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1.
AbstractJapanese sculptures are made of wood, dry lacquer, clay, gilt bronze and stone. Buddhistic statues, made of wood, are the most abundant. The painting techniques of the wooden sculptures, including ground coating, pigments, and application of Japanese lacquer, are described, and typical examples of Buddhistic statues are given. Specific case studies on a clay statue and a wooden sculpture are made. 相似文献
2.
An assemblage of Buddhist wall paintings and sculptures dating to the twelfth/early thirteenth century are found distributed over the interiors of the temple complex at Sumda Chun, Ladakh. Detailed investigations carried out as part of a conservation project shed light on their antiquity and production technology. The sculptures are constructed with fine mud mortar applied over a wooden armature and affixed to the walls without any support from the ground. In both the sculptures and wall paintings, the paint layer is applied over a thin gypsum ground that functions as a white colourant where unpainted. For the paint layer, azurite, vermilion, and orpiment are the dominant mineral pigments utilized. Minium (red lead) has been used for preparatory drawings and as paint. Highlighting of special areas was achieved using a laminate of tin–lead alloy and gold on relief. Overall the material and techniques employed in the execution of the wall paintings and sculptures are consistent with those reported for other early sites in the region. 相似文献
3.
《文物保护研究》2013,58(1):135-139
AbstractBibliographical research and scientific analysis of samples obtained from five polychrome wooden sculptures of the colonial tradition in Guatemala were used to study the techniques and the materials used. The methodology involved qualitative analysis of the samples and microscopic examination of cross-sections. Scanning electron microscopy (SEM) was used to identify pigments and to ascertain the composition of the gilding. It was hypothesized that the deterioration of the sculptures, particularly the separation of the ground layers from the wooden support, was due to the action of secondary products of Cedrela odorata L. The loss of adhesion of the animal glue used in the preparation may be partly related to the precipitation of the protein of the gelatin due to the action of the tannins present in the wood. 相似文献
4.
Pigments on a figurative wall painting in Poudeh village, central Iran, were analysed by micro X-ray fluorescence spectrometry, micro Raman spectroscopy, scanning electron microscopy coupled with energy dispersive X-ray spectrometry, micro Fourier transform infrared spectroscopy, X-ray diffractometry, and polarised light microscopy. Red lead, ultramarine blue, chrome yellow, brass powder, white huntite, and lammerite (Cu3(AsO4)2) were identified as red, blue, yellow, golden, white, and green pigments, respectively, while gypsum and barite were used as extender. In addition, glushinskite (MgC2O4·2H2O) was identified as a deterioration product of white huntite. Moreover, several analytical studies suggested that lammerite was a degradation product of emerald green (Cu(CH3COO)2·3Cu(AsO2)2) originally used as green pigment in the painting. The formation of lammerite is suggested to be due to the migration of arsenic throughout the paint layer. Based on the pigments identified, the wall painting is dated from the mid-nineteenth century to the mid-twentieth century. 相似文献
5.
The Shosoin treasures, which include the belongings of Emperor Shomu (CE 701–756) and Empress Komyo (CE 701–760), have an honorable origin and have been continuously handed down for generations since the eighth century in the Todaiji temple in Nara, Japan. Some of the beautiful artifacts found among the treasures display the bachiru carving technique, in which a delicate pattern is produced by carving dyed ivory or antler using additional painting. To elucidate the colorants used for dyeing and painting in the bachiru technique, non-invasive scientific analyses using fiber optic reflectance spectrometry in the visible region, X-ray fluorescence spectroscopy, and X-ray diffraction were performed for eight treasures: a go game board, two go pieces, a nyoi (ritual nail pole), a kugo harp, a bird-shaped accessory, a kaburaya arrow, and a ritual ruler. Second derivatization of the reflectance spectra led to characterization of the dyes in the treasures as sappanwood, lac, madder, gromwell, and indigo. Lac and atacamite were respectively identified in the red and green areas of the painting by reflectance spectrometry and X-ray diffractometry. These results indicated the use of a variety of colorants for the bachiru carving technique in the eighth century. 相似文献
6.
