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1.
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   

2.
《文物保护研究》2013,58(1):76-80
Abstract

The 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   

3.
The identification of painting techniques is an important aspect of any research related to historical, artistic, and conservation issues in the field of wall paintings conservation. There are a variety of different methodological approaches that can be used to identify wall painting techniques. In this study, the application of optical (PLM) and electron (SEM-EDX) microscopy was explored as they are complementary analytical techniques commonly used for micro-stratigraphic analysis of painted surfaces. Five replicas were prepared according to the technical procedures reported in medieval historical treatises, and the pigment was applied at different time intervals in order to monitor the modifications at the interface between the ground and pictorial layer. The comparison of data from the replicas with samples from Romanesque wall paintings in churches in Southern Switzerland and Northern Lombardy (Italy) allowed for an evaluation of the reliability of the proposed methodology and for the interpretation of the painting techniques.  相似文献   

4.
ABSTRACT

This paper analyzes the process of crack saturation, which is fundamental to understanding why panel paintings have survived remarkably well in the uncontrolled environments of historic houses or places of worship for several centuries. The process of crack saturation was analyzed using finite element modeling. A double layer elastic model with fractured overlying paint layer was subjected to uniaxial tension. The critical separation between cracks was determined and compared with patterns observed in real paintings. In addition, the generation and propagation of delamination were studied to elucidate the effect of their propagation on the saturation distance of cracks, as well as the load carrying ability of the paint layer. Contributing modes of crack propagation and their significance are also discussed. The results demonstrate that shearing fracture mode dominates the process of delamination. The impact of crack saturation on the degree of relative humidity variation that is allowable is also discussed.  相似文献   

5.
Radiography in transmission mode is a well-established technique to visualize the internal structure of paintings. However, for many paintings the pictorial layer cannot be clearly visualized with conventional radiography because of interference from paint on the reverse, the material composition or the regular structure of supports or subsurface layers. Traditional lead white grounds in particular cause specific imaging problems not encountered with more modern white pigments such as zinc and titanium whites. A solution to this problem is radiography in emission mode. This study demonstrates and articulates those factors that can interfere with visualization of a painting's pictorial layer using transmission radiography as well as those that contribute to the effectiveness of emission radiography in visualizing such information. While emission radiography has been applied to the examination of paintings for over half a century, it is a cumbersome technique that is further complicated by the need to work under dim safelight illumination when X-radiographic film is used. Therefore, the use of computed radiography using storage phosphor imaging plates for emission radiography was also investigated.  相似文献   

6.
《文物保护研究》2013,58(2):56-66
Abstract

There is evidence in the literature that in India wood was used for making sculptures from very early times. Owing to the destructive climate, however, only wooden objects dating from the 7th century are available today, while polychromed wooden sculptures of the period before the 16th century are unobtainable. Sculptures were produced either by carving from one solid block or by building it up from small pieces. The main types of decorating were painting, inlay work or lac work. Painting was done sometimes without, but mostly with surface preparation. For this a thin layer of a ground was used. Sometimes a layer of cloth and then paper was used before applying the gesso. Pigments in common use were malachite, terre-verte, red ochre, red lead, lac dye, yellow ochre, chrome yellow, ultramarine, kaolin, and chalk. A gold effect was often produced by applying shellac varnish over shining silvery tin paint or foil. Lac work was produced by painting with lac solution or by turnery.  相似文献   

7.
Funori is a polysaccharide-based adhesive extracted from seaweeds and is generally used in the conservation of easel paintings for the consolidation of matte paint. It is appreciated since it does not change the optical properties of the consolidated materials and its mechanical properties do not change with ageing. Because of these characteristics, this research focused on the evaluation of Funori as a suitable material for the consolidation of powdering paint layers in wall paintings. Tests were carried out where Funori was applied onto painted plaster replicas, which were then artificially aged and investigated in order to evaluate the material's behaviour according to the specific properties and conditions of wall paintings. The effectiveness of the consolidation was evaluated from the point of view of adhesive power, as well as the interactions of Funori with some physical properties of the consolidated painting, such as colour and water vapour permeability and, therefore, its resistance to accelerated ageing and biological colonization. In addition, the behaviour of Funori applied on plasters contaminated with soluble salts, a frequent condition in wall paintings, was also evaluated.  相似文献   

