Identification of pigments in the Annunciation sculptural group (Cordoba, Spain) by micro-Raman spectroscopy

Cosano, Daniel; Esquivel, Dolores; Costa, Carlos M.; Jiménez‐Sanchidrián, César; Ruíz, José Rafael

doi:10.1016/j.saa.2019.02.019

Cited by 15 publications

(11 citation statements)

References 43 publications

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“…A comparison of the red sample Raman spectrum with the standard spectrum reveals that the peak at 255 cm −1 is attributed to a Hg-S stretching vibrational band. Additionally, the bands at 349 cm −1 (w) were identified as the degenerate E modes, which can be assigned to the normal modes ELO and ETO [41][42][43][44]. This finding confirms that the red pigment is cinnabar, which aligns with the results obtained from the ED-XRF analysis (Table 2).…”

Section: Red Pigment Analysissupporting

confidence: 87%

A Study on the Materials Used in the Ancient Architectural Paintings from the Qing Dynasty Tibetan Buddhist Monastery of Puren, China

Teri,

Han,

Huang

et al. 2023

Materials

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Situated in the village of Lama Temple on the eastern bank of the Wulie River in Chengde, Puren Temple stands as one of the few remaining royal temples of great importance from the Kangxi era (1662–1722 AD). This ancient edifice has greatly contributed to the advancement of our comprehension regarding the art of royal temple painting. The present study undertakes a comprehensive analysis and identification of nine samples obtained from the beams and ceiling paintings within the main hall of Puren Temple. Furthermore, a systematic examination of their mineral pigments and adhesives is conducted. The findings from polarized light microscopy (PLM), energy-type X-ray fluorescence spectrometer (ED-XRF), micro-Raman spectroscopy (m-RS), and X-ray diffractometer (XRD) analyses reveal that the pigments present in the main hall beams of Puren Temple are cinnabar, lead white, lapis lazuli, and lime green, while the pigments in the ceiling paintings consist of cinnabar, staghorn, lead white, lapis lazuli, and lime green. The use of animal glue as a binder for these pigments on both the main hall beams and ceiling paintings is confirmed via pyrolysis-gas chromatography–mass spectrometry (Py-Gc/Ms) results. These findings hold significant implications for the future restoration of Puren Temple, as they provide valuable guidance for the selection of appropriate restoration materials.

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Section: Red Pigment Analysissupporting

confidence: 87%

A Study on the Materials Used in the Ancient Architectural Paintings from the Qing Dynasty Tibetan Buddhist Monastery of Puren, China

Teri,

Han,

Huang

et al. 2023

Materials

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“…Their Raman bands at 122, 152, 225/226, 314, 392 and 549 cm − 1 were ascribed to minium (Pb 3 O 4 ) [ 22 ], while the absorption at 549 cm − 1 was attributed to the stretching of the Pb-O bond [ 23 , 24 ]. The bands at 253/254 and 344 cm − 1 were identified as belonging to cinnabar (HgS) [ 22 ], while the Roman peaks at 253 and 254 cm − 1 were attributed to the stretching vibration of Hg-S bonds [ 25 , 26 ]. For the sample XSND-16 and SJD-29, the main elements being Pb and O, their characteristic Raman bands ( Figure 10 b) at 122, 152, 227/231, 313/316, 392 and 549 / 551cm − 1 , were attributed to minium (Pb 3 O 4 ).…”

Section: Resultsmentioning

confidence: 99%

A Multi-Analytical Approach to Investigate the Polychrome Clay Sculpture in Qinglian Temple of Jincheng, China

Shen

Zhang

et al. 2022

Materials

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This article presents an integrated analytical method to investigate the polychrome clay sculptures of the Qinglian Temple in Jincheng City, Shanxi Province, China. Digital microscopy, SEM-EDS, XRD, Herzberg stain, Micro-Raman spectroscopy and FT-IR were selected to identify the raw materials and techniques used to produce the ground clay layer, the white powder layer and the mineral pigment of the polychrome clay sculptures. The investigation shows that the clay used to make the coarse and fine clay layer is consistent. However, different kinds of fibres were found mixed in the coarse and fine clay layers: wheat straw was the main fibre used in coarse clay layer, while the bast fibres, including ramie, kenaf and sisal hemp, were used as the fibre supports in the fine clay layers due to their useful properties. The white powder layer was made of a mixture of kaolinite and gypsum. For the mineral pigments, it principally contained red (hematite, minium or a mixture of minium and cinnabar), green (atacamite and atacamite), blue (azurite), yellow (yellow ochre), black (amorphous carbon) and white (the mixture of kaolinite and gypsum). Additionally, a gilding technique and multiple paint layers also typified many pigment areas. This work has furthered understanding of the materials and techniques used in making the sculptures of the Qinglian Temple and has clear implications for the restoration and conservation treatments on these kinds of ancient painted clay sculptures.

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“…Various kinds of blue pigments have been employed throughout art history, such as Chinese blue, [16] lazurite, [17] azurite, [7a] and smalt, [18] In addition, indigo could also be used as a blue colorant although it was more often used as a dye for textiles [19] . During the Late Classic Maya period, indigo and palygorskite clay were mixed to make a blue pigment, which was known as Maya blue and had a wide range of applications at that time [20] …”

Section: Resultsmentioning

confidence: 99%

“…Similarly, a cross‐sectional microscopic examination of A9‐2 revealed a layer of orange pigment beneath the red layer on the surface (Figures 4e and 4 g). Raman spectrum showed bands that can be assigned to cinnabar [7a] at 247, 280 and 339 cm −1 , while the orange pigment turned out to be red lead (Figure 4f). Furthermore, SEM‐EDS observation also demonstrated two different color‐causing elements with the element Hg on top of Pb (Figure 4h).…”

Section: Resultsmentioning

confidence: 99%

Pigments, Dyes and the Restoration History of the Painted Figurines of the Tang Dynasty from the Astana Tombs Revealed by Comprehensive Chemical Analysis

Gao¹,

Zhao

Wang

et al. 2022

ChemistrySelect

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Comprehensive micro-analyses were conducted to identify different pigments and dyes used in painted figurines of the Tang Dynasty unearthed from Astana Tombs, located along the ancient Silk Road. Interestingly, a mixture of lazurite and indigo was first discovered on a painted figurine to create a special blue hue, demonstrating that ancient Gaochang craftsmen were already skilled in using mixed colorants. Moreover, superimposition techniques were as well applied in these painted figurines, such as hematite or cinnabar overlaid on red lead. Despite the lack of unambiguous restoration records in the last century, multiple synthetic organic colorants used for repainting the lokapala figurine were successfully identified by Raman spectroscopy and ultra-performance liquid chromatography-tandem mass spectrometry (UPLC-MS/MS), which should be helpful for the retrospective documentation of the restoration history of these artworks. These investigations towards archaeological materials can provide precise historical facts about the artworks and fundamental knowledge for their conservation.

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Identification of pigments in the Annunciation sculptural group (Cordoba, Spain) by micro-Raman spectroscopy

Cited by 15 publications

References 43 publications

A Study on the Materials Used in the Ancient Architectural Paintings from the Qing Dynasty Tibetan Buddhist Monastery of Puren, China

A Study on the Materials Used in the Ancient Architectural Paintings from the Qing Dynasty Tibetan Buddhist Monastery of Puren, China

A Multi-Analytical Approach to Investigate the Polychrome Clay Sculpture in Qinglian Temple of Jincheng, China

Pigments, Dyes and the Restoration History of the Painted Figurines of the Tang Dynasty from the Astana Tombs Revealed by Comprehensive Chemical Analysis

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