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We present a Web application that facilitates the deep visual search of image collections using contemporary machine learning. We discuss image retrieval as a combined computer vision/human-computer interaction problem, and propose that the standardization of feature extraction is one of the main problems that digital art history faces today.

The Digital Humanities for Marginal Areas (DH4MA) workshop aims to investigate the state of the art of tangible and intangible heritage digitalization in marginal and rural areas and their accessibility.

Mandala 2.0 is the UVA Library's re-envisioning of the longstanding Mandala collection, with the goal of preserving Mandala's Tibetan-Himalayan cultural heritage assets and data framework sustainably and discoverably. This poster will showcase the prototyping and usability testing phase as we develop a user interface and Linked Open Data.

Last Year, I have presented our first experiments, which tested, if it is possible to use RCNNs for semi-automated annotation in our project. As those experiments were very promising, we now want to present our prototype of semi-automated annotation using RCNNs, which is currently under developement.

This panel will explore the various aspects of what is involved, not only in conceiving and building a 3D infrastructure, but in creating 3D Scholarly editions and developing the viewers that allow stories to be created around them. It will also explore issues around training the community of the infrastructure.

Establishing and operating research infrastructures designed for long-term use is a challenge. This holds especially true in small to medium scale institutes carrying out short-term projects. In our presentation, we would like to describe our approach to building an infrastructure for collecting and linking local cultural heritage data in Saxony.

This contribution focuses on the dissemination of mythLOD data. Two visualisations have been developed to represent the relations between museal and bibliographic sources preserved in the Knowledge Base. mythLOD is presented as a case study to highlight that the visualisation of narratives is not just a matter of interface, but a new service to acquire new knowledge from data.

This research in progress studies how human characters are represented along the lines of age, race, class and gender in the illustrations of historical Dutch-language children's literature (1800-1940).

What role does color play in how we imagine our own world and the world(s) of others? Using machine learning and methods from Explainable AI, we study and explain how color use shaped the geographic imaginaries of the Orient and Occident in two different media: photochromes and autochromes

This contribution explores the instructive tensions between art-historical research and semantic data modeling. While the potential of LOD-applications is obvious in terms of standardization and precision some aspects of research may not be formally represented. Therefore we propose to bridge LOD and full text descriptions through information visualization.

The contribution highlights the importance of developing DH methods for large-scale investigation of depicted materials and surface qualities in medieval painting. Preliminary findings from our project, which is developing methods for AI-based recognition of materials in digitized paintings and evaluating their application to address art historical research questions, are presented.

Mapping Color in HIstory compiles pigment analysis data from existing and on-going research on scientific analysis of pigments for historical research. As a digital humanities project at the intersection of art and science, multidisciplinary collaboration is at its heart. The paper will introduce the project and discuss methods and contributions.

This study explores cultural exchanges of organ building between Central and South-Eastern Europe using multimodal analyses and interactive visualizations. Findings reveal specific trends of organ characteristics and diverse exchanges across the regions and timespans. Future research aims to further examine the findings through audiovisual digitization, acoustical analyses and virtualization approaches.

A decade ago, Johanna Drucker asked: "Is There a 'Digital' Art History?" In this paper, we attempt to reconsider Drucker's question in the light of recent developments in computer vision by investigating the epistemic implications and methodological affordances of large-scale, transformer-based vision models.

Composed to mark Franz Joseph's state visit to Wilhelm II, Strauss' Kaiser Walzer (Emperor Waltz) provokes the question: which Emperor was it for? We investigate this in a case study of interdisciplinary collaboration in digital musicology, employing a FAIR data multimedia corpus associated with the Vienna Philharmonic's New Year's Concerts.

We propose a method to extract orthogonal views of facades from photogrammetric models of cities. This method was applied to extract all facades of the city of Venice. The result images open up new areas of research in architectural history.

We develop a practical computational methodology based on memes theory for studying historical cartography. We also propose to investigate the limits of replication fidelity, and the link between memes and their expression, through a case study on the Napoleonic cadastre.

