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1.
《文物保护研究》2013,58(4):316-326
AbstractA survey is given of polychromed sculpture in Sweden. Historical aspects of the care of sculptures are discussed. Many retables have been imported from Lübeck and Antwerp. Polychromed sculptures are often well preserved because there was hardly any iconoclasm in Sweden. Many need treatment however due to various forms of neglect. A special case—the triptych of Kärrbo (c. 1500)—is described in detail from a technical point of view. 相似文献
2.
《文物保护研究》2013,58(4):304-315
AbstractA polychromed sculpture was restored and examined. The shrine is made from pine-wood and the sculpture from oak. The ground consists of chalk and animal glue; the pigments are: azurite, a green copper pigment, yellow organic colouring material, orpiment, red lead, vermilion, red organic colouring material, iron oxide red, lead white and charred matter (charcoal ?). Metals used are gold and silver. The medium is on a drying-oil base to which a protein-containing material is added. Generally, the colours were built up in two layers. There is an extensive use of imitation gold, while the use of gold foil is limited to the areas of hair and the flowers on the garments.In general, the wood in all parts of the object was in good condition and no general impregnation was needed. Cracks in the shrine were filled in with wood or rejoined. The sculpture, which was split in two, was glued together. The condition of the polychromy was relatively good, and only local treatment was required. 相似文献
3.
《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
4.
《文物保护研究》2013,58(4):370-400
AbstractAn account is given of the examination of the polychromed sculpture in the Hedin altarpiece (1466) in Rothenburg old T. (W Germany). Analytical methods used, such as microscopy, wet chemical analysis, infrared spectrophotometry, thin-layer chromatography and gas-liquid chromatography are briefly described. Criteria for identification are summarized. Pigments identified are azurite, indigo, verdigris, green earth, madder, vermilion, red lead, lead white and carbon black. The binding medium is glue in matt areas. In other parts paints are mostly based on a resinous medium with varying amounts of oil. The materials identified in the applique relief brocades are compared with recipes described in the Liber Illuministarius from Tegernsee. Silver foil is used in producing translucent paint. 相似文献
5.
《文物保护研究》2013,58(2):56-66
AbstractThere 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
6.
《文物保护研究》2013,58(4):167-171
AbstractA miniature low-pressure apparatus for localized treatment of paintings is described. Alternative working surfaces are available which allow heat and moisture treatment on canvas paintings without removal from their stretchers. Other applications of the apparatus are discussed. 相似文献
7.
《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
8.
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
9.
《文物保护研究》2013,58(1):165-167
AbstractInsect infestation is a serious problem in museum collections in Spain and Latin America. This paper investigates the efficacy of modified atmospheres as an anoxant for museum pests, using wooden objects including polychrome sculptures infested by Cerambycidae and Anobiidae species. Insects of long life cycle have been found to be very resistant to carbon dioxide atmospheres. However, inert gases such as argon and nitrogen used in plastic barrier bags effectively eliminated insects in all stages of development. No chemical alteration was observed in the treated materials, including polychromy. These treatments are in progress in a project for biodeterioration control in countries with both tropical or subtropical and Mediterranean climates. 相似文献
10.
《文物保护研究》2013,58(1):62-67
AbstractJuan and Jerónimo del Corral, the former an architect and the latter a sculptor, developed their artistic activities in Castile during the second third of the sixteenth century. The originality of their work lies not only in their technique but also in their iconography: they combine the Spanish tradition of plaster work with the influence of the Italian Renaissance. This paper is a documentary and stylistic study of their work and discusses the problems of technique and conservation of the cupolas and walls of polychromed and gilded plaster relief. Due to its characteristics and its sensitivity to moisture, gypsum is a material which poses specific problems of behaviour and treatment. The various deteriorations it undergoes are shown as well as their causes and possible treatment. Scientific examination has been mainly directed towards the investigation of the support by IR and EDX spectrometry, the analysis of the polychromy by microscopy and the identification of the media by gas chromatography. The results show that the Corral brothers used a homogeneous technique for the plaster support, following the Hispano-Moresque tradition, whereas the polychromy shows various influences. As regards biological deterioration, two different groups of microorganisms were surveyed: bacteria and fungi. The results obtained in areas with and without polychromy and with various levels of moisture have been compared by different sampling techniques. Nitrifying and sulphate-reducing bacteria have been identified, which are responsible for the deterioration of stone monuments. 相似文献
11.
