Lietuviški piniginiai sidabro lydiniai Kernavėje

Piniginiai lydiniai – tai vienas svarbiausių šaltinių, iliustruojančių prekybos pobūdį Lietuvos valstybėje iki pradedant kaldinti monetas. Tačiau tiek pusapvalės lazdelės formos lietuviškų ilgųjų (literatūroje vadinamų, kapomis, monetiniais lydiniais, grivinomis, rubliais), tiek kiek vėlyvesnių trikampio pjūvio lydinių dažniausiai būdavo aptinkama atsitiktinai, ne archeologinių tyrinėjimų metu. Lietuvos teritorijoje devintajame dešimtmetyje buvo žinomos dvidešimt keturios lietuviškų ilgųjų (Michelbertas, 1989, p. 31) ir aštuonios (viena abejotina) trikampio pjūvio lydinių radavietės (Duksa, 1981, p. 121–122). Pastarąjį dešimtmetį, ypač suaktyvėjus dažniausiai nelegalioms paieškoms naudojant metalo ieškiklius, piniginių lydinių ar jų fragmentų aptinkama kone kasmet. Informacijos apie šiuos radinius galima rasti interneto svetainėse, tačiau į mokslinę apyvartą ji įtraukiama labai retai. Kai kurie aptikti lydiniai pateko į muziejus. 2004–2005 m. Lietuvos banko muziejus nusipirko du pusapvalės lazdelės formos lydinius iš Kulautuvos (Kauno r.) lobio, du iš Kauno r. ? lobio ir devynis pusapvalės lazdelės formos lydinių fragmentus, rastus Kauno, Jonavos, Šakių rajonuose (Numizmatika, Nr. 6, p. 180, 182, 183, 1–2, 4–5 pav.). Tačiau paprastai tikslesnė šių radinių radavietė ir suradimo aplinkybės lieka neaiškios. Vieną pusapvalės formos lydinio fragmentą 2005 m. yra įsigijęs Lietuvos nacionalinis muziejus. Šis fragmentas buvo atsitiktinai surastas Jakštaičių kaime (Kaišiadorių r.) (Numizmatika, Nr. 6, p. 200, 16 pav.). Dvylika pusapvalės lazdelės formos lydinių iš Upytės (Panevėžio r.) lobio 2005 m. įsigijo Trakų istorijos muziejus (Numizmatika, Nr. 6, p. 244, 2 pav.). 2002 m. Kalnelio k. (Joniškio r.) gyventojo sklype aptiktas pusapvalės lazdelės formos sidabro lydinys pateko į Joniškio istorijos ir kultūros muziejų (Vasiliauskas, 2005, p. 319). [...

Senovinių pigmentų tapybos kūriniuose ir archeologinio stiklo radiniuose tyrimas ir apibūdinimas

In this dissertation, the results of detailed investigation of the seven unique art objects are presented. The presented results show that complex apllying of the instrumental analytical methods of OM, FTIR, SEM/EDX, XRD, μXRD and µRS is accurate and efficient way to identify composition of works of art and archaeological finds of glass, pigments or describe their technology. IR spectroscopy has been successfully applied to determine pigments and some pigment mixtures in painting‘s ground, paint layers, and destruction products in archaeological glass. The SEM/EDX analysis successfully can be used in determining the main elements of the paint samples at different cross-section points perform a qualitative analysis of the pigments (cinnabar, lead white, chalk, smalt et. al. ), in some cases, to discuss the features of the production of pigments. The SEM/EDX provided a possibility to examine three archaeological glass beads. According to the elemental composition, microstructure, and the specific features in different areas of the glass was defined nature of the destruction of glass. XRD and μXRD analysis successfully can be used in determining the crystalline phases in the paint and archaeological glass samples. Identify following pigments and their mixtures: calcite CaCO3, carbon, lead tin yellow type I Pb2SnO4, lead tin yellow type II PbSn03, hydrocerussite 2PbCO3 ∙ Pb (OH)2, cerussite PbCO3, Egyptian blue CaCuSi4O10, gypsum CaSO4 ∙ 2H2O, anhydrite CaSO4, huntite Mg3Ca(CO3)4, dolomite CaMg(CO3)2. For the first time µRS was applied to determine lead tin yellow type II pigment in archaeological glass

Investigation and Description of Ancient Pigments in Paintings and Archaeological Glass Finds

