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1.
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
2.
《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
3.
《文物保护研究》2013,58(4):316-326
AbstractA survey is given of polychromed sculpture in Sweden. Historical aspects of the care of sculptures are discussed. Many retables have been imported from Lübeck and Antwerp. Polychromed sculptures are often well preserved because there was hardly any iconoclasm in Sweden. Many need treatment however due to various forms of neglect. A special case—the triptych of Kärrbo (c. 1500)—is described in detail from a technical point of view. 相似文献
4.
《文物保护研究》2013,58(1):165-167
AbstractInsect infestation is a serious problem in museum collections in Spain and Latin America. This paper investigates the efficacy of modified atmospheres as an anoxant for museum pests, using wooden objects including polychrome sculptures infested by Cerambycidae and Anobiidae species. Insects of long life cycle have been found to be very resistant to carbon dioxide atmospheres. However, inert gases such as argon and nitrogen used in plastic barrier bags effectively eliminated insects in all stages of development. No chemical alteration was observed in the treated materials, including polychromy. These treatments are in progress in a project for biodeterioration control in countries with both tropical or subtropical and Mediterranean climates. 相似文献
5.
AbstractThis paper describes the examination and treatment of three polychrome wooden sculptures by Pedro de Mena, an important seventeenth-century Spanish sculptor. These were three interesting cases, involving not only the usual conservation processes but also special situations such as the recovery of a glass eye, the replacement of missing parts and polychromy with the help of old photographs, and the analysis of a sculpture where the flesh colours varied depending on whether or not they had been exposed to sunlight. Our understanding of polychrome sculpture technique is enriched with new information concerning the blues of the cloaks, coloured glazes, and materials added to the paint to achieve different effects. 相似文献
6.
《文物保护研究》2013,58(3):142-163
AbstractCorrosion noted on a number of nineteenth and twentieth century indoor bronze sculptures in the collection of the National Gallery of Canada was the cause for a major condition survey of its Canadian, American, and European bronzes. The results led to a comprehensive study, which included material analysis. This article outlines the steps undertaken to determine the extent and type of corrosion, its possible cause(s), and potential remediation. The survey included 136 bronzes, of which 40 were selected for an in-depth study. Indoor air quality tests of the current building, housing the collection since 1988, were carried out. The dossiers and database records of the selected sculptures were reviewed to investigate their condition, treatment, and storage history. The metal, patina, and corrosion products were subjected to analysis. More areas of corrosion were generally associated with predominantly green patinas and chloride-containing compounds identified in either patina or corrosion samples. The most frequently identified compounds in the patina samples were atacamite, a copper(II) chloride hydroxide, and cuprite, a copper(I) oxide. The most frequently identified compounds in the corrosion samples were atacamite and rouaite, a copper(II) hydroxide nitrate. The analysis determined that the current environment is not contributing to the surface alterations of the sculptures; however, past storage conditions, chemical residues from artificial patination, and likely casting residues are the main causes of the current condition. 相似文献
7.
《文物保护研究》2013,58(3):110-157
AbstractConsolidation of decayed wooden artifacts can be achieved by impregnation with epoxy prepolymer dissolved in a mixture of toluene and glycidyl ether and subsequent polymerization in situ. The principles of selecting the successful method of application are discussed, and the details of the procedure given. Impregnation with the described solution causes insignificant expansion of the wood in contrast to the action of polyvinyl acetate in alcohol solution. 相似文献
8.
Juliette Langlois Guylaine Mary Hélène Bluzat Agnès Cascio Nathalie Balcar Yannick Vandenberghe 《文物保护研究》2017,62(5):247-265
Prior to the exhibition Portrait-making, Rodin and his models (2009), the Rodin museum wanted to restore two busts of Hanako and Clemenceau. Interestingly, these two sculptures contain pieces of modern modeling materials (MMMs) invented at the end of the nineteenth century as an alternative to clay or waxes. The poor state of conservation of the two portraits made any handling and exhibition impossible. Accordingly, the purpose of this article is twofold: to contribute to technical art history and conservation. Elemental and chemical analyses were done on samples from 12 sculptures (SEM–EDX, FTIR, GC–MS, GC–FID, XRD, synchrotron-based µXRF, µXANES, and µFTIR) aimed at identifying the composition of MMMs used by Rodin on plaster sculptures and establishing hypotheses about the origins of their degradation. This thorough study of their composition and degradation was necessary to implement an appropriate restoration plan. The development of conservation protocols adapted to such materials is rarely documented. Different tests were performed on mock-ups (pH, solubility, adhesion, consolidation, and cleaning). In particular, a protocol based on laser cleaning was developed and successfully applied to remove superficial dust and crusts so that the sculptures regained their original aspect. 相似文献
9.
