scholarly journals Characterisation of materials and techniques in first archaeological findings of Nasca wall paintings

2021 ◽  
Vol 9 (1) ◽  
Author(s):  
Nathalie Boucherie ◽  
Witold Nowik ◽  
Nathalie Pingaud
Keyword(s):  
Paint Layer ◽  
Wall Painting ◽  
Phase Iii ◽  
Wall Paintings ◽  
Intermediate Period ◽  
Electron Microscopies ◽  
Painting Materials ◽  
Great Pyramid ◽  
Yellow Ochre ◽  
Materials Used

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.

scholarly journals Characterisation of Materials and Techniques in First Archaeological Findings of Nasca Wall Paintings

2020 ◽  
Author(s):  
Nathalie Boucherie ◽  
Witold Nowik ◽  
Nathalie Pingaud
Keyword(s):  
Paint Layer ◽  
Wall Painting ◽  
Phase Iii ◽  
Wall Paintings ◽  
Intermediate Period ◽  
Electron Microscopies ◽  
Painting Materials ◽  
Yellow Ochre ◽  
Materials Used

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.

Painted Decoration Studies in a Fourth Century BC Vergina Tomb

2007 ◽  
Vol 1047 ◽  
Author(s):  
Eleni Pavlidou ◽  
A. Kyriakou ◽  
E. Mirtsou ◽  
L. Anastasiou ◽  
T. Zorba ◽  
...  
Keyword(s):  
Fourier Transform ◽  
Infrared Spectroscopy ◽  
Fourth Century ◽  
Wall Paintings ◽  
Alexander The Great ◽  
Northern Greece ◽  
Philip Ii ◽  
Painting Materials ◽  
Materials Used ◽  
Wooden Furniture

AbstractAegae, the first capital of the Macedonians, in Northern Greece, is being excavated since 1938. The most impressive finds come from the unlooted tombs of the Great Tumulus, where the grave of Philip II, father of Alexander the Great, was discovered. Not far from the Great Tumulus, in the “Tumuli cemetery”, the most ancient part of the graveyard (1000-700 B.C.), recent excavations brought to light three looted graves dated in the mid-fourth century B.C., with very interesting finds such as weapons, gilded wreaths, pieces of jewelry, remains of decoration of wooden furniture, ceramic vases broken in small pieces and wall paintings. This paper describes studies carried out on the binding and the painting materials used for the decoration of the above wall paintings and ceramic vases. The characterization was performed through Optical Microscopy, Fourier Transform Infrared Spectroscopy (FTIR) and Scanning Microscopy (SEM-EDS). It was found that the fresco technique was used, while all the pigments were identified. The results are discussed and related with other findings in that period in the Greek area

scholarly journals Ageing of Some Painting Materials Subjected to Thermal Treatment in Natural Esters

2018 ◽  
Vol 55 (1) ◽  
pp. 28-32
Author(s):  
Traian Rus ◽  
Alina Ruxana Caramitu ◽  
Livia Carmen Ungureanu ◽  
Virgil Marinescu ◽  
Adriana Mariana Bors ◽  
...  
Keyword(s):  
Thermal Treatment ◽  
Copper Foil ◽  
Aging Process ◽  
Paint Layer ◽  
Working Environment ◽  
Heavy Duty ◽  
Painting Materials ◽  
Insulating Paper ◽  
Practical Research ◽  
Materials Used

This paper describes the evaluation of the aging process of some polymeric painting materials subjected to a thermal treatment in electro insulating fluids, based on natural esters (vegetable oils). The paint layers surface morphology was comparatively characterized by FESEM technique, prior to the exposure, and after 1000 h of exposure to vegetable oil, heated at 130oC. The results show a substantial increase in the pulling resistances for all the painting materials subjected to this investigation, especially in the presence of the Kraft insulating paper and copper foil (inserted compulsory to emulate the actual working environment), due to an increase in the painting material adhesion, as well as an increase of the tensile strength of the paint layer. These findings may open new theoretical and practical research prospects, particularly in the field of preliminary treatments for materials used for heavy duty industrial transformers.

scholarly journals A Study of the Pigments and Cohesive Colour Layers of the Paintings in a Church from the Tenth to Thirteenth Centuries on the Plateau of Eski-Kermen

2021 ◽  
pp. 156-174
Author(s):  
Anastasia Yu. Loboda ◽  
Igor N. Trunkin ◽  
Roman D. Svetogorov ◽  
Victor M. Pojidaev ◽  
Andrey V. Kamaev ◽  
...  
Keyword(s):  
Elemental Composition ◽  
Significant Degree ◽  
Wall Painting ◽  
Wall Paintings ◽  
Red Pigment ◽  
Phase Constitution ◽  
Yellow Colour ◽  
X Ray ◽  
Painting Technique ◽  
Yellow Ochre