In this dissertation, the results of detailed investigation of the seven unique art objects are presented. The presented results show that complex apllying of the instrumental analytical methods of OM, FTIR, SEM/EDX, XRD, μXRD and µRS is accurate and efficient way to identify composition of works of art and archaeological finds of glass, pigments or describe their technology. IR spectroscopy has been successfully applied to determine pigments and some pigment mixtures in painting‘s ground, paint layers, and destruction products in archaeological glass. The SEM/EDX analysis successfully can be used in determining the main elements of the paint samples at different cross-section points perform a qualitative analysis of the pigments (cinnabar, lead white, chalk, smalt et. al. ), in some cases, to discuss the features of the production of pigments. The SEM/EDX provided a possibility to examine three archaeological glass beads. According to the elemental composition, microstructure, and the specific features in different areas of the glass was defined nature of the destruction of glass. XRD and μXRD analysis successfully can be used in determining the crystalline phases in the paint and archaeological glass samples. Identify following pigments and their mixtures: calcite CaCO3, carbon, lead tin yellow type I Pb2SnO4, lead tin yellow type II PbSn03, hydrocerussite 2PbCO3 ∙ Pb (OH)2, cerussite PbCO3, Egyptian blue CaCuSi4O10, gypsum CaSO4 ∙ 2H2O, anhydrite CaSO4, huntite Mg3Ca(CO3)4, dolomite CaMg(CO3)2. For the first time µRS was applied to determine lead tin yellow type II pigment in archaeological glass

Research and restoration of the painting "lmmaculate Blessed Virgin Mary"

Publikacijoje pristatomi Vilniaus Šv. Pranciškaus Asyžiečio (Bernardinų) bažnyčiai priklausančio paveikslo „Nekaltai pradėtoji Švč. Mergele Marija“ (inv. Nr. LDM T-6185) tyrimai ir restauravimas. Tai nežinomo Lietuvos dailininko kūrinys, nutapytas XVII amžiuje. Straipsnyje aprašoma kritiška paveikslo būklė prieš restauravimą, glaustai supažindinama su atliktais fizikiniais ir cheminiais tapybos technikos, grunto ir pigmentų tyrimais, aptariamos restauravimo užduotys ir problemos, aprašomas paveikslo restauravimo procesas. Publikacijos pabaigoje apibendrinami paveikslo restauravimo darbų rezultatai.The publication discusses research and restoration processes of the painting‘Immaculate Blessed Virgin Mary’ from the St. Francis of Assisi (Bernardine) church. It is 17th c. artwork of an unknown Lithuanian artist. The publication describes the critical condition of the painting before the restoration, gives a brief introduction to the physical and chemical painting techniques, primer and pigment analysis, discusses restoration tasks, problems, and processes; restoration results are clearly summarized

