This study presents a comprehensive non-destructive analytical approach for the investigation of ancient Chinese paintings on paper and silk using microscopic observation, technical photography, and compositional mapping techniques. Three paintings from the Palace Museum collection were systematically examined: one paper-based album (Pineapple Chrysanthemum Crab Album by Ren Yi) and two silk scrolls (Concubine Yang Emerging from the Bath Scroll by Kang Tao and The Twelfth Scroll “Viewing Bamboo by the Door” from Amusements of Emperor Yongzheng’s Consorts). Optical and three-dimensional (3D) video microscopy were employed to characterize paper fibers, silk weave structures, and reverse pigments. Transmitted light and ultraviolet fluorescence imaging were used to reveal mounting structures, restoration traces, and biodeterioration. Macro X-ray fluorescence (MA-XRF) mapping combined with fiber optic reflectance spectroscopy (FORS) was applied to identify pigment compositions and their spatial distributions. For the paper-based album, Xuan paper was identified in situ through characteristic bast and grass fibers, mold contamination was mapped by UV fluorescence, and key pigments such as azurite, indigo, malachite, ochre, lead-containing white pigment, cinnabar, and an insect dye were non-destructively recognized and spatially resolved. In the silk scroll depicting Concubine Yang, transmitted light photography visualized complex mounting and repair structures, while MA-XRF element maps clarified the modeling of garments, skin tones, and metallic decorations. In the Yongzheng consort scroll, the combination of MA-XRF and 3D video microscopy enabled clear differentiation between surface pigments and reverse pigments on the back of the silk, revealing systematic use of lead-containing white pigment, azurite, malachite, and gold as reverse pigments. These results can provide robust technical support for condition assessment, conservation decision-making, and the study of painting and mounting techniques of Chinese paintings. The methodology and case data also contribute to the construction of a scientific database for Chinese paintings, enhancing future research on materials, technologies, and deterioration mechanisms.

The hard yellow paper is one of the few surviving famous Chinese papers from more than a thousand years ago. In order to ascertain the development of materials and craft-making, including the utilization of fiber, dyeing, and coating, 24 paper relics from the Tang Dynasty sourced from Gansu Provincial Museum have been subjected to comprehensive observation and analysis via Fourier transform infrared spectroscopy and ultra-performance liquid chromatography/mass spectrometry. The organic composition of paper coating can also be obtained by the micro-infrared spectrometer. According to the results, the hemp, ramie, and bark fibers are considered as raw materials; the smooth surface of hard yellow paper may be due to the improvement of the stamping and calendering process. The raw materials of paper may contain wheat starch, animal glue, berberine, palmatine, and phellodendrine. Finally, the hard yellow paper would be upgraded by stamping, sizing, calendaring, and surface coating from the Tang Dynasty.

Abstract Hard yellow paper is one of the few surviving Chinese famous paper from more than a thousand years ago. In particular, the documents found in Dunhuang are important collections in major museums around the world. Although there has been some research before, the production process is still a lot of controversy. In order to find out the development of materials and making craft, such as the fiber, dyeing and coating, 24 paper relics of Hard yellow paper in the Tang Dynasty from Gansu Provincial Museum have been observed and tested comprehensively by spectroscopy and spectrometry Most of the paper is handed down from generation to generation so they are in good condition of preservation. Raw materials and different surface coating materials of paper are observed by ultra-depth microscope surface observation. The organic composition of paper coating and fiber dyeing can also be accurately obtained by micro-infrared spectrometer and ultra-liquid chromatography-mass spectrometry. a series of new evidence has been found, which provides the possibility to solve the current questions and disputes. According to the results, the hemp, ramie and bark fibers are considered as raw materials; the raw materials of paper’s surface may contain plant glue and animal glue. Berberine, palmatine and phellodendrine are detected from fragments which were considered as the dye of paper. Finally, the Hard yellow paper will be upgraded by hammering, calendaring and surface coating in the Tang Dynasty.

