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The aim of the lecture is to present the productive interplay of connoisseurs and material analysis using the example of selected drawings from the Rembrandt collection of the Klassik Stiftung Weimar. We try to determine the point at which the question of the materiality of the drawings makes sense in the traditional discourse of connoisseurship. On the one hand, this involves the question of authorship – Rembrandt – or not? – and the locating of attributed drawings in the context of the work. On the other hand, it is about making drawing processes visible, characterizing ways of drawing and workshop practices as well as distinguishing different forms of reworking and copying within the Rembrandt workshop. The material analyses culminate in the question of whether Rembrandt’s inks can be distinguished at all.
It becomes apparent that the newly gained knowledge about the materiality of the drawing no longer reveals itself to the “mere” view of the connoisseur. Rather, it is only generated by the digital image. The rhetoric of connoisseurs must therefore be contrasted with the necessity of a hermeneutics of the digital image. The envisaged “material turn” of drawing science is thus simultaneously able to take up the critique of the question of authorship, which has been growing ever more recently, and to transfer it to a more comprehensive perspective of aesthetics of production.
In this paper, members of three research teams, namely the Turfan Project of the Berlin BrandenburgAcademy of Sciences and Humanities, the Berlin-based research project on pigments in Central Asianpaper manuscripts, and the Hamburg-based project on the history and typology of Central Asian papermanuscripts, present some of the results of their cooperation. The investigated manuscripts belong tothe Berlin Turfan Collection. On the basis of different examples the contribution of scientific methods tophilological scholarship within a multidisciplinary approach is demonstrated.
This article presents the findings resulting from the material analysis of several Sanskrit palm-leaf manuscripts from a corpus partly preserved in Nepal, viz. in the National Archives, Kathmandu (NAK), and in the Kaiser Library (KL), which is likewise situated in Kathmandu. The analysis was undertaken in March 2013. The colleagues of the NAK allocated a room in their precincts to us, where we could set up our mobile laboratory, and gave us access to the required manuscripts from their holdings. The officials of the KL, in turn, allowed us to take some of their valuable and ancient manuscripts to the NAK. In this way, we were enabled to conduct multi-instrumental studies on writing materials of great antiquity and interest.
The Nepal-German Manuscript Preservation Project (NGMPP) microfilmed two sets of the rNying margyud 'bum: in 1989 the set stored in the National Archives in Kathmandu (NAK) and in 1992 another set during an expedition to Nubri, Samagaon. Both microfilming were carried out under the local director of the Nepal Research Centre (NRC) in Kathmandu, and who has also discussed the two (and other) rNying ma rgyud 'bum sets on several occasions.2 The NAK and Nubri rNying ma rgyud 'bum sets were extensively studied and catalogued (Almogi) within the framework of the Tibetology sub-project "The Manuscript Collections of supervision of Franz-Karl Ehrhard, who was at the time the the Ancient Tantras (rNying ma rgyud 'bum): An Examination of Variance," conducted at the Researcher Group "Manuscript Cultures in Asia and Africa," University of Hamburg (2008-2011).