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1.
David A. Scott 《文物保护研究》2016,61(4):185-202
The pigments used by the ancient Egyptians constitute the most diverse pigment palette of the ancient world. This review discusses the pigments and binders which were used, arranged principally in terms of the colours themselves, namely, the white, green, grey, black, brown, blue, red, orange, and yellow pigments. The chemical identity of these pigments is discussed with some details regarding the artefacts or time periods from which the pigment concerned has been identified. Combinations of pigments were used for creating some colours, especially: greens, pinks, blues, yellows, and a variety of pale hues by mixing primary colours with a white addition, such as calcite. The identification of ancient Egyptian pigments is often aggravated by chemical interactions between pigment and binder media, or between the pigment and environmental pollutants, or both. The nature of the binders and varnishes used in ancient Egypt is briefly discussed. The identification of green pigments from ancient Egypt is often difficult, and some of the recent research concerning the topic is reviewed. In addition to including relevant details from older literature, this review provides a synopsis of recent studies which have appeared since the last major review carried out by Lee and Quirke in 2000. 相似文献
2.
《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
3.
《文物保护研究》2013,58(3):117-122
AbstractSamples of pigments from a wall-painting of a house of the first Pompeian style (400 Bc–168 BC) found in Pella, Greece, were analyzed by the non-destructive methods of X-ray fluorescence and X-ray diffraction. Red pigments were identified as cinnabar and iron oxide pigments (haematite and goethite). Blue was the well-known Egyptian blue and yellow was identified as goethite. A characteristic feature of the wall-painting was the presenceof green earth, i.e. celadonite and glauconite, encountered for the first time in this series of investigations. 相似文献
4.
《文物保护研究》2013,58(3):134-142
AbstractNaturally occurring pigments used by Aborigines in rock paintings have been collected in Western Australia. They area red pigment (mainly hematite, Fe2O3)(from a red ochre mine worked until historic times by Aborigines, and a white pigment (huntite, Mg3Ca(CO3)4) which is still collected and used by Aborigines. Samples were also taken from rock paintings in which these pigments were used or were thought to have been used. The pigment samples were analysed to establish chemical, mineralogical, and physical properties. The paint samples were examined microscopically and with an electron probe to study their relationship with the rock surface and with other paint layers. The relationship between the pigments’ properties and their durability is discussed. 相似文献
5.
《文物保护研究》2013,58(3):177-188
AbstractThe examination of the original polychromy of a fourth century B.C. classical Greek marble basin revealed a number of unusual pigments. In addition to natural cinnabar, and Egyptian blue, analysis has shown the presence of wild madder (Rubia peregrina) as the colorant in a purple pigment. This is one of the very few instances in which the use of madder as a colorant in classical painting has been established analytically. The white pigment was found to be neutral lead carbonate (cerussite). The use of this carbonate in painting is extremely rare. The yellow pigment was identified as misy (jarosite). The use of jarosites, iron sulphates, as pigments in painting has not been reported previously. 相似文献
6.
《文物保护研究》2013,58(3):176-188
AbstractIn the late 1800s, pictorialist photographers favored a diversity of photographic techniques, including the gum dichromate process. Sometimes superimposed over other photographic images such as platinum and silver prints, the gum dichromate process utilizes a light-sensitive mixture of gum arabic, pigment, and a potassium dichromate solution hand-applied onto a sheet of paper and exposed to light while in direct contact with a negative. The definitive identification of this process has proven to be a challenge due to many variations and intermingling of techniques used by photographers of this period. This research began with a search through the historic literature, followed by the creation of test samples based on historic recipes, and the X-ray fluorescence analysis of these tests. The identification of pigments and the presence of chromium have been associated with the gum dichromate or other dichromated colloid processes in the past. Research results reveal that the presence of chromium may have more complex sources, requiring a more discriminating approach and a modified protocol for the identification of gum dichromate photographs. 相似文献
7.
