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1.
《文物保护研究》2013,58(2):116-121
AbstractThe use of Prussian blue in nineteenth-century Japan has been extensively researched, particularly in relation to the ‘blue revolution’ in ukiyo-e prints but its use by Chinese artists has not received the same degree of attention. A commodity traded by the East India Company, this pigment was used to ‘improve’ the colour of tea, but in or about 1825 the trade abruptly ceased. It now seems fairly clear that the cessation of the Prussian blue trade coincided with the setting up of a Prussian blue factory at the northern gate of Canton, and that knowledge of the industrial process was possibly acquired covertly from a London manufacturer. The pigment has been identified chemically among paint fragments collected during the dis-binding of an album of Chinese botanical watercolours sent from Canton to the Horticultural Society of London by tea inspector John Reeves between 1817 and 1830. This finding suggests that conservators should not exclude the possibility of finding Prussian blue on Chinese work dating from at least the early part of the nineteenth century. 相似文献
2.
《文物保护研究》2013,58(1):22-26
AbstractVery small paint samples from Cosimo Tura's ‘The Annunciation with Saint Francis and Saint Louis of Toulouse’ were submitted to amino acid analysis in order to determine the nature of the binding media. The four panels appeared to have been painted with egg tempera, and showed extensive localized deterioration in the blue areas but not in the other coloured areas. Following the Picotag method, the samples were hydrolyzed in an acid vapor, derivatized with iso-thiocyanatobenzene, and analyzed using reversed phase high pressure liquid chromatography (HPLC). Amino acid analysis demonstrated that the red and brown areas were painted using egg yolk as the binding medium, while the blue areas were painted with animal-skin glue (distemper). Analysis of the green paint indicated a mixture of egg yolk and glue. The use of these techniques makes it possible to identify proteinaceous materials in art objects from samples in the microgram range. 相似文献
3.
《文物保护研究》2013,58(4):181-196
AbstractSince the late nineteenth century, museums in New Zealand have intermittently painted Maori wood sculpture matt red in the mistaken belief that they were continuing a tradition of red-coloured carving pre-dating the arrival of the European in New Zealand. Conservation work at AucklandMuseum has restored some of these back to their original surfaces. The article describes the history of the carvings under discussion, the conservation carried out, and some of the ramifications of the results achieved. 相似文献
4.
Sarah Kennedy 《图书馆管理杂志》2013,53(6):738-747
ABSTRACTAlthough libraries, archives and museums were historically linked as ‘cabinets of curiosity,’ professionalization within the domains in the 19th century seems to have divided these collections. The creation of different working practices and standards built up barriers between these cultural or ‘information’ objects. However, in recent years there has been a well-developed trend towards pan-domain collaborative work which is slowly re-uniting collections and re-establishing links between the specialists that care for them. This article outlines how a project in the Royal College of Surgeons of England brought the library, archive and museum staff together to create a more collaborative environment which has served to benefit the collections, their users, and the staff themselves. 相似文献
5.
《文物保护研究》2013,58(4):172-180
AbstractSurface examination by X-ray photoelectron spectroscopy and Auger electron spectrosopy has beenemployed to investigate the patinas on Lorenzo Ghiberti’s ‘Door of Paradise’from the Florence Baptistry and one of the so-called Riace bronzes. These techniques and the related depth profiling technique are described; the results gave interesting information on thestate of conservation, the original manufacturing process and the possible original appearance. 相似文献
6.
《文物保护研究》2013,58(3):156-159
AbstractA blue pigment frequently found in Cuban colonial decorative wall paintings from about 1750 to 1860 has been identified with the aid of thin-layer chromatography, IR spectrometry, X-ray diffraction, thermal analysis, scanning electron microscopy and X-ray microanalysis as ‘Maya blue’. This is the first reported occurrence of Maya blue from a period after the conquest and in a non-Mayan cultural area. 相似文献
7.
