity of which depended on the nature of the pigment and the binder. Overall, pigment susceptibility was broadly comparable across the three pulse-duration lasers. Cinnabar exhibited the highest level of susceptibility, followed by copper carbonates and orpiment, while lead white proved to be the least affected pigment. The binders exhibited a protective effect on the pigments, although this effect was more intense in egg yolk paintings. Regarding pulse duration, it was found that at low fluences, the laser with the longest pulse duration generated the lowest color changes, while at high fluences, this same laser generated the greatest impact on the temperas. Physical effects were observed in the samples (mineral melting and binder loss), though these were not proportional to the intensity of the blackening.
{"title":"Influence of pulse duration on the effects induced by three Nd:YAG lasers operating at 1064 nm to tempera paintings mock-ups","authors":"Laura Andrés-Herguedas , Daniel Jiménez-Desmond , Chiara Ricci , Francesca Zenucchini , Teresa Rivas , Carolina Cardell , José Santiago Pozo-Antonio","doi":"10.1016/j.culher.2025.10.023","DOIUrl":"10.1016/j.culher.2025.10.023","url":null,"abstract":"<div><div>Laser cleaning of soiled wall paintings is a conservation practice that has been adopted for decades. However, the increasingly widespread availability of laser technology highlights the need to optimize the choice of laser systems and, consequently, the parameters used on a case-by-case basis. In this study, three Nd:YAG lasers (1064 nm) with different pulse durations were tested: a short free-running system (110 µs), long Q-switched system (100 ns), and Q-switched (8 ns). These lasers were tested on tempera painting mock-ups made of one pigment (i.e. malachite, azurite, lead white, orpiment, or cinnabar) mixed with an organic binder (i.e. egg yolk or rabbit glue) applied to a lime mortar. Each laser was also evaluated in tablets composed solely of one pigment. The reference and irradiated temperas were studied using stereomicroscopy, spectrophotometry, attenuated total reflectance Fourier transform infrared spectroscopy (ATR-FTIR), and scanning electron microscopy with energy-dispersive X-ray spectroscopy (SEM-EDX). The pigment tablets were also analyzed with micro X-ray diffraction (µXRD).</div><div>All samples suffered blackening after laser irradiation, the intensity of which depended on the nature of the pigment and the binder. Overall, pigment susceptibility was broadly comparable across the three pulse-duration lasers. Cinnabar exhibited the highest level of susceptibility, followed by copper carbonates and orpiment, while lead white proved to be the least affected pigment. The binders exhibited a protective effect on the pigments, although this effect was more intense in egg yolk paintings. Regarding pulse duration, it was found that at low fluences, the laser with the longest pulse duration generated the lowest color changes, while at high fluences, this same laser generated the greatest impact on the temperas. Physical effects were observed in the samples (mineral melting and binder loss), though these were not proportional to the intensity of the blackening.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"76 ","pages":"Pages 373-386"},"PeriodicalIF":3.3,"publicationDate":"2025-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145462661","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}
Pub Date : 2025-11-01Epub Date: 2025-10-08DOI: 10.1016/j.culher.2025.09.006
Patrick Goldbach , Jana Gelbrich
At the end of the 19th century, Otto Lilienthal (1848–1896) built humanity’s first airplanes. The Deutsches Museum Munich owns Lilienthal’s personal glider since 1904 and investigates preservation methods since the 1980s. The wooden fragments were severely damaged by the so called ‘woodworm’. Therefore, the frame of the glider needed to be stabilised in order to preserve it for future handling during conservation and exhibition. The choice of materials followed methods used at the University of the Arts Bern in Switzerland. In particular, the approach to reinforce Methyl cellulose with Nanocellulose was further investigated for the purpose of stabilising the infested wood of the glider. Pre – tests with celluloses showed that they meet the requirements of the conservation concept. Therefore, an object-related laboratory testing series was carried out in collaboration with the Leibniz Institute for Materials Engineering - IWT in Bremen, Germany. The laboratory results enabled the celluloses to be applied with respective to individual situations of the wooden fragments of the glider in 2024. They proved to be practical as wood stabilising agents, and the characteristic thixotropy of Nanocellulose was beneficial while using the mixtures on the fragments of the glider. The chemical properties of celluloses, their almost unchanged surface appearance after drying, and the non-toxic application of this natural polymer make these mixtures an attractive and sustainable wood stabilisation agent for the conservation of historic wooden artefacts.