Light-induced color changes and chemical modification of treated and untreated chestnut wood surface
AbstractThe aim of this work is to study the surface modifications of chestnut (Castanea sativa Mill.) wood by reflectance spectrophotometry and Fourier transform infrared spectroscopy (FTIR) in order to understand the mechanisms that cause changes and to suggest possible solutions to avoid degradation phenomena. The experimental data were statistically treated to evaluate their significance. Concerning the surface protection of wood, starting from the results obtained by testing different commercial products, attention was focused on a novel organic preservative/consolidant product (Linfoil®) that has attracted great interest in the field of conservation of wooden artifacts. Color monitoring showed that wood surface color undergoes an important variation due to photoirradiation, occurring within the first 24 hours and mainly due to L* decrease and b* increase. Though the protective treatment modifies wood color, nevertheless the product tested seems to protect the wood surface by reducing photoyellowing. FTIR analysis indicated that irradiation caused the degradation of lignin and increased the concentration of the chromophore groups on the wood surface. Changes in the chromaticity coordinates can be linked to the degradation of lignin and to increase of the concentration of carbonyl groups. 相似文献
10.
《文物保护研究》2013,58(2):118-122
AbstractThis paper deals with the materials used in conservation treatments in the first half of the twentieth century for the preservation and consolidation of wooden art objects from the Saxony region in Germany. The use of such materials must be seen as early attempts to find a conservation treatment for wood. The documentation of conservation treatments provides a reference to the application of oils and oil–resin mixtures. The results from the chemical analysis of samples of historic preservatives from the beginning to the middle of the twentieth century (so-called 'Puckelin') carried out by gas chromatography–mass spectrometry (GC-MS) and Fourier transform infrared (FTIR) analysis confirm the use of tung oil as a drying oil, whereas the use of linseed oil cannot be excluded. Colophony and, probably, amber varnish were used as resinous constituents. There are indications that a conservation material dating from the second half of the twentieth century most likely contained rapeseed oil. 相似文献
11.
Michal Łukomski Vincent Beltran Foekje Boersma James Druzik Ashley Freeman Marcin Strojecki 《文物保护研究》2018,63(5):181-186
ABSTRACTThis experimental program, implemented by the Managing Collection Environment Initiative at the Getty Conservation Institute, has provided data about the response of historic objects to changes in relative humidity (RH). Alongside other less sensitive documentation techniques (visual observation, physical measurements, photography, and 3D scanning), acoustic emission (AE) was monitored for six historic, museum-like wooden objects exposed to gradually increasing RH variations. Quantitative calibration of AE sensors and an anti-correlation measuring scheme to reduce environmental noise allowed the AE system to effectively trace micro-damage development caused by environmentally induced stress. Using an epidemiological approach, with respect to sample selection and experimental protocol, the obtained results can be used to explore the acceptable range of climate fluctuations for museum collections. The study’s well-controlled environmental protocol also allowed for the examination of the concept of ‘proofed fluctuation’ by the analysis of object response to reoccurring conditions. 相似文献
12.
《文物保护研究》2013,58(4):327-369
AbstractThe restoration of the Hedin altar in Rothenburg o.d.T., dated 1466, is described. The polychromed sculptures were cleaned and loose paint was fixed. Methods and materials used in the restoration of the paintings, the areas polychromed in various techniques and the brocade reliefs are mentioned. The altar was protected from direct sunlight. The construction of the shrine and the technique of carving are extensively discussed. Sculptures made from one piece of lime wood were hollowed out and closed with a plank. Traces of rough finishing are visible. Shrine and predella were polychromed after a preliminary assembly of the sculptures. The various techniques used in the undisfigured polychromy are described as they are observed with the unaided eye. It can be shown that the working methods were rational. The fabrication of relief brocades and the various patterns used are discussed in detail. The treatment of the various paintings on the wings, the predella and the reverse of the shrine is reported. The question is raised to what extent the painter Herlin can also have been responsible for the polychromy. 相似文献
13.
