Hexi painting on Xitian Fanjing, a Qing imperial Buddhist temple in Beijing, China: technology revealed by analytical approaches (an initial report)

Zhu, Tong; Li, Tao; Liu, Naitao; Jian, Chen; Huang, Hong; Fu, Qianli; Zhang, Shangxin

doi:10.1186/s40494-016-0112-3

Cited by 7 publications

(5 citation statements)

References 8 publications

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“…This was characteristic of the most-used base fibers in ancient China (e.g., hemp, ramie, mulberry and paper mulberry). The lumen in the fiber could be clearly seen in the red label, which is typical of ramie fiber [11,25]. Ramie was most likely the source of the fiber in the mortar from the painting from the Taidong Tomb.…”

Section: Mortar and Fibermentioning

confidence: 97%

Investigation of Ancient Architectural Painting from the Taidong Tomb in the Western Qing Tombs, Hebei, China

Teri

et al. 2020

Coatings

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The Taidong Tomb in the imperial tombs of the Qing dynasties has great aesthetic value and a rich history. In this study, we conducted the first investigation ever performed on the raw materials used in the paintings in the Taidong Tomb. Energy dispersive X-ray spectroscopy (EDX), polarized light microscopy (PLM), X-ray diffraction (XRD), micro-Raman spectroscopy (m-RS), Fourier-transform infrared spectroscopy (FTIR) and pyrolysis–gas chromatography–mass spectrometry (Py-GC/MS) were used to comprehensively analyze the painting of Long’en Hall, Xipei Hall and the ceiling of Minglou. In the conclusion of the study, the paintings were found to contain natural mineral and synthetic pigments, including atacamite (Cu2Cl(OH)3), azurite (2CuCO3·Cu(OH)2), vermilion (HgS), carbon black (C)，anglesite (PbSO4), white lead (2PbCO3·Pb(OH)2), synthetic emerald green (Cu(CH3COO)2·3Cu(AsO2)2) and ultramarine ((Na,Ca)8(AlSiO4)6(SO4,S,Cl)2). This allows us to conclude that some of the architectural paintings were repainted in the mid-to-late 19th century. The mortar layer may consist of brick ash (albite, gismondine), lime water, tung oil and flour. The fiber layer material may be ramie. Researching the raw materials of the paintings in the Taidong Tomb is of great value because it provides scientific data for the future preservation of the paintings in the tomb.

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Section: Mortar and Fibermentioning

confidence: 97%

Investigation of Ancient Architectural Painting from the Taidong Tomb in the Western Qing Tombs, Hebei, China

Teri

et al. 2020

Coatings

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“…Further identification of indigo on wall paintings is to be found in artworks of Chinese culture, considering the long history of its use in Far eastern Asia (Zhu et al 2016 and references therein).…”

Section: Indigo and Woadmentioning

confidence: 99%

Pigments—the palette of organic colourants in wall paintings

Aceto

2021

Archaeol Anthropol Sci

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The present contribution deals with the use of organic colourants in wall paintings, polychrome pottery and painted stone artworks, i.e. painted artworks on inorganic supports. The term organic colourants is referred to the chemical nature of these compounds but not to the way of application; therefore, organic colourants can be dyes, lakes or pigments. The use of organic colourants in wall paintings has been given little attention in the past, perhaps on the assumption that they were rarely used by ancient artists. Recent diagnostic studies, however, brought evidence that their use was not fragmentary; on the contrary, there seems to be continuity in the centuries, at least with regard to the most widely used such as madder, Tyrian purple and indigo. Sources, alteration phenomena, identification methods and analytical evidence is given for the main organic colourants with concern to red, yellow, green, purple and blue hues. Drawbacks and issues are discussed with concern to the identification techniques.

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“…Beijing during the Qing Dynasty (1636-1912), wherein chalk and binding media are mixed in a certain ratio, filled into a container, and squeezed out through a small opening [17,34]. An orange pigment layer (as seen at Gazhi Lhakang) is often applied before gilding to increase the brightness.…”

Section: Techniques Of Powder Embossing Gilding and Gold Outliningmentioning

confidence: 99%

Studies on wall painting materials and techniques at two historic buildings in Gyantse, Tibet

Yang

Cao

et al. 2019

Herit Sci

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This paper presents a scientific examination of wall paintings at two nonmonastic sites in Gyantse, Tibet: Gazhi Lhakang, which is a family temple built in the mid-eighteenth century by local aristocrats, and the Lotso Residence, which was occupied by Nepalese merchants in the early twentieth century. Samples were analyzed with optical microscopy, scanning electron microscopy with energy-dispersive X-ray spectroscopy, Raman spectroscopy, and X-ray diffraction. Two phases of painting-an early phase and a late phase-were identified in Gazhi Lhakang, including three distinct types of mural stratigraphy. The earlier phase features an unusual technique known as "paperhanging", wherein the pigments were applied on a layer of Tibetan paper glued to the wall. The later phase at Gazhi Lhakang and the painting of the Lotso Residence feature a relatively simple wall treatment with fewer coating layers and no ground layer. A typical mixture of clay and sand was used for the coating layers, while the structure slightly varied from what has been described in the literature. The techniques of powder embossing, gilding, and gold outlining were adopted in both buildings. The metallic material found at Gazhi Lhakang is a gold-silver alloy, while copper was used as imitation gold at the Lotso Residence. Mineral pigments, such as azurite, malachite, orpiment, cinnabar, and iron oxide, were used for both phases of Gazhi Lhakang. Modern synthetic pigments, such as chrome yellow, emerald green, and synthetic ultramarine, were used for the Lotso Residence, indicating that it was painted after the mid-nineteenth century.

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Hexi painting on Xitian Fanjing, a Qing imperial Buddhist temple in Beijing, China: technology revealed by analytical approaches (an initial report)

Cited by 7 publications

References 8 publications

Investigation of Ancient Architectural Painting from the Taidong Tomb in the Western Qing Tombs, Hebei, China

Investigation of Ancient Architectural Painting from the Taidong Tomb in the Western Qing Tombs, Hebei, China

Pigments—the palette of organic colourants in wall paintings

Studies on wall painting materials and techniques at two historic buildings in Gyantse, Tibet

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