DOCSLIB.ORG

Klebstoffe Für Die Rissverklebung an Leinengeweben

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Klebstoffe Für Die Rissverklebung an Leinengeweben Kölner Beiträge zur Restaurierung und Konservierung von Kunst- und Kulturgut Digitale Edition Band 1 Klebstoffe für die Rissverklebung an Leinengeweben Lena Reuber 2010 CICS (Institut für Restaurierungs- und Konservierungswissenschaft) Köln Lena Reuber Klebstoffe für die Rissverklebung an Leinengeweben Kölner Beiträge zur Restaurierung und Konservierung von Kunst- und Kulturgut Digitale Edition Band 1 2010 Herausgeber: Fachhochschule Köln Institut für Restaurierungs- und Konservierungswissenschaft (CICS) Ubierring 40, D-50678 Köln Satz / Realisierung des Layouts: H. Portsteffen Dieser Band basiert auf der Diplomarbeit von Lena Reuber (2008), betreut durch Prof. Dipl. Rest. Hans Portsteffen und Dipl. Rest. Petra Demuth © Lena Reuber 2 Lena Reuber Klebstoffe für die Rissverklebung an Leinengeweben Vorwort Die Technik der Rissverklebung zur Behandlung von Rissen an textilen Bildträgern bedarf trotz aller grundlegender Erfahrungen weiterer nachhaltiger Forschung. Seit Jahren widmet sich die Studienrichtung Restaurierung und Konservierung von Gemälden, Skulpturen und Moderner Kunst am CICS (Cologne Institut of Conservation Sciences) diesem Forschungszweig intensiv. Wesentliche Schwerpunkte bilden dabei die Klebstoffwahl in Abhängigkeit von der Faserart sowie die Haltbarkeit der Verklebung insbesondere unter wechselnden klimatischen Bedingungen. Mit der vorliegenden Diplomarbeit präsentiert Lena Reuber die Ergebnisse von Klebstofftests für die Einzelfadenverklebung. Durch den Vergleich der Höchstzugkraft von über 6000 verklebten Leinenfäden sind nunmehr erstmals in dieser Tiefe aussagekräftige und praxisrelevante Daten ermittelt worden. Somit stellt diese Arbeit unseren ersten wichtigen Meilenstein dar. Namentlich sei an dieser Stelle Lena Reuber, Petra Demuth und Elisabeth Jägers für ihr Engagement und die intensive Zusammenarbeit herzlich gedankt. Die Publikation enthält die vollständige Diplomarbeit, gekürzt wurden lediglich einige Teile des Anhangs. Mit der gewählten Form des e-books möchte das Institut für Restaurierungs- und Konservierungswissenschaft die Reihe der Kölner Beitrag durch eine weitere Publikationsreihe ergänzen und mit der digitalen Edition die Frequenz der Veröffentlichungen von Restaurierungs- und Forschungsprojekten, die an der Fachhochschule Köln stattfinden, erhöhen. H.P. 3 Lena Reuber Klebstoffe für die Rissverklebung an Leinengeweben Kurzzusammenfassung In dieser Arbeit werden Klebstoffe für die Rissverklebung an Leinenfäden getestet. Als Grundlage werden die Eigenschaften von ausgewählten Klebstoffen und von Leinenfäden vorgestellt. Es wurden Zugversuche mit 25 Klebstoffen an insgesamt über 6.000 Fäden durchgeführt. Mit den Klebstoffen Störleim-Weizenstärkekleister, Mowilith D50, Polyamid 5065 und einem Epoxidharz erfolgten weitergehende Versuche. Dabei wurde zusätzlich die Abhängigkeit der Zugbeständigkeit von der verklebenden Person getestet. Außerdem wurden aufgespannte verklebte Leinenfäden wechselnden klimatischen Bedingungen ausgesetzt und deren Zugbeständigkeit in „normalem“, extrem trockenem und extrem feuchtem Klima geprüft. Die Arbeit schließt mit einer Diskussion anhand einer Versuchsreihe zur Übertragbarkeit der Ergebnisse auf Klebungen in Gewebestrukturen. Die Ergebnisse werden durch Diagramme veranschaulicht und geben Hinweise für die Umsetzung bei der Einzelfadenverklebung am textilen Bildträger. Abstract In this diploma thesis adhesives for thread-by-thread tear mending of linen yarn are tested. Basic understanding of adhesive and linen characteristics is provided. Tensile tests were carried out with 25 adhesives at altogether over 6,000 threads. Further investigations were carried out with sturgeon glue-wheat starch, Mowilith D50, Polyamid 5065 and an epoxy resin. Additionally the dependency of the adhesive bond on the single user was tested. Moreover stretched pieces of glue joined linen yarn were exposed to changing climatic conditions. Subsequently tensile stiffness and strength in “normal”, extremely dry as well as extremely humid climate was tested. In conclusion the transferability of the results to adhesive bonds in lined canvas was discussed on the basis of a final test run. The results are presented in graphs and are discussed and give precious hints for mending tears in textile painting supports. 