Tradition and indigeneity in Mughal architectural glazed tiles

Gill, Maninder Singh; Freestone, Ian C.

doi:10.1016/j.jas.2014.06.007

Cited by 10 publications

(5 citation statements)

References 12 publications

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“…This lack of variations is partly due to the sensitivity of the manufacturing process of tin-opacified yellow glazes to the firing temperature and the amount of alkalis and alkaline earths. The technique of tin-based opacified yellow glazing continued eastwards to Iran and Central Asia during the tenth century (see Appendix for samples from Takht-i Suleiman, Merv and Nishapur) and was also used during medieval Islamic period in India (Gill and Rehren 2011;Gill et al 2014) and in Iran until the nineteenth century (Isfahani 1888).…”

Section: The Spread Of Tin-opacified Yellow and White Glazesmentioning

confidence: 99%

On the origins of tin-opacified ceramic glazes: New evidence from early Islamic Egypt, the Levant, Mesopotamia, Iran, and Central Asia

Matin

Tite

Watson³

2018

Journal of Archaeological Science

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Section: The Spread Of Tin-opacified Yellow and White Glazesmentioning

confidence: 99%

On the origins of tin-opacified ceramic glazes: New evidence from early Islamic Egypt, the Levant, Mesopotamia, Iran, and Central Asia

Matin

Tite

Watson³

2018

Journal of Archaeological Science

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“…Lead-tin-oxide yellow glazes, on the other hand, seem to have spread more strongly eastwards to Northern and Eastern Iran and Central Asia during the tenth to thirteenth centuries AD, where examples of tin oxide white glazes are scant, but still existing (Matin et al 2018, Appendix). Finally, lead-tin oxide yellow glazes were used in tile decorations from around the sixteenth century to nineteenth century in India (Gill et al 2014) and for, so-called, haft-rang (seven-colour) tiles in Iran (Isfahani 1888;Holakooei et al 2014;Matin and Nemati forthcoming).…”

Section: )mentioning

confidence: 99%

Tin-based opacifiers in archaeological glass and ceramic glazes: a review and new perspectives

Matin

2018

Archaeol Anthropol Sci

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Tin-based opacification by tin oxide and lead-tin-oxide particles was used in glass production since the first millennium BC and in ceramic glazes since the eighth century AD. Opacification process is often characterised by significant amounts of tin oxide and lead oxide dispersed into glassy matrices or by identification of the opacifying particles by means of microstructural or (micro-)XRD analyses. The processes of opacification and manufacture are usually more difficult to establish from compositional and microstructural analyses because they leave little diagnostic traces. This review aims to integrate compositional data on archaeological glass and glazes and in particular the Pb/Sn values, with descriptions of the opacification processes in historical treatises, observations at traditional workshops, and the results of previous replication experiments to shed further light on technological issues underlying these methods of opacification and highlight new research perspectives.

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“…[49][50][51] In several cases, conservation practice activities are traditional methods passed from generation to generation, such as the Mughal-era tile conservation method in India [52] or earthen architectural conservation skills in Mali, [53] which present the serious risk to disappear without being properly documented. [54] In this context, global conservation online forums within international heritage organizations currently provide the main communication vehicle where practitioners can organize in professional groups based on their expertise to share knowledge and create discussion on specific topics. However, although those conventional digital forums are effective as a knowledge-sharing vehicle, this conventional way of professional interactions do not allow users to document, organize into categories, and summarize experience and knowledge that can create new added value.…”

Section: Document Transmit and Preserve The Current Knowledge Contained In Practice Activitiesmentioning

confidence: 99%

Heritage Conservation Future: Where We Stand, Challenges Ahead, and a Paradigm Shift

Otero

2021

Global Challenges

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heritage messages and values for future generations. Current heritage conservation practice activities, which are mostly carried out by conservation practitioners (i.e., conservators-restorers and conservation technicians) in worldwide museums, conservation laboratories and monuments; widely involve activities such as the implementation of preventive actions (i.e., controlling the surrounding environmental conditions of items to mitigate damage), remedial activities (i.e., applying a conservation treatment to strengthen item's properties) or the application of a restoration process to bring decayed items as nearly as possible to their former condition. Conservation scientific research activities, which are mostly carried out by conservation scientists in worldwide universities and heritage research institutions, support the conservation practice providing scientific advances in the characterization of materials, the investigation of the material's degradation phenomena and the development of materials and technologies for their conservation and restoration. [2] Cultural heritage represents nowadays one of the most important global industries and a substantial economic benefit for host countries, regions, and local communities. According to the latest studies made by the World Travel and Tourism Council, in 2019, cultural tourism represented 40% of all European tourism, generating 319 million jobs and producing more than 30 billion € in revenues every year. [3] Besides the economic asset and tourist attraction, cultural heritage also has a significant value as an identity factor contributing to social cohesion. [4] Despite the tremendous economic and socio-cultural benefits, little attention and investment are usually taken on its conservation and/or to develop new strategies to modernize its practice activities. Machu Picchu, Taj Mahal, Petra or Angkor, among many other monuments with irreplaceable cultural heritage significance, are currently eroding at a noticeable rate [5][6][7][8] and current global conservation activities are not completely succeeding in the implementation of quality conservation strategies to stop damage. [9] According to the latest heritage at risk report made by ICOMOS in 2020, [10] ≈65% of the world's buildings with artistic and/or cultural interest currently present lack of maintenance and are in a poor state of conservation, which leads structures to a constant loss of its cultural, Global cultural heritage is a lucrative asset. It is an important industry generating millions of jobs and billions of euros in revenue yearly. However, despite the tremendous economic and socio-cultural benefits, little attention is usually paid to its conservation and to developing innovative big-picture strategies to modernize its professional field. This perspective aims to compile some of the relevant current global needs to explore alternative ways for shaping future steps associated with the 2030 Agenda for Sustainable Development. From this perspective, it is conceptualized how emerging artificial i...

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Tradition and indigeneity in Mughal architectural glazed tiles

Cited by 10 publications

References 12 publications

On the origins of tin-opacified ceramic glazes: New evidence from early Islamic Egypt, the Levant, Mesopotamia, Iran, and Central Asia

On the origins of tin-opacified ceramic glazes: New evidence from early Islamic Egypt, the Levant, Mesopotamia, Iran, and Central Asia

Tin-based opacifiers in archaeological glass and ceramic glazes: a review and new perspectives

Heritage Conservation Future: Where We Stand, Challenges Ahead, and a Paradigm Shift

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