共查询到20条相似文献，搜索用时 31 毫秒
1.
《Journal of Cultural Heritage》2009,10(1):63-72
At the instigation of the Musée du Louvre's Department of Egyptian Antiquities, an intensive programme to study black bronze has been carried out at the Centre de Recherche et de Restauration des Musées de France. Systematic research has been undertaken on the museum's collection to identify objects that might have an intentional black patina.The same experimental protocol has been applied to all the objects, alllowing this study to be one of the most important coherent investigation on this type of bronze decoration. It involves the use of non-invasive analytical methods in order to obtain the maximum amount of information possible about the chemical nature and structure of the surface layer. The protocol makes it possible to compare objects and to propose an interpretation of how this decorative technique evolved during the Egyptian period.Based on previous stylistic investigations (by J. Cooney, 1966) and personal observation, sixteen objects dating from the Middle Kingdom to the Late Period were selected. Thanks to elemental analyses, twelve of them were identified as being intentionally patinated. Only ten of these could be described as hmty-km, because the base patinated alloy contains small amounts of gold and/or silver and the black patina is made up mainly of cuprous oxide Cu2O (cuprite). Among the four other objects, one patina is very close to the black bronze patina, but contains neither gold nor silver. Three other pieces have an unusual patina. A lack of other comparable examples makes it very difficult to determine whether the patinas are of ancient origin. 相似文献
2.
她这么优雅地在我面前一坐,言谈举止亲切随意,落落大方,仿佛是老友聚会似的。黑色缎面的中式上装,而袖口所镶的金黄红蓝四色大花宽边和紫色的指甲、硕大的紫晶戒子,张扬着她作为舞者的风韵气质。眉宇间的秀爽之气,顾盼有情的眼神,敏锐犀利的言词,直言无讳的观点……我面前的她,是真实、亲切的,甚至是唯美的、诗意的。这是此次我在沪上与她面对面访谈时的感觉。 相似文献
3.
Diego Cauzzi Giuseppe Chiavari Simona Montalbani Dora Melucci Darinn Cam He Ling 《Journal of Cultural Heritage》2013,14(1):70-75
The sculptural polychromy in the Zhongshan Grottoes, sited in northwest China, has been investigated in terms of chemical composition of employed materials and pigments, state of conservation and painting technique. Raman analysis, Fourier-transform infrared analysis, analysis through energy-dispersive X-ray spectrometry coupled to scanning electron microscopy and pyrolysis coupled to gas chromatography and mass spectrometry were applied. Six analyzed samples showed silicates and kaolin as main components of the ground layers. Also lead white has been found in these layers. Minium, red-earth and mercury sulfide are the red pigments detected in the polychromy. A mixed use of malachite and atacamite has been detected in three green samples. Optical characteristics of atacamite and malachite found in the samples indicate a synthetic origin. The presence of a synthetic organic pigment such as phthalocyanine chlorinated pigment was also revealed. Ultramarine blue pigment, obtained by purification of lapis lazuli, has been detected in the blue sample. As for the binders used, fatty materials and siccative oil were found. 相似文献
4.
《Journal of Cultural Heritage》2014,15(3):283-291
Metallographic features of ancient bronze artefacts often hide peculiar micro-chemical processes and corrosion behaviours, which are worth to be studied as they can provide conservators and archaeologists with valuable tools and information. It is widely documented that Chinese bronzes were cast and the way to adjust their properties was to change the alloy composition. In particular, addition of lead, which is insoluble in the bronze matrix, results in the formation of inclusions or globules, which undergo oxidation processes leading to their conversion into corrosion products. The mechanisms through which this occurs were still poorly investigated. The present work was conducted to further study the corrosion behaviour of high-leaded bronze, especially focusing on the behaviour of lead globules. To this aim, a collection of Chinese archaeological bronzes, showing intermediate steps of degradation, were selected and investigated. The use of combined microscopy-based, molecular and elemental, analytical techniques allowed the characterization as well as the precise location of corrosion products, thus enabling us to propose a degradation pathway basing on thermodynamic data provided by Pourbaix diagram. The achieved results will be useful for researchers involved in these kinds of studies to better interpret data obtained. 相似文献
5.
6.
