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1.
《文物保护研究》2013,58(1):168-174
Abstract

The history, materials and technique of an early fifteenth-century wall painting, St Michael Weighing Souls, are described. The pigments are typical of mediaeval Spain but the methods by which they were applied show a sophisticated understanding of their optical properties. Complex mechanisms of deterioration in some areas of colour are discussed, together with the rationale, materials and methods used in the conservation treatment.  相似文献   

2.
《文物保护研究》2013,58(1):179-183
Abstract

This paper deals with the approach to the conservation of a Spanish-style saddle and anquera (rump cover) from Mexico City and Puebla, Mexico, respectively. The objects were originally bought by an English explorer for a journey and are described in his book. The saddle and anquera are made from vegetable-tanned cowhide with punched and embroidered decoration and metal fittings. The condition, of the leather was assessed scientifically. It exhibits a number of conservation problems, notably surface deterioration and detachment of several sections due to acid attack. Previous conservation treatments have caused the leather to become overstuffed with dressing, resulting in a weakening of the substrate. The conservation ofthe saddle will involve four main stages: removal of excess dressing, stabilization of the leather, consolidation of the friable surface and repair of torn and broken areas. The suitability of various stabilizing agents, consolidants and methods of application was evaluated using mechanical tests alone and accelerated aging and mechanical tests. Naturall y aged and degraded leather was used as an experimental substrate. The results were used to formulate the approach to the conservation of the saddle and anquera.  相似文献   

3.
《文物保护研究》2013,58(1):140-144
Abstract

This paper presents the program initiated to conserve the templete in the Mudéjar Cloister in the Royal Monastery of Our Lady of Guadalupe. The program included evaluation of the original materials, development of repair materials and design of a conservation program for the templete. The paper concentrates on the analysis and conservation of the stuccos of the templete, which is a typical mudéjar-style structure of molded brick with an exterior stucco finish. Samples of stucco from the templete were analyzed by microscopy, both reflected and transmitted light; acid digestion (gravim～tric analysis); water vapor transmission rate; and Fourier transform infrared spectroscopy. Samples of pigments and salts were identified by microchemical methods. Data from these analyses were used to develop a replication stucco mix and a grout mix that would be physically and chemically compatible with the existing materials. The process of developing the mixes is described. Application of these materials to the conservation of the templete is outlined. The stucco mix was used for repairing the upper stage of the templete, which was largely devoid of its original stucco coating, and the grout was used to stabilize the stuccos of the base, which were largely intact but detached from the underlying brick.  相似文献   

4.
《文物保护研究》2013,58(2):134-153
Abstract

A broad outline of the considerations which arise with regard to the conservation of a museum collection of tapestries is given in this paper. The various types of damage to, and deterioration of, tapestries is discussed.

Various methods of washing and dry cleaning, and the equipment necessary for these procedures, are reviewed, and a caution is included as to the necessity of testing all dyes for colour fastness in both water and any solvent used for dry cleaning. The equipment, materials and techniques of repair are discussed; three methods of repair being currently used in museums and specialist workshops — re-weaving, stitching on to a backing and the use of synthetic resins for impregnation and adhesion to a woven support. It is suggested in conclusion that the optimum method of repair in museums is stitching on to a backing. More research must be undertaken into the use of synthetic resins, and re-weaving usually alters the original appearance of the tapestry.

Finally, the need for specialised conservation staff in a museum with a tapestry collection is emphasised.  相似文献   

5.
ABSTRACT

Preventive conservation, with its origins grounded in the material fabric of cultural material, is in a period of transformation, with numerous practitioners, in and outside of the field of conservation, considering its broader and holistic objectives. The conventional tools for the assertion of preventive conservation principles, namely the assessment and management of risks to cultural material from the ‘ten agents of deterioration’, have a central focus on the primacy of physical materials and degradation, with less clear relationships with people, place, and time in their modelling. With a case study focus on collections in the Philippines, this paper argues for a practice of preventive conservation that incorporates a balanced assessment and broader thinking around the contexts of objects, people, place, and time. The case studies of ecclesiastical Church collections, and museum environments in the Philippines, demonstrate how the interdependency of objects, people, place and time forms a holistic and conceptual preventive conservation framework. Through a cyclic renegotiation of these four parameters, this paper speculates on the gaps and opportunities for an inclusive view of preventive conservation that is current and more sustainable.  相似文献   

6.
《文物保护研究》2013,58(4):184-188
Abstract

The pH dependency of turmeric, used as a dye or pigment on ethnographic objects from the Santa Cruz Islands, can present a conservation problem. Great care must be taken with the cleaning, consolidation, repair, storage and display of objects of this nature. A section on the analysis of suspected turmeric is included.  相似文献   

7.
none 《文物保护研究》2013,58(3):221-222
Abstract

Furunori (aged paste) is a conservation material that is used for Japanese painting conservation. Furunori is a smoother and weaker adhesive than fresh paste, and it enables the surfaces to be easily peeled apart, with application of water, in a future conservation. Due to these characteristics, furunori has traditionally been used for attaching the backing paper to paintings in Japan, because it is considered that furunori causes less stress on the paintings than fresh paste. This study aims to clarify the characteristics of furunori based on chemical analysis and examination of the microorganisms involved in the early stage of furunori generation. Based on the results obtained, a polysaccharide similar to furunori was prepared.  相似文献   

