Multidisciplinary approach for time-framing of an overpainted wooden iconostasis from Southern Romania

Huică, Irina; Cortea, Ioana Maria; Ratoiu, Lucian; Ghervase, Luminița; Rădvan, R.; Mohanu, Dan

doi:10.1016/j.microc.2020.104685

Cited by 5 publications

(15 citation statements)

References 20 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…The use of anhydrite within the ground layer is not uncommon, [ 9 ] previous studies carried on Transylvanian icons showing a preference for calcium sulfate‐based grounds. [ 13–15 ] As shown in other studies, [ 9,20 ] various proportions of gypsum and anhydrite can be found within the ground layer, the high concentration of anhydrite being most probably linked with a poor lack of control of the calcination process of gypsum. [ 27,28 ]…”

Section: Resultsmentioning

confidence: 72%

“…The use of anhydrite within the ground layer is not uncommon, [9] previous studies carried on Transylvanian icons showing a preference for calcium sulfatebased grounds. [13][14][15] As shown in other studies, [9,20] various proportions of gypsum and anhydrite can be found within the ground layer, the high concentration of anhydrite being most probably linked with a poor lack of control of the calcination process of gypsum. [27,28] The use of calcite was found within the ground layer of some of the samples taken from the exterior frame of the icons (S1.8)-characteristic IR absorptions associated with the fundamental vibrations of the carbonate group seen at 1400 cm À1 (broad absorption), 872 cm À1 , and 712 cm À1 .…”

Section: Ground Layermentioning

confidence: 88%

“…Repainting or overpainting of old paint layers is not uncommon. [6,20] In this case, the repainting of the icons can be explained following two main reasons: (a) a degradation of the original paint layer with the appearance of lacunae and abrasions -highlighted in radiographs (Figure 6); (b) a change in the aesthetic option or taste. This later change can be explained in the sense of the newness value, described by Alois Riegl, [21] or in the sense of a new aesthetic taste filled with contemporary values such as the use of the Romanian language and the influence of realist representations from Western art.…”

Section: Ground Layermentioning

confidence: 99%

“…The presence of a protein binder was confirmed via the broad absorptions bands around 1,646 cm À1 (C═O stretching) and 1,545 cm À1 (combination of N─H bending and C─N stretching) ascribed to the amide I and amide II vibrations. [20,44] The band around 1,453 cm À1 , ascribed to C─H bending vibrations, can also be linked to the protein content. The presence of lipids can also be inferred at the level of the ground layer via the sharp C─H absorptions in the 3,000-2,800 cm À1 region and the weak absorption (shoulder band) at 1736 cm À1 .…”

Section: Organic Materialsmentioning

confidence: 99%

“…The presence of lipids can also be inferred at the level of the ground layer via the sharp C─H absorptions in the 3,000-2,800 cm À1 region and the weak absorption (shoulder band) at 1736 cm À1 . [9,20] This lipid content can be linked to natural fatty acids present in animal glue or in other natural products such as casein that may have been used for the preparation of the ground layer. [20,23] A small quantity of drying oil or natural resin could also have been added.…”

Section: Organic Materialsmentioning

confidence: 99%

See 4 more Smart Citations

Unveiling the original layers and color palette of 18th century overpainted Transylvanian icons by combined X‐ray radiography, hyperspectral imaging, and spectroscopic spot analysis

et al. 2021

Self Cite

View full text Add to dashboard Cite

This paper presents the results of an in‐depth diagnostic investigation carried out on four Transylvanian icons originally painted at the beginning of the 18th century and entirely repainted later, in 1911. The icons, originating from a wooden church in Alba County (Romania), were investigated by an array of non‐invasive and micro‐invasive techniques that included: multi‐ and hyperspectral imaging, digital radiography, X‐ray fluorescence, and Fourier transform infrared spectroscopy. Combined imaging techniques allowed extraction of information from the original pictorial layer and highlighted the original inscriptions. Spectroscopic analysis carried on micro‐samples identified many traditional pigments used in Byzantine iconography such as: lead white, red lead, orpiment, red ochre, yellow ochre, and umber. The presence of zinc white, Prussian blue, and some chromium‐based pigments in the upper paint layers was directly associated with the repainting. Information on the used painting technique was also obtained, as well as a series of informative technical details that shed light on the complex history of the icons, while offering at the same time new knowledge on the materials and painting techniques used in Transylvanian workshops, between the 18th and 20th century. Overall results allowed characterization and discrimination of the original painting materials and those present in the repainting, and helped conservators with the restoration of the objects.

