From Byzantine to post-Byzantine art: the painting technique of St Stephen's wall paintings at Meteora, Greece

Daniilia, Sister; Minopoulou, Elpida; Andrikopoulos, Konstantinos S.; Tsakalof, Andreas; Bairachtari, Kyriaki A.

doi:10.1016/j.jas.2008.03.017

Cited by 50 publications

(32 citation statements)

References 30 publications

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“…Furthermore, the Raman spectrum of sample zx 1-8 ( Figure 8b (~2.6%), Fe (~1.9%), Co (~3.3%), Ni (<1.0%) and As (~2.2%) by SEM-EDX [17]. Daniilia S. found two kinds of smalt in St Stephen's wall paintings at Meteora, Greece, the EDX results show the following mean composition: (a) Si (68.9%), K (22.6%), Co (4.1%), Ca (2.2%) and Fe (2.5%); (b) Si (85.4%), K (3.9%), Co (3.3%), Ca (1.1%), Fe (2.1%), Al (1.6%) and As (2.7%) [16]. Compared with these results, smalt used in the Five Northern Provinces' Assembly Hall contains much more As, which suggests that the original mineral is rich in As.…”

Section: Painting Layers Blue Pigmentsmentioning

confidence: 99%

“…In the early 17th century, it is mentioned that smalt has been widely used in oil painting and substituted lapis lazuli and azurite as they became more and more scarce [15,18]. While in ancient China, the pigment was usually used in architecture coloured drawing of the Qing dynasty, for instance, JianFu palace in the Forbidden City, Xiannongtan in Beijing, Shuxiang Temple in Chengde and some other sites [16]. Since smalt has been produced in Germany and Italy at that time, it is uncertain to determine the source of smalt used in murals of the Five Northern Provinces' Assembly Hall until more analytical data collected.…”

Section: Painting Layers Blue Pigmentsmentioning

confidence: 99%

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A study on the painting techniques and materials of the murals in the Five Northern Provinces’ Assembly Hall, Ziyang, China

Bai

et al. 2013

Herit Sci

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A limited amount of analytical data is available on the techniques and materials used in the murals of the Qing dynasty in China. The Five Northern Provinces' Assembly Hall (1861-1874) is located in Wafangdian on the confluence of two rivers. It has the largest murals in Shaanxi Province. This paper presents the first comprehensive investigation of the painting techniques and materials of the murals in the Five Northern Provinces' Assembly Hall. The analytical methods include polarized light microscopy (PLM), microscopic examination on crosssections, x-ray fluorescence (XRF), x-ray diffraction (XRD), micro-Raman spectroscopy (μ-RS), Fourier transform infrared spectroscopy (FTIR) and scanning electron microscopy with an energy-dispersive spectrometer (SEM-EDX), which have been used to examine the paint layer stratigraphy, plaster layers, the priming layer and inorganic pigments composition. The results show that the carrier was firstly prepared with two levels of coarse layers, which are made of clay, sand and rice straw applied onto the brick wall, and a fine coat layer made of lime, clay, sand and cotton follows. Then a kaolin-pigmented priming layer was painted on the fine coat, which was finally painted with red lead, red ochre, cinnabar, atacamite, malachite, botallackite, orpiment, yellow ochre, Prussian blue, smalt, azurite, lead white and flame carbons on top. The research suggests that the painting materials of the murals of the Five Northern Provinces' Assembly Hall are original and the techniques were well implemented and followed the traditional and standard way in ancient China. But a few details present strong local characteristics, such as using rice straw, cotton and kaolin as original materials which were more convenient to obtain. This study also indicates that only one red dyestuff was found, and the other colourants are all inorganic. Except Prussian blue, smalt and botallackite used in ancient mural in China were less reported, and the rest of the pigments represent traditional Chinese painting materials. In addition, the usage of the imported pigments Prussian blue and smalt proves that the geographic position of the Five Northern Provinces' Assembly Hall was of crucial importance for trade.

