Maya blue: its presence in cuban colonial wall paintings

Tagle, Alberto A.; Paschinger, Hubert; Richard, Helmut; Infante, Guillermo Cabrera

doi:10.1179/sic.1990.35.3.156

Cited by 23 publications

(5 citation statements)

References 7 publications

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“…1 The use of Maya Blue in Central America, mostly in Mexico, is documented from the VIII to the XVI centuries, 2 being extended even to recent times. 3 However, there is no detailed knowledge of the procedure of preparation of Maya Blue by Pre-Culombian cultures, and, in fact, the composition and structure of the pigment was in the past controversial. [4][5][6][7][8][9][10] Currently, it is well-known that Maya Blue consists of an hybrid organic-inorganic material resulting from the association of indigo, a natural dye obtained from several plants, mainly Indigofera suffruticosa Miller in Mesoamerica, and palygorskite, a fibrous phyllosilicate extracted almost exclusively from one village in the northern Yucatan: Sacalum (a Spanish corruption of Sak lu'um).…”

Section: Introductionmentioning

confidence: 99%

Indigo/Dehydroindigo/Palygorskite Complex in Maya Blue: An Electrochemical Approach

2007

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The voltammetry of microparticles methodology is applied to describe the electrochemistry of indigo and Maya Blue, a nanostructured organic-inorganic material, in contact with different MeCN electrolytes. The voltammetric response of synthetic specimens and genuine Maya Blue samples differ significantly from that of indigo microparticles, all being conditioned by the size-dependent insertion of electrolyte ions into the solid. Electrochemical data indicate that formation of Maya Blue involves a significant reorganization of zeolitic and/or structural water of the clay and confirms the presence of dehydroindigo accompanying indigo in the palygorskite matrix.

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Section: Introductionmentioning

confidence: 99%

Indigo/Dehydroindigo/Palygorskite Complex in Maya Blue: An Electrochemical Approach

2007

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“…The history of fabric dyeing abounds in regulations concerning the production, trade, and use of dyes, often protected by secret information. Artists in particular regions and times (e. g. in Mesoamerica over a thousand years ago [89], pre-Columbian Peru during the Inca period, 300 -1 532 AD [108], during the colonial period in the Peruvian Andes [88], in New Spain -Mexico [87], or in Cuba [109], as well as in medieval Persia [82] and India [110]) used various dyes, which are now very difficult to identify. And ultimately, dyes popular in specific regions were often replaced by others, when new routes, especially to India or America were opened, e. g. for this reason Indian indigo displaced woad (European source of indigo) and American cochineal supplanted European kermes.…”

Section: Organic Dyestuffsmentioning

confidence: 99%

Old master paintings – A fruitful field of activity for analysts: Targets, methods, outlook

Zadrożna

Pawlak

Głuch

et al. 2003

J of Separation Science

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Old master paintings -A fruitful field of activity for analysts: Targets, methods, outlook Natural products used by ancient artists as components of paintings on canvas and wood, on sculptures, for murals or illuminated manuscripts are presented as potential analytical targets. Analytical methods recommended so far for the identification of binders, inorganic pigments, and organic dyestuffs are reviewed with special emphasis on hyphenated techniques.

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“…In fact, despite the replacement of native products with European technologies imposed by the new rulers, in many Augustinians, Dominicans and Franciscans convents built during sixteenth century in Mexico artists used Maya blue for decorating wall paintings (Sánchez del Río et al 2006a), perhaps in an attempt of combining Christianity and Prehispanic culture. In addition, the pigment was found in wall paintings in Cuba between the eighteenth and the nineteenth century (Tagle et al 1990), possibly as a consequence of the commercial link established between Mexico and Cuba in that period; indeed, accounts of Cuban merchants dealing in pigments attested that New Spain (i.e. Mexico) was among the sources of their imports.…”

Section: Maya Bluementioning

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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Maya blue: its presence in cuban colonial wall paintings

Cited by 23 publications

References 7 publications

Indigo/Dehydroindigo/Palygorskite Complex in Maya Blue: An Electrochemical Approach

Indigo/Dehydroindigo/Palygorskite Complex in Maya Blue: An Electrochemical Approach

Old master paintings – A fruitful field of activity for analysts: Targets, methods, outlook

Pigments—the palette of organic colourants in wall paintings

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