Many projects in the domain of digital humanities have shown a growing interest for object recognition in artworks [1], and, more specifically, for the task of Human Pose Estimation (HPE). HPE is a well defined challenge in computer vision and benefits from large training datasets of annotated images that allow the creation of highly performative machine learning models. However, these datasets are usually made of recent photographs collected in the web, capturing a loose western perspective with all its biases Moreover, their content diverges from artworks created in past Centuries. For the case of figurative paintings, visual features, such as brush marks and color shades, but also the morphology of bodies, dressing codes or the overall composition, have an impact on the accuracy of HPE models. These many differences do not enable the field of digital art history to fully benefit from the performance of existing models and the lack of a proper training dataset for artworks makes it difficult to retrain them. Therefore, we present the Pose Annotation Project for Artworks (PAPA), which goal is to produce a training dataset for body pose estimation on artworks through a platform for participatory annotations of images.

Provenance texts contain information on the different parties involved in the events that characterize the ownership history of an artwork. Structuring provenance data represents an opportunity for institutions to not only be users of but also contributors to shared vocabularies, such as the Getty's Union List of Artist Names (ULAN).

The Enriching Exhibition Scholarship project is developing and applying computational techniques to align socially-based textual and structured data, such as exhibition catalogues, newspapers and social media, making reconciliation easier and more effective. We use Linked Open Usable Data to describe and publish art-related knowledge.

The poster will report on a new edition of Peter of Poitiers' "Compendium historiae". The highly visual chracter of the work makes editing a challenging task and the project team will report on preliminary work during the first year and present an outlook on future work and the project goals.

This paper aims to visualize connections between Egypt and Southern Levant during the Bronze and Iron Ages. We compare Egyptian representations of animals and zooarchaeological records from documented excavation reports related to locations of zoological species in the Southern Levant. The comparison is possible through the use of GIS and network analysis to connect the iconographic and zooarchaeological data.

This paper has been inspired by Jacques Derrida’s statement revealing that his philosophical writings were mostly devoted to paper. “I have the impression,” he said, “(the impression! —what a word, already) that I have never had any other subject basically, paper, paper, paper” (Derrida 2005: 41). My paper addresses this thrice repeated noun as a name not so much of a material object on which we scribble, but as a space between the spirit and the letter, a space which turns out to be ineradicable even at the time of paper’s alleged eradication in the e-textual age, which may be called a fin de livre culture. This end of the book, I argue, is a highly provisional declaration of the beginning of a paperless era of digitized media, which are not quite capable of eradicating various traces and spectres of paper haunting their own theorizations.

Sanatın birçok alanında ileri düzeyde olan Osmanlı Devleti, kitap sanat larında daasırlara meydan okuyan eserleriyle günümüz sanatlarına öncülük etmektedir. Çoksayıda el yazması eser farklı müze ve kütüphanelerde sergilenmektedir.Osmanlı Devleti'nde kitap sanatlarının en önemli malzemelerinden olan kâğıt,yüzeyinin pürüzlü olması, mürekkebin istenilen miktarda kâğıda nüfuz etmemesi gibinedenlerden ötürü ham hali ile kullanılmamıştır. Kâğıt kullanılabilir haledönüştürülünceye kadar bir dizi işlemden geçirilmiştir. Kâğıt öncelikle bitkisel veyahayvansal kökenli boyar maddelerle çeşitli teknikler uygulanarak boyanmıştır. Dahasonra kâğıda, `âhâr` adı verilen kâğıdı koruyucu ve kalemin kâğıt yüzeyinde ilerleyişineyardımcı olan özel terkipler uygulanmıştır. Âhâr sıvısı, yazım yanlışlarında kâğıtyüzeyindeki düzeltmelerin veya düzeltme amaçlı yapılan silme ve kazıma işlemlerininkâğıda zarar vermeden gerçekleştirilebilmesi açısından önemlidir. Kâğıda daha sonraterbiyenin son safhası olan `mühreleme` işlemi uygulanmıştır. Bu işlem ile âhârlıkâğıtların âhâr tabakasının kâğıda tespiti sağlanmış olup, kâğıt yüzeyine pürüzsüz birgörünüm kazandırılmıştır. Kâğıt bu safhadan sonra kullanıma hazır haledönüştürülmüştür. Terbiyeden geçirilmiş kâğıtlar istif edilerek ağırlık altında bir süredinlendirilip, daha sonra kâğıt muhafaza usulleri dikkate alınarak, saklanma koşullarınauygun, rutubetten uzak ve nemsiz ortamlarda uzun yıllar muhafaza edilmiştir.Bu çalışmada, Osmanlı döneminde uygulanan kâğıt terbiye usullerine aitbilgilere, çeşitli kütüphanelerden gerekli literatür taramaları gerçekleştirilerekulaşılmıştır. Edinilen bu bilgiler doğrultusunda geleneksel yöntemlere bağlı kalınarakkâğıt terbiyeleme usulleri ile ilgili çok sayıda uygulama gerçekleştirilmiştir.Uygulamaların görselleri de eklenerek sonuçlar ayrıntılarıyla kaydedilmiştir. Buçalışmada Osmanlı döneminde kullanılan kâğıtlara benzer kalite ve sağlamlıkta, sanatsaldeğeri yüksek düzeyde olan kâğıtlar oluşturmak hedeflenmiştir. The Ottoman Empire, which was at an advanced level in many fields of art, ispioneering contemporary arts with its works of Book Art which are challengingcenturies. Many centuries-old manuscripts are exhibited in different museums andlibraries.Paper, which was one of the most important materials of the Book Arts in theOttoman Empire, was not used with its raw form due to the roughness of the surface andthe inability of the ink to penetrate in the desired amount to the paper. A number ofprocesses had been utilized until the paper was converted to a usable form. Then, aliquid called `âhâr` was applied to protect the paper and to help the pen to progress onthe paper surface. Âhâr liquid is important because it provides hiding the erosion andscraping off the paper surface caused by erasing the spelling errors. The final stage offormation is `mühreleme` which is sanding the paper with a glass or agate attached to awooden grab handle. With this process, âhâr sticks unto the paper and smooth surfacewas provided. After this phase, the paper was readied for use. The papers were stackedand rested underweight for a period of time, then they were kept in moisture-freeconditions in accordance with the storage conditions, taking into consideration the paperpreservation procedures.In this study, the knowledge of paper finishing processes in the Ottoman periodwas obtained by conducting necessary literature reviews and transcripts from variouslibraries. With the light of this information, a large number of applications related topaper finishing methods were carried out according to traditional methods. The resultsand pictures of the applications were recorded. In this study, it is aimed to producepapers with high quality and durability similar to the ones used in the Ottoman period. 239

