Raman analysis of ninth-century Iraqi stuccoes from Samarra

Burgio, Lucía; Clark, Robin J. H.; Rosser-Owen, Mariam

doi:10.1016/j.jas.2006.08.002

Cited by 21 publications

(15 citation statements)

References 9 publications

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“…The various phases/polymorphs of arsenic sulphides (orange–red natural realgar α‐AsS (or α‐As 4 S 4 ), the high temperature form β‐AsS, now found as mineral bonazziite, the intermediate χ‐phase, the yellow–orange light‐induced polymorph pararealgar, the yellow orpiment As 2 S 3 ) and their complex photoinduced transformations have been studied by Raman spectroscopy over a period of more than 40 years (for example, refer to Bonazzi et al and Bindi et al). All phases, but β‐AsS, have been identified in works of art using Raman spectroscopy (Trentelmann et al; Clark and Gibbs; Vandenabeele et al; Edwards et al; David et al; Burgio et al; Vandenabeele and Moens; Mazzeo et al; Daniels and Leach; Burgio et al; Burgio et al; Murahla et al; Tanevska et al). It is possible that pararealgar was prepared and used as a pigment.…”

Section: Introductionmentioning

confidence: 99%

Raman spectroscopy of minerals and mineral pigments in archaeometry

Bersani

Lottici

2016

J Raman Spectroscopy

145

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Minerals, as raw structural materials or pigments, play a fundamental role in archaeometry, for the understanding of nature, structure and status of an artefact or object of interest for cultural heritage. A detailed knowledge of the mineral phases is crucial to solve archaeological problems: Raman spectroscopy is a powerful investigation technique and has been applied extensively in the last 30 years on mineral identification and on pigment degradation. Here we report an updated review, covering the last decade, of the applications of Raman techniques to issues in which raw minerals, including mineral pigments, are involved. Particular attention is devoted to cases where the Raman analysis of minerals is deeper than a simple identification of the phases present in an archaeological or artistic object. Copyright © 2016 John Wiley & Sons, Ltd.

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Section: Introductionmentioning

confidence: 99%

Raman spectroscopy of minerals and mineral pigments in archaeometry

Bersani

Lottici

2016

J Raman Spectroscopy

145

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“…It occurs in Etruscan paintings in a tomb of the 4th century BC (Sodo et al, 2008), and in the 1st century AD in Pompeii (Augusti, 1967). Some examples of its uncommon use in painted decorations in the medieval Islamic world include the presence of orpiment in the 9th-century AD Iraqi stuccoes from Samarra (Burgio et al, 2007), in the 14th-century dome of al-Aqsa Mosque in Jerusalem (Lazzarini and Schwartzbaum, 1985), and in the 15th-century King's room of the Alhambra in Granada (Franquelo et al, 2009). When al-B ır un ı wrote about orpiment in his book on pharmacy, he said that the superior variety of the mineral was used by painters and arabesque designers (Said, 1973).…”

Section: Pigments For Medieval Inkmentioning

confidence: 99%

Characterization of an ancient ‘chemical’ preparation: pigments and drugs in medieval Islamic Spain

Pérez-Arantegui¹,

Ribechini²,

Colombini³

et al. 2011

Journal of Archaeological Science

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“…orpiment, realgar, and pararealgar, were discovered; and is argued by the authors that the painter purposely took advantage of the colour shades of the three arsenic sulfides. [48,49] Further observations of pararealgar have been made on an Egyptian papyrus, [50] in Iraqi stuccoes from Samarra, [51] and within illuminations of 16th to 18th century Islamic manuscripts. [52] The author is aware of only a single report on the usage of pararealgar as a pigment in Central Asian painting art.…”

Section: Yellow Pigmentsmentioning

confidence: 99%

In situ Raman microscopy applied to large Central Asian paintings

Ernst

2009

J Raman Spectroscopy

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Procedures and versatile Raman instruments are described for the non-destructive in situ analysis of pigments in large paintings. A commercial Raman microscope is mounted on a gantry for scanning paintings with dimensions exceeding 1 m 2 . Design principles and the physical implementation of the set-up are outlined. Advantages/disadvantages and performance of the gantry-based instrument are compared with those of a mobile Raman probe, attached to the same Raman microscope. The two set-ups are applied to Central Asian thangka paintings. The utility of the gantry-mounted Raman microscope is demonstrated on a 19th century Buddhist painting from Buriatia, South Siberia. Surprisingly, three arsenic-based pigments, i.e. orpiment, realgar, and pararealgar, are found all in the same painting. Pararealgar is used for painting the numerous yellow areas. Realgar is admixed with red lead for adjusting its orange tint. Finally, orpiment is blended with Prussian blue for producing green. Traditional malachite is used in addition as a non-adulterated green pigment. The mobile Raman probe was employed for examining a Tibetan painting of the 18th century from Derge monastery in the Kham area of Sichuan. The highly unique painting could be dated well and its origin accurately located. In fact, the painter's workshop, where the thangka has been executed, is shown in great detail on the painting itself. The painter's palette of this thangka matches the canonical set of pigments used in Tibet for more than 10 centuries.

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Raman analysis of ninth-century Iraqi stuccoes from Samarra

Cited by 21 publications

References 9 publications

Raman spectroscopy of minerals and mineral pigments in archaeometry

Raman spectroscopy of minerals and mineral pigments in archaeometry

Characterization of an ancient ‘chemical’ preparation: pigments and drugs in medieval Islamic Spain

In situ Raman microscopy applied to large Central Asian paintings

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