Boiled tung oil is the commonly used drying oil in Chinese cultural relics, and light radiation, temperature are the important factors leading to its aging. In order to investigate the photo and thermal aging behavior of boiled tung oil and determine the characteristic parameters to evaluate its aging degree, micro-UV/Py-GC/MS system has been applied in the present work to monitor the volatile aging products released by boiled tung oil film, to obtain high aging degree boiled tung oil film in short time and to investigate its composition change in different aging degree.Research results showed that volatile products released by boiled tung oil film during UV irradiation and 60 celcius were mainly series of aldehydes, ketones, carboxylic acids and hydrocarbons with small molecule. With increase of aging time, the type of volatile products remain unchanged, but their amount gradually decreases until cannot be detected. Pyrolytical products of unaged and aged boiled tung oil is the same, but with the increase of aging degree, relative content of glycerol, dicarboxylic acids and azelaic acid in boiled tung oil film gradually increased, while the relative content of oleic, linoleic and eleostearic acid, as well as the content ratio of mono-carboxylic acids to di-carboxylic acids gradually decreased.Changes of volatile and pyrolytical products during aging process were summarized to evaluate the aging degree of boiled tung oil used in cultural relics. Boiled tung oil used in two lacquerware samples collected from the same carved lacquer panel from Fuwang Ge in the Forbidden City, and two polychrome samples separately collected from the inner and outer eave of Yanxi Tang in the Forbidden City were investigated, the aging degree evaluation results of boiled tung oil in historical samples have further confirm the reliability of summarized parameters. Research results of the present work can provide scientific support for the conservation and resto-ration of related cultural relics, and also lay a foundation for the in-depth study of the photo and thermal aging mechanism of boiled tung oil.

无锡八士镇宋代墓葬出土的绿髹荷花形漆钵是极为罕见的"绿沉漆"实物,利用三维视频显微系统、激光显微拉曼光谱、热裂解-气相色谱/质谱,对这件绿髹漆钵标本进行了分析研究.结果表明,绿髹荷花形漆钵经过制胎、批灰、髹底漆、髹红色以及绿色面漆的工序制作而成;其木质胎体为杉木属,漆灰以植物油和中国大漆作为胶结材料,而面漆则是中国大漆并添加了熟桐油作为助剂;红色漆膜呈色颜料为朱砂,绿色漆膜的呈色是由雌黄和靛蓝调配而成.这是对"绿沉漆"漆器制作工艺的首次科学鉴别.

Lacquer is the main raw material of lacquerware, while UV-irradiation is an important factor leading to its aging. In order to investigate the aging behavior of urushi lacquer film under UV-irradiation, and to propose parameters that can be used to evaluate its aging degree, the micro-UV/Py-GC/MS system has been applied in the present work to enrich and identify volatile products released by urushi film during aging on the one hand, and to investigate micro-amount and conventional urushi films with different aging degrees on the other hand, in addition, representative historical samples have also been investigated. Volatile products released by urushi film demonstrate that during UV-irradiation, polysaccharides wrapping urushiol polymer would be first degraded to generate furans and alcohols, and then urushiol polymer would undergo photo-oxidation and break of molecular chain, mainly generating oxidation products including aldehydes, organic acids, and ketones, as well as a small number of alkyl benzenes and hydrocarbons. Py-GC/MS analysis of micro-amount urushi films with different aging degrees indicates that UV-irradiation is more destructive to aliphatic chains in urushiol polymer, but it also can accelerate the polymerization of micro-amount urushi film. Py-GC/MS analysis of conventional urushi films indicates that with the increase of aging degree, the total chromatographic peak area ratio of hydrocarbons to benzene derivatives gradually increases, the peak area ratio of 3-pentadecenyl-catechol to 3-pentadecyl-catechol gradually decreases, and the peak area ratio of aging products of urushiol to 3-pentadecyl-catechol gradually increases. The above parameters were further used to evaluate the aging degree of two urushi-contained samples separately collected from the surface and interior of a carved lacquer panel in the Forbidden City, and evaluation results are in accord with the natural aging law and further verify the reliability of the proposed parameters. Research results of the present work can lay a foundation for the in-depth study of the UV-irradiation aging mechanism of urushi.

