Spectroscopic analysis of pigments and inks in manuscripts: II. Islamic illuminated manuscripts (16th–18th century)

Tanevska, Vinka; Nastova, Irena; Minčeva-Šukarova, Biljana; Grupče, Orhideja; Özçatal, Melih; Kavčić, Marijana; Jakovlevska-Spirovska, Zorica

doi:10.1016/j.vibspec.2014.05.008

Cited by 25 publications

(16 citation statements)

References 23 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…It is worth noting that a trace amount of casein was detected in the HPLC-MS analysis of a fragment from the Selden map. The combination of orpiment and indigo to create a green colour is common in European and Islamic manuscripts of this time [39][40][41], but in China the common mixture for a green is indigo and gamboge [23,28,42]. While orpiment is mentioned as a source of pigment in Chinese historical sources, it is rarely detected on paper-based paintings from China except for some scroll paintings from Dunhuang on the Silk Road [23].…”

Section: Discussionmentioning

confidence: 99%

The origins of the Selden map of China: scientific analysis of the painting materials and techniques using a holistic approach

et al. 2016

View full text Add to dashboard Cite

Since the 'rediscovery' of the Selden map of China, an early seventeenth century map of Asia, in the Bodleian Library in Oxford, the importance of the map in our understanding of globalisation in the early seventeenth century has been recognised. One of the unresolved questions is the origin of the map. This paper addresses the question through material evidence provided by a holistic approach using a suite of complementary analytical techniques. The map was examined in situ and non-invasively by a remote spectral imaging instrument (PRISMS) modified for close range imaging, which was followed by a range of complementary techniques applied to a number of detached fragments, though most of the techniques are non-invasive and can be applied to the map directly in the future. The binding medium was found to be a gum, almost certainly gum Arabic, rather than the animal glue commonly used in Chinese paintings. Some of the pigments and their usage were found to be at odds with the common practice in paintings from China. The detection of gum Arabic, a binding medium used by the Europeans, South and West Asians and the use of a mixture of orpiment and indigo, commonly found in European, South and West Asian paintings gives further evidence on the unusual origins of this map. The likely detection of a basic copper chloride, such as atacamite, in the green areas suggests an influence from the South and West Asian rather than the European tradition. Detailed analysis of the various spectral bands of the spectral image cube along with visual inspection of the large scale colour image showed that the map was not fully planned at the beginning but rather painted in stages, at times by trial and error and that it was unfinished. A new hypothesis for the origin of the Selden map in Aceh Sumatra is proposed based on the new evidences.

show abstract

Section: Discussionmentioning

confidence: 99%

The origins of the Selden map of China: scientific analysis of the painting materials and techniques using a holistic approach

et al. 2016

View full text Add to dashboard Cite

show abstract

“…This is relevant because it allows to differentiate between anthraquinone chromophores produced by parasitic insects (e.g., carminic, kermesic and laccaic acids) from anthraquinones of vegetal origin Figures 1 and 2. The main results and analytical techniques for the study of organic colorants in medieval Islamic manuscripts are summarized in Table 1 [17][18][19][20][21][22][23][24][25][26][27][28].…”

Section: State Of Art On the Characterization Of Organic Red Colorants In Islamic Manuscriptsmentioning

confidence: 99%

Organic red colorants in Islamic manuscripts (12th-15th c.) produced in al-Andalus, part 1

et al. 2019

View full text Add to dashboard Cite

The conservation of Islamic manuscripts in the Fondo Ka'ti created the opportunity to study the organic red colourants applied in five manuscripts, which include a Koran (1198), a theology treatise (14 th c.), a book of poems from Al-Sarishi (15 th c.), a biography of the Prophet (1468) and manuscript 19 (1485). These dark red colours were characterized using fibre optic reflectance spectroscopy (FORS-VIS), microspectrofluorimetry and infrared spectroscopy (microFTIR). Microspectrofluorimetry detected the presence of a lac dye chromophore in all the manuscripts studied and ascribed it to specific medieval recipes for three of the manuscripts. This was based on the very good matches obtained with our database of paint reconstructions that were prepared according to medieval technical sources; the dark reds found in the Koran compared very well with the recipe 'to make red ruby from lukk' from Ibn Bādīs text (11 th c.); the brighter reds applied in the book of poems and in the biography of the Prophet, with recipe 113 from the Paduan manuscript (16 th c.). MicroFTIR completed the characterization of the paint formulation, identifying the proteinaceous nature of the binding media as well as the fillers. It also showed the presence of oxalate compounds, possibly, resulting from the binding media degradation, a mark of the recent and dramatic history of these books. Finally, these red dyes were successfully compared to lac dye colours previously characterized in 12 th -13 th c. Portuguese manuscript illuminations. From Mali to Iberia, tracing the rich diversity of a precious heritage legated by medieval Arabic culture.

show abstract

“…Rasmussen et al examined the constituents of the ink from a Qumran inkwell to get insight into the ink on the Dead Sea Scrolls, and El Bakkali et al proposed a multitechnical noninvasive approach for the typology of inks, dyes and pigments in two 19th century ancient Moroccan manuscripts. The Nastova's group in Macedonia investigated medieval old‐Slavonic, Byzantine and post‐Byzantine manuscripts and Islamic illuminated manuscripts (16–18th century), where a rich palette was identified: vermilion, red lead, lazurite, realgar/pararealgar, orpiment, malachite and its degradation products, atacamite and brochantite. In the illuminated mediaeval manuscript De Civitate Dei, Lauwers et al identified mosaic gold (i.e.…”

Section: Introductionmentioning

confidence: 99%

“…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

143

View full text Add to dashboard Cite

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.

show abstract

Spectroscopic analysis of pigments and inks in manuscripts: II. Islamic illuminated manuscripts (16th–18th century)

Cited by 25 publications

References 23 publications

The origins of the Selden map of China: scientific analysis of the painting materials and techniques using a holistic approach

The origins of the Selden map of China: scientific analysis of the painting materials and techniques using a holistic approach

Organic red colorants in Islamic manuscripts (12th-15th c.) produced in al-Andalus, part 1

Raman spectroscopy of minerals and mineral pigments in archaeometry

Contact Info

Product

Resources

About