4 Lena Reuber Klebstoffe für die Rissverklebung an Leinengeweben Inhaltsverzeichnis 1 Einleitung ................................................................................................................................................6 2 Aktueller Stand der Rissverklebung.................................................................................................................6 2.1 Begriffsdefinitionen.............................................................................................................................7 2.2 Forschungsstand in der Literatur .........................................................................................................7 2.3 Bisher gebräuchliche Klebstoffe..........................................................................................................8 3 Leinenfäden ..............................................................................................................................................10 4 Klebemittel ..............................................................................................................................................14 4.1 Theoretische Grundlagen der Fadenverklebung ................................................................................14 4.2 Kriterien für die Klebstoffauswahl ....................................................................................................17 4.3 Eigenschaften ausgewählter Materialien ...........................................................................................20 4.3.1 Störleim.................................................................................................................................21 4.3.2 Stärkekleister.........................................................................................................................26 4.2.3 Junfunori ...............................................................................................................................28 4.3.4 Aquazol.................................................................................................................................30 4.3.5 Celluloseether........................................................................................................................33 4.3.6 Polyvinylacetate....................................................................................................................36 4.3.7 Acrylate.................................................................................................................................39 4.3.8 Polyamide .............................................................................................................................42 4.3.9 Beva 371 ...............................................................................................................................44 4.3.10 Epoxidharz ...........................................................................................................................44 5 Zugversuche an Einzelfäden ..........................................................................................................................46 5.1 Versuchsaufbau........................................................................................................................................47 5.1.1 Vorbereitung der Prüflinge....................................................................................................47 5.1.2 Zugprüfung ...........................................................................................................................49 5.1.3 Klimabelastung .....................................................................................................................50 5.2 Zugbelastung der Klebstoffe im Vergleich ..............................................................................................52 5.2.1 Acryldispersionen .................................................................................................................55 5.2.2 Schmelzklebstoffe ................................................................................................................58 5.2.3 Mod. Störleim-Lösungen und deren Einzelkomponenten .....................................................61 5.2.4 Polyvinylacetatdispersionen..................................................................................................65 5.2.5 Epoxidharz ............................................................................................................................68 5.2.6 Vergleich mit den Daten von Heiber ....................................................................................69 5.3 Zugbelastung im personenbezogenen Versuch ........................................................................................70 5.3.1 Störleim-Weizenstärkekleister ..............................................................................................70 5.3.2 Mowilith D5..........................................................................................................................71 5.3.3 Polyamid ...............................................................................................................................72 5.3.4 Epoxid...................................................................................................................................73
