The identification of binding agent used in late Shang Dynasty turquoise-inlayed bronze objects excavated in Anyang

Wei, Shuya; Song, Guangtao; He, Yuan

doi:10.1016/j.jas.2015.04.021

Cited by 21 publications

(14 citation statements)

References 27 publications

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“…W 10 ) and hexacosanoic acid (no. W 12 ) detected in the sample could be confirmed as beeswax [23] to increase the smoothness and brightness of the coating paper. Given that both the drying oils and wax had the palmitic acid and stearic acid, the often discussed eigenvalues of P/S could not be used to identify the species of oils here [23].…”

Section: Identification Of Pigments and Organic Binding Mediamentioning

confidence: 68%

“…W 12 ) detected in the sample could be confirmed as beeswax [23] to increase the smoothness and brightness of the coating paper. Given that both the drying oils and wax had the palmitic acid and stearic acid, the often discussed eigenvalues of P/S could not be used to identify the species of oils here [23]. Tung oil, linseed oil, walnut oil and poppy seed oil commonly used in ancient China were the possible sources, and the plant source of drying oils was needed to be further clarified in our future work.…”

Section: Identification Of Pigments and Organic Binding Mediamentioning

confidence: 68%

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Scientific analysis of tie luo, a Qing Dynasty calligraphy artifact in the Palace Museum, Beijing, China

et al. 2018

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Tie luo (affixed hanging) was an expressive form of traditional Chinese calligraphy or paintings, and popular in the imperial palaces for interior decorations in Qing Dynasty (1644-1911 C.E.). A piece of calligraphic tie luo, written by an eminent calligrapher Gu Gao (1763-1832 C.E.), was restored recently in the Palace Museum, Beijing, China. The paper with pigment coating specially made for this calligraphic piece was named as fenjian. This article presented results from materials identification prior to the restoration. Multianalysis with scientific approaches revealed how tie luo was manufactured. It could be concluded that the investigated tie luo used a paper made from bast fibers of mulberry trees. And the decorative ground layer for the piece was also studied, which indicated that a type of organic red pigments were used for the masterpiece. White lead was considered as the main pigment, mixed with a red dye extracted from sappanwood. Meanwhile, animal glue, drying oils and beeswax were confirmed as the organic binding media. In dye analysis, protosappanin B and brazilin as well as brazilein were identified, which implied that sappanwood was used for the organic manufacture of pigments. In addition, both Nowik type A and C were found in the research, which were characteristic of sappanwood for identification.

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Section: Identification Of Pigments and Organic Binding Mediamentioning

confidence: 68%

Section: Identification Of Pigments and Organic Binding Mediamentioning

confidence: 68%

Scientific analysis of tie luo, a Qing Dynasty calligraphy artifact in the Palace Museum, Beijing, China

et al. 2018

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“…[18a] Urushi has often been used in mixtures with tung oil in oriental art as the resulting film shows enhanced rheological and mechanical properties. [19] Themixture dries more slowly, and the resulting film is less hard than that obtained with pure lacquer, thus facilitating manual polishing to obtain the finishing layers.T ung oil belongs to the group of drying oils that polymerise under exposure to air and light through autoxidation, aw ell-studied process based on free-radical chain reactions.U rushi contains am ajor fraction of catechol derivatives. [18b] Curing involves side chain coupling reactions through electrophilic aromatic substitutions,w hich are initiated by the laccase enzyme,c ontained in the lacquer.…”

Section: Semi-quantitative Py-gc/msmentioning

confidence: 99%

Recent Advances in Analytical Pyrolysis to Investigate Organic Materials in Heritage Science

et al. 2018

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The molecular characterization of organic materials in samples from artworks and historical objects traditionally entailed qualitative and quantitative analyses by HPLC and GC. Today innovative approaches based on analytical pyrolysis enable samples to be analysed without any chemical pre-treatment. Pyrolysis, which is often considered as a screening technique, shows previously unexplored potential thanks to recent instrumental developments. Organic materials that are macromolecular in nature, or undergo polymerization upon curing and ageing can now be better investigated. Most constituents of paint layers and archaeological organic substances contain major insoluble and chemically non-hydrolysable fractions that are inaccessible to GC or HPLC. To date, molecular scientific investigations of the organic constituents of artworks and historical objects have mostly focused on the minor constituents of the sample. This review presents recent advances in the qualitative and semi-quantitative analyses of organic materials in heritage objects based on analytical pyrolysis coupled with mass spectrometry.

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“…Urushi wurde oft in Mischungen mit Tungöl in orientalischer Kunst verwendet und erbrachte verbesserte rheologische und mechanische Eigenschaften . Die Mischung trocknet langsamer und der resultierende Film ist weniger hart als jener aus dem puren Lack und erleichtert folglich das Polieren in Handarbeit, um die endgültige Schicht zu erhalten.…”

Section: Semiquantitative Py‐gc/msunclassified

Anwendung der analytischen Pyrolyse zur Untersuchung organischer Materialien in Kulturgütern

et al. 2018

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Bei der molekulare Charakterisierung von organischen Materialien in Proben von Kunstwerken und historischen Objekten wird traditionell die qualitative und quantitative Analyse mittels HPLC und GC durchgeführt. Heutige Ansätze, basierend auf analytischer Pyrolyse, ermöglichen die Analyse von Proben ohne chemische Vorbehandlung. Die Pyrolyse, die bisher oft als Screening‐Methode angesehen wurde, birgt bisher unerkannte Möglichkeiten dank jüngster Entwicklungen in der instrumentellen Analytik. Organische Materialien makromolekularer Natur oder solche, die während des Trocknens und Alterns polymerisieren, können nun besser untersucht werden. Farbschichten und archäologische organische Substanzen beinhalten oft als Hauptbestandteil unlösliche und chemisch nicht‐hydrolisierbare Bestandteile, die durch GC und HPLC nicht zugänglich sind. Bis zum heutigen Tage haben sich die wissenschaftlichen Untersuchungen organischer Bestandteile von Kunstgegenständen und historischen Objekten vor allem auf die löslichen Nebenbestandteile beschränkt. Dieser Kurzaufsatz präsentiert die jüngsten Fortschritte bei qualitativen und semiquantitativen Analysen von organischen Materialien in Kulturgütern, basierend auf analytischer Pyrolyse gekoppelt mit Massenspektrometrie.

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The identification of binding agent used in late Shang Dynasty turquoise-inlayed bronze objects excavated in Anyang

Cited by 21 publications

References 27 publications

Scientific analysis of tie luo, a Qing Dynasty calligraphy artifact in the Palace Museum, Beijing, China

Scientific analysis of tie luo, a Qing Dynasty calligraphy artifact in the Palace Museum, Beijing, China

Recent Advances in Analytical Pyrolysis to Investigate Organic Materials in Heritage Science

Anwendung der analytischen Pyrolyse zur Untersuchung organischer Materialien in Kulturgütern

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