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1.
ABSTRACT The restoration of the Roman building of the third-fourth century CE called Minerva Medica, in Rome, highlighted a problem concerning the choice of the color of the bricks for integration. Current conservation practice in Italy favours a restoration that as much as possible is consistent with the original but leaves some visible differences to a careful observer. Color measurement is usually performed using portable spectrocolorimeters that provide the reflectance spectrum and also colorimetric parameters such as L* a* b*, h* L* C*, RGB, etc. In other sectors, such as for olive oils, for wines, and also for the colors of commercial products, sensory panels are used to provide results of difference/similarity and are known to be similar to observations made by consumers. In this study, data from a top quality spectrocolorimeter and from a sensory panel are compared. Twenty non-professional people were involved in the comparison between seven restoration bricks and three ancient Roman bricks from the studied site. Observations took place in a room with controlled lighting, and each observer filled out a sensory card using about 2000 known comparison colors. Comparison of the results was carried out with graphic methods and by means of cluster analysis. The results show that the sensory panel could be a useful alternative to colorimetry, while cluster analysis allowed a significant response to questions posed by conservation professionals, and was confirmed by other graphic-statistical methods. 相似文献
2.
《文物保护研究》2013,58(2):129-144
AbstractAir quality is an important factor in the preservation of cultural heritage. Systematic air quality assessment is a requirement in most heritage conservation plans. However, apart from temperature and relative humidity, air pollution, which is another air quality parameter, is less often monitored. This is the case especially, but not only, in developing and emerging economies where the lack of air pollution data is worrying. In this paper, issues with air pollution monitoring at heritage sites in developing and emerging economies, from management to technical, are reviewed. Questionnaire responses from over 20 sites in Africa, Asia, and Latin America reveal that about eight out of ten sites have not yet considered pollution data. The responses also show that cost is not the only obstacle but that lack of awareness and insufficient technical expertise are also significant issues. Different possible solutions are reviewed and their appropriateness discussed. They range from systematic monitoring to model-based estimations. Diffusion tube measurements of sulphur dioxide, nitrogen dioxide, and ozone from 11 sites are reported and discussed. 相似文献
3.
Hannah Clare 《文物保护研究》2018,63(5):64-69
ABSTRACTTestimony from colleagues in the cultural sector suggests that there is a common perception of leaders as authoritarian, infallible and invulnerable. However, developing leaders soon come to understand that good leaders often have an authenticity of their own. Being able to embrace authentic leadership in this way requires confidence. It involves accepting vulnerabilities, learning to be comfortable making decisions without all the information, and daring to risk potential failure as the best way to encourage creativity, innovation and learning. Given this dichotomy, is there a potential for the development of leadership in conservation? This paper explores the unique challenges we face as conservators in a changing sector. In it, I reconnect with professional experiences of my own and those I gained as the first conservation fellow on the Clore Leadership Programme as well as examining testimony from others in the profession and the wider cultural sector. The ideas generated are supported by literature from a variety of sources inside and outside the conservation field. Starting from what draws people to conservation in the very beginning and working through to the leadership of the profession, the paper identifies four main areas of challenge for conservation in a twenty-first-century creative economy. These are around a lack of diversity, a lack of confidence, the strength of voice and perception and issues around support, for our decision-making and for the profession as a whole. The paper concludes that a new vision for the future of conservation could not only help rebalance the diverging preventive and remedial specialisms but also be instrumental in the perception, interpretation and preservation of cultural heritage. If we expand our horizons, the bigger picture of heritage and what it can achieve for the society could be crucial to us not only changing but thriving in the modern world. 相似文献
4.
Rosario Llamas-Pacheco 《文物保护研究》2020,65(8):487-498
ABSTRACT This article analyzes different ontological categories and how they relate to the conservation of contemporary art. Faced with the necessity of apprehending the work of art from an ontological point of view, a theoretical approach is made on the concepts that most affect the conservation of contemporary art: quiddity, truth-authenticity, identity, quality, consistency, and interpretation. These are analyzed from an empirical perspective, based on the experience of conservation and restoration. Since conserving and restoring require making decisions that will affect the material and conceptual plane of the works, several possible paradigms that must be introduced into the deontological code of the profession are analyzed. In addition, the study of a new paradigm is provided, that of the death of the work of art. This paradigm can serve as a frame of reference, given the impossibility of bringing the ‘Truth’ of the artwork into the world of the sensitive. This may occur due to different conditioning factors and limitations of a material, technical, or intentional type, which affect issues that were once established as essential to the entity. On the other hand, different types of time that are related to the conservation of contemporary art are studied: biological time, the eternal present of the work, time as a constructor agent, and destructive time as a facilitator of the appearance of ruin or ruin-relic in the work of art. 相似文献
5.
