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1.
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
2.
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
3.
Abstract Furunori (aged paste) is a conservation material that is used for Japanese painting conservation. Furunori is a smoother and weaker adhesive than fresh paste, and it enables the surfaces to be easily peeled apart, with application of water, in a future conservation. Due to these characteristics, furunori has traditionally been used for attaching the backing paper to paintings in Japan, because it is considered that furunori causes less stress on the paintings than fresh paste. This study aims to clarify the characteristics of furunori based on chemical analysis and examination of the microorganisms involved in the early stage of furunori generation. Based on the results obtained, a polysaccharide similar to furunori was prepared. 相似文献
4.
《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
5.
《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
6.
ABSTRACTHafez’s tomb was constructed on the grave of the well-known Iranian poet in Shiraz, in the 1930s. The dome of this monument is made of copper metal and has been exposed to the urban environment for 80 years. In this study, corrosion mechanisms and conservation conditions of the metallic dome of the Hafez’s tomb are investigated by analytical methods including optical microscopy, ICP-MS, SEM-EDX, and X-ray diffraction. The results showed that the dome is constructed from many copper sheets that are hammered to shape the dome. The corrosion products formed on the surface of copper sheets include copper oxide and copper trihydroxichlorides. In fact, the corrosion mechanism occurring in the metallic dome consists of copper oxidation and redeposition of copper II products because of reaction with air pollutants. 相似文献
7.
《文物保护研究》2013,58(4):195-206
AbstractThe investigation of materials found in Bacon's studio is reported. The contents of the studio are examined and interpreted to identify the materials and colours most favoured by Bacon, and the range of media used. A small number of colours appear to have been heavily used. Some objects used as tools in the painting process are also investigated and explain textures seen in paint in his works. Samples of selected materials from the studio are analysed to identify the components of paints (pigments, extenders, and binders) used by Bacon. This investigation is part of a wider project examining his materials and techniques. The analytical information obtained here from the studio helps to clarify the statements made by Bacon in interviews regarding his use of materials and is proving useful in the identification of materials in his paintings, in order to help with the conservation and authentication of his works. 相似文献
8.
《文物保护研究》2013,58(3):115-126
AbstractConservation treatments of three modern paintings are presented which illustrate the use of Beva 371 in solving difficult and varied conservation problems. They were selected as representing cases which could not have been solved satisfactorily with other adhesives and are: 1. Gottlieb, oil on glue-sized cotton. Transparently lined with Mylar; 2. Balthus, casein on unprimed canvas. Mounted on a solid support; 3. Klee, gouache on decaying, unprimed burlap. Transparently lined on silk chiffon. 相似文献
9.
ABSTRACTDuring recent conservation work carried out on the Etruscan mural paintings in the Tomba degli Scudi, (Tarquinia, 4th C. BCE), the study of the execution techniques led to an amazing discovery: human figures were composed using templates of single body parts. In the Tomba degli Scudi, the perfect overlap of limbs, chests, and heads was confirmed after processing rectified photogrammetric images of the wall paintings with photo editing software. The study also highlighted that such templates were probably made of rigid material and each one had three different sizes, in order to represent the hierarchical organization of the painted characters. In the past, scholars have demonstrated that templates were used to realize a number of Etruscan wall paintings. However, they had reported that only whole figures were reproduced. The notion that such templates consisted of single anatomical parts purposely created to portray figures in different poses never occurs in their studies. In fact, the use of modular templates, also called patroni and antibola, is acknowledged only from the Middle Ages onwards both in western and eastern art. Earlier evidence had never been found. This article aims to predate the use of modular shapes by about ten centuries, thus changing our knowledge of technologies whose tradition spans from the Classical Antiquity to the Middle Ages. Consequently, a new approach to the study of transfer techniques of preparatory drawings in Etruscan wall paintings is established. Furthermore, this article shows that, as in the Middle Ages, the size of such templates was scaled up or down to create hierarchies among the painted characters. 相似文献
10.
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
11.
《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
12.
Post-medieval Greek painting manuals, exemplified by the Hermeneia of the Art of Painting by Dionysius of Fourna, were often copied, enriched, and widely used in icon-painter workshops until the twentieth century. These manuals reflect the accumulated experience of many generations of painters and include sections that pertain to preparation and application of materials and handling of works. Here we present, discuss, and, in some cases, compare with pertinent western instructions and experimental findings (deriving from the analysis of icons and wall paintings), key Greek manual instructions for sound practice, and practical conservation of paintings. Instructions in consideration come from both the published version of Hermeneia and various unpublished manuals; it is shown that the first part of the widely circulating standard edition of Dionysius is by no means an exhaustive account of post-Byzantine technical knowledge. 相似文献
13.
Magali Brunet Audrey Cochard Christophe Deshayes Chantal Brouca-Cabarrecq Luc Robbiola Jean-Marc Olivier 《文物保护研究》2020,65(2):103-117
ABSTRACTIn many countries, collections of historic aircraft, conserved in Air and Space museums or local associations, reflect the importance of a national or local history. Mostly parked outdoors, aircraft suffer from significant corrosion requiring conservation operations. During renovation, metallic parts are often replaced by association members. This can lead to a major loss of information since industrial archives dealing with materials and processes do not always survive. However, if these elements can be considered, they could be a fundamental source of information on the materials originally used and of the technical history of aeronautics. This work reports a thorough study of aluminium-based alloy parts collected on a Breguet aeroplane dating from the 1950s, during its recent renovation. Thanks to an approach coupling multi-scale material characterisation and research in archives, information on the industrial knowledge is revealed. Several historic grades of aluminium-based alloys were found, namely A-U4G, A-U4G1, and A-U3G, depending on the role of the part. Similarly, different protective coatings were identified (anodic oxidation, primers, and paintings), depending on the role of the metallic part and its location in the plane. Knowledge of the materials from bulk metal to the coated surface is necessary for good conservation practices regarding aeronautical heritage artefacts. Related documents and archives also fundamentally help in understanding such complex artefacts. 相似文献
14.
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
15.
《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
16.
Massimo Osanna 《文物保护研究》2018,63(5):203-208
ABSTRACTThe extraordinary surviving paintings and floor surfaces at Pompeii are subjected daily to environmental degradation and anthropic pressure. In 2017, the ancient city was visited by 3,400,000 tourists – almost 1,000,000 more than a mere 5?years earlier. This figure looks set to increase, as a result of the revival that the site has undergone in recent years, thanks to generous funding from the European Union and the work of the Great Pompeii Project, which has enabled the reopening of a large number of domestic properties and indeed entire urban quarters which had been closed for decades. However, the increase in site usage necessitates more attention to be paid to conservation. Preventive conservation and planned maintenance, overseen by the Great Pompeii Project, represent the first response. It is conducted by a multi-disciplinary team of archaeologists, architects, conservators and specialists who are present on the site every day, responsible for the management of emergencies, and policy planning through organisation, study, application and evaluation of the consequences. Due to increased tourist numbers, the monitoring team covers every single accessible building, to study the dynamics of visitor flow, and to identify possible interventions to mitigate the effects of anthropic pressure. 相似文献
17.
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
18.
《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
19.
《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
20.
《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