Search

This article focuses on the problem of local communities’ awareness of heritage values in terms of urbanism, architecture, and construction and the traditions of place within a historic town. To study this problem, the authors conducted qualitative and quantitative research using the questionnaire method. They were carried out in the area of two selected small historic towns located in southern Poland in the Małopolska region: Muszyna and Piwniczna-Zdrój. Their aim was to determine the level of awareness of the cultural heritage values of both towns among their inhabitants. The results of the research are expected to identify areas of real educational needs in terms of the knowledge and a sense of value of local monuments. The authors believe that social participation and involvement of local communities is essential in the process of protecting and caring for monuments of indigenous cultural heritage.

This paper presents the authentication analysis of a bronze bust of Napoleon I, attributed to the Italian artist Renzo Colombo (1856–1885) based on his signature and other casting and molding inscriptions. The bust was made using the lost wax technique and artificially patinated in the Pinédo variant workshop. This study combined historiographical research (using the specialized literature) with data from auction catalogs. These were compared with photographs of the entire bust and close-up images of key areas, including anthropomorphic features, clothing, inscriptions, and structural and ornamental details. The condition of the bust and its historical and chemical characteristics were assessed through direct analysis with magnifying tools and indirect analysis using scanning electron microscopy with energy-dispersive X-ray spectroscopy (SEM-EDX). [ABSTRACT FROM AUTHOR]

This paper presents the archaeometric and chemometric authentication of a Renaissance-style oil painting on linen canvas, with plaster and barium sulphate-based primer preparation and bone glue as binder. By optical microscopy (OM), stereomicroscopy (SOM), scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX) and attenuated total reflectance–Fourier transform infrared spectroscopy (ATR-FTIR), a series of archaeometric characteristics were identified: the grain size of the chemical components of the paint layers, the 3D porosity distribution of the pigments, the degree of penetration between the paint layers and the varnish and between the varnish and the oxidatively anchored dirt, and the typology of the craquelure (craquelure network arrangement and morphology). By correlating the results obtained, it was possible to estimate the period of the painting as 1660 ± 3 years. [ABSTRACT FROM AUTHOR]

High-quality, 3D-shaped, SiO2 colloidal photonic crystals (ellipsoids, hyperboloids, and others) were fabricated by self-assembly. They possess a quadratic surface and are wide-angle-independent, direction-dependent, diffractive reflection crystals. Their size varies between 1 and 5 mm and can be achieved as mechanical-resistant, free-standing, thick (hundreds of ordered layers) objects. High-quality, 3D-shaped, polystyrene inverse-opal photonic superstructures (highly similar to diatom frustules) were synthesized by using an inside infiltration method as wide-angle-independent, reflective diffraction objects. They possess multiple reflection bands given by their special architecture (a torus on the top of an ellipsoid) and by their different sized holes (384 nm and 264 nm). Our hanging-drop self-assembly approach uses setups which deform the shape of an ordinary spherical drop; thus, the colloidal self-assembly takes place on a non-axisymmetric liquid/air interface. The deformed drop surface is a kind of topological interface which changes its shape in time, remaining as a quality template for the self-assembly process. Three-dimensional-shaped colloidal photonic crystals might be used as devices for future spectrophotometers, aspheric or freeform diffracting mirrors, or metasurfaces for experiments regarding space-time curvature analogy. [ABSTRACT FROM AUTHOR]

This research looks at the issue of the relationship between the tangible and intangible heritage in epigraphy of women in Moesia Inferior, shedding light on their social, professional, juridic, religious status, onomastics etc. and the importance of materials used for the inscriptions (almost exclusively limestone and marble). [ABSTRACT FROM AUTHOR]

The article analyses the wall paintings of Dunhuang sanctuaries based on mathematical methods of defining features and system-structural analysis. This makes it possible to analyse the frescoes according to a certain common criterion and to identify common and different ones. The method of system-structural analysis made it possible to present the sanctuary as a certain integrity with components covered with decor and decorated with sculpture. The main thematic genres of frescoes by period were analysed and it was proved that, in general, the process of the genesis of plans, structural schemes and wall paintings from the early to middle and late periods had the same characteristics, that is, the features of archaism and simplicity characterized both the number and variety of plans and structural schemes, and the subjects of frescoes. The features of each genre at different periods are determined. [ABSTRACT FROM AUTHOR]

