TY - JOUR A1 - Lange, Diana A1 - Hahn, Oliver ED - Lois, C. T1 - Colours on East Asian Maps JF - Map History N2 - Maps and colours have a close connection. Drawn or printed in black on white, subsequently added colours enhance maps with additional information. Colours were not just there to improve maps aesthetically, but they regulated how they were read and thus reinforced their meanings, significances and ideas. Colour is an important key to a more precise understanding of the map’s purposes and uses; moreover, colours are also an important aspect of a map’s materiality. The material scientific analysis makes it possible to find out more about the making of colours and the process of colouring maps. By skillfully deploying colours, map colourists were able to create mimetic representations of nature or codify information in an abstract form. The use of colours involved many considerations as to the materials. ‘Reading’ colours in this way gives a glimpse into the social lives of mapmakers as well as map users and reveals the complexity of the historical and social context in which maps were produced and how the maps were actually made. Within the scope of the three-year joint research project Coloured Maps (2018–2021), we undertook an in-depth and systematic study of hand-drawn and hand-coloured maps from East Asia in the Museum am Rothenbaum (MARKK) in Hamburg and produced between the seventeenth and twentieth centuries. With a multi-perspective approach and transdisciplinary methods (humanities and the sciences), we were able to pool and compare the research results from different fields of research on Asian maps. The aim of this publication is to provide a first general overview of the subject of colours on maps in East Asia in the period from the seventeenth to the early twentieth century and to stimulate further research on the topic. KW - Maps and colours KW - Colouring KW - Colourants KW - Dyes and pigments KW - Map production and publishing KW - Non-invasive scientific methods PY - 2023 UR - https://nbn-resolving.org/urn:nbn:de:kobv:b43-569682 UR - https://brill.com/display/title/61839 SN - 978-90-04-54562-5 VL - 2023 SP - 1 EP - 79 PB - Brill CY - Leiden, Netherlands AN - OPUS4-56968 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Nöller, Renate A1 - Hahn, Oliver ED - Dora, C. ED - Fabian, C. ED - Knoche, M. ED - Linder, M. ED - Mittler, E. ED - Schmitz, W. T1 - VIS-Spectroscopy of Aztec colors. Possible application of a non-destructive analytical method T2 - Bibliothek und Wissenschaft N2 - VIS-spectrometry is a rapid, non- invasive, mobile method that offers a first overview of possible colorants used for painting. This is worked out in detail for European paintings and applied for artefacts and illuminated manuscripts. Manuscripts from Asia for example show colorful decoration identified to be mostly prepared with mineral pigments such as cinnabar, azurite, malachite or orpiment, which can be well confirmed by elemental analyses due to their color-giving metal ions. This is not the case for the colorants used in pictorial manuscripts from pre-Hispanic America, painted mainly with organic dyes from plants. The palette of colors used by the Aztecs is very rich due to their extensive empire and long- distance communication with vassal states liable to tributes including dyes of high quality. These include for example red cochineal, yellow zacatlaxcalli, tagetes, safflower, and achiotl, as well as blue indigo, or matlalli. T2 - Manuscripta Americana: Aufarbeitung einer Sammlung CY - Ibero-Amerikanisches-Institut, SPK DA - 14.02.2019 KW - Pigments KW - Dyes KW - Humboldt Codices KW - Non-destructive test PY - 2020 SN - 978-3-447-11511-7 SN - 0067-8236 VL - 53 SP - 35 EP - 57 PB - Harrassowitz Verlag CY - Wiesbaden AN - OPUS4-51934 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Nöller, Renate A1 - Hahn, Oliver A1 - Overgaauw, E. A1 - Danielewski, A. A1 - Giel, R. T1 - Analyse von Humboldt Codices aus Mizquiahuala im Vergleich zu Fragmenten in Mexiko und Paris T2 - METALLA N2 - Unter den von Humboldt in Amerika erworbenen Schriftstücken der Kolonialzeit findet sich eine Tributliste aus dem Jahr 1569, die der Otomí Bevölkerung aus dem Ort Mizquahuala im Staat Hidalgo/ Mexiko zugeordnet wird. Sie ist in Form eines Kalenders ausgeführt, Wochentage und verschiedene Produkte lassen sich unterscheiden. Eduard Seler beschreibt dieses Manuskript zusammen mit einer weiteren Tributliste, die in Inhalt und Zeichnung anders gestaltet ist, jedoch ebenfalls aus dieser Region stammt. Mit den für die Analyse von Manuskripten bewährten Untersuchungsmethoden werden Papier und Farbmittel identifiziert. Hierzu zählen Raman-, FTIR-, Röntgenfluoreszenz- und VIS- Spektroskopie. Charakteristisch für die Herstellung von schriftlichen Dokumenten in der Kolonialzeit von Amerika ist die Verwendung von indigenem Material wie Papier aus Baumrinde und Pflanzenfarben zusammen mit den aus Europa bekannten Materialien. Geklärt wird, welche Auswahl von Farbstoffen zur Herstellung der Dokumente