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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(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   

3.
《文物保护研究》2013,58(3):34-40
Abstract

In preparation for a major exhibition at the National Gallery of Scotland in 2005, a thorough technical examination of VISION OF THE SERMON by Paul Gauguin was undertaken for the first time since the painting's acquisition in 1925. An inter-disciplinary approach to the research was adopted in an attempt to assess how innovative were the materials and techniques employed by Gauguin in this iconic work. The importance of the unique customs and religious piety of Brittany in 1888 to the iconography of Vision is discussed, as well as the various ways in which the original appearance of the painting has altered over time. Changes have occurred through both the natural ageing of materials and as a result of human intervention, particularly an aqueous lining and reframing. Analysis suggests that the paint medium consists of several different drying oils, confounding years of speculation that it may contain wax. The discovery that the original surface coating contains beeswax and tallow has grave implications for the feasibility of future conservation treatments. Following Gauguin's accusation of plagiarism by Emile Bernard, a tentative comparison is made between Vision and the latter's Breton Women in the Meadow. This reveals that while compositional similarities exist, Vision is far more complex, both in conception and execution.  相似文献   

4.
《文物保护研究》2013,58(4):195-206
Abstract

The investigation of materials found in Bacon's studio is reported. The contents of the studio are examined and interpreted to identify the materials and colours most favoured by Bacon, and the range of media used. A small number of colours appear to have been heavily used. Some objects used as tools in the painting process are also investigated and explain textures seen in paint in his works. Samples of selected materials from the studio are analysed to identify the components of paints (pigments, extenders, and binders) used by Bacon. This investigation is part of a wider project examining his materials and techniques. The analytical information obtained here from the studio helps to clarify the statements made by Bacon in interviews regarding his use of materials and is proving useful in the identification of materials in his paintings, in order to help with the conservation and authentication of his works.  相似文献   

5.
ABSTRACT

This present work focuses on the mapping of marbles, decorative patterns and area of the mosaics of the St. Nicola’s Basilica in Bari (Italy) by their photogrammetric survey. The extraordinary importance of these mosaics is due to the stylistic uniqueness and the undisputed workmanship and to the employed materials for tesserae. These mosaics include the white and polychrome marbles, used in the Roman age and reused in medieval artistic production, and imitation stones used as substitutes during the past restorations. The digital survey was realised by the photogrammetric reconstruction of mosaics collecting a photo dataset, after the mosaics redrawing by an image processing software and finally implemented it with lithological identification marbles. It allowed to obtain a punctual mapping of materials, through which to identify original areas and restoration areas, decorative patterns, recurring geometries. The research carried out, supported by the photogrammetric reconstruction as established method for high resolution digital reproduction and mapping, not only ensures the conservation and improvement of the enjoyment of the mosaic floors of the St. Nicola’s Basilica, but allows to conduct studies on materials, decorative patterns and restoration areas directly on the digitized product.  相似文献   

6.
A great number of Central Asian wall paintings, archeological materials, architectural fragments, and textiles, as well as painting fragments on silk and paper, make up the so called Turfan Collection at the Asian Art Museum in Berlin. The largest part of the collection comes from the Kucha region, a very important cultural center in the third to ninth centuries. Between 1902 and 1914, four German expeditions traveled along the northern Silk Road. During these expeditions, wall paintings were detached from their original settings in Buddhist cave complexes. This paper reports a technical study of a wall painting, existing in eight fragments, from the Buddhist cave no. 40 (Ritterhöhle). Its original painted surface is soot blackened and largely illegible. Grünwedel, leader of the first and third expeditions, described the almost complete destruction of the rediscovered temple complex and evidence of fire damage. The aim of this case study is to identify the materials used for the wall paintings. Furthermore, soot deposits as well as materials from conservation interventions were of interest. Non-invasive analyses were preferred but a limited number of samples were taken to provide more precise information on the painting technique. By employing optical and scanning electron microscopy, energy dispersive X-ray spectroscopy, micro X-ray fluorescence spectroscopy, X-ray diffraction analysis, and Raman spectroscopy, a layer sequence of earthen render, a ground layer made of gypsum, and a paint layer containing a variety of inorganic pigments were identified.  相似文献   

