Wall Painting Materials and Techniques of the Mogao Grottoes

Author(s):  
Su Bomin
Author(s):  
Donata Magrini ◽  
Susanna Bracci ◽  
Emma Cantisani ◽  
Claudia Conti ◽  
Antonio Rava ◽  
...  

2020 ◽  
Author(s):  
Nathalie Boucherie ◽  
Witold Nowik ◽  
Nathalie Pingaud

Abstract The pre-Colombian wall paintings in Peru were already known from north and central coast sites, but little information exists on the southern coast corresponding to the Nasca region. The recent excavations on Cahuachi site supplied fragments of plaster with paint layers found near Great Pyramide, corresponding to phases III and IV of the construction of the site, and dating back to the Early Intermediate Period (from 200 BC to 350 AD). A series of fragments from three locations from these two respective periods were transferred directly from the excavation to the laboratory and analysed. A panel of observation and analysis methods was applied in order to describe the stratigraphy and materials used for these paintings, with special attention to the paint layer. The stratigraphy was observed by optical and electron microscopies and X-ray fluorescence, Raman and infrared spectroscopies were employed for elemental and molecular characterization of the plaster and paintings. The obtained results show the large use of iron oxides and copper based pigments, as well calcium sulfate, siliceous and clay materials and graphite. Although the most of pigments could be provided by local deposits, the provenience of graphite remains undetermined. The differences of painting materials between phases III and IV are related to the palette of colours and pigments. The colors for phase III seem limited to the red and yellow ochre pigments, unidentified black and gypsum white. During phase IV, additional pigments were identified such as: paratacamite, malachite and chrysocolla for greens, hematite for purple, graphite black and siliceous white, which replaced gypsum white. The paintings were sometimes applied in several layers separated or not by white coating layer. The painting materials and techniques identified on Cahuachi site, and especially the differences between the phases observed, constitute a new insight in the knowledge of wall painting tradition in Southern Peru.


2021 ◽  
Vol 9 (1) ◽  
Author(s):  
Nathalie Boucherie ◽  
Witold Nowik ◽  
Nathalie Pingaud

AbstractThe pre-Colombian wall paintings in Peru were already known from north and central coast sites, but little information exists on the southern coast corresponding to the Nasca region. The recent excavations on Cahuachi site provided fragments of plaster with paint layers found near Great Pyramid, corresponding to phases III and IV of the construction of the site, and dating back to the Early Intermediate Period (from 200 BC to 350 AD). A series of fragments from three locations from these two respective periods were transferred directly from the excavation to the laboratory and analyzed. A panel of observation and analysis methods was applied in order to describe the stratigraphy and materials used for these paintings, with special attention to the paint layer. The stratigraphy was observed by optical and electron microscopies and X-ray fluorescence, Raman and infrared spectroscopies were employed for elemental and molecular characterization of the plaster and paintings. The obtained results show the large presence in painting layers of iron oxides and copper based pigments, as well as calcium sulfate, siliceous clay materials and graphite. Although most of these pigments could be provided by local deposits, the detection of graphite is probably linked to the use of charcoal. The variety of painting materials between phases III and IV are related to the palette of colours and pigments. The colours for phase III seem limited to the red and yellow ochre pigments, and unidentified black and gypsum white. During phase IV, additional pigments were identified such as: paratacamite, malachite and chrysocolla for greens, hematite for purple, charcoal and siliceous white, which replaced gypsum white. The paintings were sometimes applied in several layers and occasionally separated by a white coating layer. The painting materials and techniques identified on Cahuachi site, and especially the differences between the phases observed, constitute a new insight into the knowledge of wall painting tradition in Southern Peru.


2020 ◽  
pp. 173-195
Author(s):  
Tomasz Waliszewski ◽  
Julia Burdajewicz

Porphyreon (Jiyeh/Nebi Younis) and Chhim were large rural settlements situated on the coast of modernday Lebanon, north of the Phoenician city of Sidon. As attested by the remains of residential architecture, they were thriving during the Roman Period and late Antiquity (1st–7th centuries AD). This article presents the preliminary observations on the domestic architecture uncovered at both sites, their spatial and social structure, as well as their furnishing and decoration, based on the fieldwork carried out in recent years by the joint PolishLebanese research team. The focus will be put on the wall painting fragments found in considerable numbers in Porphyreon. The iconographical and functional study of the paintings betrays to what extent the inhabitants of rural settlements in the coastal zone of the Levant were inclined to imitate the decoration of the urban houses known to them from the nearby towns, such as Berytus, but also from religious contexts represented by churches.


2020 ◽  
Vol 13 (04) ◽  
pp. 2099-2105
Author(s):  
Kulash K. Syrmanova ◽  
Aktolkyn B. Agabekova ◽  
Zhanat B. Kaldybekova ◽  
Anastassiya Y. Kovaleva ◽  
YersultanT. Botashev

2008 ◽  
Vol 59 (4) ◽  
Author(s):  
Irina Crina Anca Sandu ◽  
Constantin Luca ◽  
Ion Sandu ◽  
Viorica Vasilache ◽  
Mikiko Hayashi

This is the second paper belonging to a study concerning the authentication of ancient easel-paintings, on canvas and wood support, from private and public collections, by using the FT-IR spectrophotometry technique for the analysis of the painting materials. Different pigments, egg binders, caseins and animal glue, often found in ancient easel-paintings on wood or canvas, have been used as standards for establishing the ageing rate of the paintings by correlation with the dates presented in the first note. The determination of the degradation rate of the painting materials is an important archaeometric characteristic used in authentication.


Sign in / Sign up

Export Citation Format

Share Document