Combined GC/MS analytical procedure for the characterization of glycerolipid, waxy, resinous, and proteinaceous materials in a unique paint microsample

A novel GC/MS analytical procedure for the identification of lipids, waxes, proteins, and resinous materials in the same microsample from painted works of art has been optimized. It is based on a sample multistep chemical pretreatment (solvent extractions and microwave-assisted chemolysis) that is able to separate the various organic components into different fractions, which are suitably treated and derivatized before analysis. In particular, the procedure allows the complete saponification of wax esters and the completeness of the Cannizzaro type reaction of shellac acids in conditions that are suitable also for glycerides saponification. The method was tested on reference materials for the identification of proteinaceous binders (egg, collagen, casein) on the basis of the quantitative determination of the amino acid profile and the identification of glycerolipids (linseed oil, poppy seed oil, walnut oil, and egg), plant resins (Pinaceae resins, sandarac, mastic, and dammar), animal resins (shellac), tars or pitches, and natural waxes (beeswax, carnauba wax) on the basis of the determination of fatty acid, alcohol, and hydrocarbon profiles and of significant terpenic molecular markers. The procedure was applied to the characterization of three old paint microsamples. Animal glue, egg, linseed oil, beeswax, Pinaceae resin, dammar, and shellac were the identified materials found in mixtures and recognized as original and/or restoration substances.     

绘画元素在艺术设计中的应用研究

目的探索绘画元素在艺术设计各个领域中的应用价值及具体方式。方法先对绘画的发展轨迹进行阐述,引出绘画在艺术设计领域的融入可能,并指出绘画元素和现代艺术设计及其设计元素之间存在着相互影响、相互渗透、相互作用的关系,接着就现阶段我国艺术设计中对绘画的应用思路与方向展开论述,指明了打破固态思维和逻辑、突出艺术性、开放性和结构效果的具体方式,并结合代表性绘画元素及形式在包装设计、服装设计领域的具体应用思路与方法进行探究。结论绘画元素与设计元素之间有着紧密的联系,而不同的绘画形式中也有着不同的联系,这些都是艺术设计的宝贵财富,借助绘画与艺术设计的融合,创造出更加个性且深富内涵的艺术设计作品,可以有效提高艺术设计水平,并促进艺术设计的发展。     

Pigment identification by spectroscopic means: evidence consistent with the attribution of the painting Young Woman Seated at a Virginal to Vermeer

Technical examination of the painting Young Woman Seated at a Virginal by cross section and polarized light microscopy, chemical tests, surface microscopy, energy-dispersive X-ray analysis, and Raman microscopy has led to the identification of the pigments lead tin yellow (type I), lazurite, vermilion, calcite, lead white, red and yellow iron oxides, umber, lamp black, and green earth on the canvas. These pigments are entirely typical of Vermeer's palette and are consistent with a large body of other technical and art historical findings on paintings by Vermeer and other Dutch 17th century artists. While not authenticating the painting as being by Vermeer, the results provide further critical material that is consistent with this attribution. This case study also provides an opportunity to outline the role of analytical and forensic sciences in the examination and attribution of art objects.     

河南古建彩画艺术在家居产品设计中的转译应用

目的 河南古建筑彩画艺术是黄河流域中原文化的重要组成部分,河南古建筑彩画艺术在家居产品设计中的转译应用研究,是对古建彩画艺术在日常生活语境下活化传承的路径探索,也是对家居产品设计手法的拓展,有助于营造中国式家居风格氛围,引领人们认识与弘扬中国传统住宅家居文化。方法 搜集河南古建筑彩画相关资料并整理分类,总结和提炼其代表性符号元素,解析符号元素中的文化因子,并对文化因子在现代家居产品设计中的应用方法进行讨论,即廓清古建筑彩画艺术中的“结构”因子、“形”因子、“色彩”因子和“语义”因子,运用碱基运算法,对各类因子进行再结合,构建完整的家居产品设计新模式。结论 通过对河南古建筑彩画艺术元素与符号特征的再设计,将河南古建筑彩画艺术与家居产品设计结合,使其符合当代消费者需求的商品属性,提升其文化附加值,为家居产品的多元化发展路径做出探索。     

Sample treatment considerations in the analysis of organic colorants by surface-enhanced Raman scattering