Katı, geleneksel sanatlarımız içerisinde yer alan önemli sanat dallarımızdan birisidir. 16. Yüzyılın başlarında Osmanlı sanatına dahil olan bu sanat, 18. yüzyılın sonlarında itibaren çok fazla temsilcisi olmadığı için unutulma noktasına gelmiştir. Günümüzde dahi çok az sayıda yazılı kaynak mevcut ve bu kaynaklara ulaşmak oldukça zordur. Bu çalışmada, kâtı' sanatının Osmanlı'da gelişimi, temsilcileri ve eserlerine, aynı zamanda günümüz sanatçıları ve çalışmalarına yer verilmiştir Birinci bölümde sanat, geleneksel sanatlar ve kâtı' sanatının tanımına, geleneksel sanatlar içerisindeki yerine dair açıklamalar yapılmıştır.İkinci bölümde kâtı' nın tarihçesi ve Osmanlı'da gelişimi, günümüze ulaşan eserler, kâtı' sanatçılarının yanı sıra kullanılan malzemeler ve bezeme konularına değinilmiştir. Üçüncü bölümde, Kâtı' eğitimi, üsluplar, sıkça yapılan yanlışlar ve kâtı' sanatçıları ile yapılan görüşmeler ışığında, üslupları ve eserleri hakkında bilgilere yer verilmiştir.Bu tez yeniden canlanmaya başlayan kâtı' sanatının gelecek nesillere doğru aktarılması adına atılmış bir adım niteliği taşımaktadır.Anahtar Kelimeler: Kâtı', Kâğıt Kesme, Kağıt, Geleneksel Sanat, Oyma Sanatı Turkish paper cutting art is one of the important art branches partaking in our traditional arts. This branch of art, which is included in the Ottoman art at the beginning of the 16th century, began to be forgotten starting from the end of the 18th century, since there weren't many representatives of it. There is even very limited number of written sources in our day, and it is quite difficult to reach to these sources. The development of Turkish paper cutting art in Ottoman, its representatives and artworks, and also today's artists and their artworks are given place in this study.Explanations regarding the definitions of art, traditional arts and Turkish paper cutting art, and the place of it within the traditional arts are made in the first section.History of the Turkish paper cutting art and its development in Ottoman, artworks reaching the present day, and materials and ornamentation issues are touched upon in the second section along with the performers of the Turkish paper cutting art.Education of Turkish paper cutting art, styles and frequently made mistakes, and information on styles and artworks of artists are given place in the light of interviews made with the performers of the Turkish paper cutting art in the third section. This thesis has the characteristics of a step taken for handing down the Turkish paper cutting art, which starts to revive, to next generations correctly. Key Words: Turkish Paper Cutting Art, Paper Cutting, Paper, Traditional Art, and Quilling Art 129