ABSTRACTOutdoor sculptures are part of the sociocultural identity of cities, but are extremely vulnerable to deterioration due to exposure to harsh environmental conditions and climate change. Furthermore, deterioration by micro-organisms renders urgent the need to design protective coatings. This research proposes an integrated methodology for the development of innovative and sustainable nanofilms for applications in the area of art conservation, very specifically in the preventive conservation of outdoor sculptures. Gathering objective data for the characterization of the surface microbiota is important in order to design strategies that make use of bio or nanotechnology innovative coatings. Methodologies for the characterization of the microbiota present in a granite outdoor sculpture, followed by preliminary results on the application of protective antimicrobial coatings for surfaces of cultural objects are described. 相似文献
6.
��[Purpose/significance] Ancient book conservation in China should obey the identifiable principle so as to maintain the objectivity and authenticity, scrupulously abide by the ethics, ancient book conservation needs to confirm reasonable identifiable technology.[Method/process] This paper proved that Chinese ancient book conservation technology had identifiable function by summarizing identifiable characteristic and using the identifiable effect provided by the conservation case.[Result/conclusion] Chinese ancient book conservation technology complies with identifiable principle, integrates conservation and identifiable functions, and has favorable identifiability and conforms to the characteristics of Chinese ancient books. The application of identifiable technology should depend on the shape of ancient books and the purpose of their conservation, and the specific situation should be analyzed. 相似文献
7.
[目的/意义] 中国古籍修复应遵守可识别原则,以保持古籍原件的客观真实,恪守古籍修复伦理,中国古籍修复需要确认合理的可识别技术。[方法/过程] 通过归纳方法总结中国古籍修复技术的可识别标识,利用中国古籍修复技术修复案例提供的可识别效果,证明中国古籍修复技术具有可识别功能。[结果/结论] 中国古籍修复技术符合修复可识别原则,集修复与可识别功能于一体,具有良好的可识别性,符合中国古籍特点。应用可识别技术应随古籍形态及其修复目的而定,具体情况具体分析。 相似文献
8.
Lydia Beerkens 《文物保护研究》2016,61(3):12-16
Conservation of modern art has in the last 20 years developed from a singular case-by-case approach into a full and independent specialization in conservation with its own strategy, theory, and ethics. The methods applied today are both newly developed and partly a continuation of traditional conservation standards. New is the special focus on the artist and his intent, and on the defining of the various artistic concepts, as these elements and the artist as a stakeholder, play decisive roles in decision-making on optional treatment interventions. Challenging new materials (plastics, light, food, kinetic art, or re-used objects) require ongoing research to formulate specific instructions, and special designed guidelines for conservation, putting a new perspective on collections care. As contemporary art may be produced by the artist, by assistants or industry, and can be made of artists' materials, anything from the hardware store, re-used or reworked objects or intangible elements, the reassessing of definitions on authenticity and originality eventually lead to the reformulation of standard rules on retouching, reversibility and in particular reconstruction. Thus new conservation strategies have been designed for various types of contemporary art, where applicable built from old standards. 相似文献
9.
While working together on tradition-based and contemporary works at the Smithsonian's National Museum of African Art (NMAfA) and in private practice, the authors found that their expertise in ethnographic conservation can be applied to the conservation of contemporary works. The treatment approach to ethnographic works has evolved over decades, shifting from alteration of original surfaces and heavy restoration to an emphasis on preserving the original integrity of the artwork through minimal intervention. This paper describes the evolution of ethnographic object conservation regarding surface alteration, while specifically focusing on African objects, and discusses applications of this approach to the conservation of contemporary art. The historical change in treatment attitudes is presented using examples from NMAfA's collections to underscore why the profession developed a minimal intervention approach and to argue for the relevance of this approach to related contemporary media. 相似文献
10.
