242 research outputs found
Primeros resultados del proyecto «La introducción del vidriado en al-Andalus: olas tecnológicas e influencias orientales», a partir de análisis arqueométricos
No full textEste volumen ha sido realizado en el marco del proyecto de investigación EARMEDCASTILE financiado por la Unión Europea, el proyecto «Agencia campesina y complejidad sociopolítica en el noroeste de la Península Ibérica en época medieval» (Ministerio de Economía, Industria y Competitividad, AEI/FEDER UE HUM2016-76094-C4-2-R), la actividad del Grupo de Investigación en Patrimonio y Paisajes Culturales / Ondare eta Kultur Paisaietan Ikerketa Taldea (IT936-16) financiado por el Gobierno Vasco y la Unidad Asociada UPV/EHU-CSIC «Grupo de Estudios Rurales».[EN]This research project is designed to develop a much-needed approach to the study of glaze ware
production in al-Andalus (Spain and Portugal) during the Middle Ages (9th-13th centuries). The introduction
of the glaze in the Iberian Peninsula was a complex and long process involving several waves of technology
transfer arriving from the Eastern to the Western Mediterranean basin, in different political periods.
From the archaeometric analytical point of view, both petrographic and chemical, this proposal aims
to enrich knowledge about glazed ceramic technology in the Western Islamic world: identification of the
Mediterranean access routes, localization of Andalusi workshops and their spread and distribution through
the Iberian Peninsula. The microstructure and composition of the glazes, the raw materials and the colorants
and decorative techniques used, as well as, the introduction of Eastern patterns, will provide some
clues. Finally, the glazed ware as an element of political cohesion and, of course, as a sign of religious identity
in al-Andalus, will also be assessed. This project «The introduction of the glaze in al-Andalus: technological waves and Oriental influences » (IGATO) is funded by the European Union’s Horizon 2020 research and innovation programme under the Marie Skłodowska-Curie grant agreement (N.º 702019).
[ES]Este proyecto de investigación ha sido planteado para desarrollar un nuevo enfoque en el estudio de la producción de cerámica vidriada en al-Andalus (actualmente España y Portugal) durante la Edad Media
(siglos ix al xiii). La introducción del vidriado en la Península Ibérica fue un largo y complejo proceso que
supuso varias olas de transferencia tecnológica, desde el este al oeste del Mediterráneo, en diferentes periodos
políticos.
Desde un punto de vista analítico y tomando como base la arqueometría química y petrográfica, este trabajo
tiene como objetivo enriquecer el conocimiento acerca de la tecnología de la cerámica vidriada en el
mundo islámico occidental: identificación de las rutas de acceso del Mediterráneo, localización de los talleres
andalusíes y su ámbito de expansión y distribución por la Península Ibérica. El estudio de la microestructura y
composición de los vidriados, las materias primas y los colorantes y técnicas decorativas usadas, así como la
introducción de modelos orientales son algunos de los hitos de este proyecto. El proyecto «The introduction of the glaze in al-Andalus: technological waves and Oriental influences» (IGATO) está financiado por el programa de investigacióne innovación Horizon 2020 de la Unión Europea, bajo una beca postdoctoral Marie Skłodowska-Curie (N.º 702019).Peer reviewe
The transition from lead transparent to tin-opacified glaze productions in the western Islamic lands: al-Andalus, c. 875 – 929 CE
No full textThe earliest glazed ware in al-Andalus is dated to the Emiral period (c. 850 – 875 CE) and is not until the Caliphate of Córdoba (929 –1031 CE) that a distinctive polychrome tin glaze started being produced. A short transition period (c. 875 – 925 CE) in which elaborate monochrome and bichrome transparent glazes wares co-
exist with polychrome transparent and tin opaque glazed wares has been identi fied. The existence of a poly-
chrome lead transparent glaze production in al-Andalus wares is demonstrated; it has distinctive composition
and methods of production from monochrome and bichrome wares, and shares a distinctive absence of foot and overglaze application of the decorations with the tin-opacified wares. With regard to the possible routes of the introduction of the polychrome lead and tin glazes into the western Mediterranean the Tunisian connection seems completely discarded. Moreover, and although some similarities between the Cordoba and the Abbasid productions such as similar tin glaze recipe and decorative patterns and use of lead glazes, can be traced, the dissimilarities, such as, the use of overglaze decorations, absence of alkali transparent glazes, variances in the tableware shapes and absence of foot, are still more important, and do not support a clear link between them.Peer ReviewedPostprint (author's final draft