Load more

Recommended publications
  • Restauration D'arts Graphiques : Comblement Des Lacunes Et Retouches
    Restauration d’arts graphiques : comblement des lacunes et retouches Session de formation permanente organisée par le département des restaurateurs Aubervilliers - 11, 12, 13 avril 2018 Orientations bibliographiques réalisées par la bibliothèque de l’Inp Tous les documents ci-dessous peuvent être consultés à la Bibliothèque de l’INP, à l’exception de ceux précédés d’un astérisque. Les mémoires de fin d’études de l’Inp sont consultables en ligne après attribution d’un code fourni par le service de la documentation des œuvres : [email protected] Le comblement : histoire et théorie DE HERDE Christine, La problématique du comblement des lacunes en restauration de papier : Réflexion théorique et approche pratique. Mémoire, Bruxelles : Ecole nationale supérieure des arts visuels de La Cambre, 1998, 121p. MERCADO HERVAS Marina « Teoría de la reintegración cromática », Cuadernos de restauracion n° 5, 2004, p. 11-21 SCHÄDLER-SAUB Ursula (ed.), Die Kunst der Restaurierung - Entwicklungen und Tendenzen der Restaurierungsästhetik in Europa : Internationale Fachtagung des Deutschen Nationalkomitees von ICOMOS und der Bayerischen Nationalmuseums, München, 14.-17. Mai 2003, München : Siegl, 2005, 336p. SCHINZEL Hiltrud, « Unsichtbare Restaurierung, lesbares Kunstwerk - Article : wie lässt sich ein Kompromiss finden? », Restauro [allemand], Décembre 2002 - Vol. 108 n° 8, p. 556-561 THORNTON Jonathan, « A brief history and review of the early practice and materials of gap-filling in the West », AIC Journal of the American Institute for Conservation, Printemps 1998 - Vol. 37 n° 1, p. 3-22 WOUTERS Jan, « The repair of parchment : Filling », Reviews in conservation, 2000 - n° 1, p. 77-86 Le comblement : matériaux et techniques AUBRY Thierry, « Table aspirante transparente lumineuse pour comblage des lacunes », Conservation restauration des biens culturels (CRBC), Mai 1997 - n° 9, p.
    [Show full text]
  • Comparison of Reweaving and Reknitting Techniques with Textile Conservation Repair Methods
    University of Rhode Island DigitalCommons@URI Open Access Master's Theses 2008 Comparison of Reweaving and Reknitting Techniques with Textile Conservation Repair Methods Sandra C. Aho University of Rhode Island Follow this and additional works at: https://digitalcommons.uri.edu/theses Recommended Citation Aho, Sandra C., "Comparison of Reweaving and Reknitting Techniques with Textile Conservation Repair Methods" (2008). Open Access Master's Theses. Paper 967. https://digitalcommons.uri.edu/theses/967 This Thesis is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Open Access Master's Theses by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. COMPARISON OF REWEAVING AND REKNITTING TECHNIQUES WITH TEXTILE CONSERVATION REPAIR METHODS BY SANDRA C. AHO A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN TEXTILES, FASHION MERCHANDISING, AND DESIGN UNIVERSITY OF RHODE ISLAND 2008 MASTER OF SCIENCE THESIS OF SANDRA C. AHO APPROVED: Thesis Committee Major Professor__ ~.l........J~=ll£:::..i.=~~.L.L--=-"--'- -=--...::--- DEAN OF THE GRADUATE SCHOOL UNIVERSITY OF RHODE ISLAND 2008 Abstract Reweaving and reknitting techniques rebuild losses in textiles by replacing damaged yams to duplicate original structures and patterns. Traditionally viewed as restorative methods used mainly for consumer clothing and household furnishings, reweaving and reknitting have much potential for adaptation to the repair and stabilization of historic and collectible textiles. Standard textile conservation repair and stabilization techniques utilize hand­ sewn underlay and overlay patches and adhesive-coated underlay supports. Although these techniques can provide practical and time-saving approaches for a wide variety of situations, problems with these techniques can sometimes develop over the long term when issues of structural integrity and appearance are concerned.
