02 調查紀錄
織品的修護之旅
A Journey into Textile Conservation
02
調查記錄
Investigation & Documentation
修護前的調查工作，是擬定修護計畫的重要參考依據。
從搜集織品文物工藝價值與製作技術；以文字、攝影或圖示記錄織品現況；瞭解織品結構與使用材質成分探究；保存條件與劣化成因的關聯評估等，都是修護計畫中不可缺少的重要資訊。
The investigative work serves as an important reference when drawing up conservation plans.
Information to be gathered in any conservation plan includes collecting information on the textile’s craftmanship, value, and manufacturing technology; recording the status of the textile through words, images, or diagrams; understanding the structure of the textile and exploring the materials used in its construction; assessing any correlation between its deterioration and how it was stored.
A
工藝調查
Craftsmanship Investigation
織品文物多為常民生活之物品，見證臺灣多元文化發展脈絡，不僅與當時的社會生活密不可分，更是人類知識與工藝技術累積的成果，其更因地域及人文風俗差異，發展出具當時工藝特殊性及獨特性的美學。因此，詳實的背景調查、風格意涵與工藝技法紀錄，可提供無形文化資產(傳統工藝技術)融入有形文化資產(織品文物)的修護方式，使修護更具歷史真實性。
Many of today’s textile artifacts were items of everyday life and serve as contextual markers of Taiwan’s multi-cultural development. They were inseparable from the social life of their time and thus served as a repository for the accumulation of human knowledge and craftmanship. Emerging from different locale and cultures, each piece reflected the unique aesthetics of its place and the prevalent craftsmanship of its time. By using detailed background investigations and noting stylistic meanings and techniques intangible cultural heritage (traditional craftsmanship) are assimilated into tangle cultural heritage (textile artifacts), thus ensuing historical authenticity of conservation.
B
檢視記錄
Inspection Documentation
執行織品修護前，需有完整詳實的基礎檢視紀錄，包括破損圖繪製及不同光源影像紀錄等。織品破損圖，以繪圖軟體或手繪標識劣損位置及區域，並採不同顏色與紋理表示，當劣損狀況複雜時，可分類、分圖、分色標示，以清楚呈現不同劣損的分佈情況及具體位置。
影像記錄則利用可見光影像、紅外線影像、紫外線影像及顯微影像等視覺化分析，提供修護過程監控及修護前後影像比對之用。可見光使用正面均勻光、側光及背光，紀錄織品不同樣態影像、特徵部位影像及表面劣損狀況。紅外線影像利用紅外線吸收、穿透、反射特性，可取得隱蔽的底稿，亦可為圖紋針跡追尋的參考。紫外線影像於無光空間檢視，不同螢光反應可區辦異材質及生物劣化痕跡。
Before undertaking any treatment on a textile, a complete and detailed record of its inspection record is needed. These inspections can be recorded using drawings of the damaged areas or using different light sources. The drawings of damaged areas, by computer software or by hand, use different colors and texturing to represent a spectrum of damaged areas. When the damage is complicated and overlapping, it can be divided into categories, diagrams, or color markings to better show the distribution and location of the damaged areas.
Image recording means using visible light imaging, infrared imaging, ultraviolet imaging, and microscopic imaging as analysis. The resulting images are used to monitor the conservation process, while also offering before/after conservation comparisons of the damaged areas. Visible light imaging uses front lighting, side lighting, and backlighting to record the condition of the textile, its characteristics features, and its surface damage. Infrared imaging uses infrared’s absorption, penetration and reflection qualities to discover areas unseen by the eye. This imaging is used as reference for pattern stitch tracing. Ultraviolet imaging is used in a darkroom, and different fluoresce reactions help researchers to distinguish different materials and biodeterioration.