Tracing the tin-opacified yellow glazed ceramics in the western Islamic world: the findings at Madinat al-Zahra’
No full textA small group of opaque yellow glazed sherds has recently been identified among the ceramics excavated at the Islamic city of Madinat al-Zahra’ near Cordoba, in al-Andalus (southern Spain), which was founded in 936 AD as the seat of the Umayyad Caliphate power. A small group of sherds from Madinat al-Zahra’, which can be dated to about 960–980 AD, has been examined in polished section in a SEM with EDS attached. These analyses have established that the Madinat al-Zahra’ sherds were opacified with lead stannate, and not lead antimonate, as was being used to opacify yellow glazed ceramics in Egypt and Tunisia in the ninth and tenth centuries AD. Islamic opaque yellow glazed ceramics, with lead stannate as the opacifier, were first produced (Beiträge Zur Islamischen Kunst Und Archäologie 4:125–144, 2014) in Egypt and Syria in seventh/eighth centuries AD, and from there, the technology spread eastwards into Iraq and Iran in the ninth century AD and continued in use in Iran and Central Asia into the tenth century AD and beyond. However, the question of where these opaque yellow glazed ceramics were produced has not been fully resolved. Because such ceramics are extremely rare in al-Andalus, it seems most likely that they were either imported from Iran or Central Asia or produced locally by potters arriving from these areas. The study adds one further, yet not fully understood chapter to the story of a persistent glaze technology which has been widely ignored.Peer ReviewedPostprint (published version
The secret is quartz: technology of production of an eleventh-twelfth century western Mediterranean polychrome glazed ware
No full textA group of a well-known polychrome glazed ceramic, widespread in the western Mediterranean in the eleventh and first half of the twelfth centuries, has been analysed for the first time using Optical Microscopy (OM) and a Field Emission Scanning Electron Microscopy (FE-SEM) with Energy-Dispersive X-ray Spectroscopy (EDS), in order to shed some light on the materials, production technology and provenance, about which there are various hypotheses. This ware is characterised by a perfectly drawn and varied iconography, with often stylised zoomorphic and anthropomorphic and nautical motifs. It was produced in an as yet unidentified workshop in North Africa or the Iberian Peninsula. The pottery analysed was found
in an archaeological excavation in the Barrio Andalusi of Almería (south-east of Spain). Technologically, the ceramics are fairly homogeneous, with copper-green and manganese-brown pigments applied over the raw tin glaze filled with large undissolved quartz particles. The use of quartz is consistent with a Fatimid-Zirid contribution from Ifriqiya, the use of tin is consistent with an Andalusi Umayyad-Taifas contribution, and the green and brown colours on a white ground to either Ifriqiya or Andalusi. Our study has shown that the use of quartz on the decorated glazed surface is not related to the need for an opacifier, but rather to the need for a highly viscous melt that limits the spread of the pigments during the firing allowing a finer and more detailed drawing. This fusion of different techniques has been identified for the first time. It is intriguing from the historical point of view of medieval technology, and provides the first insights into understanding the technological transfers and technical solutions that took place in the Mediterranean basin during this period.Ministerio de Ciencia e Innovación (España)
PID2022-137783OB-I00
PID2021-124325OA-I00
CNS2023-145440
MCIN/AEI/10.13039/5011000011033 CEX2023-001300
Generalitat de Catalunya 2021 SGR 00343
Junta de Andalucía PROYEXCEL_00990Peer reviewe
Determination of Boron Content in Surface Paintings From Historical Stained-Glass Windows
No full text11 pages, 7 figures, 3 tables .-- This article also appears in:
Society Volumes: Portugal
Society Volumes: Spain
