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1.
ABSTRACT

In August 2014, a pit containing more than 10000 porcelain shards was excavated in the southwestern area of the Palace Museum. Reign marks and other stylistic criteria dated the manufacture of these fragments from the reign of Hongwu in the Ming Dynasty (1368–98 CE) to the Guangxu reign in the Qing Dynasty (1875–1908 CE). A famille rose (fencai, 粉彩) bowl decorated with a red-ground peony pattern and having the reign mark of Qianlong (1736–96 CE) on the base was studied using several non-destructive analytical methods to determine the variation in overglaze compositions, the colorants, the application sequences, the thickness of the colored layers and the high-temperature porcelain glaze, and the identification of the surface weathering products that formed during burial. The methods include non-destructive X-ray fluorescence, Raman spectroscopy, optical stereomicroscopy, and laser confocal microscopy, as well as X-ray diffraction.  相似文献   

2.
Shosoin textiles, handed down from the eighth century in Nara, Japan, have entranced many people with their beautiful colors made from natural dyes. Dye analysis of the Shosoin textiles, including the red carpet laid inside the workshop hall at the Todaiji Temple in Nara, used for the inauguration of the statue of the Great Buddha in the temple in 752 AD; a red undergarment and a gown with a tie-dyed design worn by craftsmen in the Todaiji Temple; and embroidered shoes belonging to Empress Komyo (701–760 AD), were conducted by excitation–emission matrix fluorescence spectrometry equipped with a fiber optics probe. Comparison of the spectra to references identified safflower red (Carthamus tinctorius L.) in the red or orange areas on these original textiles. The spectrometry of the gown and the shoes offered the identification not only of safflower red but also of amur cork tree. This study finds these examples to be the oldest scientifically confirmed presence of safflower red on historic textiles at present.  相似文献   

3.
Pigments on a figurative wall painting in Poudeh village, central Iran, were analysed by micro X-ray fluorescence spectrometry, micro Raman spectroscopy, scanning electron microscopy coupled with energy dispersive X-ray spectrometry, micro Fourier transform infrared spectroscopy, X-ray diffractometry, and polarised light microscopy. Red lead, ultramarine blue, chrome yellow, brass powder, white huntite, and lammerite (Cu3(AsO4)2) were identified as red, blue, yellow, golden, white, and green pigments, respectively, while gypsum and barite were used as extender. In addition, glushinskite (MgC2O4·2H2O) was identified as a deterioration product of white huntite. Moreover, several analytical studies suggested that lammerite was a degradation product of emerald green (Cu(CH3COO)2·3Cu(AsO2)2) originally used as green pigment in the painting. The formation of lammerite is suggested to be due to the migration of arsenic throughout the paint layer. Based on the pigments identified, the wall painting is dated from the mid-nineteenth century to the mid-twentieth century.  相似文献   

4.
ABSTRACT

This work presents a study of samples of the mural painting The Allegory of the Industrial Development of São Paulo (Alegoria ao Desenvolvimento Industrial Paulista), made in the city of São Paulo, Brazil, by the artist Fulvio Pennacchi. Using transmitted light petrographic microscopy, scanning electron microscopy coupled with energy dispersive X-ray spectrometry, and X-ray fluorescence, the stratigraphy, the textures, the mineralogy, and the chemical compositions of the mural were established; therefore the painting techniques, pigments, and materials applied by the artist were identified. The mural was painted with the fresco technique and variations. This technique involves the use of materials of mineral origin, both in the support and for the pigments. About the artist’s relevance, Fulvio Pennacchi is considered an important muralist of his time, being one of the pioneers in the production of frescoes in Brazil. The mural, measuring approximately 11?×?6?m, painted in 1954, was removed from where it was originally made, in consequence of a fire that affected the place. Specialized engineers transported it, and today it is stored awaiting restoration. The data presented here can support the process of restoration of the mural, as well as contribute to the improvement of protocols for the analysis of works of art, and to the historical record of mural painting techniques over time.  相似文献   

5.
The subject of the research is an oil painting entitled Idyll created using an unusual technique. The painting layer was applied on canvas covered with photosensitive medium on which a photograph was developed. The results of the examination of Idyll in the context of its attribution to Henryk Siemiradzki (1843–1902) are discussed. Its atypical technology and the possibility of the artist having used the photographic technique are also considered. X-ray fluorescence spectroscopy, infrared spectroscopy, and scanning electron microscopy were performed to establish the technique and to characterize the pigments and materials used in the painting. The identified pigments and the information provided by analytical photography (UV, X-ray images) were compared with the results of the detailed examination of 56 of Siemiradzki’s oil paintings. Performed analyses revealed that the majority of the features identified in Idyll point to Henryk Siemiradski’s technique.  相似文献   