Recent research on Émile Zola’s involvement with the French press of the late Second Empire and early Third Republic has clarified the shape of this history of his engagement with journalism, including a supposed absence from the fray between 1881 and 1895. This article, however, identifies in the period 1888 to 1892 , between the idealism of $\textit{Le Rêve}$ and the reflexivity of $\textit{Le Docteur Pascal}$, a period of particular reflection on the press by Zola which illuminates ‘le retour du reel et de l’actualité’ in his novels: $\textit{La Bête humaine}$, $\textit{L’Argent}$ and $\textit{La Débâcle}$.

This study focuses on the album of Ahmed the First (B. 408) which was composed by Kalender Pasha (d. 1616) for the sultan (r. 1603-1617) himself as a collection of beautiful calligraphy, paper filigree and paintings with several topics and which is being kept today at the Library of Topkapı Palace Museum. In this study another two albums (H. 2171, B.409) and Falnamah (H. 1703) in the collections of the Library of Topkapı Palace Museum, which are also known to be of Kalender Pasha or being dedicated to him were also compared according to technical point of view. Kalender Pasha organized all of these albums in the same way while their content, purpose of preparation and preparation process differs. Albums with the collection numbers of H. 2248, H. 2165, H. 2156, H. 2153 and H. 2160 from the same Topkapı collection and some pages, which were supposed to be the part of H. 2171, of Bellini Album with the collection number of 67.266.7 from New York Metropolitan Museum were also investigated. While the albums having the collection numbers of F. 1423 and F. 1426 from Istanbul University Rare Books Library were also studied with respect to their technical structures, the bindings of Sultan I. Ahmed Collection and several muraqqas of Hamidiye and Muraqqa Collections from Süleymaniye Manuscript Library were also compared according to their preparation techniques. Albums prepared by placing the samples of calligtaphy, illuminations and paper filigrees, paintings and religious, historical or literary texts or poems either one by one or together on one page provides the preservation of these one page works. The prefaces of several albums indicate that these works were prepared for/by sultans, sons of sultans or important bureaucrats. Until today several works are present which mainly focuses on the prefaces and their contents; but there are only few works studies the preparation processes, i.e the codicological studies of those albums. Craftsmen who have different responsibilities work together for preparing the manuscripts in naḳḳās̲h̲-k̲h̲āna in the palace. But the album which is the object of this study is believed to be prepared from its binding through its illuminations by Kalender Pasha himself. The texts and prefaces which were placed at the beginning of the albums by Kalender Pasha both represent the craftsman and his work and give us some clues about the design process. By taking into account the techniques of the album of Ahmet the First, general technical details like these kinds of albums will be revealed. Documentation techniques of current conservation applications were used for the codicological study. Since it was not possible to take any samples from the item, the details of paper arts were determined only by observation. KABUL VE ONAY i BİLDİRİM ii YAYIMLAMA VE FİKRİ MÜLKİYET HAKLARI BEYANI ii ETİK BEYAN iv TEŞEKKÜR v ÖZET vi ABSTRACT viii İÇİNDEKİLER x KISALTMALAR DİZİNİ xii RESİM DİZİNİ xiii TABLOLAR DİZİNİ xvi GİRİŞ 1 1. KALENDER PAŞA 10 2. KALENDER PAŞA’NIN ALBÜMLERİ VE FÂLNÂME 13 2.1. TSMK H. 2171, GÜZEL YAZI ALBÜMÜ 13 2.2. TSMK B. 409, GÜZEL YAZI ALBÜMÜ 14 2.3. TSMK B. 408 (I. AHMED ALBÜMÜ) 16 2.4. TSMK H. 1703, FÂLNÂME 17 