8.
《文物保护研究》2013,58(1):145-147
Abstract

This paper offers a topical overview of textile restoration and conservation in Spain. It discusses the distribution of collections and conditions of research and training. The main textile workshops are described, together with their most important projects, past, present and future.  相似文献   

9.
《文物保护研究》2013,58(1):94-98
Abstract

Known today only by the name of the region where he lived, Mestre Pirang-a, an eighteenth-century santeiro (saint-maker), is considered a great artist by afficionados of Brazilian sacred art. Part of the present work consisted in a survey and cataloguing of the surviving religious imagery in the region of the Piranga river valley. A considerable number of these images could be attributed to the master. Three sculptures were analyzed with regard to form, style, iconography and technique of execution (support and polychromy), using scientific methods. Their state of preservation was investigated and a proposal for conservation was drawn up.  相似文献   

10.
《资料收集管理》2013,38(1-2):213-225
SUMMARY

Maintaining the physical book in research libraries will be needed for some time. As a result, book conservation will be around. The question is Why have book conservation as part of a preservation program? Physical repair of books is only one aspect of the “continuum of care” of a preservation program. Having a team of preservation specialists address the full range of preservation issues allows each specialist, including book conservators, to play to her or his strengths. This “team” approach will result in more work being accomplished in all areas, including treatment, administrative, training, etc, effectively and efficiently.  相似文献   

11.
《文物保护研究》2013,58(3):194-210
Abstract

The bronze archer-king statue, masterpiece of the Sudan National Museum in Khartoum, was discovered in 1974 on the site of Tabo, Argo Island, in North Sudan. Its aesthetical and technological qualities inspired archaeologists to perform a complete study and full conservation in Zurich in the 1970s. The multidisciplinary work included iconographic and scientific investigations as well as defining a conservation protocol, and the results were published in 1986. On the occasion of an exhibition in Paris entitled Méroé: Un empire sur le Nil in 2010, a complementary study was conducted in the Centre de recherche et de restauration des musées de France (C2RMF) while restoration treatment was carried out. With a 40-year gap between the first work and the present effort, this example demonstrates, on one hand, the evolution of technological analysis methods and progress in the study of metallurgy and materials. On the other, it shows how the restart of necessary conservation interventions could be based on detailed knowledge of the first protocol and treatment.  相似文献   

12.
ABSTRACT

Hampton Court Palace’s Great Hall located in Surrey, UK, is a magnificent late medieval hall. Its large hammer-beam roof is sumptuously decorated while its walls for the past century have been rehung with Henry VIII’s five-hundred-year-old tapestries illustrating The Story of Abraham, and one of the most internationally significant sets of sixteenth-century tapestries, commissioned for the same hall. This paper presents research which began in 2007, exploring conservation solutions based on evidence-based decision-making, through to successful implementation of measures that conserve these invaluable tapestries without damaging the aesthetic or physical integrity of the Great Hall. The impacts of environmental exposure conditions mapped in detail were assessed to evaluate risk for each tapestry. Next, feasibility studies identified the effectiveness of a range of potential mitigating options to address each local risk, now being incrementally implemented over many years. The research has enabled us to develop, test and deliver permanent interventions that have – when considered together as a holistic management regime – allowed the tapestries to remain in situ. These interventions will continue to be monitored and evaluated for at least a further year to confirm their effectiveness.  相似文献   

13.
Not Fade Away     
《资料收集管理》2013,38(4):51-59
Abstract

Visual ephemera is everyday materials of a transitory nature, rarely saved, which have a significant visual component. Postcards, movie posters, music concert posters, calendars, and illustrated brochures are examples of visual ephemera. Preservation issues related to visual ephemera include paper hydrolysis, clay coatings, chemically aggressive inks, photographic disintegration, and damage by mold, photo-oxidation, air pollutants, and improper handling. Conservation issues related to visual ephemera include paper repair, cleaning and stain removal, deacidification, and funding for conservation work.  相似文献   

14.
《文物保护研究》2013,58(1):81-83
Abstract

The ceremonies ofthe Maya people of Chiapas, Mexico, combine Catholic symbolism and ancient ritual. The clothes belonging to the effigies of saints, as well as other textiles, are taken out of storage, washed, dried and incensed in preparation for the saint's feast day. One such feast, Chuc Nichim, is described in detail, and the conservation implications of the rituals are discussed.  相似文献   

15.
《文物保护研究》2013,58(2):113-119
Abstract

An adhesive based on cellulose nitrate has been used in the British Museum for the repair of antiquities since cellulose nitrate plastic was first made commercially available. The use of cellulose nitrate adhesives in conservation has been criticized and for this reason the stability of the adhesive currently in use has been investigated. The properties of artificially aged samples of the adhesive have been compared with those of artificially aged adhesive-grade cellulose nitrate. The results indicate that the degradation of cellulose nitrate is substantially retarded by the plasticizer in the adhesive. Samples of cellulose nitrate adhesive taken from joins in objects where the date of conservation work is known have been analyzed. The results have been compared with the analysis of the artificially aged samples and a relationship between natural and artificial aging of cellulose nitrate adhesive has been established. The results of this investigation indicate that cellulose nitrate adhesives are stable for at least 30 years, and may be extrapolated to suggest a lifetime of 50 to 100 years under museum conditions in a temperate climate.  相似文献   

