溪山幽寂——黄公望绘画艺术及其《写山水诀》

山水画大家黄公望是元四家之冠,其所作《富春山居图》为元代文人山水画转型期的经典作品,其意境清新简远、平淡天真,是在继承传统基础上对中国山水绘画艺术的一种创新,它构成了黄公望山水绘画艺术复杂多元的文化内涵。黄公望的绘画理论传世文献《写山水诀》,是对山水绘画技法深入研究的理论结晶。     

Problems of Analysis by FTIR of Calcium Sulphate–Based Preparatory Layers: The Case of a Group of 16th‐Century Portuguese Paintings

This paper provides a contribution to FTIR analysis of calcium sulphate‐based grounds of paintings when a mixture of compounds with different degrees of hydration is present. The study is based on the analysis with that technique, electron microscopy coupled with energy‐dispersive X‐ray spectrometry and X‐ray diffraction of both the grounds of 16th‐century Portuguese paintings and reference samples prepared with anhydrite and calcium sulphate dihydrate bound in an animal glue solution. It is shown that the interpretation of the degree of hydration of calcium sulphate ground samples using FTIR cannot be based solely on the study of the hydroxyl bands, as is usual in routine work, but that small deviations of the S–O vibration bands are an important indicator of the presence of anhydrite in the grounds.     

Polychromic structures and pigments in Guangyuan Thousand-Buddha Grotto of the Tang Dynasty (China)

This paper presents a multi-analytical study of the polychromy in the Guangyuan Thousand-Buddha Grotto. Samples taken from 15 locations in No. 512 and No. 689 caves are prepared as cross-sections for the analysis by optical microscopy (OM) and scanning electron microscopy coupled with backscattered electron imaging (SEM-BSE). The cross section analysis indicates that some paintings were repainted in the past. The chemical composition of each painting layer is obtained by scanning electron microscopy coupled with energy-dispersive X-ray analysis (SEM-EDX). The main pigments for 15 samples including green, red, blue, white and black paint layers, are identified by the combination of polarized light microscopy (PLM), Fourier Transform infrared spectrum (FT-IR), Raman spectroscopy (RS) and X-ray diffraction (XRD) analysis. The integrated analytical results reveal that the green pigments are malachite and atacamite; the red color is attributed to minium, hematite and cinnabar; the blue pigments are lazurite and organic blue materials; the white color is ascribed to anglesite and gypsum; and the black surface of polychrome is the accumulation of longtime smudging by folk burning incense in the devotional practice or the soot deposition resulting from burning bonfires in the caves. Some arsenic-containing pigment is detected in the green samples. This case study also demonstrates the advantages and the limitations of every analytical technique for the pigment identification, confirming the necessity of the integrated analytical techniques approach. The present results are not only useful to assist in the authenticity of the used pigment materials and history of the polychromic in the past, but also aimed at guiding the conservation scientists in taking into account materials and methods utilized in the past.     

清代莫晋绢本书法立轴的科学分析

上海博物馆藏清代进士莫晋(1761—1826)书法立轴(145 cm×50 cm),画芯为绢本。绢表面被红色涂层覆盖,上面有云纹、蝙蝠纹和"寿"字纹等手绘花纹,加工方式特殊。为科学保护这件文物,采用了视频显微镜、扫描电镜能谱仪、红外光谱、拉曼光谱和高光谱等无损(微损)检测技术对文物材料及制作方法进行研究。结果表明,该件文物用绢组织结构稀疏,背面采用三桠皮纸托裱;将铅白染色涂于绢表面进行加工,再采用高岭土和银粉绘制云纹、蝙蝠等;同时对文物模糊印章进行了有效提取。该研究结果为后续保护修复提供了科学依据。     

激光清洗架上绘画研究综述

本工作从应用的激光类型、激光对主要画材的影响以及清洗表面沉积物、处理老化光油、去除复绘和清洗画背等主要应用场景等层面,系统呈现了激光清洗架上绘画的研究现状,为实际应用中激光类型等工艺参数的选择提供了全面的参考,给出了典型的工作逻辑与流程,同时也指出了现有研究中的空白和不足。     

纸质文献保护修复中的干式清洁方法综述

本文对纸质文献的干式清洁方法进行了系统梳理,介绍了十种常用的方法,并说明其工具、材料及操作过程,对存在的问题和优缺点做出简要评价。除此之外,还介绍了三种较前沿的方法,并对其原理和研究现状进行了总结及评价。     

红茶菌发酵液清洗丝织文物表面结晶盐的应用研究

在我国考古出土的丝织品数量多,种类丰富,但由于墓葬环境的特殊性,如棺液的浸泡等原因,丝织文物的表面形成很多结块,影响了文物的品质。因此,对此类丝织文物的清洗成为文物保护工作的重要一环。为此,本研究以唐代出土丝织文物残片表面的结块为研究对象,利用拉曼光谱和X射线衍射仪检测技术对其表面结块的成分进行分析。结果表明,结晶盐的主要成分为CaSO4.2H2O。本研究针对其结晶盐的成分,再利用显微观察、抗拉强度检测等手段分析了红茶菌发酵液对老化的现代蚕丝影响。在得出没有损伤的基础上,利用红茶菌发酵液中的生物有机酸和生物酶作为生物清洗剂清洗唐代丝织文物残片表面的结晶盐,取得了良好的清洗效果,对丝织文物本身无损伤。     

敦煌的凹凸画

作为丝绸之路上一个西域和本土文化的汇合地点,敦煌艺术提供了5世纪以来西域“明暗法”风格——即文献上所谓“凹凸画”以及这种画法最后变成中国本土绘画笔墨风格的一个可确定时代的连续记录。许多6世纪敦煌壁画将西域的明暗技法跟中国的线条用笔结合起来。画家不借助于色彩和阴影而是通过粗细有致的书法线描展现了他们对体积和运动的三维认识。这种“凹凸”技法向“浓淡轻重”的书法笔调的转换,使中国绘画用它自己的方式实现了对幻觉空间的控制与征服。