3. I. AHMED ALBÜMÜ’NÜN YAPIM TEKNİĞİ 19 3.1. ALBÜMÜN CİLDİ 19 3.2. ALBÜMÜN METİN KISMI 25 3.2.1. Forma yapısı ve dikiş özellikleri 25 3.2.2. Kâğıt ve Kâğıt Hazırlama İşlemleri 27 3.3. KALENDER PAŞA’NIN VASL TEKNİĞİ 30 3.3.1. Renkli Kâğıtlar 32 3.3.2. Birleştirme Tekniği 34 3.4. ALBÜMÜN TASARIMI 35 3.4.1. Sayfa tasarımı (düzenlenmesi) 36 3.4.2. Sayfanın Tasarım Tekniği 37 3.5. ALBÜM İMGELERİ 52 3.5.1. Albüm İmgelerinin Kaynakları hakkında 52 3.5.2. Kat’ı ve Vasl Tekniği ile Geometrik Düzenlemeler 53 3.5.3. Tarih Kitabından Çıkan Resimler 54 3.5.4. Kır Eğlenceleri ve Meclisler 54 3.5.5. Av Sahneleri 54 3.5.6. İstanbul’un Günlük Yaşamından Sahneler. 54 3.6. Tek Figürler 55 3.6.2. Hayvanlar, Periler ve Çiçekler 56 3.6.3. Boyanmamış resimler 56 4. KARŞILAŞTIRMALI DEĞERLENDİRME 57 4.1. KARŞILAŞTIRMANIN AMACI VE KAPSAMI 57 4.2. YÖNTEM 57 4.3. CİLTLER 57 4.4. SAYFA DÜZENİ VE GENEL TASARIM 61 4.5. KALENDER PAŞA’NIN İMZASI NİTELİĞİNDEKİ ÖĞELER 64 SONUÇ 76 KAYNAKÇA 82 TABLOLAR 93 EK I. Sayfa Tasarım Grupları 107 EK II. İmgelerin Gruplandırılması 115 EK III. Etik Kurul İzni Muafiyeti Formu 132 EK IV. Orijinallik Raporu 133 KATALOG 134 Bu araştırmanın konusunu, Kalender Paşa’nın (öl. 1616) Sultan I. Ahmed (s. 1603-1617) için hazırladığı güzel yazı, kâğıt oyma ve çeşitli içeriklerde resimlerin derlemesi olan ve bugün Topkapı Sarayı Müzesi Kütüphanesi’nde (TSMK) bulunan I. Ahmed Albümü (B. 408) oluşturmaktadır. Kalender Paşa’nın yaptığı bilinen ya da Ona atfedilen ve TSMK koleksiyonlarında bulunan diğer iki albüm (H. 2171, B. 409) ve Fâlnâme’si (H. 1703) de teknik açıdan karşılaştırılmıştır. İçerikleri, hazırlanma süreç ve amaçları birbirinden farklı olan bu albümleri Kalender Paşa birbirine benzer bir düzende ve biçimde tasarlamıştır. Kalender Paşanın kendi albümleri dışında karşılaştırma için TSMK koleksiyonunda yer alan H. 2248, H. 2165, H. 2156, H. 2153, H. 2160 numaralı albümler ile New York Metropolitan Sanat Müzesi (MET) koleksiyonunda yer alan 67.266.7 numaralı Bellini Albümü’nün H2171’den çıktığı düşünülen sayfaları incelenmiştir. İstanbul Üniversitesi Nadir Eserler Kütüphanesi (İÜNK) F.1423 ve F. 1426 albümleri genel teknik yapıları bakımından, Süleymaniye Yazma Eser Kütüphanesi (SYEK) Sultan Ahmed I koleksiyonundaki ciltler ile yine SYEK Hamidiye ve Murakka koleksiyonlarında yer alan çeşitli murakkalar ise yapım tekniklerinin karşılaştırılması amacıyla incelenmiştir. Geçmişte ya da döneminde üretilen güzel yazı, tezhip ya da kâğıt oyma örneklerinin, resimlerin, dini, tarihi, edebi metin ya da şiirlerin tek ya da birlikte bir sayfa üzerine yerleştirilmesi ile hazırlanan albümler aynı zamanda bu tek sayfa halindeki çalışmaların korunmasını da sağlar. Kimi albümlerin başında yer alan önsözler, bunların sultanlar, şehzadeleri ya da önemli bürokratlar için / tarafından hazırlandığını anlatır. Bu güne kadar önsözlerinin ve içeriklerinin irdelendiği çalışmalar yapılmış olmakla birlikte, albümlerin hazırlanma süreçleri hakkında yapılmış kodikolojik (yazma eser bilimi) çalışma yok denecek kadar azdır. Saray nakkaşhanesinde farklı görev yapan sanatkârlar yazma eserlerin hazırlanması için birlikte çalışır. Ancak bu çalışmanın konusu olan Albümün cildinden tezhibine kadar tamamının Kalender Paşa tarafından yapıldığı düşünülmektedir. Kalender’in hazırladığı albümlerin başına yerleştirdiği metinler, önsözler, sanatçıyı ve ‘işini’ takdim etmesinin yanında bu tasarım süreci hakkında da ipuçları sunar. I. Ahmed Albümünün yapım tekniklerinden yola çıkılarak, bu tür albümlerinin hazırlanması sürecindeki teknik detaylar ortaya konulacaktır. Kodikolojik çalışma için konservasyon alanında bilinen belgeleme yöntemleri kullanılmıştır. Analizler için herhangi bir örnek almak mümkün olmadığından kâğıt sanatlarının detayları yalnızca görsel inceleme ile ortaya konulmuştur.

