The presence of trapped carbon dioxide in lapis lazuli and its potential use in geo-sourcing natural ultramarine pigment

Smith, Gregory D.; Klinshaw, Robert J.

doi:10.1016/j.culher.2008.12.001

Cited by 34 publications

(13 citation statements)

References 20 publications

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“…Derrick considered that this band could be used as a fingerprint to distinguish natural Afghan lapis lazuli from the synthetics or from other sources. Recently more detailed studies have established that the presence of the absorption band at 2340 cm −1 depends on the entrapment of carbon dioxide [20,21]; it was also found that this band exists in many worldwide sources of lapis lazuli and is not limited to the famous Badakhashan mines, nor to only central Asian sources as previously suggested [22]. So far, cases of analysis of lapis lazuli from China have not been mentioned.…”

Section: Samplementioning

confidence: 89%

Spectroscopic and chromatographic studies of sculptural polychromy in the Zhongshan Grottoes (R.P.C.)

Cauzzi¹,

Chiàvari

Montalbani

et al. 2013

Journal of Cultural Heritage

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Section: Samplementioning

confidence: 89%

Spectroscopic and chromatographic studies of sculptural polychromy in the Zhongshan Grottoes (R.P.C.)

Cauzzi¹,

Chiàvari

Montalbani

et al. 2013

Journal of Cultural Heritage

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“…(asymmetric stretching ν 3 of 12 CO 2 and 13 CO 2 respectively) is related to CO 2 adsorbed into the structure of sodalite and also confirms the natural origin of the lapis lazuli [14][15][16] ( Fig. 3b).…”

Section: Lapis Lazulimentioning

confidence: 50%

New insights on blue pigments used in 15th century paintings by synchrotron radiation-based micro-FTIR and XRD

et al. 2014

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The blue pigments used on altarpieces in 15 th Century in Catalonia and Crown of Aragon are principally the azurite mineral. To a lesser extent lapis lazuli, also of mineral origin and occasionally, in the background areas, outlining the figures, and for the chromatic ground layer, indigo, were used. Data from several altarpieces belonging to well-known artists of the time is presented. Synchrotron radiation X-ray diffraction (SR-XRD), micro-infrared spectroscopy (µ-FTIR), synchrotron radiation micro-infrared spectroscopy (µSR-FTIR), Raman spectroscopy, scanning electron microscopy with Xray microanalysis (SEM-EDS) are used. X-ray diffraction and infrared spectroscopy in association with synchrotron radiation have shown to be especially interesting due to the micron spot sizes, high brilliance and energy tunability which help to obtain good separation of the signals coming from different phases/substances and their localization in the various paint layers. Examples are presented which illustrate the potential of each analytical technique for the identification of this kind of materials in the 15 th century paintings. The natural origin and composition of the pigments and its distribution in the paint layers are determined and some correlations with other contemporary paintings obtained. Finally, the alteration compounds related to blue pigments are determined in each case.

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“…Research is performed with the characteristic features of luminescence spectra obtained by Raman-, IR-, UV-or VIS-spectroscopy [2]. Raman-spectroscopy is combined with Fourier transform infrared (FTIR)-, nuclear magnetic resonance (NMR)- [3] or Laser induced plasma spectroscopy (LIPS) and principle elemental analysis (PCA) [4].…”

Section: Introduction mentioning

confidence: 99%

Characteristic Features of Lapis Lazuli from Different Provenances, Revised by µXRF, ESEM, PGAA and PIXE

Nöller¹,

Feldmann²,

Kasztovszky³

et al. 2019

JGRE

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The objective of this study is to find out, to what extent the geochemical characteristics of lapis lazuli can be utilized in respect to its provenance. A wide range of variables is taken into consideration depending on the quantity of samples analysed from a specific geological region and the methods applied. In order to provide evidence, a multi-technique analytical approach using µXRF, ESEM, PGAA and PIXE is applied to samples from the most famous deposits of lapis lazuli. Special elements determined as fingerprints are compared in relation to the forming conditions obvious in textural features. The results and statistical output allow a differentiation that enables an optimized local classification of the blue stone. An absolute requirement for all geo-tracing performed on blue colored cultural objects of unknown provenance is awareness of the limits of analysis. The possible sources of lapis lazuli are tested by analysing the blue pigment used as paint on murals and ink on manuscripts from the Silk Road.

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The presence of trapped carbon dioxide in lapis lazuli and its potential use in geo-sourcing natural ultramarine pigment

Cited by 34 publications

References 20 publications

Spectroscopic and chromatographic studies of sculptural polychromy in the Zhongshan Grottoes (R.P.C.)

Spectroscopic and chromatographic studies of sculptural polychromy in the Zhongshan Grottoes (R.P.C.)

New insights on blue pigments used in 15th century paintings by synchrotron radiation-based micro-FTIR and XRD

Characteristic Features of Lapis Lazuli from Different Provenances, Revised by µXRF, ESEM, PGAA and PIXE

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