Characterization of pigments and binders in a mural painting from the Andean church of San Andrés de Pachama (northernmost of Chile)

Tomasini, Eugenia; Cárcamo, José; Rodríguez, Diana M. Castellanos; Careaga, Valeria P.; Gutiérrez, Sebastián; Landa, Carlos Rúa; Sepúlveda, Marcela; Guzmán, Fernando; Pereira, Magdalena; Siracusano, Gabriela; Maier, Marta S.

doi:10.1186/s40494-018-0226-x

Cited by 25 publications

(19 citation statements)

References 43 publications

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“…5a and 5b, respectively; Table 1). However, other animal-based anthraquinone dyes, such as kermes or Armenian cochineal, cannot be discriminated from the American cochineal by FORS alone [97,98] and the assumption that the animal-based anthraquinone dye found on the analyzed bers is in fact cochineal is supported by historical information, since this is the only red anthraquinone of animal origin found on previous studies on the Andean area for pre-Hispanic collections [15,17,18,21] and that continued being used during colonial times [101,102].…”

Section: Colors Characterizationmentioning

confidence: 80%

Colors and dyes of archaeological textiles from Tarapacá in the Atacama Desert (South Central Andes)

Sepúlveda

Urzúa

Vega

et al. 2021

Preprint

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This work concerns the study of colors and dyes identified on archaeological textiles from the Atacama Desert. The different garments and ornaments come from the excavation of two important pre-Columbian cemeteries of the Tarapacá region: Tarapacá-40 attributed to the Formative period (1100 BC - 660 AD) and Pica-8 to the Late Intermediate period (900 - 1450 AD). For the first time, a multi-analytical approach with non-invasive techniques using Fiber Optics Reflectance Spectroscopy (FORS), Attenuated Total Reflection Infrared Spectroscopy (FT-IR) and Surface-enhanced Raman Scattering (SERS) were applied on samples of less than 2 cm of length for physicochemical characterization of the raw materials and the dyes employed in the textile production of northern Chile. The fibers are from animal origin. Blue, green, and yellow are identified as indigo, but we cannot discard a mixture with other dyes to vary hue and shade; while carminic acid and alizarin - to a lesser extent - are found on red, orange and brown samples. This research provides new elements for the discussion about the textile technology developed in this desertic region, its changes and continuities along with the history. Our results are compared to recent findings on neighbouring regions from northern Chile, to improve the current knowledge and discuss the existence of dyeing textile cultural traditions.

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Section: Colors Characterizationmentioning

confidence: 80%

Colors and dyes of archaeological textiles from Tarapacá in the Atacama Desert (South Central Andes)

Sepúlveda

Urzúa

Vega

et al. 2021

Preprint

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“…Red was an important color both to European and pre-invasion indigenous cultures [68], and, in the region of Pasto, several mineral and botanical sources could yield an intense red hue. Among the red pigments historically available in South America, cinnabar had been used extensively as face and body paint by the Inkas, for ceramics, as well as in Inka qeros [24,26,69]. Similar shades of red could be also produced from certain indigenous dyes, such as cochineal, obtained from female insects of the Dactylopius coccus Costa species, and achiote, extracted from the seeds of the Bixa orellana plant [70].…”

Section: Pigments and Colorantsmentioning

confidence: 99%

“…Despite an undeniably growing interest and fascination with South American art, recently resulting in an increasing number of technical studies on this topic [15][16][17][18][19][20][21][22][23][24][25][26][27][28], scientific investigations of barniz de Pasto are still limited, while more information can be found on related decorative techniques. An article published in 1992 by Portell [29] reports two Fourier-transform infrared (FTIR) spectra of blue and green glazes from a polychrome wooden statue of the Immaculate Conception created in Quito using barniz chinesco, a technique in which gold and silver leaf were extensively applied together with transparent glaze layers to walls and ceilings of churches as well as free-standing figures.…”

Section: Introductionmentioning

confidence: 99%

In search of Humboldt’s colors: materials and techniques of a 17th-century lacquered gourd from Colombia