《文物保护研究》2013,58(2):89-91
AbstractTwo red dyes from 21st dynasty Egypt and one from the 12th dynasty were analyzed. The first two were essentially madder, in one case mixed with small amounts of tannins. The third contained pure haematite (red ochre), thus representing one of the earliest known uses of this pigment for the dyeing of linen. 相似文献
7.
《文物保护研究》2013,58(1):76-80
AbstractThe reasons for the often poor condition of Viceregal paintings and sculptures are examined. The conservation of four works is described, chosen largely because they had typical problems and would benefit from recently developed techniques. The treatments were: the preliminary lining of very cupped paintings, before using moisture to stretch the original canvas and allow the paint layer to lie flat again; lining badly torn paintings on a thin, semi-rigid, transparent support and using the old stretcher, in order to preserve the structure and aesthetic impression of the painting as much as possible; masking to protect susceptible fine lines against solvent action during cleaning; blending disturbing passages of the paint layer like blanching, irreducible stains, singeing and pentimenti into the colour scheme without overpainting; repairing broken pieces of sculpture with bamboo dowels. The study is accompanied by an iconographical discussion of colonial works of art. 相似文献
8.
《文物保护研究》2013,58(3):181-188
AbstractThe red iron oxide pigment known as burnt yellow earth has been used as a substitute for naturally occurring red earth since earliest times. Documentary evidence indicates that this pigment was often produced by heating yellow earth for anywhere from a few minutes up to several hours at temperatures below 8000 C. When yellow earth is burnt under these conditions, its constituent goethite is transformed to red iron oxide with an anomalous diffraction pattern corresponding to a disordered haematite crystal structure. Using pigments of known origin and processing, it is shown that X-ray microdiffractometry can be used to classify very small samples of red iron oxide pigments and that, in some cases, the diffraction pattern can provide evidence to support or refute the use of burnt yellow earth. 相似文献
9.
《文物保护研究》2013,58(1):165-167
AbstractInsect infestation is a serious problem in museum collections in Spain and Latin America. This paper investigates the efficacy of modified atmospheres as an anoxant for museum pests, using wooden objects including polychrome sculptures infested by Cerambycidae and Anobiidae species. Insects of long life cycle have been found to be very resistant to carbon dioxide atmospheres. However, inert gases such as argon and nitrogen used in plastic barrier bags effectively eliminated insects in all stages of development. No chemical alteration was observed in the treated materials, including polychromy. These treatments are in progress in a project for biodeterioration control in countries with both tropical or subtropical and Mediterranean climates. 相似文献
10.
《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
11.
《文物保护研究》2013,58(3):134-142
AbstractNaturally occurring pigments used by Aborigines in rock paintings have been collected in Western Australia. They area red pigment (mainly hematite, Fe2O3)(from a red ochre mine worked until historic times by Aborigines, and a white pigment (huntite, Mg3Ca(CO3)4) which is still collected and used by Aborigines. Samples were also taken from rock paintings in which these pigments were used or were thought to have been used. The pigment samples were analysed to establish chemical, mineralogical, and physical properties. The paint samples were examined microscopically and with an electron probe to study their relationship with the rock surface and with other paint layers. The relationship between the pigments’ properties and their durability is discussed. 相似文献
12.
AbstractThis paper describes the examination and treatment of three polychrome wooden sculptures by Pedro de Mena, an important seventeenth-century Spanish sculptor. These were three interesting cases, involving not only the usual conservation processes but also special situations such as the recovery of a glass eye, the replacement of missing parts and polychromy with the help of old photographs, and the analysis of a sculpture where the flesh colours varied depending on whether or not they had been exposed to sunlight. Our understanding of polychrome sculpture technique is enriched with new information concerning the blues of the cloaks, coloured glazes, and materials added to the paint to achieve different effects. 相似文献
13.
In the nineteenth century, imported wallpapers covered interior walls of Persian palaces and mansions, of which Vasiq-Ansari House in Isfahan, Iran, exhibits very highly elaborated examples. In this study, micro-Raman spectroscopy, scanning electron microscopy, energy dispersive X-ray spectroscopy, ultraviolet–visible spectroscopy, and light microscopy were used to identify pigments and other materials used in the wallpapers of Vasiq-Ansari House. Results indicated that chrome yellow, artificial ultramarine blue, brass metallic leaf, an organic red dyestuff (probably cochineal), and a copper-based green were used as colourants in the wallpapers. Different shades of brown were achieved by mixing various combinations of red lead, carbon black, and calcium carbonate. The white calcium carbonate was also used as a ground layer, applied to a paper support composed of bast and softwood fibres. Based on knowledge of the materials used, these wallpapers are most probably manufactured from the mid- to late-nineteenth century. 相似文献
14.
