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41.
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
42.
AbstractBasketry artifacts fabricated from spruce and cedar limb wood and root and the inner bark of yellow and western red cedar have been found in water-saturated archaeological sites in the Pacific Northwest since the mid-twentieth century. These artifacts range in age from a few centuries to more than 5000 years old. While these materials retain their overall physical structure due to burial in an anoxic environment they are degraded on the cellular level. Experiments and treatments performed by archaeologists and conservators over the past 50 years have attempted to stabilize these degraded structures and minimize splitting, crumbing, and distortion of the woven structures as they dried. Many of these tests and treatments are published in out-of-print conference proceedings or remain unpublished in conservation lab records. This review of tests and treatments as well as a current condition assessment of several collections brings this information together for the first time and allows conservators and archaeologists specializing in these treatments to see the broader arch of success and failure of the preservation of waterlogged basketry materials. 相似文献
43.
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
44.
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
45.
AbstractThe use of sodium nitrite (NaNO2) as a corrosion inhibitor for wet archeological metal objects presents potential advantages of near neutral pH, low concentration, effectiveness on several metals, and compatibility with organic materials. The effectiveness of NaNO2 as a corrosion inhibitor for storage of chloride-containing marine archeological metal objects from the wreck of the USS Monitor was evaluated using marine-corroded carbon steel analogs. The samples were tested in varying concentrations of NaNO2 and evaluated visually and by monitoring solution chemistry using ion chromatography (IC). It was found that a concentration of 1000 ppm NaNO2, replaced four times, was effective at protecting corroded carbon steel in the presence of chlorides. Nitrite solutions were no more rapid than sodium hydroxide (NaOH) at extracting chlorides from marine steel at equal concentrations and were considerably slower than 2% NaOH. IC analyses indicated that NO2 does not easily oxidize to NO3 under normal conditions, but does so readily when a polarizing current is applied, making nitrites unsuitable for electrolytic reduction treatments. Sodium nitrite does show promise as a storage solution prior to desalination of marine metals or after desalination to prevent flash corrosion during rinsing baths. 相似文献
46.
AbstractThis contribution discusses how embodied heritage values operate within a context of heritage sites, and tangible and intangible embodiments of what is valued as heritage. This is partly intended to re-contextualize ideas of material and materiality that have recently undergone reconsideration in conservation and heritage discourse. The paper questions the claim that ‘Eastern’ and ‘Western’ philosophies of conservation are very different, and that they can be characterized as being concerned with intangible and tangible heritage, respectively. This is based on the assertion that influential preservation doctrines are as much a product of the context and practical situations as they are a product of different philosophies and cultures. Well-known examples from East and West are discussed to highlight the similarities, as opposed to the differences, in approaches. The article goes on to discuss the UNESCO definition of intangible heritage (2003), which conflates the intangible embodiment of values with the intangible values attributable to all heritage. As a way to contextualize this, the article considers embodiment of heritage values as a means to express both intangible and tangible heritage sites (since neither embodiment nor sites have to be physical). This is described by way of a simple, pre-existing communication model that moves from information source (which transmits the message) through the medium (the heritage site or object) to the audience (heritage user). These insights are intended to provide a balanced perspective that accommodates both the site and the embodied values in order to help make and justify conservation decisions. 相似文献
47.
AbstractThe Forbes Prize was established in 1958 to honour Edward Waldo Forbes, Director Emeritus of the Fogg Art Museum, Harvard University, and the first Honorary Fellow of IIC. It is awarded by the Council for conspicuous services to conservation and the recipient customarily delivers a lecture during the Institute's international congress. The recipient of the Forbes Prize 2004 was Andreas Burmester. 相似文献
48.
AbstractThe painting materials used by Lucio Fontana were investigated through the analysis of 28 Spatial Concept works created between the early 1950s and the artist's death in 1968. The pictorial media were analyzed by means of numerous techniques including Fourier transform infrared spectroscopy, pyrolysis-gas chromatography–mass spectrometry, scanning electron microscopy, and X-ray fluorescence. This study has provided a more complete understanding of the artist's technique, as it was found that Lucio Fontana had already begun experimenting with new synthetic pictorial and binding media such as alkyds and polyvinyl acetates at the beginning of the 1950s, and polyesters during the early 1960s. Although he never abandoned the use of commercial oil paints, Fontana's application of these new materials continued in an infinitely varied search for innovative expressive effects. The characterization results explain the physical and mechanical properties of the paint layers, and may be correlated with the conservation state of the works analyzed. All the results have been compiled and are discussed together with the artist's practices and their evolution over time. 相似文献
49.
AbstractA wide-ranging sample set consisting of dry pigments, dyed textiles, organic and aniline-based dyes, gouaches and watercolors, fluorescent inks, and natural history specimens was exposed to light in air (20.9% oxygen) and near-anoxic environments. After a light dosage of approximately 17.5 Mlux-hours under controlled temperature and humidity conditions, 113 of 125 samples (90% of the sample set) were shown to exhibit less color change in a low-oxygen environment compared with its behavior in air. Thirty-nine percent of this subset displayed color change in anoxia that was between two and four times lower than that observed in air, whereas 47% showed color change in anoxia reduced by a factor of four or more. In contrast, six samples exhibited greater color change in anoxia than in air – these samples included Prussian blue watercolor (three samples), Antwerp blue watercolor, Verdigris dry pigment, and Fluorescent Yellow Winsor & Newton Gouache. Although the results from this small sample subset may cause concern when considering the use of anoxia in the conservation of cultural heritage, particularly for colorant systems whose behavior in anoxia has not yet been identified, this study demonstrates the overwhelming benefits of anoxic light exposure for the vast majority of samples investigated here. 相似文献
50.
AbstractTwenty-two commercial coatings were chosen, based on their film-forming mechanisms, to study the equilibrium concentrations of volatile organic compounds (VOCs) and their emission rates at steady state. Concentrations of acetic acid (ethanoic acid) and total VOCs were measured using a thermal desorption unit coupled with a gas chromatograph. Almost all coatings released acetic acid, but at different rates. Coatings formed by oxidative polymerization were found to generate a high level of acetic acid at both equilibrium and steady state. The acetic acid equilibrium concentrations from the coatings formed by the other types of mechanism studied tended to be similar to those from red oak, an acidic wood. In a steady-state situation, most of the coatings applied on aluminium or on red oak had acetic acid emission rates lower than that of red oak alone, with the exception of the red oak coated with pigmented films formed by coalescence. The wide range of acetic acid equilibrium concentrations and emission rates for films formed by coalescence is due to the mixture of porous resin, extenders and free acetic acid in the formulations. Consideration should be given to allowing a sufficient drying period (three to four weeks) before using coated enclosures, in order to reduce the VOC concentrations within the enclosures. 相似文献