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"Lacquer"
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Wood Surface Finishing with Transparent Lacquers Intended for Indoor Use, and the Colour Resistance of These Surfaces during Accelerated Aging
This work evaluates the effects of accelerated aging on the discolouration of surface-treated spruce wood and oak wood coated with solvent-based polyurethane lacquers, and surface-treated spruce wood coated with water-based transparent coating systems. All concerned coating materials were intended for indoor use. It was also explored how the colour stability of spruce wood and oak wood surfaces treated with solvent-based polyurethane lacquers was affected by wood surface layer modifications with pigment or stain mordants applied before these lacquers. Another issue studied was how the lignin stabilizer admixed into the primer and pigments admixed into the top coating layers affected the stability of water-based coating systems on spruce. The experimental results showed that the accelerated aging process with a simulation of indoor conditions induced significant discolouration of wood surfaces coated with solvent-based polyurethane lacquers and water-based coating systems. There were also confirmed significant impacts of all the studied factors (wood species, lacquer/coating system type, lacquer modification, wood pre-treatment with pigment and stain mordants). The spruce wood surfaces coated with solvent-based polyurethane lacquers were less stable (ΔE = 10–19, dependent on the lacquer type) than the oak surfaces treated in the same ways (ΔE = 4–11). There were also confirmed significant impacts of the particular surface treatment on the colour stability as well as significant impacts of wood surface pre-treatment with pigment and stain mordants (ΔE = 4–17—for spruce wood, and ΔE = 5.5–13—for oak wood). In the case of water-based lacquers, the ΔE values ranged between 3 and 11 (according to the coating system type). The results show that an appropriate UV absorbent combined with an appropriate lignin stabilizer and pigment mordant may enable attaining the required colour stability for a given surface treatment applied on a given wood species.
Journal Article
Comparative Study on UV Degradation of Black Chinese Lacquers with Different Additives
This study investigates the UV degradation of black Chinese lacquer by incorporating carbon black and ferrous hydroxide as additives. The purpose of this research is to understand the effects of these additives on the degradation behavior of the lacquer film. Different concentrations of carbon black powder (1%, 3%, and 5%) and Fe(OH)2 (10%, 20%, and 30%) were added to the lacquer following traditional techniques. The main methods employed for analysis were gloss loss measurement, color change assessment, SEM imaging, FTIR spectroscopy, and XPS analysis. The results demonstrate a significant decrease in gloss levels and an increase in lightness values with increasing ultraviolet exposure time. SEM images reveal the formation of cracks in the lacquer film. FTIR analysis indicates oxidation of the urushiol side chain and an increase in oxidation products. The infrared difference spectrum highlights the differences between the additives, with Fe(OH)2 showing a lower impact on the spectra compared to carbon black. XPS analysis confirms the oxidation of the C-H functional group and the presence of C-O-C and C-OH groups. In conclusion, this study sheds light on the influence of carbon black and ferrous hydroxide additives on the UV degradation of black Chinese lacquer and suggests the protective effect of Fe(OH)2 against UV aging. These findings contribute to a better understanding of the degradation mechanisms and provide insights for improving the UV resistance of Chinese lacquer coatings. Further research can explore alternative additives and optimization strategies to mitigate UV-induced degradation.
Journal Article
Kintsugi : the wabi sabi art of Japanese ceramic repair
Kintsugi is the mindful Japanese art of repairing broken ceramics and glassware by appreciating the cracks and chips as design elements--bringing new life to cherished items. Kintsugi:The Wabi Sabi Art of Japanese Ceramic Repair shares traditional methods you can practice in your own home. Step-by-step lessons in repairs suited to every level of experiences--filling cracks to completely rebuilding and finishing a broken piece--fill the pages of this in-depth yet unintimidating guide.
BOOK
The Use of Aquazol® 500 as a Reversible Infilling Material for European Lacquer: A Case Study
The paper discusses the conservation treatment of a red lacquer cabinet in a private collection in northern Germany, the tests that were conducted to confirm the suitability of Aquazol® 500 as an infilling material, and the development of procedures for its use. The particular requirements of a suitable in-filling material for lacquer are discussed and the initial tests leading to the choice of Aquazol® as an infilling material for lacquer are briefly described. The body of the paper concerns the development of techniques for its successful use as a filling material for lacquer losses on a European red lacquer cabinet dating to c. 1720.
