Polychrome arhat figures dated from the Song Dynasty (960–1279 CE) at the Lingyan Temple, Changqing, Shandong, China

AbstractScientific analysis revealed the materials and techniques used in the process of making polychrome sculptures providing a solid foundation for the protection and restoration of the painted statues. In addition, the analyses revealed changes in colour schemes applied to the sculptures can provide the basis for the virtual restoration of the painted statues. In order to carry out scientifically-informed protection and restoration of the Bodhidharma statue from the Lingyan Temple, Changqinq, Shandong, several analytical methods such as optical microscope (OM), Micro-Raman spectroscopy (μ-RS), scanning electron microscopy coupled with energy dispersive X-ray analysis (SEM–EDS) and Fourier transform infrared spectroscopy (FTIR) were employed. Analyses clearly reveal the information including the stratigraphic structure and the composition of pigment. The use of silver foils and golden yellow pyrophyllite mineral to replace gold foils were found in the gilding paint layer in the later repainting after the Song Dynasty. This work reports the coexistence of emerald green (Cu(C2H3O2)2·3Cu(AsO2)2) and the degradation product lavendulan (NaCaCu5(AsO4)4Cl·5H2O) in large areas of the paint stratigraphy and on the surface confirming that the degradation of emerald green is related to the thickness of the paint layer; in thinner paint layers emerald green is transformed in lavendulan, while thicker layers of contain both lavendulan and emerald green, suggesting an environmental source of chlorides.

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Technical Study of Polychrome Arhat Figures Dated From the Song Dynasty(960-1279 CE) From the Lingyan Temple, Changqing, Shandong, China

10.21203/rs.3.rs-662279/v1 ◽

2021 ◽

Author(s):

Yongdong Tong ◽

Youzhen Cai ◽

Xuening Wang ◽

Zhimin Li ◽

Austin Nevin ◽

...

Keyword(s):

Song Dynasty ◽

Paint Layer ◽

Optical Microscope ◽

Green Is ◽

X Ray ◽

The Song Dynasty ◽

Scientific Analysis ◽

Golden Yellow ◽

Solid Foundation ◽

Technical Study

Abstract Scientific analysis revealed the materials and techniques used in the process of making the polychrome sculptures providing a solid foundation for the protection and restoration of the painted statues. In addition analysis revealed changes in colour schemes applied to the sculptures can provide the basis for the virtual restoration of the painted statues. In order carry out scientifically-informed protection and restoration of the Bodhidharma statue from the Lingyan Temple, Changqinq, Shandong, several analytical methods such as optical microscope (OM), Micro-Raman spectroscopy (μ-RS), scanning electron microscopy coupled with energy dispersive X-ray analysis (SEM-EDS) and Fourier transform infrared spectroscopy (FTIR) were employed. Analysis clearly reveal the information including the stratigraphic structure and the composition of pigment. The use of silver foils and golden yellow pyrophyllite mineral to replace gold foils were found in the gilding paint layer in the later repainting after the Song Dynasty. This work reports the coexistence of emerald green (Cu(C2H3O2)2·3Cu(AsO2)2) and the degradation product lavendulan (NaCaCu5(AsO4)4Cl·5H2O) in large areas of the paint stratigraphy and on the surface confirming that the degradation of emerald green is related to the thickness of the paint layer; in thinner paint layers emerald green is transformed in lavendulan, while thicker layers of contain both lavendulan and emerald green, suggesting an environmental source of chlorides.

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Characterization of a Mahamayuri Vidyarajni Sutra excavated in Lu’an, China

Heritage Science ◽

10.1186/s40494-019-0320-8 ◽

2019 ◽

Vol 7 (1) ◽

Cited By ~ 2

Author(s):

Liu Liu ◽

Decai Gong ◽

Zhengquan Yao ◽

Liangjie Xu ◽

Zhanyun Zhu ◽

...