《文物保护研究》2013,58(3):177-188
AbstractThe examination of the original polychromy of a fourth century B.C. classical Greek marble basin revealed a number of unusual pigments. In addition to natural cinnabar, and Egyptian blue, analysis has shown the presence of wild madder (Rubia peregrina) as the colorant in a purple pigment. This is one of the very few instances in which the use of madder as a colorant in classical painting has been established analytically. The white pigment was found to be neutral lead carbonate (cerussite). The use of this carbonate in painting is extremely rare. The yellow pigment was identified as misy (jarosite). The use of jarosites, iron sulphates, as pigments in painting has not been reported previously. 相似文献
8.
《文物保护研究》2013,58(1):16-22
AbstractThis paper discusses the technical examination of Christ in Martyrdom, painted in 1690 by Fra. Ricardo Pilar for the Monastery of São Bento, Rio de Janeiro, Brazil. The painting, which hangs in the sacristy, has recently been restored; this restoration and three previous restorations are described. The characteristic pose of Christ in the composition has been found in mediaeval German sculpture and was popular in Spanish painting in the sixteenth and seventeenth centuries. The techniques used for Christ in Martyrdom have been compared with contemporary Spanish and Portuguese treatises and selected paintings in the collection of the National Gallery, London, to illustrate Pilar's original style. The palette and the linseed oil medium are typical of Spanish painting and are likely to have been imported from Europe. 相似文献
9.
《文物保护研究》2013,58(4):235-239
AbstractThis paper describes analyses that were performed on three canvas paintings by Correggio, the‘Danae’, the‘Compianto suI Cristo Morto’ and the‘Martirio di Quattro Santi’, with special regard to the grey colours. Non-destructive XRF measurements showed that the elemental composition of these colours included non-negligible amounts of antimony, and that its abundance was related to the darkness of the colour. Optical microscope, SEM and EPMA analyses, carried out on a single sample taken from the‘Danae’, confirmed that antimony was associated with the grey layers of the stratigraphical section and allowed us to hypothesize the presence of stibnite, which is a lead-grey coloured antimony trisulphide. 相似文献
10.
范菲菲 《中国国家博物馆馆刊》2020,(2):107-117
山东博物馆所藏罗聘《烟雨归耕图》,是以波臣派画家戴苍所画朱彝尊小像为母本的临摹之作。原作曾因朱彝尊在文人间的影响力而引人注目,但流传经历已难考证。本文根据画上题跋和文献记载,推知原作曾由乾嘉时人钱楷收藏;并探讨临作的绘制时间、背景和流传经历,其应为清嘉庆二年(1797年)罗聘辞京南归之际,应翁方纲之请而临,历经翁方纲、曹振镛、李鹤年、李玉棻及山东省立图书馆收藏。它既是了解原作的重要参照,也是清代文人、画家诗画交游的珍贵记录。 相似文献
11.
《文物保护研究》2013,58(1):63-64
AbstractWhite crystals have been found to grow on the surface of a number of wax artifacts. Analysis was carried out on samples of wax and crystals taken from a Victorian wax fruit arrangement displaying crystalline growth. The possible relationship between crystallization, cracking and changes in temperature is explored. 相似文献
12.
ABSTRACT‘Disability’; the ‘D’ word generally speaks its own meaning, as anyone who is different from others in terms of physical and mental impairment. There are various types of disabilities; broad categories such as physical and communication disability, mental illness and mental retardation, learning disabilities and so forth. In this article, an attempt has been made to describe the term ‘visual impairment’ which falls under the category of physical and communication disability. The next section of the article presents activities of the National Institute for the Visually Handicapped, Dehradun, India to make the visually impaired self-sufficient and to recognize the role played by the Institute in disseminating information to them. 相似文献
13.
