4 Material und Umwelt
Filtern
Dokumenttyp
- Zeitschriftenartikel (38) (entfernen)
Sprache
- Englisch (35)
- Deutsch (2)
- Italienisch (1)
Schlagworte
- Archaeometry (8)
- DRIFTS (5)
- Inks (5)
- Non-destructive testing (5)
- Ink (4)
- Non-invasive analysis (4)
- Reverse glass painting (4)
- Manuscripts (3)
- Mixed ink (3)
- Papyrus (3)
Organisationseinheit der BAM
- 4.5 Kunst- und Kulturgutanalyse (38) (entfernen)
Paper des Monats
- ja (1)
Advanced codicological studies of Cod. germ. 6 (Hamburg, Staats- und Universitätsbibliothek): Part 2
(2018)
The work presented here follows the article Combining Codicology and X-Ray Spectrometry to Unveil the History of Production of Codex germanicus 6 (Staats- und Universitätsbibliothek Hamburg), published in 2014.1 It confirms the main result of the previous article: the Artusnotiz, the fourth text in the bound manuscript, must have been introduced as the last one. This paper offers further details of the codex production, based on the composition of the black and red inks collected in four measurement campaigns. Furthermore, using imaging μ-XRF, we succeeded in understanding the strong variation of the composition of the red inks in the initials of all the texts except for Parzival and Jeanne d’Arc.
It is well documented that throughout Antiquity, ancient Egyptians used mostly carbon inks as a writing material. In Late Antiquity, some metals started to be added to carbon based inks. We have records of five manuscripts from the Dead Sea Scrolls collection whose carbon inks were found to contain copper Also, lead was recently found as an additive in carbon inks on a charred fragment from Herculaneum. Furthermore, the earliest evidence of iron-gall ink was found in the Book of Proverbs (Codex Ms. Berol. orient. oct. 987) dating to the third fourth centuries ce. It has been suggested that along with carbon and iron-gall inks, there is no reason to think that purely tannin inks were not also in use in Egypt. However, so far, we just have evidence of a copper-tannin ink identified in a number of documents from Egypt in the first third centuries bce. In an attempt to fill this gap in this extremely fragmented scenario during our studies of the socio-geographic history of inks, we arrived at the conclusion that the continuous production of Coptic manuscripts from Late Antiquity to the Middle Ages offers a unique opportunity for the historical study of inks across a large geographic area.
We present here our methodological approach applied to the study of Egyptian inks in Late Antiquity. It is based on an interdisciplinary strategy, bringing together a variety of disciplines from humanities and natural sciences, and it aims at systematically collecting a statistically relevant amount of data regarding the composition of the inks. The application of a wellestablished, non-invasive protocol that includes near-infrared imaging and X-ray fluorescence spectroscopy for in situ measurements enables the identification and characterisation of inks dating from the end of Late Antiquity onwards. However, sometimes this method limits our understanding when characterising more ancient inks. Trying to overcome these limitations, the potential of a new device for the characterisation of organic compounds is here explored by conducting preliminary tests on mock samples.
In this work, we present the results from 77 codicological units that include some of the earliest manuscripts of our corpus that presently lists 159 units.
The scribe of ‘Erfurt 7’, a thirteenth-century Torah scroll now kept in Berlin, initially left blank spaces for the divine appellations Elohim ( אלהים ) and YHWH Elohim ( ,(יהוה אלהים which were filled in during a second stage of writing. The appearance of the ink employed to write the appellations was significantly darker than that of the surrounding ink.
X-ray fluorescence analysis (XRF) has shown that the light and dark brown inks had similar elemental compositions, but contained different ratios of iron to potassium, which could be explained by the use of different batches of ink.
According to some medieval sources, the divine appellations were sometimes filled in during a second stage of writing in the presence of ten men from the Jewish community. In Erfurt 7, the two-stage procedure was only performed in the first 1.5 columns of the original sheets, suggesting it may have been part of a public ceremony inaugurating the writing of the divine names in the scroll. Erfurt 7 emerges from this study not only as a ritual object used for liturgy, but as a rallying point for the Jews of Erfurt to come together as a community to express their reverence for the written form of God’s name. The divine name YHWH ( יהוה ) was written in a smaller script than the surrounding text on three replacement sheets using the same two-stage procedure. The ink used on the replacement sheets contained zinc, which is characteristic of other Erfurt manuscripts as well. This suggests that Erfurt was the place where the scroll was used, cherished and eventually repaired.
Tuschenanalyse im P 11702
(2021)
Near-inframed reflectography and imaging X-Ray flourescence analysis reveal that carbon inks of two different compositions were used in the papyrus manuscript Berlin P 11702. in contrast with the writing ink, one of the carbon drawing inks contained a significant addition of iron. This result emphasises the need for routine instrumental ink analysis.
The manuscript Codex germanicus 1 (Cod. germ. 1) of the Staats- und Universitätsbibliothek Hamburg is a fifteenth-century German-language manuscript. It comprises two codicological units and has an especially complex developmental history. To trace this developmental history, neglected until now in the research literature, the manuscript was investigated, for the first time not solely with classical codicological and palaeographical methods, but also with the aid of X-ray fluorescence spectroscopy, in order to determine the composition of the writing materials. These methods made it possible, first, to support and check palaeographic findings and, second, to gain information about the stratigraphy of the manuscript where palaeographic methods find their limits – in regard to short entries, rubrications, and non-alphabetical signs.
Museumsvitrinen sollen Kunst- und Kulturgut „ins rechte Licht“ setzen und vor Diebstahl oder Vandalismus schützen. Vergleicht man historische Schauvitrinen, die zumeist aus einfachen Glasscheiben in Holzrahmungen bestehen, mit heutigen Konstruktionen, lässt sich eine Entwicklung zu hochtechnisierten Gebilden ablesen, die deutlich mehr Ansprüchen genügen müssen als in der Vergangenheit.
Zahlreiche Beispiele verdeutlichen, dass Kunstwerke nicht nur außerhalb, sondern auch innerhalb von Museen oder Archiven ungünstigen Umwelteinflüssen ausgesetzt sind. So können Einbauten bzw. Dekorationen in Ausstellungsräumen, Aufbewahrungsbehältnisse in Depoträumen oder Ausstellungsvitrinen flüchtige Substanzen, sogenannte VOCs (Volatile Organic Compounds) freisetzen, die zu irreversiblen Veränderungen an den Objekten führen und diese schädigen. Hierzu zählen organische Säuren, wie Ameisen- oder Essigsäure, aber auch Verbindungen, die Sulfide enthalten. Hier wird die an der BAM entwickelte BEMMA-Bewertungsmethode vorgestellt, die von Museen verwendet werden kann Materialien mit einem geringeren Emissionspotential auszusuchen.
The aim of this paper is to present the productive interplay of connoisseurship and material analysis when dealing with drawings by Rembrandt – or previously attributed to him – in the collection of the Klassik Stiftung Weimar. This concerns the more precise determination of the drawing materials used and the reconstruction of the genesis of the drawings discussed. The material analysis allows us to decide whether and how Rembrandt’s inks can be used to determine authorship at all. The “material turn” in drawing studies thus intervenes in the discussion about authorship and opens up a broader production aesthetic perspective. No longer the “style” but rather the handeling becomes the decisive criterion for answering the question “Rembrandt, or not?”
Colours on East Asian Maps
(2023)
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.