    [Show full text]
  • Diplomtage 2010 [email protected]
    Cologne Institute of Conservation Sciences Institut für Restaurierungs- und Konservierungswissenschaft Prof. Dr. Robert Fuchs Fachhochschule Köln Ubierring 40 50678 Köln Institutsdirektor Ubierring 40 50678 Köln Telefon 0221.8275–3454 Telefax 0221.8275-7-3477 Diplomtage 2010 www.re.fh-koeln.de [email protected] Ihr Zeichen Ihre Nachricht vom Mein Zeichen Köln, den Fu/Pc 5. Oktober 2010 — Sehr verehrte Damen, sehr geehrte Herren, am 19. und 20. November 2010 werden wir wie in den vergangenen Jahren im Hörsaal R. 137 der FH Köln einen unserer letzten Diplomtage veranstalten, bei dem unsere Absolventinnen und Absolventen des letzten Jahres die Ergebnisse ihrer Diplomarbeiten vorstellen - der Abschluss "Diplom" wird zukünftig durch die MA-Abschlüsse ersetzt. Im Anschluss wird wieder die Möglichkeit zu einer Diskussion bestehen. Ich möchte Sie hierzu ganz herzlich einladen. Dem beiliegenden Programmblatt können Sie die Themen der Vorträge entnehmen. Über eine Teilnahme würden meine Kolleginnen und Kollegen und ich uns sehr freuen. Am Freitag, den 19. November 2010, findet im Anschluss an die Vorträge eine feierliche Diplomierung statt, zusammen mit einem Empfang des Fördervereins und einer Preisverleihung an die drei besten Diplomandinnen und Diplomanden. Mit freundlichen Grüßen gez. Prof. Dr. Robert Fuchs (Institutsdirektor) Öffentliche Verkehrsmittel: Straßenbahn Linie 15, 16 oder Buslinie 132, 133 bis Haltestelle Chlodwigplatz oder Ubierring Konto: 52295-500 Postbank Köln BLZ 370 100 50 Diplomtag 2010 Vorträge der Absolventinnen und Absolventen der Jahrgänge 2009/2010 19. und 20. November 2010 Freitag, 19.11.2010 (Raum 137) 9:00 Uhr Begrüßung durch Herrn Prof. Dr. Robert Fuchs Methoden der Konservierung und Restaurierung/Untersuchungen Moderation: Prof.
    [Show full text]
  • Modulhandbuch B.A. Konservierung Und Restaurierung Von Gemälden Und Gefassten Skulpturen Staatliche Akademie Der Bildenden Kü
    Modulhandbuch B.A. Konservierung und Restaurierung von Gemälden und gefassten Skulpturen Staatliche Akademie der Bildenden Künste Stuttgart • Modulhandbuch Masterstudium ab S. 25 • Farbkodierung der Folgeseiten entspricht der Kennzeichnung in den Studienverlaufsplänen der Studiengänge Stand 01.2014 Modulhandbuch Studiengang Konservierung und Restaurierung von Gemälden und gefassten Skulpturen B.A. Kontaktadressen (E-Mail) der im Modulhandbuch benannten Dozentinnen und Dozenten: Brückle Prof.in Dr. Irene Brückle [email protected] Büttner Prof. Dr. Nils Büttner [email protected] Dietz Dipl.-Ing. Justus Dietz [email protected] Eggert Prof. Dr. Gerhard Eggert [email protected] v. Elm Christina von Elm M.A. [email protected] Henkel Andreas Henkel [email protected] Hildenbrand Thomas Hildenbrand [email protected] Huber Prof. Dr. Hans Dieter Huber [email protected] Krekel Prof. Dr. Christoph Krekel [email protected] Lang Dipl.-Rest. Viola Lang [email protected] Lenz Prof. Dipl.-Rest. Roland Lenz [email protected] Pappe Dipl.-Rest Bernd Pappe [email protected] Pöschel Prof.in Dr. Sabine Pöschel [email protected] Roth Dipl.-Rest. Janina Roth [email protected] Schaible Prof. Dipl.-Rest. Volker Schaible [email protected] Scheerer Dr. Dipl.-Rest. (FH) Stefanie Scheerer [email protected] Schultz Julia Schultz M.A. [email protected] Springmann Dipl.-Rest. Barbara Springmann [email protected] Vogel Dipl.-Rest. Peter Vogel [email protected] Wollmann Dipl.-Rest. Astrid Wollmann [email protected] Kontaktadressen (E-Mail) der im Modulhandbuch benannten Modulverantwortlichen Brückle Prof.in Dr.