Birch bark tar is one of the oldest man-made organic materials, which was most commonly served as adhesives in ancient Eurasia, but little is known about its usage in personal ornaments. In this study, we present the earliest direct evidence for the specific use of birch bark tar in the production of ornaments through chemical investigation (including FTIR, GC/MS, and Py-GC/MS) and imaging examination (including SEM and micro-CT). The chemical and microscopic analyses indicate that some beads and bracelets unearthed from a public cemetery (the Dayuanzi site) of an ancient state or tribe ( Xinan Yi ) on the eastern Yunnan plateau in southwest China dated to approximately 475 BCE–8 CE were exclusively made with birch bark tar. These ornaments represent a unique cultural phenomenon among ethnic groups in this region, which may contribute to a better understanding of plant exploitation and the related birch bark culture among different cultural groups and their interrelationships in the past.

漆灰的修复是漆器文物修复工作的重要组成部分.为揭示故宫博物院旧藏漆器3种典型漆灰的材料构成及特点,以及为漆器修复工作提供科技支持,研究结合X射线荧光光谱、微区X射线衍射、红外光谱、纤维显微镜观测、热裂解-气相色谱/质谱联用等技术,综合分析了 3种典型漆灰所含无机及有机原材料.研究结果表明:明代古梅花蕉叶式琴漆灰所用无机材料是动物角灰或骨灰及少量黏土,胶结材料则由中国大漆及少量植物油组成;清代黑漆描金大宝座漆灰的无机材料为含有方解石的黏土,胶结材料为熟桐油、猪血的混合物,此外,样品中还含有麻类纤维,为宝座木胎与漆灰层之间所裱麻布,宝座漆灰不但能提供平整髹漆表面,而且还对麻布有加固定型作用;清代黑漆地填金字张廷玉书圣训天伦对联漆灰的无机材料为黏土,胶结材料则为熟桐油、猪血的混合物.研究所用分析方法体系可实现漆灰原材料,特别是有机胶结材料的准确识别.3种典型漆灰的选材特点与中国古代漆器,特别是明清时期家具、器物制作用料传统相吻合,研究结果可直接应用于漆器文物修复方案的制定.

Fluorescence spectroscopy has been successfully applied to the identification of colorants in oil paintings and murals due to the advantage of non-destructive detection, but the traditional equipment uses xenon lamp as the excitation light source, which is energy inefficient in the process of using, and the monochromatic light output power is weak and unstable. This paper proposes the use of ultra-continuous spectrum broad-band tunable laser with fiber optic sensors to achieve effective detection of weak fluorescence signals of silk dyes, compared with the traditional 3D-fluorescence equipment, single-wavelength excitation light output power is greatly increased, higher monochromaticity and energy density to achieve better spatial resolution and faster detection efficiency, while adding fiber optic sensors can be done to achieve the surface of the painted artifacts in situ non-destructive detection. The proposed method can detect more weak fluorescence information under the comparison results of multiple dyed silk samples with different fluorescence emission effects. Acknowledgement: This project is funded by National Key R&D Program of China No.2020YFE0204600.

发笺纸是一种历史名纸,关于发笺纸的造纸工艺与原料一直未有定论.传统纸张纤维分析一般采用微损取样后染色制片显微镜观察的方法,但在文物分析中时常面临无法取样的情况.本研究通过自主搭建的显微无损原位分析设备对一件故宫博物院藏的清代高丽发笺纸的造纸纤维及纸张中深色细丝成分进行了分析.透光照观察显示抄纸所用纸帘具有朝鲜地区特点,无损原位显微观察结果显示高丽发笺的纸张纤维为楮皮纤维,深色细丝为硬毛藻类纤维,成纸后可能经过捶纸工艺处理.研究结果为高丽发笺纸的材料与制作工艺复原提供了一定的科学依据,研究所使用的显微无损原位分析方法亦可广泛用于纸张类文物分析.

故宫博物院收藏着大量晚清至21世纪初的照相底片,本文通过红外光谱、近红外光谱等方法,对其中21张胶片的片基材质、保存状况等进行了科学分析.首先利用显微红外光谱仪对其片基材质进行了准确鉴别,发现有12张为硝酸片,9张为醋酸片,醋酸片又包括醋酸纤维素酯和醋酸丁酸纤维素酯两类.在此基础上,评估了近红外光谱的检测效果,证明该方法能够区分醋酸胶片与硝酸胶片,提供了适用于胶片片基材质鉴别的无损与快速检测手段.此外,基于红外光谱分析结果计算纤维素酯的取代度,对片基的保存状况进行表征.本研究为故宫博物院收藏的大量胶片的整理、分类、保存、保护等工作提供了重要基础.