This paper presents the conservation treatment of a group of twenty Chinese calligraphies and paintings. These artworks are part of the Camilo Pessanha (1867-1926) collection that belongs to the Museu Nacional de Machado de Castro, and are currently on loan to the Museu do Oriente in Lisbon. The project was managed by the Fundacao Oriente, and carried out at the conservation and restoration department of the Instituto dos Museus e da Conservacao. There were three groups of works of art: scrolls with paintings and calligraphy on paper; scrolls with paintings on gilded paper; and paintings on silk. A brief characterization of the oriental scroll is followed by an overview of the traditional oriental conservation techniques for this type of art, as well as recently described practices. Ethical and theoretical considerations relating to the conservation treatments will be also discussed.

This paper presents the results obtained during the measurements campaign started in June 2012 and ended in November 2013 on the invaluable purple Codex Rossanensis, sixth century, one of the oldest surviving illuminated manuscripts of the New Testament. The tasks of the chemistry laboratory were to answer a variety of questions posed both by historians and restorers, concerning the materials used in a previous restoration, the composition of the pictorial palette and the different inks and to determine which colouring material had been applied to dye the parchment support. It was also requested to determine the state of preservation of the manuscript, as a result of its interactions with the environment in which the manuscript had been stored and the vicissitudes experienced during its life (fire, previous restoration, exhibition). The spectroscopic analyses performed by micro-Raman, micro-Fourier transform infrared and X-ray fluorescence allowed to fill a gap in the knowledge of the pictorial materials used in the Early Middle Ages. The pictorial palette, the inks, the dye applied to obtain the purple parchments, the support and the materials used in the previous restoration treatment executed in 1917–19 were fully characterised. Moreover, to the author’s knowledge, the article shows the first experimental evidence of the use of the elderberry lake in a sixth century-illuminated manuscript. The lake was characterised by Raman spectroscopy.

İ.Ü.Edebiyat Fakültesi Kütüphanesi Nadir Eserler Bölümü'nde bulunan el yazmalarının bozulma durumları tespit edilerek koruma önerileri ortaya konmuş ve örnek restorasyon uygulamaları gerçekleştirilmiştir.Tez kapsamında öncelikle bozulma durumu tespit formları hazırlanarak tüm el yazmalarının görsel taraması yapılmış ve kaydedilmiştir.Mekandaki sıcaklık ve nem koşulları kayıt edilerek değerlendirilmiş, böcek hasarı, kağıtların asitlenme durumları, restorasyonda kullanılan yapıştırıcının ve yöntemin seçimi konularında çalışmalar yapılmış ve çözüm önerileri ortaya konmuştur.Nadir Eserler Bölümü'nde; bazı yanlış ve eserlere zarar veren uygulamalar tespit edilmiş, bu uygulamaların önlenmesi için personelin eğitimi konusunda bir program hazırlanmıştır.Yangın ve güvenlik önlemleri, kütüphane mobilyaları konularında seçenekler sıralanarak Nadir Eserler için en uygun olan yöntem ve malzemeler önerilmiştir.Örnek restorasyon uygulamaları için seçilen kitabın onarımında kullanılan tümleme yönteminin yırtılmaya karşı direnci ölçülerek uygunluğu kanıtlanmıştır.Bütün bu araştırma ve tespitler neticesinde sunulan önerilerin değerlendirilmesi ile Nadir Eserler Bölümü'nde bulunan el yazmaları sağlıklı ortam şartlarına kavuşacak ve bozulmaları yavaşlatılacaktır. Having determined the deterioration condition of the manuscripts in the Library of Rare Works at Istanbul University, Faculty of Letters, solutions were proposed and model practices were conducted for restoration.Within the scope of the thesis, forms to detect deterioration condition were prepared and all the manuscripts were visually scanned and saved.The temperature and humidity of the space were recorded and evaluated; insect damage, acidification condition of the manuscripts and the selection of the adhesives and methods to be used in the restoration process were discussed, and solutions were proposed.As for the section of rare works, some damaging methods were detected and a special program was designed to train the staff to avoid such practices.Options on fire and security measures as well as library furniture were listed, and the most appropriate methods and materials for Rare Works were proposed.The complementation method used in the restoration of the book selected for the model practice was tested for its resistance to tearing and its suitability was proven.As a result of all this research and the evaluation of solutions proposed in response to the findings, the manuscripts in the Rare Works Section will be provided with a healthy environment which will slow down their deterioration. 242

