共查询到20条相似文献，搜索用时 265 毫秒
1.
纸张的粘连严重影响档案的长期保存和利用,揭开粘连纸张是抢救历史档案并对其开展后续修补、托裱等修复工作的前提.以糟朽且粘连历史档案为研究对象,开展锅蒸-闷润法和冷冻-闷润法揭粘实验,通过水分、pH及色差测定比较两种方法的揭粘效果和对纸张性能的影响,发现两种方法均能有效揭开粘连纸张,其中锅蒸-闷润法能够改善纸张脆化问题,具有较强的除污能力,适用于揭粘污染严重的档案;冷冻-闷润法除污能力相对较弱,具有对纸张颜色影响小,可操作性强的特点,适用于揭粘污染程度低但板结严重的档案.值得注意的是,两种揭粘方法均会使纸张酸性增强. 相似文献
2.
正确看待档案修裱技术 总被引：3，自引：0，他引：3
修裱技术是纸质档案加固的方法之一,被广泛应用于档案保护中。修裱一般是选择与其原件材料一致的新纸进行整体托裱或局部修补,使档案纸张失去的强度得到恢复,寿命得到延长。经过修裱的档案,如果在后来的保管、利用中又发生老化或者损坏,还可以通过揭裱把支撑档案的托纸或者补纸揭取下来,换上新的材料,以新材料的机械强度继续支持和改善档案原件的强度,从而最大限度地延长档案寿命。 相似文献
3.
所谓中国传统档案修裱技术,就是使用纸张与粘合剂等材料,运用托裱和修补等技法,对破损纸质档案文件进行修复的技术。我国档案修裱技术已有1500年以上历史,它是伴随着修复纸质档案、图籍、书画而产生,从古代装潢、裱褙技术发展而来的。 相似文献
4.
所谓中国传统档案修裱技术,就是使用纸张与粘合剂等材料,运用托裱和修补等技法,对破损纸质档案文件进行修复的技术。我国档案修裱技术已有1500年以上历史,它是伴随着修复纸质档案、图籍、书画而产生,从古代装潢、裱褙技术发展而来的。 相似文献
5.
6.
明清古旧书画熟宣纸的修复与脱酸研究 总被引：1，自引：0，他引：1
本文通过对古旧书画修裱过程中揭取下来的熟宣画心用两种不同方法进行脱酸处理,再裱上,加速老化,然后对老化前后脱酸和未脱酸的样品机械性能及化学性能进行比较,得出脱酸后再进行修裱的熟宣画心其耐久性有了很大的提高。 相似文献
7.
8.
档案修裱是选择适宜的纸张、纺织品和黏合剂对破损的纸质(绵帛)档案载体进行的修补、托裱,以恢复或增强其强度和耐久性的一种修复技术.其目的是延长档案的寿命,便于档案长期保存和利用.我国传统的修裱技术源远流长、优点众多,对保存档案作出了巨大的贡献.
一、档案修裱机的产生
1991年底,《机械化修裱档案试验》作为国家档案局"八五"重点课题下达给安徽省档案局(馆)承担试验研究.该课题组根据《中国档案修裱技术研究》领导小组1992年2月15日《会议纪要》中的指导思想确立了该项研究的总体思路:(1)最大限度地继承和发扬我国传统档案修裱技术优点;(2)充分发挥机器修裱档案速度快等特点;(3)严格遵守档案文献在修裱过程中的特殊要求(温度、可逆性、字迹扩散等);(4)通过对比试验的方法,重点解决机械修裱档案质量方面的技术难题,逐步实现机器代替手工而又保留和发扬手工特长的各个修裱工艺环节. 相似文献
9.
10.
手工修裱技术在我国有着悠久的历史,它在修复破损档案、图书、文物及裱字画等方面发挥着独特的作用。笔者认为,进一步开展对修裱技术的研究工作,将有利于这一传统的档案修复技术的继承和发展。档案修裱效果的好坏一是取决于粘合剂和修裱用纸的质量;二是取决于修裱技术方法。目前,我们一般都是用淀粉浆作为档案修裱中的粘合剂。淀粉浆有许多优点,但也有不足之处,如浆料含水分多,托裱件干燥速度慢,因而影响了整个速度,同时淀粉本身是霉菌、档案害虫的食料,库房管理一有疏忽就可能生虫长霉,造成危害。因此,寻找一种粘度适中、浆膜柔软、干燥较… 相似文献
11.
《文物保护研究》2013,58(1):30-40
AbstractThe 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.
AbstractIt is not well known that the mountings of Tibetan paintings have an iconography and a cosmogeneric relationship to the painting. Hence, a painting without its mounting is incomplete. The iconography is described and the cosmogeneric relationships are discussed, leading to the suggestion that, where possible, the original mounting should be conserved or a logical replacement made. The structure and manner of construction of mountings is shown and described in order to provide a basis for repairs. Four major style varieties are shown as an additional guide in reconstruction. A glossary of Tibetan terms is included for reference. 相似文献
13.