The article is devoted to the study of the genesis of the plans and ceilings of the Dunhuang cave sanctuaries. Based on the methods of graphic-and-analytical, defining features and system-structural analysis, the spread of types of plans and ceilings from dynasty to dynasty has been traced. With the help of a group of auxiliary methods of historical analysis, mathematical analysis and comparative analysis, a general picture of the development of the floating structure and constructive schemes of the Dunhuang sanctuaries from the Northern Liang period to the Yuan period was created. By counting the types of plans and ceilings in each period, a group of the most common types of plans was determined: with a combination of larger and smaller rectangles (where the smaller is the altar part of a square or rectangular shape), a plan in the form of a square with a protruding trapezoidal altar, an altar in outline close to a rectangle or trapezoids with rounded corners, a horizontally elongated plan rectangle, based on squares with protrusions. The most common type of ceilings is fu-dow-din with modifications. [ABSTRACT FROM AUTHOR]

This article examines the genesis of planning solutions and ceiling designs of Dunhuang cave shrines. Based on the methods of defining features, graphic-and-analytical and system-and-structural analysis, the spread of types of plans and ceilings from dynasty to dynasty has been traced. Using auxiliary methods of historical, mathematical, and comparative analysis, a general picture of the development of the planning structure and constructive schemes of Dunhuang shrines from the Northern Lian period to the Yuan period has been created. By counting the types of plans and ceilings in each period, a group of the most common types of plans was determined: with a combination of larger and smaller rectangles (where the smaller is the altar part of a square or rectangular shape), a plan in the form of a square with a protruding trapezoidal altar, an altar in outline close to a rectangle or trapezoids with rounded corners, a horizontally elongated plan rectangle, based on squares with protrusions. The most common type of ceiling is fu-dou-ding with modifications. [ABSTRACT FROM AUTHOR]

High-quality convex colloidal photonic crystals can be grown on the tip of an optical fiber by self-assembly using the hanging drop method. They are convex-shaped, produce the diffraction of reflecting light with high efficiency (blazing colors), and have a high curvature. The convex colloidal crystals are easily detachable and, as free-standing objects, they are mechanically robust, allowing their manipulation and use as convex reflective diffraction devices in imaging spectrometers. Currently, the same characteristics are obtained by using gratings-based structures. The optical fiber/colloidal crystal interface is disordered; thus, no light diffraction can be registered. The ordering at this interface was highly increased by forming a polystyrene spacer on the optical fiber tip, which served as a self-assembly substrate for silica colloid, as a mechanical bond between the fiber and the crystal, and as a filler reservoir for an inverse-opal synthesis. The silica opal-like grown on the optical fiber tip can be transformed into a high-quality polystyrene (blazing colors) inverse-opal by using the polystyrene spacer as a filler. We found that the colloidal crystal axisymmetric self-assembles onto the optical fiber tip only if a maximum volume of the colloid drop is settled on a flat end of the polystyrene spacer. [ABSTRACT FROM AUTHOR]

This article examines the genesis of planning solutions and ceiling designs of Dunhuang cave shrines. Based on the methods of defining features, graphic-and-analytical and system-andstructural analysis, the spread of types of plans and ceilings from dynasty to dynasty has been traced. Using auxiliary methods of historical, mathematical, and comparative analysis, a general picture of the development of the planning structure and constructive schemes of Dunhuang shrines from the Northern Lian period to the Yuan period has been created. By counting the types of plans and ceilings in each period, a group of the most common types of plans was determined: with a combination of larger and smaller rectangles (where the smaller is the altar part of a square or rectangular shape), a plan in the form of a square with a protruding trapezoidal altar, an altar in outline close to a rectangle or trapezoids with rounded corners, a horizontally elongated plan rectangle, based on squares with protrusions. The most common type of ceiling is fu-dou-ding with modifications. [ABSTRACT FROM AUTHOR]

The article is devoted to an analysis of the figurative concepts of the Dunhuang cave wall paintings. It was determined that, despite the fact that the Dunhuang wall painting is an example of Buddhist art, it represents a syncretism of Buddhism and local beliefs--Taoism and Confucianism--which manifested itself in the depiction of characters from Buddhism and Taoism in one plot. Dunhuang cave murals are not uniform in style and execution techniques. Its genesis testifies that in the early stages it was a literal borrowing of the ancient Indian traditions of Buddhist mural painting; instead, there was a gradual layering of local painting techniques from the Central Plains of China. This led to the diversification of cave wall paintings of later periods and eventually led to the formation of a specific stylistic direction of "Chinese secular Buddhism," in which realistic painting plays an important role--the portrait genre of benefactors and the landscape genre of "mountains and waters.". [ABSTRACT FROM AUTHOR]

