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1.
《文物保护研究》2013,58(3):201-210
AbstractThirty artists' colors have been exposed for 12weeks to 120ppb of formaldehyde in purified air as well as to purified air alone (control experiment). The exposure was carried out in the dark at ambient temperature (19 ± 2°C) and humidity (RH 44–52%). Color change (?E) was measured using a reflectance color analyzer after one, two, three, four, six, eight, 11 and 12 weeks of exposure. Color parameters (x, y, X, Y, Z, L*, a*, b* and ?E)"were also calculated from the 380–700nm spectra, recorded with a reflectance spectrophotometer, of unexposed colorants and of colorants exposed for 12 weeks to purified air and to formaldehyde. Regression analysis of the two data sets indicated that the color changes measured by these two methods were in excellent agreement (nearunity slopes, with correlation coefficients > 0.99). Exposure to either formaldehyde or pure air on watercolor paper resulted in little or no color change for all the colorants tested, including inorganic colorants, alizarin lakes, quinacridones, triphenyl methanes, indigo derivatives, arylamides and natural colorants such as curcumin. Formaldehyde, which is ubiquitous in indoor air, including museum air, does not appear to be a major threat to colorants in museum collections. 相似文献
2.
Giovanna Fioretti Pasquale Acquafredda Silvia Calò Mariagrazia Cinelli Germano Germanò Alessandro Laera 《文物保护研究》2020,65(3):160-171
ABSTRACTThis 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
3.
ABSTRACT This article presents historical and scientific analysis, as well as the conservation treatment of a newly rediscovered Roman wall painting fragment, now in the collection of the Harvard Art Museums. Although the piece has not previously been published, it was among a group of fragments removed from a Roman villa near Boscotrecase in southern Italy, an area that has been key to the study of Roman wall painting and other decoration. Technical imaging confirms the use of painting techniques consistent with other high-quality paintings in the area. Materials analysis revealed a palette consistent with published findings of Roman wall paintings, including abundant use of Egyptian blue and green earth. Of interest was the use of Egyptian blue as an optical brightener in select white passages. Despite the high quality of the painting, no cinnabar was present, and all red passages were achieved using hematite. Multiple different white minerals were identified including calcite, aragonite, and gypsum. The widespread presence of gypsum is unusual and may point to alteration. 相似文献
4.
《文物保护研究》2013,58(3):95-109
AbstractDuring the Italian Renaissance wax was used to produce polychrome relief portraits on a miniature scale. This use of wax as a material for finished sculpture was subsequently adapted to the production of tableaux, of anatomical models, of life-size wax-works and of wax dolls. This article gives a brief account of the techniques of this type of sculpture and describes problems of conservation and restoration. Methods of repairing, cleaning and restoration are discussed, and the article concludes with a full account of the restoration work carried out on an allegorical tableau by Gaetano Zumbo and on two 17th-century ecclesiastical dolls. 相似文献
5.
Light-induced color changes and chemical modification of treated and untreated chestnut wood surface
AbstractThe aim of this work is to study the surface modifications of chestnut (Castanea sativa Mill.) wood by reflectance spectrophotometry and Fourier transform infrared spectroscopy (FTIR) in order to understand the mechanisms that cause changes and to suggest possible solutions to avoid degradation phenomena. The experimental data were statistically treated to evaluate their significance. Concerning the surface protection of wood, starting from the results obtained by testing different commercial products, attention was focused on a novel organic preservative/consolidant product (Linfoil®) that has attracted great interest in the field of conservation of wooden artifacts. Color monitoring showed that wood surface color undergoes an important variation due to photoirradiation, occurring within the first 24 hours and mainly due to L* decrease and b* increase. Though the protective treatment modifies wood color, nevertheless the product tested seems to protect the wood surface by reducing photoyellowing. FTIR analysis indicated that irradiation caused the degradation of lignin and increased the concentration of the chromophore groups on the wood surface. Changes in the chromaticity coordinates can be linked to the degradation of lignin and to increase of the concentration of carbonyl groups. 相似文献
6.