6.
Summary

A Roman wall painting of the first century AD, recently discovered in Rome, has been studied extensively, in situ, by non-destructive X-ray fluorescence (XRF) analysis. The coloured pigments, the medium and the plaster were all examined. The presence of potassium and calcium in all coloured layers demonstrates that the painting technique is of a type very similar to that used in Pompeian wall paintings, and described in the 1950s by Selim Augusti. In this type of wall painting, the pigments were dissolved in a lime/soap/water solution, the function of the soap being to mitigate the negative effects of lime on alkali-sensitive mineral-based colours.  相似文献   

7.
《文物保护研究》2013,58(2):56-66
Abstract

There 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   

8.
ABSTRACT

For centuries, the only painting materials used in stained-glass production were grisaille and yellow (silver) stain. At the end of the fifteenth century, stained-glass painters began to use a new material, sanguine. This paint is mainly produced with iron oxide particles, usually haematite, and allowed to obtain a colour that can vary from yellowish to brownish-red due to the nature and particle size of the iron oxide. A translucent sanguine was mostly applied as flesh and hair colour, with an opaque sanguine used for drapery, architectural motifs, and heraldry. The main goal of this study is to investigate the relationship between historic sources on the preparation and use of sanguine from the fifteenth to the nineteenth centuries and the evolution evidenced in the recipes regarding the production method. Representative recipes from several centuries (sixteenth to nineteenth centuries) were selected and reproduced for this study. These reconstructions were thoroughly characterized using X-ray powder diffraction, optical microscopy (OM), and fibre optic reflectance spectroscopy (FORS). The OM and FORS data were correlated with historic sanguine paints applied on historic stained-glass. The similarities and differences between historic and reconstructed paints are presented. The study of reconstructed sanguine’s adhesion to glass using cross-cut testing was also performed, revealing that the adhesion is strongly influenced, not only by the binder, but also by the composition and morphology of the sanguine paint.  相似文献   

9.
《文物保护研究》2013,58(3):201-210
Abstract

Thirty artists' colors have been exposed for 12weeks to 120ppb of formaldehyde in purified air as well as to purified air alone (control experiment). The exposure was carried out in the dark at ambient temperature (19 ± 2°C) and humidity (RH 44–52%). Color change (?E) was measured using a reflectance color analyzer after one, two, three, four, six, eight, 11 and 12 weeks of exposure. Color parameters (x, y, X, Y, Z, L*, a*, b* and ?E)"were also calculated from the 380–700nm spectra, recorded with a reflectance spectrophotometer, of unexposed colorants and of colorants exposed for 12 weeks to purified air and to formaldehyde. Regression analysis of the two data sets indicated that the color changes measured by these two methods were in excellent agreement (nearunity slopes, with correlation coefficients > 0.99). Exposure to either formaldehyde or pure air on watercolor paper resulted in little or no color change for all the colorants tested, including inorganic colorants, alizarin lakes, quinacridones, triphenyl methanes, indigo derivatives, arylamides and natural colorants such as curcumin. Formaldehyde, which is ubiquitous in indoor air, including museum air, does not appear to be a major threat to colorants in museum collections.  相似文献   

10.

The West treasures few moments in its history the way it treasures the story of the democratization of print. [Eighteenth century] men of letters commonly linked the spread of letters to the growth of knowledge [and to] the democratization of power … in their eyes, the citizen s reading took on a mythic significance it has never lost, even to the present. (Warner, 1993, p. 7)  相似文献   

11.
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12.
《文物保护研究》2013,58(3):177-188
Abstract

The examination of the original polychromy of a fourth century B.C. classical Greek marble basin revealed a number of unusual pigments. In addition to natural cinnabar, and Egyptian blue, analysis has shown the presence of wild madder (Rubia peregrina) as the colorant in a purple pigment. This is one of the very few instances in which the use of madder as a colorant in classical painting has been established analytically. The white pigment was found to be neutral lead carbonate (cerussite). The use of this carbonate in painting is extremely rare. The yellow pigment was identified as misy (jarosite). The use of jarosites, iron sulphates, as pigments in painting has not been reported previously.  相似文献   