《文物保护研究》2013,58(1):57-61
AbstractThis image is the work of the sixteenth-century sculptor Marcos Cabrera and belongs to the Brotherhood of the Expiration in Seville. It was made to be carried in procession during the Holy Week celebrations. When the statue came to the ICRBC in Madrid for treatment it presented serious problems due to the unusual material of which it is made — polychromed paper-pulp — and the unfortunate treatments to which it has been subjected. Metal strengthening rods had been inserted in the figure and the cross, as well as a polyester consolidating material which had caused further damage. The polychromy was covered with a thick layer of paint which had plasticized. A complete scientific analysis was carried out by an interdisciplinary team both before and during the treatment which had the aim of stabilizing the sculpture to enable it to fulfil its ritual function. 相似文献
12.
《文物保护研究》2013,58(1):94-98
AbstractKnown today only by the name of the region where he lived, Mestre Pirang-a, an eighteenth-century santeiro (saint-maker), is considered a great artist by afficionados of Brazilian sacred art. Part of the present work consisted in a survey and cataloguing of the surviving religious imagery in the region of the Piranga river valley. A considerable number of these images could be attributed to the master. Three sculptures were analyzed with regard to form, style, iconography and technique of execution (support and polychromy), using scientific methods. Their state of preservation was investigated and a proposal for conservation was drawn up. 相似文献
13.
An assemblage of Buddhist wall paintings and sculptures dating to the twelfth/early thirteenth century are found distributed over the interiors of the temple complex at Sumda Chun, Ladakh. Detailed investigations carried out as part of a conservation project shed light on their antiquity and production technology. The sculptures are constructed with fine mud mortar applied over a wooden armature and affixed to the walls without any support from the ground. In both the sculptures and wall paintings, the paint layer is applied over a thin gypsum ground that functions as a white colourant where unpainted. For the paint layer, azurite, vermilion, and orpiment are the dominant mineral pigments utilized. Minium (red lead) has been used for preparatory drawings and as paint. Highlighting of special areas was achieved using a laminate of tin–lead alloy and gold on relief. Overall the material and techniques employed in the execution of the wall paintings and sculptures are consistent with those reported for other early sites in the region. 相似文献
14.
AbstractThe use of an S-1 response infra-red image-converter for the examination of panel paintings is described. It is shown that satisfactory results maybe obtained with this equipment, which is easy to operate. The examination of underdrawings, retouchings and pentimenti is briefly discussed. 相似文献
15.
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
16.
AbstractThis paper describes the examination and treatment of three polychrome wooden sculptures by Pedro de Mena, an important seventeenth-century Spanish sculptor. These were three interesting cases, involving not only the usual conservation processes but also special situations such as the recovery of a glass eye, the replacement of missing parts and polychromy with the help of old photographs, and the analysis of a sculpture where the flesh colours varied depending on whether or not they had been exposed to sunlight. Our understanding of polychrome sculpture technique is enriched with new information concerning the blues of the cloaks, coloured glazes, and materials added to the paint to achieve different effects. 相似文献
17.
AbstractJapanese sculptures are made of wood, dry lacquer, clay, gilt bronze and stone. Buddhistic statues, made of wood, are the most abundant. The painting techniques of the wooden sculptures, including ground coating, pigments, and application of Japanese lacquer, are described, and typical examples of Buddhistic statues are given. Specific case studies on a clay statue and a wooden sculpture are made. 相似文献
18.
Aria Amato Elena Arizio Salvatore Cataldo Emilio Francesco Orsega Mauro Sebastianelli 《文物保护研究》2018,63(4):194-200
In this work, the decision-making process involved in the restoration of the eighteenth century paliotto ligneo (wooden altar frontal) della chiesa del Santissimo Crocifisso all’Albergheria of Palermo is presented. Earlier research concerning mirror restoration was based on only a few case studies and the proposed techniques were not suitable for the artwork here. As a consequence, it was necessary to re-examine theories and protocols of modern restoration to plan an appropriate intervention of the altar frontal. Since in this artwork the role of mirrors is not to give back images, as usual, but rather to create special light effects and play of lights, this work aims to find an approach to the restoration of the altar frontal and its decorations that allows a homogeneous overview of the piece. Thus, the mirrors were not substituted or re-created. Only a visual integration of the damaged ancient mirrors was proposed, with the use of metallic-polymeric films, permitting a completely reversible restoration. 相似文献
19.
《文物保护研究》2013,58(1):16-22
AbstractThis paper discusses the technical examination of Christ in Martyrdom, painted in 1690 by Fra. Ricardo Pilar for the Monastery of São Bento, Rio de Janeiro, Brazil. The painting, which hangs in the sacristy, has recently been restored; this restoration and three previous restorations are described. The characteristic pose of Christ in the composition has been found in mediaeval German sculpture and was popular in Spanish painting in the sixteenth and seventeenth centuries. The techniques used for Christ in Martyrdom have been compared with contemporary Spanish and Portuguese treatises and selected paintings in the collection of the National Gallery, London, to illustrate Pilar's original style. The palette and the linseed oil medium are typical of Spanish painting and are likely to have been imported from Europe. 相似文献
20.
《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