《Journal of Cultural Heritage》2007,8(3):307-314
The analysis of 42 glass fragments, excavated in the Italian archaeological site of San Martino di Ovaro, that includes a palaeochristian church dated from the V–VI century, has been done using the PIXE technique in a fully non-destructive way without any sample preparation. The results have been validated with a set of standards and using PIGE data acquired in parallel. The data of 29 of the 42 glasses indicate that an earlier group of samples (window sheets and sacred vessels, dated from the V–VI century) is typical of the Roman technology and can be associated to a Levantine production of natron glass. The blue glasses of this group are all window sheets coloured with cobalt, probably from the Near-East. The remaining heterogeneous samples (lamps, necklaces, cups) are related by their type and function and by the different compositions, to the later use of the site as a market place. The natron glasses of San Martino di Ovaro provide new data for the understanding of the changes in the glass industry in North-eastern Italy and nearby regions across the fall of the Western Roman Empire. 相似文献
7.
Giorgio Pozza David Aj Giacomo Chiari Franco De Zuane Marialuisa Favaro 《Journal of Cultural Heritage》2000,1(4)
The room-temperature photoluminescence spectra of various samples of Egyptian blue (CaCuSi4O10) are presented, discussed and compared with those of recently synthesized compounds corresponding to the ancient pigments Han blue (BaCuSi4O10) and Han purple (BaCuSi2O6). All the samples of Egyptian blue show identical spectra, in spite of their very different origin. The spectra of Han blue and Han purple are significantly different. Since the Cu2+ ion may be considered the only luminescent centre in the spectral range under investigation, the differences between the spectra of the various pigments are ascribed to a ligand-field change. This can be related to the larger size of the Ba2+ ion with respect to Ca2+. The use of PL spectra for the identification of these pigments in works of art is proposed. 相似文献
8.
《Journal of Cultural Heritage》2007,8(3):242-256
The experimental procedures and most important conclusions of the first on-site Raman study of the stained glass windows in the upper chapel of the Sainte-Chapelle, Paris are discussed. Some of the windows suffered damage during/after the French Revolution and were partly restored in the 19th century. Measurements were performed with a new portable Raman instrument on colourless, blue and green stained glasses. We illustrate how the Raman signature of the glass makes it possible to distinguish between medieval K/Ca or 19th century restored Na/Ca-based silicates and to determine their weathering degree. This is achieved by means of the extraction of vibrational parameters and then processing them, using chemometric approaches, principal components and cluster variation analyses with varying degrees of complexity. The Raman scattering intensity of weathered glasses is used to determine their relative age. The results differ from those presented in the Corpus Vitrearum Medii Aevi (obtained by visual inspection) and therefore demonstrate the need for updating these reports with modern methods such as in situ Raman spectroscopy. 相似文献
9.
《Journal of Cultural Heritage》2000,1(2):179-188
Production of Egyptian blue and green frit was obtained by pure chemicals and natural raw Egyptian materials in different experimental conditions. Changes in stoichiometric ratios and in melting temperatures were tested to synthesize the expected pigments. Obtained products were examined under the polarizing microscope and characterized by XRD analysis; in addition, absolute colour measurements were taken in CIE 1931 and CIE 1976 coordinates to evaluate colour changes. Correlations among chemical composition, melting conditions and recorded colours were discussed. 相似文献
10.
Christopher J. McNamara Margaret Breuker Marie Helms Thomas D. Perry Ralph Mitchell 《Journal of Cultural Heritage》2004,5(4):361-364
Outdoor bronze sculptures are highly susceptible to corrosion in many environments and organic coatings are widely used for their protection. The purpose of this study was to determine the susceptibility of the commonly used coating Incralac to biodeterioration by microorganisms. A yeast was isolated from a bronze statue treated with Incralac and its ability to degrade Incralac was determined using growth curves, scanning electron microscopy (SEM), and electrochemical impedance spectroscopy (EIS). The organism grew slowly on Incralac in liquid culture, but SEM images demonstrated its ability to adhere to Incralac coated metal. Additionally, the yeast caused a rapid drop in the low frequency impedance of Incralac coated metal that was not observed under sterile conditions, indicating that the organism accelerated deterioration of the coating. The potential for microbial growth to accelerate deterioration of Incralac should be considered when developing a maintenance strategy for the protection of outdoor metal monuments. 相似文献
11.
