Earticle

This study investigates the crystallinity distribution of ancient silk. Owing to the inherent multi-hierarchical structure of silk protein and the complicated structural changes that occur due to various burial environments, it is challenging but worthwhile to study ancient silk ageing behavior, which is based on the fact that ageing begins with a single fiber and then spreads to a whole fabric. Crystallinity was one of the most effective indicators found to reveal the ageing status of silk. Therefore, a synchrotron radiation-based X-ray diffraction(SR-XRD) method was employed to study the crystallinity distribution of single fibers of ancient silk unearthed from seven archaeological sites in China from historical periods including the warring states, Han dynasty, Song dynasty, and Ming dynasty. In comparison, the conventional X-ray diffraction method, which uses large amounts of samples, was also performed to determine the integral crystallinity of ancient silk. Thermal stability experiments by thermogravimetry(TG) as well as morphology observations by scanning electron microscopy(SEM) and optical microscopy(OM) all confirmed the deterioration of ancient silk. Moreover, the ageing mechanism of ancient silk was proposed with the assistance of an artificial ageing study. The results confirmed the effectiveness of SR-XRD as an ageing indicator, revealing the crystallinity distribution. This research could provide motivation to determine the deterioration status of ancient silk, and would also aid in explaining the fragility of ancient silk due to ageing.

The Main Hall of the Fengguo monastery in Yixian county, Liaoning province, China, is the best preserved and largest wooden Buddhist structure, typical of the Liao dynasty style, in China. However, some degradation to the timber frame of the Main Hall has been noted, and this is causing concern in terms of the long-term preservation of the structure. In this study, wooden pillars showing the degradation phenomena of whitening, for areas in contact with the stone floor, and extensive surface damage at higher locations(mostly above 1 m) have been examined. Samples taken from wooden pillar surfaces were analyzed using X-ray powder diffraction, Fourier-transform infrared spectroscopy(FTIR), ion chromatography, and pH measurements. With respect to the whitening phenomenon, we found inorganic calcium precipitates and oxalate ions, along with higher pH values. These symptoms indicated that chemical changes were taking place in response to alkaline conditions, suggesting that alkaline mixtures with calcium content in the foundations may be responsible. Regarding the upper surface-damaged areas, no valid evidence for chemical degradation was found using FTIR analysis, while damaged areas exhibited the presence of more bat guano-related materials than which were apparent in undamaged areas. The occurrence of this surface-damaged phenomenon has therefore been attributed to physical damage caused by bat activity over long periods of time.

The storage environment of a Japanese woodblock print collection was assessed for organic acids. The active air sampling method was used to collect organic acid emissions in the low microgram range from areas of a selected woodblock print with different pigments, following which an off-gassing mitigation strategy based on the fan filter unit(FFU) system was investigated. Research findings revealed that the off-gassing behavior of woodblock prints is significantly impacted by storage practices and to a lesser degree by the pigments. The FFU system can be used as a mitigation strategy, but the permanence of the results depends on the storage conditions.

It is difficult to predict the kinds of damage to contemporary art because of the diversity of materials and experimental techniques used. This makes it hard to conserve. Furthermore, the artist’s intention in contemporary art is emerging as one of the important issues to be handled in conservation treatment. Thus, collaboration with various stakeholders such as the artists themselves, bereaved family members, and foundations have become more important than ever from the viewpoint of planning conservation treatment. The trustworthiness of conservation treatment would be significantly enhanced if conservation treatment reflected the understanding and respect of not only the appearance of the work, but also the social/cultural context inherent in the work. This should be done, in particular, through collaboration with the artists. In this study, various case studies at home and abroad were analyzed as to explore collaboration methods with various stakeholders for objective and trustworthy conservation treatment. Along the way, the study raised the need to establish new conservation ethics for contemporary art. It is expected that the outcomes of the study could be used as basic material to preserve the originality of contemporary artwork and to set the direction for conservation practice.

Scientific analysis was conducted to identify the paint pigments used in the Buseoksa Josadang murals. optical microscopy(OM), X-ray fluorescence(XRF), XRF mapping, scanning electron microscopy–energy dispersive X-ray spectroscopy(SEM-EDS), and Raman spectroscopy were performed to examine the pigments. The results confirmed that the Josadang murals consist of two paint layers wherein the pigments were distinct for most colors. It was estimated that celadonite, white clay, red ochre, cinnabar and minium, synthetic green pigment containing tin and zinc paratacamite, or botallackite were used in the upper layer. In addition, bone white, celadonite, red ochre, azurite, cinnabar or vermilion, and gold were identified in the lower layer. In addition, as Zn and Sn were detected in the green pigments extracted from the top layer of the paint, it is believed that Josadang murals were repainted over the original paint layer at some point after the 17th century. In addition, white pigments containing calcium phosphate were found in all the colors in the bottom layer, which is the original paint layer. These results are significant because this is the first time that white pigments are found in Korean traditional paintings. Additionally, the information revealed about the pigments in this study will serve as areference for the pigments used in the Goryeo period.

The Inscribed stones of Hanyangdoseong has been weathered for a long time because of external environment and living organisms. To establish a long-term conservation-management strategy for the inscription stones, the material characteristics of the inscription stones of Naksan Mountain Area were identified, and its deterioration state was diagnosed. Consequently, it was confirmed that the Inscription stones of Naksan Mountain Area mainly comprised coarse-to medium-grained pinkish granite and biotite granite, and, in part, comprised reddish granite, quartz porphyry, and aplite. Presently, the Inscription stones of Naksan Mountain Area, Hanyangdoseong, is undergoing a considerable decrease in physical properties because of physical, chemical, and biological weathering. Moreover, it has been confirmed that the type of damage, such as blistering, soiling, and dicolouration, on the surface shows a significantly high deterioration rate, and that conservation treatment might be required in future. In addition, because the possibility of damage recurrence is high even after the treatment, the conservation state must be regularly monitored.