2006 Fiscal Year Final Research Report Summary
Research on Physical Aspects of Artistic Objects ＆ Cultural Properties for Methodological Integrations of Art History ＆ Scientific Analysis
| Project/Area Number |
15202004
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| Research Category |
Grant-in-Aid for Scientific Research (A)
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| Allocation Type | Single-year Grants |
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| Section | 一般 |
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| Research Field |
Aesthetics/Art history
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| Research Institution | The University of Tokyo |
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Principal Investigator |
NISHINO Yoshiaki The University of Tokyo, The University Museum, Professor, 総合研究博物館, 教授 (20172679)
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| Co-Investigator(Kenkyū-buntansha) |
SUWA Gen The University of Tokyo, The University Museum, Professor, 総合研究博物館, 教授 (50206596)
YOSHIDA Kunio The University of Tokyo, The University Museum, Research Associate, 総合研究博物館, 助手 (10272527)
USHINO Tsuyoshi Tokyo Kokusai University, Faculty of Humain Sociology, Professor, 人間社会学部, 教授 (80143329)
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| Project Period (FY) |
2003 – 2006
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| Keywords | Cultural Properties Science / Datation / Art History / C-14 / Physical Science |
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| Research Abstract |
78 samples of wood, fiber, etc. were dated by the AMS method. Elemental analyses were done for 37 samples of pigment, gold foil, etc. and data for 20 standard color and gold foil were compiled. Simple method to identify the pigment on the painting was investigated using a chromaticity meter. Images are observed microscopically on the sampling point and saved on HDD by a digital microscope. The images were used for analysis of the surface and layer structure. Similarly, fine images are collected for 84 samples of old cotton paper, and 252 images were compiled in the image database. The replica method was applied to "Triptyque du Buisson ardent" and it has become apparent that a curved double-edged cutter was used for forming of wooden surface. Infrared photograph by digital camera was introduced to the altar piece and the images clarified the presence of sketch under surface and the fact of alternation of composition.
The main frame was made by Aulne wood cut down 5-10 years before and the canopy was made by old wood cut down a hundred years ago. The ground was lime and blue pigment was German Blue and red was two types of vermillion and lead and genuine gold was used. The restoration on 1852 reinforced the main panels, changed the style of the frame, painted false gold, washed the surface and retouched and repaired the canopy widely.
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