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Sveva Longo Enricomaria Mormina Francesca Granata Domenico Mallamace Marcello Longo Silvia Capuani 《文物保护研究》2018,63(7):383-390
A modern approach to the diagnosis of artistic heritage makes use of non-destructive techniques which avoid damage to artworks or signs of interaction with the analytical technique used. For this reason, today, the employment of X-rays to study artistic heritage is quite widespread. Computed tomography (CT) Imaging was first used as specialized medical diagnostic tool in the early 1970s. Today, CT scanners have become more common, and non-destructive three-dimensional imaging has found an increasing number of uses in different areas such as materials research, geology, archaeology, and museum conservation. In this work, a new generation of clinical CT (based on the Dual Energy and multi-slice acquisition principle) is used to investigate an Egyptian wooden mummy board with a total acquisition time of 93.23 seconds and a voxel size of 0.078?×?0.078?×?1.5?mm. The use of two distinct techniques of image post-processing, the two-dimensional multi-planar reconstruction (MPR) and the three-dimensional volume rendering technique (VRT) allowed us to: evaluate the state of conservation of the mummy board, determine how the wooden object was implemented, recognize a nineteenth-century intervention of consolidation, and advance the hypothesis that the wooden planks were reused. In particular, we highlight the use of the cardiovascular and pulmonary filter with VRT reconstruction, which allows a virtual elimination of different parts of the mummy board to investigate those areas otherwise accessible only by removing parts of the board and thus damaging the work. 相似文献
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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
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古埃及的风俗、文字、艺术等各方面均有其独树一帜的程式化特点,这也是古代埃及文明能够在历史岁月的长河中被保存下来的重要原因。中国现代艺术在效仿学习西方艺术的同时,产生了一些弊病,艺术评定的标准模糊不清。古代埃及艺术在这方面可以给我们现代人重要的启示和影响。 相似文献
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车效梅 《山西师大学报(社会科学版)》2003,30(1):135-139
面对西方国家的侵略及伴随而至的异质文明的挑战,穆罕默德·阿里试图通过对埃及文化、政治和经济领域的改革以使埃及跨入现代化国家的行列。但是其改革的不彻底又导致埃及传统结构的留存,使之无法进行成功的社会动员,这又成为埃及早期现代化受挫的主要原因。同时,阿里一而再地卷入战争和外国势力的干预也对其现代化改革产生了巨大的消极影响。 相似文献
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Josephine van den Bent 《Al-Masaq: Islam & the Medieval Mediterranean》2016,28(2):171-186
The rise of the Mongol empire was a shock to the Arab world and led many Arab authors to describe these conquerors in decidedly negative terms. The great historian Ibn Khaldūn also discusses the Mongols' rise and their conquests. As a nomadic people they challenged and defeated sedentary populations and founded their own dynasties. Consequently, the Mongol conquests perfectly fit Ibn Khaldūn's theories on ?a?abiyya – which is superior in nomadic groups – and the rise and fall of dynasties. For the Maghrebi historian, the rise of the Mongols was a natural step in the course of history. This consequently colours his view of the Mongols and affects the way he portrays them, especially regarding the themes of violence and religion – recurring themes in many contemporary works dealing with the Mongols – and in his depiction of the Turco-Mongolian conqueror Timur, who is presented in a more favourable light by Ibn Khaldūn than he is in many contemporary works. 相似文献
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Kinship,Camaraderie and Contestation: Fāṭimid Relations with the Ashrāf in the Fourth/Tenth Century.
Shainool Jiwa 《Al-Masaq: Islam & the Medieval Mediterranean》2016,28(3):242-264
The founding of the Fā?imid caliphate across the southern Mediterranean, and then in Egypt, Syria and the ?ijāz at the turn of the fourth/tenth century, necessitated its negotiation with the ashrāf, those who claimed lineal descent from the Prophet Mu?ammad, and who by this time had gained significant influence as a social class based on their charismatic descent. While other dynastic powers fostered relationships with various members of the ashrāf, the Fā?imid–ashrāf dynamics were distinctive in that the Fā?imids legitimised their rule as Ismā?īlī Shī?ī imām-caliphs, based on their claim of descent from the Prophet Mu?ammad, and as the sole successors to his authority and leadership over the Islamic world. Consequently, Fā?imid–ashrāf relations were permeated by fraternal camaraderie as well as by competing contestations based on their shared claim to Prophetic lineage. 相似文献
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David A. Scott 《文物保护研究》2018,63(4):215-235
Nine ancient Egyptian sarcophagi of the twenty-fifth to twenty-sixth dynasty, one Ptolemaic Hawk Mummy, and one Amarna fresco were examined in the collections of the San Diego Museum of Man. Binding media, pigments, wood identification, deterioration and alteration products were identified. The pigment palette represents the basic suite of ancient Egyptian pigments: charcoal black, red ochre, yellow ochre, Egyptian blue, green earth, calcite, and gypsum. In the case of the Hawk mummy, oxammite was identified as a degradation product, together with magnesium phosphate, the first identification of oxammite in ancient artefacts. In a child’s coffin, realgar and orpiment were additionally identified. The binding media for practically all of the coffins studied was confirmed as gum Arabic with only one example of gum tragacanth found from a wall plaque from Amarna. Wood identification showed that Ficus sycomorus had been used, rather than the assumed cedar of Lebanon for coffin manufacture. One unidentified species of shrubby wood was also found. Some of the coffins had been restored, with one having a completely repainted face, in rutile, and the child’s coffin has an attached foot-box with modern screws. Possible indications of ancient reuse were found during the study. 相似文献
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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