ABSTRACT

In this work, the results of a detailed art technological investigation of the icon Last Supper from the Russian Memorial Church in Leipzig (Germany) are presented. The icons of the iconostasis of the church were made in the workshop of N.S. Emelyanov in Moscow in 1912. The investigation showed that the painter in principle technologically adhered to the traditional way of making icons. The panel is made of boards of lime wood with two crossbars on the reverse. The paint was applied to a chalk ground over a textile layer. The traditional iconographer’s palette was expanded by a few contemporary pigments. The binding agent is classic egg tempera. Originally, the layers of paint had an oil varnish (olifa). The main aim of the project VirtEx, introduced in this paper, is to expand existing methods with numerical material and structural models to be able to predict quantitatively the behaviour of wooden artefacts under loads due to climate changes as well as mechanical loads. The detailed art technological investigation provides the required data for the computer models. The numerical data can then be validated with technologically exact copies and replicas. In the introduction to the article, the current state of research on icon painting techniques is also outlined.

摘要

在这项工作中，对图标Last Supper进行了详细的艺术技术调查的结果来自莱比锡（德国）的俄罗斯纪念教堂。1912 年，NS Emelyanov 在莫斯科的工作室制作了教堂圣像。调查表明，画家原则上在技术上坚持传统的圣像制作方式。面板由石灰木板制成，背面有两个横杆。将油漆涂在纺织层上的粉笔地面上。传统肖像画家的调色板被一些当代颜料所扩展。粘合剂是经典的蛋彩画。最初，油漆层有油清漆（olifa）。本文介绍的 VirtEx 项目的主要目标，是用数值材料和结构模型扩展现有方法，以便能够定量预测木质制品在由于气候变化和机械载荷引起的载荷下的行为。详细的工艺技术调查为计算机模型提供了所需的数据。然后可以使用技术上精确的副本和复制品来验证数字数据。在文章的引言中，也概述了圣像绘画技法的研究现状。