《文物保护研究》2013,58(1):6-10
AbstractA sixteenth-century Spanish wooden ceiling was installed in the Morning Room of Hearst Castle in the early 1920s. Since that time, the adhesion between the ground/paint layer and its wooden support has weakened considerably. As a first step in designing an effective conservation program, it was necessary to assess the role of the environment in this deterioration process. Air movement patterns, humidity and temperature parameters, air pollutants, and the impact of approximately one million visitors per year on the microclimate were studied over a one-year period. Correlations between the various components of the study were mapped, including CO2 concentrations vis-à-vis the number of visitors, and humidity and temperature changes in relation to tourists, air circulation patterns and variations in the external climate. As a result of this study, temporary measures were taken to improve the conditions of the immediate environment and proposals were made for more permanent solutions. 相似文献
14.
《文物保护研究》2013,58(1):94-98
AbstractKnown today only by the name of the region where he lived, Mestre Pirang-a, an eighteenth-century santeiro (saint-maker), is considered a great artist by afficionados of Brazilian sacred art. Part of the present work consisted in a survey and cataloguing of the surviving religious imagery in the region of the Piranga river valley. A considerable number of these images could be attributed to the master. Three sculptures were analyzed with regard to form, style, iconography and technique of execution (support and polychromy), using scientific methods. Their state of preservation was investigated and a proposal for conservation was drawn up. 相似文献
15.
An assemblage of Buddhist wall paintings and sculptures dating to the twelfth/early thirteenth century are found distributed over the interiors of the temple complex at Sumda Chun, Ladakh. Detailed investigations carried out as part of a conservation project shed light on their antiquity and production technology. The sculptures are constructed with fine mud mortar applied over a wooden armature and affixed to the walls without any support from the ground. In both the sculptures and wall paintings, the paint layer is applied over a thin gypsum ground that functions as a white colourant where unpainted. For the paint layer, azurite, vermilion, and orpiment are the dominant mineral pigments utilized. Minium (red lead) has been used for preparatory drawings and as paint. Highlighting of special areas was achieved using a laminate of tin–lead alloy and gold on relief. Overall the material and techniques employed in the execution of the wall paintings and sculptures are consistent with those reported for other early sites in the region. 相似文献
16.
《文物保护研究》2013,58(1):119-121
AbstractThe Palacio del Almirante in Cuzco, Peru, was badly damaged by an earthquake in 1950. Restoration work was interrupted due to lack of funds and various decorative elements, including the coffered wooden ceilings which had been dismantled, were dispersed. When conservation work resumed in 1975, the pieces had to be located and reassembled, with the help of photographs taken before the earthquake. The separate pieces were cleaned, disinfected and consolidated, missing pieces were replaced and the polychromy was reintegrated. Since the original beams could no longer support the weight of the ceilings, a system was devised whereby the ceilings were suspended from above by iron bars. 相似文献
17.
This paper arises from a wider research project focussed on Portuguese gilded altarpieces and sculptures of the Baroque period, which also involved research into contemporary documents and into historical context, as well as into the history of use of materials and practices in gilding technology. It focuses on the results from analyses of historical samples and samples from archaeological reconstructions of gessoes and gilded surfaces. Analytical and experimental research shed light on diverse aspects of the technology of gilding grounds, such as range and composition of materials within historical objects, methods of production of gilding materials, gilding practices, actual performance of materials and gilded surfaces, and the science underlying the artists’ empirical choice of materials and practices. The documentary research (discussed in Part 1) elucidated the analytical and experimental research presented here, and vice-versa, resulting in a richer and more balanced understanding of the gessoes and of the motives of the people involved in their production. It is hoped that the results will inform future technological studies and conservation decisions. 相似文献
18.
《文物保护研究》2013,58(3):203-209
AbstractTo inhibit the corrosion of lead objects and lead in high-lead bronzes, particularly in the presence of organic emanations from wood, paint, etc., and/or high humidity, is a difficult conservation problem. A method to prevent corrosion of lead in copper objects was therefore developed using benzotriazole (BTA). The most appropriate treatment method for the conservation of the objects was to immerse them in neutral BTA solution, for which a 0.5% (w/v) concentration of BTA was enough. For bigger objects, three or four coats of 1.0% solution applied by brushing were equally effective. The method was used successfully for the conservation of some ancient copper coins and bronze sculptures containing high amounts of lead; it can also be used to inhibit corrosion of lead objects. 相似文献
19.
《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
20.
《文物保护研究》2013,58(3):154-158
AbstractPolyethylene glycol 1540 was tested in the preservation of a waterlogged, carved, and painted wooden bowl from a prehistoric site on Patarata Island, Veracruz, Mexico. The procedure successfully employed water and Carbowax 1540 in a partial substitution process. 相似文献