7.
《文物保护研究》2013,58(4):295-306
Abstract

A characterization method was designed to improve understanding of ancient mortars used in the land walls of Istanbul, Turkey. The mortars had hydraulic properties where slaked lime was the binder and crushed brick was the aggregate. For characterization purposes simple chemical and petrographic analyses may be sufficient. However, further scientific research based on instrumental analysis is needed for an understanding of ancient lime technologies, provenance of the materials and deterioration processes. Besides simple chemical and petrographic analysis, this paper describes the differential thermal analysis (DTA), inductively coupled plasma analysis (ICP), X-ray diffraction analysis (XRD), scanning electron microscope–energy dispersive X-ray analysis (SEM-EDX) and mercury intrusion tests that were conducted to evaluate the binders and aggregates of the samples. Their physical and mechanical properties were also determined, and salt decay is discussed. It was seen that limestone chips and river sand were used as aggregates, in addition to crushed brick. The brick dust served as an artificial pozzolanic additive. Salt decay originated from sea spray and air pollution.  相似文献   

8.
Conventional grouting – used to stabilise delaminated plaster – typically involves the use of water as suspension medium. Water can be dangerous when water-sensitive original materials are present and can cause the solubilisation of salts, leading to their re-crystallisation on drying. Ethyl alcohol is a less effective solvent for soluble salts and generally does not affect the original materials. This is the reason why it was used as a partial substitute for water in grout preparations in the present research. Three water–ethyl alcohol-based grouts were compared with the correspondent water-based grout. The working properties and performance characteristics of the injection grouts with reduced water content were measured to assess their suitability for use on historic plasters.  相似文献   

9.
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   

10.
SUMMARY

This article describes valuable and largely unknown aspects of the library and archival holdings of The Tolstoy Foundation, Inc., located in Valley Cottage, New York, about fifty miles north of Manhattan, across the Hudson River in Rockland County. The core of the library is the Lembich collection, consisting of approximately 10,000 volumes of a Shanghai Russian-language lending library, donated by the widow of its founder, the prominent émigré publisher Mechislav Lembich. The archives contain materials relating both to the Tolstoy family (including Leo Tolstoy, whose daughter, Alexandra, established the foundation), and to the activities of the foundation in assisting Russian émigrés and refugees from the U.S.S.R. during and after the Second World War.  相似文献   

11.
Keith Haring painted large outdoor murals in Melbourne, Australia, in 1984 (the Collingwood Mural) and at Pisa in Italy in 1989 (Tuttomondo). Recently, both murals have been analyzed and conserved by similar teams of conservators and scientists. The original appearance of the Collingwood Mural was severely compromised, and the original materials much degraded. Tuttomondo was somewhat altered visually but with less physical damage. There were initial suggestions to repaint Tuttomondo but these were dissipated by good communication of the analytical findings. In Melbourne, there was a high-profile and emotive campaign to have the Collingwood Mural repainted. Conservators and government were heavily criticized for supposedly ignoring the artist's wishes. However, detailed research into Haring's published statements revealed that conservation does respect his artistic aims. For the Collingwood Mural, conservators had to consider whether to reduce the visual disturbances which obscured the works. Practices documented by conservation theorists and routinely undertaken by conservators guided the decision to apply mechanically reversible re-integration. This made Haring's unique ‘line’ visible and accessible again, and pleased the public. The controversies showed how conservators must communicate clearly and tactfully; appreciate the feelings of the public and involve communities in conservation, without compromising rigorous scientific and curatorial research.  相似文献   

12.
《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   

13.
《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   

14.
The aim of this paper was to discuss the role of food preservation science and technology in the conservation of complex food-based installations. By introducing the principles of food science and food preservation into the decision-making process for the conservation of contemporary art, more insight on conservation and presentation possibilities was created. Considering the installation Piece in Ghent (P.I.G.) by Jason Rhoades, which contains French fries, the principles of food preservation science were evaluated. The preservation of the original foods was discussed against the potential of a reproduction of the foods. The context for conservation was determined by analysing the artist's intention, the production method of the artwork, and the degradation processes of the food materials. From the results obtained, guidelines to preserve the ‘original’ foods were proposed, as well as guidelines to reproduce foods that can last longer. The study demonstrated that food preservation science contributed to the development of effective strategies for the conservation of contemporary food-based art.  相似文献   

