在书画装裱浆糊中添加水性氟碳乳液和二氧化硅的可行性研究

浆糊作为传统书画装裱的主要粘接剂,其性能的优劣、质量的高低直接影响书画装裱的成败及裱件的质量、保存时间的长短。我国自古就有在书画装裱浆糊中添加某种物质来改变浆糊性能的做法,为了了解和弄清古人此做法的目的,依据水性氟碳乳液和二氧化硅的特性,本文通过在书画装裱的浆糊中添加不同比例的水性氟碳乳液和二氧化硅,以其对书画装裱浆糊的粘度、酸度、装裱后裱件的强度、老化速度等的影响为主要研究内容。结果表明,在浆糊中添加水性氟碳乳液的比例越大,浆糊的PH值越大、裱件质地越硬。相反,添加二氧化硅的比例越大,浆糊的粘度也越大,酸度和裱件的柔韧性变化不太明显。     

书画装裱粘接剂糊化及剥离强度研究

浆糊是书画装裱过程中主要的黏合材料,是装裱优劣和成败的关键,浆糊的制作条件决定其使用品质。为此,本工作以书画装裱用的粘接剂小麦淀粉为原料,采用快速粘度分析仪(RVA)制作糊化淀粉,研究了不同浓度、搅拌速率、搅拌时间和最高温度等制作条件对糊化曲线的影响。结果表明随着浓度的增加,衰减值和回生值分别增大,说明浆糊的稳定性差、冷却后凝胶性强。随着搅拌时间和速率的增加,最终粘度下降。最高温度对糊化特性曲线形状有影响,最高温度越高,糊化温度升高,最终粘度增大。利用物性仪测试了不同陈化时间对成糊淀粉粘接力的影响。陈化时间越长,糊化淀粉发生大分子链降解或重结晶等不同程度的老化,表现为剥离强度减小,粘附性下降。由实验结果确定浆糊的最优制作条件是浓度3g/25mL,温度95℃,搅拌时间2min,搅拌速度120r/min。以上工作在验证传统经验的同时也给书画装裱提供了理论依据。     

和纸与古糊在日本挂轴装裱中作用的探析

纸张与浆糊是书画装裱的重要材料,其性质影响着裱件的整体美观与保存寿命。日本继承了中国传统的装裱样式,并结合自身的文化艺术特点发展出独具特色的装裱材料——和纸与古糊。在挂轴装裱的不同阶段使用不同性质的和纸与浆糊,体现出日本对传统装裱文化的继承与创新。同时,古糊与和纸结合使用,相得益彰的成功经验,对我国传统书画装裱工艺的继承与创新具有一定的借鉴意义。     

防霉防蛀装裱粘合剂SDK的性能研究

取代度为０．６－０．８的变性淀粉粘合剂ＳＤＫ具有与小麦面粉浆糊相似的书画装裱特性,其对各种书画材料的影响小于面粉浆糊。ＳＤＫ粘合剂的防霉防蛀性能改变了在面粉浆糊中添加防霉防蛀剂的传统方法,有可能成为替代面粉浆糊的新一代书画装裱粘合剂。     

书画装池治糊技艺概略

裱以糊就,用糊佳则舒卷温适。书画装裱使用的粘合剂应具有较好的浸湿性、黏附性、成膜性和可逆性,既要黏度适中,又要黏而无性,洁净、防蛀。浆糊的优劣直接影响书画装潢的质量。裱件的霉变、虫蛀、空壳、折裂、翘曲变形无不与之有关。它是整个装裱工艺中的一项关键性材料,也是影响裱件质量的第一步。因此,掌握正确的治糊技艺,明晰浆糊性质对整个书画装池工作至关重要。     

初学裱画之感——浆糊的制作与应用

装裱书画,是我国具有民族传统的一门特殊艺术。书画必须经过精心装裱才便于欣赏、收藏、流传,字画装裱的好坏,会直接影响作品的效果,而浆糊的制作是最关键之一。     

α淀粉酶改性淀粉的制备及在书画装裱中的应用研究

为探讨酶改性淀粉在书画装裱中的应用,用α-淀粉酶对浓度为10%的小麦原淀粉进行改性,制得装裱胶粘剂,其最佳制备条件为:α-淀粉酶用量对绝干淀粉量11U/g,反应温度60℃,pH=6.6,反应时间25min,所得溶液粘度为2.0mPa.s。经在书画装裱中的实际试用表明,酶改性淀粉与传统小麦面粉浆糊相比,不仅具有较高的稳定性,良好的抗霉变性能,还可提高宣纸的强度性能,利于裱件的长期保存。实验结果提示,α-淀粉酶改性淀粉有可能替代传统胶粘剂,值得进一步研究。     

几件明清时期书画装裱用纸的检测和相关问题分析

纸张的好坏及使用位置和使用方法的恰当与否直接关系到书画装裱和修复的好坏,是影响书画装裱修复的重要因素。为此通过对明清时期几件书画装裱用纸进行了检测分析,发现明清时期书画装裱用纸中以竹纸和有竹子为原料的纸张居多,不同纸张分别应用在不同环节上,同时,宣纸也作为书画装裱用纸使用。这和当时文献中记载的情况大致相似。     

