Abstract:In order to protect the murals in Daxiong Palace in Jiange County,Sichuan Province,damage caused by the Wenchuan earthquake was analyzed.Base on survey results made after earthquake,typical damage characteristics of the murals were discussed.The results demonstrate that the Cejiao constitution concepts used in Chinese ancient buildings has helped to resist earthquakes.Considering the mural strengthening techniques as well as the characteristic mortise and tenon joints typical of Chinese ancient buildings,a finite model of Daxiong Palace was built.In order to simulate damages to the mural paintings under the Wenchuan earthquake conditions,modal analysis was done and then the Wenchuan waves were amplified and imposed on the model.By doing dynamic analysis,peak values for displacements as well as inner forces of the structure under simulated Wenchuan earthquake conditions were obtained.Response curves for selected typical nodes were obtained.Results show that main cause of damages to the murals occurred because they were not fixed tightly to the base layer of the wall,which led to tensile strength failure. Under Wenchuan earthquake condition,the murals kept vibrating constantly;In order to enhance aseismic capability of the murals,isolation materials have to be filled between the wooden frames and the outer wall plates.Connection between wall and wooden frames has to be strengthened.Daily maintenance of the murals is also a very important factor.

Abstract:The bunch casting technique,which utilized two molds and the cavities laid out symmetrically side by side on both sides of the sprue,was the first one to be used for casting bronze coins in China.The molding material could be stone,clay or metal.But most molds were metal or stone. Because only a few clay molds for casting coins have been found in China,it has not been a focus of research until now. The surviving Han Dynasty relics related to clay mold bunch casting are classified and analyzed in this paper.This technique was used not only in the early Han Dynasty,but also to cast bronze coins up to the time of the Eastern Han Dynasty.Base on experimental castings made in laboratory,the Han Dynasty clay mold bunch casting process can be described as follows. First,a model was made.This could be a metal model cast in a two part clay mold.Second,clay molds were made from the model.Third,after baking the molds,the molten bronze was poured into the mold's cavity to form bronze coins.Clay molds could be made with great efficiency by using a metal model.A metal model also could guarantee metal coins with consistent size and characters.

Abstract:A variety of materials were examined in order to find most suitable organic coatings for the protection of architectural glazed tiles.Properties such as light stability of the protective materials,hydrophobicity,freeze thaw resistance and chemical stability were tested on new yellow glazed tiles.The optimum polymers were chosen and properties such as hydrophobicity,freeze thaw resistance,the bending and compressive strength as well as permeability for the weak architectural glazed tiles were tested.The results showed that the light stability of the protective materials Primal SF and B72 were poor,the hydrophobicity and freeze thaw resistance of Primal SF was poor,and the chemical stability in silicone, the hydrophobicity and alkali resistance in polyurethane and silicone acrylic emulsion were poor,whereas fluorine-containing materials were better.Fluorine resin and materials composed mainly of the fluorine resin were better for soft architectural glazed tiles because they could penetrate into the tiles and exert a hydrophobic effect.In conclusion,fluorine resin and materials composed mainly of the fluorine resin have excellent performance and should be widely employed as protective materials in the conservation of architectural glazed tiles.

Abstract:To obtain information on pigment usage and the technology of constructing the wood based lacquer screens from the Tomb of SIMA Jin long(dated Northern Wei Dynasty,of Datong city,Shanxi province),Micro Raman,FTIR,WDXRF,and cross sectional observation were used to characterize and identify the four major pigments(red,black,yellow,and white),the reddish grounding substances,and the decoration.The results showed:(1)the major pigments are identified as cinnabar,carbon black,orpiment,realgar,and gypsum;(2)the reddish grounding substance was shown to be a mixture of Chinese lacquer and cinnabar as the colorant;further FTIR analyses of the reddish grounding substance revealed no evidence of Chinese wood oil;(3)the painting was found to have of one or more distinct pigment layers with consistent thickness;the tiny differences among the thickness indicated a superb painting skill;(4)some white substance was noticed in both the pigment layers and in the transition region to varying degrees.XRF analysis showed that the major constituents of the white substance in the transition region are calcium and phosphorus.Based on the work of other scholars,the source of the white substance is probably hydroxyapatite.The chemical composition and mineral phases of the white particles found in the pigment layers still await identification.

Abstract:With the aim of using bacterial biomineralization to reinforce stone relics,Bacillus subtilis was selected to study stimulated biomineralization with calcite(calcium carbonate)in special cultures containing calcium.The results showed that Bacillus subtilis could induce calcite precipition in solid and liquid M-3+ASP cultures.The white precipitation was shown to be calcite crystals by XRD analysis.Under optical and scanning electron microcopy(SEM),calcite was observed around the bacterial cells,enwrapping and calcified them.

Abstract:To look for new materials that are suitable for improving the weather resistance of brick cultural relics,and to develop systematic protection methods and experiences.After determining the main causes of weathering and salt-recess of brick cultural relics, tests were conducted using various materials to provide resistance to damage by water,acid,salt,pollution,heat and ageing,and ultraviolet rays.More than ten kinds of polymeric materials were tested and the best of these were selected as protective and reinforcement materials.The polymeric material Si97 selected by these experiments was applied to weathered and salt-damaged brick cultural relics.This material protected and reinforced the damaged brick cultural relics to a certain degree,not only lengthening the lifetime of the brick cultural relic,but also reducing the maintenance costs.The achievement of the research is innovative.The innovative feature of Si97 is that it incorporates amino and epoxy groups into the silicone polymer which increases its flexibility,thereby reducing its fragility,and improving the ageing resistant performance of the material.In view of better protection effects, obvious social and economic benefits,the selected material Si97 is proposed to be promoted for application.