{"title":"Using nanocellulose mixtures for the wood stabilisation of a Lilienthal glider","authors":"Patrick Goldbach , Jana Gelbrich","doi":"10.1016/j.culher.2025.09.006","DOIUrl":"10.1016/j.culher.2025.09.006","url":null,"abstract":"<div><div>At the end of the 19th century, Otto Lilienthal (1848–1896) built humanity’s first airplanes. The Deutsches Museum Munich owns Lilienthal’s personal glider since 1904 and investigates preservation methods since the 1980s. The wooden fragments were severely damaged by the so called ‘woodworm’. Therefore, the frame of the glider needed to be stabilised in order to preserve it for future handling during conservation and exhibition. The choice of materials followed methods used at the University of the Arts Bern in Switzerland. In particular, the approach to reinforce Methyl cellulose with Nanocellulose was further investigated for the purpose of stabilising the infested wood of the glider. Pre – tests with celluloses showed that they meet the requirements of the conservation concept. Therefore, an object-related laboratory testing series was carried out in collaboration with the Leibniz Institute for Materials Engineering - IWT in Bremen, Germany. The laboratory results enabled the celluloses to be applied with respective to individual situations of the wooden fragments of the glider in 2024. They proved to be practical as wood stabilising agents, and the characteristic thixotropy of Nanocellulose was beneficial while using the mixtures on the fragments of the glider. The chemical properties of celluloses, their almost unchanged surface appearance after drying, and the non-toxic application of this natural polymer make these mixtures an attractive and sustainable wood stabilisation agent for the conservation of historic wooden artefacts.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"76 ","pages":"Pages 177-183"},"PeriodicalIF":3.3,"publicationDate":"2025-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145267590","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}
<div><div>As a traditional Japanese fixture, <em>fusuma</em> is sliding doors, often displaying paintings on paper. However, because <em>fusuma</em> is also building components, it is often preserved and exhibited inside cultural heritage buildings, such as temples, shrines, and castles, which have low thermal insulation and airtightness; therefore, fluctuations in temperature and humidity may cause deformation of <em>fusuma</em> and tears in painted paper. This study focused on the deformation mechanisms of <em>fusuma</em> paintings preserved and exhibited inside cultural property buildings. Specifically, the study investigated the warping behavior of <em>tobusuma</em>—a type of <em>fusuma</em> made by attaching a support such as plywood or carbon fiber reinforced plastic (CFRP) board to one side to increase strength—when temperature and humidity differences occur on the front and back, clarified the warping mechanism, and evaluated the effect of different support types on warpage. In the experiment, an actual-sized <em>tobusuma</em> was prepared, and warpage was measured by subjecting its front and back surfaces to different temperatures and relative humidity. Additionally, we reproduced our experimental results using a finite element method (FEM) simulation and analyzed the effect of each <em>tobusuma</em> component on the warpage. The results showed that <em>tobusuma</em> tends to warp toward higher relative humidity if temperatures on both sides are the same, and that the direction and magnitude of warpage depend on the support type. For the plywood support, greater warpage occurred when the interior side was humid, whereas for the CFRP support, greater warpage occurred when the exterior side was humid because of its low moisture permeability; however, when the exterior side was humid, the amout of warpage was similar for both supports. In typical field environments, where the interior is generally more stable and less humid, the type of support may have a limited impact on warping. In the FEM simulation, the reproducibility of the simulation model was lower for the CFRP support than for the plywood support, which is considered to be due to uncertainties in the mechanical boundary conditions and moisture content input of the components. In particular, when the hygrothermal properties of components differ significantly, like CFRP, it is more important to perform coupling between moisture transfer and moisture-induced mechanical deformation simulation. The study results contribute to the selection of suitable support for preserving <em>fusuma</em> paintings and to investigation of environments in which they are installed. For a deeper understanding of <em>fusuma</em> paintings’ deterioration mechanism, it is necessary to investigate not only the warping of <em>tobusuma</em> but also the deformation behavior of painted paper and the discoloration/fading of the paintings. Since these phenomena are closely related to environmental factors such as