Journal Article
Technologies of the image : art in 19th-century Iran
With a few notable exceptions, scholars have historically understudied and often underappreciated the art of Iran in the Qajar era (1779-1925). This catalogue presents a fresh take on the art of the period, setting aside the value judgments that shaped early responses to instead examine the effects and results of new technologies of representation across a variety of mediums. The book foregrounds the inherent relationship and movement among mediums and images, both traditional and new, while deflecting primary attention from royal patronage to more public and widely accessible forms of image-making. In bringing together four principal art forms--lacquer, painting and drawing on paper, lithography, and photography--the authors explore the separate and intertwined histories of these mediums, their contexts of production, and their means of dissemination across sectors of society ranging from the courtly elite to the citizenry at large. The book considers how the breadth of mediums and subject matters evidenced by these objects could be matched only by the diverse formats through which images were embodied and circulated in the world. Indeed, unlike their European contemporaries, Qajar artists and patrons were not concerned about systems of image duplication and translation--a key aspect this book takes up in its effort to approach Qajar art on its own terms, not as a lesser manifestation of Western ideals.
Book
Craftsmanship and Techniques of a Lacquered Ear Cup from the Ancient Nanyue Kingdom
This study analyzes a lacquered ear cup excavated from the Luobowan tomb complex in Guigang, Guangxi, attributed to the Nanyue Kingdom of the early Han dynasty. A range of analytical techniques, including optical microscopy (OM), scanning electron microscopy with energy-dispersive X-ray spectroscopy (SEM-EDS), pyrolysis–gas chromatography–mass spectrometry (Py-GC-MS), Fourier transform infrared spectroscopy (FT-IR), and X-ray diffraction (XRD), were employed to investigate the structural layers, material composition, and preservation state of the artifact. The lacquerware consists of four traditional layers: a wooden core, fabric reinforcement, lacquer ground, and lacquer film, reflecting Central Plains lacquerware techniques. The wooden core was identified as Phoebe sp., and the fabric layer is likely hemp, though fiber degradation limited exact identification. The lacquer ground layer contains natural lacquer mixed with SiO2 from brick or tile powder. The lacquer film is a blend of Chinese and Vietnamese lacquer, with no synthetic additives or plant oils detected. The red lacquer layer contains cinnabar (HgS) as a pigment, while the black lacquer uses carbon black. Differences in moisture content between the red and black lacquer films are attributed to variations in surface porosity and pigment characteristics. This research provides valuable insights into Nanyue lacquer technology and preservation challenges.
Journal Article
هOsaki Hachiman : architecture, materiality, and samurai power in seventeenth-century Japan
\"The هOsaki Hachiman shrine (1607), located in Sendai, Japan, is one of only a handful of surviving buildings from the Azuchi-Momoyama period (1568-1615). The shrine is a rare example of \"lacquered architecture\", an architectural type characterized by a shiny, black coat made of refined tree sap and evocative of transitory splendor and cyclical renewal. The shrine's sponsor, the warlord Date Masamune, was one of the last independent feudal lords of his time and remains famous for dispatching diplomatic missions to Mexico, Spain, and Rome. Although his ambitions to become a ruler of northern Japan were frustrated, his shrine stands as a lasting testament to the political struggles he faced, his global aspirations, and the cultural cloak by which he sought to advance these objectives\"-- Provided by publisher.
Book
CONSERVING OF PERSIAN LACQUER PAINTING, MUSEUM OF ISLAMIC ART, CAIRO
This paper presents a case study of the conservation of Persian lacquer paintings at the Museum of Islamic Art, Cairo, addressing the limited research on this topic. A microbiological study was conducted to identify the fungi responsible for the degradation of the painting. Two media were used to isolate and cultivate present fungi. Eight fungi were isolated Aspergillus niger, Aspergillus terreus, Aspergillus flavus, Aspergillus fumigatus, Aspergillus candidus, Cladosporium cladosporioides, Cladosporium herbarum, Penicilium frequetans. Visual inspection revealed a deteriorated varnish surface, missing paint layers, and non-original additions. UV radiation imaging and Reflectance Transmission Imaging (RTI) aided in identifying missing areas and assessing varnish deterioration. The conservation-restoration process involved cleaning, frame removal, label removal, varnish removal, paint consolidation, and retouching. Sustainable storage practices, utilizing acid-free and eco-friendly materials, were implemented. The study provides valuable insights into the conservation challenges of Persian lacquer paintings, offering a detailed examination of biodeterioration, varnish issues, and preservation considerations.
Journal Article