The introduction of surface-enhanced Raman spectroscopy (SERS) in the field of cultural heritage has significantly improved the analysis of the organic dyes and their complexes that have been used as textile dyes and pigments in paintings and other polychrome works of art since antiquity. Over the last five years, a number of different procedures have been developed by various research groups. In this Article, we evaluate the effect of pretreating samples by exposing them to hydrofluoric acid (HF) vapor prior to SERS analysis, a step designed to hydrolyze the dye-metal complexes and increase analyte adsorption on the nanosized metallic support, thus enhancing the SERS signal. Materials studied include pure colorants, commercial lake pigments, and fibers from dyed textiles, as well as actual aged samples, such as microscopic fragments of lakes on paper and ancient pigments and glazes from several works of art, covering a wide range of time, from the second century B.C. to the early 20th century. In each case, SERS spectra obtained with or without HF hydrolysis were critically evaluated. The pretreatment with HF vapor resulted in faster analysis and increased sensitivity in most cases, with the exception of dyed silk fibers, where silk protein hydrolyzates were found to interfere with SERS analysis. As a final point, a two-step procedure including SERS on untreated and treated samples is proposed as a standard approach: by analyzing a sample first without hydrolysis, and then, following removal of the colloid, upon HF treatment, the best and most reliable results for a great number of dyes and substrates are assured.     

农民画色彩特征在地域农产品包装设计中的应用

目的挖掘农民画色彩文化元素,探索农民画色彩特征在农产品包装设计中的应用方法,塑造农产品包装设计的地域特色。方法借助色彩分析软件对农民画色彩特征进行提取分析,获取提取主色的风格特征及色彩关系网络,并构建农民画色彩数据库。基于农产品包装与农民画之间的色彩认知共感,结合现代包装设计的审美要求,提出了将农民画色彩应用于农产品包装设计中的色彩搭配方法。结论运用农民画色彩特征提取方法,能实现农产品包装设计与农民画之间的色彩匹配,再现农民画色彩的地域性和文化内涵,提高农产品包装设计的色彩搭配效率及品牌识别度,降低设计实践中对农民画色彩借鉴的随意性,为农产品包装设计提供了新的设计思路,也有助于农民画艺术得到更好的保护及传承。     

Identification of pigments in paint cross sections by reflection visible light imaging microspectroscopy

A setup for reflection visible light imaging microspectroscopy (VIS-imaging) as well as its evaluation and application is described and tested. The spatial resolution of the system is approximately 1 microm at a spectral resolution of 4 nm. The optical contrast between different colored particles in the surface of a sample is optimized with a new image processing method for mapping of the distribution of the identified pigment particles. The potential of VIS-imaging in the study of paint cross sections obtained from paintings is explored. Spectra obtained from pigment particles in these cross sections result in classification or identification of several pigments. The investigated paint samples are challenging test cases, as they contain several colored materials with a very fine distribution. VIS-imaging can identify and map the most common traditional blue pigments, i.e., smalt, azurite, ultramarine, and indigo in 17th century oil paintings. Smalt can be identified even after complete discoloration. VIS-imaging analysis assisted in the identification and mapping of modern synthetic red and yellow pigments in a 20th century painting.     

老上海月份牌广告画的时代美学价值探析

从中国思想文化的发展及中西方文化的碰撞角度出发,分析了老上海月份牌广告画的形成得益于传统思想的解放;进一步分析了19 世纪末西方文化对中国传统绘画和审美的冲击,指出月份牌广告画作为我国早期广告画的成功与不足;进而论述了老上海月份牌广告画的形成、鼎盛、衰败的原因和发展历程;最后得出老上海月份牌广告画的时代美学价值、地域价值,以期对今天的商业设计工作者及民俗的研究有所裨益。     

Photothermal Thermography Applied to the Non-destructive Testing of Different Types of Works of Art

In this article, various cases in helping to restore works of art by stimulated infrared thermography are presented. First, the method allows detecting old restorations found on a mural painting in the French senate. Then, it is demonstrated how the photothermal method enables determination of the underlying structure of the mural painting ??The Apotheosis of Saint Bruno?? in the Charterhouse of Villeneuve-lez-Avignon. Finally, the method allows locating separate canvas paintings on ??Avenant de l??aurore?? in the ??Luxembourg?? French Senate building.     