Ornamented horse sled bows : research and conservation

Arklių kinkymui skirtas lankas naudojamas į vežimą kinkant vieną arklį su pavalkais. Jis sujungia ienas ir kartu švelnina nelygiu keliu riedančių ratų smūgius, taigi turi būti stangrus, tvirtas, lengvas, geriausia - iš guobos ar ievos medžio. Lankai arklių kinkymui - daugelio jau primiršti ūkio inventoriaus atributai. Paprastus lankus dar naudoja arklius laikantys ūkininkai, bet puošnesni, skirti šventadienio kelionei į miestelį, jau išmesti ar kur giliai į pasienį užkišti. Bėgdami nuo religinio persekiojimo prieš 300 metų į Lietuvą atsikraustę Rusijos sentikiai pasklido po įvairias Lietuvos vietoves, tarp jų - ir Anykščių apylinkes. Su kaimynais lietuviais jie pasidalijo savo istorinio amato - medžio apdirbimo - paslaptimis. Norėdami parodyti, kad įgūdžių neprarado iki šiol, Lietuvos sentikiai susirinkę iš aplinkinių kaimų, kuriuose tebegyvena glaudžiomis bendruomenėmis, amatus pristatė Niūronyse Arklio muziejuje 2010 m. organizuotame renginyje. Mironas Zelevas iš Topoliškių kaimo račiaus amato išmoko iš kaimyno ir dabar yra vienintelis Anykščių rajone dar dirbantis račius. Lankus arkliams jis lenkia pagal senąsias tradicijas, nenaudoja klijuoto medžio. Žiemą nukirstas žilvitis pakinktu tampa pavasarėjant, kai mediena lankstesnė. Meistras žilvičio ieško senose sodybose, pakelėse. Jaunesni medžiai lankams netinka. „Čia reikia skaldyto medžio. Perskeli, tada reikia tašyti, drožti, ir tuomet, kai paruoši, - lenkti. Žinoma, jei šaka kur pakliūna, tai jau ir negerai - nesulenksi“, - pasakojo pakinktų meistras. Reikšminiai žodžiai: Alavas; Arklių kinkymo lankas; Augaliniai ornamentai; Dekoravimas; Konservavimas; Moksliniai Tyrimai; Mėginių Analizė; Polichrominė Tapyba; Prano Gudyno restauravimo centras; Restauravimas; Žemaičių muziejus Alka; Žilvitis, medis; Žilvytis; Bird cherry tree; Conservation; Decoration; Elm; Horse harnessing bow; Horse seed bows; Plant ornaments; Polychrome Painting Scientific Investigation; Pranas Gudynas Centre for Restoration; Restoration; Samogitian Museum Alka; Sample Analysis; Sled Bow; Tin; WoodThe sled bow is used when harnessing a horse with a horse collar. The best bows are made from elm or bird cherry tree. Bows used for harnessing a horse are old-fashioned household utensils. Regular bows are still used in the horse farms, but decorated bows for the feast in a town has been already forgotten. Two horse bows (one trimmed and the other polychromed) were brought to Pranas Gudynas Centre for Restoration from the Samogitian Museum ‘Alka’. Horse harnessing bow (inventory no. B. 5606, h -144 x 73 x 3 cm) was bent from a single piece of wood. Colour of the wood is bright, damaged by pests, ends partially destroyed. Both sides of the bow are decorated with plant and geometric ornaments. Bow ends were coated with metal sheaths, they disappeared. Bow surface was covered with dirt and scurf. Horse harnessing bow (inventory no. B. 5017, h - 162 x 76 x 3,5 cm) was bent from a single piece of wood. Colour of the wood is bright, damaged by pests. The upper part of the bow is most damaged spot, the wood here is disordered and locally chipped. The bow was decorated with polychrome plant motives; the paint was chipped - only 60% left. Bow surface was covered with a gray-greenish mould. Bow ends are fettered by black metal tin sleeves. Tin is severely corroded, brittle, deformed, edges chipped. Before the conservation the polychrome painting was investigated with micro-chemical qualitative analysis and spectral analysis of pigments and varnish coating; stratigraphic analysis of the paint samples, SEM/EDX analysis of the white metal layer were carried out. Blue, red, yellow and green paint were used for painting. Identified pigments: white lead, synthetic ultramarine, yellow organic dye, cinnabar and synthetic alizarin. Stratigraphic analysis of the paint samples showed that a very thin layer of paint with a thickness of just 12 to 17 microns was used. As a result, we failed to distinguish between extremely thin layers of paint and pinpoint the paint binder. Wood was primed; primer contains protein and starch; on the primer is a pink transparent natural resin layer, on the resin tin sheets are layered. Tin is painted; the paint is close to the solubility of the oil paint. Paint was coated with light blue lacquer (copal resin). Bows were disinfected by protection agent Hylotox Q (Poland). Wood at its ends consolidated with polyethylene glycol. Chipped spots were filled with wood dust and melted polyethylene glycol. Dirt from the wood surface was removed by solvent mixture. Crumbling polychrome painting was glued with Lascaux (Germany). Dirt from the polychrome surface was removed with the dilute solution of Lascaux. Wood damaged by pest was consolidated with a polymer Paraliod B-82 solution. We were unable to dismantle black metal tin re- mains without damaging them. Metal plate was consolidated with polymer Paraliod B-82, covered with a protective coating of polyethylene wax. Usage of Lascaux answered the purpose. Polychrome layer remained elastic, colours were left unchanged