show abstract

Section: Resultsmentioning

confidence: 72%

Section: Ground Layermentioning

confidence: 88%

Section: Ground Layermentioning

confidence: 99%

Section: Organic Materialsmentioning

confidence: 99%

Section: Organic Materialsmentioning

confidence: 99%

See 3 more Smart Citations

Unveiling the original layers and color palette of 18th century overpainted Transylvanian icons by combined X‐ray radiography, hyperspectral imaging, and spectroscopic spot analysis

et al. 2021

Self Cite

View full text Add to dashboard Cite

show abstract

Pigments—Lead-based whites, reds, yellows and oranges and their alteration phases

Gliozzo

Ionescu

2021

Archaeol Anthropol Sci

View full text Add to dashboard Cite

This review summarises the state-of-the-art of lead-based pigment studies, addressing their production, trade, use and possible alteration. Other issues, such as those related to the investigation and protection of artworks bearing lead-based pigments are also presented. The focus is mineralogical, as both raw materials and degradation products are mineral phases occurring in nature (except for very few cases). The minerals described are abellaite, anglesite, blixite, caledonite, challacolloite, cerussite, cotunnite, crocoite, galena, grootfonteinite, hydrocerussite, laurionite, leadhillite, litharge, macphersonite, massicot, mimetite, minium, palmierite, phosgenite, plattnerite, plumbonacrite, schulténite, scrutinyite, somersetite, susannite, vanadinite and an unnamed phase (PbMg(CO3)2). The pigments discussed are lead white, red lead, litharge, massicot, lead-tin yellow, lead-tin-antimony yellow, lead-chromate yellow and Naples yellow. An attempt is made to describe the history, technology and alteration of these pigments in the most complete manner possible, despite the topic's evident breadth. Finally, an insight into the analytical methods that can (and should) be used for accurate archaeometric investigations and a summary of key concepts conclude this review, along with a further list of references for use as a starting point for further research.

show abstract

A study on the principles of Chinese painting line drawing figure sketching techniques based on cognitive mapping constructs

Luo

2023

Applied Mathematics and Nonlinear Sciences

View full text Add to dashboard Cite

It is the basic requirement of Chinese painting line drawing figure sketching to express its unique divine mood and spiritual quality by shaping the figure through lines. This paper constructs a figure sketching technique model based on cognitive mapping, and the constituent elements of line drawing figures are used as individuals of the genetic algorithm population. Multiple constituent elements are trained with data using a genetic algorithm, and the selection and crossover operations are continuously performed according to the fitness threshold; a particle swarm optimization strategy is added, and the principle of the line drawing technique is derived after several iterations of calculation. The performance test of line drawing and figure sketching was conducted for the research class and the control class. The experimental results showed that the control class scored 60.35 and 65.32 in the two tests, the research class scored 72.59 and 79.15, and the research class outperformed the control class in the overall average score and the average score of the six grades. It shows that the cognitive mapping construction based on which the form of line drawing is continuously enhanced and developed has strengthened the importance of line drawing and made Chinese painting line drawing figure sketching more attractive and relatively independent.

show abstract

Multidisciplinary approach for time-framing of an overpainted wooden iconostasis from Southern Romania

Cited by 5 publications

References 20 publications

Unveiling the original layers and color palette of 18th century overpainted Transylvanian icons by combined X‐ray radiography, hyperspectral imaging, and spectroscopic spot analysis

Unveiling the original layers and color palette of 18th century overpainted Transylvanian icons by combined X‐ray radiography, hyperspectral imaging, and spectroscopic spot analysis

Pigments—Lead-based whites, reds, yellows and oranges and their alteration phases

A study on the principles of Chinese painting line drawing figure sketching techniques based on cognitive mapping constructs

Contact Info

Product

Resources

About