Václav Pitthard

Searching for blood in Chinese lacquerware

In various historical Chinese sources pigs’ blood is described as a binding medium for the ground layers of Chinese lacquerware [1–3]. This paper gives an overview of some approaches used to verify the presence of pigs’ blood in Chinese lacquer, especially in so-called Cantonese lacquer, and discusses the reasons for its use. During the conservation and restoration of the lacquer room in the Palace of Schönbrunn, Vienna, Austria, between 2001 and 2005, samples of the Chinese lacquer panels (Fig. 1) from the beginning of the eighteenth century were tested for protein with benzidine and luminol by the Institute for Forensic Medicine in Vienna, though the results were inconclusive. Tests undertaken in 2011 with benzidine on a Chinese tea box from the nineteenth century and a Chinese Qianlong period jewellery box were positive. They were accompanied by gas chromatography combined with mass spectrometry (GC–MS) analyses and histochemical tests, which also identified the presence of protein [4,5]. In 2006, real-time polymerase chain reaction (PCR) analyses at the University of Veterinary Medicine in Vienna verified the presence of pig DNA; further recent PCR analyses of the Chinese cabinets, Palace of Schönbrunn, Vienna, and recent results by the Austrian Central DNA laboratory in Innsbruck, Austria, showed that all five samples from the Chinese lacquer panels contain DNA of Sus scrofa (wild pig), but in two samples human DNA was also detected. The reasons for this result will be presented. The use of histochemical staining with Amido Black AB2 on cross-sections was helpful in identifying the presence of protein in ground layers. GC–MS analyses were able to identify the presence of specific amino acids. 根據不同的中國歷史文獻記載,中國漆器的底灰會

Searching for blood in Chinese lacquerware: zhū xiě huī 豬 血 灰

The study gives an overview of the tests and analyses undertaken in the past 20 years to establish the presence of blood in the foundation layers of Chinese lacquer artefacts and also shows the development of analytical methods over that period. When undertaking the conservation of lacquer objects it is crucial to know the type of binding medium as this influences the selection of any consolidants that may be required in the treatment. Microchemical tests to identify blood using benzidine and luminol, various chromatographic and mass spectrometric techniques and DNA analyses were assessed on selected Chinese lacquer objects, and the results gained are summarized.

The technical investigation of an eighteenth-century Chinese imperial carved lacquer screen and its role in developing an appropriate conservation treatment

This paper gives an overview of the results of a comprehensive conservation research project on an eighteenth-century Chinese carved lacquer screen. Special emphasis was put on scientific analyses of the original materials and techniques. The objects history, previous restoration treatments, and the current condition were documented before the conservation treatment commenced. The extensive analytical investigations on a set of 24 samples, performed by means of optical and scanning electron microscopy as well as pyrolysis–gas chromatography–mass spectrometry, helped to determine the stratigraphy of the lacquer screen and to reveal the compositions of the materials used. The results and information presented here are the products of an interdisciplinary collaboration of conservators and scientists, which contributed significantly to the preparation of a conservation strategy for the screen and helped in the selection of conservation techniques and the choice of appropriate conservation materials.

An analytical investigation of a unique medieval wood sculpture and its monochrome surface layer

Medieval wood sculptures form an important part of our cultural heritage. Their preservation, restoration and material investigations usually result in a very demanding task, which leads, however, to understanding of the historical techniques used in the medieval art workshop. The restoration of the statue of Seated Virgin Mary (1475–1480), recently attributed to the Master of the Kefermarkt Altarpiece, the National Gallery in Prague, revealed beneath the thick layer of the modern polychrome a very rare preserved original surface finish consisting of a thin monochrome glaze that was directly applied to the wood, in German specialised literature known as Holzsichtigkeit. The identification of the organic materials of the thin painting layers on original artworks is always very challenging. The monochrome red-brownish glaze was confirmed by micro-optical analyses in ultraviolet light. The layer was then analysed by means of micro-chemical test for the presence of saccharides and subsequently investigated by gas chromatography–mass spectrometry to detect particular binding medium. According to the results it occurred that storax was plausibly present. This research and identification of the surface finish of the Seated Virgin Mary sculpture open new possibilities for the interpretation and analyses of similar monochrome glaze layers of the Late Gothic carvings.

Technical investigation of an eighteenth-century Chinese Imperial carved lacquer screen

This paper gives an overview of the results of a comprehensive ongoing conservation and research project with emphasis on the scientific investigation of the original materials and the subsequent restoration treatments of an Imperial Chinese carved lacquer screen. The three-panel wooden screen from the Qianlong period (1736–95) of the Qing dynasty, with impressive dimensions (3.30 m × 2.60 m), has carved lacquer with yellow, green, and red layers on the front, and gold painted onto black lacquer on the reverse. It has been in the possession of the Weltmuseum, Vienna, Austria, since 1902 and is ranked among the most exquisite furniture pieces in the collection. A matching throne is a central piece of the China collection of the Victoria and Albert Museum, London (W.399-1922) [1]. The polychrome carved lacquer on the front of the screen depicts the Pan Tao Feast, with the eight Daoist immortals, the Queen Mother of the West (Xi Wang Mu) and her entourage celebrating her birthday in the central panel. This elaborately carved scene resonates with the painted images on the back with cranes, waves, rocks, clouds, and peaches with bats, which convey a wish for longevity (Fig. 1). One purpose of the research project is to document the history, previous restoration treatments and the current condition of the object. A clearer insight into the materials and techniques used on the screen is sought through extensive analytical investigations on a set of 24 samples performed by means of optical and scanning electron microscopy with energy-dispersive 本文概述一項仍在進行中的全面修護及研究計劃的

Metal sarcophagi of the Habsburg Imperial Crypt, Church of the Capuchin Friars, in Vienna, Austria: Analysis of surface coatings

Abstract The Imperial Crypt below the Capuchin church in Vienna (the Kapuzinergruft) has been the principal burial site for the Habsburg dynasty since 1633. Today it holds a world-famous ensemble of sarcophagi and is one of the most important sites in Austria. Due to unfavourable climatic conditions in the crypt, until recently the tin-alloy cast-metal sarcophagi were affected by serious corrosion processes. Several restoration campaigns were undertaken between 1964 and 2002, when many of the sarcophagi were treated with various protective coatings. However, after these interventions a new problem arose: ensuing damage occurred in areas where the protective coatings were applied. Information about the chemical composition of the multi-layered coating systems and their influence on the metal surfaces thus became a crucial area for research. This paper presents the latest results of the technical examination of the surface coatings from three tin-alloy sarcophagi.