ABSTRACT Historic Japanese textiles from over 1000 years ago generally show marked deterioration and only very rare examples show their original forms and much information about textile reproduction has been lost. The replication of textile braids lacks systematic methodology and is still being practiced by only few individual braiding experts. The recreation of original braids as close as possible to original braids is a part of Japan’s intangible cultural heritage. The aim of this study is to clarify the decision-making procedure through which the braiding experts can decipher the original braiding structures. As a preliminary study of this project, interviews of a braid researcher and a replicating expert, Makiko Tada were performed regarding her working practices. It is important to clarify the braiding parameters for structural analysis such as the number of transits and the balance of ridges, and it became clear that the orientation of multiple colored threads plays an important role. The expert’s replicate works were also analyzed using a text-mining statistical technique to clarify the relationship of braiding parameters. The relationship between each braiding parameter and production method such as loop manipulation and Taka-dai became clear. As a result, the process of deciphering the original braid structure has been compiled in simplified workflows, which could contribute to the standardization and improvement in efficiency of replication of cultural property braids. 相似文献
14.
《文物保护研究》2013,58(1):30-40
AbstractThe Kitora tumulus, which is thought to have been built around the late seventh to early eighth century, has beautiful mural paintings which were executed directly on a very thin layer of plaster in the stone chamber. When the paintings were found, the plaster was partly detached from the stone wall and the murals were therefore considered to be likely to fall off the wall with a casual touch or stimulation. Therefore, it was decided to detach the mural paintings and to store them flat and under controlled environmental conditions. This was initiated immediately after the excavation of the tumulus in 2004. However, fungal growth and biofilm development were observed within the stone chamber during the relocation work. In 2005, small holes containing black substances were observed on certain areas of the ceiling plaster, and following investigation an acetic acid bacterium, Gluconacetobacter sp., was isolated from the black substances. The bacterium was also isolated from the ceiling, floor, and east wall in the stone chamber in 2008 after the relocation of most of the paintings had been completed. These bacteria were shown to decompose calcium carbonate (CaCO3), one of the primary components of the plaster, and to produce organic acids such as acetic acid. Additionally, they were observed to decrease the pH of the culture media significantly in the presence of ethanol and glucose. This is the first example of the characterization of acetic acid bacteria isolated from decayed plaster paintings, and it is likely that microbes such as these bacteria have been involved in the deterioration of the plaster. Chemicals to treat microbes in the Kitora tumulus during the relocation work were selected on the basis of their antimicrobial efficacy, low potential to cause adverse effects on the paintings, and low level of toxicity to humans, depending on the condition of the plaster or stone in each area. However, some chemicals, especially ethanol, may act as a carbon source, which could encourage the growth of microbes and thereby the production of acids by the microbes when diluted to a low concentration or in a degraded state. Moreover, prior contamination by other microbial species in the form of a biofilm could also encourage the growth of the acetic acid bacteria by providing low-molecular-weight organic materials as a nutrient source. 相似文献
15.
《文物保护研究》2013,58(5):333-339
AbstractWhen wooden supports of panel paintings have been severely altered or damaged and the original cross beams are missing, new cross beams or other types of auxiliary supports are connected to the panel's back-face in order to achieve desired effects including panel strengthening and control of deformations. Some conservation laboratories use small wooden blocks, each glued on the back face of the panel and holding freely the head of a screw connected (often by means of springs) to the auxiliary support; such blocks being called in Italian ‘piedini’ or ‘bottoni’, the English term ‘buttons’ is proposed here. This paper reports research aiming to characterize the mechanical behavior of three types of ‘buttons’ having different geometries and made of various wood types (oak, walnut, lime, beech, and a medium density fiberboard). Short-term mechanical tests (～1 minute duration) were performed with a universal testing machine by axially pulling out the 4 mm diameter steel screw from the button, glued onto a dummy board. Load and deformation were recorded, and the load–deformation curves were analyzed. The results show that the deformability and the load-carrying capacity of the buttons were influenced primarily by the manufacturing geometry and secondarily by the wood density. 相似文献
16.