    [Show full text]
  • Multiscale Approach in the Assessment of Nanocellulose-Based Materials As Consolidants for Painting Canvases
    Multiscale approach in the assessment of nanocellulose-based materials as consolidants for painting canvases Alexandra Bridarolli Submitted for the degree of Doctor of Philosophy University College London Eastman Dental Institute August 2019 1 Abstract This thesis investigates mainly the use of nanocellulose-based treatment for the consolidation of degraded cotton canvases of modern paintings and includes within this some case studies on linen canvases (sized and unsized) and 19th cent. historical samples from paintings. It. uses a multi-scale analytical approach where primarily controlled relative humidity dynamic mechanical analysis (DMA-RH) was used to evaluate the effect of the novel nanocellulose based preparations. It aims at quantifying the advantages, disadvantages, and limitations of their application. Initially, the baseline viscoelastic response to RH variations of a degraded cotton canvas was measured by DMA-RH. This technique was used further together with SEM to assess morphologically and mechanically 6 traditional consolidants including natural such as animal glue and synthetic materials. Following the same protocol, two solutions of nanocellulose-based consolidants developed in the frame of the Nanorestart project were assessed. These materials consisted of nanocellulose dispersions in water or water/ethanol and nanocomposites of nanocellulose- reinforced cellulose derivatives in polar/apolar solvents. Overall, higher consolidation at lower weight added was measured for the nanocellulose-based treatments tested when compared to the traditional consolidants. The penetration of the consolidant in the canvas also shows to greatly differ between treatments with the nanocellulose showing low penetration. Higher mechanical response to RH was also measured after treatment in particular with the water-based treatment. The results demonstrate how the adhesion, measured here at the nanoscale, and consolidant penetration into the canvas are dominant factors for the development of consolidation treatment for painting canvases.
    [Show full text]
  • Curating Research Free
    FREE CURATING RESEARCH PDF Hyunjoo Byeon,Carson Chan,Olga Fernandez-Lopez,Kate Fowle,Maja Fowkes,Reuben Fowkes,Liam Gillick,Georgina Jackson,Sidsel Nelund,Simon Sheikh | 262 pages | 24 Feb 2015 | Open Editions | 9780949004031 | English | London, United Kingdom Curating for Research | JAR A curator from Latin : curameaning "to take care" [1] is a manager or overseer. Traditionally, a curator or keeper of a cultural heritage institution e. A traditional curator's concern necessarily involves tangible objects of some sort — artwork, collectibles, historic items or scientific collections. More recently, new kinds of curators have started to emerge: curators of digital data objects and biocurators. In smaller organizations, a curator may have sole responsibility for acquisitions and even for collections care. The curator makes decisions regarding what objects to select, oversees their potential and documentation, conducts research based on the collection and its history, provides proper packaging of art for transportation, and shares research with the public and community through exhibitions and publications. In very small, volunteer-based museums such as those of local historical societies, a curator may be the only paid staff-member. In larger institutions, the curator's primary function is that of a subject specialist, with the expectation that he or she will conduct original research on objects and Curating Research the organization in Curating Research collecting. Such institutions can have multiple curators, each assigned to a specific collecting area e. In such organizations, the physical care of the Curating Research may be overseen by museum collections-managers or by museum conservators, with documentation and administrative matters such as personnel, insurance, and loans handled by a museum registrar.
    [Show full text]
  • Japanese Art Free
    FREE JAPANESE ART PDF Joan Stanley-Baker | 240 pages | 28 Oct 2014 | Thames & Hudson Ltd | 9780500204252 | English | London, United Kingdom Kintsugi - Wikipedia Lacquerware is a longstanding tradition in Japan[6] [7] and at some point kintsugi may have been combined with maki-e as a replacement for other ceramic repair techniques. While the process is associated with Japanese craftsmen, the technique was also applied to ceramic pieces of other origins including China, Vietnam, and Korea. Kintsugi became closely associated with ceramic vessels used for chanoyu Japanese tea ceremony. When it was returned, Japanese Art with ugly metal staples, it may have prompted Japanese Art craftsmen to look for a more aesthetic means Japanese Art repair. As a philosophy, kintsugi can be seen to have similarities to the Japanese philosophy of wabi-sabi Japanese Art, an embracing of the flawed or imperfect. This can be seen as a rationale for keeping an object around even after it has broken and as a justification of kintsugi itself, highlighting the cracks and repairs as simply an event in the life of an object rather Japanese Art allowing its service to end at the time of its damage or breakage, and can be seen as a variant of the adage "Waste not, want not". Not only is there no attempt to hide the damage, but the repair is literally illuminated Mushin is often literally translated as "no mind," but carries connotations of fully existing within the moment, of non-attachment, of equanimity amid changing conditions. The Japanese Art of existence over time, to which all humans are susceptible, could not be clearer than in the breaks, the knocks, and the shattering to which ceramic ware too is subject.