Yujun Zhou 《文物保护研究》2020,65(6):346-357
ABSTRACT The forms of traditional Chinese painting and calligraphy are varied, including hanging scrolls, horizontal scrolls, screens, hand scrolls, and albums. Hanging scrolls are hung on the wall for display, but curling edges often appear on both sides of the hanging scroll. Various factors influence the deformation of paintings and calligraphy, such as temperature and relative humidity and the susceptibility of materials in scrolls as well as mounting techniques. The influences of structural components, such as tian gan (hanging rod), hanging rope, and di gan (lower rod) have received little attention. This paper focuses on the influences of tian gan deflection on the deformation of hanging scrolls, with the help of DIC (digital image correlation) visualization. Deflections of tian gan in two types of hanging methods were compared with a theoretical study. It was suggested that the influence of axial force was of great importance on the increase in deflection and bending moment. To reduce the bending of tian gan as much as possible, the vertical hanging method with appropriate position for the hanging rope should be chosen for mounting hanging scrolls. 相似文献
14.
The aim of this paper is to study the influence of atmospheric humidity and temperature on the mural paintings in the Mogao Grottoes of Dunhuang by measuring the weight of a simulated mural block. Under open conditions, the daily changes in the atmospheric humidity and temperature have an apparent effect on the water content of these murals. There exists an obvious water exchange between atmosphere and mural, that is, there is a ±43?g?m?2 moisture absorption–desorption ‘breathing’ process between the two. Evapotranspiration from the tree-belt, precipitation, and extremely dry weather also have an effect on the moisture associated with a mural painting. If the cave is closed, a comparable study finds that closure can make the effects of temperature and humidity changes disappear. The mural water content in this case remains stable and the harm due to water-salt deterioration is greatly reduced. Under closed conditions, artificial condensation dehumidification and control of the cave's temperature and humidity stabilizes water activity in the mural paintings very effectively. This is a clear indication of the future steps required to protect the cave's cultural relics. 相似文献
15.
《文物保护研究》2013,58(4):265-273
AbstractThis paper reports on the results of experiments to test for visual changes to paint systems after biocidal treatments, using a statistical binary procedure. Four biocides were selected, two of which are fungicides—a quaternary ammoniumorganotin mixture (BioMet 66®)in distilled water and an orthophenylphenol (Lysol®) in a spray— and two of which are fumigants—sulfuryl fluoride (SO2F6), a gas (Vikane®), and nitrogen gas (N2) (as an anoxant). The procedure used to assess the effect of the biocidal treatments was a random field visual scoring regimen by two paintings conservators. The tests were conducted on 30 combinations of linen, rabbitskin glue size, lead white oil ground and oil-based paints. The visual assessment procedure provided information on color change, gloss change, blanching, topography change and precipitation. The results indicated that Vikane adversely affected 10 of 11 pigment systems; Lysol adversely affected six of 11 pigment systems; BioMet 66 had a minor effect on four of 11 pigment systems; and nitrogen had no visible effect on any sample. The visual technique provided a quick and broad method for assessment of non-subtile visual changes. 相似文献
16.
余辉 《中国国家博物馆馆刊》2021,(1)
本文以图像考据的方式分析研究了明清11件立于宫殿之前的肖像画与待漏图的关系,由"待漏"产生的"待漏文学"是认知待漏图的关键之一,肯定了朱万章、黄小峰等先生的探索成果。文章提出了判定作品的创作者有无宫廷背景的基本方法是分析画中的建筑是否符合宫廷规制,图下的长条底图决定了此类肖像画的主要功用。笔者认为明代朱邦《王宫图》轴的像主为蒯祥,但并非严格意义的待漏图;进一步确信《北京宫城图》轴为待漏题材,系明代早中期的民间工匠之作;南博本为明代宫廷画家之笔。对其他相近本子如藏于台北待漏图的作者和像主的身份、画作类型等进行考据,力求探讨此类图像的创作动机与目的等。此类图像在明清之际具有规律性的发展与演变过程,特别是朝代更迭和宫廷政治对这类肖像画的影响,起到相当重要的作用。 相似文献
17.
Roel Hendrickx Ester S.B. Ferreira Jaap J. Boon Guylaine Desmarais Dominique Derome Lora Angelova 《文物保护研究》2017,62(7):393-409
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
18.
《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
19.
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
20.
SummaryA Roman wall painting of the first century AD, recently discovered in Rome, has been studied extensively, in situ, by non-destructive X-ray fluorescence (XRF) analysis. The coloured pigments, the medium and the plaster were all examined. The presence of potassium and calcium in all coloured layers demonstrates that the painting technique is of a type very similar to that used in Pompeian wall paintings, and described in the 1950s by Selim Augusti. In this type of wall painting, the pigments were dissolved in a lime/soap/water solution, the function of the soap being to mitigate the negative effects of lime on alkali-sensitive mineral-based colours. 相似文献