TY - CHAP A1 - Lange, D. A1 - Hahn, Oliver ED - Martin, E. ED - Brox, T. ED - Lange, D. T1 - Materials and materiality as keys to understanding a map of Mount Kailash N2 - While graphic and linguistic content is central to the identification of maps and can provide insights into the concepts and systems of rules, ideas and beliefs that led to their production, the materials that constitute maps may speak about manufacturing processes, the provenance of raw materials, the practical and technical knowledge of the mapmakers, and the use of the maps. This contribution underscores how the materials employed in Tibetan maps reveal aspects of their context and trajectory. Furthermore, materiality, conceptualized as a convergence of matter and imagination, can yield even more profound insights into artefacts like maps. Through a detailed case study of a map of Mount Kailash in the tangkha format and a specialized material-scientific analysis of the colourants employed in its creation, this contribution explores how a map can ‘talk’ through its materiality. With this case study it will show how Tibetan Studies can benefit from interdisciplinary collaboration. Crossing the field’s traditional boundaries and working with other disciplines, we argue, is absolutely essential for serious research. KW - Archaeometry KW - Non-destructive analysis KW - Cultural heritage PY - 2025 UR - https://nbn-resolving.org/urn:nbn:de:kobv:b43-648625 SN - 978-3-98887-016-2 DO - https://doi.org/10.11588/hasp.1522 SP - 147 EP - 176 PB - Heidelberg Asian Studies Publishing (HASP) CY - Heidelberg AN - OPUS4-64862 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Hahn, Oliver T1 - More than 25 years of ink analysis non-destructive testing of black writing materials N2 - Writing inks can be divided into soluble inks and dispersion inks. Soluble inks are based on plant or insect dyes forming a water solution. In the early European Middle Ages brown plant inks were usually produced from the blackthorn bark and wine. In contrast to these soluble brown inks, one of the oldest black writing materials was produced by mixing soot with gum arabic or animal glue dissolved in a small amount of water. From Pliny’s detailed account of the manufacture of various black carbon inks, we learn that producing pure soot of high quality was not an easy task in Antiquity. Iron gall inks are a borderline case between these two groups. They are produced from four basic ingredients: gallic acid, an iron-containing component, gum arabic as a binding media, and an aqueous medium such as wine, beer, or vinegar. By mixing gallic acid with soluble iron ions, a water-soluble ferrous gallate complex is formed. Exposure to oxygen leads to the formation of insoluble black ferric gallate pigment. Due to the variety of recipes and the natural origin of raw materials, there is a wide range of different components and impurities in writing inks. The Bundesanstalt für Materialforschung und -prüfung (BAM) together with the Centre for the Study of Manuscript Cultures in Hamburg (CSMC) has developed a protocol for ink analysis. It consists of a primary screening to determine the type of the ink and a subsequent in-depth analysis using several spectroscopic techniques (X-ray fluorescence analysis and vibrational spectroscopy). This contribution presents a qualitative and quantitative analysis of historical writing inks to characterize distinguishable inks in manuscripts, to determine the origin of manuscripts, and to assign unknown fragments to time and place. T2 - Beyond the reconstruction of an Urtext: “About the history of the early Qurʾānic text with regard to digital research tools” CY - Hesse, Germany DA - 07.07.2025 KW - Archaeometry KW - Non-destructive testing KW - Material analysis KW - Cultural heritage PY - 2025 AN - OPUS4-63906 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Hahn, Oliver T1 - Paper: history, manufacture, properties N2 - The lecture traces the origins of paper, the manufacture and the spread from China to the Middle East and Europe. Though technological progress considerably affected each step of the manufacture of paper, the essence of the invention remains unchanged until today. The process of manufacturing handmade paper can be divided into a number of steps: - choosing the raw material (e.g. cellulose from wood, cotton, rags) - beating and grinding the fibres into small pieces - producing a liquid pulp of the desired texture - treating the pulp with various additives - filling the pulp suspension into a paper mould - draining the water - pressing