    [Show full text]
  • Edvard Munch & His Painted Sketches
    Preserving a Master: Edvard Munch & His Painted Sketches Erika Gohde Sandbakken+ and Eva Storevik Tveit++ (Norway) Abstract This paper will give an overview of challenges encountered by the paintings con- servators at the Munch Museum in Oslo. The collection contains world-famous artworks. Munch’s paintings are often requested for exhibition loans and many travel all round the world. A great deal of the work required of us is linked with such loans. However, the museum also owns approximately 150 canvas sketches, which are even more in need of conservation. Most of them were painted in the period 1909–16; the largest measures up to 5 x 11.5 metres. Munch painted and stored many of them outdoors for years; approximately 51 have been stored on rolls since Munch’s day. His handling and painting techniques and storage have led to extreme deterioration of the sketches and from 2006–12 extensive conser- vation has been conducted. The main challenges were concentrated on the con- solidation of considerable areas of unstable paint, but soiling, water damages, salt ef"orescence etc. were also attended to. Keywords: Munch’s Unprepared Cotton Canvases, Porous Paint, Outdoor Environment, 4BMU&GÏPSFTDFODF "FSPTPM(FOFSBUPS + Erika Gohde Sandbakken, Painting Conservator, Munch Museum, Munch-museet, Postboks 2823 Tøyen, 0608 Oslo, Norway. voice: +47 2349-3576, email: [email protected], website: www.munch.museum.no. ++ Eva Storevik Tveit, Painting Conservator, Munch Museum, Munch-museet, Postboks 2823 Tøyen, 0608 Oslo, Norway. email: [email protected]. Preserving a Master: Edvard Munch and His Painted Sketches | 87 Introduction Munch returned to Norway in 1909 after spending several years abroad, for the most part in Germany.
    [Show full text]
  • Pablo Picasso
    2002 AIC PAINTINGS SPECIALTY GROUP POSTPRINTS Papers Presented at the Thirtieth Annual Meeting of The American Institute for Conservation of Historic and Artistic Works Miami, Florida June 6-11,2002 Compiled by Helen Mar Parkin The 2002 AIC Paintings Specialty Group Postprints is published by the Paintings Specialty Group (PSG) of The American Institute for Conservation of Historic and Artistic Works (AIC). With minor exceptions, these papers have not been edited and are published as received from the authors. Responsibility for the methods and/or materials described herein rests solely with the contributors. These should not be considered official statements of the Paintings Specialty Group or of The American Institute for Conservation of Historic and Artistic Works. The Paintings Specialty Group is an approved division of The American Institute for Conservation of Historic and Artistic Works, but does not necessarily represent AIC policies or opinions. The 2002 AIC Paintings Specialty Group Postprints is distributed to members of the Paintings Specialty Group as of 2003. Additional copies may be purchased from AIC, 1717 K Street, NW, Suite 200, Washington, D.C.20006. Published by Studio 2000, Arlington, Texas; Printing by Buck; Judy Mahan, Consultant TABLE OF CONTENTS Kenneth B. Katz 1 The Removal of Multiple Layers of Overpaint without the Use of Toxic Solvents Nica Gutman and Mark Tucker 3 Thomas Eakins and the Pursuit of "True Tones" Catherine G. Rogers, Gianfranco Pocobene, and Elizabeth Leto Fulton 16 The Conservation and Technical Study of the Coronation of Hebe Attributed to Paolo Veronese Lance Mayer and Gay Myers 26 More Thoughts on American Impressionists and the Question of Varnishing Marcia C.
