Pub Date : 2022-07-18DOI: 10.1080/00393630.2022.2066320
Jane Henderson
ABSTRACT This paper aims to support conservators to be recognised as positive changemakers. Effective changemakers can diagnose their experience of change, recognise their opportunity to negotiate and influence outcomes, identify the scale and depth of change required and the impact that change will have on others. Conservation practice has change at its core, with interventions on objects, collections or buildings that change them or their environment: beneficial conservation is cooperative and inclusive in how those changes are conceived and delivered. The paper considers change beyond conservation treatments offering a selection of tools and techniques to help diagnose and deliver change. The importance of engaging others in discussions and decision-making for delivering positive change is stressed.
{"title":"Conservators Delivering Change","authors":"Jane Henderson","doi":"10.1080/00393630.2022.2066320","DOIUrl":"https://doi.org/10.1080/00393630.2022.2066320","url":null,"abstract":"ABSTRACT This paper aims to support conservators to be recognised as positive changemakers. Effective changemakers can diagnose their experience of change, recognise their opportunity to negotiate and influence outcomes, identify the scale and depth of change required and the impact that change will have on others. Conservation practice has change at its core, with interventions on objects, collections or buildings that change them or their environment: beneficial conservation is cooperative and inclusive in how those changes are conceived and delivered. The paper considers change beyond conservation treatments offering a selection of tools and techniques to help diagnose and deliver change. The importance of engaging others in discussions and decision-making for delivering positive change is stressed.","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":"67 1","pages":"105 - 111"},"PeriodicalIF":0.8,"publicationDate":"2022-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45178399","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-12DOI: 10.1080/00393630.2022.2095828
C. Rogge, Joy Mazurek, M. Schilling
ABSTRACT A collection of studio materials belonging to the Brazilian neo-concrete artist Hélio Oiticica (1937–1980) was analyzed to identify the pigments and binding media present in paint mixtures created by the artist and in Brazilian house, artist, and craft paints. The labels on some of the paint mixtures link them to specific artworks, including Invenções 6, 12, 23, and 34 (1959–1962), and Penetrável 1 (1961), and although the artworks themselves were not available for analysis, Oiticica’s methodical journals include paint recipes for these objects. The findings reveal that Oiticica used a relatively narrow range of red and yellow pigments in the mixtures, and the majority of the paint mixtures appear to be oil or oils mixed with alkyds, sometimes with additional additives, including fungicides and extenders. The journal notes are often brief and incomplete, listing only a few paint mixtures for a given work, although many more paint mixtures exist in the collection. These samples, the only physical legacy remaining for much of Oiticica’s work that was destroyed in a 2009 fire, offer an unparalleled glimpse into the materials used by this seminal artist and suggest a greater complexity to his works than has thus far been appreciated. GRAPHICAL ABSTRACT
{"title":"The Nucleus of Color: Analysis of Hélio Oiticica’s Studio Materials","authors":"C. Rogge, Joy Mazurek, M. Schilling","doi":"10.1080/00393630.2022.2095828","DOIUrl":"https://doi.org/10.1080/00393630.2022.2095828","url":null,"abstract":"ABSTRACT A collection of studio materials belonging to the Brazilian neo-concrete artist Hélio Oiticica (1937–1980) was analyzed to identify the pigments and binding media present in paint mixtures created by the artist and in Brazilian house, artist, and craft paints. The labels on some of the paint mixtures link them to specific artworks, including Invenções 6, 12, 23, and 34 (1959–1962), and Penetrável 1 (1961), and although the artworks themselves were not available for analysis, Oiticica’s methodical journals include paint recipes for these objects. The findings reveal that Oiticica used a relatively narrow range of red and yellow pigments in the mixtures, and the majority of the paint mixtures appear to be oil or oils mixed with alkyds, sometimes with additional additives, including fungicides and extenders. The journal notes are often brief and incomplete, listing only a few paint mixtures for a given work, although many more paint mixtures exist in the collection. These samples, the only physical legacy remaining for much of Oiticica’s work that was destroyed in a 2009 fire, offer an unparalleled glimpse into the materials used by this seminal artist and suggest a greater complexity to his works than has thus far been appreciated. GRAPHICAL ABSTRACT","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":"68 1","pages":"627 - 656"},"PeriodicalIF":0.8,"publicationDate":"2022-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47855807","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-04DOI: 10.1080/00393630.2022.2092702