Historical heritage is facing enormous challenges as a result of global warming. Termites are a significant pest in ancient wooden buildings and their area of activity is also expanding. According to historical records, Reticulitermes chinensis Snyder and Reticulitermes speratus Kolbe are the main species of Reticulitermes present in Beijing. A 40-year record of meteorological data, termite damage information published by the Chinese government and indoor environmental data show that the risk of termite damage to the Forbidden City is increasing. In the first two decades of the twenty-first century, two termite infestations occurred in the Forbidden City. Monitoring and control systems were applied immediately, the risk to each object storeroom and other termite-susceptible area was classified and monitored, and the termites were controlled successfully. With the rapid development of information technology, an advanced termite monitoring system has been introduced that is based on non-closed-loop electromagnetic induction, is fully automatic and gives remote real-time monitoring. LoRa technology was used for signal transmission between the termite monitoring station and the information collection. This signal transmission technology can overcome the signal-blocking effect of the numerous walls inside the Forbidden City, ensuring that the signal can be transmitted quickly and accurately as soon as termite infestation is detected. The non-closed-loop design allows the electronic components to be fully encapsulated, improves resistance to soil moisture and salt erosion, prolongs service life and ensures accuracy. The risk assessment and remote real-time monitoring technology introduced in this paper are of great significance for protecting ancient buildings in the cities of northern China.

Lacquerware is a type of ancient and unique Chinese artwork that was also popular throughout Asia and Europe. The process of mixing tung oil in lacquer sap was a milestone in lacquerware history. However, the proportions of tung oil in different types of art forms are still not clear and are disputed, due to the lack of noninvasive quantitative technology. To solve this problem, tung oil and lacquer sap from different sources were used to make 140 standard samples with different ratios. A quantitative test model was built based on near-infrared spectroscopy and a partial least squares algorithm. Additionally, 14 typical Chinese ancient lacquer artworks were analyzed. The proportions of tung oil in different types of lacquerwares are discussed. All the spectral data from this study will be open to other researchers to ensure that this technology can be improved and applied to correlation research as soon as possible.

Pyrolysis-gas chromatography/mass spectrometry (Py-GC/MS) is suitable for the qualitative analysis of natural organic materials in cultural relics owing to its ability of accurately and rapidly identifying trace quantities of organic components in samples. In the present study, pyrolytic components of starch and peach gum, which are commonly used in ancient Chinese cultural relics such as calligraphic works, paintings, architecture, and objects, as well as gum Arabic, which is commonly used in western cultural relics, were systematically characterized using Py-GC/MS. As polysaccharide materials are often found mixed with other organic materials in cultural relics, an online methylation Py-GC/MS procedure previously established by the authors' research group, which is suitable for the qualitative analysis of drying oils, proteins, and waxes, was performed to analyze the starch, peach gum, and gum Arabic reference samples. The established experimental procedure can be used to comprehensively analyze the polysaccharides and other organic materials in cultural relics owing to its slow heating rate, long running time, wide mass spectrometry detection range, and high chromatographic separation efficiency. The experimental results were examined by dividing the pyrolytic products into three sections depending on the retention time. In the first section (2.5-10 min), pyrolytic products from the three sample types were similar and mostly included small molecule furans and ketones. However, the peach gum and gum Arabic contain a wider variety of pyrolytic products than starch, possibly because starch contains only glucose, whereas peach gum and gum Arabic contain a variety of monosaccharides. In the middle section (10-19 min), the pyrolytic products of starch, peach gum, and gum Arabic mostly consisted of furanones and other components. However, a unique profile was produced for each material type. Nevertheless, it should be noted that 2-methoxy-phenol and maltol were detected in all three materials with high chromatographic peak intensities. Therefore, these components are suitable markers for the identification of polysaccharides. In the last section (19-60 min), a variety of monosaccharide derivatives and monosaccharide oligomer derivatives were detected in the reference samples. The pyrolytic products of peach gum and gum Arabic were similar but completely different from those of starch. Therefore, starch, peach gum, and gum Arabic could be distinguished according to their pyrolytic products. In particular, 1,6-anhydro-β-D-glucopyranose was detected in starch with an extremely high intensity and was undetected in either of the other reference materials. Thus, this compound could act as a characteristic pyrolytic component for the identification of starch. Peach gum and gum Arabic could be rapidly distinguished according to the extracted ion chromatograms for m/z 60 and m/z 101, which represented major fragments of the pyrolytic products of peach gum and gum Arabic in the last section of the chromatogram. The established Py-GC/MS method was successfully applied to the identification of starch in binding materials from the rim of a globular carved red lacquer vase with dragon and cloud motifs, as well as in paper collected from a Tieluo with Bingdihanfang written by Min-ning. Both objects are part of the Palace Museum collection and originate from the Qing Dynasty. Research results of the present work are easy to be popularized. This study provides a method suitable for the accurate and rapid identification of polysaccharide materials in cultural relics, as well as a scientific basis for the research, conservation, and restoration of similar cultural relics. However, it should be noted that aging and the presence of other organic or inorganic materials in cultural relics may interfere with the detection of polysaccharide materials. Therefore, a further investigation on the aging behavior of polysaccharides and the effects of other materials on the identification of polysaccharides is required.