不同添加成分对书画装裱浆糊抑菌效果的评价试验

古代文献中著录的各种书画装裱浆糊添加成分中,有一部分具有防腐防霉的功效。本文利用浆糊药液琼脂培养基,对白矾、花椒、白芨、百部、丁香等添加成分进行抑菌效果评价,结果发现,白矾、百部有明显抑菌效果,花椒、丁香有一定抑菌效果,白芨抑菌效果不明显。     

水对中国书画装裱修复的研究

本文从水质、水量、水温等方面进行阐述水与书画装裱修复的关系及水对书画装裱、修复质量的影响。建议不使用硬水、污染水等不合格水,用于装裱的每一道工序,使装裱后的作品感染细菌、霉菌或PH值偏离中性,留下了隐患,随着时间的推移破坏纸、绢纤维。缩短书画作品的保存寿命,探讨水在书画装裱、修复过程中的重要性,以及相关思考和建议。     

生物揭展剂在古书画文物揭展中的应用

揭展是书画重新装裱过程中最重要的一环。在装裱过程中所用的浆糊往往与画心、命纸很难分离,导致揭展过程复杂,且容易造成古书画的损毁。传统的水闷润揭展法对于难揭展的纸质画心极易揭晃。为解决这一问题,利用芽胞杆菌发酵产生的含有淀粉酶的胞外液制备生物揭展剂,并通过作用于宣纸老化材料验证了揭展效果。试验结果表明:枯草芽胞杆菌的发酵液去除菌体并透析后获得的生物揭展剂揭展效果较好。利用扫描电镜和拉力强度检测分析了生物揭展剂对书画文物的影响。结果表明:该生物揭展剂能够降低剥离力和纤维指数,与用水闷润相比,增加了宣纸样品在闷润后的抗拉强度,且对宣纸微观结构无明显影响;观察生物揭展后100天的样品并没有霉菌生成,表明该生物揭展剂具有很好的揭展安全性。在此基础上,对成套明代水陆画进行揭展,取得了良好效果。     

Representative archaeological finds of <Emphasis Type="Italic">pietra ollare</Emphasis> from Comacchio (Italy): identifying provenance and high-T mineral breakdown reactions hindering lithotype classification

Three different lithotype groups have been recognized in representative fragments of pietra ollare artefacts found in the mediaeval archaeological excavations of Comacchio (Italy). Petrographic, mineralogical and chemical compositions clearly show that Valchiavenna and Valmalenco, in the Central Alps, represent the provenance areas of two of the pietra ollare groups, i.e. grey carbonate talc schist (also known as soapstone) and green chlorite schist, respectively. The third representative pietra ollare group consists of whitish-yellowish rocks inferred to be Alpine talc schists that have suffered some artificial pyrometamorphic transformation hindering their classification in the framework of pietra ollare lithotype categories and source localities reported in literature. A distinguishing feature of these high temperature-fired (HT-fired) talc schist samples is the occurrence of talc and chlorite dehydroxylation and subsolidus reaction products, mainly protoenstatite/enstatite + forsterite, together with relatively low loss on ignition values. These talc schists might have been exposed to temperatures >900 °C (with the resulting talc dehydroxylation producing a void-rich texture), but never reaching 1200 °C, which is the sintering temperature for soapstones. The whitish-yellowish artefacts were definitely not used as containers for cooking food at temperatures below or around 500–600 °C (as instead shown by the preservation of the original physical features of the grey pietra ollare lithotypes), but in some kind of higher-T pyrotechnological processes.     

Reconstruction of smelting conditions during 16th- to 18th-century copper ore processing in the Kielce region (Old Polish Industrial District) based on slags from Miedziana Góra,Poland

This study presents the first reconstruction of the smelting conditions in 16th- to 18th-century smelters from Miedziana Góra (Holy Cross Mountains, Poland). Based on geochemical (inductively coupled plasma mass spectrometry/emission spectrometry, X-ray fluorescence) and mineralogical analysis (X-ray diffractometry, scanning electron microscopy, electron probe micro-analysis) of historical slags, their chemical/phase composition and the basic smelting parameters (temperature, melt viscosity, and oxygen fugacity) were determined. Due to the differences in chemical and phase composition, slags from different smelting stages have been distinguished: hypocrystalline slags (MG6) from speiss/matte production and glassy (MG1–MG5) from matte conversion. In glassy slags, pyroxenes, quartz/cristobalite grains, and aggregates composed of metallic Cu and PbO are dispersed in the glass. Hypocrystalline slags are composed of wollastonites, anorthites, and metallic Cu. The temperature range at which the slags were formed was from ~1100°C (solidus temperature) to 1150–1200°C (liquidus temperature). The silicate melt's viscosity was from log η = 1.19 to 4.42 Pa s (at 1100–1200°C). The higher viscosity of MG1–MG5 slags indicates that, unlike MG6 slags, they were not formed during gravity separation. Information about the phase composition made it possible to determine the oxygen fugacity in the range of log fO₂ = −4 to −12 atm. High oxygen fugacity indicates the oxidizing nature of the smelting process.     

