Spectroscopic Investigation of a Color Painting on an Ancient Wooden Architecture from the Taiping Heavenly Kingdom Prince Dai’s Mansion in Jiangsu, China

Abstract

This research sheds light on the analysis of pigments and adhesives applied on a color painting on wooden architecture in Taiping Heavenly Kingdom Prince Dai’s mansion, located in Changzhou, Jiangsu Province in China. Four samples were collected from the painting above the building beam in the mansion, and the samples were analyzed and identified using a series of techniques, including polarized light microscopy (PLM), scanning electron microscope coupled with an energy-dispersive X-ray spectroscopy (SEM-EDS), micro-Raman spectroscopy (m-RS) and Fourier-transform infrared spectroscopy (FTIR). The results indicate that the red, black, blue, and green pigments were identified to be cinnabar, ivory black, indigo, and phthalocyanine green, respectively. The green pigment was inferred to be a lately repainted pigment based on its production age, suggesting that this ancient building had been refurbished or repaired. Given the good stability and visual effect of this green pigment, it is suggested to be used in future conservation processes. The pyrolysis-gas chromatography/mass Spectrometry (Py-Gc/Ms) results indicate that glue containing protein was used as a binder for the pigment samples, and that walnut oil might have been applied to the wooden architecture as a primer before painting. Our findings can well inform curators and conservators of the selection of appropriate restoration materials if necessary, and also provide data support for conservation of similar ancient buildings in southern China.

A Multi-Method Analysis of a Color Painting on Ancient Architecture from Anyuan Temple in Chengde, China

“…These paintings possess immense artistic and research value. However, over 200 years of natural aging and maintenance neglect have led to extensive damage, including peeling, pollution, warping, cracking, and hollowing [3,4]. This deterioration is increasingly severe, making the protection and repair of these paintings urgent.…”

A Study on the Materials Used in Ancient Wooden Architectural Paintings at DaZhong Gate in Confucius Temple, Qufu, Shandong, China

“…The ancient Chinese architectural paintings extensively utilized natural and probably artificial mineral pigments [2,3]. For instance, the more widely used red pigments are cinnabar (HgS) [4], hematite (α-Fe2O3), red lead (Pb3O4), and synthetic red lead; the yellow pigments are orpiment (As2S3), realgar (As4S4) [1], and goethite (FeO•OH); the green colors are malachite [CuCO3•Cu(OH)2] [5], emerald green [Cu(CH3COO)2•3Cu(AsO2)2], and atacamite [Cu2(OH)3Cl]; the blue pigments are lapis lazuli [(Na,Ca)8(AlSiO4)6(S,Cl)2], Chinese blue (BaCuSi4O10), and azurite [2CuCO3•Cu(OH)2]; the white pigments are lead white [2PbCO3•Pb(OH)2], synthetic lead white, chalk (CaCO3), and dolomite [CaMg(CO3)4]; and the black pigments include carbon black (C) and magnetite (Fe3O4).…”

“…The ancient Chinese architectural paintings extensively utilized natural and probably artificial mineral pigments [2,3]. For instance, the more widely used red pigments are cinnabar (HgS) [4], hematite (α-Fe ], synthetic lead white, chalk (CaCO 3 ), and dolomite [CaMg(CO 3 ) 4 ]; and the black pigments include carbon black (C) and magnetite (Fe 3 O 4 ).…”

“…In the Longju Temple of the Ming Dynasty (15th century AD), materials like atacamite, azurite, carbon black, and cinnabar were utilized [4]. In the Taiping Heavenly Kingdom Prince Dai's Mansion during the Qing Dynasty (19th century AD), materials such as cinnabar, ivory black (C), indigo blue (C 16 H 8 N 2 Na 2 O 8 S 2 ) and phthalocyanine green (CuC 32 N 8 Cl 16 ) were employed [3]. To express it clearly, some commonly used pigments are listed in Table 1.…”

“…The Yi Ma Wu Hui layer of Putuo Zongcheng Temple (18th century AD) utilized tung oil, gray brick powder, and ramie fiber [11]. The analysis of mineral pigments entails a thorough examination across three dimensions: morphology observation, elemental determination, and composition identification [3]. The utilization of polarized light microscopy (PLM) [3,13] facilitates the observation and assessment of morphological intricacies, optical properties, and crystalline features of mineral pigments.…”