Historical marquisette curtains were composed of lightweight fabrics, woven in an open-mesh and leno-type weave, usually made of silk, and found in Qing imperial buildings. As panel curtains, they were exposed to light, and so underwent fading. This study investigated the manufacturing technology and fading mechanism of dyed marquisette fabric from the Studio of Cleansing Fragrance, the Palace Museum (Beijing). The technological aspects were identified. The types of weave, fiber, and adhesive used to fix the curtain to the wooden frame were identified through microscopic observation and infrared spectroscopy. A color change characterization was performed based on UV-visible diffuse reflectance spectra. The textile colorant was identified as malachite green (MG), and its degradation by light was subsequently studied by dynamic photolysis experiments in a kinetic solution for the rapid exploration of by-products. The main degradation pathways were thus identified and the factors responsible for the induced color changes were discussed. A comparison of the liquid chromatography-mass spectrometry (LC–MS) results of the products derived from the photolysis method as well as of the samples extracted from the object allowed for the identification of the presence of different degradation pathways in the faded and unfaded parts of the textile. A metabolomics analysis was applied to account for the differences in the degradation pathways.

Multilayer objects with different interfaces are quite typical for architectural heritage, and from them may be inferred the age, production process, and deterioration mechanism through analyzing characteristic compositions with advanced analytical techniques. The Meiwu ceiling in the Hall of Mental Cultivation of the Palace Museum was found to contain many paper-based layers during conservation. Once several surface strata were detached, a colorful layer of printed fabric textile was discovered integrally. Through microscopic observation and micro-attenuated total reflection-Fourier transform infrared spectroscopy (ATR-FTIR) imaging, the overall structure consisted of 11 layers, namely, bast paper, cotton wiring, xuan paper, cotton printed fabric, two yellow board papers, bamboo paper, three wood pulp paper and surface coatings, and starch was considered as an organic adhesive. For identification of the printed fabric's color palette, ultra-performance liquid chromatography (UPLC) combined with high-resolution quadrupole time-of-flight (QTOF) technology, non-invasive macro X-ray fluorescence (MA-XRF) and desorption electrospray ionization mass spectrometry imaging (DESI-MSI) were applied in situ. Seven industrial synthetic dyes, including auramine O, malachite green, and eosin Y with corresponding by-products, as well as chromium-based pigments considered as dark draft line, were confirmed. By X-ray diffraction (XRD), scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDS), and micro Fourier transform infrared spectroscopy (micro FTIR, other results showed chalk soil and talc for the outermost coating. According to the synthetic time of industrial dyes and degradation degree of paper, there were at least four occurrences and their specific time periods were speculated.