案例ㄧ：「忠孝廉節」
刺繡織品文物保存修復紀錄—高雄木柵教會典藏四幅刺繡作品，以作品01「忠孝廉節」文字繡為例。
Conservation and repair of an embroidered textile artifact:Kaohsiung’s Muzha Church four embroidered works. Work 01— “Loyalty, Filiality, Honesty,Integrity” embroidered Chinese characters
高雄市內門區木柵教會典藏刺繡藏品，經訪談得知該作品為臺灣日治時期學生習作作品，其刺繡技術及風格為當時學校刺繡教學之代表，因保存環境不佳，造成作品有水漬、黴斑、蟲蛀、褪色及破損等劣化狀況，加上未妥善的裱裝，擴增壞損程度，為臺灣該類型織繡文物常見的劣損樣態。
<br>The Presbyterian Muzha Church in Kaoshiung’s Neimen District is home to several embroidered works. Through interviews, researchers learned that the piece in question is the practice work of students studying during the Japanese colonial period in Taiwan. The embroidery techniques and style are those taught in schools at that time. Not preserved properly, today the piece shows water stains, mold spots, damage from insects, color fading, and surface damage. This damage, which is commonly found in old textiles in Taiwan, is compounded by the fact that the piece was improperly mounted.
(1)-繪製破損圖
依不同光源影像記錄結果，使用不同顏色及幾何線條，依劣損類型及位置(範圍)分別繪製於透明無酸聚酯片，以利判斷 各劣損現象的範圍，作為修復工序安排依據，並評估修復工法之交互影響，以利於後續修護時評估判斷和進度控管。
“Loyalty, Filiality, Honesty, Integrity” Chinese character embroidery
Using acid-free clear mylar tape, different colors and geometric lines create diagrams highlighting damaged areas of the textile. These diagrams will
facilitate subsequent treatments and serve as an important reference.treatments
木柵-01作品「忠孝廉節」文字繡木框破損圖
Muzha Work 01: “Loyalty, Filiality, Honesty, Integrity” Chinese character embroidery—diagrams of damaged wooden frame
(2)-可見光影像記錄
使用可見光光源記錄作品現況。 正面光源，在沒有陰影的狀態下，紀錄作品原貌、技法、 顏色及劣化狀況，做為修護前後比對之用。不同角度側面 光，運用表面起伏造成的陰影強化作品的立體感，用以記 錄作品布面摺痕、變形等劣化現象。 背光檢視，記錄漬痕及紙襯脫落等劣化情形。
Visible light imaging documentation:
Different light sources are used to record the condition of the work.Front lighting, without shadows, records the work’s original appearance, its representative techniques, color, and state of deterioration, while also providing a snapshot for before/after conservation comparisons. Side lighting, used from different angles, emphasizes the contrast between light and shading and the three dimensionality of a surface. It is used to highlight the creases and distortions in this work’s surface. Backlighting is used to highlight the water stains and peeling of the paper lining.
(3)-紅外線影像記錄
利用不同材質對紅外線穿透、反射與吸收之特性，以紅外線 感光元件(相機或濾光片)和相對應的光源，擷取不同材質對紅 外線反射強度之影像，可得到灰白色階的影像，再依獲得影 像之黑白濃淡的程度區分不同材質之反應形成的紋樣，可揭 示作品的材料運用和具有碳元素之墨跡或草稿等隱藏資料。
Infrared (IR) imaging documentation:
Infrared light has strong penetrating power, but low energy. Different materials will absorb infrared rays to different degrees and thus reflect in colors from gray to white. The degree of black or white shading can also point to hidden information such as the discovery of carbon traces connected to old ink outlines or sketches.
(4)-紫外線激發可見光螢光影像記錄
為降低環境光線的干擾，將作品置於暗室進行拍攝；以紫外線燈(UV-A)為光源，使用相機，必要時鏡頭加裝濾光片去除反射的紫外線及調整紫外線燈管造成的色偏進行拍攝，以紫外線激發之可見光螢光反應判斷(螢光線現象的有無和螢光的色彩等)材質差異及生物劣化痕跡。 基底布料呈現不同螢光反應，搭配可見光照片檢視，推測為受潮造成的漬痕。同色同材質的淺色繡線呈現不同螢光反應，推測可能為不同染料製程所致。
紫外線對於人體、文物具有潛在性傷害，操作前請擬定文物拍攝位置，減少文物照射時間；操作人員請務必佩戴防護眼鏡，以確保人身安全。
Ultraviolet imaging documentation:
The piece was placed in a dark room. Using a black light fluorescent lamp (Sankyo Denki ID) and a digital camera (Sony DSC-R1) with a color correction filter (Kodak 2E+Kodak CC40R) it is possible detect different materials and biodeterioration through the presence of ultraviolet fluorescence. The base material of Muzha Work 03 showed the presence of different fluorescence reactions which, when viewed in conjunction with visible light imaging, points to water damage. It is presumed that embroidery threads of the same color and material exhibit different fluorescence due to varied dying processes.