《文物保护研究》2013,58(3):205-229
AbstractThe purpose of this study was to develop a method for the identification of synthetic organic pigments on the basis of colour reactions with four different chemical reagents: concentrated sulphuric acid, concentrated nitric acid, a mixture of concentrated sulphuric acid and concentrated nitric acid and, finally, a solution of potassium iodate in concentrated sulphuric acid. Colour reactions for a large number of synthetic organic pigments in the form of pure powdered material were recorded. It is shown that the colour reactions observed are in overall agreement with the chemical grouping of pigments (for instance, naphthol AS pigments or quinacridone pigments), i.e., pigments belonging to the same pigment group yield similar colour reactions. This fact is the basis for the construction of flow charts for identification. Tests performed on a number of artists' colours containing pigments in various binding media show that the binding media do not noticeably affect the colour reactions observed, making the flow charts useful for the identification of actual artists' pigments. A fifth chemical reagent, namely a saturated solution of potassium hydroxide in 96% ethanol, was tested and abandoned as a result of its instability, which resulted in severe problems with reproducibility, especially for certain pigment groups, for example the acetoacetarylide pigments. 相似文献
8.
Surveying 2,245 people from six nations immediately following the conclusion of the 2018 Winter Olympic Games, this study focused on the extent to which fan identification can predict media consumption and nationalistic feelings toward one’s country. Findings revealed that, while sport fanship, fanship toward the Winter Olympics, and fandom for one’s national Olympic team(s) each predicts increased consumption, a hierarchy was established with Winter Olympic national team fandom being a stronger predictor than the others. Differences in fan identification’s impact on media consumption and nationalistic qualities among participants were found among the represented nations as well. 相似文献
9.
A green waxy paint was found on some fragments of jars at the Metropolitan Museum of Art made of Egyptian alabaster and dated to the Nineteenth Dynasty (1292–1182 BC). Four different types of particles were seen in these paints: green, blue, red-brown, and semi-transparent. The blue particles were identified as Egyptian blue. The green particles present problems as it is still not certain whether they are an original green or an altered blue particle. X-ray fluorescence revealed that copper is the main element in the green waxy paint. Fourier transform infrared spectroscopy (FTIR) found that an extra peak formed at 1588 cm?1 which correlates to organo-copper salts. Gas chromatography-mass spectrometry analysis confirmed that the binding medium of the waxy paint is aged beeswax. Laboratory experiments showed that heating beeswax with malachite, chrysocolla, verdigris, and copper acetate, as well as heating beeswax in a copper crucible, generate the diagnostic 1587–1588 cm?1 peak in the FTIR spectrum, which is also found in ancient samples. Chrysocolla, malachite, and altered Egyptian blue/green are the possible candidates for the green particle. 相似文献
10.
《文物保护研究》2013,58(3):107-119
AbstractSamples of pigments from excavated wall-paintings at the great civilization center of the Greek Bronze Age, Thera, have been analysed by the non-destructive methods of X-ray fluorescence, X-ray diffraction and mineralogical microscopic examination. The results showed that three types of blue pigment were used, namely the well-known Egyptian blue, glaucophane, which is a sodium magnesium (or iron) aluminium hydroxide silicate which occurs as a natural mineral on Santorini, and a mixture of Egyptian blue and glaucophane. Black pigments were rather puzzling in that some of them are carbon as expected, and some are manganese compounds. The rest of the pigments are very similar to those previously examined from Mycenae and Knossos. 相似文献
11.
Hisham M. Abdelsalam Christopher G. Reddick Sara Gamal Abdulrahamn Al-shaar 《Government Information Quarterly》2013
This paper examines the presence, usage, and effectiveness of Egyptian government social media websites. The adoption of social media technology provides an illustration of the application of New Public Service (NPS) theory to public administration. The first phase of this study examined the presence of social media applications on these government websites. The second phase analyzed the use of Facebook by governmental entities in Egypt. The use of Facebook, Twitter, and YouTube were the top social media applications in Egyptian government websites, which is consistent with other government surveys of social media found in developed countries. In terms of effectiveness of these social media websites, they were used mainly to post information, with very little two-way interaction between citizens and government. The analysis in this paper shows that social media in Egypt is not much in line with the NPS theory. 相似文献
12.
《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
13.