《文物保护研究》2013,58(3):12-16
AbstractThis study concerns a group of objects excavated in First World War trenches in France and Belgium and brought for conservation to the Institute of Archaeology, University College London. These objects were associated with unidentified human remains thought to be of soldiers killed in battles between 1914 and 1918. The contribution of the Institute to this project was to investigate the objects in relation to their context in an attempt to identify the human remains with which they were associated. The experience of working on sensitive material in a very particular context is discussed, and how this influenced the conservation context in which the decision-making process happened is described. It also addresses how some conservation boundaries were crossed, in order to contribute to a better understanding of life during the First World War, and discusses how material culture is valued differently in different contexts (and how this will influence conservation decisions). It concludes that neither object meaning nor conservation decisions can be viewed objectively and that conservation has to be viewed as a social process governed by economic, political, religious, social and cultural dynamics, rather than a primarily technical process. 相似文献
11.
宋世明 《图书馆工作与研究》2012,(7):126-128
古籍修复档案是古籍保护修复的重要依据。本文分析了建立古籍修复档案的必要性、可行性,阐述了古籍修复档案的内容特点、建设过程,并提出建设古籍修复档案的思考。 相似文献
12.
Kelly McHugh 《文物保护研究》2016,61(3):126-129
Comparisons are often made between the conservation of cultural material collections, often described as ethnographic, and contemporary art collections, and indeed there are significant parallels. The stewardship of both of these types of collections can challenge traditional tenets of conservation, requiring conservators to ask themselves ‘What are we preserving?’ as preservation extends beyond the physical. The work must be placed in a broader conceptual context and the conservator must seek out those who are deemed to have the most authority – whether it is the artist, the artist's assistants and estate or the source community – to establish this context. Engagement with constituents creates valuable reciprocal relationships, which can benefit the artist, community, and museum. The relationships and the parallel practice of two seemingly disparate fields are examined using examples from the National Museum of the American Indian (NMAI) and the Yale University Art Gallery (YUAG). Conservators at NMAI, a living culture museum containing archeological, historic, and contemporary art collections, are in the unique position of working with community stakeholders with direct ties to historic collections and contemporary artists whose work is actively acquired by the museum. Conservators at YUAG, an encyclopedic museum with a pedagogical directive, are attempting to establish a more rigorous program of artist engagement to direct preservation and understanding of contemporary art collections. 相似文献
13.
Public visual spaces, populated by a blend of community murals, unauthorised street art, and historic painted mercantile signs, are often the mark of an urban environment that is both progressive and eclectic. Changes in the aesthetic and cultural value of these urban mural forms have led to an increase in the appreciation and, in some instances, promotion of their artistic merit and cultural significance as examples of public art. However, examining the significance of these works, with a view to implementing a conservation approach is problematic. This is due to a number of practical and theoretical considerations that are primarily a result of the ephemeral existence of urban murals outside conventional exhibition spaces, and issues associated with their often fragmented ownership and uncertain authorship. Consequently, larger thinking on the interpretation, conservation assessment, and advocacy for the conservation of urban murals are required. Key to defining and implementing such strategies is contextualising the public visual spaces that these murals occupy and, as part of this, the local and wider communities’ perception of these murals as culturally significant objects as well as fostering awareness and understanding of appropriate measures aimed at their conservation. This paper examines the role of citizen science, or crowd-sourcing, of local community members in establishing a conservation dialogue and generating conservation- relevant data on urban murals. It looks specifically at a project involving a collection of in situ historic painted mercantile signs — also known as ghost signs — in the City of Port Phillip, Melbourne, Australia. The project fostered the establishment of an informed and open dialogue between conservation specialists and participants from the local community on the significance of local ghost signs whilst transferring knowledge on conservation processes and assessment methods. Working directly with community members, a programme was designed in which conservation and community knowledge of these urban art forms, could be collected and exchanged across digital platforms. This enabled researchers to examine how citizen science can be utilised as a research tool as well as a means to advocate for the conservation of collections of urban murals. It created the opportunity to consider the role of non-specialists and shared authorities in the collection and collation of conservation- relevant data and how information generated from what we call citizen conservation projects, can inform the way in which conservators evaluate and prioritize the conservation of urban cultural heritage. The data gathered and interpreted proved to be the most effective means of ‘conserving’ these often ephemeral forms of cultural material. 相似文献
14.
西域文书作为一种出土古代文献,具有极高的文化、历史、文物价值。珍贵文献资料在开展修复前必须要认识修复中的各种风险,并积极做好防范。中国人民大学博物馆藏西域文书出土于新疆和田,本文以其中2件唐代文书为例,通过对文书外观调研和内部检测了解其存在的病害并分析病害程度。在此基础上首先探究西域文书修复过程潜在的风险及其产生的主要原因,以便认识并明确修复中的风险源;进而通过判断风险事件发生的可能性和事件影响程度对其进行风险评估;最后,结合修复操作及方法对其进行风险定级,以期为全方位开展西域文书保护和修复工作提供理论依据及参考。 相似文献
15.