＊Ultraviolet light can pose a hazard to humans and cultural artifacts. Therefore, prior to work with ultraviolet light, location preparation is first completed to reduce the length of exposure of the artifact to ultraviolet light. Researchers also use special protective googles to protect their eyes.
(5)-3D掃描數位化
隨著文物數位保存的新趨勢，運用3D掃描進行文物三維測量，可將歷史文物形體外貌轉換為三維數位資料，協助織品文物形貌檢視記錄和精確圖說文件製作，進行全方位資訊記錄與調查並建立數位典藏資料。如臺灣傳統八仙彩的浮凸狀況和外觀形貌，可透過3D掃描進行全面的記錄，提供繡線起伏變化資訊，且透過不同的3D掃描技術能協助區別繡線材質、檢視墨稿、分析繡線走勢等，以提供評估保存狀況及後續保存修復比對所需之資訊，為後代傳承珍貴的歷史文物。
案例一：
臺北市一般古物「紫地『新芳春行』大八仙彩」，長1509公分，寬118公分，為1934年新芳春茶行落成時所訂製。臺北市政府文化局於2019年運用3D建模技術，詳實記載大八仙彩尺寸、形貌、色彩、風格，並可透過3D軟體進行量測、即時展示、技法風格研究、現況觀察，並保存大八仙彩現況供後續修復使用。
大型立體刺繡類的織品文物，為使文物表面平整，底部需配合表面起伏製作適當的襯墊，避免文物在修復過程及未來展示過程的損 壞，「北港飛龍團大龍旗」嘗試使用3D掃描配合3D雕刻，依據文物表面型態製作襯墊。
C
檢測分析
修護前為瞭解織品文物的材質成分、結構組織、劣化成因等進行科學檢測，所取得到的數據或圖譜，可獲得客觀且正確性高的分析結果，可作為文物修護選材及方法的參考，是制定修復計畫重要的參考依據，有助於修護團隊確認織品文物處理的範疇。
檢測方式以非破壞性檢測方法為主，使用儀器包括高倍數顯微鏡、分光光度計、傅立葉轉換紅外線光譜分析儀（FTIR）、X射線螢光分析儀（XRF）、掃描式電子顯微鏡及元素分析儀(SEM-EDX)等。
Before any treatment, a series of tests are carried out to understand the material composition of the textile, its structure, and the reasons for deterioration. The resulting numbers or spectrum charts are both objective and highly accurate and serve as an important reference during subsequent treatment and material or method selection. Testing serves as an important source for the formulation of restoration plans and helps the conservation team confirm the scope of work that needs to be done.
Testing methods are mainly non-destructive and make use of cutting-edge tools such as high-power microscopes, spectrophotometers, Fourier-transform infrared spectroscopy (FTIR), X-ray fluorescence analyzers (XRF), and scanning electron microscope—energy dispersive x-rays (SEM-EDX).
(1)-纖維型態鑑定
偏光顯微鏡分析利用光學特性的差異和纖維結構比對，能准確判斷 纖維的種類，為纖維鑑識重要的檢測方法。 雲林縣一般古物「北港集雅軒繡製綵旗」 布料的經線和緯線，在偏光顯微鏡下的 影像，經線縱面平滑細長且均勻，橫斷 面近似圓角三角形，為絲纖維；緯線縱 面為扁平撚迴帶狀，橫斷面呈豌豆型有 中空層，為棉纖維。旗面局部放大檢視 ，經線顯露於布的正面，表面平滑有光 澤，質地柔軟，背面則無光，稱為緞布( 即緞紋組織)。「北港集雅軒繡製綵旗」使 用的布料為臺灣早期天然絲棉交織的緞 布，又名雲布，或稱絲布。
偏光顯微鏡下，布料的經緯纖維影像 (經線：絲纖維；緯線：棉纖維)
(2)-掃描式電子顯微鏡/元素分析儀（SEM/EDX）
Scanning Electron Microscope — Energy Dispersive X-ray
利用偵測器蒐集電子束激發樣品表面所產生的電 子訊號，取得樣品表面放大影像，可用於辨識繡 線纖維特徵，並搭配能量射散分析儀用於分析表 面無機成分，如分析織品金屬繡線的組成元素。
Appropriate detectors collect electronic signals emitted by thesample surface which has been excited with an electron beam.These signals are then converted into enlarged images of the surface sample. An energy dispersive x-ray is also used to analyze the inorganic components of the sample and can detect, for example, the layered composition of painted sections or metallic embroidery threads.