In 2018–2019, the excavations of an aisleless church dated from the tenth to thirteenth centuries and located in quarter II on the territory of a provincial Byzantine town atop of the plateau of Eski-Kermen discovered fragments of wall-plaster with polychrome painting. There are several shades of green, two shades of red, white (beige), yellow (ochre), and grey-brown colours. This paper presents the results of studies of the colour layer, determines pigments and cohesive colour components, and uncovers the features of the painting technique applied to the walls of the church. Four groups of samples were selected for the study featuring: 1 – white, 2 – yellow, 3 – red, and 4 – green colours. The elemental composition of the colour layer was studied by scanning electron microscopy combined with energy-dispersive X-ray microanalysis (SEM/EDX). The phase constitution of the samples was investigated by X-ray powder diffraction (XRD) method with the use of diffractometers operated in a transmission mode at the Kurchatov synchrotron radiation source. The chemical composition of colour layers was studied by infrared spectroscopy, and the study of cohesive colour materials was carried out by gas chromatography with mass spectrometry (GC/MS). The elemental composition and phase constitution of the white colour indicated the use of lime whitewash. Yellow ochre (goethite) was used as yellow colour. Red colour features the presence of hematite typical for the group of pigments united under the name of red soils. However, the discovery of 1% goethite typical for yellow ochres in the phase constitution of one sample allows the possibility that burnt yellow ochre was used as a red pigment. The green colour was green soil (glauconite and celadonite). It should be noted that none of the examined samples of red pigment contained traces of vermilion, which occurred in ancient paintings in the Crimea and was typical for Byzantine wall-paintings. In all the samples of pigments contained a significant degree of calcite (36-98%), possibly due to the presence of particles of undercolour in the measured samples of wall paintings, or diluting the pigment with lime water for the making of wall-painting featuring fresco technique. The use of the latter technique is also indicated by the presence of white lime colour. The traces of cohesive component in the form of fish glue and protein products from chicken eggs found in the red and green paint samples also suggests the use of the dry painting technique. Therefore, there are reasons to suppose that the painting of the quarter church of Eski-Kermen used two techniques, fresco and dry plaster paintings.

Spectroscopic Investigation Leading to the Documentation of Three Post-Byzantine Wall Paintings

2016 ◽  
Vol 71 (1) ◽  
pp. 129-140 ◽  
Author(s):  
Dimitrios Lampakis ◽  
Ioannis Karapanagiotis ◽  
Olga Katsibiri
Keyword(s):  
Wall Paintings ◽  
Critical Material ◽  
Binding Media ◽  
Painting Materials ◽  
Micro Raman Spectroscopy ◽  
Mural Paintings ◽  
Combined Use ◽  
Byzantine Period ◽  
Ft Ir ◽  
Materials Used

The main churches of three monasteries in Thessalia, Central Greece, were decorated with wall paintings in the post-Byzantine period. The main goal of the present study is to characterize the inorganic and organic materials present in the paint layers of areas that have been gilded. Optical microscopic examination was carried out on samples taken from the gilded decoration of the paintings to view their layer build-up. The combined use of micro Fourier transform infrared (FT-IR) and micro-Raman spectroscopy led to the detection of the pigments and the binding media used. The results from specimens taken from different wall paintings were compared with each other to observe their differences and similarities. The three investigated churches are believed to have been painted by the same iconographer, Tzortzis, who however has only been identified in only one of them. The comparison led to the conclusion that there are many similarities in the painting materials used and the general methodology adopted and, therefore, this study offers support to the belief that the mural paintings of the three monasteries could have been painted by the same iconographer. While not authenticating the two painting as being by Tzortzis, the results provide further critical material that is consistent with this attribution. However, this statement must be carefully considered because the pigments identified have been commonly and diffusely used in historic mural paintings.

scholarly journals Wall paintings through the ages: the medieval period (Italy, twelfth to fifteenth century)

2021 ◽  
Vol 13 (11) ◽  
Author(s):  
Zuleika Murat
Keyword(s):  
Fifteenth Century ◽  
Case Studies ◽  
Middle Ages ◽  
Wall Painting ◽  
Wall Paintings ◽  
Abstract Concepts ◽  
Medieval Period ◽  
Scientific Investigations ◽  
Materials Used ◽  
Technical Features

AbstractThis paper is devoted to wall painting in the Middle Ages (ca. late fifth to early fifteenth centuries), with a focus on twelfth to fifteenth century Italy. It is conceived as a critical conflation of diverse methodologies, approaches and research tools, with the aim of investigating the topic from different and complementary perspectives. Historical textual sources provide the interpretive framework for the examination, which is conducted on specific, yet interrelated aspects. Special attention is paid to technical features, including the methods and materials used to produce wall paintings. Data from scientific investigations are incorporated into the discussion with the purpose of elucidating theoretical conceptualizations with material pieces of evidence. A number of selected case studies is presented within the text in order to keep the focus of analysis on the materiality of the paintings, hence avoiding the formulation of abstract concepts in favour of more pragmatic approaches.