Keyword(s):

Electron Microscopy ◽

Scanning Electron Microscopy ◽

Tang Dynasty ◽

Optical Microscope ◽

Lead White ◽

Scientific Methods ◽

X Ray ◽

Micro Raman Spectroscopy ◽

Scanning Electron

Abstract Historically, sutras played an important role in spreading Buddhist faith and doctrine, and today these remain important records of Buddhist thought and culture. A Mahamayuri Vidyarajni Sutra with polychrome paintings was found inside the cavity on top of the Nanmen Buddhist pagoda, built in the early Tang dynasty (618–627 CE) and located in Anhui Province, China. Textile was found on the preface which is strongly degraded and fragile. Unfortunately, the whole sutra is under severe degradation and is incomplete. Technical analysis based on scientific methods will benefits the conservation of the sutra. Optical microscopy (OM), micro-Raman spectroscopy combined with optical microscope (Raman), scanning electron microscopy in combination with energy dispersive X-ray analysis (SEM–EDS) and Fourier Transform Infrared Spectroscopy (FTIR) were used to characterize the pigment and gilded material, as well as the paper fiber and textile. Pigments such as cinnabar, minium, paratacamite, azurite, lead white were found. Gilded material was identified as gold. A five-heddle warp satin, made of silk, was found as the textile on the preface of the sutra. The sutra’s preface and inner pages were made of paper comprised of bamboo and bark. As a magnificent yet recondite treasure of Buddhism, the sutra was analyzed for a better understanding of the material. A conservation project of the sutra will be scheduled accordingly.

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Spectroscopic study of an icon painted on wooden panel

Hemijska industrija ◽

10.2298/hemind140430053s ◽

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.

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Provenance Identification of the Inkslab Unearthed from Liangfu Gao’s Grave of the Song Dynasty (960-1279 CE) in Chengdu, Sichuan, China

10.21203/rs.3.rs-117511/v1 ◽

2020 ◽

Author(s):

Tongyang Wang ◽

Yangmin Gong ◽

Shiming Wang ◽

Lin Xiao ◽

Tao Yang

Keyword(s):

Song Dynasty ◽

Inductively Coupled Plasma ◽

Atomic Emission ◽

Complete Characterization ◽

Emission Spectrometry ◽

Plasma Atomic Emission Spectrometry ◽

X Ray ◽

Inductively Coupled ◽

The Song Dynasty ◽

Comparison Of The Results

Abstract In order to infer the provenance of ancient inkslab excavated from Liangfu Gao’s Grave of the Song dynasty (960-1279 CE) in Chengdu, a multi-analytical approach, including polarizing microscope, scanning electron microscope (SEM), X-ray powder diffraction (XRD), energy dispersive spectroscopy (EDS), X-ray fluorescence (XRF), inductively coupled plasma-atomic emission spectrometry (ICP-AES) and inductively coupled plasma mass spectrometry (ICP-MS) was used for the complete characterization of the ancient inkslab and the collected sample materials of this inkslab. The comparison of the results about mineral structure, major, trace and rare earth elements (REE) suggested that this unearthed inkslab of Song dynasty was Pu inkslab, which was famous in Pujiang County of Chengdu, and conjectured that its particular structure made it show the good inking performance. This work provided a reliable basis for the study of the historical and cultural inheritance of the Gao family, providing more direct evidence for the produce and development of the inkslab in the Song Dynasty.

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Identification of Lithol Red Synthetic Organic Pigment Reveals the Cause of Paint Layer Degradation on the Lazar Vozarević Painting “Untitled” with Copper Plates

Heritage ◽

10.3390/heritage2030160 ◽

2019 ◽

Vol 2 (3) ◽

pp. 2612-2624

Author(s):

Vanja Jovanović ◽

Suzana Erić ◽

Philippe Colomban ◽

Aleksandar Kremenović

Keyword(s):