B. Stuart, Sharon Wong, R. Goodall, Alice Beale, Chen Chau Chu, P. Nel, Holly Amin-Jones, Paul Thomas
ABSTRACT Sealable polyethylene bags are widely used to protect and store heritage items. While polyethylene is regarded as a stable material, consideration should be given to potential chemical interactions between the polymer and stored objects. The presence of additives used in manufactured polyethylene storage materials should also be considered when they are used in contact with objects. For this study, infrared spectroscopy has been successfully used to identify storage materials and associated additives, as well as to characterise the chemical changes that they undergo. Three case studies are presented that demonstrate that polyethylene bags can undergo chemical changes when exposed to the typical storage conditions used for heritage objects. The storage of degrading cellulose nitrate items shows that polyethylene undergoes oxidation when exposed to the cellulose nitrate degradation products and is identified as detrimental to long term storage viability of the polyethylene. An investigation of the yellow discolouration of polyethylene bags suggests that the oxidation of antioxidant additives, rather than the polyethylene, is responsible for the colour change. It is also demonstrated that polyethylene bags used in a procedure for the consolidation of archaeological ceramics show an interaction between the adhesive solvent employed and the bag additives.
{"title":"Safe Storage? An Assessment of Polyethylene for the Storage of Heritage Objects","authors":"B. Stuart, Sharon Wong, R. Goodall, Alice Beale, Chen Chau Chu, P. Nel, Holly Amin-Jones, Paul Thomas","doi":"10.1080/00393630.2022.2092702","DOIUrl":"https://doi.org/10.1080/00393630.2022.2092702","url":null,"abstract":"ABSTRACT Sealable polyethylene bags are widely used to protect and store heritage items. While polyethylene is regarded as a stable material, consideration should be given to potential chemical interactions between the polymer and stored objects. The presence of additives used in manufactured polyethylene storage materials should also be considered when they are used in contact with objects. For this study, infrared spectroscopy has been successfully used to identify storage materials and associated additives, as well as to characterise the chemical changes that they undergo. Three case studies are presented that demonstrate that polyethylene bags can undergo chemical changes when exposed to the typical storage conditions used for heritage objects. The storage of degrading cellulose nitrate items shows that polyethylene undergoes oxidation when exposed to the cellulose nitrate degradation products and is identified as detrimental to long term storage viability of the polyethylene. An investigation of the yellow discolouration of polyethylene bags suggests that the oxidation of antioxidant additives, rather than the polyethylene, is responsible for the colour change. It is also demonstrated that polyethylene bags used in a procedure for the consolidation of archaeological ceramics show an interaction between the adhesive solvent employed and the bag additives.","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":"68 1","pages":"669 - 678"},"PeriodicalIF":0.8,"publicationDate":"2022-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43314682","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-04DOI: 10.1080/00393630.2022.2091730
Jiahui Zhang, G. Wei, Hu Zhou
ABSTRACT Traditional sticky rice-lime mortar plays an important role in the restoration of Chinese historical buildings. However, its application in ancient building restoration is restricted due to some shortcomings of lime-based materials such as high shrinkage, low hardness in the early phase, cracking during carbonation, etc. In order to make better use of sticky rice-lime mortar, the research presented in this article evaluates the influence of admixtures (flax fiber, polypropylene fiber, and paper fiber) on the properties of traditional sticky rice-lime mortar by testing compressive and flexural strengths, surface hardness, drying shrinkage, water absorption, freezing-thawing cycles, carbonation degree, and through performing X-ray diffraction analysis (XRD) and scanning electron microscopy (SEM). Results revealed that three types of fibers ameliorated the mechanical strength, anti-shrinkage performance, durability, and microstructure of traditional sticky rice-lime mortar. 1.5% paper fiber was the most effective admixture to increase the mechanical properties and reduce the water absorption rates, and it improved the freeze–thaw cycles by more than 10 times; the incorporation of polypropylene fiber significantly reduced the drying shrinkage rates. In the practice of brick-stone cultural heritage conservation, it is recommended to consider adding paper fibers to improve the comprehensive performance of traditional sticky rice-lime mortar and adding polypropylene fibers to improve shrinkage resistance.
