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- Archaeometry (8)
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Eingeladener Vortrag
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Ergebnisse der Tintenanalyse
(2005)
Das Schwarzlot in der Hinterglasmalerei - Zerstörungsfreie Untersuchung von Kunst- und Kulturgut
(2009)
Die Bedeutung der Zerstörungsfreien Prüfung im Bereich der Kunst- und Kulturanalyse hat in den letzten Jahren deutlich
zugenommen. Mobile Untersuchungstechniken erweisen sich als besonders geeignet, da die fragilen und kostbaren Objekte
in den Museen verbleiben und somit keine Schädigungen durch Transport oder Klimawechsel erleiden können. Dieser Beitrag
möchte am Beis piel der Hinterglasmalerei die Bedeutung der naturwissenschaftlichen Analyse im Bereich der Kunstgeschichte
aufzeigen.
Der Begriff der Schwarzlotmalerei wird in der Kunstgeschichte allgemein für eine schwarze Konturmalerei verwendet. Während
der Begriff in der Glasmalerei eindeutig das Material ein mit Eisen- und Kupferoxiden schwarz gefärbtes Bleiglas bezeichnet,
steht der Begriff in der Tafelmalerei für tiefschwarze Konturen auf Goldgründen und Lüstern. Diese Modellierung ist
jedoch im Vergleich zur Glasmalerei - soweit bekannt - mit organischen Schwarzpigmenten ausgeführt.
Auch die Hinterglasmalerei, und hier insbesondere die des späten Mittelalters zeichnet sich durch eine dominierende
schwarze Konturmalerei aus.
Mittels zerstörungsfreier Röntgenfluoreszenzanalyse konnte in einer Auswahl repräsentativer Objekte Schwarzlot nachgewiesen
werden. Bezogen auf die Konturierungen ist hier eindeutig der stilistische, aber auch der maltechnische Einfluss der Glasmalerei
auf die Hinterglasmalerei ablesbar. Es ergibt sich aber ein wesentlicher Unterschied bis auf wenige Ausnahmen
wurde hier das Schwarzlot nicht eingebrannt, sondern als Kaltbemalung verwendet.
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.
The Dead Sea Scrolls belong to the most important cultural assets of mankind. Their long term preservation and study is a challenge that demands an interdisciplinary approach. As early as the 1950s natural scientists assisted the scholars in studying the scrolls. It was at this time that the first extensive study of the scroll material took place. It was found that most fragments were written not on leather but on parchment. In addition, a method for determining the age of the parchment was developed which is still of value today. In the 1990s the AMS-C14 method confirmed the palaeographic determination of the age of the manuscripts. The use of carbon ink throughout the scrolls is also consistent with the known scribal practices of that time. There are, however, manuscripts, and among them the famous Genesis Apocryphon Scroll, which exhibit ink corrosion, normally associated with iron-gall inks.
Today, 60 years after their discovery, a community of scientists from the Jewish National and University Library (JNUL), the Technical University of Berlin (TU Berlin), the Federal Institute for Materials Research and Testing (BAM) and Fritz-Haber-Institute of the MPG (FHI) set out to scientifically investigate the finds of Qumran using the most modern methods. The results of the study will be used to determine the provenance of the texts as well as to contribute to their long-term preservation. A considerable part of the non-destructive investigation is taking place in the Berlin State Library and at the Berliner Elektronenspeicherring-Gesellschaft für Synchrotronstrahlung , BESSY II.
Preliminary investigations, performed at the BAM on some fragments, were used to evaluate the extent to which X-ray analytical methods can provide information regarding the geographical origin of the fragments and match the individual pieces. The interpretation of the measurement results is made more difficult by age and storage of the objects. It is believed that ageing processes as well as conservation methods have altered the samples in addition to the changes caused by environmental influences.
In collaboration with the TU Berlin, the samples from the parchments found in the caves near Qumran were tested by means of three-dimensional synchrotron based X-ray fluorescence analysis (3D-SyXRF). The aim of this non-destructive investigation was the identification of the inorganic material used in the manufacture of the parchments.
The XRF experiments are supported by the non-destructive analysis by means of synchrotron based infrared spectroscopy (SyFTIR) in collaboration with BESSY II as well as optical and electron microscopy in collaboration with Fritz-Haber-Institute (FHI).