Electron Microscopy ◽

Scanning Electron Microscopy ◽

Visual Experience ◽

Paint Layer ◽

Organic Pigment ◽

X Ray ◽

Painting Materials ◽

Micro Raman Spectroscopy ◽

Synthetic Organic Pigment ◽

Scanning Electron

Out of a total of 56 paintings in the collection of the Lazar Vozarević Gallery in Sremska Mitrovica, only one Lazar Vozarević painting from 1961, titled “Untitled”, has been subject to atypical degradation that has resulted in damage of completely atypical appearance. Such a problem had never before been noticed in Yugoslavian paintings of the 20th century. Discolored areas were found in various locations on the paint layer of the painting “Untitled” (especially on the lower and central parts of the painting), which disturbed the visual experience of the artistic work. To discover the cause of this discoloration, the composition of the paint layer was investigated, with the assumption that the true cause of degradation was hidden therein. Moreover, this painting belongs to a specific period in Vozarević’s activity, characterized by the use of non-traditional painting materials. To identify pigments from the highly degraded painting “Untitled”, scanning electron microscopy coupled with energy dispersive X-ray spectrometry (SEM/EDS) and micro-Raman spectroscopy were applied. Lithol red, a synthetic organic pigment known to give paintings a red tone, was identified as the main reason for the painting’s degradation. Lithol red is not only highly light-sensitive but is also chemically unstable, toxic, and sensitive to heat.

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PIXE Analysis of Ancient Egyptian Pigments (Case Study)

Journal of Nano Research ◽

10.4028/www.scientific.net/jnanor.8.71 ◽

2009 ◽

Vol 8 ◽

pp. 71-77 ◽

Cited By ~ 1

Author(s):

A. Shaaban ◽

Mona F. Ali ◽

A. Turos ◽

A. Korman ◽

Anna Stonert

Keyword(s):

Paint Layer ◽

Optical Microscope ◽

Small Samples ◽

Acquisition Time ◽

Pixe Analysis ◽

X Ray ◽

Ancient Egyptian ◽

Light Optical Microscope ◽

Medinet Habu ◽

Green Pigments

Particle Proton–Induced X-Ray Emission (PIXE) is one of the most sensitive analytical methods which can be used in the study of ancient mural paintings - especially pigments. It requires small samples or tiny fragments of the paint layer. It is a non-destructive technique and provides data on elemental concentrations. Analysis can be performed in vacuum or in air. The major advantage of this technique is the ability to analyze simultaneously both elements and trace elements present in the sample. Another advantage is the short data acquisition time. This research studies red, yellow, blue and green pigments used in the tomb of Ramesses III (N.11 - 1198 BC), the tomb of Tohthmous III- (N.34 - 1504 BC), both located at the Valley of the Kings Luxor, and also, Medinet Habu temple of Ramesses II (1198 -1166 BC) located at the West Bank of Luxor. The study was performed by using light Optical Microscope (LOM) and Particle Proton–Induced X-Ray Emission (PIXE).

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The Evolution Process of the Ancient Chinese Yaozhou Porcelain

MRS Proceedings ◽

10.1557/proc-462-405 ◽

1996 ◽

Vol 462 ◽

Author(s):

P. L. Leung ◽

Luo Hongjie ◽

Li Jiazhi ◽

Michael J. Stokes

Keyword(s):

Statistical Analysis ◽

Chemical Composition ◽

Song Dynasty ◽

Raw Materials ◽

Batch Composition ◽

Evolution Process ◽

X Ray ◽

The Song Dynasty ◽

The Ancient Chinese ◽

Almost All

ABSTRACTThe chemical composition (body and glaze) of over thirty Yaozhou porcelain fragments are determined by X-ray fluorescence (XRF) analysis. Statistical analysis of these results combined with data already published indicate that the full evolution process of Yaozhou porcelain can be divided into four stages. Each stage exhibits a characteristic composition determined by the raw materials and batch composition used to produce the porcelain bodies and glazes. Almost all of Yaozhou celadon and white ware glazes belong predominantly to the CaO-type glaze (or lime glaze), but the glazes of the Song Dynasty (A.D. 960–1280) and later periods have higher K2O content and less CaO than the earlier periods.

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