Investigation on the Painting Materials and Profile Structures Used in Ancient Chinese Folk Architectural Paintings by Multiple Analytical Methods

Abstract

In order to understand the painting materials and profile structures used in the creation of Chinese ancient folk architectural paintings, the architectural paintings of the Bell and Drum Tower at Fushan Temple in Shaanxi Province of China was investigated. In this study, optical microscopy, Fourier transform infrared spectroscopy (FTIR), micro-Raman spectroscopy, scanning electron microscopy-energy-dispersive X-ray spectroscopy (SEM-EDS), and chemical experimental methods were used. The profile structures, and the elemental and chemical compositions of the pigments and binders in the ground layer of the 12 samples were determined. Results showed that the painting profile structures in both towers comprised of pigment layer, underpainting layer and ground layer, where no starch was found in the chalk ground layer. The pigment layer mainly comprised of iron oxide red, chalk, lapis lazuli, carbon black, green earth, and a dark green pigment that is formed by a combination of carbon black and green earth. To-date, the use of green earth pigment in Chinese architectural paintings was not found in Chinese related academic literature; hence, this study marked the first identification of green earth being used in the architectural paintings. Tung oil, commonly used in Chinese architectural paintings as a binder for pigment, was also identified in the samples. Results from this study will serve as an important reference for better scientific investigation methods on ancient Chinese folk painting materials.

A Technical Study of Chinese Buddhist Sculptures: First Insights into a Complex History of Transformation through Analysis of the Polychrome Decoration

“…The use of iron-based and lead-based red pigments such as red earth and minium, ubiquitous in the samples examined, is well documented in Chinese painted productions. As revealed by historical records and ancient Chinese building construction manuals [24,25], the sculptures' polychrome decoration shows interesting similarities with the architectural painting practice of the Qing dynasty. Among these, it is worth mentioning the detection of red pigments, such as iron oxides, as underlayers in some of the architectural elements of the Fushan Temple's Bell and Drum Towers in China's Shaanxi Province [24].…”

“…As revealed by historical records and ancient Chinese building construction manuals [24,25], the sculptures' polychrome decoration shows interesting similarities with the architectural painting practice of the Qing dynasty. Among these, it is worth mentioning the detection of red pigments, such as iron oxides, as underlayers in some of the architectural elements of the Fushan Temple's Bell and Drum Towers in China's Shaanxi Province [24]. Further information about the layering of colors as a typical technical feature of Chinese painting in the Shaanxi region is provided elsewhere [25].…”

“…The use of starch is documented, for instance, in an ancient Chinese building construction manual, entitled "Gongcheng Zuofa Zeli" [26], when referring to the current practices of the Qing dynasty (1636-1912 C.E.). According to this manual, starch, in the form of flour, was commonly mixed with other ingredients within the ground layer of architectural paintings [24]. Moreover, starch-based yellow pigments have been detected in mixtures for red, white, blue, green, and yellow colors from the Tibetan Buddhist Monastery of Puren, China [27].…”

A Multi-Method Analysis of a Color Painting on Ancient Architecture from Anyuan Temple in Chengde, China

“…Historically, mineral pigments were predominantly used, being favored for their varied colors, accessibility, diverse types, and stable physical and chemical properties. Common mineral pigments include cinnabar [8,9], lead red [10], iron oxide [11], carbon black [12,13], ultramarine [14], lead white [15], and azurite. Binders [16] also play a vital role in securing pigments to mortar surfaces.…”

High‐performance enrichment of casein and ovalbumin in wall painting with immunomagnetic beads

“…China is an ancient country with a long history and splendid cultural heritage, and the richness of ancient China wall painting heritage is matchless in the world (Ruvalcaba‐Sil et al, 2021). Wall painting is one of the earliest painting activities in human society, showing social life of ancient human beings and the level of the development of the productive forces (Liu et al, 2018; Zou & Yeo, 2022). The most glorious period of ancient Chinese wall paintings was during Wei and Jin Dynasties to Tang Dynasties.…”