The Chemical Arts: Chemistry for Characterization, Interpretation and Management of Cultural HeritageStained-glass windows are often painted with grisailles and enamels. These glassy materials have a low melting temperature and are fixed to the base glass by firing processes. Lead and/or boron are commonly added to the painting material to lower their melting temperature so that they can melt without deforming the glass support. In the present study, model glass samples (with well-known boron content), replica and historical materials were analysed for their composition using Laser Ablation Inductively Coupled Plasma Mass Spectrometry (LA-ICP-MS) and Laser Induced Breakdown Spectroscopy (LIBS). The imprint left on the analysed samples after laser irradiation was observed using optical profilometry. The feasibility of using LIBS in situ as a suitable quantitative analytical technique to detect the presence of boron in historical enamels even in very small quantities was assessed. Quantitative information on historical Spanish enamels and grisailles was obtained from calibration curves generated from the model glass samples with known boron content. The proposed procedure enables a satisfactory chemical quantitative study of historical glass materials in situ, regardless of their size, provenance, and chronology.This research has been funded by the Fundação de Ciência eTecnologia from Portugal (project ref. UIDB/EAT/00729/2020,UIDP/00729/2020, 2023.05135. RESTART, and researcher grant CEECIND/02249/2021), the Spanish State Research Agency (AEI) through the projects PID2022-137017OB-I00/AEI/1013039/501100011033 and PID2022-137783OB-I00, the Regional Government of Madrid through the project TEC Heritage-CM (TEC-2024/TEC-39), the Generalitat de Catalunya through the Consolidated Group 2021 SGR 00343, support from CSIC Platform’Open Heritage: Research and Society’ (PTI-PAIS) and the CSIC Open Access Publication Support Initiative through its Unit ofInformation Resources for Research (URICI) are acknowledged.Teresa Palomar thanks MICIU for Ramón y Cajal contract(RYC2023-045699-I)Peer reviewe
Analysis and degradation mechanisms of enamels, grisailles and silver stains on Modernist stained glass.
No full textMaterials and methods used in the production of modernist (late 19th and early 20th century) stained glass from the city of Barcelona with special regards to the degradation mechanisms of enamels, grisailles and silver stains have been studied. Coloured enamels from the raw materials used in the Rigalt, Granell & cia modernist workshops from Barcelona were produced and compared to those found in the buildings and belonging to the private collection of J.M. Bonet workshop to explore the reason for the reduced stability of the blue and green enamels. The chemical composition has been determined (and pigments identified) by means of Laser Ablation Inductively-Coupled Plasma Mass Spectrometry (LA-ICP-MS), X-Ray Diffraction (XRD) and UV-Vis-NIR spectroscopy, and the thermal properties of the enamels measured by Differential Scanning Calorimetry (DSC) and Hot Stage Microscopy (HSM). The enamels are made of a lead-zinc borosilicate glass characterised by its low sintering temperatures and high stability against chemical corrosion, in particular to water corrosion. However, the relatively narrow range of firing temperatures necessary for correct adherence of the enamels to the contemporary glass base may have required the addition of a high lead borosilicate flux, which would have increased the lead content of the enamel, decreasing the firing temperature but also its stability. The historical enamels show a lead, boron and zinc depleted silica rich amorphous glass, with precipitated lead and calcium sulphates or carbonates, characteristic of extensive atmospheric corrosion. The blue and green enamels show a heterogeneous layered microstructure more prone to degradation which is augmented by a greater heating and thermal stress affectation produced by the enhanced Infrared absorbance of blue tetrahedral cobalt colour centres and copper ions dissolved in the glass and, in particular, of the cobalt spinel particlesS'han estudiat els materials i mètodes utilitzats en la producció dels vitralls modernistes (finals del segle XIX i començaments del segle XX) de la ciutat de Barcelona, especialment en relació als mecanismes de degradació d’esmalts, grisalles i grocs de plata. S'han produït i estudiat els esmalts de color a partir de les matèries primeres utilitzades pel taller Rigalt, Granell & cia de Barcelona, per comparar amb mostres originals pertanyents a la col·lecció privada del taller J.M. Bonet vitralls per així estudiar la raó de la reduïda estabilitat dels esmalts blaus i verds. La composició química i els pigments han estat identificats per LA-ICP-MS, espectroscòpia d'UV-Vis-NIR i XRD, i les propietats tèrmiques dels esmalts han estat mesurades amb DSC i HSM. Els esmalts són vidres borosilicats de plom i zinc caracteritzats per baixes temperatures de sinterització i una gran estabilitat contra la corrosió química, especialment respecte a la corrosió de l'aigua. No obstant, el relativament estret marge de temperatures necessari per una correcta adherència dels esmalts al vidre base de l’època podria haver requerit l’addició d’un fundent amb un alt tant per cent