Characterization of two pairs of 16th century Nanbam folding screens by Raman, EDXRF and FTIR spectroscopies

Pessanha, Sofia; Carvalho, Luísa; Cabaço, M. Isabel; Valadas, Sara; Bruneel, Jean‐Luc; Besnard, M.; Ribeiro, M. Isabel

doi:10.1002/jrs.2652

Cited by 21 publications

(36 citation statements)

References 30 publications

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“…Material characterization of five of the studied screens was already presented [16,17], and the use of a highgrade gold leaf, most likely applied using an iron-based bole layer, was confirmed. The folding screens we compared are as follows: One pair of screens signed by kano Naizen (1570-1616) kept at Museu Nacional de Arte Antiga (MNAA) (Fig.…”

Section: Artwork Descriptionmentioning

confidence: 97%

“…The folding screens we compared are as follows: One pair of screens signed by kano Naizen (1570-1616) kept at Museu Nacional de Arte Antiga (MNAA) (Fig. 4a); one pair of screens also kept at MNAA attributed to kano Domi (1568-1600) [17,19] (Fig. 4b); one screen belonging to the collection of Museu Oriente (MO) attributed to the early Edo Period (Fig.…”

Section: Artwork Descriptionmentioning

confidence: 99%

“…In the studied screens, Cu appeared in very low, almost negligible concentrations ( Fig. 1 and [16,17]) and according to Guerra [18] an amount of Cu up to 1 % may be considered as being part of the natural gold alloy. This way, in this work, we investigated the influence of silver in the attenuation of the characteristic lines of gold in the gold leaf layer.…”

Section: Introductionmentioning

confidence: 96%

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Comparison of gold leaf thickness in Namban folding screens using X-ray fluorescence

et al. 2014

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In this work, the thickness of the gold leaf applied in six Japanese folding screens is compared using a nondestructive approach. Four screens belonging to the Momoyama period (*1573-1603) and two screens belonging to the early Edo period (*1603-1868) were analyzed in situ using energy dispersive X-ray fluorescence, and the thickness of the applied gold leaf was evaluated using a methodology based on the attenuation of the different characteristic lines of gold in the gold leaf layer. Considering that the leaf may well not be made of pure gold, we established that, for the purpose of comparing the intensity ratios of the Au lines, layers made with gold leaf of high grade can be considered identical. The gold leaf applied in one of the screens from the Edo period was found to be thinner than the gold leaf applied in the other ones. This is consistent with the development of the beating technology to obtain ever more thin gold leafs.

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Section: Artwork Descriptionmentioning

confidence: 97%

Section: Artwork Descriptionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 96%

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Comparison of gold leaf thickness in Namban folding screens using X-ray fluorescence

et al. 2014

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“…The two pairs of folding screens studied in the work presented by Pessanha et al, [20] also exhibit a golden background to create a luminous effect. Presently only about 60 examples of this Namban genre remain, so the study of these two pairs is of most importance to the knowledge of this precious craft.…”

Section: Artwork Materials and Techniquesmentioning

confidence: 99%

Raman spectroscopy in art and archaeology

Madariaga

2010

J Raman Spectroscopy

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“…[14][15][16][17] This is an elemental technique, based on the ionization of the atoms of the samples by an X-ray source. Nowadays, portable EDXRF spectrometers are available, enabling in situ non-destructive analysis and an unlimited number of measurements since no sampling is needed.…”

Section: Edxrf Is Also a Well-established Technique In Culturalmentioning

confidence: 99%

Challenging wax-cast figurine serial production unravelled by multi-analytical techniques

Gac

Madeira

Pereira³

et al. 2015

J. Anal. At. Spectrom.

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Eight complementary techniques were successfully applied to study a pair of very alike eighteenth-century colored wax figurines belonging to the Museu Nacional Machado de Castro, Coimbra (Portugal): examination under visible and ultraviolet light, X-ray radiography (XRR), neutron radiography and tomography (NR and NT), energy dispersive X-ray fluorescence (EDXRF), scanning electron microscopy coupled with energy dispersive X-ray spectroscopy (SEM-EDS), micro-X-ray diffraction (m-XRD), gas chromatography coupled with mass spectrometry (GC/MS) and micro-confocal Raman spectroscopy (mRaman). A careful examination of the two objects provided an insight into their manufacturing and revealed that they were cast from the same molds, although details differ. The main cast material employed was a mixture of beeswax, Venice turpentine, other diterpenoid resins and a very low amount of lipids. The wax used was certainly reclaimed from a metallurgic activity involving lost-wax casting.Each figurine consists of sixteen parts, most of which consist of solid wax. The presence of fillings within the body was unexpected. The elements which remained hollowed played a fundamental role at the assembling stage. A loose wooden tenon helped to keep the head in place and metal rods were used to fasten the base to the main body. Polychromy was carried out in wax, with different pigments and opacifiers. The fabrication of the colored wax from different inorganic/organic wastes is also discussed.Textures were achieved by adding materials. The results gathered offered the unique opportunity to verify aspects inherent to the production of multiple copies in wax casting.

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Characterization of two pairs of 16th century Nanbam folding screens by Raman, EDXRF and FTIR spectroscopies

Cited by 21 publications

References 30 publications

Comparison of gold leaf thickness in Namban folding screens using X-ray fluorescence

Comparison of gold leaf thickness in Namban folding screens using X-ray fluorescence

Raman spectroscopy in art and archaeology

Challenging wax-cast figurine serial production unravelled by multi-analytical techniques

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