{"title":"Influence of Anti-cracking Fiber on Properties of Traditional Sticky Rice-lime Mortar","authors":"Jiahui Zhang, G. Wei, Hu Zhou","doi":"10.1080/00393630.2022.2091730","DOIUrl":"https://doi.org/10.1080/00393630.2022.2091730","url":null,"abstract":"ABSTRACT Traditional sticky rice-lime mortar plays an important role in the restoration of Chinese historical buildings. However, its application in ancient building restoration is restricted due to some shortcomings of lime-based materials such as high shrinkage, low hardness in the early phase, cracking during carbonation, etc. In order to make better use of sticky rice-lime mortar, the research presented in this article evaluates the influence of admixtures (flax fiber, polypropylene fiber, and paper fiber) on the properties of traditional sticky rice-lime mortar by testing compressive and flexural strengths, surface hardness, drying shrinkage, water absorption, freezing-thawing cycles, carbonation degree, and through performing X-ray diffraction analysis (XRD) and scanning electron microscopy (SEM). Results revealed that three types of fibers ameliorated the mechanical strength, anti-shrinkage performance, durability, and microstructure of traditional sticky rice-lime mortar. 1.5% paper fiber was the most effective admixture to increase the mechanical properties and reduce the water absorption rates, and it improved the freeze–thaw cycles by more than 10 times; the incorporation of polypropylene fiber significantly reduced the drying shrinkage rates. In the practice of brick-stone cultural heritage conservation, it is recommended to consider adding paper fibers to improve the comprehensive performance of traditional sticky rice-lime mortar and adding polypropylene fibers to improve shrinkage resistance.","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":"68 1","pages":"679 - 690"},"PeriodicalIF":0.8,"publicationDate":"2022-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44776453","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-28DOI: 10.1080/00393630.2022.2059990
Isabel Garcia Gomez
ABSTRACT The Geneva Museum of Ethnography (MEG) often engages the participation of source-community artists and representatives when studying collections or creating exhibitions. At the same time, the museum's conservation department increasingly seeks to care for objects in a manner based not on the values assigned at the time of their acquisition, but according to their status as defined by the communities that used or created them, and to respond to those communities’ requests when it comes to sacred or secret objects. To achieve this, we believe that only a participatory approach involving these communities’ representatives will allow us to define the specific care objects should receive. Although the MEG is located in a non-colonizing country, Switzerland, its collection is largely the result of colonial enterprises from which the country nevertheless benefited. While the collection includes objects from a considerable number of different communities, the MEG is not engaged in participatory approaches specifically linked to reparation. How then do we ascertain the needs of such highly diverse collections and how do we define the priorities for their care? This raises the question of which stakeholders have the legitimacy to define an object’s or collection’s needs if their visions do not necessarily reflect those of an entire community. How can the museum define who has the legitimacy to answer its questions? Indeed, does the museum itself have the legitimacy to judge the legitimacy of others? One compromise is to accept that there can be no one solution, only a multiplicity of evolving solutions, and that these solutions are acceptable only insofar as they respect multiple voices and the intention to promote the collections’ wellbeing as well as that of the stakeholders who experience the benefit of interacting with those collections.