Abstract:The Endere site,in the Taklamakan desert,was an important place linking the East and the West on the Silk Road during the ancient times.A remarkably large pagoda in the ruin symbolizes the architecture of the site.During the passed thousand years,the pagoda has been seriously damaged due to natural and artificial factors.The results of an on site survey show that the main causes of damage are wind erosion,water erosion,crevices,collapse and artificial holes,among which wind erosion is the most fatal one.Considering the environment of the pagoda and the Principles for the Conservation of Heritage Sites in China,it is necessary to reinforce the base of the structure and fill the artificial holes.It will be useful in the long term preservation of the pagoda and providing a good foundation of large-scale conservation efforts in the future.

Abstract:This paper provides a detailed discussion on the inscriptions,length,weight and manufacturing location of the Dutch style cannons dated from the 4th year during the Tianqi Emperor's reign (A.D.1621~1627) of the Ming Dynasty,which is now displayed in Quanzhou Maritime Museum.The cannon is one of the earliest existing Dutch style cannons produced by the Chinese people.Analytical methods such as the metallographic microscope,Vario E1 element analysis system and ICPAES were employed.The conclusion is that the cannon is made of gray cast iron and their slight rusting condition can be attributed to the quality of the metal and the conservation environment.

Abstract:The Dongyang tomb site,lying in Xuyi city,Jiangsu province,is an important historical site dating to the Qin and Han Dynasties.Many fine lacquer wares have been excavated from these tombs,and they could provide precious information on the lacquer making techniques in the state of Guangling during the Han Dynasty.In order to deduce the lacquer making techniques of that time,cross section,X ray diffraction (XRD),X ray fluorescence (XRF) and the fourier transform infrared spectrometry (FTIR) analysis were used to study two wooden body urushiwares from the site. The cross sections of the lacquer films showed that the plain urushiware had two lacquer layers:a plaster layer and a plain lacquer layer.The colored urushiware had a plaster layer,a ground layer and a painting layer.XRD results showed that quartz (SiO₂) and albite (NaAlSi₃O₈) were in the plaster layer,and that cinnabar (HgS) was the pigment in the red lacquer layer.XRF showed that the major elements of the cinnabar were Hg and S,with traces of Ca,Si,Cu and Fe.The lacquer film was also examined by FTIR.The absorbance at 1576 cm-1 and 1630 cm-1 were attributed to benzene skeletal vibrations. Analysis indicated lacquer making techniques for these samples consisted of three steps.1)Lacquering of the plaster layer;raw lacquer and a mixture of minerals containing fine granular quartz and albite were applied to form a film about 0.1～0.2mm thick;2)Lacquering the priming layer,this layer is about 0.02～0.09mm thick;3)Painting the uppermost layer,in which cinnabar was used as red pigment;the presence of minor elements,such as Ca,Si,Cu and Fe,suggested the cinnabar came from a mineral source.

Abstract:Using metallographic analysis,XRD,SEMEDS and a micro hardness test,the main micro morphological properties of the silver relics from the Tang Dynasty CHEN Yuan tong couple's tomb in Fujian were described. Corrosion products were identified.Several different types of corrosion morphology were observed,which reveals why the silver relics are quite brittle.More attention should be paid to the brittleness of silver relics when they are conserved.

Abstract:With the goal of effective restoration of textiles,Italian conservation and restoration methods were applied to silk relics.A patterned yellow silk kasaya from the management center of the Eight Outer Temples of Chengde was treated,based on the restoration theory of Brandi.Dust was removed,and then the textile was cleaned,dried,dyed and reinforced.The dyeing of white silk and white thread,which is emphasized in this article,followed Italian conservation and restoration methods.After the restoration,most dirt was removed and the damaged parts were reinforced.The traditional method of needle sewing made the restoration reversible.

Abstract:Protective restoration and commercial restoration represent two different approaches to restore oil paintings.At present,the general,international approach to the oil painting restoration may involve many scientific and standard technical procedures.The paint layer,the canvas and the supports need to be reinforced,restored and conserved thoroughly and comprehensively.This integrated type of restoration method is called “Protective restoration”.On the other hand, commercial restoration is only a temporary form of restoration,which cannot thoroughly eliminate the underlying causes of damage in the oil painting.The principles of “Restoring the old as the old” and “Restoring the old as the new” have the common goal of emphasizing historical truth.But “Restoring the old as the old” emphasizes the true history at present whereas “Restoring the old as the new” emphasizes the return to the true history in the past.Therefore,during restoration,it is not simply to declare that which one is absolutely right.When confronted with a specific cultural relic or art work,whether to “Restoring the old as the old”,or “Restoring the old as the new” must be chosen according to the society's overall aesthetic evaluation and the specific environment.Oil painting is art of colors.From a general societal point of view old oil paintings should be restored as new.