Quantitative analysis of mixed pigments for Chinese paintings using the improved method of ratio spectra derivative spec
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RESEARCH ARTICLE
Quantitative analysis of mixed pigments for Chinese paintings using the improved method of ratio spectra derivative spectrophotometry based on mode Shuqiang Lyu1,2, Yiyi Liu1,2, Miaole Hou1,2*, Qinli Yin3, Wangting Wu4 and Xueyun Yang1,2
Abstract Background: Mixed pigment analysis is an important and complex subject in preserving and restoring Chinese paintings since the colors observed by our naked eyes or instruments such as hyperspectral cameras are usually a mixture of several kinds of pigments. The purpose of this study was to explore a more effective method to confirm the type of every pure pigment and their proportion in pigment mixtures on the surface of paintings. Methods: Two endmember extraction algorithms were adopted to identify the types of pigments and an improved method of ratio spectra derivative spectrophotometry was used to determine their proportion. Main works: (1) Extracting the pure pigment components from mixed spectrum by adopting two blind source separation algorithms: Independent Component Analysis and Non-negative Matrix Factorization; (2) matching the separated pure spectrum with the pigment spectral library built in our laboratory to determine the pigment type; and (3) calculating the proportions of mixed pigments using the Ratio Spectra Derivative Spectrophotometry based on Mode, which is improved based on the original algorithm. Finally, a comparison was made with two abundance inversion algorithms: Least Squares Algorithm and Minimum Volume Simplex Analysis. The correlation coefficient and root mean square error were used to provide evidence for accuracy evaluation. Conclusions: (1) Non-negative matrix factorization is more suitable for endmember extraction; and (2) Ratio spectra derivative spectrophotometry based on mode is more suitable for abundance inversion. Keywords: Hyperspectral imaging, Pigments unmixing, Endmember extraction, Abundance inversion, Chinese painting restoration Introduction Throughout history, human has created a large number of precious cultural heritages, such as paintings, ceramics, murals, utensils, fabrics, etc., which used a large number of mineral pigments, often accompanied by a mixture of various pigments during use, blending into rich colors. *Correspondence: [email protected] 1 School of Geomatics and Urban Spatial Informatics, Beijing University of Civil Engineering and Architecture, No. 15 Yongyuan Road, Daxing District, Beijing 102616, China Full list of author information is available at the end of the article
The Chinese painting is one of the important classes of cultural heritages. However, its surviving time is limited, not mentioning the damages caused by mold, insects, smudges, etc. due to environmental, human or other factors. In order to better retain and repair them, it is often necessary to restore and duplicate colors, where judging the type and proportion of pigment is often the first step of cultural heritage restoration. However, the colors observed by our naked eyes or instruments such as
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