Production and characterization of Egyptian blue and Egyptian green frit

Bianchetti, Pierluigi; Talarico, Fabio; Vigliano, Maria Giuseppina; Ali, Mona F.

doi:10.1016/s1296-2074(00)00165-5

Cited by 58 publications

(56 citation statements)

References 3 publications

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“…The artificial pigment Egyptian blue (a silica-rich glass, whose colour is related to the presence of the mineral cuprorivaite, CaCuSi 4 O 10 [152,153]) is a very stable pigment (to acids, alkali, light) [28]. It is related to Egyptian green, whose colour is due to the presence of Cu-doped (max 2%) parawollastonite (CaSiO 3 ), which does not show evident degradation issues (it transforms into the polymorph pseudowollastonite above 1150 °C) [154].…”

Section: Egyptian Blue (Cacusi 4 O 10 )mentioning

confidence: 99%

On the stability of mediaeval inorganic pigments: a literature review of the effect of climate, material selection, biological activity, analysis and conservation treatments

2017

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This review is to be considered part of the development of the MEMORI dosimeter, to evaluate the impact of climate (relative humidity, temperature, illumination, etc., including volatile organic compounds) on moveable objects. In the framework of the MEMORI project, Ghent University was given the task to assess pigment degradation upon acetic acid exposure, and to collect information on pigments' stability. Moreover, to obtain a wider knowledge on the stability of common pigments, the effect of a variety of parameters was reviewed from literature. Discolouration and degradation of pigments significantly alter the legibility of polychrome works of art, so that the development of monitoring methods to ensure the preservation of cultural heritage objects is of primary importance.

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Section: Egyptian Blue (Cacusi 4 O 10 )mentioning

confidence: 99%

On the stability of mediaeval inorganic pigments: a literature review of the effect of climate, material selection, biological activity, analysis and conservation treatments

2017

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“…En la tumba de Nefertari-Merienmut y en las termas de Cerro Muriano, la difracción de Rayos-X ha identificado el pigmento de la capa de pintura como un filotetrasilicato de cobre y calcio (Figura.4), denominado en la literatura internacional como azul egipcio (26)(27)(28)(29)(30)(31)(32)(33)(34)(35). En ambos casos, se Figura.1: aspecto de las pinturas que cubren paredes y techo de la cá-mara funeraria de la QV66.…”

Section: -Resultados Y Discusiónunclassified

Estudio arqueométrico comparativo de muestras de pinturas con azul egipcio, procedentes de la tumba de Nefertari siglo XIII a.C. y del Balneum, termas romanas, siglos I a.C., I d.C.

Portal¹,

Sánchez²,

Valenzuela³

et al. 2011

Bol. Soc. Esp. Ceram. Vidr.

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En el trabajo presentado se han estudiado dos muestras de pinturas con el mismo pigmento, azul egipcio, de distinta procedencia. Las diferencias entre ellas vienen causadas por la funcionalidad. En el caso de la tumba de Nefertari se trata de decorar estancias interiores excavadas en roca en las que no sufrirían deterioro alguno, dado que no se accedería a ese lugar nunca más. En el caso del Balneum se trata de pinturas que decoran ambientes muy húmedos y cálidos y que, además, deben resistir el deterioro derivado de la actividad humana en dichas termas. Palabras clave: Azul Egipcio, Cuprorivaite, Pigmentos, Materiales Antiguos Egipcios, Pinturas. Archaeometrical comparative study of paint samples with Egyptian Blue, from Nefertari´s tomb (XIII Century BC) and Balneum (Roman baths, First Century BC and AD).In the present work have studied two samples with the same pigment, Egyptian Blue, but from different sources. The difference between them is caused by the functionality. In the case of Nefertari´s tomb is decorating interior rooms carved into rock in which they would not suffer any damage since it does not accessed to that place anymore. In the case of Balneum´s baths is decorating very warm and humid rooms, and should resist deterioration resulting from human activity during the use of these baths.Keywords: Egyptian Blue, Cuprorivaite, Pigments, Ancient Egyptian Materials, Paints. 1.-INtRoDuCCIóNEl azul egipcio es una de esas historias de la química con un halo de misterio que le acompañó siempre desde los comienzos de su invención y utilización, en el IV milenio a.C., en el enigmático Egipto y, posiblemente, en los primeros albores de las civilizaciones de Mesopotamia.En todas estas civilizaciones jugó un papel de primera clase como el color que simboliza el cielo azul, desde donde reina el dios Amón de los egipcios o los innumerables dioses del panteón mesopotámico: Marduk, Assur, etc. Esta tradición de asociar el azul a los dioses supremos de Egipto y Mesopotamia, es recogida por el mundo helenístico y transmitido a Grecia y a Roma. Zeus y Júpiter reinan sobre los demás dioses desde el cielo azul. Al desaparecer Roma, los pueblos germánicos y musulmanes, destierran este hermoso color azul brillante, que desaparece de la paleta de los pintores y decoradores para no renacer hasta la actualidad. Este hermoso color azul, el primer pigmento artificial sintetizado por el hombre, es relativamente fácil de obtener, como veremos más adelante, y de una estabilidad excelente ante la luz solar y los agentes medioambientales más agresivos. Vol 50, 3, 161-168, Mayo-Junio 2011 ISSN 0366-3175. eISSN 2173-0431. doi: 10.3989/cyv.212011 Boletín de la Sociedad Española de Cerámica y VidrioEn los primeros momentos de su invención, el pigmento azul alternativo utilizado, provenía de sustancias minerales naturales, como: la azurita, un carbonato hidratado de cobre azul oscuro intenso que, desgraciadamente, ennegrece con el tiempo debido a la acción de la luz solar y, también, el lapislázuli triturado, un mineral bellísimo semip...

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“…As indicated in Section 1, since the specimen is ~70º tilted with respect to the electron beam, there is shadowing in the boundary between the glass and the crystalline phases, which prevents any analysis of the small particles. It has been demonstrated that a compact and amorphous vitreous matrix is appropriate for an EBSD microstructure [40][41][42][43]. An in-depth study of the chemical and crystallographic composition can therefore highlight the features related to the origin and technology of the pigment found in archaeological contexts.…”

Section: Eds Ebsd Tem Scanning Transmission Electron Microscopy (Smentioning

confidence: 99%

“…Many studies on Egyptian blue have been carried out using EDS-SEM, and complemented with XRD [41,42]. XRD provides a bulk analysis of the overall powdered material, however, a minimum amount of Egyptian blue is needed to produce a representative X-ray powder diffraction pattern.…”

Section: Eds Ebsd Tem Scanning Transmission Electron Microscopy (Smentioning

confidence: 99%

Electron backscattering diffraction as a complementary analytical approach to the microstructural characterization of ancient materials by electron microscopy

Pérez-Arantegui

Larrea

2015

TrAC Trends in Analytical Chemistry

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Production and characterization of Egyptian blue and Egyptian green frit

Cited by 58 publications

References 3 publications

On the stability of mediaeval inorganic pigments: a literature review of the effect of climate, material selection, biological activity, analysis and conservation treatments

On the stability of mediaeval inorganic pigments: a literature review of the effect of climate, material selection, biological activity, analysis and conservation treatments

Estudio arqueométrico comparativo de muestras de pinturas con azul egipcio, procedentes de la tumba de Nefertari siglo XIII a.C. y del Balneum, termas romanas, siglos I a.C., I d.C.

Electron backscattering diffraction as a complementary analytical approach to the microstructural characterization of ancient materials by electron microscopy

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