Pozzi

Basso

Katz³

2020

Herit Sci

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In 2014 the Hispanic Society Museum & Library, New York, acquired a viceregal Spanish American lacquered gourd, dating to 17th-century Colombia, which was decorated using an indigenous technique known as barniz de Pasto. This technique employs local, raw materials, including natural dyes and a plant resin commonly known as mopa mopa, harvested from Elaeagia pastoensis Mora trees that grow in the Andean rainforest. An in-depth scientific study of the gourd aimed at determining its materials and manufacturing techniques, and at comparing the results with the description of local botanical species reported by Alexander von Humboldt, the German naturalist and explorer, in the account of his travels through the region in 1801. The use of several non-invasive techniques was followed by micro-sampling. Initially, X-ray fluorescence (XRF) analysis was performed to evaluate the possible presence of inorganic pigments, while fiber optics reflectance spectroscopy (FORS) and multiband imaging provided preliminary data concerning the colorants. Dyes and pigments were fully characterized using Raman spectroscopy and high-performance liquid chromatography with photodiode array detector (HPLC-PDA); a detailed description of the resin was obtained with HPLC-PDA and pyrolysis-gas chromatography/mass spectrometry (Py-GC/MS); the metallic elements and overall decoration were analyzed by scanning electron microscopy coupled with energy-dispersive X-ray spectroscopy (SEM/EDS). Radiocarbon dating completed the technical information on the object. This work confirmed the identity of the resin as Elaeagia pastoensis Mora, supporting an unequivocal classification of the gourd as a barniz de Pasto object; the color palette was found to include some of the pigments listed by Humboldt, but also comprised other materials, such as calomel, a rare white pigment based on mercury(I) chloride; examination of the decoration’s intricate stratigraphy provided insight into the complexity of the barniz de Pasto technique, in which silver leaf is typically applied on top of a sheet of untinted resin and covered with a variable number of dyed resin layers; finally, a pre-1650 date was firmly established for the gourd, which is in line with stylistic observations that had tentatively placed this object in the early barniz de Pasto period. In addition to providing conservators with the proper tools to preserve similar lacquered objects, the wealth of knowledge gleaned from this study has revealed fascinating details about the technique employed, demonstrating the extraordinary skill and craftsmanship of the artisans involved in the lacquer arts.

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“…In normal XRD experiments, 0.02° (2θ) is commonly selected as the step angle [41,[64][65][66]. For the identification of unknown gems by XRD, it is certainly favoured if samples can be measured as careful as possible so that the unconspicuous information like impurity and locality may be found or deduced.…”

Section: Determination Of the Optimal Experimental Parametersmentioning

confidence: 99%

Nondestructive identification of gemstones by using a portable XRF–XRD system: an illuminating study for expanding its application in museums

Shen

2020

SN Appl. Sci.

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Nine gemstone samples were analysed by using a portable X-ray fluorescence-X-ray diffraction (XRF-XRD) system without any destructive preparation processes. The samples were measured by groups based on the transparency and the complexity of molecular structure. The XRF and the XRD measurements for each sample were performed simultaneously.The key experimental parameters were optimized in order to obtain XRD patterns acceptable for phase identification in a limited time. The XRF spectrum of each sample was analysed first to acquire the elemental composition qualitatively, and the information was then applied to refining possible phases. The phase analysis process of each sample was described in detail and the most likely phases were determined. Normal XRD experiments were conducted in order to verify the results. Advantages, disadvantages and applicable range of the system were analysed. The results indicate that the portable XRF-XRD system can be applied to identifying particular gemstones effectively, while single-crystal gems may not be identified very well. Wider recognition and application of the portable XRF-XRD system in cultural heritage and gemological fields call for hardware development, software updating and more real application cases.

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Characterization of pigments and binders in a mural painting from the Andean church of San Andrés de Pachama (northernmost of Chile)

Cited by 25 publications

References 43 publications

Colors and dyes of archaeological textiles from Tarapacá in the Atacama Desert (South Central Andes)

Colors and dyes of archaeological textiles from Tarapacá in the Atacama Desert (South Central Andes)

In search of Humboldt’s colors: materials and techniques of a 17th-century lacquered gourd from Colombia

Nondestructive identification of gemstones by using a portable XRF–XRD system: an illuminating study for expanding its application in museums

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