A technical analysis of paint media used in twentieth-century Vietnamese lacquer paintings

Abstract

Asiarta Foundation and the Getty Conservation Institute have collaborated in research to study Vietnamese lacquer paintings. The primary aim of the project is to gain a deeper understanding of the materials and techniques used in these unique lacquer paintings through technical analysis of various lacquer samples from paintings and from different sources in Vietnam complemented by in-depth interviews with Vietnamese lacquer artists. The origins and development of Vietnamese lacquer painting are outlined, followed by a description of the typical production processes involved in the manufacture of lacquer paintings. The analytical methods used for the analysis of lacquer samples as well as an outline of the methodology employed are briefly described. The results of the analyses are summarized and discussed. Samples were found to contain ingredients obtained from tree species indigenous to Vietnam and Cambodia, and interestingly some samples contained a combination of the less expensive cashew nut shell liquid lacquer, drying oils, tree resins, and drying additives. In addition, analysis indicated that some samples contained non-Asian lacquer-based ingredients.

Beyond the basics: A systematic approach for comprehensive analysis of organic materials in Asian lacquers

“…In many Asian lacquer samples, DHA may be present at low concentrations without the other key markers, which suggests the compounds originate from non-resinous materials. In contrast, large proportions of pine resin are customarily added to modern commercial sources of artists' lacquers in Vietnam (Ebert & Schilling, 2016).…”

“…In many Asian lacquer samples, DHA may be present at low concentrations without the other key markers, which suggests the compounds originate from non-resinous materials. In contrast, large proportions of pine resin are customarily added to modern commercial sources of artists' lacquers in Vietnam (Ebert & Schilling, 2016).Characterization of shellac has been the focus of research at the Philadelphia Museum of Art by Sutherland, who published mass spectra for numerous marker compounds from different types and sources of shellac (Sutherland & del Rio, 2014). Shellac is confirmed in a sample by the presence of aleuritic acid derivatives, plus aliphatic and cyclic hydroxyacids.…”

“…Additionally, this lacquer has three marker compounds not present in other Anacards and which do not appear in the gestalt graphs. CNSL has been discussed in relation to its usage in Vietnamese lacquer paintings in some detail (Ebert & Schilling, 2016). Gestalt graphs also make it possible to recognize mixtures of Anacards in lacquer samples.…”

Comprehensive Multi-Analytical Investigations on the Vietnamese lacquered Wall-Panel “The Return of the Hunters” by Jean Dunand

“…During the 1920s and 1930s extensive contact between European and Asian Cultures encouraged the exchange of their respective artistic knowledge. The founding of the Ecole des Beaux Art in Hanoi in 1925 by the artists Victor Tardieu and Nam Son facilitated this exchange, with the use of traditional Vietnamese lacquer as a painting medium applied to a flat-bidimensional surface 1 and subsequent exportation of this lacquer to Europe from the French colonies being one of the results of this fruitful collaboration. One of the artists fascinated by Asian lacquer techniques was Jean Dunand.…”

“…Thitsi contains alkyl benzenes (alkylphenylphenols and alkylphenyl-1,2-dihydroxybenzenes) in addition to the typical compounds of laccol and urushi. Vietnamese lacquer as a painting medium is also commonly mixed with drying oils (linseed, tung, perilla, sesame and rapeseed 15 ) for increasing the gloss of the dry film 1 . This can occur during their manufacture, but is also done by the artists, who additionally often mix in pine resin to modify the workability of the lacquer.…”