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1.
《文物保护研究》2013,58(1):89-93
AbstractTwo projects undertaken as part of a Unesco project for the conservation of the cultural heritage of Ecuador are described. Wall paintings in the dome of the church of EI Sagrario in Quito had been damaged by watersoluble salts carried by penetrating rainwater. The dome was protected with a hydrophobic coating and allowed to dry out prior to treatment of the paintings. As part of a programme to train Ecuadorean specialists, paintings on the south wall of a cloister in the convent of San Diego were selected as a model of conservation work. 相似文献
2.
ABSTRACTCultural 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
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AbstractThe treatment of flaking pigment on two paintings, one on ceramic and the other on glass, is described; a brief history of painting on glass and ceramics places these works in context. The treatments are discussed in relation to other types of treatment for paintings on similar rigid supports. The longevity of the conservation methods used is discussed, as are the results of re-examination of the objects some years after the completion of the treatments. 相似文献
4.
AbstractThis contribution discusses how embodied heritage values operate within a context of heritage sites, and tangible and intangible embodiments of what is valued as heritage. This is partly intended to re-contextualize ideas of material and materiality that have recently undergone reconsideration in conservation and heritage discourse. The paper questions the claim that ‘Eastern’ and ‘Western’ philosophies of conservation are very different, and that they can be characterized as being concerned with intangible and tangible heritage, respectively. This is based on the assertion that influential preservation doctrines are as much a product of the context and practical situations as they are a product of different philosophies and cultures. Well-known examples from East and West are discussed to highlight the similarities, as opposed to the differences, in approaches. The article goes on to discuss the UNESCO definition of intangible heritage (2003), which conflates the intangible embodiment of values with the intangible values attributable to all heritage. As a way to contextualize this, the article considers embodiment of heritage values as a means to express both intangible and tangible heritage sites (since neither embodiment nor sites have to be physical). This is described by way of a simple, pre-existing communication model that moves from information source (which transmits the message) through the medium (the heritage site or object) to the audience (heritage user). These insights are intended to provide a balanced perspective that accommodates both the site and the embodied values in order to help make and justify conservation decisions. 相似文献
5.
《文物保护研究》2013,58(5):291-305
AbstractThe possible meanings in conservation of the word authenticity are discussed and some different definitions are briefly evaluated. Recent research showing the brain reacts differently to the concepts of copy and authentic is reviewed. The relationship between cultural heritage charters and how authenticity has been employed in them is explored with examples from the Athen's Charter, The Venice Charter, The Nara Document, The San Antonio Declaration, and the UNESCO World Heritage Documents. Several examples are discussed in the text concerning the interactions between authenticity and restoration, employing the examples of ancient buildings and old master paintings. Some of the important writings on the subject of authenticity by scholars and art historians are reviewed. Criteria which could be used to evaluate the concept of authenticity in different cultural settings are discussed and these are illustrated with case studies taken from restoration carried out on ancient marble sculptures, the Sistine Chapel frescoes by Michelangelo, and the artwork of several prominent forgers. Given that concerns about the authenticity of art are multi-dimensional, it is important that the present fragmentation of the arguments concerning authenticity across the disciplines properly take into account the conservation field and are aware of the debates within conservation concerning this topic. The questioning of the relevance of authenticity is a healthy process, and may now be framed quite differently from the way in which it was discussed even 20 years ago. 相似文献
6.
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
7.
Built in the early seventeenth century, the Chapel of Our Lady of Guia is one of the most important heritage sites in the historic centre of Macau. Its architectural features and wall paintings with Chinese and Western characteristics reflect the historical status of Macau as a hub for cultural exchange between China and the West. Since signs of deterioration have been observed on the wall paintings in recent years, it is very urgent and necessary to conserve them. In this paper, we will introduce the modern diagnostic techniques applied in the course of their conservation, including 3D laser scanning, high-definition digital photography, environmental monitoring, thermal infrared imaging, microwave scanning and penetration resistance tests. Comprehensive information on the current state of the wall paintings is collected, providing a solid foundation for their scientific preservation. 相似文献
8.
Tatjana Bayerová 《文物保护研究》2018,63(3):171-188
The technical study of wall paintings from the Buddhist temple complex at Nako, Western Himalayas, was one of the basic preconditions required for designing an appropriate conservation strategy. The complex, composed of four temples from the eleventh–twelfth century, offered a unique possibility to carry out a comprehensive research of technology and painting materials used in early and later western Tibetan Buddhist wall paintings as well as a comparative assessment with murals from other sites in the Western Himalayas. The study was based on extensive fieldwork and an integrated analytical approach comprising a wide range of non-destructive and micro-destructive methods. Answering the question of the coevality of paintings in the smaller temples with other original murals, the precise characterisation of binding media, the detection of the yellow dye gamboge and natural minerals posnjakite and brochantite identified for the first time in Himalayan murals, the clarification of technology of metal decoration, and the making of raised elements are some of the most exciting results which emerged from the research. 相似文献
9.
《文物保护研究》2013,58(3):172-182
AbstractThis paper provides an understanding of an under-explored aspect of the sharing of conservation decisions. In particular, it argues that conservation decisions are inherently shared in at least three senses. First, conservation is conceived as a field of shared values, principles, and decision-making methodology, and aspires to a universally shared ethic. This view is supported by the logical and ethical consistency of existing Codes of Ethics, and is made manifest with the aid of a conceptual model of what science is. Second, conservation decisions are conditioned by the identity of heritage entities. The values comprising the heritage identity of an entity transcend space and time boundaries; they are interrelated and interdependent and, as such, shared. Third, the benefits but also the harms stemming from conservation decisions and actions are distributed and shared among all people for whom the object of a conservation decision is heritage. As dictated by the do-no-harm principle, conservators have a duty to consider risks of such harms when making decisions. 相似文献
10.