    [Show full text]
  • Ideals of the East: the Spirit of Japanese Art Free
    FREE IDEALS OF THE EAST: THE SPIRIT OF JAPANESE ART PDF Kakuzo Okakura,Sister Nivedita | 128 pages | 11 Mar 2005 | Dover Publications Inc. | 9780486440248 | English | New York, United States The Ideals of the East Index Lacquerware is a longstanding tradition in Japan[6] [7] and at some point kintsugi may have been combined with maki-e as a replacement for other ceramic repair techniques. While the process is associated with Japanese craftsmen, the technique was also applied to ceramic pieces of other origins including China, Vietnam, and Korea. Kintsugi became closely associated with ceramic vessels used for chanoyu Japanese tea ceremony. When it was returned, repaired with ugly metal staples, it may have prompted Japanese craftsmen to look for a more aesthetic means of repair. As a philosophy, kintsugi can be seen to have similarities to the Japanese philosophy of wabi-sabian embracing of the flawed or imperfect. This can be seen as a rationale for keeping an object around even after it has broken and as a justification of kintsugi itself, highlighting the cracks and repairs as simply an event in the life of an object rather than allowing its service to end at the time of its damage or breakage, and can be seen as a variant of the adage "Waste not, want not". Not only is there no attempt to hide the damage, but the repair is literally illuminated Mushin is often literally translated as "no mind," but carries connotations of fully existing within the moment, of non-attachment, of equanimity amid changing conditions. The vicissitudes of existence over time, to which all humans are susceptible, could not be clearer than in the breaks, the knocks, and the shattering to which ceramic ware too is subject.
    [Show full text]
  • Comparison of Reweaving and Reknitting Techniques with Textile Conservation Repair Methods Sandra C
    University of Rhode Island DigitalCommons@URI Open Access Master's Theses 2008 Comparison of Reweaving and Reknitting Techniques with Textile Conservation Repair Methods Sandra C. Aho Univeristy of Rhode Island Follow this and additional works at: http://digitalcommons.uri.edu/theses Terms of Use All rights reserved under copyright. Recommended Citation Aho, Sandra C., "Comparison of Reweaving and Reknitting Techniques with Textile Conservation Repair Methods" (2008). Open Access Master's Theses. Paper 967. http://digitalcommons.uri.edu/theses/967 This Thesis is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Open Access Master's Theses by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. COMPARISON OF REWEAVING AND REKNITTING TECHNIQUES WITH TEXTILE CONSERVATION REPAIR METHODS BY SANDRA C. AHO A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN TEXTILES, FASHION MERCHANDISING, AND DESIGN UNIVERSITY OF RHODE ISLAND 2008 MASTER OF SCIENCE THESIS OF SANDRA C. AHO APPROVED: Thesis Committee Major Professor__ ~.l........J~=ll£:::..i.=~~.L.L--=-"--'- -=--...::--- DEAN OF THE GRADUATE SCHOOL UNIVERSITY OF RHODE ISLAND 2008 Abstract Reweaving and reknitting techniques rebuild losses in textiles by replacing damaged yams to duplicate original structures and patterns. Traditionally viewed as restorative methods used mainly for consumer clothing and household furnishings, reweaving and reknitting have much potential for adaptation to the repair and stabilization of historic and collectible textiles. Standard textile conservation repair and stabilization techniques utilize hand­ sewn underlay and overlay patches and adhesive-coated underlay supports.
    [Show full text]
  • A Legal Primer on Managing Museum Collections, Third Edition 3Rd Edition Download Free
    A LEGAL PRIMER ON MANAGING MUSEUM COLLECTIONS, THIRD EDITION 3RD EDITION DOWNLOAD FREE Marie C Malaro | 9781588343222 | | | | | A Legal Primer on Managing Museum Collections, Third Edition For example, anthropology museums will pay special attention to Native American objects that may be subject to repatriation, and paleontology museums may look carefully at whether proper permitting procedures were followed when they are offered fossil collections. Yes No. Stay in Touch Sign up. Pass it on! The Alliance offers a vast range of advocacy tools — A Legal Primer on Managing Museum Collections online guides and trainings to boost your advocacy skills, to in-depth Issue Briefs on federal policy affecting museums. For example, a history museum may only collect objects relevant to a particular county or even a single person, or focus on a type of object such as automobiles or stamps. Beautiful Symmetry. We scoured our vast selection of vintage books for the most beautiful dust jackets, and soon discovered that selecting just 30 was a nearly impossible task. Privacy notice This website stores cookies on your computer. Drawing: A Complete Guide. A Legal Primer on Managing Museum Collections, 3rd Edition : This publication focuses on collection-related problems and legal entanglement issues, reviews relevant cases and court decisions and gives advice on when a museum should seek legal counsel. Available from:. Foundation Finder is a free tool that allows searching by name Third Edition 3rd edition basic financial and contact information on more than 70, private and community foundations in the United States. Oxford University Press: London, These cookies are used to collect information about how you interact with our website and allow us to remember you.
    [Show full text]