《文物保护研究》2013,58(4):231-254
AbstractAnalyses of pigments from palettes used by J.M.W. Turner (active c.1792–c.1850) by means of microscopy, microchemical analysis, thin-layer chromatography, energy-dispersive X-ray analysis, X-ray diffraction and Fourier transform infrared spectroscopy are given. The occurrence of pigments in Turner's dated oil paintings and watercolours is also given, arranged by five-year periods. These findings are discussed in the context of published analyses of pigments from the first half of the nineteenth century. Turner used cobalt blue, emerald green, viridian, orange vermilion, barium chromate, chrome yellow, chrome orange and chrome scarlet within a few years of their known dates of discovery. It has become clear that Turner was using, or at least experimenting with, practically all the pigments known to be available at that time. In a few cases, in the light of these results, ideas on the availability of pigments to English artists have been revised backwards to the first known date of manufacture. Turner also possessed and used a wide range of red and yellow organic pigments, but few organic greens. The dyestuff extracted from Rubia tinctorum L. madder on an aluminiumcontaining substrate can be distinguished from the same madder on different substrates by its strong pink fluorescence in both ultraviolet and green light. The other red organic pigments (a second madder, brasilwood and cochineal dyestuffs on a range of substrates containing aluminium, copper, iron, aluminium/copper and clays) show negligible fluorescence. The red organic pigments were used in oil medium as well as watercolour, the yellows only in watercolour medium. 相似文献
15.
ABSTRACTAiming at contributing to the preservation of black and white (B&W) film-based negatives held by Portuguese archives, four photographic collections from the first half of the twentieth century were selected for study. During the macro assessment of the collections the preservation condition and hues found in photographic negatives from the Elmano Cunha e Costa (ECC) were noticed, distinguishing this collection from the remaining ones. Additional attention was given considering that the ECC collection was formed in a colonial context in the 1930s, while the others were formed on the Portugal mainland. The ECC collection results from an ethnographic survey of Angolan tribes recorded with B&W film-based negatives. In this collection, sets of negatives with pink, lemon yellow, greenish, orange brownish, and red brownish hues were found. To identify the origin of such hues, the image layer was analysed by microscale energy-dispersive X-ray fluorescence (μ EDXRF) and scanning electron microscopy with energy-dispersive X-ray spectroscopy (SEM-EDX). Additionally, to assess the base decay and its effect on the formation of hues, the plastic supports were characterized by Fourier transform infrared microscopy (μ FTIR). To complement the assessment of the film-base decay, pH was measured by using combined microelectrodes. The identification of mercury, iodine, chromium, and iron by μ EDXRF allowed correlation of the hues found in the negatives with chemical corrective treatments performed to improve the image quality. SEM-EDX confirmed those results and proved that the elements found were in the photographic emulsion layer. The results obtained are relevant since the hues identified may now be used as markers to indicate the technical work performed on colonial photography. Additionally, the visual and molecular assessment of the negatives’ supports (good to fair condition) allow proposing that the original storage conditions may have had a beneficial contribution to their present condition. 相似文献
16.
《文物保护研究》2013,58(2):82-83
Abstractsystematic study of the whole thickness of the ground was carried out on about 50 paintings. The originality of the work consisted in first revealing by back -scattered scanning electron microscopy where two types of coating had been used. The components of each layer were then analyzed by X-ray diffraction and found to be principally anhydrite for the gesso grosso and gypsum for the gesso sottile. According to these results, Tuscan painters used a double white ground until the end of the fifteenth century. The use of a single layer of gypsum was widespread in other Italian schools in the fifteenth century. 相似文献
17.