Miriam Clavir 《文物保护研究》2013,58(1):1-8
SummaryThis paper discusses the social history of the emergence of conservation as a profession distinct from traditional restoration. It proposes that the development of conservation as a distinct field came about through the evolution of an existing area of practice, in a changing conceptual climate which increasingly acknowledged the necessity for, and the legitimacy of the scientific model. This paper considers the changes in societal values that led conservators to hold their present ethical principles, values and beliefs, focusing on two in particular: the importance of preserving the integrity of the object, and the belief that the best way to do this is through the application of science. 相似文献
7.
《文物保护研究》2013,58(2):84-86
AbstractEgyptian blue has been identified positively in a Roman mediaeval fresco of the lower church of San Clemente. The date around the middle of the ninth century A.D. of the mural painting extends by five centuries the previously known period of use of this famous pigment. 相似文献
8.
《文物保护研究》2013,58(4):299-314
AbstractInstrumental-based color matching using non-destructive reflection spectrophotometry can be used as an aid in pigment selection for inpainting. This is useful when metamerism is of concern, particularly in modern art where the number of colorants available to artists and conservators is quite large. Simplified methods have been developed for art conservation where a single tint of each pigment mixed with white is required to define a pigment's optical properties based on the single-constant form of Kubelka-Munk (K-M) turbid media theory. Theoretically, this simplification can lead to errors in pigment selection for dark colors and colors not containing a white pigment. Instead, the two-constant form of K-M theory can be used where the model assumptions more closely match the optics of inpainting materials. The two methods were compared using four acrylic emulsion paints with a range of pigment absorption and scattering properties. It was found that the simplified method was inadequate for paints with appreciable and spectrally selective scattering, and as a consequence, pigment selection may result in a greater number of pigments than actually required. It was also found that only two samples per pigment were required to implement the two-constant technique: the mass tone and a tint. 相似文献
9.
《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
10.
《文物保护研究》2013,58(1):145-147
AbstractThis 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
11.
AbstractThe history of the production of electrotype copies is discussed in the context of the Victorian demand for reproduction of art of all kinds utilizing plaster of Paris, photographs, copies of old prints, as well as electrotypes, predominantly of copper. The philosophical reasons for the valuing or devaluing of electrotype and other copies are discussed. Electrodeposition of metals was used for an extraordinary number of different purposes in the Victorian period, and the general craze for electrotypes made their production very popular, being produced by men and women alike of many different backgrounds. By the Edwardian era, the need had subsided and an art historical reaction to the concept of copies had begun, with photography becoming more common. Examples of the use of electrotypes for photographic tinthotypes, as well as forgeries, discovered during conservation assessment at the Getty Museum on a plain Roman cased mirror which had been augmented by an electrotyped profile head addition, and samples from electropatterns from the collections of the Victoria & Albert Museum in London, are discussed in terms of the range and type of microstructural morphology displayed by electrotype copies. 相似文献
12.
《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
13.
《文物保护研究》2013,58(1):112-115
AbstractThe preservation of the vast cultural heritage of tiles in Portugal requires the development of a systematic scientific and technological approach. In this communication the case of the treatment of a panel of ancient tIles is described. The main problem was the cleaning and consolidation of the piece, followed by restoration for exhibition. The treatment was preceded by a study of the materials, consisting of analyses of the ceramic body and the glazed surface. The removal of aged waxes and resins was achieved using appropriate solvents and the consolidation of the ceramic body was carried out by an inorganic treatment. For the reconstruction of missing parts and the mounting of the panel materials were chosen which would avoid interaction with the original material. 相似文献
14.
《文物保护研究》2013,58(2):61-70
AbstractAn application of holographic interferometry on a work of art under restoration is described. The artifact is a panel, a bronze bas-relief 80 × 80cm2 in size. Double exposure holograms and real time interferometric tests were recorded in a laboratory equipped with holography. These techniques have shown the kinetic behaviour of the artifact in response to a small thermal stress, simulating the larger deformation caused by the daily thermal variation in the natural environment. In this way, it has been demonstrated how temperature variations affect both particular parts of the object and its overall structure, acting in time as an agent of deterioration. 相似文献
15.