genutzt wurde, die diese als Gruppe klassifizieren könnte. Die den beiden Fragmenten zugeordneten Farbmaterialien sowie formale und inhaltliche Aspekte lassen vermuten, dass zwei weitere Schriftstücke der Berliner Sammlung `Manuscripta Americana´, deren Herkunft nicht bekannt ist, mit ihnen in Beziehung gebracht werden können. Stilistisch gleiche Fragmente befinden sich zudem in Mexiko, Paris und den USA. Im Vergleich dieser Fragmente untereinander wird diskutiert, inwieweit die über die Materialanalyse identifizierten spezifischen Farbstoffe einen Hinweis auf eine gemeinsame lokale Herkunft zulassen. T2 - Jahrestagung Archäometrie und Denkmalpflege CY - Wien, Austria DA - 11.09.2019 KW - VIS- Spektroskopie KW - Humboldt Codices KW - RFA PY - 2019 UR - https://nbn-resolving.org/urn:nbn:de:kobv:b43-499192 SN - 0947-6229 VL - Sonderheft 9 SP - 186 EP - 189 CY - Bochum AN - OPUS4-49919 LA - deu AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CHAP A1 - Rabin, Ira A1 - Hahn, Oliver ED - Michel, C. ED - Friedrich, M. T1 - Detection of Fakes: The Merits and Limits of Non-Invasive Materials Analysis T2 - Studies in Manuscript Cultures N2 - This paper addresses the sensitive issue of authenticating unprovenanced manuscripts of high monetary value to certify they are genuine. Over the last decade, the popularity of material studies of manuscripts using non-destructive testing (NDT) has increased enormously. These studies are held in especially high esteem in the case of suspicious writings due to the methodological rigour they are reputed to contribute to debate. We would like to stress that materials analysis alone cannot prove that an object is genuine. Unfortunately, audiences with a humanities background often tend to disregard the technical details and treat any published interpretation of instrumental analysis as an objective finding. Four examples are outlined here to illustrate what questionable contributions the natural sciences can make in describing manuscripts that have actually been forged. KW - Fakes KW - Non-invasive analysis KW - Limitations PY - 2020 UR - https://nbn-resolving.org/urn:nbn:de:kobv:b43-517202 SN - 978-3-11-071422-7 DO - https://doi.org/10.1515/9783110714333 SN - 2365-9696 VL - 20 SP - 281 EP - 290 PB - Walter de Gruyter GmbH CY - Berlin/Boston AN - OPUS4-51720 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Rabin, Ira A1 - Hahn, Oliver A1 - Kaska, K. ED - Uhlirz, T1 - Why Do We Need to Study Inks? T2 - CHTN 23, 2018 proceedings N2 - While studying the socio-geographic history of inks, division 4.5 (Analysis of cultural artefacts and assets) of the BAM (Bundesanstalt für Materialforschung und -prüfung) in Berlin together with the Centre for the Study of Manuscript Cultures in Hamburg 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. Using this protocol, scientists can assist scholars in addressing a rather broad range of historical questions that cannot be answered unequivocally through scholarly research alone. Among these are investigations on collaboration between scribes and scriptoria, on the usage and annotation of manuscripts and on their path through time and space in general. This research can thus help to reconstruct the circumstances of the production of written heritage as well as their history and transmission. To facilitate the dialogue between the scholars and the scientists a simple optical tool was developed to allow the scholars to perform preliminary ink analysis required for formulation of the question that in turn can be answered by scientific in-depth investigations. In this paper, ink types and their identification method is accompanied by examples of the recent work conducted on parchment manuscripts in the Austrian National Library. T2 - Congress Visual Heritage, CHNT 23 CY - Vienna, Austria DA - 15.12.2018 KW - Ink KW - Parchment PY - 2020 SP - 1.1 EP - 1.9 CY - Wien AN - OPUS4-50242 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CHAP A1 - Zorn, Sabine A1 - Bosch, S. A1 - Hahn, Oliver ED - Klemm, D. ED - Stolzenburg, A. T1 - Materialtechnologische Untersuchungen an vier Zeichnungen Leonardo da Vincis aus dem Kupferstichkabinett T2 - Leonardo da Vinci in der Hamburger Kunsthalle N2 - Das Kupferstichkabinett der Hamburger Kunsthalle besitzt seit seiner Gründung vier Zeichnungen von Leonardo da Vinci (1452–1519). Sie sind Teil eines umfangreichen Legats des Hamburger Kunsthändlers Georg Ernst Harzen, das der Stadt Hamburg für die 1869 eröffnete Kunsthalle als Besitz übereignet wurde. Die Zeichnungen gelten aufgrund ihrer Provenienzen und stilistischen Verankerung im Werk Leonardos als gesichert. Weiterführende materialtechnologische Untersuchungen wurden nun erstmals anlässlich der Ausstellung »Leonardo da Vinci – Die Zeichnungen im Hamburger Kupferstichkabinett« durchgeführt. KW - Zerstörungsfreie Prüfung KW - Zeichnung KW - Leonardo da Vinci PY - 2019 SN - 978-3-938002-56-8 SP - 128 EP - 135 PB - Druckhaus Köthen CY - Köthen AN - OPUS4-49667 LA - deu AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER -