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

Abstract

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.

Studying Saraha: Technical and Multi-Analytical Investigation of the Painting Materials and Techniques in an 18th Century Tibetan Thangka

“…However, it is also possible that it was made in Eastern Tibet by painters who migrated there but continued to use the umê script. Nevertheless, the painting style fits that of Central Tibet and the mount was also found to be in keeping with Central Tibetan traditions [45].…”

“…It should be noted that, although this work focuses on the painted surface, the textile borders of a thangka are an integral part of the work. The significance of textiles mountings, as well as dye analysis of the textiles that compose the borders of this thangka, is addressed in another publication [45].…”

High‐performance enrichment of casein and ovalbumin in wall painting with immunomagnetic beads

“…The tomb wall paintings, grotto wall paintings, and architectural wall paintings of this period have left a significant impact on study (Liu et al, 2022). The wall paintings in Mogao Grottoes, which are listed as world cultural heritage by United Nations Educational, Scientific, and Cultural Organization (UNESCO), are typical representatives of this period in China (Tamburini et al, 2021; Zhang et al, 2015).…”

Dye Identification in Mounting Textiles of Traditional Korean Paintings from the Late Joseon Dynasty

“…Among the mounting elements, borders are connected to the perimeter of the painting and are constituted of textile or paper, playing an important aesthetic and practical role, for example, in the case of scroll paintings that are rolled for ease of storage and transportation. Despite their important functions, textile borders and other mounting elements are often not considered an integral part of the artwork due to the fact that, in traditional practice, they are subject to replacement following their natural degradation [9]. As a result, they are often disregarded as an important research topic in art history.…”

“…However, their study is fundamental for conservation, as the relative light sensitivities of the different dyes used to colour the textiles are a major factor in determining suitability for, and length of, any display. Furthermore, valuable information can be obtained about the traditional use of certain materials, the overall artistic intention, and sometimes the spiritual/religious significance behind the paintings [9]. Ultimately, researching the textile borders can help understand whether the textiles are original and contemporaneous with the painting.…”