ABSTRACT This paper focuses on the study and conservation of the gods painted on the doors of traditional temples in Taiwan. These paintings are continually exposed to poor environmental conditions (especially sunlight, rain, and pollution) and human factors, such as continuous ritual activities. After reviewing the technical characteristics of these paintings and their origins, traditional views and contemporary practices followed in the restoration of temples are explored. Since preventive conservation is a key issue in the preservation of cultural heritage, some solutions that have already been carried out, as well as suggestions for others that could be put into practice in order to improve the situation and extend the life expectancy of these paintings, are considered. Finally, while it is inevitable to try to preserve some of the most outstanding pieces, the possibility of considering these works as ephemeral is contemplated. This may seem contradictory, but it is, in fact, a relatively common situation when addressing the conservation of religious heritage in use. Undoubtedly, the preservation of this heritage still raises many questions and exposes a number of contradictions. 相似文献
16.
《Communication monographs》2012,79(1):37-46
Gains Suetonius Tranquillus, Roman historian and biographer of the first and second centuries A.D., wrote De Rhetoribus,the only Latin treatise concerned directly with pre‐Ciceronian rhetoricians and providing information on the strong opposition to rhetoric, the radical changes in the educational system of Rome, and the influence of otherwise unknown rhetoricians. After placing Suetonius in the rhetorical tradition of the early Roman Empire, a translation of De Rhetoribus and an extensive commentary on the major points are presented. The major significance of Suetonius's De Rhetoribus in the history of rhetoric was its demonstration that transplanted Greek rhetoric survived the dark ages of the early Roman Republic because rhetoric was a source of political power. 相似文献
17.
The large number of conservation and restoration works recently completed in Qatar show that there exists a need to enhance appreciation of the local architectural and building traditions, as a way of bringing to light the historical memory of these local places, using local techniques and materials to conserve existing buildings and to typologically integrate them. This paper offers an update on the status of some recent conservation projects in Qatar, analysing and comparing a number of completed restorations of historic buildings on the basis of the categories into which they can be organised; the extent to which they had deteriorated before restoration; the methods that were adopted; the construction materials and techniques used; the philosophical approach taken to restoration; and the various proposals for reusing the restored buildings. Comparison and analysis of the data make it possible to classify these methods and techniques in ways that could be applied to other conservation projects in future. The aim is to define a philosophy and methodologies that are consistent, and will be able to give expression to the specific local culture in matters of conservation, while respecting shared international rules. 相似文献
18.
《文物保护研究》2013,58(3):194-210
AbstractThe 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
19.
20.
Rosario Llamas-Pacheco 《文物保护研究》2020,65(8):487-498
ABSTRACT This article analyzes different ontological categories and how they relate to the conservation of contemporary art. Faced with the necessity of apprehending the work of art from an ontological point of view, a theoretical approach is made on the concepts that most affect the conservation of contemporary art: quiddity, truth-authenticity, identity, quality, consistency, and interpretation. These are analyzed from an empirical perspective, based on the experience of conservation and restoration. Since conserving and restoring require making decisions that will affect the material and conceptual plane of the works, several possible paradigms that must be introduced into the deontological code of the profession are analyzed. In addition, the study of a new paradigm is provided, that of the death of the work of art. This paradigm can serve as a frame of reference, given the impossibility of bringing the ‘Truth’ of the artwork into the world of the sensitive. This may occur due to different conditioning factors and limitations of a material, technical, or intentional type, which affect issues that were once established as essential to the entity. On the other hand, different types of time that are related to the conservation of contemporary art are studied: biological time, the eternal present of the work, time as a constructor agent, and destructive time as a facilitator of the appearance of ruin or ruin-relic in the work of art. 相似文献