{"title":"The Quest for Improved Collection Care: Opportunities for Participatory Processes Involving Distant Source Communities","authors":"Isabel Garcia Gomez","doi":"10.1080/00393630.2022.2059990","DOIUrl":"https://doi.org/10.1080/00393630.2022.2059990","url":null,"abstract":"ABSTRACT The Geneva Museum of Ethnography (MEG) often engages the participation of source-community artists and representatives when studying collections or creating exhibitions. At the same time, the museum's conservation department increasingly seeks to care for objects in a manner based not on the values assigned at the time of their acquisition, but according to their status as defined by the communities that used or created them, and to respond to those communities’ requests when it comes to sacred or secret objects. To achieve this, we believe that only a participatory approach involving these communities’ representatives will allow us to define the specific care objects should receive. Although the MEG is located in a non-colonizing country, Switzerland, its collection is largely the result of colonial enterprises from which the country nevertheless benefited. While the collection includes objects from a considerable number of different communities, the MEG is not engaged in participatory approaches specifically linked to reparation. How then do we ascertain the needs of such highly diverse collections and how do we define the priorities for their care? This raises the question of which stakeholders have the legitimacy to define an object’s or collection’s needs if their visions do not necessarily reflect those of an entire community. How can the museum define who has the legitimacy to answer its questions? Indeed, does the museum itself have the legitimacy to judge the legitimacy of others? One compromise is to accept that there can be no one solution, only a multiplicity of evolving solutions, and that these solutions are acceptable only insofar as they respect multiple voices and the intention to promote the collections’ wellbeing as well as that of the stakeholders who experience the benefit of interacting with those collections.","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":"67 1","pages":"87 - 95"},"PeriodicalIF":0.8,"publicationDate":"2022-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42188894","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-28DOI: 10.1080/00393630.2022.2084965
Stefano Bizzarri, Tiziana De Gennaro, C. Careccia, A. Bertozzi, M. Degli Esposti, Huda Musabh Al Dahini, Buthaina Rashid Al Ghefeili
ABSTRACT The relationship between planning and restoration work, and the acquisition of data necessary for contextual understanding of Salūt, a large Iron Age site, are discussed. Its different historical contexts required close collaboration among architects, archaeologists, Ministry of Heritage and Culture staff, local workers and students from Sultan Qaboos University (SQU). A central aim was to awaken the interest of the community and encourage them to play an active role in the conservation of local heritage sites. This and the technical solutions adopted are also a focus of the paper. Intangible cultural heritage should be considered to be an integral part of the site. A number of activities was undertaken to develop sustainable responses for the management of Omani cultural heritage: historical and ethnographic research into the traditional techniques of mudbrick and mud plaster construction, with visits to surrounding villages to identify Omani residents familiar with the process; information storage, images, and video interviews for a multi-level, potentially replicable approach; creation and implementation of guidelines for the conservation of the mudbrick walls; organization of site visits, awareness-raising activities for local students and interested community members; the training of two female SQU students in stratigraphic excavation and conservation of artifacts; and the use of state-of-the-art surveying and 3D modeling for the evaluation of interventions. The program at Salūt site, until the interruption due to the pandemic, has produced largely positive results, and the methodology developed here can promote recovery of other archaeological sites similar to Salūt.
{"title":"A Multidisciplinary Approach to the Conservation of Salūt, Sultanate of Oman","authors":"Stefano Bizzarri, Tiziana De Gennaro, C. Careccia, A. Bertozzi, M. Degli Esposti, Huda Musabh Al Dahini, Buthaina Rashid Al Ghefeili","doi":"10.1080/00393630.2022.2084965","DOIUrl":"https://doi.org/10.1080/00393630.2022.2084965","url":null,"abstract":"ABSTRACT The relationship between planning and restoration work, and the acquisition of data necessary for contextual understanding of Salūt, a large Iron Age site, are discussed. Its different historical contexts required close collaboration among architects, archaeologists, Ministry of Heritage and Culture staff, local workers and students from Sultan Qaboos University (SQU). A central aim was to awaken the interest of the community and encourage them to play an active role in the conservation of local heritage sites. This and the technical solutions adopted are also a focus of the paper. Intangible cultural heritage should be considered to be an integral part of the site. A number of activities was undertaken to develop sustainable responses for the management of Omani cultural heritage: historical and ethnographic research into the traditional techniques of mudbrick and mud plaster construction, with visits to surrounding villages to identify Omani residents familiar with the process; information storage, images, and video interviews for a multi-level, potentially replicable approach; creation and implementation of guidelines for the conservation of the mudbrick walls; organization of site visits, awareness-raising activities for local students and interested community members; the training of two female SQU students in stratigraphic excavation and conservation of artifacts; and the use of state-of-the-art surveying and 3D modeling for the evaluation of interventions. The program at Salūt site, until the interruption due to the pandemic, has produced largely positive results, and the methodology developed here can promote recovery of other archaeological sites similar to Salūt.","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":"67 1","pages":"23 - 31"},"PeriodicalIF":0.8,"publicationDate":"2022-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47256508","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-21DOI: 10.1080/00393630.2022.2066319
C. Pesme, Kirsten Dunne
ABSTRACT The formulation of display recommendations plays an important role in collections management and in an institution’s sustainability. This paper presents the development of the display recommendations approach adopted at the National Galleries of Scotland (NGS) since the acquisition of a microfader some ten years ago. The benefits of expanding from a material-based to a value-based approach to light risk mitigation are explored using the jointly-owned Artist Rooms touring collection as a case study: it is shown how assessing the relative value at risk of an item and deducing the associated preservation target enables an organisation to define the optimal conditions for its careful use, when exposure to light is involved. Microfading testing priorities can then be set following in decreasing order of preservation target. The paper also shows how grouping the relative value at risk to light into broader categories improves the implementation of such a value-based approach. The use of benchmarking of different scenarios can assist in determining which option best fits collection needs and institutional capacity. The paper also discusses how NGS would benefit from implementing the proposed value-based approach by comparing microfading costs between the value-based and material-based approaches.