养心殿研究性修缮过程中,位于正脊中央的镇物宝匣向世人展现了明清皇宫建筑中的镇物文化.镇物宝匣是皇宫内建筑的重要组成部分,匣内常放置多种镇物,其中有机质镇物变化较大.养心殿宝匣内装有金钱、元宝、宝石、丝织物及若干木条.其中木条已老化变黑,难以辨识.本研究通过传统微观结构观察法对其种类进行了鉴定.初步判断木条共5类,分别是白木香Aquilaria sinensis(Lour.)Spreng.、檀香Santalum album L.、交趾黄檀Dalbergia cochinchinensis Pierre.、阔叶黄檀Dalbergia latifolia Roxb.、大果紫檀Pterocarpus macrocarpus Kurz..前两种属于香药,后三种属于红木类木材.三种红木的发现,也为嘉庆年间宫廷内使用此三种红木提供了直接证据.结合文献考证,可能是清宫廷内资源利用及官场的腐败等诸多因素,致使修缮官员以木材边角料代替了部分香药、谷物.养心殿镇物宝匣中木条种类的鉴定对揭示清中期宫廷镇物文化、木材的利用及社会背景具有重要意义.

Pests can seriously threaten the safety of organic relics and historic buildings. Every year, the Palace Museum spends a large of money and time preventing and controlling pests, but there is still no a better systematic and targeted method. The Hall of Mental Cultivation is a representative and essential building in the Forbidden City. Through three years of pest monitoring, the species, quantity, and occurrence regularity of the major pests were investigated. During this time, more than ten species of insects were trapped. These included carpet beetles (Anthrenus picturatus hintoni Mroczkowski, 1952 and Thylodrias contractus Motschulsky, 1839), silverfish (Ctenolepisma longicaudata Escherich, 1905), powder-post beetles (Lyctus brunneus Stephens, 1830), booklice (Liposcelis bostrychophila Badonnel, 1931), spider beetles (Ptinus japonicus Reitter, 1877 and Gibbium aequinoctiale Boieldieu, 1865) and the case bearing clothes moths (Tinea pellionella Linnaeus, 1758), among which the Anthrenus picturatus was the primary pests. Abundant resources of organic relics, suitable temperature, humidity, and light environment, and cypress existence are favorable factors for the occurrence of pests, and analysis of these factors is helpful for further integrated pest management (IPM). The period with the most significant number of active pests in the Hall of Mental Cultivation is July and August, and April and May are the rapid growth period. Carpet beetles are the key pests that can affect the overall change trend significantly. It should combine with their living habits, the ideal treatment time and methods, to give them a better control. Fumigation should be done in July and August, while chemical spray should be done referring to the florescence of outdoor trees (March to June), and used of pheromone is reasonable preventative measures.

Decoration with feather was a universal phenomenon in human history. Objects decorated with feathers were regarded as fine artworks and hence were enormously prized. In ancient China, dotting a surface with kingfisher-feather blue was the most famous, complex and delicate feather decoration technique, called diancui. Although various ancient diancui artworks appear in many museums around the world and some researches have achieved significant results on the history, technique and conservation of diancui, but some key historical details are still not clear. In this research, by the opportunity of restoration, an important collection of the Palace Museum - the “Feather Decoration Hanging Screen with Birds and Flowers Pattern” was rounded analyzed by various scientific technologies. This object is a Chinese royal artwork of Qing dynasty (17th-18th century), decorated with kingfisher and several other bird’s feathers, and present the highest level of this period. As a typical and valuable case, the result provides important clues for solving unclear questions for related academic field.

我国使用香料的历史可追溯至史前,历史悠久、意蕴深邃.宋代丁谓《天香传》云"香之为用,从上古矣,所以奉神明,所以达蠲洁",古人认为焚烧香料所产生的香气与烟雾能够通达神明,是祭天祀祖的重要媒介.我国先秦时期祭祀用香主要为本土的天然植物香草、香木等,如《诗经》《楚辞》里提到的兰、萧、艾、蕙、芷、茅、郁等,虽然这些植物中有些并不能算作严格意义上的香料,但其诸多功能与后世香料相同,因而有学者认为这一时期可称为我国香文化的萌芽期.《周礼》被认为是"三礼之首",记载了周王朝及诸侯国的各项制度,在与祭祀相关的条目中频繁出现芳香植物的使用,如《周礼?天官冢宰》载"祭祀,共萧茅,共野果蓏之荐".