ABSTRACTHistorical pedal harps from the early nineteenth century are highly adorned objects, decorated with various techniques such as polychromy, gilding, decoupage, and gilt composition ornaments. Even though a large number of such instruments are kept in private and public collections, until now their decorative features have not been examined systematically. Moreover, little has been written about the motives behind the choice of various decorative techniques by harp makers. This article presents results from the investigation of a double-action harp made in 1818 by Erard, the leading manufacturer of harps in Regency London, focusing on the technological aspects of its decorative features. Various analytical methods, such as visual examination, microscopy, SEM-EDX, FTIR, and Py-GC-MS, were used to identify the inorganic and organic components in the coating of the harp and to analyse its stratigraphy. Inspection with ultraviolet light revealed details of the original layers and of later additions, while radiography made the internal structure as well as damaged areas and repairs visible. The outcome of this object-based examination was complemented by archival research on the Erard firm, providing new insight into Erard’s production and marketing strategies. 相似文献
17.
Abstract This study demonstrates how changes in intellectual property law have effects on the value‐creation process of information commodity and related strategies. To explain these effects, three unique economic characteristics of databases as information are focused on: public good, information good, and aggregate good. And, different strategies such as versioning, technical strategies, and limiting the number of consumers and data mingling have been suggested for each characteristic. To examine the value‐création process of databases, a three‐step process has shown: data gathering, selection/arrangement, and presentation. In the legal process, two main rationales, ‘sweat of the brow doctrine’ and ‘originality doctrine’ have suggested protecting database compilations. The ‘sweat of the brow doctrine’ stresses the effort and investment of the compiler. On the contrary, the ‘originality doctrine’ emphasizes the judgment and creativity in the selection and arrangement of the materials comprising the compilation. 相似文献
18.
《文物保护研究》2013,58(4):149-154
AbstractThe small areas of white metallic pigment seen on the south wall of J. M. Whistler's ‘Peacock Room’ in the Freer Gallery of Art are platinum; this has been used, with a yellow-brown ground, to overpaint a preceding layer of silver which, in one place only, is over a preceding layer of gold. The yellow metallic pigment is confirmed as gold and the blue colour of the south wall and elsewhere is based on Prussian blue. On a separate wood panel a green was tentatively identified as copper resinate, and iron-oxide-based pigments appear to be present. In all areas investigated a white, used as a ground and in admixture, was essentially lead white and calcium carbonate. The significance of these results is discussed briefly. 相似文献
19.
《文物保护研究》2013,58(2):44-108
AbstractThomas Bardwell (1704–67), an English portrait painter, wrote a technical treatise entitled The Practice of Painting and Perspective Made Easy which was published in 1756. The section on painting deals exclusively with the oil technique and may be considered one of the most original productions of its kind written in England. A total of 153 paint samples were taken from 15 of Bardwell’s paintings dating between 1740 and 1766, the better part of his active career. Through cross-sections, and likewise numerous analyses, made from these paint samples it was possible to reconstruct Bardwell’s actual practice. This in turn could be compared with the suggested technique as explained in his book. Bardwell’s actual practice follows his written advice rather closely; however, in general it was discovered to be less complicated. 相似文献
20.
Lettie Y. Conrad 《期刊图书馆员》2017,72(1-4):190-193
ABSTRACTLettie Conrad reported on the findings of original research on academic user experience with serendipitous discovery in scholarly research. This research has been released as the fourth installment of a series about discoverability as part of the SAGE White Papers. This research was designed to examine how students and faculty seek content beyond the search box. The researchers being studied take advantage of unplanned or unexpected content discoveries such as selecting a link in an e-mail alert, following a trail of citations within an important paper, or making use of recommendations. The study found that researchers decide to follow recommendations, either machine generated or from an acquaintance, based on a combination of perception of relevance to the field of study, access to the recommended article, and trust in the provider. SAGE has used these findings to enhance its products to better showcase content to users and then help them to more readily make sense of it. 相似文献