ABSTRACT As an important part of art and culture, ancient murals depict a variety of different artistic images, and these individual images have important research value. For research purposes, it is often important to first determine the type of objects represented in a painting. However, the mural painting environment makes datasets difficult to collect, and long-term exposure leads to underlying features that are not distinct, which makes this task challenging. This study proposes a convolutional neural network model based on the classic AlexNet network model and combines it with feature fusion to automatically classify ancient mural images. Due to the lack of large-scale mural datasets, the model first expands the dataset by applying image enhancement algorithms such as scaling, brightness conversion, noise addition, and flipping; then, it extracts the underlying features (such as fresco edges) shared by the first stage of a dual channel structure. Subsequently, a second-stage deep abstraction is conducted on the features extracted by the first stage using a two-channel network, each of which has a different structure. The obtained characteristics from both channels are merged, and a loss function is constructed to obtain the classification result. This approach improves the model's robustness and feature expression ability. The model achieves an accuracy of 84.24%, a recall rate of 84.15%, and an F1-measure of 84.13% when applied to a constructed mural image dataset. Compared with the AlexNet model and other improved convolutional neural network models, the proposed model improves each evaluation index by approximately 5%, verifying the rationality and effectiveness of the model for automatic mural image classification. The mural classification model proposed in this paper comprehensively considers the influences of network width and depth and can extract rich details from mural images from multiple local channels. An effective classification method could help researchers manage and protect mural images in an orderly fashion and quickly and effectively search for target images in a digital mural library based on a specified image category, aiding mural condition monitoring and restoration efforts as well as archaeological and art historical research. 相似文献
16.
《文物保护研究》2013,58(1):145-147
AbstractThis paper offers a topical overview of textile restoration and conservation in Spain. It discusses the distribution of collections and conditions of research and training. The main textile workshops are described, together with their most important projects, past, present and future. 相似文献
17.
以太湖县图书馆对馆藏古旧书画文献的保护修复为例,通过对其综合信息、病害和风险的评估,提出了馆藏古旧书画文献的保护修复原则和方法,制定了书画文献保护修复的工艺流程,以及传统书画文献保护修复的技术手段,并说明了修复后的保护和使用条件。同时,举例说明,用《清赵畇行书对联》和《清新罗山人〈柳翠图〉》两幅书画文献的保护修复情况来加强保护和修复方法的运用。 相似文献
18.
《文物保护研究》2013,58(1):81-83
AbstractThe ceremonies ofthe Maya people of Chiapas, Mexico, combine Catholic symbolism and ancient ritual. The clothes belonging to the effigies of saints, as well as other textiles, are taken out of storage, washed, dried and incensed in preparation for the saint's feast day. One such feast, Chuc Nichim, is described in detail, and the conservation implications of the rituals are discussed. 相似文献
19.
健全修复人员的绩效评价指标体系和评价制度是当前档案与古籍文献保护人才培养的重要工作之一。依据职业标准《文献修复师》的基本原则,从基本要求、相关知识和实践技能三个层面构建了档案与古籍文献修复人员职业素养评价指标体系,并通过Yaahp软件采用模糊层次分析法建立指标权重集,对国家古籍保护中心2007年至2015年古籍修复技术与保护相关培训班的课程内容进行实证分析和模糊综合评价,以期为档案和古籍文献保护评价体系的构建提供思考。 相似文献
20.
AbstractThe history of the production of electrotype copies is discussed in the context of the Victorian demand for reproduction of art of all kinds utilizing plaster of Paris, photographs, copies of old prints, as well as electrotypes, predominantly of copper. The philosophical reasons for the valuing or devaluing of electrotype and other copies are discussed. Electrodeposition of metals was used for an extraordinary number of different purposes in the Victorian period, and the general craze for electrotypes made their production very popular, being produced by men and women alike of many different backgrounds. By the Edwardian era, the need had subsided and an art historical reaction to the concept of copies had begun, with photography becoming more common. Examples of the use of electrotypes for photographic tinthotypes, as well as forgeries, discovered during conservation assessment at the Getty Museum on a plain Roman cased mirror which had been augmented by an electrotyped profile head addition, and samples from electropatterns from the collections of the Victoria & Albert Museum in London, are discussed in terms of the range and type of microstructural morphology displayed by electrotype copies. 相似文献