Search Results (29)

Buddhist books have always played a central role in the lives of Tibetan people. This is evident by looking at the hundreds of thousands of manuscripts and xylographs produced by Tibetans, and then copied, multiplied, worshipped, spread, and transmitted uninterruptedly from religious masters to disciples over the centuries. Tibetan manuscripts and xylographs have started to be studied in their entirety only recently, and the interest for their visual aspect, material features, and social life has exponentially grown, becoming crucial to progress in different fields of study, to deeply understand the way in which Tibetan Buddhist people interact with such artefacts but also to preserve a disappearing cultural heritage. This essay will focus on a so far neglected element of Tibetan Buddhist manuscripts, namely, decorations of writing frames. Any element found in a Tibetan scripture is essential from care and conservation viewpoints since it contributes to preservation for as long as possible. This is fundamental to spread Buddha’s word and to accumulate spiritual merits to progress on the path towards Enlightenment. The numerous elements exhibited in manuscripts may help locating their provenance and/or narrowing down their dating. This will also lead to a better understanding of the spread of certain scriptures within the various Tibetan areas. This essay attempts to provide a preliminary analysis of decorated writing frames found in Buddhist manuscripts produced in different periods with the twofold aim of tracing their use and codicological aspects and investigating the type of texts that were mostly chosen to be decorated as such. Full article

Blue is one of the most challenging colors for humans to produce and one of the most important colors in art history. Literature from the Tikuna/Magüta culture, from the Amazon Forest, suggests the use of chemical reactions between the juice of the naīcü fruit and iron to produce a blue colorant still unknown among technical art historians and conservation scientists. Additionally, the coloring materials from the Tikuna/Magüta people were never chemically investigated. Therefore, this manuscript presents the investigation of blue colorants from twenty-two Tikuna/Magüta masks and one stamp used to decorate similar items. Collections from four museums, from the USA and Brazil, were examined, and Raman spectra indicated the presence of Prussian blue, phthalocyanine blue, indigo, ultramarine, crystal violet, amorphous carbon, anatase, and barium sulfate (or lithopone). Although the unknown blue colorant was not detected in this campaign, the authors hypothesize the chemical composition and reactions involved in its production by considering the chemistry of naīcü and anthocyanins. The continuation of this work with community-based participatory research (CBPR) approaches is also discussed, justifying why reproduction was not considered in this work and supporting a more socially responsible and inclusive practice in technical art history and conservation science. Full article

This study focuses on the material characterisation of a collection of 19th-century watercolour replicas that reproduce ancient Egyptian mural paintings and illuminated decorations from medieval manuscripts. Non-contact analyses, including macro-X-ray fluorescence (MA-XRF), X-ray diffraction (XRD), and fibre-optic reflectance spectroscopy (FORS), were employed to examine the composition of the painting materials, particularly the pigments. The findings are contextualised through archival research into 19th-century technical sources on historical painting and illuminating practices, as well as contemporaneous pigment catalogues that reported commercial prices. Ultimately, this research aimed to explore whether 19th-century artists engaged with historical material practices beyond mere visual representation in their depictions of historical subjects. The results obtained from the replicas of medieval illuminations are groundbreaking, as they challenge prevailing scholarly assumptions. Notably, the use of pigments such as minium and ultramarine blue, which were held in high regard during the Middle Ages, along with the use of chalk in the preparation of the support, suggest that, in an industrialised world where engagement with material culture was increasingly driven by commercial profit, some academic circles still sought to explore and preserve selected historical material practices in the art of painting. Full article

The Hebrew Scroll, catalogued as Magliabekian Manuscript III 43 and belonging to the National Central Library of Florence (BNCF), is a membranous richly decorated scroll, with colorful depictions of sacred sites through the Holy Land to Lebanon along with handwritten texts in Hebrew and notes in Italian. Despite the fact that the manuscript was originally catalogued as an “object of no artistic or scientific value”, recent paleographic studies dated it to the XIV century and highlighted it as the oldest scroll still available, depicting holy places from Egypt to Lebanon. Nevertheless, precise dating, authorship, and the interpretation of its original function are still uncertain. A suite of complementary techniques was used, including photographic documentation in visible (VIS) light in diffuse light, grazing light, and transillumination, luminescence induced by ultraviolet (UV) radiation, imaging spectroscopy (IS), Macro Area X-ray Fluorescence (MA-XRF), and spot analyses such as fiber-optic reflectance spectroscopy (FORS) in the UV, VIS, and near-infrared (NIR) regions, Fourier transform infrared spectroscopy (FT-IR) in external reflectance mode (ER), and micro-Raman spectroscopy. The results of the non-invasive diagnostic campaign enabled the identification of several constituting materials (parchment, pigments, binder, and inks). The identified materials were consistent with the proposed dating and geographical manufacturing area of the artefact. Full article