{"title":"Experimental and simulation studies on the mechanism of moisture-induced warping of traditional Japanese sliding doors","authors":"Nobumitsu Takatori , Daisuke Ogura , Shiori Izukura , Mie Toki , Tomoaki Okamura","doi":"10.1016/j.culher.2025.09.014","DOIUrl":"10.1016/j.culher.2025.09.014","url":null,"abstract":"<div><div>As a traditional Japanese fixture, <em>fusuma</em> is sliding doors, often displaying paintings on paper. However, because <em>fusuma</em> is also building components, it is often preserved and exhibited inside cultural heritage buildings, such as temples, shrines, and castles, which have low thermal insulation and airtightness; therefore, fluctuations in temperature and humidity may cause deformation of <em>fusuma</em> and tears in painted paper. This study focused on the deformation mechanisms of <em>fusuma</em> paintings preserved and exhibited inside cultural property buildings. Specifically, the study investigated the warping behavior of <em>tobusuma</em>—a type of <em>fusuma</em> made by attaching a support such as plywood or carbon fiber reinforced plastic (CFRP) board to one side to increase strength—when temperature and humidity differences occur on the front and back, clarified the warping mechanism, and evaluated the effect of different support types on warpage. In the experiment, an actual-sized <em>tobusuma</em> was prepared, and warpage was measured by subjecting its front and back surfaces to different temperatures and relative humidity. Additionally, we reproduced our experimental results using a finite element method (FEM) simulation and analyzed the effect of each <em>tobusuma</em> component on the warpage. The results showed that <em>tobusuma</em> tends to warp toward higher relative humidity if temperatures on both sides are the same, and that the direction and magnitude of warpage depend on the support type. For the plywood support, greater warpage occurred when the interior side was humid, whereas for the CFRP support, greater warpage occurred when the exterior side was humid because of its low moisture permeability; however, when the exterior side was humid, the amout of warpage was similar for both supports. In typical field environments, where the interior is generally more stable and less humid, the type of support may have a limited impact on warping. In the FEM simulation, the reproducibility of the simulation model was lower for the CFRP support than for the plywood support, which is considered to be due to uncertainties in the mechanical boundary conditions and moisture content input of the components. In particular, when the hygrothermal properties of components differ significantly, like CFRP, it is more important to perform coupling between moisture transfer and moisture-induced mechanical deformation simulation. The study results contribute to the selection of suitable support for preserving <em>fusuma</em> paintings and to investigation of environments in which they are installed. For a deeper understanding of <em>fusuma</em> paintings’ deterioration mechanism, it is necessary to investigate not only the warping of <em>tobusuma</em> but also the deformation behavior of painted paper and the discoloration/fading of the paintings. Since these phenomena are closely related to environmental factors such as","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"76 ","pages":"Pages 165-176"},"PeriodicalIF":3.3,"publicationDate":"2025-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145267645","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}
In heritage science, preparing mock-ups is often a fundamental yet challenging aspect of experimental protocols. This work arises from the need to understand the critical factors that must be considered when preparing model oil paint layers. Specifically, the focus is on understanding the rheology and the curing process of oil paints, and the work was carried out selecting ultramarine blue as pigment and (semi)drying oils as binder. The factors investigated here are the types of pigment and oil, paint thickness, pigment storage conditions, and paint solids content. In this work, 10 different ultramarine blue pigments were selected, differing in terms of their origin (natural and synthetic), particle size distribution, presence of coating or additives, and overall composition. Cold pressed walnut, safflower and linseed oils were used, as well as linseed oils subjected to different pre-treatments, i.e., stand oil and alkali-refined oil. The rheological behavior of fresh model paints was investigated, focusing on the effect of parameters such as pigment particle size distribution and water content. Fresh model paints were also analyzed with ThermoGravimetric Analysis (TGA) under air flow at a constant temperature (80 °C), and some selected paints with microUV—Pyrolysis—Gas Chromatography—Mass Spectrometry (microUV-Py-GC-MS). This enabled us to compare the induction period of the curing reactions, as well as the balance between oxidative degradation and polymerization when the paint formulation was systematically varied. Results show how, in the case of ultramarine blue, the natural pigments behave differently from the synthetic ones, both from a rheological and from a chemical point of view. The study demonstrates that all the parameters investigated strongly affected both the rheology and the chemical curing of the oil paints, which must thus be taken into consideration when carrying out systematic studies.