In order to restore the original aesthetic aspect, to improve the state of the age patina and of the gold halo, similar processes are required. The cleaning process is one of the most important aspects for an artwork and is considering a series of deteriorations and degradations, like dirt deposits (clogged or unclogged) opalescent varnish, colors blackening, burns, blisters, gaps (missing ground, painting layer or varnish). This step in the restoration process includes physical and mechanical proceedings like dusting (with a vacuum), brushing (with a brush), scraping (with a scalpel), removal or polishing etc. The scalpel and the milling process are rough unconventional means that are used only in exceptional cases. The wet cleaning of dirt includes classic washing processes, with water or other complex systems of organic solvents (emollients, surface additives or surfactants, mixtures of solvents). Cleaning the clogged dirt deposits with unconventional methods can be done by means of electronic laser, ion and thermal exchange or ultrasounds. Laser cleaning is often used in removing unwanted dirt deposits from different layers of the art piece. A lot of attention goes towards the controlled elimination of the exterior protection layer (varnish), which can be photo- degraded and oxidized by atmospheric exposure. Visual analysis, with enlargers (OM, SEM, AFM etc.) combined with transmission or penetration techniques (radiography, endoscopy, X-ray diffraction etc.) provides information on the superficial structures of the art work. In order to determine the modifications of the desiccant oils, SEM was used to observed the changes in the morphology of the oil painting layers. Gas chromatography/mass spectrometry (GC/MS) can be used to detrmine detergent residues on the painting layer.

This special issue focused on scientific works in the field of obtaining, characterization and recent applications of advanced materials, protective films, nanomaterials with multiple uses, including medical, heritage artefact conservation science and civil and industrial engineering. These have been obtained by phosphate conversion coating with three different types of phosphate solutions: zinc-based phosphate solution, zinc-iron-based phosphate solution and manganese-based phosphate solution. According to this study, the corrosion resistance of zinc-based phosphate-coated and zinc/iron-based phosphate-coated samples is higher than that of the studied carbon steel samples despite the corrosion environment. [Extracted from the article]

The paper presents the evolution of the concentration level for four particle size groups of microaerosols (1.0, 2.5, 4.0 and 10.0 µm) in correlation with the microclimatic characteristics (temperature, humidity, lighting, pressure and concentration in CO2 and O2) in three active areas of the Targu Ocna Saltworks, currently used in treatments with solions (hydrated aerosols): in the vicinity of the walls of the old mining salt room, where there is a semi-wet static regime (SSR); in the transition area between the old rooms of exploitation with the semi-wet dynamic regime (DSR); and in the area of the waterfall and the marshy lake with the dynamic wet regime (DWR). The first and last halochamber are the ones recommended for cardio–respiratory, immuno–thyroid and osteo–muscular conditions, as well as in psycho–motor disorders. Based on questionnaires carried out over the course of a year, between 1 September 2021–31 August 2022, in two periods of stationing/treatment: a cold one (15 September 2021–15 December 2021) and a warm one (1 May 2022–30 July 2022), correlated with the data from the Salina medical office, achieved the profile of the improvement rate of the patients' ailments depending on the type of treatment (working regime in halochambers). These studies have allowed the optimization of the treatment conditions in the artificial surface halochambers in order to reduce the stationary period and optimize the treatment cycles. [ABSTRACT FROM AUTHOR]

Geopolitics can have a significant impact on historical monuments, by destroying them, protecting them, managing them, and promoting them internationally. During armed conflicts or geopolitical tensions, historical monuments can become targets of vandalism by tactical protest. This may be the result of a desire to erase the symbols of a certain culture or to discredit an enemy. On the other hand, geopolitics can also protect monuments, by recognizing them as world heritage by organizations such as UNESCO, which can contribute to their conservation and restoration. Some historical monuments need restoration and conservation work to keep them in good condition. Governments and international organizations may allocate financial resources to these projects, and the allocation of these funds may be influenced by geopolitical interests. For example, certain countries may wish to support restoration projects of monuments in allied countries or with which they have special relations in order to strengthen their influence or promote their image internationally. The present paper wishes to highlight the impact of armed conflicts on cultural heritage and the need to update general strategies of cultural identity and community resilience, accepted and adopted worldwide. This work was co-funded by the European Social Fund, through Operational Programme Human Capital 2014-2020, project number OCU/993/6/13/153322, project title” Educational and training support for Ph.D. students and young researchers in preparation for insertion into the labor market”. [ABSTRACT FROM AUTHOR]

