Analysis of dyes in textiles from the Chehrabad salt mine in Iran

Mouri, Chika; Aali, Abolfazl; Zhang, Xian; Laursen, Richard A.

doi:10.1186/s40494-014-0020-3

Cited by 16 publications

(5 citation statements)

References 10 publications

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“…Both compounds correspond to natural indigo and woad. The author attributes both to indigo, which was very common in ancient Egyptian textile art, on the contrary, woad wasn't [42,49,50]. Regarding the brown color, the microscopic examination showed it is a reddish-blue one, confirming using the blue natural indigo dye.…”

Section: Discussionmentioning

confidence: 88%

دراسة تجریبیة وتطبیقیة لإزالة لاصق البولی یوریثان من المنسوجات الأثریة

مبروک¹

2021

مجلة العمارة والفنون والعلوم الإنسانیة

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The objective of this work is to evaluate the efficacy of the gel and nanostructured fluids in the removal of polyurethane adhesive stuck to an archeological textile fragment that suffers from many deterioration forms. The study is divided into two sections; (a) in-vitro experiments, which were conducted on modern sheep woolen textile mock-ups after brushing with fresh polyurethane adhesive and accelerated aging. Three techniques were used in the removal of polyurethane from these mock-ups. Colorimeter, Fourier transform infrared spectroscopy, stereo microscope, and weight measurements were used to assess the selected experiments. The obtained results revealed that Nano restore Cleaning ®Polar fluid confined in Nano restore Gel ®Peggy is the most effective and suitable technique among the examined ones. (b) The applied section, which was assigned to using Nano restore Cleaning ®Polar fluid confined in Nano restore Gel ®Peggy in the removal of polyurethane adhesive from the case-study fragment, after identifying its fibers and dyes using a Fourier transform infrared spectroscopy and a highperformance liquid chromatography-diode array detector-mass spectrometry. The obtained results revealed using blank linen and sheep wool dyed with weld dye (beige color) and indigo natural dye (brown color). Beige and brown yarns were used in weaving the fragment background using the tapestry structure, and the beige wefts were used in the additional embroidery stitches. The used gel-confined fluid Nano restore Cleaning ®Polar fluid confined in Nano restore Gel ®Peggy was capable of the safe removal of the adhesive form the fragment, which was then washed and supported by a new linen fabric using thin needles and dyed silk threads. The fragment was finally re-exhibited in a standard museum display.

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Section: Discussionmentioning

confidence: 88%

دراسة تجریبیة وتطبیقیة لإزالة لاصق البولی یوریثان من المنسوجات الأثریة

مبروک¹

2021

مجلة العمارة والفنون والعلوم الإنسانیة

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“…For both HPLC-DAD and HPLC-DAD-MS analysis, dye components were associated with natural and synthetic dye sources using data measured from reference materials (retention times, UV-Vis spectra and mass measurements) made available by the Getty Conservation Institute (Los Angeles, USA) [61], as well as from the published literature [14,23,24,27,37,38,40,44,[62][63][64]. The dates reported are those attributed based on stylistic interpretation, except for the ikats in which synthetic dyes were found (terminus post quem production dates are reported in bold for these textiles).…”

Section: Hplc-dad-msmentioning

confidence: 99%

“…Pseudoindirubin has been proposed as a hypothetical marker for woad [62]. However, other indigo-producing plants, although not typically Asian, contain this molecule, and an ultimate confirmation of the indigo source is therefore not obtainable [62]. Nevertheless, it is reported that indigo was mostly imported from China to Central Asia [9].…”

Section: Natural Blue Dyesmentioning

confidence: 99%

Exploring the transition from natural to synthetic dyes in the production of 19th-century Central Asian ikat textiles