案例ㄧ：木柵作品上的銀線
脫落金箔以SEM/EDS進行微觀成分分析，金箔部位點分析之X光能譜顯示金、銀及鎳等元素，其中，鎳為微量。
Silver thread found within the Muzha Work
A micro-component analysis of the sample was done using SEM/EDS. Testing results pointed to a presence of a long piece of silver foil (400um×10um) wrapped around a silver thread. According to elemental analysis, the silver foil has elements of silver (Ag) and sulfur (S). Reasons for the blackening of the silver is presumed to be due to air pollution causing chemical changes in the silver sulfide.
案例二：龍旗金蔥線上的金箔
脫落樣本以SEM/EDS進行微觀成分分析，樣本檢測結果為銀線，以長條形銀箔(Ag寬400um×厚10um)包覆線芯。經元素分析結果，銀箔含有銀(Ag)和硫(S)元素，其變黑原因推測為受空氣污染產生硫化銀之化學變化。
Dragon flag spun gold mbroidery thread gold foil A micro-component analysis of the sample was done using SEM/EDS. An X-ray photoelectron spectroscopy of the gold foil reveals elements of gold, silver, and a trace amount of nickel.
(3)-X射線螢光分析儀(XRF)
X-ray Fluorescence Spectrometer (XRF)
因應文化資產保存維護最小干擾需求，通常採用可 移動式設備，以非破壞方式進行選樣檢測，依檢測 結果分析其組成元素的種類與含量。適用於檢測建 築彩繪、壁畫、書畫等顏料、織品金屬繡線與副料、 石質文物材質組成元素及含量等分析及木材防腐劑注 入成效等評估。
T his mobile non-destructive elemental analyzer provides measurements on the type and quantity of elements found at the measurement position. The analyzer is fast, non-destructive and offers multi-element analysis. It is suitable for testing pigments of wall paintings, murals, publications, and drawings, testing metallic embroidery thread and its auxiliary materials, as well as undertaking analysis of the elemental composition of stone relics and assessing of the effectiveness of wood preservation treatments.
案例一：鹿港雅正齋南管樂團涼傘之金蔥線
經XRF檢測結果，主要為金(Au)、鐵(Fe)及微量的鉻(Cr)、銅(Cu)、砷
(As)，以及矽(Si)、鈣(Ca)等元素，其中矽、鈣、鐵成分應來自金箔下方基底之紅土成分，鉻和銅亦可能來
自下方土壤，砷則可能來自原金礦；而除了鐵以外，金之訊號與其他元素相較極強，可推測金線之金箔成分
可能是極高含量之金並含有少許微量元素，惟均需進一步檢測判别。
(4) 傅立葉轉換紅外線光譜分析儀（FRIR）
Fourier-transform infrared spectroscopy
有機化學分析儀器。利用不同材質對紅外線產生之特定光譜鑑定有機化合物之組成，主要使用於彩繪顏料、加固劑、塗料、膠合劑、織品材質樣本等。
An instrument used in the analysis of organic compounds. The spectroscopy produced by different materials when they are hit with infrared light helps researchers determine the composition of any organic compounds within. Mainly used in the analysis of painted pigments, strengthening agents, coatings, adhesives, and fabrics.
樣本檢測出現3300、1620 cm-1等醯胺類、1520cm-1
主要特徵峰，推測布料及繡線為蠶絲材質。
Testing on this sample shows 3300 cm-1, 1620 cm-1 (amide),
and 1520 cm-1 characteristic peaks; therefore, it is
presumed that the base fabric and embroidery threads are
both made of silk.
