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1.
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
2.
《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
3.
《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
4.
AbstractUsing written accounts of observed methods and materials of Tibetan paintings as well as examination of numerous examples, the techniques of Tibetan paintings, especially paintings on cloth, are discussed. Brief mention is made of the regional styles of Tibetan painting, since the techniques used in the production of these paintings apparently vary throughout Tibet and China. Various types of supports are mentioned and analyses of the types of cloths are given. The preparation and materials used in the ground, pigments and preliminary drawings and prints are discussed. The iconometrics of Tibetan painting are mentioned, since the total conception of the object is dependent upon them. 相似文献
5.
《文物保护研究》2013,58(2):127-132
AbstractThe authors describe the application of TV holography, also known as electronic speckle pattern interferometry (ESPI), to the examination of wall paintings. The equipment usesfibre-optic illumination and a solid-state camera connected to a computer. Images made after the wall painting has been warmed slightly with an infrared lamp are compared with reference images; differences in the speckle pattern can be used to identify cracks and subsurface detachments. The system is robust and portable, allowing it to be used for the in situ investigation of wall paintings, including those exposed externally. It can also be used to monitor the condition of the work of art over time and to evaluate the success of any treatment. 相似文献
6.
AbstractVarious copper compounds which were used as pigments have been identified in a study of the layer structure of paintings. These pigments were either obtained from natural minerals or were synthesized. The results of attempts to synthesize copper-based pigments by following old recipes are also presented; the man-made pigments are compared with those found in paintings and with natural copper minerals of identical composition. The historical use of synthetic copper-based pigments is discussed. 相似文献
7.
《文物保护研究》2013,58(4):209-214
AbstractWell-cleaned canvas fibres from two oil paintings have been dated by radiocarbon. Although the dates agree with the expected ages of the paintings to a first approximation, uncertainties in the date arise from ambiguities (or ‘wiggles’) in the calibration curve. Only by introducing additional information about the paintings into the calculations can more precise results be obtained. Two paintings have been dated in this way, using the radiocarbon dating technique in conjunction with dendrochronological and art historical information. 相似文献
8.
《文物保护研究》2013,58(3):160-162
AbstractA new clamping table designed by the author for the treatment of paintings on wood is described. The table is capable of side, overhead and underneath clamping simultaneously, with an overall opening movement to allow one half of the panel to be moved away from the other half for final glueing. 相似文献
9.
《文物保护研究》2013,58(2):85-94
AbstractThe role of colourmen’s canvas stamps in dating paintings is discussed. A series of 16 Winsor and Newton canvas stamps is illustrated in conjunction with a dating table, the resulting system being of practical use for dating paintings bearing Winsor and Newton canvas stamps. 相似文献
10.
《文物保护研究》2013,58(4):249-264
AbstractThe triterpenoid resins dammar and mastic are frequently used as varnishes for paintings. Unfortunately, these varnishes degrade in the course of time. A large number of aged yellowed varnishes taken from paintings from several museum collections were analyzed by gas chromatography/mass spectrometry (GCMS) to identify oxidized triterpenoids, which are formed during natural aging processes. Discrimination between the different types of aged varnishes was achieved by direct temperature-resolved mass spectrometry (DTMS). GCMS further showed that the triterpenoid fraction strongly decreases during aging. It is likely that a higher molecular weight fraction is being formed. 相似文献
11.
《文物保护研究》2013,58(4):327-369
AbstractThe 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
12.
《文物保护研究》2013,58(3):23-29
AbstractThe last 20 years (1984–2004) have seen the development of Tate as a brand which, at the launch of Tate Modern, reached new heights of international awareness. Over the same period the use of the collection has evolved, which has led to changes in conservation practice. Drawing on collection management data, patterns of conservation research and treatment, this paper considers how branding impacts on the care, presentation and perception of Tate paintings and frames. 相似文献
13.
《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
14.
《文物保护研究》2013,58(4):211-230
AbstractCradle-related effects, such as ‘washboarding’ and tented flaking, were investigated by computer-aided moiré fringe analysis of panel models subjected to cycled changes in relative humidity. In-plane and out-of-plane displacements were recorded and compared for cradled and unreinforced panel models. These results were related to the behaviour of actual cradled panel paintings. Results indicate that restraint of warping increases in-plane strain due to swelling, and the strain distribution is in close correspondence with cradle restraint. Compressive strain, recorded over the fixed battens, and out-of-plane distortions in the exposed panel areas are discussed in relation to deformations and damages in cradled panel paintings. 相似文献
15.
《文物保护研究》2013,58(1):12-36
AbstractA history of the Patent Stretcher Key invented by Aaron Draper Shattuck (1832-1928) is described. The technical use of keys in stretchers for canvas paintings is illustrated. Developments prior to Shattuck’s patent of 1883 are reviewed and later infringements are discussed. A survey is given of the production, merchandising and obsolescence of the Shattuck keys. 相似文献
16.
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
17.
《文物保护研究》2013,58(4):173-194
AbstractIn the course of a program to develop adhesives for the consolidation of paintings it was found necessary to: (1) define the aims of the research, (2) design tests which would provide information on the mechanical performance (effectiveness) of the adhesives, (3) design tests which would help eliminate adhesives with qualities hazardous to paintings. This paper describes only the tests on the mechanical performance of various adhesives: (1) adhesion to paint films, (2) adhesion to conventional and newly developed lining supports, (3) cold flow of lining adhesives, and (4) rigidity of lining laminates. Formulations of the newly developed adhesives are given. 相似文献
18.
《文物保护研究》2013,58(3):226-244
AbstractThis study describes the examination and analysis of four mixed media paintings from the 1960s and 1970s by Canadian artist Jack Chambers (1931–1978). The documentary evidence about his materials and methods is summarized and compared with the results of analysis of multilayer paint samples. The combination of Fourier transform infrared spectroscopy (FTIR) and gas chromatography-mass spectrometry (GC-MS) allowed the components of the paint media to be characterized: ortho-phthalate alkyd resins, iso-phthalate alkyd resins, drying oils, dammar, Pinaceae resin, and turpentine were identified in varying proportions. Many pigments and fillers were identified by FTIR and Raman and are enumerated. The effect that Chambers’ complex technique has had on the aging and degradation of the paintings is discussed. The severe cracking of the paint layers in one of the four paintings may be the result of a high proportion of dammar and turpentine diluent mixed with the alkyd paint and may also be related to the type of alkyd resin medium. Different history and environmental conditions may also be factors. 相似文献
19.
《文物保护研究》2013,58(3):139-142
AbstractInformation obtained from 18 surviving panoramas and cycloramas, and a study of the behavior ofcanvas paintings on conventional stretchers under changing environmental conditions, have led the author to develop a new self-adjusting continuous-tension stretcher, which is described in detail. 相似文献
20.
《文物保护研究》2013,58(2):54-61
AbstractSamples of pigments from excavated wall paintings of Vergina’s second tomb were analyzed by the non-destructive methods of X-ray fluorescence, X-ray diffraction and mineralogical microscopic examinations. The results showed that one type of blue pigment was used, the well-known Egyptian blue. The red pigments, except one which is haematite, are cinnabar (HgS), and the grey pigments are carbon. None of the black pigments contained manganese compounds. 相似文献