Claudia Pelosi Davide Fodaro Livia Sforzini Claudio Falcucci Pietro Baraldi 《文物保护研究》2017,62(5):266-282
This work presents the results of the investigation carried out on a group of terracotta sculptures (modelli) (sixteenth to eighteenth century) belonging to the extraordinary collection of Palazzo Venezia in Rome. The study, the diagnostic analysis, and the conservation work, were possible thanks to the grant supplied by the Getty Foundation of Los Angeles and by the bank Intesa San Paolo. The terracotta modelli had a practical function as they were of great use as sketches to the creation of the final masterpieces or as models for restoration. As a consequence, the terracotta models allow reconstructing the creative process of artists and restorers, fundamental to outlining the ancient workshop production. X-ray fluorescence spectroscopy, micro-stratigraphic investigation, Fourier transform infrared spectroscopy, and micro-Raman spectroscopy were chosen as useful techniques to study the morphology and composition of the surface-painted layers. Usually the surfaces were painted in order to simulate the materials of the sculpture for which the model was created, for example lead white was used to obtain a white surface simulating marble. But, often the models were re-painted to make them more attractive for the antique trade. So, several pigments have been found on the surfaces such as zinc white, Prussian blue, chrome yellow, and mono-azo pigment. In some cases, the characterization of the surface paintings was particularly important to the final decision about removing or leaving the surface paint in place. 相似文献
18.
Ângela Santos 《文物保护研究》2013,58(4):221-239
ABSTRACTFor centuries, the only painting materials used in stained-glass production were grisaille and yellow (silver) stain. At the end of the fifteenth century, stained-glass painters began to use a new material, sanguine. This paint is mainly produced with iron oxide particles, usually haematite, and allowed to obtain a colour that can vary from yellowish to brownish-red due to the nature and particle size of the iron oxide. A translucent sanguine was mostly applied as flesh and hair colour, with an opaque sanguine used for drapery, architectural motifs, and heraldry. The main goal of this study is to investigate the relationship between historic sources on the preparation and use of sanguine from the fifteenth to the nineteenth centuries and the evolution evidenced in the recipes regarding the production method. Representative recipes from several centuries (sixteenth to nineteenth centuries) were selected and reproduced for this study. These reconstructions were thoroughly characterized using X-ray powder diffraction, optical microscopy (OM), and fibre optic reflectance spectroscopy (FORS). The OM and FORS data were correlated with historic sanguine paints applied on historic stained-glass. The similarities and differences between historic and reconstructed paints are presented. The study of reconstructed sanguine’s adhesion to glass using cross-cut testing was also performed, revealing that the adhesion is strongly influenced, not only by the binder, but also by the composition and morphology of the sanguine paint. 相似文献
19.
David A. Scott 《文物保护研究》2018,63(4):215-235
Nine ancient Egyptian sarcophagi of the twenty-fifth to twenty-sixth dynasty, one Ptolemaic Hawk Mummy, and one Amarna fresco were examined in the collections of the San Diego Museum of Man. Binding media, pigments, wood identification, deterioration and alteration products were identified. The pigment palette represents the basic suite of ancient Egyptian pigments: charcoal black, red ochre, yellow ochre, Egyptian blue, green earth, calcite, and gypsum. In the case of the Hawk mummy, oxammite was identified as a degradation product, together with magnesium phosphate, the first identification of oxammite in ancient artefacts. In a child’s coffin, realgar and orpiment were additionally identified. The binding media for practically all of the coffins studied was confirmed as gum Arabic with only one example of gum tragacanth found from a wall plaque from Amarna. Wood identification showed that Ficus sycomorus had been used, rather than the assumed cedar of Lebanon for coffin manufacture. One unidentified species of shrubby wood was also found. Some of the coffins had been restored, with one having a completely repainted face, in rutile, and the child’s coffin has an attached foot-box with modern screws. Possible indications of ancient reuse were found during the study. 相似文献
20.
《文物保护研究》2013,58(1):119-121
AbstractThe Palacio del Almirante in Cuzco, Peru, was badly damaged by an earthquake in 1950. Restoration work was interrupted due to lack of funds and various decorative elements, including the coffered wooden ceilings which had been dismantled, were dispersed. When conservation work resumed in 1975, the pieces had to be located and reassembled, with the help of photographs taken before the earthquake. The separate pieces were cleaned, disinfected and consolidated, missing pieces were replaced and the polychromy was reintegrated. Since the original beams could no longer support the weight of the ceilings, a system was devised whereby the ceilings were suspended from above by iron bars. 相似文献