东巴木牌画及其观念体现

东巴木牌画作为我国云南地区纳西族东巴教特有的原始民间艺术,其历史悠久,品种繁多,按造型、材料和功能的不同可以划分为不同的类别。东巴木牌画的题材主要有神灵题材、鬼怪题材、动物题材。木牌画作为东巴文化的重要载体,形象地表现了纳西族人的心理与观念,其中最为突出的便是五行五色生命观和天地崇拜观念。     

Compositional and quantitative microtextural characterization of historic paintings by micro-X-ray diffraction and Raman microscopy

This work shows the benefits of characterizing historic paintings via compositional and microtextural data from micro-X-ray diffraction (μ-XRD) combined with molecular information acquired with Raman microscopy (RM) along depth profiles in paint stratigraphies. The novel approach was applied to identify inorganic and organic components from paintings placed at the 14th century Islamic University-Madrasah Yusufiyya-in Granada (Spain), the only Islamic University still standing from the time of Al-Andalus (Islamic Spain). The use of μ-XRD to obtain quantitative microtextural information of crystalline phases provided by two-dimensional diffraction patterns to recognize pigments nature and manufacture, and decay processes in complex paint cross sections, has not been reported yet. A simple Nasrid (14th century) palette made of gypsum, vermilion, and azurite mixed with glue was identified in polychromed stuccos. Here also a Christian intervention was found via the use of smalt, barite, hematite, Brunswick green and gold; oil was the binding media employed. On mural paintings and wood ceilings, more complex palettes dated to the 19th century were found, made of gypsum, anhydrite, barite, dolomite, calcite, lead white, hematite, minium, synthetic ultramarine blue, and black carbon. The identified binders were glue, egg yolk, and oil.     

从抽象形式谈波洛克绘画实验性的创新

序言欧洲绘画融入美国画坛造就了波洛克绘画的高度.19世纪末的欧洲硝烟弥漫,战争动摇了欧洲传统艺术氛围,其间,对艺术的悲观主义观念逐渐出现.与此同时,由于远离战火,美国的经济政治呈现一幅繁荣的景象.     

Computer‐generated Chinese color ink paintings

Abstract

Chinese color ink painting is a traditional art form, a non‐photorealistic rendering, that is over three thousand years old. Simulating the behavior of Chinese ink is challenging. Various artistic effects of color ink diffusion are analyzed, and a scheme presents how they can be simulated automatically for their computer‐generated simulation. The proposed method simulates various tonal expressions on different papers, by employing a Kubelka‐Munk model to simulate optical effects. Elucidation of the effect of mixing simulated strokes with different brushes is a significant contribution of the proposed method. Finally, results of this study demonstrate the effectiveness of an interactive painting system. Also, results are compared with genuine ink paintings.     

Study of aging in oil paintings by 1D and 2D NMR spectroscopy

Nuclear magnetic resonance spectroscopy is proposed as an efficient analytical tool in the study of painted artworks. The binding medium from two original oil paintings, dated from the early 20th and the late 17th century, was studied via high-resolution 1D and 2D NMR, establishing the advanced state of hydrolysis and oxidation of the oil paint. Studies of the solvent-extractable component from model samples of various drying oils, raw oil paints, and aged oil paints allowed the definition of several markers based on the integral ratios of various chemical species present in the 1H and 13C NMR spectra. These markers are sensitive to hydrolytic and oxidative processes that reflect the extent of aging in oil paintings. The rapidity, simplicity, and nondestructive nature of the proposed analytical NMR methodology represents a great advantage, since the usually minute sample quantities available from original artwork can be subsequently analyzed further by other analytical techniques, if necessary.     

Study of Graphitic Crystallites in Some Carbonized Residues Prepared From Catalytic Cracking of Asphalt

This paper demonstrates the carbonization of asphalt collected from the Morgah Oil Refinery, Rawilpindi, Pakistan. The asphalt (80/90) was carbonized in a micro-autoclave under nitrogen environment at 300°C. To enhance cracking reactions of side chains, and condensation of polycyclic configurations, the sample was also loaded with catalysts such as Zeolite Socony Mobil No. 5 (ZSM-5), phosphotungstic acid, coal ash and Utmanzai clay (UTIMAC). Each carbonized residue was crushed with mortar and pestle and soxhlet extracted with n-pentane for removal of oil, dried and analyzed by X-ray diffractometery (XRD). The appearance of distinct bands correspond to crystallites in some samples particularly those loaded with UTIMAC has established graphitization.     

