Műtárgyvédelem, 2012-2013 (Magyar Nemzeti Múzeum)
Az Iparművészeti Múzeum Damaszkuszi szobája
Kovács Petronella et al. • Az Iparművészeti Múzeum Damaszkuszi szobája Schultz, J. - Arslanoglu, J. - Petersen, K. (2010): The use of ELISA for the identification of proteins using the example of a Damascene reception room in The Metropolitan Museum of Art. In: Conservation and the Eastern Mediterranean. IIC Contributions to the Istanbul Congress, 20-24 September 2010. Rozeik, C. - Roy, A. and Saunders, D. (eds) London: IIC. p. 269. Spring, M. - Higgitt C. - Saunders, D. (2005): Investigation of Pigment-Medium Interaction Processes in Oil Paint containing Degraded Smalt. In: National Gallery Technical Bulletin, 26, pp. 56-70. Tunsch,Th. (1990) Die syrische Innenraumdekoration in der ehemaligen Villa Gutmann in Potsdam. Untersuchungen zur Herkunft und Datierung. In: Staatliche Museen zu Berlin (Hrsg.): Forschungen und Berichte 29/30. Staatliche Museen zu Berlin, Berlin, pp. 129-147. The ‘Damascus Room’ at Budapest’s Museum of Applied Arts Petronella Kovács - Eva Galambos — Ivett Kisapáti - Zsuzsanna Márton — István Sajó —Judit Sándorné Kovács - Julia Schultz — Attila Lajos Tóth Made in 1802-1803, the wooden elements comprising this ensemble originally covered the walls and ceiling of a room of a house in Damascus. The ensemble was displayed at the Antwerp Universal Exhibition in 1885, where Budapest’s Museum of Applied Arts purchased it from the British firm Mawe 8c Co. Niches, cabinets, a masabb, and windows with wooden grilles interrupt the panelling, while an arch and two consoles divide the room into two parts: the 'ataba and the tazar. Two ceilings belong to the ensemble. The panelling and the ceilings are ornamented using the 'ajami technique, with painted, gilded, and glazed surfaces. Only a few publications give scientifically-based findings regarding the painting techniques used for 'ajami rooms. These and historical Persian treatises served as bases for comparison during the research into the ‘Damascus Room’at the MAA. The painting technique employed was studied using X-ray fluorescence spectrometry, polarised light microscopy, fluorescence microscopy, scanning electron microscopy with energy-dispersive X-ray spectroscopy, X-ray diffraction, Fourier transform infrared spectroscopy, and Raman spectroscopy. The binding media were investigated using microchemical tests on cross-sections, FTIR, and enzyme-linked immunosorbent assay. The wooden elements are made from poplar. Gypsum bound with animal glue is the material of the 'ajami decoration. Most of the 'ajami motifs are covered with tin- foil, but there are parts decorated with brass leaf, too. Probably, aloe was used in the orange, verdigris in the green glaze, and cochineal in the red lake. Red lead, Vermillion, and organic red lake were used for the different shades of red, but application of mixtures of them is also characteristic. The darker of the two green paints contains orpiment and indigo, while the brighter one is a mixture of verdigris, smalt, and lead 35