et al. 2020

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This study focuses on the dye analysis of 26 ikat textiles present in the collection of the Arthur M. Sackler Gallery and originally collected by Dr. Guido Goldman with the aim to gain additional information about their provenance and dating. The investigation exploits the full potential of a multi-analytical approach, starting with a non-invasive survey of all the colors using fiber optic reflectance spectroscopy (FORS), which revealed the presence of indigo and insect-based red dyes. These data were used to select areas from which samples were taken and analyzed by high performance liquid chromatography diode array detector (HPLC–DAD). These results enabled most of the natural sources of dyes to be fully identified, including American cochineal (Dactylopius coccus), madder (probably Rubia tinctorum), lac (probably Kerria lacca), larkspur (Delphinum semibarbatum), pagoda tree flower buds (Sophora japonica), grape vine leaves (Vitis vinifera), indigo and tannins. Complex mixtures of dyes were present in most samples, as a result of both the ikat making process itself and traditional dyeing practices. Synthetic dyes were identified in 9 of the textiles. Samples were re-analyzed using HPLC–DAD coupled to mass spectrometry (HPLC–DAD-MS). Malachite green (basic green 4, C.I. 42000), fuchsine (basic violet 14, C.I. 42510), rhodamine B (basic violet 10, C.I. 45170) and methyl violet (basic violet 1, C.I. 42535) were identified, and a few other tentatively identified synthetic dyes (probably orange I, II and IV, rhodamine 6G, patent blue V and alizarin yellow GG) were detected. As the first synthesis of early synthetic dyes is well documented, their presence was used to refine the dating of these textiles. The contextualization of the results also appeared to support the stylistic assumption that more intricate and colorful designs with a higher level of complexity are dated earlier than simpler, larger and more graphic ones. The overall information acquired reveals a dynamic scenario and an interesting window into the dyers’ experiments and adjustments to the economic and technological changes of the nineteenth century.

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“…Reversed-phase high-performance liquid chromatography (RP-HPLC) is the most common mode for separation of historical anthraquinone dyes [15]. The most employed experimental procedure for the RP-HPLC analysis of anthraquinone dyes generally involves a C18 [13,42,131,144,146,150,156], C8 [143] or C4 [10,148] based non-polar stationary phase and mobile phases consisting of pure water (aqueous) and acetonitrile or MeOH (organic) eluents [15], with formic acid [6,148,157,158], trifluoroacetic acid [131,136,146,150,159], phosphoric acid [137,160] or methanesulphonic acid [161] added as mobile phase modifiers.…”

Section: Mmentioning

confidence: 99%

Analytical methods for determination of anthraquinone dyes in historical textiles: A review

Shahid

Wertz

Degano

et al. 2019

Analytica Chimica Acta

101

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Historical and archaeological textiles are among the most crucial and vulnerable records of our social and cultural history. Analysis of organic colorants found in these materials is unquestionably one of the most powerful tools to understand historical developments, cultural exchanges, and progress in science and technology. Natural anthraquinones represent the most commonly used natural colorants for textile dyeing until the late 19 th century. The identification of anthraquinones in cultural heritage objects is a challenging task due to the small size of historical samples, diversity of potential dye sources, variable extraction procedures and dyeing methods, complex chemical constitution, structurally analogous chromophores, and possible presence of degradation products and contaminants. Developments in dye analysis of historical interest have originated and expanded along with the general advances in analytical science. In the last few decades, a close cooperation between science and cultural heritage disciplines contributed enormously to this field. The topic of historical dyes and their analysis in textiles, artworks, archaeological objects and cultural heritage materials has been reviewed several times in the last fifteen years. However, no review has been published to-date exclusively on the analysis of anthraquinone colorants in historical and archaeological textiles. Overall, liquid chromatography (LC)-based techniques have been the most widely used method for anthraquinone dye analysis. Owing to increasing demand of minimally invasive/non-invasive techniques, recent developments of novel techniques have resulted in the availability of many alternative/complementary methods to LC-based analysis. This review begins with a short overview of sources, chemistry and importance of natural anthraquinone dyes found in historical textiles before turning to a detailed discussion on developments involving established and emerging analytical techniques of anthraquinone dye analysis for textile cultural heritage materials. To illustrate the state-of-the-art, representative examples of analytical techniques highlighting their advantages, limitations and applicability are also presented.

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Analysis of dyes in textiles from the Chehrabad salt mine in Iran

Cited by 16 publications

References 10 publications

دراسة تجریبیة وتطبیقیة لإزالة لاصق البولی یوریثان من المنسوجات الأثریة

دراسة تجریبیة وتطبیقیة لإزالة لاصق البولی یوریثان من المنسوجات الأثریة

Exploring the transition from natural to synthetic dyes in the production of 19th-century Central Asian ikat textiles

Analytical methods for determination of anthraquinone dyes in historical textiles: A review

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