de plom i bor, que podria haver augmentat la proporció de plom a l’esmalt disminuint la temperatura de treball juntament amb la seva estabilitat. Els esmalts històrics presenten una composició alterada a on plom, bor i zinc han disminuït en front a un augment de la proporció de silici a la fase vítria, amb l’aparició de precipitats de sulfats o carbonats de plom i calci, característics de l’efecte de la corrosió atmosfèrica. Els esmalts blaus i verds presenten una microestructura en capes heterogènies que són més susceptibles a la degradació, la qual augmenta degut a la calor i l’estrès tèrmic respecte al vidre base que provoca una major absorbància a la regió de l’infraroig proper deguda a la presència d’estructures tetraèdriques dels ions de cobalt i coure dissoltes a la fase vítria, i en particular de les partícules d'espinel·les de cobaltSe han estudiado los materiales y métodos utilizados en la producción de los vitrales
modernistas (finales del siglo XIX y principios del siglo XX) de la ciudad de Barcelona,
especialmente en relación a los mecanismos de degradación de esmaltes, grisallas y
amarillos de plata. Se han producido y estudiado los esmaltes de color a partir de las
materias primas utilizadas por el taller Rigalt, Granell & cia de Barcelona, para luego
comparar con muestras originales de la colección privada del taller J.M. Bonet vitralls y
así estudiar la razón de la reducida estabilidad de los esmaltes azules y verdes. La
composición química y los pigmentos han sido identificados por LA-ICP-MS,
espectroscopía UV-Vis-NIR, y las propiedades térmicas de los esmaltes han sido medidas
con DSC y HSM. Los esmaltes son vidrios borosilicatos de plomo y zinc caracterizados
por bajas temperaturas de sinterizado y una gran estabilidad contra la corrosión química,
especialmente contra la corrosión del agua. No obstante, el relativamente estrecho margen
de temperaturas necesario para una correcta adherencia de los esmaltes al vidrio base de
la época podría haber requerido la adición de un fundente con un alto tanto por ciento de
plomo y boro, que podría haber aumentado la proporción de plomo en el esmalte
disminuyendo la temperatura de trabajo junto con su estabilidad. Los esmaltes históricos
presentan una composición alterada donde plomo, boro y zinc han disminuido a favor de
un aumento de la proporción de silicio en la fase vítrea, con la aparición de precipitados
de sulfatos o carbonatos de plomo y calcio, característicos del efecto de la corrosión
atmosférica. Los esmaltes azules y verdes presentan una microestructura en capas
heterogéneas que es mas susceptible a la degradación, que aumenta debido a la
temperatura y al estrés térmico respecto al vidrio base que provoca una mayor absorbancia
en la región del infrarrojo cercano debido a la presencia de estructuras tetraédricas de los
iones de cobalto y cobre disueltos en la fase vítrea, así como a la presencia de partículas
de espinelas de cobaltoFísica computacional i aplicadaDOCTORAT EN FÍSICA COMPUTACIONAL I APLICADA (Pla 2013
Instrumentació
No full text- Conèixer l'estructura, el funcionament i les característiques essencials d'un sistema de mesura.
- Comprendre el principi bàsic de funcionament dels instruments electrònics bàsics i les seves principals limitacions.
- Dominar el principi físic en què es basa el funcionament dels principals tipus de sensors.
- Conèixer els principis bàsics de les tècniques instrumentals avançades de propòsit general.
- Dominar els conceptes bàsics d'instrumentació virtual mitjançant el programari Labview
Identification of microcrystalline phases in Lead Glazes of ceramics from 17th-19th centuries: archaeometric implications
No full textPrograma de Doctorat: Ciències Experimentals i TecnologiesCrystalline phases inside ancient glazes can have different origins: unreacted compounds (thus
already formed before the glaze formation), crystallites developed during the glaze production or
devitrification crystals formed after the glaze production (during burial by weathering processes).
This study deals with the identification of the crystalline phases developed during the firing of lead
glazes in ceramics from the 17th to 19th centuries. The formation of the crystallites during firing and
their distribution depends on the original composition of the glaze and body (clay, stonepastes, etc.),
the use of raw or pre-fired materials and on the firing conditions (temperature and atmosphere of the
furnace, single or double firing, etc.). Therefore, the detailed investigation of the crystal inclusions
and the microstructural heterogeneities in the glazes yield information on the nature of the objects,
the raw materials used, their thermal history as well as other important aspects of the glass making
technology.