The Italian dialect poet Cesare Pascarella travelled all around the world, noting down in notebooks his keen and caustic observations, and drawing sketches that are a visual reportage of his journeys. The sketches were mounted as a random collage over acidic cardboards that were exposed to direct sunlight in his studio. Their poor state of conservation is related to the use of modern paper: chemical instability of raw materials caused acidification and strong oxidation of the support, with intense yellowing of the surfaces and brittleness of the paper. To ensure future preservation of the drawings, chemical stabilisation with simultaneous alcoholic treatment by deacidification (calcium propionate) and reduction (borane tert-butylamine complex) appeared necessary. To verify its applicability, it was indispensible to characterise the support and identify the nature of all the graphic media. The use of Raman, Infrared, X-ray fluorescence spectroscopies and scanning electron microscopy coupled with X-ray microanalysis allowed us to clear the problems related to the different penetration depth of each analytical technique and the different responses of pigments/dyes to each spectroscopy. The palette, how it varied along the journeys, the different supports used and preparations were completely identified showing a choice of colours compatible with the reduction treatment.

''Kâğıt katkılı seramik bünyelerin araştırılması ve seramik uygulamaları'' başlığı altındaki bu tezde, çamur içerisine karıştırılan katkı maddeleriyle elde edilen, kâğıt katkılı seramik çamuru incelenmiştir. Yapılan uygulamalar eşliğinde malzemenin kullanılabilirliği ve geleneksel seramik çamurlarına göre sahip olduğu avantajlar ve dezavantajlar tespit edilmiştir.Seramiğin gelişim süreci incelendiğinde, tarih boyunca kil malzemeye, bitki lifi, kumaş parçaları, saman, ot gibi birçok organik malzeme ilave edilmiş böylelikle şekillendirilmesi zor olan tüm tasarımlar kolaylıkla üç boyutlu hale getirilmiş ve çamurun mukavemeti arttırılmaya çalışılmıştır. Sanatçılar şekillendirme sırasında kullandıkları malzemeyle karşılaştıkları sorunlara farklı çözümler aramışlardır. Günümüzde geleneksel seramik çamurlarına karıştırılan kâğıt ile oluşturulan, kâğıt katkılı seramik çamuru, kilin sahip olduğu plastik özelliği bozmadan kile ekstra olumlu özellikler kazandırmış ve kilin mukavemetini arttırmıştır.Kâğıt katkılı seramik çamurlarında, kile karıştırılan kâğıt, selüloz lifleri ile çamuru bir ağ gibi sarar. Seramik çamurunu çevreleyen selüloz lifleri çamurun mukavemetini artırıp, çatlama, esneme, yamulma, bükülme gibi deformasyonların minimum düzeyde olmasını sağlar. Kâğıt katkılı seramik bünyelerde yaş ya da kuru halde, bir yerden başka bir yere taşınmaları durumunda çatlama görülmez. İçi dolu olarak şekillendirilen heykel çalışmalarında selüloz liflerinin etkisinden dolayı pişirim sırasında patlama görülmez. Her durumda bünyelerin birbirine eklenebilmesini sağlamakta ve kâğıt katkılı olmayan bünyelerin bile tamir ve onarımında rahatlıkla kullanılabilmektedir. Sıra dışı incelikteki bünyelerin oluşturulmasında, büyük duvar panolarının oluşturulmasında, iç mekânlarda ince ve ışık geçirebilme özelliğine sahip aydınlatma elemanlarının yapılmasında kâğıt katkılı seramik çamuru normal çamura göre birçok avantaj sağlamaktadır.Tez kapsamı içerisinde yapılan araştırmalar sonucunda oluşturulan uygulamalar, şekillendirilen forma uygun yüzde oranlarıyla kâğıt lapası ve seramik çamurunun karıştırılması sonucu meydana getirilmiştir. Geleneksel seramik çamurları ile yapılması güç olan formlar rahatlıkla uygulanmıştır. Kâğıt katkılı seramik çamuru bir kâğıt kadar ince kullanılabilmiş, ancak kâğıtla yapılabilecek kadar ince olan formlar bile bu çamurla kolaylıkla uygulanabilmiştir. Şekillendirme sırasında çamurda yırtılma, kopma ve çatlama gibi olumsuzluklar gözlenmemiştir. Pişirim sonrası çamur içerisindeki kâğıtların yanması sonucu bünyenin olduğundan daha fazla hafiflediği görülmüştür. Kâğıt katkılı seramik çamuru kullanılarak çamur miktarından maksimum ölçüde tasarruf elde edilmiştir.Kâğıt katkılı seramik çamuru, sanatçıların özgün tasarımlarını sorunsuz bir şekilde oluşturmalarına olanak sağlayan bir malzeme olma özelliği ile günümüz seramik sanatçıları tarafından sıklıkla tercih edilmektedir. In this