Műtárgyvédelem, 2011 (Magyar Nemzeti Múzeum)
Tuzson Eszter: A fafaj-meghatározás jelentőségéről
Tuzson Eszter • A fafaj-meghatározás jelentőségéről Marette, J. (1961): Connaissance des primitifs par letude du bois du XIT au XVT siede. Paris, A. u. J. Picard. Romagnoli, M. - Sarlatto, M. - Terranova, F. - Bizzarri, E. - Cesetti, S. (2007): Wood identification in the Capella Palatina ceiling (XII. th century) in Palermo (Sicily, Italy). In: IAWA Journal, Vol. 28 (2). 109—123. Tängeberg, P. (1989): Holzskulptur und Altarschrein. Studien zu Form, Material und Technik. Mittelalterliche Plastik in Schweden. München, Callwey. Tenge-Rietberg, U. (1984): Holzuntersuchungen an schwäbisch-alemannischen Skulpturen - 12. Jahrhundert bis um 1460 — Analysen und Beobachtungen. Szakdolgozat (Institut für Museumskunde an der Staatlichen Akademie der bildenden Künste). Stuttgart. Tuzson E. (2002): A középkori Magyarország területén szoborfaragásra felhasznált fafajták II. Szakdolgozat (Magyar Képzőművészeti Egyetem). Budapest. Tuzson E. (2000): Szent Jakab apostolt ábrázoló polikróm faszobor restaurálása. Diplomamunka (Magyar Képzőművészeti Egyetem). Budapest. The Importance of the Identification of Wood Species Eszter Tuzson When establishing the date, place of origin, and, sometimes, the author of an art work in the absence of written sources, often we can draw conclusions only from the piece itself. Answers in such matters can be given by stylistic features on the one hand and by investigation of the materials used on the other. Investigations to establish different wood species are still a neglected area in restoration practice in Hungary, in contrast to the situation internationally. Beginning in the 1960s, many studies on this subject have appeared in foreign countries, where today already we can encounter exact microscopic investigation findings in catalogues of collections. From the art history point of view, examples taken from the international specialist literature and the findings of the author’s own investigations show that of the materials occurring in an artefact, wood can be particularly informative. Knowledge of it can play a role in illuminating the history, production technique, place of origin, and date of artefacts, and sometimes in identifying masters and workshops. In the article, the author illustrates with numerous examples the scientific knowledge relating to restoration, historical ecology, and art history that can be obtained from the identification of wood species. An outline of all this was written up in a DLA dissertation. In it, a collection of data was put together which contained detailed macroscopic and microscopic descriptions of approximately 30 wood species serving as material in fine art works 147