{"title":"On the preparation of model ultramarine blue oil paint layers: factors affecting the wet paint flow and curing","authors":"Giulia Caroti , Ophélie Ranquet , Silvia Pizzimenti , Luca Bernazzani , Emma Cantisani , Riccardo Punis , Alfonzo Zoleo , Patrick Dietemann , Norbert Willenbacher , Celia Duce , Ilaria Bonaduce","doi":"10.1016/j.culher.2025.10.008","DOIUrl":"10.1016/j.culher.2025.10.008","url":null,"abstract":"<div><div>In heritage science, preparing mock-ups is often a fundamental yet challenging aspect of experimental protocols. This work arises from the need to understand the critical factors that must be considered when preparing model oil paint layers. Specifically, the focus is on understanding the rheology and the curing process of oil paints, and the work was carried out selecting ultramarine blue as pigment and (semi)drying oils as binder. The factors investigated here are the types of pigment and oil, paint thickness, pigment storage conditions, and paint solids content. In this work, 10 different ultramarine blue pigments were selected, differing in terms of their origin (natural and synthetic), particle size distribution, presence of coating or additives, and overall composition. Cold pressed walnut, safflower and linseed oils were used, as well as linseed oils subjected to different pre-treatments, i.e., stand oil and alkali-refined oil. The rheological behavior of fresh model paints was investigated, focusing on the effect of parameters such as pigment particle size distribution and water content. Fresh model paints were also analyzed with ThermoGravimetric Analysis (TGA) under air flow at a constant temperature (80 °C), and some selected paints with microUV—Pyrolysis—Gas Chromatography—Mass Spectrometry (microUV-Py-GC-MS). This enabled us to compare the induction period of the curing reactions, as well as the balance between oxidative degradation and polymerization when the paint formulation was systematically varied. Results show how, in the case of ultramarine blue, the natural pigments behave differently from the synthetic ones, both from a rheological and from a chemical point of view. The study demonstrates that all the parameters investigated strongly affected both the rheology and the chemical curing of the oil paints, which must thus be taken into consideration when carrying out systematic studies.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"76 ","pages":"Pages 239-250"},"PeriodicalIF":3.3,"publicationDate":"2025-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145416509","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}
The aim of this work is to present an advancement in the technical protocol to obtain multiband 3D reconstructions of ancient statuary by photogrammetric acquisition of different input data as Visible (VIS), Ultraviolet Induced Visible Luminescence (UVL), and Visible Induced Luminescence (VIL). An acquisition workflow tailored for multiband photogrammetry was developed and tested on the Venus in a Bikini (INV 152798), belonging to MANN collection. The Bikini statue preserves rich remnants of the original polychromy, and in particular gilding on the strophyon (a sort of swimming suit) and on the sandals and pink traces on the tree trunk support and the draped cloak. The workflow, in comparison to others, is designed to generate multiband 3D reconstructions while remaining flexible and applicable in diverse operational scenarios.
The final multispectral 3D model, integrated into a Web3D framework (ATON), allows for interactive visualization, facilitating both scientific research and digital dissemination. It allows to simultaneously explore morphological characteristics on the entire sculpture at high resolution, combining detailed information on those properties not visible to the naked eye, but revealed by the multiband acquisitions. The extrapolated observations relate mainly to the presence on the surface of conservative intervention, or peculiar pigments and pattern decoration that can be highlighted.