12.
Optical and SEM-EDS microscopy, X-ray powder diffraction and micro FT-IR spectroscopy investigations of the funerary klinai (couches) of Tomb 1 from Amphipolis and a stone sarcophagus from ancient Tragilos—two painted monuments made by Macedonian craftsmen of the Early Hellenistic period—identified the original materials and painting technique, as well as synthetic materials used as consolidants during past restoration treatments. The original organic binders and the superficial modern coatings have been identified by micro FT-IR spectroscopy applied directly to the sampled powders or tiny fragments and to their solvent—soluble fractions. The pigments identified on the couch of Amphipolis are: red and yellow ochre, cinnabar, Madder lake, paratacamite and antlerite, carbon black, calcium carbonate, kaolin and gypsum. The identification of egg and animal glue confirms the application of tempera and secco techniques. The detection of polymers such as polydimethylsiloxane, polyvinyl acetate and alkyd resins, is related to modern restoration products. The pigments attested on the paintings of the Tragilos' sarcophagus are: red and yellow ochre, Egyptian blue, malachite, carbon black, calcium carbonate and gypsum. The absence of organic binders combined with the constant presence of calcium carbonate in all the examined samples suggests the use of lime as the binding medium in the painted decoration of the sarcophagus. The presence of Paraloid B72 is related to recent conservation treatments. 相似文献
13.
The application of total reflection X-ray fluorescence (TXRF) to the analysis of inorganic pigments used in five Albanian icons painted by Onufri Qiprioti, in the period from the end of 16th to the beginning of 17th century is presented. After removing the protective varnish with a solvent, a dry cotton-wool bud (Q-tip) was rubbed over the painted surface to collect the micro-samples. Samples, covering the main colors and their hues, were collected of each icon. A part of the small amount of the sample was transferred to a glass carrier and analyzed by TXRF. Main types of inorganic pigments used for different colors could be identified. The results indicate a palette which included white lead, calcium white, gold, orpiment, yellow and red ochre, vermilion, red lead; a cooper based green pigment (malachite or verdigris) and smalt. 相似文献
14.
20世纪以来,包括易学文献在内的一系列重大考古发现极大地开阔了人们的学术视野,对《易经》在西方的译介产生了深刻的影响。西方学者在翻译和诠释的过程中用出土易学文献来替代通行本部分对应文字,或者结合甲骨文、金文以及古文化遗址的考古发现对《易经》的意义进行重塑,打破传统经学的藩篱,在《易经》的诠释上走出一条全新的道路。 相似文献
15.
《Journal of Cultural Heritage》2009,10(1):124-133
Microbial corrosion of glass causes problems on delicates antique glass samples. Until now, the effect of microbial activity on corrosion phenomena has not been well documented. Only a few studies have been published concerning the microflora growing on glass surfaces.The present study deals with the characterization of cultivable aerobic bacteria isolated from the historical glass window “Natività” in the Florence Cathedral, designed by Paolo Uccello and realized by Angelo Lippi between 1443 and 1444. Microbial strains were sampled from four of the 25 panels of the “Natività” in the occasion of a recent conservation treatment, due to the presence of various kinds of crusts. One hundred microorganisms were isolated, about 50% bacteria and 50% fungi. Bacteria were submitted to morphological characterization and classified in the Gram group. For twenty strains, from different glass panels, the 16S rDNA gene was amplified and sequenced. Sequence analysis showed genus Bacillus, Arthrobacter and Paenibacillus as the most representative. In particular Bacillus and Paenibacillus are crusts associated. Phylogenetic relationship among isolates was determined. Chemical analysis of the glass and crusts completed the study. 相似文献
16.
The stained glass windows of the Pavia Carthusian Monastery are an important testimony of medieval glass making in which a wood-ash flushing component was used. Glass surfaces reveal alteration processes extending to depth, with evidence of microbial corrosion. Electron microprobe analyses coupled with EDS data allow the identification of different steps in the alteration process. Microbial attack occurs in an early stage and determines component leaching of the glass, with the development of reactions in which the crystallisation of gypsum is favoured. 相似文献
17.