This paper presents the findings of the first multi-analytical investigation of the Book of Uí Mhaine, one of the largest Gaelic Books surviving from the medieval vernacular period. A combination of protein analysis, point X-ray fluorescence spectroscopy (XRF), multispectral imaging (MSI), point Fiber-Optic Reflectance Spectroscopy (FORS) and point Raman spectroscopy was used to perform a systematic investigation of the Book of Uí Mhaine’s constituent materials, including parchment, inks and pigments. The analysis revealed that the parchment was made of calfskin, both blunt tools and Pb-containing materials were used for ruling the pages throughout the manuscript, and iron-based inks were used to write the content of the book. The decoration was restricted to the initial letters and rubrication across the body text. The decoration color palette was limited to yellow and red, comprising arsenic-, mercury- and lead-based pigments. A copper-based green pigment was found only on one folio. The scientific knowledge acquired through this multi-analytical approach complemented a substantial corpus of knowledge already built by Gaelic scholars, paleographers, codicologists and conservators. This work not only allowed for the consolidation of existing information on methods and materials used for the production of medieval Gaelic manuscripts but also laid the basis for future comparative work with other contemporary traditions in Ireland and Europe. Full article

This research explores the figurative culture that flourished in Sicily during the 12th and 13th centuries, focusing on the interplay between artifacts of different types, materials, techniques and uses. Paintings, sculptures and objects that share a common visual language are analyzed with the aim of highlighting recurring motifs, mutual influences and related sources. The main focus is on the decorative apparatus of the Sacramentary Ms. 52 (Madrid, Biblioteca Nacional de España), one of the most famous illuminated manuscripts from Sicily. The date, origin and patronage of this luxurious liturgical book have been the subject of intense scholarly debate. In order to shed light on these controversial issues, this study re-examines the various hypotheses considered by scholars, taking into account the historical events that affected Sicily from the end of the Norman to the beginning of the Swabian era. This analysis also shows how the decoration of the manuscript fits into the wider dynamics of cultural exchange that characterized Sicily and the Mediterranean during this transitional period. Full article

The monastery of Holy Savior has been the subject of much scholarship, but the liturgical reform requested by King Roger II of Sicily and carried out by the first archimandrite, Luke of Rossano, and the latter’s struggle to establish seemly equipment, has been largely neglected. Given its potential relevance for the material setting of the monastery’s early manuscript collection through the middle of the twelfth century, this seems an oversight. Art historians have repeatedly claimed that the monastery’s lofty status could have enabled the spread of Byzantine models to Norman Sicily, especially in relation to figurative arts and manuscript decoration. This paper discusses the same assumption from the opposite perspective. It explores the main tendencies of manuscript decoration at San Salvatore based on the extant evidence from the monastery’s early collection. Building on the paleographical and codicological observations provided in the past decades (mostly by philologists), I examine the manuscripts in terms of decorative practice and artistic culture. Full article

This article investigates the origins and significance of images of griffins and sphinxes—hybrid creatures of Greco-Roman tradition—in the marginal decorations of the so-called “Neapolitan Ovid” (BNN ms. IV F 3), the first illuminated manuscript of the Metamorphoses, probably from the late 11th century. Their form and style suggest specific iconographic origins and links with the decorative motifs from Antiquity that circulated in artistic objects around Bari, the manuscript’s place of origin. Among the many figures that provide a pictorial response to the poem’s content, the presence of these griffins and sphinxes offers compelling evidence of the survival of ancient imagery; they also invite us to explore the relationship between image and text in the illuminated book. From this analysis, we can better understand the complex role of these hybrid figures in the manuscript. Their existence is testimony to the continuity of marginal decorative systems derived from Antiquity that are present in objects and were articulated through the Islamic and Byzantine formal vocabularies accessible in Puglia at the time. Full article