16.
none 《文物保护研究》2013,58(2):92-105
Abstract

The painting materials used by Lucio Fontana were investigated through the analysis of 28 Spatial Concept works created between the early 1950s and the artist's death in 1968. The pictorial media were analyzed by means of numerous techniques including Fourier transform infrared spectroscopy, pyrolysis-gas chromatography–mass spectrometry, scanning electron microscopy, and X-ray fluorescence. This study has provided a more complete understanding of the artist's technique, as it was found that Lucio Fontana had already begun experimenting with new synthetic pictorial and binding media such as alkyds and polyvinyl acetates at the beginning of the 1950s, and polyesters during the early 1960s. Although he never abandoned the use of commercial oil paints, Fontana's application of these new materials continued in an infinitely varied search for innovative expressive effects. The characterization results explain the physical and mechanical properties of the paint layers, and may be correlated with the conservation state of the works analyzed. All the results have been compiled and are discussed together with the artist's practices and their evolution over time.  相似文献   

17.
《文物保护研究》2013,58(1):19-27
Abstract

A sack gown of c. 1740–50, remodelled from a brocaded silk gown of c. 1726–28, had the back pleats altered again in the present century, probably for fancy dress. A close study of the gown enabled the pleats to be replaced as they had been arranged in c. 1740–50, so that conservation work could be carried out prior to mounting the gown for display.  相似文献   

18.
ABSTRACT

Cultural heritage is wonderfully diverse and as heritage preservation professionals, it is our duty to address the preventive conservation of all cultural heritages. However, there is no one set of guidelines, practices or rules that can be applied in all situations. A preventive conservator with strong technical and soft skills is essential in this situation. At the Winterthur/University of Delaware Program in Art Conservation (WUDPAC), preventive conservation has been an identifiable part of the curriculum since the early 1980s. From its establishment, the curriculum has evolved to include the teaching of both current day technical skills for the practice of preventive conservation and soft skills in teamwork, leadership, institutional priorities and goals identification, and written and oral communication. These are taught to all students in their first year and those that select the option of a preventive conservation minor in their second year. Recently, it has become clear that it is not possible to teach adequately both the technical and soft skills needed for the practice of preventive conservation within WUDPAC's existing minor area of study. Additional time is needed to study and develop the complex theories, abilities and requisite skills that characterize the preventive conservation specialty. This paper discusses the work to develop a curriculum for a WUDPAC preventive conservation major, the strong mandate to continue to teach both technical and soft skills, and the surprising resistance to the establishment of a preventive conservation major.  相似文献   

19.
ABSTRACT

The Isle of the Dead served as the burial ground for the convict settlement at Port Arthur, Tasmania, Australia, from 1832 until the settlement closed in 1877. Ninety-one grave markers survive. The author first surveyed the cemetery in 1990 and immediately established environmental monitoring that continued over the following 28 years. This paper discusses the hand-in-hand role of preventive conservation in the overall preservation program, including physical interventions. Delamination of stone is not stopped by re-attachment, only by reducing the environmental causes, once these have been accurately identified. This project has exemplified the need for precise understanding of degradation to ensure that the intervention programme is not, in the long term, a futile exercise. Communicating this understanding to the management authority is essential. It is a popular misconception with outdoor objects and monuments, that to repair an object is to prevent the damage re-occurring. It is essential to convey that this simplistic concept can be very damaging for the object and is one the conservation profession needs to emphasize.  相似文献   

20.
A Japanese painting on paper, in the form of a horizontal scroll from the Stibbert Museum in Florence, is being treated at the ISCR Paper Conservation Laboratory. The scroll, entitled Bamo Dōi-zu represents 33 different types of horses. Although there is no author's seal, it has been attributed to the famous Japanese artist, Kanō Sansetsu (1589–1651). Before conservation treatment, the artefact underwent technical and scientific examination in order to identify its materials and determine its conservation condition. As sampling paint layers from paintings on paper is extremely invasive, non-destructive techniques such as X-ray fluorescence spectroscopy, Raman spectroscopy, Fourier transform infrared spectroscopy, and spectrophotometry were employed. Several points from the paper support were analysed: the metal-leaf decorations, the seals and calligraphy, as well as the painted horses. Results detected and revealed a very simple palette: cinnabar (or its synthetic equivalent vermillion), shell white, carbon black, and the organic yellow gamboge. Pure gold and silver leaves were used for decorating the frontispiece. Useful information was obtained from the paper support and on its conservation conditions. Micro-destructive analyses were also performed on a few paper fragments for microscopic and scanning electron microscope equipped with an X-ray probe analysis. Results showed that materials and techniques are consistent with the Kanō School period.  相似文献   

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