Spectroscopic and chromatographic studies of sculptural polychromy in the Zhongshan Grottoes (R.P.C.)

Cauzzi, D.; Chiàvari, Giuseppe; Montalbani, Simona; Melucci, Dora; Cam, D.; He, Ling

doi:10.1016/j.culher.2012.02.011

Cited by 17 publications

(18 citation statements)

References 16 publications

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“…Atacamite has been most frequently identified in wall paintings; however, it has been found in altarpieces, manuscripts, and polychromed statues, as well as a corrosion product of bronze . In many cases, atacamite was suggested to be a degradation product of azurite, Egyptian blue, or malachite …”

Section: Resultsmentioning

confidence: 99%

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Atacamite as a natural pigment in a South American colonial polychrome sculpture from the late XVI century

Tomasini

Landa²,

Siracusano³

et al. 2012

J Raman Spectroscopy

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The image of Our Lady of Copacabana is a gilded polychrome sculpture manufactured in maguey wood at the end of the 16th century. It is a highly devotional image in the Andean region and her sanctuary lays at the shores of the Titicaca Lake in Bolivia. In this study, a green sample taken from the Virgin´s veil has been analyzed with the aim to identify the green pigment and the gilding technique. The green pigment layer covered completely the shiny color of the gilded area. First, the cross section of the sample was examined by optical microscopy revealing the presence of green crystals on a white layer; beneath it, a gold leaf on a red bole was observed. Scanning electron microscopy-energy dispersive spectroscopy analysis allowed the identification and quantification of copper and chloride in the green pigment layer. Analysis by micro-Raman spectroscopy indicated the presence of atacamite (Cu 3 Cl 2 (OH) 3 ) as the green pigment. Although this compound has been identified as a degradation product of copper pigments or of metallic objects containing copper, in this polychrome sculpture, atacamite was used as the green pigment and is identified for the first time as a mineral pigment in a colonial sculpture made in the Viceroyalty of Peru.

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Section: Resultsmentioning

confidence: 99%

“…On the other hand, morphology of atacamite particles and optical characteristics can provide evidence for synthetic or mineral origin. Spherical uniform particles with dark spots toward the center of the crystals suggest a synthetic preparation rather than a natural origin …”

Section: Resultsmentioning

confidence: 99%

Atacamite as a natural pigment in a South American colonial polychrome sculpture from the late XVI century

Tomasini

Landa²,

Siracusano³

et al. 2012

J Raman Spectroscopy

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“…Yong proposed, by the analysis of pigments in the Forbidden City (Beijing) and some architectural pigments in Gansu, Northwest China, that the most popular green pigment for wall painting and architecture might be copper trihydroxychloride, rather than malachite, in the period from North Dynasty (386–581 ce ) until late Qing Dynasty (1840–1911 ce ). A mixed use of malachite and atacamite has been revealed in three green samples of a sculptural polychromy in the Zhongshan Grottoes, China, by Cauzzi et al; a synthetic origin of the copper compounds is proposed by their optical characteristics. Egel and Simon, in an investigation of the painting materials in Zhongshan Grottoes (Shaanxi, China), identified in a green paint layer the mineral botallackite as an intentional pigments.…”

Section: Introductionmentioning

confidence: 98%

Raman spectroscopy of minerals and mineral pigments in archaeometry

Bersani

Lottici

2016

J Raman Spectroscopy

143

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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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“…Due to these exceptional characteristics and the wide range of application for analysis of archaeological and art sites, FTIR spectroscopy has been selected as main analytical method in many different types of artwork [14][15][16]. A large number of papers have been published, which shows its importance, covering all kinds of specimens and artistic techniques such as paintings [18][19][20], icons [21][22][23][24] pottery [25,26], metal artifacts [6,27], polychromed sculptures [28,29], etc.…”

Section: Resultsmentioning

confidence: 99%