Textiles and clothing were and still are an important source of culture as well as an indicator of a robust economy and social status. Textile household goods and clothing are important heirlooms, providing valuable information about the standard of living, socio-political events, and cultural influences of the regions from which they originate. This paper presents the preliminary results of a research project dealing with the traditional natural dyes used in Greece for the decoration of garments from the 19th century onwards (from the 19th until the mid-20th century). The research aims to identify and record all the different plants and dyeing techniques used in Greece during this period and also to propose a non-destructive methodology for the study of dyed textiles in order to facilitate their preservation. In this paper, the focus is on the presentation of the classification and identification data of the plants used as the dyeing sources, according to recipes collected in various areas in Greece, as well as the description of their botanical characteristics. The research was based on the study of more than 2000 manuscripts and many interviews with older people who have used these materials. Thus, more than 140 plants have been documented, together with their recipes. The data produced include the phytological characteristics of the plants, as well as the parts of the plant used, the period collected and the areas they were used, together with images of the plants and various details regarding the recipes used in many places around Greece, along with the related documentation. The study also refers to ethics and traditions related to the dyes, the color, or the dyeing procedures used. Woolen samples were prepared based on the data collected in order to investigate how the differences recorded from place to place are reflected in the final result. Through this research, it was possible to identify and replicate some of the non-common recipes which use the Mediterranean strawflower, Helichrysum stoechas (L.) Moench, red algae, Rytiphloea tinctoria (Clemente) C.Agardh, and the common poppy Papaver rhoeas L as dyestuffs. Full article

Not many manuscript maps have been the object of material analysis so far. A portolan chart, signed and dated by Juan Vespucci in 1520, was studied in this research, conserved at the Archivo General de Indias in Seville (Spain). It is made on parchment and depicts the coasts and islands of Europe and Africa. It is the oldest portolan chart made in Seville, being unusual in applying hand stamp for decorative figures. The map was analysed by different non-invasive techniques: infra-red and ultraviolet light, digital microscope and X-ray fluorescence (XRF). The main goals of this study were to identify the materials used, as well as to detect retouching or restoration work. Results showed that the entire parchment was first covered with a white layer made of lead white (Pb), calcite or gypsum (Ca). The principal pigments used were vermilion (Hg), yellow ochre (Fe), azurite (Cu) and a copper-based green pigment (Cu) and carbon black. The letters were probably written with an iron-gall ink (Fe, Cu). Very thin golden leaves were applied on a mixtion glue for gilded wind roses. Several retouches from the 19th/20th centuries were found using zinc and titanium whites and probably cobalt blue. Full article

Crosstalk between the nervous and immune systems in the context of trauma or disease can lead to a state of neuroinflammation or excessive recruitment and activation of peripheral and central immune cells. Neuroinflammation is an underlying and contributing factor to myriad neuropathologies including neurodegenerative diseases like Alzheimer’s disease and Parkinson’s disease; autoimmune diseases like multiple sclerosis; peripheral and central nervous system infections; and ischemic and traumatic neural injuries. Therapeutic modulation of immune cell function is an emerging strategy to quell neuroinflammation and promote tissue homeostasis and/or repair. One such branch of ‘immunomodulation’ leverages the versatility of biomaterials to regulate immune cell phenotypes through direct cell-material interactions or targeted release of therapeutic payloads. In this regard, a growing trend in biomaterial science is the functionalization of materials using chemistries that do not interfere with biological processes, so-called ‘click’ or bioorthogonal reactions. Bioorthogonal chemistries such as Michael-type additions, thiol-ene reactions, and Diels-Alder reactions are highly specific and can be used in the presence of live cells for material crosslinking, decoration, protein or cell targeting, and spatiotemporal modification. Hence, click-based biomaterials can be highly bioactive and instruct a variety of cellular functions, even within the context of neuroinflammation. This manuscript will review recent advances in the application of click-based biomaterials for treating neuroinflammation and promoting neural tissue repair. Full article