8.
ABSTRACT

Panel paintings are essentially wooden boards painted on one side. Due to the vapor resistance of the paint layer, changing ambient conditions lead to exchange of moisture on only one surface. Subsequently, a non-uniform moisture content profile is formed across the thickness of the board. As a result, differential expansion causes the board to bend in case of no mechanical restriction, or it leads to a build-up of stresses inside the material if restrained. Experiments with oak boards sealed on one side and exposed to a change in the ambient relative humidity (RH) were performed. By scaling, the response of any board with different thickness can be predicted. Since the bending of the board can be described as a linear system behavior, the frequency response can be predicted based on the step response. In combination with critical strains for wood and gesso from the literature, this gives insight into allowable RH fluctuations in terms of frequency and amplitude for different board thicknesses.  相似文献   

9.
《文物保护研究》2013,58(4):327-369
Abstract

The restoration of the Hedin altar in Rothenburg o.d.T., dated 1466, is described. The polychromed sculptures were cleaned and loose paint was fixed. Methods and materials used in the restoration of the paintings, the areas polychromed in various techniques and the brocade reliefs are mentioned. The altar was protected from direct sunlight. The construction of the shrine and the technique of carving are extensively discussed. Sculptures made from one piece of lime wood were hollowed out and closed with a plank. Traces of rough finishing are visible. Shrine and predella were polychromed after a preliminary assembly of the sculptures. The various techniques used in the undisfigured polychromy are described as they are observed with the unaided eye. It can be shown that the working methods were rational. The fabrication of relief brocades and the various patterns used are discussed in detail. The treatment of the various paintings on the wings, the predella and the reverse of the shrine is reported. The question is raised to what extent the painter Herlin can also have been responsible for the polychromy.  相似文献   

10.
Moisture is a driving factor in the long-term mechanical deterioration of canvas paintings, as well as for a number of physico–chemical degradation processes. Since the 1990s a number of publications have addressed the equilibrium hygroscopic uptake and the hygro-mechanical deformation of linen canvas, oil paint, animal glue, and ground paint. In order to visualise and quantify the dynamic behaviour of these materials combined in a painting mock-up or reconstruction, we have performed custom-designed experiments with neutron radiography and nuclear magnetic resonance (NMR) imaging. This paper reports how both techniques were used to obtain spatially and temporally resolved information on moisture content, during alternate exposure to high and low relative humidity, or in contact with liquids of varying water activities. We observed how the canvas, which is the dominant component in terms of volumetric moisture uptake, absorbs and dries rapidly, and, due to its low vapour resistance, allows for vapour transfer towards the ground layer. Moisture desorption was generally found to be faster than absorption. The presence of sizing glue leads to a local increase of moisture content. It was observed that lining a painting with an extra canvas results in a damping effect: i.e. absorption and drying are significantly slowed down. The results obtained by NMR are complementary to neutron radiography in that they allow accurate monitoring of water ingress in contact with a liquid reservoir. Quantitative results are in good agreement with adsorption isotherms. The findings can be used for risk analysis of paintings exposed to changing micro-climates or subjected to conservation treatments using water. Future studies addressing moisture-driven deformation of paintings can make use of the proposed experimental techniques.  相似文献   

11.
《文物保护研究》2013,58(1):30-40
Abstract

The 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   

12.
It has often been observed anecdotally and implied through experimentation that acrylic emulsion paintings accumulate and entrain soils over time due to the inherent mechanical softness in artist's acrylic paint films, through the presence of hydrophilic film components, and by virtue of the ubiquitous presence of surfactant moieties on these film surfaces once they dry. In the present study, it has been this last effect that we have sought to describe more fully in terms of surfactant responsiveness to both temperature and relative humidity (RH). Surfactant hydration and dehydration under varying temperature and RH conditions affects the ultimate partitioning of the surfactant at the paint–air interface, as well as the inherent size, aggregation tendencies, and solubility of surfactant in the bulk paint materials which contain components that are highly responsive to changes in temperature and RH (e.g. polyacrylic or polymaleic anhydride-type dispersal materials). In this work, analytical techniques including three-dimensional microscopy and quartz crystal microbalance with dissipation were used to add to and reinforce current understanding of the physical and mechanical changes to acrylic paint films with temperature and RH. The migration of surfactant at the film surface was studied using desorption electrospray ionization-mass spectrometry and attenuated total reflectance Fourier transform infrared microscopy.  相似文献   