Wall paintings – diagnostic and archaeometric studies

2018 ◽  
Vol 4 (4) ◽  
Author(s):  
Susanna Bracci ◽  
Giovanni Bartolozzi
Keyword(s):  
Case Studies ◽  
Recent Literature ◽  
Wall Painting ◽  
Wall Paintings

Abstract The paper deals with the techniques and protocols used for studying wall paintings. A brief introduction about the more recent literature dealing with archaeometric and diagnostic analyses of wall paintings is reported. After that, the illustration of three case studies, spanning from Roman to contemporary wall painting are described.

scholarly journals Stratigraphy of the wall paintings in the main church of the Praskvica Monastery

Zograf ◽  
2014 ◽  
pp. 153-163
Author(s):  
Dragan Vojvodic
Keyword(s):  
Seventeenth Century ◽  
Sixteenth Century ◽  
Wall Painting ◽  
The Other ◽  
Stylistic Analysis ◽  
Wall Paintings ◽  
The West ◽  
The Third ◽  
Technical Features ◽  
The Church

In the katholikon of the monastery of Praskvica there are remains of two layers of post-Byzantine wall-painting: the earlier, from the third quarter of the sixteenth century, and later, from the first half of the seventeenth century, which is the conclusion based on stylistic analysis and technical features. The portions of frescoes belonging to one or the other layer can be clearly distinguished from one another and the content of the surviving representations read more thoroughly than before. It seems that the remains of wall-painting on what originally was the west facade of the church also belong to the earlier layer. It is possible that the church was not frescoed in the lifetime of its ktetor, Balsa III Balsic.

scholarly journals Spectroscopic study of an icon painted on wooden panel

2015 ◽  
Vol 69 (4) ◽  
pp. 387-393
Author(s):  
Sofija Stojanovic ◽  
Maja Gajic-Kvascev ◽  
Ljiljana Damjanovic
Keyword(s):  
Analytical Techniques ◽  
Paint Layer ◽  
Blue Pigment ◽  
Blue Colour ◽  
X Ray ◽  
Micro Raman Spectroscopy ◽  
Green Earth ◽  
Materials Used ◽  
The 19Th Century ◽  
Wooden Panel

Russian icon painted on wooden panel analyzed in this work is interesting for art historians because there is no precise information in which workshops it was made or who the author was. Similar icons are often found in churches and monasteries in our region. In order to obtain information about materials used for creation of investigated icon two micro-analytical techniques were used: Energy-Dispersive X-Ray Fluorescence spectroscopy (EDXRF) and micro-Raman spectroscopy. Obtained results confirmed presence of following materials: lead-white, vermilion, minium, ultramarine, brown and green earth pigments and silver in combination with yellow organic varnish, which served to an iconographer for gilding. Ground layer was made of calcite. Blue pigment ultramarine was probably used for blue colour as well as for obtaining particulars hues in several parts of the paint layer. This can be important information for further research concerning particular workshop in which the icon was made. Identified materials are typical for Russian iconography of the 19th century.

scholarly journals Investigation of the Optical, Physical, and Chemical Interactions between Diammonium Hydrogen Phosphate (DAP) and Pigments

2019 ◽  
Vol 11 (14) ◽  
pp. 3803 ◽  
Author(s):  
Xiao Ma ◽  
Hélène Pasco ◽  
Magdalena Balonis ◽  
Ioanna Kakoulli
Keyword(s):  
Wall Painting ◽  
Wall Paintings ◽  
Reaction Products ◽  
Hydrogen Phosphate ◽  
Chemical Interactions ◽  
Diammonium Hydrogen Phosphate ◽  
Red Lead ◽  
Physical And Chemical ◽  
Diammonium Hydrogen ◽  
Lapis Lazuli

This research investigates and evaluates the optical, physical, and chemical interactions between a diammonium hydrogen phosphate (DAP) solution and seven pigments commonly encountered in archaeological and historic fresco and secco wall paintings and polychrome monuments. The pigments include cinnabar, French ochre, chalk, lapis lazuli, raw sienna, burnt umber, and red lead. The raw pigments were analyzed before and after the interaction with the DAP solution, and the reaction products resulting from the contact of the pigments with the DAP solution were evaluated to obtain a comprehensive understanding of the effects of diammonium phosphate on the color, morphology, and chemical composition of the pigments. The results indicated no significant changes of the color or of the chemistry of cinnabar, French ochre, and lapis lazuli. Carbonate-containing primary and secondary (found as impurities in earth pigments) pigments, such as chalk and calcium carbonate, were transformed into calcium phosphate, though without a significant change in color. Phase and strong color changes occurred only for the red lead pigment, associated with the transformation of red lead into hydroxypyromorphite. These data established the parameters and identified the risks of the direct application of DAP solutions on pigments. Further research will be undertaken to assess the potential use of DAP as a consolidant of wall paintings and other polychrome surfaces through testing on wall painting/polychromy mockups and on-site archaeological/historic painted surfaces.

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