thesis which is under the title of ?the analyze of the paper mixed ceramic bodies and ceramic applications?, ceramic mud mixed paper is analyzed. With the performed applications, the availability of the material and its advantages and disadvantages over the traditional ceramic mud is analyzed.When the development process of the ceramic is analyzed, throughout history, a lot of organic material such as plant fiber, fabric pieces, straw and grass have been added to the material of clay, thus all designs difficult to be formed have been easily made three-dimensional and the strength of the mud is tried to be increased. The artists have looked for different solutions against the problems that they are faced with because of the material which they use during shaping. Paper mixed ceramic mud which is consisted of the paper mixed with traditional ceramic mud in our day has brought extra positive features to the clay and has increased the strength of the clay.In the paper mixed ceramic mud, the paper, which is mixed with the clay, reticulates the mud with the cellulose fibers. The cellulose fibers surrounding the ceramic mud increases the strength of the mud and so it minimizes the deformations such as cracking, flexion, distortion and bending. In the paper mixed ceramic bodies, no cracking has been observed while they are transferring from somewhere to another place in the case that they are wet or dry. No cracking has been observed while firing because of the effects of cellulose fibers, in the sculpture works, that are studied while their insides are filled. In all cases it makes the bodies addable to each other and they can be easily used even while repairing and restoration of the paper unmixed bodies. Paper mixed ceramic mud has the edge on normal mud about making extraordinary thin bodies, making large wall panels, making lighting elements which are thin and have the feature of light-transmitting indoors.The performed applications following the searches within the scope of the thesis have been brought about as a result of mixing the paper mush with ceramic mud with the percentages that are accordant with the shaped form. The forms, whose shaping is difficult with the traditional ceramic mud, are easily applied. Paper mixed ceramic mud could be used thin like a paper, even the thin forms that can be made only paper have been easily applied with this mud. While shaping any negativeness like tearing, breakage and cracking hasn?t been observed. It has been observed that the body lightens much more as a result of the burning of the papers in mud after the firing. By using paper mixed ceramic mud, the mud quantity is economized maximum.Paper mixed ceramic mud is preferred frequently by today?s artists since it is a material that enables artists to create their unique designs without any problem. 101

Les systèmes de stockage pour les œuvres d'art grand-format sur papier sont examinés en ce qui concerne la protection de l'objet, la satisfaction de l'utilisateur et la durabilité par la voie d’une analyse de cycle de vie des matériaux de fabrication des meubles et une enquête portant sur l’expérience d’une centaine d’institutions dans le monde en matière de stockage des œuvres grands formats. Des recommandations générales en sont tirées ainsi qu’une liste simple de contrôle pour faciliter les achats de meubles grands formats par les professionnels des musées.Storage systems for oversized works of art on paper are examined regarding object protection, user satisfaction and sustainability by way of a life cycle assessment of furniture materials/construction features and a survey of about 100 institutions worldwide on their experience with oversize storage. General recommendations are derived and a simple checklist is developed to facilitate oversize purchase by museum professionals.

In his wonderful, award-winning book Double Fold , Nicholson Baker makes a plea for preservation of printed materials, particularly newspapers.[1][1] He reports on the constant destruction of printed materials that have been preserved on microfilm, the latter presumably being more resilient to the

Electronic book readers save paper, but can a piece of plastic really be better for the environment? ES&T reporter Erika Engelhaupt is determined-very determined-to find out.