13.
《文物保护研究》2013,58(4):145-161
Abstract

For the study of Italian paintings and their techniques the examination of the binding media (glue, egg, oil) has considerable importance, but with the usual scientific methods of analysis the results have never been conclusive. Each sample may include more than one layer of paint and many constituents; egg yolk alone contains protein, oils, cholesterol. In the present project, in order to identify these diverse materials and also to eliminate interference from contamination (glue, wax or oil) used in later restoration processes, it was decided to mount original paint samples, including a bit of the ground, as cross-sections in a polyester resin embedding material and then to make the constituents visible under the microscope by using selective staining techniques. Only in this way could the foreign materials be distinguished from the original and the structure of the original layers be understood. Finally, other tests such as the fluorescent antibody technique and thin-layer chromatography could be applied to confirm the results of the staining. In removing over 500 specimens fronl paintings in the Walters Art Gallery precautions were taken to assure sample authenticity, and during the testing at the University of Michigan careful methods of standardization and control were devised, using both fresh and old samples of egg tempera and oil. Two stains, Ponceau S for protein and Sudan Black B for oil, provided the most workable means of identifying the binding media in the majority of the samples studied. A final report will have to await correlation of the material, but certain observations may be made at this stage: (a) 14th century, in primarily tempera paintings a limited use of oil was found associated with a specific green pigment, copper resinate; (b)15th century, the majority of the paintings were entirely of egg tempera, but layers containing oil in the underpainting or in the above-mentioned copper green occurred more frequently; (c)16th century, egg tempera was not replaced by oil, but both were used in a complex layering technique, the media varying layer by layer and area by area; (d)17th century, the mixed technique gradually declined, but egg tempera continued to be associated with the painting of flesh and occasional highlights.  相似文献   

14.
Recent restoration of The Rest on the Flight into Egypt by Giovanni Francesco Caroto, from the Louvre collections, included a technical examination of the Virgin's blue robe that aimed to characterize the original materials and later additions. The painting was examined using light microscopy and ultraviolet and infrared imaging, and one cross section was taken. None of these methods showed a clear distinction between the layers that were artist applied or modifications made by another hand. To gain information about the paint stratigraphy without taking additional samples, non-invasive confocal X-ray fluorescence (CXRF) analysis was carried out to examine several areas of the Virgin's robe. Using this technique, it was possible to identify the pigments and order of application of paint by the artist. All the pigments identified were considered to be artist applied, and on this basis no further cleaning was carried out and conservation proceeded with retouching of minor areas of loss or damage. This study highlights the advantages of CXRF analysis for the technical study of paintings, used in combination with classical methods for making informed conservation treatment decisions.  相似文献   

15.
One of the most important artistic circles in the first half of the fifteenth-century in Austria was the so-called ‘Older Villach's workshop’, founded by Frederic of Villach, a painter who was considered a master of fresco technique. A technical study was made of a number of wall painting cycles by the workshop of Frederic of Villach, first, to gain a broader knowledge of the painting techniques employed, and second, to allow comparison with a further group of wall paintings in Slovenia, which are stylistically related to this workshop and have been studied previously. Of special interest were artworks attributed to Frederic's son Johannes of Ljubljana and a number of other anonymous painters that show important similarities to Frederic's works. Samples of plasters and pigments were analysed by optical microscopy, scanning electron microscopy with energy dispersive X-ray spectroscopy, Fourier transform infrared spectroscopy, and X-ray diffraction. An important difference in the composition of plasters was discovered between the selected artistic groups. The palette used comprised predominantly earth and other mineral pigments. The construction of the paintings from incisions and preparatory drawings to the final modelling is basically similar and shows workshop connections. The principal painting technique was a fresco. The results contribute to a wider knowledge concerning the materials and techniques employed in gothic wall paintings in the Alpine region and offer new information that can be used to inform the future conservation of these selected wall paintings.  相似文献   