展示建议的制定在馆藏管理和机构的可持续性中起着重要作用。本文介绍了苏格兰国家美术馆(National Galleries of Scotland, NGS)自十年前购置了一台微型展板以来，所采用的展示推荐方法的发展情况。通过共同拥有的艺术家房间巡回收藏作为案例研究，探索了从基于材料的方法扩展到基于价值的方法来减轻光风险的好处:它展示了如何评估物品的相对风险价值并推断相关的保存目标，从而使组织能够在涉及暴露于光的情况下确定其谨慎使用的最佳条件。然后可以按照保存目标的降序设置微衰落测试优先级。本文还展示了如何将风险相对价值分组到更广泛的类别中，以改进这种基于价值的方法的实施。对不同场景进行基准测试可以帮助确定哪个选项最适合收集需求和机构能力。本文还通过比较基于价值和基于材料的方法之间的微衰落成本，讨论了NGS如何从实施拟议的基于价值的方法中受益。
{"title":"The Continuing Development of Display Recommendations at the National Galleries of Scotland: Exploring a Value-based Decision Strategy for Light Risk Mitigation","authors":"C. Pesme, Kirsten Dunne","doi":"10.1080/00393630.2022.2066319","DOIUrl":"https://doi.org/10.1080/00393630.2022.2066319","url":null,"abstract":"ABSTRACT The formulation of display recommendations plays an important role in collections management and in an institution’s sustainability. This paper presents the development of the display recommendations approach adopted at the National Galleries of Scotland (NGS) since the acquisition of a microfader some ten years ago. The benefits of expanding from a material-based to a value-based approach to light risk mitigation are explored using the jointly-owned Artist Rooms touring collection as a case study: it is shown how assessing the relative value at risk of an item and deducing the associated preservation target enables an organisation to define the optimal conditions for its careful use, when exposure to light is involved. Microfading testing priorities can then be set following in decreasing order of preservation target. The paper also shows how grouping the relative value at risk to light into broader categories improves the implementation of such a value-based approach. The use of benchmarking of different scenarios can assist in determining which option best fits collection needs and institutional capacity. The paper also discusses how NGS would benefit from implementing the proposed value-based approach by comparing microfading costs between the value-based and material-based approaches.","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":"67 1","pages":"219 - 227"},"PeriodicalIF":0.8,"publicationDate":"2022-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47196892","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-16DOI: 10.1080/00393630.2022.2086403
Hailiang Yang, Hailing Zheng, Yang Zhou, Geng Niu, Huali Dai
ABSTRACT Yingpan, Xinjiang, was an important site on the Silk Road of China. A large number of precious objects with exquisite patterns have been excavated from this site, and they provide valuable physical evidence for the study of the cultural exchanges between China and the rest of the world. The conservation methods applied to a pair of cloud pattern-painted boots excavated in Yingpan, Xinjiang, are introduced in this paper, and the various factors influencing the repair process are explained. The results show that an oil-in-water emulsifier with contaminant removal and antibacterial functions effectively softened the hardened and deformed ancient leather. The use of near infrared spectroscopy (NIR) to evaluate the dosage of the softening agent can prevent excessive use of softening agents on historical leathers. A silk crepeline method was used to influence the physical reinforcement of the boots without affecting their appearance. It improved the fiber strength of the ancient textiles. This article is a good reference for conservators seeking to repair ancient leather products with textiles.
