Materials and techniques: Early Buddhist wall paintings and sculptures at Sumda Chun, Ladakh

Gill, Maninder Singh; Rendo, Carolina Priego; Menon, Sreekumar

doi:10.1179/2047058413y.0000000090

Cited by 12 publications

(4 citation statements)

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“…Piovesan et al described a polychrome sinopia, where cinnabar was also used, under the Lod Mosaic, Israel. Gill et al analysed the extraordinary palette of pigments on Buddhist wall paintings and sculptures, dating to the 12–13th century, in the interiors of the temple complex at Sumda Chun, Ladakh: azurite, orpiment, vermilion and minium were identified.…”

Section: Introductionmentioning

confidence: 99%

Raman spectroscopy of minerals and mineral pigments in archaeometry

Bersani

Lottici

2016

J Raman Spectroscopy

146

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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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Section: Introductionmentioning

confidence: 99%

Raman spectroscopy of minerals and mineral pigments in archaeometry

Bersani

Lottici

2016

J Raman Spectroscopy

146

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“…In most cases, the identification was obtained by polarised light microscopy (PLM) that allows distinguishing mineral red pigments from transparent or translucid dyes and lakes, or by UV light. Examples of generical identification of a red lake were in first century AD Nabatean wall paintings at Petra, Jordan (Akrawi and Shekede 2010), in eighth century Carolingian wall paintings at Müstair, Switzerland (Mairinger and Schreiner 1986;Cavallo et al 2020), in eleventh to fourteenth century Tibetan-Buddhist wall paintings (Goepper et al 1996;Skedzuhn et al 2013;Yong and Shiwei 2014;Gill et al 2014;Oeter and Skedzuhn-Safir 2015), in the Mogao caves in Dunhuang, China (AA.VV. 2013).…”

Section: Redsmentioning

confidence: 99%

Pigments—the palette of organic colourants in wall paintings

Aceto

2021

Archaeol Anthropol Sci

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The present contribution deals with the use of organic colourants in wall paintings, polychrome pottery and painted stone artworks, i.e. painted artworks on inorganic supports. The term organic colourants is referred to the chemical nature of these compounds but not to the way of application; therefore, organic colourants can be dyes, lakes or pigments. The use of organic colourants in wall paintings has been given little attention in the past, perhaps on the assumption that they were rarely used by ancient artists. Recent diagnostic studies, however, brought evidence that their use was not fragmentary; on the contrary, there seems to be continuity in the centuries, at least with regard to the most widely used such as madder, Tyrian purple and indigo. Sources, alteration phenomena, identification methods and analytical evidence is given for the main organic colourants with concern to red, yellow, green, purple and blue hues. Drawbacks and issues are discussed with concern to the identification techniques.

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“…To date, many researchers have employed various technical means to study the production process and materials of the cultural relics [8]. They also studied the disease characteristics [9] and degradation mechanisms of the cultural relics [10].…”

Section: Introductionmentioning

confidence: 99%

Craftsmanship and materials: painted Bodhisattva sculptures in the Fengguo Temple dated to the year 1020 in Yi County, Northeast China

et al. 2021

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As a royal temple, the Fengguo Temple has profound historical, artistic, scientific and social values. With a thousand-year history, it is one of the three existing temples of the Liao Dynasty in China. Now there remains the Main Hall with delicate wall paintings and vivid painted sculptures. The research subject of this paper is the painted Bodhisattva sculptures in the Main Hall. The study target is to reveal the craftsmanship and materials of the painted Bodhisattva sculptures. X-ray detection and the ground-penetrating radar were employed to explore the internal structure of the painted sculptures reasonably. Through microscope analysis, X-ray fluorescence spectrometer, X-ray diffractometer, scanning electron microscopy and infrared spectroscopic analysis, the chemical constituents and hierarchical structure of the pigment layer were detected and analyzed. The grain composition and chemical composition of the base layer were presented as well. The research results offer detailed documents for subsequent restoration and pave the way for preventive conservation. Finally, this paper summarized the craftsmanship and materials of painted sculpture works in different periods, so as to explore the development history of the painted sculptures culture.

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Materials and techniques: Early Buddhist wall paintings and sculptures at Sumda Chun, Ladakh

Cited by 12 publications

References 1 publication

Raman spectroscopy of minerals and mineral pigments in archaeometry

Raman spectroscopy of minerals and mineral pigments in archaeometry

Pigments—the palette of organic colourants in wall paintings

Craftsmanship and materials: painted Bodhisattva sculptures in the Fengguo Temple dated to the year 1020 in Yi County, Northeast China

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