《Journal of Cultural Heritage》2009,10(2):275-280
Telemaco Signorini (Florence 1835-1901), one of the most important Italian painters of the 19th century, was particularly famous among his colleagues for his way of depicting dark details and shadows by using primarily blue colors. The restoration of his painting Pascolo a Pietramala (c. 1889, Galleria di arte moderna, Palazzo Pitti, Florence) gave the authors the opportunity to study Signorini's blue palette using non-invasive fiber optics reflectance spectroscopy (FORS) in the ultraviolet (UV), visible (vis), and near infrared (NIR) regions (350-1700 nm). Furthermore, to help in the identification of the pigments used, a suitable spectroscopic database was created for Prussian blue, artificial ultramarine blue, Thénard blue (or cobalt blue), and cerulean blue modern blue pigments, in masstone and in mixtures with lead white as well as zinc white. The main pigments used by the artist in the aforesaid painting were found to be Prussian blue, artificial ultramarine blue, Thénard blue (or cobalt blue). 相似文献
18.
Olivier Schalm Ine De Raedt Joost Caen Koen Janssens 《Journal of Cultural Heritage》2010,11(4):81-492
The chemical composition of 11 glass panes originating from two 13th century non-figurative windows were analyzed by means of Scanning Electron Microscopy–Energy Dispersive X-ray system (SEM-EDX). The windows were discovered in the back-wall of the triforium during the restoration of the choir of the cathedral St. Michael and St. Gudule in Brussels (Belgium). In order to determine if these windows were fabricated with glass of different origin or not, the compositional difference between the panes were compared with the variation in composition as a result of the following causes: (1) compositional fluctuation between panes cut from the same sheet of glass, (2) compositional fluctuation caused when panes are cut from different sheets that were made with the same batch, (3) compositional fluctuation caused when the glass is made from different batches at the same production center, and (4) compositional fluctuation as a result of glass produced at different fabrication centers. 相似文献
19.
Daniel de la Fuente Jesús Manuel Vega Fernando Viejo Iván Díaz Manuel Morcillo 《Journal of Cultural Heritage》2013,14(2):138-145
The costs for deterioration and soiling of different materials due to air pollution are huge and the damage to culture targets endangers seriously the rich European cultural heritage. Within the sixth Framework Programme of the EU, the overall aim of the CULT-STRAT project has been to assess and predict the effects of different pollutants on materials and objects of cultural heritage in a multipollutant scenario and to identify indicators and thresholds levels of pollutants. In particular, the present paper reports one of the studies carried out in the CULT-STRAT project at city level and focused on the town of Madrid (Spain). Different maps are shown for the past, present and possible future scenarios: inventory of stock of cultural heritage for each selected material, concentration of selected pollutants (SO2, NO2, O3 and PM10), corrosion (cast bronze) and recession (Portland limestone), exceedance of tolerable degradation thresholds for each material and corrosion-cultural heritage overlapped maps. The model and the methodology developed could be useful if apply it to towns, regions or countries in order to quantify the percentage of Cultural Heritage at risk or to quantify the percentage of the area where corrosion/recession exceeds the established tolerable levels. 相似文献
20.
Noemí Carmona María Angeles Villegas Pedro Jimnez Julio Navarro Manuel García-Heras 《Journal of Cultural Heritage》2009,10(3):439-445
Rescue archaeological excavations at an urban glass workshop of the 12th century AD in the city of Murcia (Spain) have provided one of the few evidences of glass production in the ancient Islamic territory of Al-Andalus. This paper reports the results derived from a chemical–physical characterisation study carried out on a representative sample set of glass fragments and industrial debris from that workshop. The main objectives of the research were to contribute to the knowledge of the type of glasses produced and provide some insights into the technology developed to obtain different colours in glasses. The resulting data indicated that both high-magnesia plant ash (HMG) soda-lime-silicate and soda-lime lead-silicate glasses were produced. They also indicated a deep knowledge of glass colouring techniques, which suggests that a careful control over the glass melting processes was achieved. Among others, the occurrence of bulk-coloured silver yellow and copper ruby red transparent glasses prove the skills reached by Murcian glassmakers. These results shed new light on the Islamic glass technology of a geographical area in which, up to now, little compositional and technological data from glass workshops were available. 相似文献