The inception of the volume Current Approaches, Solutions, and Practices in Conservation of Cultural Heritage was motivated by the need to engage in a multidisciplinary discourse on conservation issues and incorporate recent experiences from various countries into a unified framework. The intent was to offer an examination of activities, replete with exemplary reflections on methodological choices and solutions adopted in the conservation of cultural heritage. Worth noting is the fact that, although it is challenging to fully anticipate the nature of submissions and how they will be assessed by the volume’s evaluators when initiating a call for papers, in this particular case the proposed themes and case studies were discovered to harmonize seamlessly with the book’s overarching objectives.

This volume comes to the forefront at a time when discussions on the integration of artificial intelligence (AI) in the realm of restoration are gaining momentum. This dialogue, intrinsic to the broader discourse on technological applications in the field, seeks to delineate the role of AI in conservation and restoration. It can now be stated that the application of AI in virtual restoration provides a platform for contemplating the reconstitution of artistic works, offering valuable reference points to deepen our understanding of artifacts and monuments. Concurrently, in the domains more closely related to conservation, an innovative approach has been initiated, aiming at developing algorithms capable of analysing changes in the appearance of artworks through image analysis and comparison, facilitating also the identification of alterations they undergo over time. Additionally, some contemporary research intends to support diagnostic investigations, employing AI to analyse surfaces and detect various forms of degradation. When appropriately directed, AI becomes a valuable asset in both the analysis and design phases of conservation or restoration interventions, providing new tools to explore the intricacies of the artworks. Nevertheless, the design of any intervention requires also a comprehensive reference point within the broader panorama of studies and research that integrate historical and critical aspects of restoration with both established and innovative practices, forged through the amalgamation of scientific knowledge and humanistic culture. Thus, the triad “Approaches, Solutions and Practices” appear in the volume as three closely interlinked elements of the discourse in taking stock of current strategies and methods employed in research and practical conservation interventions.                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                  

Current Approaches, Solutions and Practices in Conservation of Cultural Heritage

<p>In this study, we characterized the Roman over-paintings at the Luxor Temple, which is one of the most famous and archaeologically important Temples in Egypt. Herein, samples for the characterization were collected from the fallen fragments of Roman fresco in Luxor Temple. The cross-sections of the samples were analyzed using binocular imaging, scanning electron microscopy–energy dispersive X-ray spectroscopy, and computed tomography to identify different layers in the over-paintings and their compositions. In the case of the Roman over-paintings at the Luxor Temple, the coarse plaster layer, “arriccio,” comprised mainly quartz, gypsum, and calcium carbonate. However, the fine plaster layer, “intonaco,” was composed of calcite, quartz, and gypsum. Furthermore, the paint layer contained mainly calcium carbonate (lime) and traces of gypsum. The results suggested that probably, Coptic artists used the technique of “Secco Fresco” for developing the Roman over-paintings at Luxor Temple.</p>

Current Approaches, Solutions and Practices in Conservation of Cultural Heritage

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Characterization of Roman Over-paintings at Luxor Temple, Luxor, Egypt

References

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