在美国传播学者不同阶段的论著中,1956-2004年间的埃及传媒体制先后被归类于威权主义媒体、动员型媒体和转型性媒体。然而,这一系列分类并非价值中立,而是暗含权力和价值取向,是埃及被纳入现代世界秩序与文明等级的一个缩影。梳理原始文献不仅可以发现西方传播学者对埃及传媒体制归类的谬误之处,还可以发现这些学者关于西方传媒体制的道德优越感和他们所持的单一线性历史观在知识生产过程中的渗透。再现归类埃及媒体的知识生产情境,不仅可以以此为例对西方媒体分类体系进行祛魅,而且可以在知识"深度去西方化"的背景下"打捞"被遮蔽的"另类媒体",讲好全球历史中的媒体变迁故事;更重要的是,这有助于我们超越方法论民族主义,在跨文化传播政治经济学的框架下重新确立书写全球传播史的马克思主义史观,进而认识到历史进程的开放性与另类可能性。 相似文献
14.
《文物保护研究》2013,58(4):149-154
AbstractThe 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
15.
《文物保护研究》2013,58(3):143-154
AbstractSince 1980, much research in the field of treatment and conservation of archaeological wood has been carried out at the Conservation Department, Faculty of Archaeology, Cairo University. Materials and methods used in conservation have been changing gradually over the years worldwide. It was necessary to study critically previous masters and doctoral dissertations on Egyptian archaeological and historic wood, all written in Arabic. This review of them includes a brief history of the Conservation Department at Cairo University and five main focal points of past research: types of wood used throughout Egyptian history, assessment of wood decay, wood properties and composition, treatment and conservation of decorated wood, and the evaluation of chemicals and polymers used in the treatment of archaeological wood and composite objects containing wood. 相似文献
16.
《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
17.
《文物保护研究》2013,58(2):76-91
AbstractThe study focuses on the range of pigments and media that the Italian artist Lucio Fontana (1899–1968) employed for selected works dating between 1949 and 1968. Samples were taken from ten groups of works, all on canvas support, as well as from painting equipment that survived in the artist's former two studios. Techniques of analysis used were pyrolysis-gas chromatography–mass spectrometry for media identification, and laser desorption ionization time-of-flight mass spectrometry and Raman microspectroscopy for pigment identification. Fontana's reputation as a daring and experimental artist, best known for his group of slashed paintings called tagli, is seen to correspond with certain unusual material choices he made. The study also points to several links that exist between seemingly unrelated cycles. These links are, among others, based on experiences with in part novel media such as oil, alkyd, polyvinyl acetate, acrylic, acrylic–vinyl, and mixtures of them. With regard to pigments, the selection of samples showed that they were mostly of a synthetic organic nature. 相似文献
18.
AbstractThe ancient Egyptian bronze falcon figures in the collection of the Walters Art Gallery, Baltimore, were studied using radiography, endoscopy and corrosion analysis. A number of the bronzes were found to contain bird remains. The study also provided a comparison of the efficacy of different radiographic techniques. 相似文献
19.
This study used a survey design (N = 168) to examine how parent and child demographics, parental media-use motives, parental subjective norms, and parental attitudes toward preschool media use (PMU) are all related to actual media exposure among children 6 months to 5 years in age. Results indicate that, in accordance with the theory of reasoned action, parents’ perceived subjective norms regarding various categories of media were significantly related to actual child consumption. Further, positive attitudes toward media were significantly related to higher rates of child consumption. Interestingly, parental worries about media were only negatively related to television consumption and unrelated to child exposure to other kinds of media. 相似文献
20.
Katrien Symons Koen Ponnet Ini Vanwesenbeeck Michel Walrave Joris Van Ouytsel 《广播与电子媒介杂志》2020,64(1):1-19
Structural equation modeling is applied to investigate how parents’ communication with their child about his or her Internet use is linked to the child’s acceptance of parental authority in the context of Internet use, and how this in turn is linked to the child’s social media behavior. This study surveyed children aged 13 to 18 and their mothers and fathers (N = 357 families) and found that acceptance of parental authority is a key factor in the effectiveness of parental mediation. It is recommended that parental mediation is studied as a dynamic process shaped by both parents and children. 相似文献