A scientific study of the pigments in the wall paintings at Jokhang Monastery in Lhasa, Tibet, China

Li, Zhimin; Wang, Lele; Ma, Qinglin; Mei, Jianjun

doi:10.1186/s40494-014-0021-2

Cited by 22 publications

(13 citation statements)

References 8 publications

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“…Cinnabar has been mined in both prehistoric and historic China [18]. As one of the most widely used pigments in ancient China, cinnabar has been identified as the red pigment in famous Buddhist sites such as the Mogao Grottoes, Jokhang Monastery and other Buddhist rock-cut temples [19][20][21].…”

Section: Microscopic Observation Of Pigmentsmentioning

confidence: 99%

Characterization of a Mahamayuri Vidyarajni Sutra excavated in Lu’an, China

et al. 2019

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Historically, sutras played an important role in spreading Buddhist faith and doctrine, and today these remain important records of Buddhist thought and culture. A Mahamayuri Vidyarajni Sutra with polychrome paintings was found inside the cavity on top of the Nanmen Buddhist pagoda, built in the early Tang dynasty (618-627 CE) and located in Anhui Province, China. Textile was found on the preface which is strongly degraded and fragile. Unfortunately, the whole sutra is under severe degradation and is incomplete. Technical analysis based on scientific methods will benefits the conservation of the sutra. Optical microscopy (OM), micro-Raman spectroscopy combined with optical microscope (Raman), scanning electron microscopy in combination with energy dispersive X-ray analysis (SEM-EDS) and Fourier Transform Infrared Spectroscopy (FTIR) were used to characterize the pigment and gilded material, as well as the paper fiber and textile. Pigments such as cinnabar, minium, paratacamite, azurite, lead white were found. Gilded material was identified as gold. A five-heddle warp satin, made of silk, was found as the textile on the preface of the sutra. The sutra's preface and inner pages were made of paper comprised of bamboo and bark. As a magnificent yet recondite treasure of Buddhism, the sutra was analyzed for a better understanding of the material. A conservation project of the sutra will be scheduled accordingly.

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Section: Microscopic Observation Of Pigmentsmentioning

confidence: 99%

Characterization of a Mahamayuri Vidyarajni Sutra excavated in Lu’an, China

et al. 2019

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“…In the last period, 2014/2015, we can cite further relevant studies on wall paintings of two Greek Byzantine Churches from Kastoria, northern Greece (Iordanidis et al); pigments in the wall paintings at Jokhang Monastery in Lhasa, Tibet, China (Li et al); a wall painting attributed to Ambrogio Lorenzetti in the St Augustine Church in Siena, Italy (Damiani et al); the pigments in dome wall paintings by Correggio in Parma cathedral (Bersani et al); 17th century mural paintings, Dominican Convent of Nossa Senhora da Saudacao, Montemor, Portugal (Gil et al); medieval Nubia wall paintings from Saras, Old Dongola and Banganarti archaeological sites (Syta et al); wall paintings in Pompeii (Madariaga et al); wall paintings from Qasr El‐Ghuieta Temple, Kharga Oasis, Egypt (Mahmoud); the wall paintings from the Baños de Doña Maria de Padilla in the Alcazar of Seville (Perez‐Rodriguez et al); binder compositions in Pompeian wall paintings from Insula Occidentalis (Gelzo et al); gilded plasterwork in the Hall of the Kings in the Alhambra complex, Granada, Spain (de la Torre‐López et al); wall paintings in the San Francisco Church, Santiago, Chile (Araya et al); the wall paintings in the Churches of Panagia and Theotokos built in the settlements of Patsos and Meronas at Amari Rethymno, Crete (Cheilakou et al); wall painting fragments from Roman villas of the Sabina area, Rome (Paladini et al); the wall paintings from the Hellenistic hypogeum of Apaforte‐Licata, Agrigento, Sicily (Aquilia et al); wall paintings in the Villa of the Papyri in Herculaneum (Amadori et al); and decorative fragments from the hypocaustum in the Roman villa of El Ruedo, Almedinilla, southern Spain (Mateos et al).…”

Section: Introductionmentioning

confidence: 99%

Raman spectroscopy of minerals and mineral pigments in archaeometry

Bersani

Lottici

2016

J Raman Spectroscopy

147

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Minerals, as raw structural materials or pigments, play a fundamental role in archaeometry, for the understanding of nature, structure and status of an artefact or object of interest for cultural heritage. A detailed knowledge of the mineral phases is crucial to solve archaeological problems: Raman spectroscopy is a powerful investigation technique and has been applied extensively in the last 30 years on mineral identification and on pigment degradation. Here we report an updated review, covering the last decade, of the applications of Raman techniques to issues in which raw minerals, including mineral pigments, are involved. Particular attention is devoted to cases where the Raman analysis of minerals is deeper than a simple identification of the phases present in an archaeological or artistic object. Copyright © 2016 John Wiley & Sons, Ltd.

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“…As seen from Fig. 5g, the shapes of ultramarine blue particles are regular and smooth, and the grain sizes are even which suggest the artificial pigment [16].…”

Section: Analysis Of the Pigmentsmentioning

confidence: 85%

Analysis and characterization of materials used in heritage theatrical figurines

et al. 2020

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The precious collections of the Qing Dynasty paper-made theatrical figurines known as Shage xiren (纱阁戏人) represent a unique type of Chinese traditional folk art. The name, "Shage xiren" can be explained as the theatrical figurines that display in gauze curtains covered showcases. There were originally 36 showcases of Shage xiren of which 34 are preserved with 28 showcases exhibited at Qingxu Taoist Temple of Pingyao and the other damaged 6 are kept in the storeroom. It is rare that ancient paper-made figurines can be retained; therefore Shage xiren became a valuable source for understanding the traditional folk art as well as exploring rarely inherited crafts. Due to the material specificity and the poor preservation conditions, most of the figurines are found with various damages. It appears necessary to carry out appropriate conservative and restorative actions. To date, very few works have been reported on investigating the materials and crafts of making Shage xiren, resulting in a lack of basis for restoration. In this research, the samples collected from the damaged figurines, including wooden stick, plant fibers, paper pieces, clay fragments and textile fibers were studied. Polarized light microscope, X-ray diffraction, granulometry, Raman spectrum, digital microscopy and Fourier transform infrared spectrum analyses were employed to characterize the materials used in producing the cultural relics. The results indicated that not only paper, but also various materials were utilized in making the figurines. To form well-shaped bodies, the figurines have moso bamboo sticks applied as supporting structures, then covered with wheat straw and filled with natural cotton. The paper costumes and decorations were made from coniferous wood pulp and bamboo fibers respectively, and the textile belts were made from silk. The heads, feet and fingers of the figurines were shaped with fine local clay mixed with natural fibers to prevent cracking. The heads were further applied with lime to improve the surface smoothness and brightness. The pigments of red lead, basic lead carbonate, indigo and artificial ultramarine were used in painting and dyeing the clay heads and feet, and paper decorations. Although the figurines were made from accessible materials, the ingenious design and the sophisticated skills combining sculpturing, paper folding and elaborate ornamenting made it one of the unique artefacts. This research further provided reliable evidence in guiding the conservation and restoration work.

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A scientific study of the pigments in the wall paintings at Jokhang Monastery in Lhasa, Tibet, China

Cited by 22 publications

References 8 publications

Characterization of a Mahamayuri Vidyarajni Sutra excavated in Lu’an, China

Characterization of a Mahamayuri Vidyarajni Sutra excavated in Lu’an, China

Raman spectroscopy of minerals and mineral pigments in archaeometry

Analysis and characterization of materials used in heritage theatrical figurines

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