Hannah Clare 《文物保护研究》2018,63(5):64-69
ABSTRACTTestimony from colleagues in the cultural sector suggests that there is a common perception of leaders as authoritarian, infallible and invulnerable. However, developing leaders soon come to understand that good leaders often have an authenticity of their own. Being able to embrace authentic leadership in this way requires confidence. It involves accepting vulnerabilities, learning to be comfortable making decisions without all the information, and daring to risk potential failure as the best way to encourage creativity, innovation and learning. Given this dichotomy, is there a potential for the development of leadership in conservation? This paper explores the unique challenges we face as conservators in a changing sector. In it, I reconnect with professional experiences of my own and those I gained as the first conservation fellow on the Clore Leadership Programme as well as examining testimony from others in the profession and the wider cultural sector. The ideas generated are supported by literature from a variety of sources inside and outside the conservation field. Starting from what draws people to conservation in the very beginning and working through to the leadership of the profession, the paper identifies four main areas of challenge for conservation in a twenty-first-century creative economy. These are around a lack of diversity, a lack of confidence, the strength of voice and perception and issues around support, for our decision-making and for the profession as a whole. The paper concludes that a new vision for the future of conservation could not only help rebalance the diverging preventive and remedial specialisms but also be instrumental in the perception, interpretation and preservation of cultural heritage. If we expand our horizons, the bigger picture of heritage and what it can achieve for the society could be crucial to us not only changing but thriving in the modern world. 相似文献
11.
《文物保护研究》2013,58(3):206-214
AbstractThe article is a concise report on the art historical as well as technical aspects of thang-ka paintings. It also describes briefly the traditional methods and materials employed in the execution of these paintings. The artists’ materials described in the literature are compared with actual findings as a result of analysis of pigments, binding media and other materials involved in the execution of the thang-ka paintings. An outline of the causes of deterioration of thang-kas is also mentioned. Finally, an extensive account is given of the method of treatment carried out in the author's laboratory. 相似文献
12.
ABSTRACTWorking 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
13.
《文物保护研究》2013,58(2):129-144
AbstractAir quality is an important factor in the preservation of cultural heritage. Systematic air quality assessment is a requirement in most heritage conservation plans. However, apart from temperature and relative humidity, air pollution, which is another air quality parameter, is less often monitored. This is the case especially, but not only, in developing and emerging economies where the lack of air pollution data is worrying. In this paper, issues with air pollution monitoring at heritage sites in developing and emerging economies, from management to technical, are reviewed. Questionnaire responses from over 20 sites in Africa, Asia, and Latin America reveal that about eight out of ten sites have not yet considered pollution data. The responses also show that cost is not the only obstacle but that lack of awareness and insufficient technical expertise are also significant issues. Different possible solutions are reviewed and their appropriateness discussed. They range from systematic monitoring to model-based estimations. Diffusion tube measurements of sulphur dioxide, nitrogen dioxide, and ozone from 11 sites are reported and discussed. 相似文献
14.
《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
15.
《文物保护研究》2013,58(1):127-129
AbstractThe restoration of the seventeenth-century adobe church at Carabuco, Bolivia, offers a model of how to conduct the preservation of the Latin American cultural heritage at remote sites. This paper details the conservation of the church's polychromed wooden choirloft, which had previously been restored in 1765-66 after this and other portions of the church collapsed. The choirloft is made oflocally grown eucalyptus wood painted all over with a tempera-based medium. It was executed by a local artist whose style draws on local folk-art traditions while reinterpreting European Renaissance decorative schemes. The choirloft conservation project had two goals: to guarantee its structural integrity and to stabilize the decorative paint layers. These goals were accomplished in a four-month conservation project which formed part of a larger effort to restore the church. 相似文献
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ABSTRACTCultural heritage has undergone a paradigm shift in recent decades. Museums in particular have changed from being a house of treasures to be admired by visitors, to being a place where objects provide the context for new interpretations. Today, visitors are provided with an opportunity to participate and co-create meaning. At the same time a UK government requirement for accountability has pushed the sector towards business management and professionalisation. This new context has forced conservators to respond by aligning themselves with these trends. In order to stay relevant conservators have to take on an active role in facilitating audience participation and increased access to collections, while at the same time improving their efficiency and accountability. Preservation frameworks have played a significant role in enabling conservators to respond to these changed needs within the sector. Crucially, preservation frameworks have encouraged conservation professionals to collaborate with colleagues from across an entire organisation. Having gained a broader understanding of the context within which they work, preservation frameworks have also allowed conservators to systematically collate and analyse data and present these to their stakeholders in a language understood by them. The review of a number of case studies reveals that preservation frameworks help conservators understand the bigger picture and be influential at the right levels. 相似文献
18.
Sarah Kenderdine 《Curator: The Museum Journal》2013,56(2):199-218
This article examines two exhibition installations that integrate high‐resolution digital archeological datasets (photography and 3D architectural models) with immersive, interactive display systems. These analogous installations, Pure Land: Inside the Mogao Grottoes at Dunhuang and Pure Land: Augmented Reality Edition, allow visitors to engage in different ways with a full‐scale augmented digital facsimile of Cave 220 from the UNESCO World Heritage site, the Mogao Grottoes, Gansu Province, northwestern China. The peerless treasuries of paintings and sculptures at Dunhuang are extremely vulnerable. Comprehensive digitization has become a primary method of preservation at the site. The digital facsimiles of this cultural paragon can be transformed, providing formative personal experiences for museum visitors. The Pure Land projects contribute to new strategies for rendering cultural content and heritage landscapes. Interpreting these installations through the lens of phenomenology and panoramic immersion helps situate them at the forefront of virtual heritage today. 相似文献
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《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