摘要
许多有效的分析技术在文物保护上的应用受文物尺寸、现场条件的影响难以发挥有效作用。馆藏大幅面油画具有可移动和不便移动双重属性,如何通过流程把控和技术筛选对其进行快捷、有效的分析检测是一个值得探索的工作。以一幅中国国家博物馆藏大幅面油画《德涅伯尔河的秋天》为研究对象,依据其文物特征和修复现场条件,筛选多光谱摄影技术、X射线荧光面扫描技术和光纤反射光谱技术三种无损检测方法,联合应用于其颜料识别和创作技法研究。结果表明:首先,依托宏观光谱成像的聚类分析结果可以获得创作技法信息和颜料分类信息;其次,根据油画表层颜料的空间分布对多光谱图像进行分割,可确定颜料分布区域;最后,采用光纤反射光谱技术对颜料层进行深入解读,运用图像数字提取技术将颜料分布和颜料材质信息相关联,较为准确地识别了油画表层的颜料分布状况。通过综合运用上述三种操作便捷性较高的设备,快速、准确地获取了大幅面油画的以下潜在信息:油画的光油层与底稿层信息、创作过程中的修改与隐藏信息、颜料种类及分布信息。
Many effective analytical techniques face limitations when applied in the field of cultural heritage conservation due to artifact size and on-site environmental constraints.Large-format oil paintings in museum collections present particular challenges,as they possess both movable and immovable characteristics,making efficient on-site analysis difficult.In this work,we selected the large-format oil painting“"Autumn on the Dnieper River"from the collection of the National Museum of China as a case study.Considering the painting's specific attributes and the practical conditions of its conservation setting,a nondestructive multi-technique approach consisting of multispectral imaging(MSI),macro X-ray fluorescence(MA-XRF)mapping,and fiber optic reflectance spectroscopy(FORS),was employed for pigment identification and painting techniques investigation.The results demonstrate that:(1)clustering analysis based on macroscopic spectral imaging provides valuable information regarding artistic techniques and pigment classification;((2)segmentation of multispectral images based on the spatial distribution of surface pigments enables precise mapping of pigment application areas;and(3)in-depth analysis using FORS,combined with digital image extraction,establishes correlations between pigment distribution and material composition,thereby allowing accurate identification of pigment distribution on the painting's surface.The integrated application of these convenient and adaptable methods allows for the rapid and accurate acquisition of critical information about large-format oil paintings,including details of varnish and underdrawing layers,evidence of modifications and hidden information in the painting process,as well as the types and spatial distribution of pigments.
作者
赵丹丹
杨琴
吴娜
李毓
张拓
颜宇
郝锌颖
ZHAO Dan-dan;YANG Qin;WU Na;LI Yu;ZHANG Tuo;YAN Yu;HAO Xin-ying(National Museum of China,Beijing 100006,China;Key Scientific Research Base of Metal Conservation(National Museum of China),National Cultural Heritage Administration,Beijing 100079,China;Institute of High Energy Physics,Chinese Academy of Sciences,Beijing 100049,China;Key Scientific Research Base of Nuclear Technology Application and Equipment in the Field of Cultural Heritage(Institute of High Energy Physics,Chinese Academy of Sciences),National Cultural Heritage Administration,Beijing 100049,China;Spallation Neutron Source Science Center,China Spallation Neutron Source,Dongguan 523803,China;Department of History of Science and Scientific Archaeology,University of Science and Technology of China,Hefei 230026,China)
出处
《光谱学与光谱分析》
北大核心
2025年第11期3207-3215,共9页
Spectroscopy and Spectral Analysis
基金
国家文物局文物科学技术研究项目(自筹)(2023ZCK003)
中国国家博物馆2021年度馆级科研项目(GBKX2021Y38)
中国博士后科学基金面上项目(2024M751756)资助。