Seals on paper manuscript documents from the 16th century

Straipsnyje apžvelgiama XIV –XVI a. Lietuvos kilmingųjų antspaudų naudojimo dokumentuose praktika ir aptariami antspaudų masės tyrimai. Antspaudų masės tyrimams pasirinkti XVI a. Žemaitijos regiono kilmingųjų antspaudai šešiolikoje popierinių dokumentų, kuriuose jie įspausti spaudu per popieriaus skiautę – kustodiją. Spaudo vaizdas atsispindi kustodijoje. Darbo tikslas – mikrocheminiais kokybiniais ir instrumentiniais tyrimo metodais išanalizuoti antspaudų masės sudėtį gaminant šio tipo antspaudus.A seal is a means of authenticating a document. Seal shapes and materials changed in the course of history. The current study deals with seals of Samogitian nobles on sixteen paper manuscript documents from the 16th century. Sealing matrices were pressed into sealing material through a piece of paper (“custodia”). The article outlines historical circumstances that influenced practices of authenticating such documents and provides a list of seals’ owners. The mass analysis of the seals has been carried out by means of microchemical qualitative analysis, optical microscopy (OM ), scanning electron microscopy with energy dispersive X-ray analysis (SEM / ED X), attenuated total reflection with Fourier transform infrared spectroscopy (ATR -FTIR ) and X-Ray Diffraction Analysis (XRD ). It has been determined that the sealing material under analysis is mostly based on beeswax. The presence of copper palmitate in the sealing material shows that it was coloured with the use of copper pigments, most probably copper acetate (verdigris). The presence of aluminum, silicon, calcium and magnesium ions suggests that the sealing material may contain small quantities of clay or chalk

Lithuanian monetary silver ingots in Kernavė

Monetary ingots are one of the most important sources illustrating the nature of trade in the State of Lithuania before minting coins. However, both Lithuanian elongated ingots in the shape of a semicircular rod and later trilateral ingots were most often found accidentally rather than during archaeological excavations. 24 places of finding of Lithuanian elongated bar ingots and 8 places of finding (one doubtful) of trilateral ingots were known in Lithuania’s territory in the 1980s. During the recent decade, particularly with the intensified mainly illegal searches with metal detectors, monetary ingots or their fragments are found almost every year. Information about these findings is available on the websites, yet it is rarely included in scholarly literature. Some found ingots were taken to museums (in 2004–2005, the Museum of the Bank of Lithuania bought 4 ingots and 9 ingot fragments). The paper lists and discusses the monetary ingots found in Kernavė. The chemical structure of Lithuanian monetary ingots was determined by the methods of X-ray fluorescence (XRF) analysis and flame atomic absorption spectroscopy (FAAS). The combination of several methods leads to reliable results and absence of systemic errors. Analysis of the chemical structure of metal ingots found in Kernavė revealed that not all of them qualify as fragments of Lithuanian elongated bar ingots. Another important aspect is the obvious falsification of the Lithuanian bar ingots used by townsfolk as well as frequent silver ingots of low standard. It is very likely that at the end of the pre-coinage period production of monetary ingots became uncontrollable on the state level. This might have led to making of high standard trilateral monetary ingots suitable for major state-level settlements

Signs of ancient Egyptian culture in Lithuania: the sarcophagus of the singer of Sun God Amon

Fair number of the old Egyptian treasures is stored in the National M. K. Čiurlionis Art Museum. Especially valuable works increasing it have been added by historian Mary Rudzinskaitė- Arcimavičienė (1885-1941), who had accumulated a significant collection of Egyptian antiquities. During her travel to Egypt during 1924, the researcher obtained a number of smaller articles and Luxor surroundings found in a sarcophagus with the mummy, dating back to the l0th – 9th c.c. BC, at the Cairo Museum. Sarcophagus is abundantly decorated with painted symbolic scenes and hieroglyphs . Inscriptions on the walls of the sarcophagus say that it is the mummy a singer of the Sun God Amon. Anthropoid-shaped sarcophagus has been made of boards of sycamore fig tree growing in Egypt (Ficus Sycomore), and interconnected by sumac (Rhus tripartita) pins. The coat of paint and ground-colour of the sarcophagus in some places had lost its connection with wood, which had softened, damaged by moisture and pests. As a result, it was necessary to preserve the sarcophagus. Painting materials, its structure and technologies had been identified through an integrated microchemical, optical microscopy and analytical instrumental analysis. Sarcophagus preservation techniques and restorative materials had been chosen, based on extensive complex research data. Polychromic surface of the sarcophagus is opaque, and because of that the cementation has to be made according to the requirements : 1) it shouldn’t change the optical properties surface (color strength, gloss); 2) it has to be optimal reinforcement to the wood, ground-colour and paint layers.Paint was very sensitive to water, due to this fact it was decided to refuse aqueous solutions. Acrylic-based polymers also did not work: paint color was darkening, the surfaces has got undesirable shine. Cellulose ethers which had been worked- out are close to gum arabie - the original sarcophagus polychromy binder. Klucel GF selected in the organic solvent mixture. Polychromy and wood surface have been strengthened, and ground-colour along paint adhered to the wood, neither colour intensity nor opaquity changed. This technologically unique in Lithuania historical heritage artefact, has been successfully preserved through modem research findings and analysis based on the available information. During the work process a very useful expertise has been gained