This research develops a methodological approach to study of ceramic glaze microstructures based
on the thin section. Starting from its present role as an accessory identification technique, thin-section
petrography turns here into a pivotal tool to characterize micro-crystals embedded in ceramic glazes
and hence characterize the glazes themselves. Firstly, the crystallites are located and described using
thin-section petrographic methods. Special attention is paid to the description of the morphologies
and the optical features of the crystallites. Then, the thin section petrography data are linked to
compositional and structural data obtained from other analytical tools, such as SEM (scanning
electron microscopy), EPMA (electron probe micro-analyser), μ-Raman (micro-Raman) and SR-
μXRD (synchrotron-radiation X-ray micro-diffraction). For each mineral phase identified, chemical,
mineralogical and structural data are collected in such a way to obtain a correlation between
morphological and analytical data. Once established, this correlation could allow a quick and easy
identification of the crystallites using a petrographic microscope and therefore avoiding the repetition
of an exhaustive identification protocol involving the use of expensive characterization technique
Art i ciència. Aportacions actuals de la ciència a la història de l'art i el patrimoni a Catalunya
No full textL'estudi dels materials del patrimoni cultural ens aporta informació sobre els corrents artístics i estètics. Però també ens dona una visió molt útil sobre la història, la societat i la tecnologia en les quals s'ha creat l'objecte d'art, tot sovint aportant dades noves o fins i tot rectificant les que es tenien per certes. A més, un cop elaborats, els materials dels quals estan composats els objectes artístics inicien processos d'alteració en contacte amb el medi que els envolta: "el temps també pinta". Tots els materials evolucionen i es transformen amb el temps. L'anàlisi i posterior interpretació dels materials que conformen l'obra d'art i les vicissituds que ha patit la peça (enterraments, restauracions anteriors, repintats, possibles falsificacions...) ens permetran afrontar amb coneixement de causa tant les accions encaminades a la conservació preventiva com les eventuals intervencions de restauració. En aquest sentit l'aportació de les tècniques físico-químiques a la Història de l'Art i al coneixement i la preservació del Patrimoni en general són inqüestionables, si més no en teoria. Però cal establir ponts que permetin als historiadors de l'art i als gestors de patrimoni comprendre les aportacions que aquestes tècniques fan al coneixement i la salvaguarda d'un Patrimoni que és de tots. Aquesta tesi pretén -a partir d'un exhaustiu anàlisi de la situació actual a Catalunya quan al coneixement de les aportacions que fa la Ciència- donar eines a aquests col·lectius perquè puguin comprendre una mica millor el mon de la caracterització de materials patrimonials. Amb aquest objectiu s'ha elaborat un complert Manual de tècniques físico-químiques dirigit a historiadors de l'art i gestors del patrimoni cultural; però també proposa accions de trobada entre historiadors, gestors, conservadors, restauradors i científics amb l'objectiu de generar un corpus de coneixement comú.The study of cultural heritage materials gives us information on the aesthetic and artistic trends. But it also gives us a very useful on the history, society and technology which created the art object, often providing new data and even those had to rectifying certain. In addition, once processed, the materials of which are composed art objects initiate processes of change in contact with the environment around them, "the time also paints." All materials evolve and transform over time. The analysis and subsequent interpretation of the materials that make up the artwork and the difficulties suffered by the piece (burials previous restorations, repainting, possible forgeries ...) we will deal with knowledge of both actions to preventive conservation and eventual restoration interventions. In this regard the contribution of physicochemical techniques in art history and knowledge and the preservation of cultural heritage in general are unquestionable, at least in theory. But we must build bridges that allow art historians and asset managers understand the contributions that these techniques are knowledge and safeguard a heritage that belongs to everyone. This thesis aims -from a thorough analysis of the current situation in Catalonia when knowledge of the contributions that science does- provide tools to these groups so that they can understand a little better the world of materials characterization of heritage. With this objective has prepared a complete handbook Physicochemical techniques aimed at art historians and managers of cultural heritage; but also proposes actions meeting between historians, managers, curators, conservators and scientists with the aim of creating a common body of knowledge
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