and drying to get the actual sheet - various post-production treatments We will see how the manufacturing process is reflected in the properties of the paper and its degradation. A special attention will be paid to the instrumental analysis for identification of the paper types. Also watermark play an important role in the studies of the manuscripts. A short overview will be offered at the ends of the lecture. T2 - Summer School Manusciences 19 CY - Frejus, France DA - 10.03.2019 KW - Material science KW - Cultural heritage PY - 2019 AN - OPUS4-48140 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - JOUR A1 - Bosch, S. A1 - Colini, C. A1 - Hahn, Oliver A1 - Janke, A. A1 - Shevchuk, I. ED - Friedrich, M. ED - Quenzer, J. ED - Wandrey, I. T1 - The Atri fragment revisited I: Multispectral imaging and ink identification N2 - This paper reports the outcome of an interdisciplinary team’s application of multispectral imaging techniques and material analysis to a music fragment from the first decades of the fifteenth century: Atri, Archivio Capitolare, Museo della Basilica Cattedrale, Biblioteca del Capitolo della Cattedrale, Frammento 17. This important parchment leaf has rarely been investigated since its discovery 45 years ago. Thanks to the applied techniques and methods (such as the evaluation of the data using the fingerprint model), it is now possible to discuss new evidence supporting conclusions regarding the fragment’s origin and afterlife. KW - Archaeometry KW - Cultural heritage KW - Non-destructiv testing PY - 2018 SN - 1867-9617 VL - 2018 IS - 11 SP - 141 EP - 156 PB - Universität Hamburg CY - Hamburg AN - OPUS4-45741 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - JOUR A1 - Farke, M. A1 - Binetti, M. A1 - Hahn, Oliver T1 - Light damage to selected organic materials in display cases: A study of different light sources N2 - The protection of works of art and cultural assets against light-induced aging is vital when planning exhibitions. Newly developed lighting systems render the selection of suitable light sources more difficult, not least in the context of energy–economical systems. This study accordingly examines different lighting systems (fluorescent tubes, halogen lamps, low-voltage metal halide lamps, and LED lamps) in terms of the damage potential they hold for the materials concerned. The changes in color were evaluated using the CIEDE2000 color-difference formula. This study focuses on selected organic materials and shows that changes in color already occur after only a brief exposure time. The color changes induced by the fluorescent tubes were consistently more intense than those induced by the other light sources. The results obtained with the remaining lamps show that the color changes depend more on the material under investigation than on the source used. The changes determined after a relatively short exposure period (five months) vividly demonstrate that exposing sensitive materials to light for longer terms (as is the case during a permanent exhibition) is most definitely a non-viable option. KW - Light damage KW - Non-destructive testing KW - Cultural heritage KW - Preventive conservation PY - 2016 DO - https://doi.org/10.1179/2047058414Y.0000000148 SN - 0039-3630 VL - 61 IS - Supplement 1 SP - S83 EP - S93 AN - OPUS4-39099 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CHAP A1 - Hahn, Oliver ED - Czichos, Horst T1 - Diagnostics in arts and culture N2 - Investigations of physical properties and chemical composition generate important data for answering cultural–historical questions that cannot be solved by historical and philological methods alone. In its individual materiality, each cultural asset is the result of a wide variety of influences (e.g. production, storage, restoration, preservation). Due to recent technological developments (e.g. miniaturization of structural units, enlargement of memory capacity), technical diagnostics in art and culture are becoming more and more coveted in such fields of trans-disciplinary research. KW - Cultural heritage KW - Technical diagnostics PY - 2013 SN - 978-3-642-25849-7 SN - 978-3-642-25850-3 DO - https://doi.org/10.1007/978-3-642-25850-3_28 IS - Chapter 28 SP - 545 EP - 557 PB - Springer CY - Berlin Heidelberg AN - OPUS4-28288 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Rabin, Ira A1 - Hahn, Oliver A1 - Wolff, Timo A1 - Mantouvalou, I. A1 - Kanngießer, B. A1 - Weinberg, G. T1 - Material studies on the Dead Sea scrolls T2 - Conference "Preservation and access of monuments of culture and history: modern approaches" CY - Saint Petersburg, Russia DA - 2009-10-20 KW - Dead Sea scrolls KW - Archaeometry KW - Restoration and conservation science KW - Cultural heritage KW - Writing materials PY - 2009 SP - 122 EP - 129 AN - OPUS4-23177 LA - rus AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - JOUR A1 - Hahn, Oliver T1 - Analyses of iron gall and carbon inks by means of X-ray fluorescence analysis: A non-destructive approach in the field of archaeometry and conservation science N2 - The qualitative and quantitative investigation of historical writing materials using micro-X-ray fluorescence analysis (micro-XRF) is a suitable method for obtaining information about the chemical composition of these materials. One the one hand these chemical composition fingerprints may answer some questions concerning the provenance of different materials, the chronology of their use, and give furthermore, the possibility to date unknown fragments in the lifework of an artist. On the other hand this method might be useful for the development and validation of conservation treatments. KW - XRF KW - Restoration and conservation science KW - Cultural heritage KW - Writing materials PY - 2010 DO - https://doi.org/10.1515/rest.2010.003 SN - 0034-5806 SN - 1865-8431 VL - 31 IS - 1 SP - 41 EP - 64 PB - Saur CY - München AN - OPUS4-21183 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - JOUR A1 - Mantouvalou, I. A1 - Lange, K. A1 - Wolff, Timo A1 - Grötzsch, D. A1 - Lühl, Lars A1 - Haschke, M. A1 - Hahn, Oliver A1 - Kanngießer, B. T1 - A compact 3D micro X-ray fluorescence spectrometer with X-ray tube excitation for archaeometric applications N2 - In this work, the applicability of a new 3D micro X-ray fluorescence (3D Micro-XRF) laboratory spectrometer for the investigation of historical glass objects is demonstrated. The non-destructiveness of the technique and the possibility to measure three-dimensionally resolved fluorescence renders this technique into a suitable tool for the analysis of cultural heritage objects. Although absorption and resolution effects complicate qualitative analysis of the data, layered structures can be distinguished from homogeneous samples without the need for full quantification. Different manufacturing techniques were studied in this work with the help of hand-made reference samples. With the gained knowledge it could be shown for the investigated historical glass object, that black enamel as a stained glass contour colour was used in a cold painting. The object was not fired after the application of the black enamel, but instead the adhesion of the paint was solely provided through organic binding agents and the backing with metal foils. Thus, for the manufacturing of the object, a mixture of cold painting technique with a stained glass color was used. Quantitative measurements with a 3D Micro-XRF setup at the Berlin synchrotron BESSY II confirm the assumptions drawn on the basis of the qualitative investigation with the 3D Micro-XRF spectrometer with X-ray tube excitation. KW - 3D micro XRF KW - Archaeometry KW - Non-destructive testing KW - Cultural heritage PY - 2010 DO - https://doi.org/10.1039/b915912f SN - 0267-9477 SN - 1364-5544 VL - 25 SP - 554 EP - 561 PB - Royal Society of Chemistry CY - London AN - OPUS4-20878 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - JOUR A1 - Hahn, Oliver A1 - Bretz, Simone A1 - Hagnau, Carola A1 - Ranz, Hans-Jörg A1 - Wolff, Timo T1 - Pigments, dyes, and black enamel - the colorants of reverse paintings on glass N2 - Nondestructive analyses of medieval reverse paintings on glass revealed the same dyes and pigments customarily used in panel paintings. However, there is one exception: the black colorant is not a carbon-based pigment, but black enamel. In this respect, the stylistic as well as the technical influence of stained glass artwork can clearly be seen on reverse paintings on glass. However, there is a crucial difference: in reverse paintings, the black enamel is not fired onto the glass but painted (cold painting). Additional analyses confirmed these findings. Based on these results, the art form "reverse painting on glass" has technically to be characterized as a mixture of "stained glass" and "panel painting" that nonetheless develops into a genre of its own. KW - Archaeometry KW - Cultural heritage KW - Non-destructive testing PY - 2009 DO - https://doi.org/10.1007/s12520-009-0021-4 SN - 1866-9557 SN - 1866-9565 VL - 1 IS - 4 SP - 263 EP - 271 PB - Springer CY - Berlin ; Heidelberg AN - OPUS4-20877 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER -