本研究主要為建立非破壞性檢視分析之方法及程序，其中，光學/立體顯微檢視技術可應用於藝術品及文物細微受損狀況之觀察，協助定義出污染來源，細微裂痕則可為藝術品的「指紋」，作為藝術品及文物之履歷資料。紫外光誘導可見螢光檢視技術可即時得到文物表面狀況、受損形態、受損來源、保護層狀況等資訊，觀察藝術品表面是否受有機物質及微生物的侵入破壞，而曾經修復補筆的痕跡、後製介入等也可應用此技術辨識。紅外線光學顯像可檢視出油畫作品及廟宇彩繪構件表層下的炭/墨筆痕跡，部分修復及後製介入之區域也可藉此技術定義，X射線穿透影像檢視主要用以檢視畫作表層底下是否存在其他圖層，顏料缺失處也可藉此技術觀察到，此兩種分法所得資訊皆可作為履歷建立或研究藝術家創作習性之參考。在攜帶式X射線螢光光譜儀問世之後，此技術即成為最重要的非破壞性無機元素分析方法，除了可由分析結果判斷測試樣品材料或顏料的成分外，在蒐集足量且可信的數據後，即可建立畫作顏料及文物材料的成分資料庫。由本論文之研究成果，顯微技術可檢視出破損型態，也觀察到昆蟲排遺及其滲出物對藝術品造成的污染；紫外線誘導可見螢光檢視則協助由修復介入是否遮蔽原作來定義修復品質，也檢視出後製介入與原作的差異；在受煙害嚴重的木構件中，紅外線檢視下可清楚的觀察到墨筆底稿，也協助相關研究人員了解特定畫家創作油畫時是否有以炭筆繪製底稿的習慣；以X射線穿透檢視油畫作品時，發現部分畫家有在舊創作上重新繪製新作品的習慣，或會在畫完後進行修飾；由X射線螢光光譜分析可得知藝術品所使用的顏料種類，分析特定畫家的油畫作品所得結果也與其顏料訂購單相符；整體而言，本研究係以上述自顯微檢視至X射線螢光光譜等非破壞技術為基礎，建立文物及藝術品之科學鑑定程序，雖各方法皆有其相對的應用範圍，但串聯後所得資訊即可提供修復保存、履歷建置、鑑定識別及藝術家創作習性等研究領域參考運用。

The main project of this study was to establish the non-destructive examination procedures. Therefore, the optical/stereo microscope examination technique can be applied to observe the minor damaged condition of artifacts and cultural relics, and help to define the sources of pollution. The fine cracks of artworks can be taken as the "fingerprint", which can be the biographical information. Examining visible fluorescence induced by ultraviolet can obtain immediate surface conditions, damage morphologies, protective layer conditions, restoration traces, and other information of artworks. The observation results help to know the invading by organic substances and microorganisms, and the restoration/retouching or post-intervention areas can also be identified by this technique. Infrared optical examination provides the important information of carbon draft which was existence beneath the surface, some restoration and post-intervention region can also be defined by this technique. The X-ray penetration examination helps to review the existence of other layers beneath the surface. Besides, the pigment-loss area of paintings can also be observed by this technique. Both the IR and X-ray image results can be the reference of biographies establishing and artist-habits researching. After the portable X-ray Fluorescence Spectrometer was published, this technique became the most important non-destructive method of inorganic elements analysis. In addition to determine the element composition of testing materials or pigments, the database of material composition can be established after collecting sufficient and credible data. In this research, the microscopic technique can be used to examine the damage patterns of artworks, and the pollution of insect excrement and exudation were also been observed. Ultraviolet-induced visible fluorescence examination can observe the restoration and retouching intervention range, and help to judgment the restoration quality by the masking degree of original artwork. Besides, this technique is a powerful tool to review the post-intervention difference with the original artwork. The ink marks of temple components which were affected by incense in serious can be clearly observed by the infrared examination, and this technique could also help to view the charcoal draft beneath the painting and to assist the relevant researchers to understand whether the particular artist has this habit or not. With the X-rays penetrate examination results, we found some of artists were used to redraw a new work on an old one or modify a finished painting. From the analysis consequence of X-ray fluorescence spectroscopy, the types of pigments of artwork could be identified, and the results corresponded with the pigments listed in specific artist’s purchase from. Overall, this study established scientific non-destructive examination procedure of artworks base on the above technologies. Although each method has its relative application scopes, these techniques can be connected in series and the informations obtained from this procedure can be the important references of most art-scientific research fields such as conservation science, resume and identification of artworks, habits of artists and so on.

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