The main objective of the proposed research is to preserve the vernacular urban heritage of Romania by identifying realistic and innovative solutions for the conceptual and applied capitalization of the traditional technologies used in creating living spaces. This can be achieved by using modern methods, techniques, and tools (such as specific design methods and detailing, material mix design, specific material parameters, etc.) to redesign traditional Romanian housing entities, utilising existing construction materials and techniques predominantly of rural origin, empirically validated over the centuries, and reformatting them with modern scientific knowledge to generate a new model that is valid and compatible with current safety, aesthetic, and quality requirements. Earthen buildings, whether vernacular or constructed with qualified personnel such as craftsmen and traditional masons, use different techniques and construction technologies (rammed and poured, load-bearing walls, adobe bricks, mixed wood-earth structures, etc.) and were developed differently across the Romanian territory, depending on the climatic and relief zoning. By optimising these techniques and technologies, identifying their vulnerabilities and corresponding engineering solutions to counter them, and establishing pertinent fields of applicability in direct relation to their physical, mechanical, and durability characteristics and their evaluated bearing capacity, the conservation of the Romanian traditional housing legacy can be achieved. The opportunity of the proposed research is clearly connected to the current context of almost half of the Romanian population leaving for rural areas, including residential buildings made of earth. Supplementary, traditional building materials, like earth, clay, wood, etc., are based on primary natural resources, and they will generate ecologic housing concepts with a high degree of eco-efficiency in terms of use/re-use and recyclability, energy saving, and the health of the living space, in accordance with the general drive for resource savings and Circular Economy implementation in all fields, including the construction industry. [ABSTRACT FROM AUTHOR]

The paper presents the stages and the operations involved in the preservation and restoration of two icons on wooden support, from the XIX-th century, which are part of the heritage of the ”Sfinții Arhangheli Mihail and Gavriil” church, from Galați. The two icon have inventory numbers as part of the collection as followed: 112 for the first icon and 113 for the second one. Both icons have the same theme, ”The Grieving Mother from Rohia” and are made by anonymous painters in egg tempera, on lime wooden support, without ground. Being part of the same collection, they were deposited in the same place and as a direct consequence, they suffer from similar deteriorations and degradations that affect both the support and the painting layer. Both panels are attacked by xylophagous insects and the painting layer has detachments, gaps, cracks, clogged dirt and a cracked and degraded varnish layer. Ten samples taken from the already detached areas were analyzed by optical microscope, SEM-EDX and micro-FTIR. Based on the chemical elements identified in the EDX spectrums, the pigments used to create the painting layer are: ultramarine natural blue Na8-10Al6Si6O24S2-4, carbon black, earth green, K[(Al,FeIII),(FeII,Mg)](AlSi3,Si4)O10(OH)2, ocher (FeO), burned or natural umber Fe2O3· H2O + MnO2·n H2O+ Al2O3, lead white (2PbCO3·Pb(OH)2) and yellow iron oxide (Fe2O3·4H2O). It was also determined that the gold leaf usually used in byzantine icons was replaced in the case of both icons: the icon number 112 has silver leaf covered with varnish, while the halo of the icon number 113 was created with yellow metallic pigments (realgar or orpigment).The pigments were also identified by determining specific peaks in micro-FTIR spectrums. For natural ultramarine blue the peaks between 628 - 724 cm-1 were assigned; the peaks in the interval 795 - 887 cm-1 confirm the presence of carbonates (calcium and lead based). The earth green pigment (aluminum - silicates) had the peaks between 1464 - 1599, while the carbon black pigment was confirmed by the peaks in the interval 921 - 1060 cm-1. After the pigments and the materials used by the author were identified, the restoration process begun with the following stages: consolidation of the painting layer (fish glue 8% and japanese paper), stopping the xylophagous attack (encapsulation with nitrogen), consolidation of the wood supports (colophon and wax, 1:1), cleaning the painting layer (ethylic alcohol and distilled water, 1:1), filling the gaps and reintegrating the fillings in tratteggio, all followed by the process of varnishing the two icons.

The purpose of this research was to evaluate the perception over the innovative systems of barbell- extensor (concentric and exocentric) and helcometers bar with extensor system, focused on development and recovery of mass and muscular force. Subjects tested were males (N=10), aged between 19 to 32 (average 21.54 years), executing a training program with innovative equipments, of individually intensity. After 24 hours, they filled a questioner of 8 items (open and closed questions). The results proved that new equipment exhibits advantages related to the isolation efficiency of exercises, but the training programs must be constructed taking into consideration that joints are more stressed than in case of classical devices. Still, the pressure on spinal column is lower when using innovative devises.