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Section: Painting Layers Blue Pigmentsmentioning

confidence: 99%

Section: Painting Layers Blue Pigmentsmentioning

confidence: 99%

A study on the painting techniques and materials of the murals in the Five Northern Provinces’ Assembly Hall, Ziyang, China

Bai

et al. 2013

Herit Sci

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“…The Raman analysis confirmed the FTIR results. In fact, the spectral pattern is typical of malachite ( Figure 5); the spectrum shows peaks at 177, 216, and 267 cm The modes at 1060 and 3350 cm −1 are related to the OH bond-stretching, while those at 1486 and 1087 cm −1 are related to the anion carbonate CO 3 2− stretching [19]. In a second spectrum taken from another region on the sample (Figure 6 malachite.…”

Section: Discussionmentioning

confidence: 93%

Analysis of the Quintilii’s Villa Bronzes by Spectroscopy Techniques

Stranges

Russa

Oliva

et al. 2014

Journal of Archaeology

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The aim of this work is the characterization, with different diagnostic tests, of three fragments of bronze artefacts recovered from the Villa of the Quintilii (located in the south of Rome). In particular, the sample alloys were investigated by different chemical and morphological analysis. Firstly, an analysis of the alloy, implemented through the electronic spectroscopy, was taken to discriminate the bronze morphology and its elemental composition. Subsequently, a surface analysis was realized by molecular spectroscopy to identify the alteration patinas on surfaces (such as bronze disease). Two diagnostic techniques are used for the alloy analysis: scanning electron microscopy (SEM) connected to the EDX spectroscopy (to study the morphology and alloy composition) and Auger electron spectroscopy (AES) (to identify the oxidation state of each element). Moreover, for the study of surface patinas, IR and Raman spectroscopies were implemented. All studies were performed on the "as received" samples, covered by a thin layer of excavated soil and on samples processed in an aqueous solution of sulphuric acid (10%), to remove patinas and alterations.

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“…The mud layer serves as the arriccho in the context of buon or true fresco painting. Earth-based plaster strengthened with straw has been identified in ancient Egyptian painting [10], a post-Byzantine church in Greece [11], as well as a church in Ethiopia [12]. Straw reinforcement (based on the cereal teff, Eragrostis abyssinica, a crucial indigenous staple in Ethiopia) is a common structural element in mud houses in the country.…”

Section: Structure Of the Paintingmentioning

confidence: 99%

Multi-analytical investigation into painting materials and techniques: the wall paintings of Abuna Yemata Guh church

2016

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Abuna Yemata Guh is one of the nine Saints who are traditionally claimed to have come to Northern Ethiopia in the beginning of the sixth century and established monasteries in the Tigray region. The church, named after him, is hewn out of the side of one of the highest sandstone spires in the Gheralta area. Though the local tradition claims earlier dates, the paintings in the church are suggested to belong to the second half of the fifteenth century on the basis of their theme, style and iconography. We report here the investigation into the materials and techniques of the paintings using diverse complementary analytical techniques: Polarized light microscopy (PLM), portable X-ray fluorescence spectrometer (pXRF), scanning electron microscopy-energy dispersive X-ray spectroscopy (SEM-EDS), synchrotron-based X-ray diffraction (SR-XRD), pyrolysis gas chromatography-mass spectrometry (Py-GC/MS), microRaman spectroscopy (MRS) and micro-Fourier transform infrared spectroscopy (micro-FTIR). Earth materials based on hematite, goethite and terra verte were the main findings, but cinnabar, orpiment, lead white and carbon black were also identified. The stratigraphic analyses of samples from different locations coupled with SR-XRD analysis indicated the presence of anhydrite, gypsum, calcite and lime in the preparation layer. The pigments identified together with close visual examination showed repainting and retouching within the area in which the Marian figure is depicted, as well as in a nearby figure. The ground preparatory layer consisted of red mud reinforced by straw applied to the chiseled sandstone support. The egg-based binding medium suggests that tempera technique was used. Technical studies of Ethiopian wall paintings are scant, but highly needed as this world heritage is threatened due to limited conservation. Our documentation of the materials and techniques is therefore aimed to stem this loss, as well as to provide information for art historical studies.

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From Byzantine to post-Byzantine art: the painting technique of St Stephen's wall paintings at Meteora, Greece

Cited by 50 publications

References 30 publications

A study on the painting techniques and materials of the murals in the Five Northern Provinces’ Assembly Hall, Ziyang, China

A study on the painting techniques and materials of the murals in the Five Northern Provinces’ Assembly Hall, Ziyang, China

Analysis of the Quintilii’s Villa Bronzes by Spectroscopy Techniques

Multi-analytical investigation into painting materials and techniques: the wall paintings of Abuna Yemata Guh church

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