Decorated prehistoric pottery from Castello di Annone (Piedmont,Italy): archaeometric study and pilot comparison with coeval analogous finds

Prehistoric pottery decorated with incisions or impressions filled with white and seldom coloured inlays is well documented in the archaeological literature, but the related in-depth archaeometric studies are sporadic. 43 decorated ceramic shards, dating from the Neolithic to the Bronze Age, and an Iron Age fibula from the archaeological site of Castello di Annone (Piedmont, North-Western Italy) were analysed with FTIR, Raman and XRPD for characterization of the ornamental pigments forming these inlays. Few white components were used as fillers, namely talc and bone ash (hydroxyapatite – Bone White), often as a mixture and seldom accompanied by other pigments (i.e. kaolinite and presumably secondary calcite). Comparison with freshly-heated biogenic hydroxyapatite proved that ancient Bone White pigment was calcined at about 900 °C. Such a process was kept separate from pottery firing as these white mixtures show absence of talc degradation by-products and sporadic presence of kaolinite, implying these ceramics were decorated only after firing in furnace. Actual presence of fluorapatite in bone ash could allow dating with the Fluorine Method, but lack of fluorine detection with SEM-EDS causes such an attempt to be impracticable so far. A pilot comparative study with a restricted but representative group (11) of coeval finds from other sites of Piedmont suggests that while recurrence of talc prevails in Castello di Annone from the Neolithic throughout the Bronze age, massive use of bone ash (Bone White) becomes widespread in the close Iron Age settlements, possibly consequent to a more efficient handling of its production technology.     

CONSTRUCTION OF THE KHOJA ZAYNUDDIN MOSQUE: USE OF ANIMAL GLUE MODIFIED WITH URINE*

As part of an ongoing project at the World Heritage Site of Bukhara, we investigated the glue used in the construction of the Khoja Zaynuddin mosque. Analysis by a range of techniques confirmed that it consisted of a collagen‐based glue. However, the glue contained many non‐protein constituents. The presence of lipid material suggests that the glue was produced by a relatively unsophisticated process. More surprisingly, various marker compounds of urine were found. Study of the viscosity of a mixture of a modern collagen‐based glue and urea showed that the presence of urea at a concentration typical of human urine reduced the viscosity of the glue, thus improving its spreading characteristics and enabling its use at a lower temperature. Whilst the advantages of adding urea to glue were known to craftsmen in Europe and America in the 19th century, it would appear that the builders of Bukhara were aware of the technique, using less pure components, at a significantly earlier date.     

Tracing firing technology through clay properties in Cuzco,Peru

The purpose of this study was to identify changes in firing practices that occurred during a timeframe that saw the introduction of European kiln technology to the Andes (AD 900–1800). Pottery from an excavated context at the archaeological site of Aqnapampa in the southern highlands of Peru was examined for changes in paste recipes that adapted local materials to increased firing temperatures indicative of evolving firing technologies. Sherds (60) and fragments refired to 890 °C from 12 stratigraphic levels were compared by style, surface treatment, paste color, and vitrification structures (ESEM). Four technological phases of the Cuzco pottery sequence emerged and were used to evaluate the trajectory of a single decorative style (Killke). Previously thought to have been produced in pre-Inca times and curated into later periods, the Killke sherds presented evidence that the style was produced using technologies introduced in the Inca and Spanish Colonial Period.     

Does the Standardization of Ceramic Pastes Really Mean Specialization?

In the literature dealing with the development of ceramic specialization, paste uniformity has been suggested as a surrogate index of product standardization and the result of a more intensive level of specialization. More recently, the amount of paste variability has been seen as an indicator of different types of production organization. Ethnoarchaeological data from Mexico, Peru, and Guatemala suggest that a variety of environmental, technological, and social factors influence paste variability. These factors are important in all production contexts and complicate inferences drawn about production organization in antiquity. As a consequence, social and economic inferences derived from ancient ceramic pastes need to be understood in relation to numerous other factors such as natural variability of the ceramic raw materials, their procurement, and their use in paste preparation. Furthermore, changes in resource use and paste preparation over time can obscure intracommunity and other fine-scale patterns. As a consequence, it is argued that little, if anything, can be learned about the organization of production below the level of the local production community. Rather, the primary usefulness of paste compositional analyses lies in the identification, in geographic and geological spaces (community signature units), of source communities that exploit raw materials within a limited range of probably no more than 3 to 4 km. Paste analyses thus provide important information about the organization of ceramic distribution, revealing the emergence and demise of source communities and the movement of their ceramic products.     

倦勤斋保护工作阶段报告——通景画部分

中美合作故宫倦勤斋保护工作现正针对通景画部分采取保护措施。在保护试验和初步实施过程中,中外专家在通景画文物是否揭裱和如何揭裱等问题上,就保护原则、方法、材料等方面展开了多层次的沟通。本文就保护工艺总则与文物真实性.揭取试验和文物安全优先原则、裱褙工艺和保护做法的可逆性原则、全色做法与保护工作的可识别性等问题进行讨论。