13.
none 《文物保护研究》2013,58(2):92-105
Abstract

The 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   

14.
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   

15.
ABSTRACT

Composition, microstructure, and binding media of the decorative earthen plaster fragments from the Buddhist cave temple of Bezeklik (fifth–fourteenth century CE), China, were analyzed by X-ray fluorescence, X-ray diffraction, scanning electron microscopy with energy-dispersive X-ray analysis, Fourier-transform infrared spectroscopy, sieve analysis, and other methods. In addition, gas chromatography–mass spectrometry was used for identification of the organic adhesive found mixed in the earthen plaster. Studies indicated the presence of proteinaceous material, mainly beeswax, with animal glue, pine resin, and plant sterol mixed in the earthen plaster as the biopolymer. The organic additives improved the basic qualities of the mud by acting as stabilizers, hardeners, and water proofers. The loamy sand soil sourced for Bezeklik plasters shows low cohesion and disaggregation of grains occurred for want of clay-sized particles in the plaster. Due to frequent handling and transportation, the fragments are now showing distress in the form of loss of earthen support and paint layers. Based on the analytical findings, traditional binders such as sepiolite clay, slaked lime, and fish glue were introduced and fragments consolidated for display.  相似文献   

16.
One of the most important artistic circles in the first half of the fifteenth-century in Austria was the so-called ‘Older Villach's workshop’, founded by Frederic of Villach, a painter who was considered a master of fresco technique. A technical study was made of a number of wall painting cycles by the workshop of Frederic of Villach, first, to gain a broader knowledge of the painting techniques employed, and second, to allow comparison with a further group of wall paintings in Slovenia, which are stylistically related to this workshop and have been studied previously. Of special interest were artworks attributed to Frederic's son Johannes of Ljubljana and a number of other anonymous painters that show important similarities to Frederic's works. Samples of plasters and pigments were analysed by optical microscopy, scanning electron microscopy with energy dispersive X-ray spectroscopy, Fourier transform infrared spectroscopy, and X-ray diffraction. An important difference in the composition of plasters was discovered between the selected artistic groups. The palette used comprised predominantly earth and other mineral pigments. The construction of the paintings from incisions and preparatory drawings to the final modelling is basically similar and shows workshop connections. The principal painting technique was a fresco. The results contribute to a wider knowledge concerning the materials and techniques employed in gothic wall paintings in the Alpine region and offer new information that can be used to inform the future conservation of these selected wall paintings.  相似文献   

17.
《文物保护研究》2013,58(2):106-111
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18.
《文物保护研究》2013,58(4):293-300
Abstract

This paper is concerned with the rediscovery of a technique of interior wall decoration known as Escariola which was introduced by Austrian and Italian immigrants to the mid-west region of the state of Santa Catarina (southern Brazil) at beginning of the twentieth century. This coating provides a refined, attractive and durable finishing. Historical investigation combined with sample characterization using X-ray diffractometry (XRD) and differential thermal and thermogravimetric analyses (DTA/TGA) revealed that this technique consists of the application on a rendered masonry wall of a 2–3 mm thick layer of slaked lime/white cement paste which is subsequently polished with talcum powder. Samples of Escariola paste were empirically reformulated and tested on a rendered masonry wall. Guidelines for producing Escariola are proposed here.  相似文献   

19.
Lead white is widely used as a white pigment in the history of Persian painting. This paper focuses on three Persian treatises dated between the twelfth and the sixteenth century, which explained different manufacturing methods of lead white or sefidāb-i-sorb. Experimental reconstruction of each recipe to access the comprehensive meaning of the text and analytical studies with X-ray powder diffraction on products of recipes revealed white compounds other than the previously known products of hydrocerussite (Pb(OH)2?·?PbCO3) and cerussite (PbCO3) in samples. Chlorine-containing raw materials mentioned in these recipes lead to the chemical products of laurionite (Pb(OH)Cl), blixite (Pb8O5(OH)2Cl4), and phosgenite (Pb2Cl2(CO)3) in the final products. These data lead to the hypothesis of the discrepancy of the lead white pigment between Iran and Europe and a marked probability of other compounds in historic Persian lead white samples.  相似文献   

20.
《文物保护研究》2013,58(3):185-193
Abstract

The two Stangengläser, tall cylindrical vessels from the beginning of the seventeenth century, are described in detail. The severely damaged Stangengläser, decorated with diamond-point engraving and cold-painting, were challenging to treat. Research preceding the conservation revealed differences in decorating techniques. Samples of the paint layers were analyzed using micro-Fourier transform infrared spectroscopy. Two layers of resinous varnish with a middle layer of paint containing a plant gum were found on the Stangenglas with Allegory of Caritas and Zierotin coat of arms. In the plain paint layer of the Stangenglas with dancing couples, egg white was identified as the binder. The glasses, analyzed using scanning electron microscopy with energy dispersive X-ray spectrometry, had similar potash–lime–silica compositions, which seems to be characteristic for glass from Bohemian lands. Results of analysis contributed to the discussion about the possible provenance of the Stangengläser, the glassworks at Wilhelmberg, South Bohemia.  相似文献   

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