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Birgit Angelika Schmidt Martin Andreas Ziemann Simone Pentzien Toralf Gabsch Werner Koch Jörg Krüger 《文物保护研究》2016,61(2):113-122
A great number of Central Asian wall paintings, archeological materials, architectural fragments, and textiles, as well as painting fragments on silk and paper, make up the so called Turfan Collection at the Asian Art Museum in Berlin. The largest part of the collection comes from the Kucha region, a very important cultural center in the third to ninth centuries. Between 1902 and 1914, four German expeditions traveled along the northern Silk Road. During these expeditions, wall paintings were detached from their original settings in Buddhist cave complexes. This paper reports a technical study of a wall painting, existing in eight fragments, from the Buddhist cave no. 40 (Ritterhöhle). Its original painted surface is soot blackened and largely illegible. Grünwedel, leader of the first and third expeditions, described the almost complete destruction of the rediscovered temple complex and evidence of fire damage. The aim of this case study is to identify the materials used for the wall paintings. Furthermore, soot deposits as well as materials from conservation interventions were of interest. Non-invasive analyses were preferred but a limited number of samples were taken to provide more precise information on the painting technique. By employing optical and scanning electron microscopy, energy dispersive X-ray spectroscopy, micro X-ray fluorescence spectroscopy, X-ray diffraction analysis, and Raman spectroscopy, a layer sequence of earthen render, a ground layer made of gypsum, and a paint layer containing a variety of inorganic pigments were identified. 相似文献
2.
采用Ｘ射线荧光光谱仪对体表为古铜色并有金属光泽的短跗星花金龟进行了体表（背、腹面）无损多元素定性检测。样品灰化后，对其灰又进行了多元素定性检测。结果发现，此种金龟子体表所呈现的金属光泽与虫体含有较多的Ｃｕ、Ｚｎ有关。 相似文献
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The history of using tiles in Persian architecture dates back to the eleventh century. In the beginning, tiles were made of bricks and mounted with plaster. Thereafter, however, tiles were replaced with mosaics to decorate buildings. The technique of applying mosaics began in the thirteenth century and reached its summit during the Ilkhanid and Timurid periods between the fourteenth to sixteenth centuries. One of the most outstanding buildings in which mosaics were widely used is Ghaffarieh Dome, a fourteenth-century building in Maragheh, Eastern Azerbaijan. The Dome is especially noteworthy for its unique mosaic workings. Therefore, a thorough examination of the mosaics used in the Dome may pave the way for closer studies of the Ilkhanid mosaics (tile-workings) in Iran. Since there is little information on the material aspects of mosaics used in the Ghaffarieh Dome, the body and glaze of the mosaics were examined through instrumental analyses. In order to interpret the results of the analyses, they were compared with existing data about similar mosaics of Islamic lands. The presence of pyroxene (aluminum diopside) in some of the mosaic bodies revealed that the firing temperature limit in the kiln was not, most likely, uniform. Two kinds of glazes, alkaline and lead-based, were used to produce black and turquoise colors. 相似文献
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Myriam Eveno Erin Mysak Katharina Müller Gilles Bastian Nathalie Pincas Ina Reiche 《文物保护研究》2016,61(2):102-112
Recent restoration of The Rest on the Flight into Egypt by Giovanni Francesco Caroto, from the Louvre collections, included a technical examination of the Virgin's blue robe that aimed to characterize the original materials and later additions. The painting was examined using light microscopy and ultraviolet and infrared imaging, and one cross section was taken. None of these methods showed a clear distinction between the layers that were artist applied or modifications made by another hand. To gain information about the paint stratigraphy without taking additional samples, non-invasive confocal X-ray fluorescence (CXRF) analysis was carried out to examine several areas of the Virgin's robe. Using this technique, it was possible to identify the pigments and order of application of paint by the artist. All the pigments identified were considered to be artist applied, and on this basis no further cleaning was carried out and conservation proceeded with retouching of minor areas of loss or damage. This study highlights the advantages of CXRF analysis for the technical study of paintings, used in combination with classical methods for making informed conservation treatment decisions. 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.
National Museums Scotland has collections relating to many areas of science and technology, including medical science. This paper considers technical and conservation issues of an important collection of more than 150 prosthetic limbs. Much of the collection is of prosthetics developed for children born lacking or with malformed upper limbs caused by the prenatal morning sickness drug Thalidomide. However, many other examples are represented and the collection showcases a timeline of bioengineering development covering the past five decades. A wide range of plastics and metals were observed within the pieces examined, with many visibly degraded and degrading. The identification and characterization of these materials and their condition are fundamental to interpreting the development of the collection, for deciding on treatment, and for setting a strategy for future preservation. In addition to visual inspection, three analytical techniques were used to examine the various parts of the selected examples: Fourier transform infrared spectroscopy for polymer identification and condition; X-ray fluorescence spectroscopy to identify the metals and alloys present, and X-radiography to reveal the internal mechanisms of the limbs. Interpretation of the results was greatly enhanced by documentation and conversation with engineers and scientists involved in research and development of the limbs. The combination of different materials, some with conflicting environmental requirements, makes storage and display challenging as the goal is to prevent degradation of any part the object. Some objects were found to be actively degrading and for these separate storage solutions have been recommended to slow the emission of volatile degradation products that would cause further damage throughout the collection. 相似文献
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XRF技术由于其卓越的技术特点,近年来被越来越广泛地应用于工业、环境、安全等众多领域之中。本文从应用领域角度出发,就XRF技术的应用研究现状进行了梳理与总结。 相似文献
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陈健 《马钢职工大学学报》2013,(4):17-19
摘要：传统的镀层重量测试是按化学重量法或经化学处理后用仪器进行测量的,再通过人工手写、传递报告单形式进行数据传递的,此方式过程复杂,周期较长,本文采用XRF法测定镀层重量,通过网络传输方式进行数据传递,此法简单快捷,极大地缩短了检验周期,更好地满足了生产质量监控、产品质量判定、发货的需求。 相似文献
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Maria Vera Quattrini Marcella Ioele Armida Sodo Gian Franco Priori Daila Radeglia 《文物保护研究》2014,59(5):328-340
A Japanese painting on paper, in the form of a horizontal scroll from the Stibbert Museum in Florence, is being treated at the ISCR Paper Conservation Laboratory. The scroll, entitled Bamo Dōi-zu represents 33 different types of horses. Although there is no author's seal, it has been attributed to the famous Japanese artist, Kanō Sansetsu (1589–1651). Before conservation treatment, the artefact underwent technical and scientific examination in order to identify its materials and determine its conservation condition. As sampling paint layers from paintings on paper is extremely invasive, non-destructive techniques such as X-ray fluorescence spectroscopy, Raman spectroscopy, Fourier transform infrared spectroscopy, and spectrophotometry were employed. Several points from the paper support were analysed: the metal-leaf decorations, the seals and calligraphy, as well as the painted horses. Results detected and revealed a very simple palette: cinnabar (or its synthetic equivalent vermillion), shell white, carbon black, and the organic yellow gamboge. Pure gold and silver leaves were used for decorating the frontispiece. Useful information was obtained from the paper support and on its conservation conditions. Micro-destructive analyses were also performed on a few paper fragments for microscopic and scanning electron microscope equipped with an X-ray probe analysis. Results showed that materials and techniques are consistent with the Kanō School period. 相似文献