{"title":"Multiband photogrammetry for multispectral 3D reconstruction of statuary","authors":"Daniele Ferdani , Cristiana Barandoni , Federica Bonifazi , Roberta Iannaccone , Donata Magrini","doi":"10.1016/j.culher.2025.09.003","DOIUrl":"10.1016/j.culher.2025.09.003","url":null,"abstract":"<div><div>The aim of this work is to present an advancement in the technical protocol to obtain multiband 3D reconstructions of ancient statuary by photogrammetric acquisition of different input data as Visible (VIS), Ultraviolet Induced Visible Luminescence (UVL), and Visible Induced Luminescence (VIL). An acquisition workflow tailored for multiband photogrammetry was developed and tested on the Venus in a Bikini (INV 152798), belonging to MANN collection. The <em>Bikini</em> statue preserves rich remnants of the original polychromy, and in particular gilding on the <em>strophyon</em> (a sort of swimming suit) and on the sandals and pink traces on the tree trunk support and the draped cloak. The workflow, in comparison to others, is designed to generate multiband 3D reconstructions while remaining flexible and applicable in diverse operational scenarios.</div><div>The final multispectral 3D model, integrated into a Web3D framework (ATON), allows for interactive visualization, facilitating both scientific research and digital dissemination. It allows to simultaneously explore morphological characteristics on the entire sculpture at high resolution, combining detailed information on those properties not visible to the naked eye, but revealed by the multiband acquisitions. The extrapolated observations relate mainly to the presence on the surface of conservative intervention, or peculiar pigments and pattern decoration that can be highlighted.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"76 ","pages":"Pages 74-85"},"PeriodicalIF":3.3,"publicationDate":"2025-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145107271","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}
Copper production in the Arabah Valley intensified during the Late Bronze and Iron Ages, particularly at Timna and Faynan. The Hathor Temple at Timna is especially significant for its Egyptian artifacts, including cartouches of Pharaohs from Seti I to Ramesses V (∼1300–1140 BCE), which provide key chronological markers. However, the site's complex stratigraphy—along with undocumented conservation work in the 1980s—complicates efforts to establish a clear occupational sequence for the site. To address this, we developed a method to distinguish between pristine archaeological contexts and contexts that underwent conservation using sediment morphology and mineralogy. Our analysis shows that restoration introduced carbonate-rich sand, differing from local geology, with iron oxide coatings and carbonate content serving as reliable indicators of modern disturbance. This approach enabled the secure identification of undisturbed contexts, including one that yielded a charcoal sample of the short-lived shrub Salsola baryosma, radiocarbon dated to ∼1500–1300 BCE (2σ). This new date suggests that Egyptian copper exploitation in Timna started already during the days of the 18th Dynasty.
{"title":"Distinguishing pristine and conserved sediments in heritage sites: The Hathor temple at Timna Valley as a case study","authors":"Yotam Asscher , Ilana Peters , Mark Cavanagh , Willie Ondricek , Erez Ben-Yosef","doi":"10.1016/j.culher.2025.10.005","DOIUrl":"10.1016/j.culher.2025.10.005","url":null,"abstract":"<div><div>Copper production in the Arabah Valley intensified during the Late Bronze and Iron Ages, particularly at Timna and Faynan. The Hathor Temple at Timna is especially significant for its Egyptian artifacts, including cartouches of Pharaohs from Seti I to Ramesses V (∼1300–1140 BCE), which provide key chronological markers. However, the site's complex stratigraphy—along with undocumented conservation work in the 1980s—complicates efforts to establish a clear occupational sequence for the site. To address this, we developed a method to distinguish between pristine archaeological contexts and contexts that underwent conservation using sediment morphology and mineralogy. Our analysis shows that restoration introduced carbonate-rich sand, differing from local geology, with iron oxide coatings and carbonate content serving as reliable indicators of modern disturbance. This approach enabled the secure identification of undisturbed contexts, including one that yielded a charcoal sample of the short-lived shrub <em>Salsola baryosma</em>, radiocarbon dated to ∼1500–1300 BCE (2σ). This new date suggests that Egyptian copper exploitation in Timna started already during the days of the 18th Dynasty.</div></div>","PeriodicalId":15480,"journal":{"name":"Journal of Cultural Heritage","volume":"76 ","pages":"Pages 251-262"},"PeriodicalIF":3.3,"publicationDate":"2025-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145416512","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}
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