Abstract
In recent years, based on the urgent need in the field of cultural heritage conservation, the research and development of coatings have attracted much attention. FEVE (trifluorovinyl chloride and vinyl ether copolymer) is one of the reinforcing materials in the protective coatings of color paint. However, it has problems such as compactness, low tensile strength, and poor resistance to aging. Therefore, modified graphene was introduced and combined with FEVE coatings (FEVE/m-GO) to optimize their adhesion, compactness, resistance to corrosion, and performance at shielding the paintings from ultraviolet light. The structural features of the hybrid films were characterized by UV–Vis spectroscopy, transmission electron microscopy, infrared spectroscopy, etc. In addition, the water absorption, mechanical properties, color difference test, and aging resistance of the FEVE/m-GO and simulated samples were investigated. The results showed that the hybrid film with 0.04% m-GO incorporation as an effective consolidant exhibited outstanding comprehensive performance. This composite material was used in the protection and consolidation of the Sanyou Xuan ancient architectural color painting in the Palace Museum, which opened up a new way of thinking about the long-term conservation of color paintings.
Highlights
Ancient architectural color painting is one of the ancient Chinese art forms and an important inheritance of world cultural heritage
The results show that the combination of m-Graphene oxide (GO) and FEVE can prevent external liquid pollutants from entering the interior of the color painting matrix and causing damage
We demonstrated an unsophisticated and economical water-based method which combines m-GO with FEVE, as a new type of reinforcement coating for color paintings
Summary
Ancient architectural color painting is one of the ancient Chinese art forms and an important inheritance of world cultural heritage. Because of the characteristics of the production process of the ancient paintings from the Qing Dynasty [1,2,3], research on its restoration process has attracted wide attention. Ancient Qing Dynasty paintings are generally divided into three layers: The first layer is wood for support and the second layer is mortar. The third layer is the pigments layer, which consists of glue made from animal products and different pigments that were mixed and painted onto the surface of the mortar. Of many of the ancient architectural color paintings dating back to the Qing Dynasty. This has led to the complete absence of the pigment layer in many instances (Figure 1).
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