15.
《文物保护研究》2013,58(3):184-194
Abstract

There is a missing link in the strategic introduction of new materials in conservation, which lies between the identification of new processes/materials and their widespread use in conservation treatments. Clinical trials to monitor the results of treatment success provide an effective procedure to evaluate the conservation process. This is now possible due to the increasing power and widespread use in conservation laboratories of computers, which provide an analytical tool for evaluating and examining treatments and procedures. Information, such as object condition, is routinely generated during the conservation of objects. To use this information statistically, it has to be structured to answer specific questions. Medical professionals have already established epidemiological techniques as a means of evaluating patient health and treatment performance. These techniques can be applied to conservation questions to provide statistically valid answers. This is an important tool with which to judge and prioritize strategies in the conservation process.  相似文献   

16.
《文物保护研究》2013,58(3):216-230
Abstract

The surfaces of acrylic emulsion (dispersion) paint films were investigated by atomic force microscopy (AFM), with supporting chemical information provided via infrared spectroscopy. The morphological and chemical features of the surfaces of a series of recently cast reference paint films were explored, including characterization of changes induced by exposure to water and mineral spirits. A portable in situ AFM system was also used to document the surfaces of acrylic emulsion paintings in Tate's collection. The complete and partial removal of migrated surfactant was successfully imaged alongside features arising from mechanical action. Differences in paint surfaces and migrated surfactant layers were observed in relation to pigment type, paint brand and exposure to accelerated ageing, in addition to applied wet surface cleaning treatments. The findings contribute to further understanding of the subtle changes occurring at acrylic emulsion paint film surfaces and are relevant to current debates on the removal/disturbance of original surface surfactant from these films through conservation treatment.  相似文献   

17.
《文物保护研究》2013,58(3):147-151
Abstract

In conducting research on the physical propertIes and durabIlIty of coating materials used in the conservation of art objects, difficulty was encountered In efforts to make uniformly thick, coherent, free-standing films for testing purposes. An efficientrapid casting technique has been developed utilizing reusable molds. The technique is applicable to the preparation of films from a wide range of materials.  相似文献   

18.
《文物保护研究》2013,58(3):185-193
Abstract

The two Stangengläser, tall cylindrical vessels from the beginning of the seventeenth century, are described in detail. The severely damaged Stangengläser, decorated with diamond-point engraving and cold-painting, were challenging to treat. Research preceding the conservation revealed differences in decorating techniques. Samples of the paint layers were analyzed using micro-Fourier transform infrared spectroscopy. Two layers of resinous varnish with a middle layer of paint containing a plant gum were found on the Stangenglas with Allegory of Caritas and Zierotin coat of arms. In the plain paint layer of the Stangenglas with dancing couples, egg white was identified as the binder. The glasses, analyzed using scanning electron microscopy with energy dispersive X-ray spectrometry, had similar potash–lime–silica compositions, which seems to be characteristic for glass from Bohemian lands. Results of analysis contributed to the discussion about the possible provenance of the Stangengläser, the glassworks at Wilhelmberg, South Bohemia.  相似文献   

19.
ABSTRACT

Working on preventive conservation in Italy is difficult but not impossible. After small successes and setbacks convincing museums to adopt elements of preventive conservation in the 1990s, the first author (Rossi Doria) was contracted for 15 years to preserve the historic carriages and associated objects of the Presidency of the Republic of Italy. This required patience to overcome or circumvent obstacles such as an inflexible bureaucracy and the absence of any formal recognition of preventive conservation within the educational and contractual systems for heritage conservation. The key factors in his success were the support of the curators, the financial and planning autonomy of the Presidency, and the obvious need for conservation and preservation of these elegant and complex objects. The program began in 2001 with the recovery of the forgotten collection from inappropriate storage in several locations. The entire collection was surveyed and recorded, not only the carriages but also thousands of harnesses, saddles, clothing, fabrics, weapons and memorabilia. Multiple preventive and interventive actions were undertaken, such as pest eradication for all sensitive materials, environmental surveys, and everyday maintenance, as well as complex treatments for the ornate carriages. Analysis by country of published articles on preventive conservation and of IIC membership both confirm that the topic is not as well established in Italy as in many other countries. Some reasons and solutions are proposed.  相似文献   

20.
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   

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