{"title":"The Conservation of Cloud Pattern-painted Boots (1800–1600 BP) Excavated in Yingpan, Xinjiang","authors":"Hailiang Yang, Hailing Zheng, Yang Zhou, Geng Niu, Huali Dai","doi":"10.1080/00393630.2022.2086403","DOIUrl":"https://doi.org/10.1080/00393630.2022.2086403","url":null,"abstract":"ABSTRACT Yingpan, Xinjiang, was an important site on the Silk Road of China. A large number of precious objects with exquisite patterns have been excavated from this site, and they provide valuable physical evidence for the study of the cultural exchanges between China and the rest of the world. The conservation methods applied to a pair of cloud pattern-painted boots excavated in Yingpan, Xinjiang, are introduced in this paper, and the various factors influencing the repair process are explained. The results show that an oil-in-water emulsifier with contaminant removal and antibacterial functions effectively softened the hardened and deformed ancient leather. The use of near infrared spectroscopy (NIR) to evaluate the dosage of the softening agent can prevent excessive use of softening agents on historical leathers. A silk crepeline method was used to influence the physical reinforcement of the boots without affecting their appearance. It improved the fiber strength of the ancient textiles. This article is a good reference for conservators seeking to repair ancient leather products with textiles.","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":"68 1","pages":"590 - 601"},"PeriodicalIF":0.8,"publicationDate":"2022-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47682603","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-16DOI: 10.1080/00393630.2022.2084809
Zhanyun Zhu, Jia Wang, Xiuya Yao, Qinglin Ma, Juanli Wang, Zhiyong Lu, Yunyan Tian, Jianghao Du, Zhimin Li, Yan Zhu, Liu Liu, Jing Cao
ABSTRACT In this study, a Tara thangka (from a complete set of 21) dating to the mid-Qing Dynasty (1776–1839 CE) at Daxingshan Temple in Xi'an, Shaanxi, China was analyzed using various techniques, including portable X-ray fluorescence spectroscopy (p-XRF), Raman spectroscopy (RS), Fourier transform infrared spectroscopy (FTIR), optical microscopy (OM), and mass spectrometry-based proteomics. Through a multi-analytical methodology, in situ non-invasive testing was complemented with an analysis of a limited number of samples. By complementary evidence derived from the above analyses, it can be determined that the thangka was painted on a hemp substrate, with common colorants such as cinnabar, orpiment, gold, azurite, and malachite, and porcine glue as binding material. These results provided important scientific data for the production crafts of the precious Tara thangkas, contributing to the revelation of its value in art history and enabling conservators to make informed conservation decisions.
