WEKO3
アイテム
Wall Paintings : Techniques and Technology of their Performance, and a Short Characteristic of the Structure of Selected Paintings in Europe
https://doi.org/10.32286/0002000202
https://doi.org/10.32286/0002000202e73ad2af-313e-41a7-a330-9688bf6128c2
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
KU-0040-20110308-17.pdf
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| アイテムタイプ | 紀要論文 / Departmental Bulletin Paper(1) | |||||||||
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| 公開日 | 2023-09-05 | |||||||||
| タイトル | ||||||||||
| タイトル | Wall Paintings : Techniques and Technology of their Performance, and a Short Characteristic of the Structure of Selected Paintings in Europe | |||||||||
| 言語 | en | |||||||||
| 言語 | ||||||||||
| 言語 | eng | |||||||||
| 資源タイプ | ||||||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||||||
| 資源タイプ | departmental bulletin paper | |||||||||
| ID登録 | ||||||||||
| ID登録 | 10.32286/0002000202 | |||||||||
| ID登録タイプ | JaLC | |||||||||
| アクセス権 | ||||||||||
| アクセス権 | open access | |||||||||
| アクセス権URI | http://purl.org/coar/access_right/c_abf2 | |||||||||
| 著者 |
エヴァ・ロズネルスカ
× エヴァ・ロズネルスカ
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| 概要 | ||||||||||
| 内容記述タイプ | Other | |||||||||
| 内容記述 | Wall painting - is a field of culture and art which has its origin in the prehistoric times. Human instinct to ornament the environment and express in this way people's feelings, dreams or religious beliefs was already present in the primitive tribes. Over the centuries - along with the increase of human awareness, growth of inventions, steadily developing modifications of techniques and technologies - the creation of wall painting has undergone transformations, constant improvements and it has taken on a different expression. The techniques of its performance were getting more and more precise and perfect. Despite a quick development and many modernizations, wall paintings were made on the base of a natural composition and using means largely based on natural materials and binders, thus undergoing to some degree a quicker or slower aging. These processes are inevitable and irreversible. A substratum and layer of polychrome are aging and undergoing a gradual destruction. We can notice the acceleration of these destructive processes especially in the last fifty years - because of increased pollution of environment connected with the development of civilization. The degree of destruction of a wall painting depends on many factors at the same time - on the technique in which the painting was made, the influence of the environment, but also on the state of preservation of the architecture with which the painting is integrally bounded. To save wall paintings they undergo conservation and restoration, and even reconstruction which are to preserve their maintenance condition and bring the aesthetic appearance to the value of the original painting in such a way as the supplemented composition elements of the painting integrated with it, making a unity. When we see big losses we always face a dilemma - which spots to reconstruct, and which we should leave untouched at the stage of conservation works. And there is always a question - which method of filling we should choose. Unfortunately, even the mere choice of a graphic method, color integration during the ongoing conservation works will never give a final aesthetic-impression relation between the painting and the viewer. A final appearance of the restored painting is determined by the care of performance, choice of colors, obtainment of required illusion, and 'the choice of ways of displaying them, supplementing or not touching with a brush is the decision that belongs to the creative activity of a conservator, similarly as every aesthetic decision to be taken with each wall painting. This results from the fact that many factors influenced the final aesthetic impression of discussed paintings, depending on years in which a given restoration treatment was made, and thus what means, materials, tools and ways of performance were used. A great role in recent years has been played by interdisciplinary laboratory tests of materials and means used by conservators, indicating chemical, optical, microbiological changes, which is a great facilitation for modem conservators-restorers. What has a significant influence on the evolution of applied materials and methods is a proper education of conservators-restorers on the academic or university level, and at the same time an easy access to a specialist literature and ability to compare works with conservations in the world. Adhering to the principle・ that each conservation and restoration of a damaged wall painting is carried out using reversible means, there is a possibility to have an aesthetic and technical correction of the restored paintings after some time. | |||||||||
| 言語 | en | |||||||||
| 書誌情報 |
Semawy Menu 巻 2, p. 171-188, 発行日 2011-03-08 |
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| 書誌レコードID | ||||||||||
| 収録物識別子タイプ | NCID | |||||||||
| 収録物識別子 | BB04028363 | |||||||||
| 著者版フラグ | ||||||||||
| 出版タイプ | VoR | |||||||||
| 出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||||||
| 出版者 | ||||||||||
| 出版者 | 関西大学文化財保存修復研究拠点 | |||||||||
| 言語 | ja | |||||||||
| 出版者 | ||||||||||
| 出版者 | Institute for Conservation and Restoration of Cultural Properties, Kansai University | |||||||||
| 言語 | en | |||||||||
| キーワード | ||||||||||
| 言語 | ja | |||||||||
| 主題Scheme | Other | |||||||||
| 主題 | エジプト | |||||||||
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| 言語 | ja | |||||||||
| 主題Scheme | Other | |||||||||
| 主題 | サッカラ | |||||||||
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| 言語 | ja | |||||||||
| 主題Scheme | Other | |||||||||
| 主題 | 文化財 | |||||||||
| キーワード | ||||||||||
| 言語 | ja | |||||||||
| 主題Scheme | Other | |||||||||
| 主題 | 修復 | |||||||||
| キーワード | ||||||||||
| 言語 | ja | |||||||||
| 主題Scheme | Other | |||||||||
| 主題 | 関西大学 | |||||||||
| キーワード | ||||||||||
| 言語 | en | |||||||||
| 主題Scheme | Other | |||||||||
| 主題 | Kansai University | |||||||||
