The wall paintings in the Bagh caves—An investigation into their methods

Paramasivan, S.

doi:10.1007/bf03170993

Cited by 9 publications

(4 citation statements)

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“…Gettens (Gettens 1938a,b) describes the clay wall support of the wall paintings from Bamiyan (Afghanistan) and from Kizil (Chinese Turkestan). Paramasivan provides another example of the use of clay in the Indian wall paintings in the Bagh caves (seventh century ce ), made of ‘earth stucco’ and pigments (Paramasivan ). In the central Andes, mural paintings (1800 – 1600 ce ) were found to be traditionally executed on clay plaster (Bonavia and Lyon ).…”

Section: Introductionmentioning

confidence: 99%

Unveiling the Use ofCretain Roman Plasters: Analysis of Clay Wall Paintings FromBrixia(Italy)

Bugini¹,

Corti

Folli³

et al. 2016

Archaeometry

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The paper describes the analysis of a particular kind of plaster from the walls of the Roman Sanctuary (first half of the first century BCE) in the centre of Brixia (now Brescia, Italy), which is an outstanding example of Roman Republican architecture. The walls were plastered and painted with different patterns, imitating marble panels and curtains. Optical microscopy on thin sections, X-ray diffraction and infrared spectroscopy were performed on several samples of the plaster in order to reveal the execution technique. The palette consisted of glauconite, celadonite, Egyptian blue, and red and yellow ochres. In some cases, an organic compound, possibly a lipidic compound, was present in the external paint layer, as a surface treatment. The plaster contains two superimposed coats: the render coat with lime binder and sandy aggregate; the finish coat with a clay fraction (illite, chlorite, kaolinite), together with calcite from slaked lime and grains of quartz, silicate and carbonate rocks. Although Vitrivius' De architectura reported the use of creta (clay) as daub smeared on reed vaults, the Sanctuary of Brixia represents the first documented use in Roman buildings in a painted plaster laid on a stone masonry wall.

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Section: Introductionmentioning

confidence: 99%

Unveiling the Use ofCretain Roman Plasters: Analysis of Clay Wall Paintings FromBrixia(Italy)

Bugini¹,

Corti

Folli³

et al. 2016

Archaeometry

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“…Similarly, pigments such as yellow ochre, red ochre, carbon, lime, terreverte were also found at Badami in Karnataka and Kanchi Kailasanathar temple in Chennai [65,66]. Identified pigments in Bagh cave were red ochre, yellow ochre, lapis lazuli, terreverte, carbon, and lime [60]. Parmasivan also found grounds to believe that they were probably in the true fresco technique but was unable to firmly establish this.…”

Section: Discussion On Earth Pigments Used In India's Wall Paintingsmentioning

confidence: 99%

“…Kaolinite, calcium carbonate and gypsum were used as white pigments since prehistoric times. M. Singh reported the kaoline, and calcium carbonate were used as white pigments, and often also with gypsum in Ajanta's wall paintings [60].…”

Section: White Earthsmentioning

confidence: 99%

A Review on Historical Earth Pigments Used in India’s Wall Paintings

Sharma

Singh²

2021

Heritage

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Iron-containing earth minerals of various hues were the earliest pigments of the prehistoric artists who dwelled in caves. Being a prominent part of human expression through art, nature-derived pigments have been used in continuum through ages until now. Studies reveal that the primitive artist stored or used his pigments as color cakes made out of skin or reeds. Although records to help understand the technical details of Indian painting in the early periodare scanty, there is a certain amount of material from which some idea may be gained regarding the methods used by the artists to obtain their results. Considering Indian wall paintings, the most widely used earth pigments include red, yellow, and green ochres, making it fairly easy for the modern era scientific conservators and researchers to study them. The present knowledge on material sources given in the literature is limited and deficient as of now, hence the present work attempts to elucidate the range of earth pigments encountered in Indian wall paintings and the scientific studies and characterization by analytical techniques that form the knowledge background on the topic. Studies leadingto well-founded knowledge on pigments can contribute towards the safeguarding of Indian cultural heritage as well as spread awareness among conservators, restorers, and scholars.

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“…The same plant or animal glue was used as a binding medium for paints. Studies of the paintings of Indian cave temples were started at the beginning of the twentieth century [2], but it was S. Paramasivan who carried out systematic research between 1930-40 (see, e.g., references [29][30][31][32][33]. It was discovered that in almost all the buildings examined the ground consists of two layers: the lower, thicker (1°5-2.5 mm) one and the upper, thinner (0·6-0·8 mm) one.…”

Section: Discussionmentioning

confidence: 99%

On the Technology of Central Asian Wall Paintings: The Problem of Binding Media

Birstein¹

1975

Studies in Conservation

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Organic components of paint layers and grounds in specimens of late antique and early medieval Central Asian wall paintings were studied. Quantitative analysis of amino acids isolated from specimens of Mansur-Depe wall paintings, second to first century B.C., has demonstrated that gelatin was used for the preparation of painting media and grounds-proline, glycine and alanine were revealed to a high percentage while hydroxyproline was not detected. In other wall paintings of the second to the eighth century the use of plant gums was inferred since polysaccharides isolated from the specimens had infrared spectra resembling those of polysaccharides from the Prunoideae sub-family. The gum used in the Toprak-Kala wall paintings, third to fourth century, and in a nineteenth-century painting from Khiva could be identified precisely: it was either apricot or cherry gum. The technique used for the preparation of paints and grounds in Mansur-Depe and Kara-Tepe, second to fourth century, resembles those described in medieval Indian manuscripts. the Bactrian Buddhist temple complex of Kara-Tepe, second to fourth century [4J; the Khorezmian palace of Toprak-Kala, third to fourth century [5]; houses of Sogdian city nobles in Pendjikent, seventh to eighth century [6]; the Buddhist temple of Adjina-Tepa, seventh century [7]; and the Tashkhauli palace, 1830, in Khiva. MATERIALS AND METHODS Samples of Paintings 1 -From Mansur-Depe-smallfragments with red paint on a relatively thick (2-3 mm) ground. The paint must have been Inade of Kzyl-kessak (a kind of ochre) as a pigment [3]. The ground consists of chalk with fillers: pounded ceramics and small pebbles [3]. It was placed on the mud plaster. The samples were collected in the portico (aiwan). 2 -From Kara-Tepe-fragments with red paintings and a fragment with a polychromatic painting from the P-II cave temple. The paintings are made on a ground 1-5-2-0 mm thick. The ground is different from that of Mansur-Depe. It is looser than the latter, almost insoluble in HCI, and with sand as the filler. The ground must have been spread in thin layers. The uppermost layer just below the painting is the finest and whitest one. The ground was placed over the sandstone walls of the cave. 3 -From Pendjikent-fragments of a thick clay plaster with fillers. A thin layer of white ground is over it. The colouring is black and brownish (the pigments are soot and ochre [8D· On the technology of Central Asian wall paintings: the problem of binding media 9

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The wall paintings in the Bagh caves—An investigation into their methods

Cited by 9 publications

References 1 publication

Unveiling the Use ofCretain Roman Plasters: Analysis of Clay Wall Paintings FromBrixia(Italy)

Unveiling the Use ofCretain Roman Plasters: Analysis of Clay Wall Paintings FromBrixia(Italy)

A Review on Historical Earth Pigments Used in India’s Wall Paintings

On the Technology of Central Asian Wall Paintings: The Problem of Binding Media

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