An investigation into the cause of corrosion on indoor bronze sculpture

Abstract

Corrosion noted on a number of nineteenth and twentieth century indoor bronze sculptures in the collection of the National Gallery of Canada was the cause for a major condition survey of its Canadian, American, and European bronzes. The results led to a comprehensive study, which included material analysis. This article outlines the steps undertaken to determine the extent and type of corrosion, its possible cause(s), and potential remediation. The survey included 136 bronzes, of which 40 were selected for an in-depth study. Indoor air quality tests of the current building, housing the collection since 1988, were carried out. The dossiers and database records of the selected sculptures were reviewed to investigate their condition, treatment, and storage history. The metal, patina, and corrosion products were subjected to analysis. More areas of corrosion were generally associated with predominantly green patinas and chloride-containing compounds identified in either patina or corrosion samples. The most frequently identified compounds in the patina samples were atacamite, a copper(II) chloride hydroxide, and cuprite, a copper(I) oxide. The most frequently identified compounds in the corrosion samples were atacamite and rouaite, a copper(II) hydroxide nitrate. The analysis determined that the current environment is not contributing to the surface alterations of the sculptures; however, past storage conditions, chemical residues from artificial patination, and likely casting residues are the main causes of the current condition.     

The binding media of the polychromy of Qin Shihuang's Terracotta Army

The “Terracotta Army” is a worldwide known archaeological finding in China. It is a part of the burial complex of the emperor Qin Shihuangdi (259–210 BC), which is still under excavation and study. The fact that the sculptures, chariots and weapons of the First Chinese Emperor's Terracotta Army were originally all painted in bright colours is still not widely known. The chemical characterisation of the paint medium was performed through an analytical procedure based on GC-MS. The proteinaceous binder was identified for the first time through a desalting procedure used in proteomics. The identification of egg as a paint binder is extremely interesting in terms of the historical significance of the work of art itself and important in terms of the method of conservation. Moreover it represents one of the first steps towards an understanding of the painting technique used on ancient sculptures in China, of which – despite their fame – nothing is yet known.     

湘西土家族石刻古籍内容初探

湘西土家族石刻古籍是湘西民族古籍的重要组成部分,其内容丰富,主要记述和反映了当地的宗族源流、风俗习惯、教育、制度公约、表彰称颂与人物生平、基本建设、风景名胜等。参考文献9。     

论苏州寺院泥塑罗汉、塑壁及其他

佛教的传入开启了中国的造像艺术,并且逐步从石窟造像走向了泥塑。苏州西园寺罗汉堂、东山紫金庵、甪直镇保圣寺等,其寺院的泥塑罗汉艺术风格各不相同,尤其是圆雕罗汉和壁塑的空间环境的无间融合,融绘画元素于雕塑之中,凸显了江南佛教美术的艺术创作魅力。这也说明了当时艺术创造与艺术欣赏的互动性,这一点对于我们当下的美术创作不无启迪。     

废物雕塑所体现的后现代主义艺术精神

本文通过介绍西方废物雕塑的产生背景、主要艺术家、发展线索、材料选取等情况,阐述了其背后所体现的后现代主义艺术精神:多元化、消解二元对立。其对典型的特点便是对材料选取的多元化,这几乎可说是将多元化的精神发挥到了极致。在此基础上,废物雕塑成功地消解了现代主义的媒介中心主义和艺术的精英化。     

从《伏虎》到《米洛斯的维纳斯》——谈中西方艺术之差异

《伏虎》和《米洛斯的雏纳斯》是中国和古希腊有代表性的艺术作品，二者体现着中西方艺术的诸多差异。其不同之处主要表现在造型特点、审美意趣、文化传统及哲学精神等方面的差异。     

黔南州民族体育旅游产业现状与发展对策

本文采用实地考查、专家访谈、文献资料等方法,对黔南州民族体育旅游产业现状进行调查研究。结果表明：民族风情浪漫、气候爽爽宜人的黔南州有着丰富的旅游资源和得天独厚的自然环境优势,对民族体育旅游产业具有较大的发展空间。黔南州民族体育旅游的发展,要以西部大开发为契机,以＂多彩贵州＂为载体,以生态体育旅游为发展模式,以2011年贵州省承办全国少数民族运动会为杠杆,推进民族体育旅游产业的快速、高效、健康发展,使旅游产业成为黔南州国民经济新的增长点,从而实现贵州＂旅游强省＂的奋斗目标。     

天然彩色棉花的现状及栽培管理

彩色棉花及制品是深受人们欢迎的环保产品,本文简要介绍了彩色棉花,彩色棉花的品系特征、生育特性及其栽培管理要点。     

南朝陵墓雕刻造型风格之技法成因

南朝陵墓雕刻造型风格的形成,固然有着时代、地域等诸多方面的因素,而雕刻技法成因亦为不可缺少的内在因素之一。石材的选择,雕刻制作的程序,雕刻方法的运用,相关技术的操作,技术水平的高低,雕刻工匠的传承及不同的知识背景,均对南朝陵墓雕刻造型风格的形成有着直接的关系。     

"颜色革命"冲击下的独联体

"颜色革命"使独联体国家陷入了复杂的境地,西方力量大规模进入独联体,将形成多种势力并存的格局,独联体各国的国际政治立场变得模糊不清,独联体将进入新一轮活跃期和动荡期.