The interest in 3,4-dihydropyrimidine-2(1H)-(thio)ones is increasing every day, mainly due to their paramount biological relevance. The Biginelli reaction is the classical approach to reaching these scaffolds, although the product diversity suffers from some limitations. In order to overcome these restrictions, two main approaches have been devised. The first one involves the modification of the conventional components of the Biginelli reaction and the second one refers to the postmodification of the Biginelli products. Both strategies have been extensively revised in this manuscript. Regarding the first one, initially, the modification of one of the components was covered. Although examples of modifications of the three of them were described, by far the modification of the keto ester counterpart was the most popular approach, and a wide variety of different enolizable carbonylic compounds were used; moreover, changes in two or the three components were also described, broadening the substitution of the final dihydropyrimidines. Together with these modifications, the use of Biginelli adducts as a starting point for further modification was also a very useful strategy to decorate the final heterocyclic structure. Full article

This article analyzes the phenomena that arise when the images of New Testament authors are placed before, alongside, and within the titles and incipits of New Testament texts in ancient manuscripts. Such images facilitate encounters with “specters” of the authors, invoking their bodily presence in the absence of their physical body. They are encodings of collective memory but also participants in perpetuating and sometimes modifying the physical appearance of apostolic figures. On occasion, the blending of textual incipits with apostolic images sublimate authorial identity and textual identity; the bodies of apostles become frames through which to view their written works. Although they are paratexts, apostolic icons can rearrange and aggregate other paratextual features including titles and even Euthaliana. Images of the apostles further interact with anonymous features of NT manuscripts, such as Euthaliana, providing authorization for works without ascription in the manuscripts themselves. Images of the apostles in NT manuscripts are therefore more than decoration or pious creativity. They are loci of presence, identity, memory, and authority. Full article

Electrochemical oxidation of urea (UOR) is critical in the removal of urea from wastewater and energy conservation and storage. Nickel-based catalysts are widely used for urea-ORR, but in all cases, the nickel must be hybridized with carbon materials to improve its conductivity. In this manuscript, we demonstrate the synthesis of a nickel-decorated carbon nanotube (Ni-NCNT) by simple microwave pyrolysis of Dabco (1,4-diazabicyclo[2.2.2]octane)-based coordination polymer frameworks (CPF). The surface structure, morphology and chemical composition of Ni-NCNT were characterized by Raman spectrum, scanning electron microscopy (SEM), transmission electron microscopy (TEM), X-ray photoelectron spectroscopy and energy-dispersive X-ray spectroscopy (EDS) analysis. SEM studies showed micrometer-long bamboo-shaped CNTs with nickel nanoparticles anchored to the walls and inside the nanotubes. A structural study by TEM and Raman spectra showed that carbon nanotubes are rich in defects due to the presence of nitrogen, and this was confirmed by energy-dispersive X-ray spectroscopy (EDS) maps. When applied as electrocatalysts in urea oxidation reactions (UOR), our newly developed Ni-NCNT shows excellent electrocatalytic activity and stability, making it a versatile catalyst in energy generation and mitigating water contamination. Full article

Six rare porcelains of the Qing Dynasty, in particular, dishes ordered respectively for Philibert Orry, the Duke of Penthièvre and a tureen from the service of Louis XV, with royal coat-of-arms, were analyzed non-invasively by Raman microspectrometry. A coffee pot with a rare decoration attributed to Cornelius Pronk was also analyzed as well as two plates, one decorated with an Imari-style pattern and the second post-decorated in the Low-Countries/Holland. The enamel types and coloring or opacifying agents were identified on the basis of combined Raman and SEM-EDXS analysis previously published as well as new section and surface analysis of five plate samples representative of different technologies (blue-and-white, Famille rose). The use of lead oxide for the preparation of overglaze is demonstrated. For the first time, the use of borax in the blue overglaze according to the recipe from the 1753 manuscripts of French chemist Jean Hellot is demonstrated on Chinese porcelain. This fact, like the use of cobalt free of manganese, demonstrates the use of European ingredients and/or recipes for ceramics exported from China to Europe. The highlighting of the use of different recipes or raw materials for porcelain from the same period can therefore be the signature of different workshops. For instance, three different Raman signatures of red decoration were identified from the hematite vibration modes: very narrow modes for Pronk’ coffee pot and Louis XV tureen, broad for Orry’ dish and intermediate for the others. Three workshops are thus expected. It is interesting to note that the use of arsenic for the realization of white enamels corresponds to the latest objects, made after 1738. China was therefore in the 18th century both an importer of European know-how, design and an exporter of enameled products made with imported technologies to Europe. Full article