Autonomous bioremediation of a microbial protein (bioremediase) in Pozzolana cementitious composite

The self-bioremediation in cementitious composite material is one of the most interesting avenues relating to damage management and self-life of constructions, which needs to be cogitated. The self-bioremediation of a microbial protein-impregnated cementitious material has been explored in this work. The bioremediase protein was isolated from a hot spring bacterium (BKH1) and incorporated at three different concentrations into commercial Pozzolana cements that are widely used for mortar sample preparation. Artificial cracks were generated within the mortar samples by applying partial breaking load (50 %) and the samples were cured under water for different days. Image analysis by Crackscope and microstructure analysis by field emission scanning electron microscope ascertained the formation of irregular crystalline healing material within the cracks of the test samples. X-ray diffractometer and energy dispersive spectra analyses confirmed that the irregular crystalline structures were due to the deposition of new silicate phase (Gehlenite) within the cracks. Increase of ultrasonic pulse velocity and compressive strength, augmentation of sulphate resistance, decrease of chloride permeability and water absorption capacity revealed that there were overall improvement of mechanical properties and durability of the protein-incorporated mortar samples compared to the control (without protein incorporation) mortar samples. This cost effective and eco-friendly self-bioremediation phenomenon observed in mortar is evolved due to the biosilicification activity of bioremediase protein when amended in mortar samples. The exceptional potential of the microbial bioremediase protein for self-bioremediation attribute may add a new dimension in self-healing construction technology in near future.     

多孔壳微胶囊对硬化砂浆抗渗性的影响

采用原位聚合与水解缩聚法,以四乙氧基硅烷（TEOS）、环氧树脂（E51）、苯乙烯（St）等为主要原料,合成了一种二氧化硅多孔壳微胶囊（Porous silica shell microcapsules,PSSM）。分别采用SEM、FTIR、TGA对PSSM外观形貌、化学组分、核壳比进行表征。通过对掺加PSSM的砂浆试块进行80%抗压强度荷载预压、养护（浸水或干湿循环养护）处理后,运用交流阻抗法与压汞法研究了PSSM对硬化砂浆抗渗性与孔结构的影响规律。结果表明:制备的PSSM粒径约为10~100 μm,其含有聚苯乙烯网络支架、环氧树脂和聚硅氧烷囊芯,支架聚合物和多孔壳,核壳质量比为1.54。与未预压-养护处理的试块相比,经预压-养护处理后的空白试块的连通孔溶液电阻R_CH和扩散阻抗系数σ均降低,孔隙率升高,表明预压使试块内形成微裂纹缺陷,经养护仍未愈合,因此试块抗渗性降低;而对于掺加8% PSSM的试块,经预压-养护处理后其R_CH和σ均增加,孔隙率降低,表明试块抗渗性提高。这是由于PSSM的破壳-固化作用以及长期浸水或干湿循环养护,导致试块中PSSM发生了渗出-固化作用,封堵愈合了试块内的微裂隙,抗渗性得到提高。      

滩头木版年画在特产包装设计中的运用

目的探讨滩头木版年画在其特产包装设计中的运用。方法通过对滩头木版年画艺术特色,以及年画与特产包装设计之间的契合性分析,结合设计实例阐述滩头木版年画的造型、构图、色彩语言在特产包装设计中的运用方法。结论将滩头木版年画融入当地特产包装设计,既有效提升特产包装的地域性与趣味性,增强特产的购买吸引力,又对滩头木版年画的传承和保护,以及现代设计工作的创新具有重要的开拓与实践意义。     

Fluorescence lifetime imaging and spectroscopy as tools for nondestructive analysis of works of art

A system for advanced fluorescence investigation of works of art has been assembled and integrated in a characterization procedure that allows one to localize and identify organic compounds that are present in artworks. At the beginning of the investigation, fluorescence lifetime imaging and spectroscopy address a selective microsampling of the artwork. Then analytical measurements of microsamples identify the chemical composition of the materials under investigation. Finally, on the basis of fluorescence lifetime and amplitude maps, analytical data are extended to the whole artwork. In such a way, information on the spatial distribution of organic materials can be inferred. These concepts have been successfully applied in an extensive campaign for analysis of Renaissance fresco paintings in Castiglione Olona, Italy. Residue of various types of glue and stucco left from a restoration carried out in the early 1970s was localized and classified. Insight into the technique used by the painter to make gilded reliefs was also obtained.