Fading by Light of Organic Dyes on Textiles and Other Materials

Beek, H. C. A. van; Heertjes, P. M.

doi:10.2307/1505377

Cited by 31 publications

(21 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Giles et al [17] stated that the fastness of alizarin may be due partly to an absorption spectrum shift caused by the dyeemetal complex formation. Van Beek presumed that the metal ions quench the excited states, therefore their presence in a system usually increased the stability toward light [18].…”

Section: Resultsmentioning

confidence: 99%

See 1 more Smart Citation

Improving light fastness of natural dyes on cotton yarn

2006

View full text Add to dashboard Cite

Section: Resultsmentioning

confidence: 99%

“…Van Beek [18] stated that the application of benzophenones is only useful for dyes which are not sensitive to visible light and even then, the improvement is in general not greater than one grade of fastness.…”

Section: Resultsmentioning

confidence: 99%

Improving light fastness of natural dyes on cotton yarn

2006

View full text Add to dashboard Cite

“…However, once detaching the strip, a narrow edge underneath (Fig. 1b) was more reddish than other area uncovered possibly due to different light fading speed [5,6]. The obvious traces of painting brush with parallel red lines could be observed on the back side (Fig.…”

Section: Methodsmentioning

confidence: 96%

Scientific analysis of tie luo, a Qing Dynasty calligraphy artifact in the Palace Museum, Beijing, China

et al. 2018

View full text Add to dashboard Cite

Tie luo (affixed hanging) was an expressive form of traditional Chinese calligraphy or paintings, and popular in the imperial palaces for interior decorations in Qing Dynasty (1644-1911 C.E.). A piece of calligraphic tie luo, written by an eminent calligrapher Gu Gao (1763-1832 C.E.), was restored recently in the Palace Museum, Beijing, China. The paper with pigment coating specially made for this calligraphic piece was named as fenjian. This article presented results from materials identification prior to the restoration. Multianalysis with scientific approaches revealed how tie luo was manufactured. It could be concluded that the investigated tie luo used a paper made from bast fibers of mulberry trees. And the decorative ground layer for the piece was also studied, which indicated that a type of organic red pigments were used for the masterpiece. White lead was considered as the main pigment, mixed with a red dye extracted from sappanwood. Meanwhile, animal glue, drying oils and beeswax were confirmed as the organic binding media. In dye analysis, protosappanin B and brazilin as well as brazilein were identified, which implied that sappanwood was used for the organic manufacture of pigments. In addition, both Nowik type A and C were found in the research, which were characteristic of sappanwood for identification.

show abstract

“…Significant colour change or fading can lead to the mistaken conclusion that the maker had chosen subtle colours when in fact the colours were originally very bright [49]. Despite the fact that tests have shown that dyes can cause phototenderisation of fibres [44,50,51], no reports were found of fibre damage on textiles resulting from fading or changing of colour of synthetic dyes. Bleeding of dyes also results in a change in appearance through eventual loss of colour [52] and staining [47].…”

Section: Consequences Of Poor Fastnessmentioning

confidence: 99%

“…These include atmospheric ozone and air pollution such as hydrogen sulphide, sulphur dioxide and oxides of nitrogen [44]. The processes occurring on photo-degradation of dyes have been well described [10,44,50,54]. Light, both visible and ultra-violet, causes the most damage [10,44,50], which is greater on unfaded dyes as the rate of fading of faded dyes is lower [10,44].…”

Section: Effect Of Environmental Conditionsmentioning

confidence: 99%

Synthetic organic dyes, 1856–1901: an introductory literature review of their use and related issues in textile conservation

Barnett¹

2007

Studies in Conservation

View full text Add to dashboard Cite

The aim of this literature review is to provide a broad introduction to the little-researched subject of early synthetic organic dyestuffs and their use on historic textiles. Early synthetic organic dyes are briefly described, as is the relevant terminology. A brief history of the development of synthetic dyes up to 1901 is given, followed by a discussion of the problems arising from their use in the nineteenth century. Conservation issues relating to early synthetic dyes addressed in the literature from 1950 to 2003 are cited. The extent of use on historic textiles is described. The role of dye analysis in the study of early synthetic organic dyestuffs is indicated, with examples to illustrate its importance. A table of the 22 most commonly used early synthetic dyes is provided with International Colour Index numbers.

show abstract

Fading by Light of Organic Dyes on Textiles and Other Materials

Cited by 31 publications

References 0 publications

Improving light fastness of natural dyes on cotton yarn

Improving light fastness of natural dyes on cotton yarn

Scientific analysis of tie luo, a Qing Dynasty calligraphy artifact in the Palace Museum, Beijing, China

Synthetic organic dyes, 1856–1901: an introductory literature review of their use and related issues in textile conservation

Contact Info

Product

Resources

About