16.
《文物保护研究》2013,58(1):9-20
Abstract

Deterioration of paintings is effected by chemical, physical and biological agents. Activity of these agents generates mechanical stresses which result in cracking, cupping, cleavage and flaking of the paint film. Internal mechanical stress appears to be primarily responsible for premature or drying cracks in paint. Stresses external to the paint cause age cracks which penetrate both paint and ground. The literature explaining the origin and characteristics of these cracks is reviewed. Although premature cracking can only be avoided by instructing the artist in proper use of materials, age or mechanical cracking can presently be prevented by environmental controls and careful handling. Present methods of reinforcement of paintings in general only partially stabilize them against environmentally generated stresses. Further research appears necessary for more complete understanding of the stresses old paint can withstand and of the forces exerted by the shrinking and swelling of textile and wooden supports. Search for and testing of more physically and chemically inert support materials are suggested.  相似文献   

17.
Unvarnished twentieth-century oil paintings are often sensitive to aqueous swabbing, a method routinely employed by conservators for surface cleaning. This study proposes a connection between sensitivity and the presence of magnesium sulphate heptahydrate which has been identified on the surface of some of water-sensitive paintings. The probable source of magnesium is magnesium carbonate, an additive in some twentieth-century oil paints, which has reacted with atmospheric sulphur dioxide (SO2). Films made using modern manufactured paints and formulations made in the laboratory were exposed to gaseous SO2 and raised relative humidity and examined using scanning electron microscopy with energy dispersive X-ray spectroscopy and X-ray diffraction to characterize the crystalline entities. Films containing magnesium carbonate formed magnesium sulphite and sulphate hydrates. Films containing zinc oxide were also investigated. These formed zinc and sulphur containing salts. Sensitivity to swabbing with water before and after exposure was evaluated. Films that developed salts, demonstrated increased sensitivity to aqueous swabbing after exposure to SO2. Findings suggest that increased water sensitivity may be due to a combination of the formation of hygroscopic degradation products and to weakening of the paint film due to salt-induced disruption of the surface.  相似文献   

18.
The origin(s) and role(s) of metal soaps in paints are a worldwide concern today. These hybrid compounds, containing both fatty acid chains and metals associated with a carboxylate function, are increasingly identified in paints. As reviewed in the first part of this work, the presence of metal soaps in paints is differently interpreted in scientific publications: metal soaps are sometimes considered to play a positive role as anchor points, during paint drying processes; they can also be considered as responsible for many degradation processes (protrusions, efflorescences, darkening, etc.). Their origins are also interpreted in various ways. In some paintings (in particular from the twentieth century), they have sometimes introduced on purpose, as additives, to modify the physical properties of the painting materials. In older paintings, metal soaps are usually thought to result from an uncontrolled reaction of oil with lead-based pigments, in particular lead white, red lead, and lead tin yellow. In the second part of this work, the review of historical recipes of lead-based paint shows an important number of recipes based on controlled mixing of oil with lead driers. In the third part, the experimental reproduction of such traditional recipes using walnut oil and litharge (PbO) shows that lead soaps can be formed, both in about one hour at ～100°C, or in about one month at room temperature. It shows as well that after a few years, litharge is no longer detected in the paint medium, while different lead carbonates are. Finally, the micro-infrared spectroscopy and micro-X-ray diffraction re-analysis of protrusions from a nine-year model painting shows together with lead soaps, the presence of Pb5(CO3)3(OH)2O (‘synthetic plumbonacrite’), an unusual phase recently observed in a protrusion from a painting by Vincent Van Gogh. This work highlights (i) the multiple origins and roles of metal soaps in paints and (ii) the importance of combining the analysis of fragments from historical paintings with the analysis and reproduction of historical recipes. In particular, we show that the components detected today in historical paintings may severely differ from those originally used or prepared by the painter, complicating the assessment of the painter's intentions. More than the presence of metal soaps, the key questions to be tackled should be about their origins and (re)mobilization.  相似文献   

19.
《文物保护研究》2013,58(4):149-154
Abstract

The 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   

20.
《文物保护研究》2013,58(3):203-209
Abstract

To inhibit the corrosion of lead objects and lead in high-lead bronzes, particularly in the presence of organic emanations from wood, paint, etc., and/or high humidity, is a difficult conservation problem. A method to prevent corrosion of lead in copper objects was therefore developed using benzotriazole (BTA). The most appropriate treatment method for the conservation of the objects was to immerse them in neutral BTA solution, for which a 0.5% (w/v) concentration of BTA was enough. For bigger objects, three or four coats of 1.0% solution applied by brushing were equally effective. The method was used successfully for the conservation of some ancient copper coins and bronze sculptures containing high amounts of lead; it can also be used to inhibit corrosion of lead objects.  相似文献   

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