Bordering on Asian Paintings: Dye Analysis of Textile Borders and Mount Elements to Complement Research on Asian Pictorial Art

Mount components and textile borders represent important elements of Asian paintings. However, they are often side-lined or not considered an integral part of the original piece, as they may be later additions or may have been replaced during historic conservation or mounting interventions. Nevertheless, evidence is sometimes present that textile borders are contemporaneous to the production of the paintings they frame or, in the case of paintings found in archaeological contexts, to the time of deposition. Even when not contemporaneous with the paintings, the mount textiles are often of significant historic interest in themselves, showing a range of complex textile techniques and materials, and highlighting the re-use of fabrics. In all these cases, the study and reconstruction of the original colours of the borders enable further understanding of the holistic visual impact originally intended for the composition, as well as of the role of colour itself, which was used to emphasise, complement or contrast important pictorial themes or motifs in the paintings. Furthermore, the identification of dyes and dyeing techniques has the potential to support the production date and provenance of the paintings. In this study, the textile borders and some additional mounting elements of six paintings (late 9th–10th century CE) from the Library Cave, Mogao Grottoes, Dunhuang, China, one rare Korean portrait painting dated 1789 CE, and two Tibetan thangkas (18th century) were investigated with the aim to identify the dyes present. Fibre optic reflectance spectroscopy (FORS) was used to obtain information non-invasively and, when sampling was possible, high-performance liquid chromatography-tandem mass spectrometry (HPLC-MS/MS) was used to obtain molecular identification of the dyestuffs employed in their production. Typical Asian dyes, such as gromwell (Lithospermum erythrorhizon), sappanwood (Biancaea sappan), safflower (Carthamus tinctorius), turmeric (Curcuma longa) and pagoda tree flower buds (Sophora japonica), were identified. Some of the dyeing techniques were commensurate with the geographical and temporal provenance assigned to these pieces. Considerations about fading and discolouration of the dyes enabled valuable additional information to be obtained that complements the evidence gleaned from the study of the paintings and informs conservators and curators on best practices in the preservation and display of these precious and delicate artworks.

A Melakan Ancestral Village beyond World Heritage

Chapter 6 moves to the fringes of the World Heritage site, where the designation led to a boom in high-rise projects. This chapter analyses the friction between historic conservation and urban transformation by focusing on Kampung Chetti, a ‘heritage village’ recognized by the local conservation law. After introducing the Chetti community, the chapter deals with the heritagization of Kampung Chetti. Local conservation laws, however, turn out not to provide adequate protection from the pressures of real estate development projects. The chapter explores how the Chetti struggled in vain against a high-rise project adjacent to their village. Although recognized by the Melaka State Government as heritage, Kampung Chetti found itself at the bottom of a patrimonial hierarchy, excluded from UNESCO-derived and national heritage regulations.