{"title":"Multi-analytical Study on the Tara Thangka at Daxingshan Temple in Xi'an, Shaanxi, China","authors":"Zhanyun Zhu, Jia Wang, Xiuya Yao, Qinglin Ma, Juanli Wang, Zhiyong Lu, Yunyan Tian, Jianghao Du, Zhimin Li, Yan Zhu, Liu Liu, Jing Cao","doi":"10.1080/00393630.2022.2084809","DOIUrl":"https://doi.org/10.1080/00393630.2022.2084809","url":null,"abstract":"ABSTRACT In this study, a Tara thangka (from a complete set of 21) dating to the mid-Qing Dynasty (1776–1839 CE) at Daxingshan Temple in Xi'an, Shaanxi, China was analyzed using various techniques, including portable X-ray fluorescence spectroscopy (p-XRF), Raman spectroscopy (RS), Fourier transform infrared spectroscopy (FTIR), optical microscopy (OM), and mass spectrometry-based proteomics. Through a multi-analytical methodology, in situ non-invasive testing was complemented with an analysis of a limited number of samples. By complementary evidence derived from the above analyses, it can be determined that the thangka was painted on a hemp substrate, with common colorants such as cinnabar, orpiment, gold, azurite, and malachite, and porcine glue as binding material. These results provided important scientific data for the production crafts of the precious Tara thangkas, contributing to the revelation of its value in art history and enabling conservators to make informed conservation decisions.","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":"68 1","pages":"602 - 613"},"PeriodicalIF":0.8,"publicationDate":"2022-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44076482","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-07DOI: 10.1080/00393630.2022.2076779
Michael Varcoe-Cocks, M. Łukomski, M. Lelyveld, Vincent L. Beltran, Caitlin Breare, C. Winter
ABSTRACT Recent environmental guidance in the cultural heritage field reflects the increasingly important objectives of sustainability and reduced carbon footprint. New and revised guidance from organisations such as the Bizot Group, IIC/ICOM-CC, AICCM, and ASHRAE share common principles, including consideration of passive low-energy environmental control methods, adoption of realistic target conditions given the building envelope and exterior climate, and support for broader environmental parameters for many classes of objects. Motivated by an interest in energy savings and security, as well as broad organisational involvement and buy-in for implementing environmental change, the National Gallery of Victoria (NGV) in Melbourne, Victoria, is adopting the Bizot Green Protocol (BGP) for its collection and for outgoing loans. Initial NGV trials of a transitionary ‘soft Bizot’ setting – temperature between 20°C and 23°C with 24-hour fluctuations of no more than ±1.5°C and relative humidity between 46% and 56% with 24-hour fluctuations of no more than ±4% – demonstrated reduced energy use. The NGV and the Getty Conservation Institute are collaborating to examine object response during this environmental transition. In addition to visual monitoring of several works in the collection using macrophotography, acoustic emission (AE) monitoring will be carried out on a Flemish retable consisting of carved and polychromed wood and oil paint. AE monitoring is a highly sensitive technique that measures energy, in the form of transient elastic waves, released by and propagated through a material such as wood that has undergone brittle cracking. This has the potential benefit of detecting environmentally induced micro-changes in an object before damage is visible to the viewer.
{"title":"Developing an Adaptive Climate Control Strategy and Programme Monitoring Micro-change in Wooden Heritage Objects","authors":"Michael Varcoe-Cocks, M. Łukomski, M. Lelyveld, Vincent L. Beltran, Caitlin Breare, C. Winter","doi":"10.1080/00393630.2022.2076779","DOIUrl":"https://doi.org/10.1080/00393630.2022.2076779","url":null,"abstract":"ABSTRACT Recent environmental guidance in the cultural heritage field reflects the increasingly important objectives of sustainability and reduced carbon footprint. New and revised guidance from organisations such as the Bizot Group, IIC/ICOM-CC, AICCM, and ASHRAE share common principles, including consideration of passive low-energy environmental control methods, adoption of realistic target conditions given the building envelope and exterior climate, and support for broader environmental parameters for many classes of objects. Motivated by an interest in energy savings and security, as well as broad organisational involvement and buy-in for implementing environmental change, the National Gallery of Victoria (NGV) in Melbourne, Victoria, is adopting the Bizot Green Protocol (BGP) for its collection and for outgoing loans. Initial NGV trials of a transitionary ‘soft Bizot’ setting – temperature between 20°C and 23°C with 24-hour fluctuations of no more than ±1.5°C and relative humidity between 46% and 56% with 24-hour fluctuations of no more than ±4% – demonstrated reduced energy use. The NGV and the Getty Conservation Institute are collaborating to examine object response during this environmental transition. In addition to visual monitoring of several works in the collection using macrophotography, acoustic emission (AE) monitoring will be carried out on a Flemish retable consisting of carved and polychromed wood and oil paint. AE monitoring is a highly sensitive technique that measures energy, in the form of transient elastic waves, released by and propagated through a material such as wood that has undergone brittle cracking. This has the potential benefit of detecting environmentally induced micro-changes in an object before damage is visible to the viewer.","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":"67 1","pages":"283 - 292"},"PeriodicalIF":0.8,"publicationDate":"2022-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49115752","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：