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Spectroscopic analysis of colourants and binders of Chinese reverse glass paintings tracing a cultural dialogue

  • Scientific analysis based on spectroscopic methods provide essential information on the composition of colourants and binders in paintings. These results can be set in a historical context and help to confirm art historical interpretations. Proofs of certain pigments can be used for dating purposes and may reveal if the artist used not only local but also imported materials. A pilot study of two Chinese reverse glass paintings from the late 19th (Yingying and Hongniang) and early 20th centuries (The Archer) was performed using a multi-analytical approach including X-ray fluorescence (XRF), diffuse reflectance infrared Fourier transform spectroscopy (DRIFTS) and Raman spectroscopy. This approach allowed the identification of the pigments and the classification of the binding media. The results reveal a combined use of traditional Chinese and imported European materials. Several pigments like cinnabar, lead white, orpiment, carbon black and copper-arsenic green (probably emerald green)Scientific analysis based on spectroscopic methods provide essential information on the composition of colourants and binders in paintings. These results can be set in a historical context and help to confirm art historical interpretations. Proofs of certain pigments can be used for dating purposes and may reveal if the artist used not only local but also imported materials. A pilot study of two Chinese reverse glass paintings from the late 19th (Yingying and Hongniang) and early 20th centuries (The Archer) was performed using a multi-analytical approach including X-ray fluorescence (XRF), diffuse reflectance infrared Fourier transform spectroscopy (DRIFTS) and Raman spectroscopy. This approach allowed the identification of the pigments and the classification of the binding media. The results reveal a combined use of traditional Chinese and imported European materials. Several pigments like cinnabar, lead white, orpiment, carbon black and copper-arsenic green (probably emerald green) were found in both paintings; red lead, artificial ultramarine blue, Prussian blue and ochre appear in at least one of the paintings. The proof of limewash (calcite and small amounts of portlandite) as a backing layer in “Yingying and Hongniang” indicates that clamshell white was also used for reverse glass paintings. Drying oil was classified as a binding media in most areas of both paintings. However, the orange background of The Archer yielded prominent bands of both proteinaceous and fatty binder.zeige mehrzeige weniger

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Metadaten
Autor*innen:Simon StegerORCiD
Dokumenttyp:Vortrag
Veröffentlichungsform:Präsentation
Sprache:Englisch
Jahr der Erstveröffentlichung:2020
Organisationseinheit der BAM:4 Material und Umwelt
4 Material und Umwelt / 4.5 Kunst- und Kulturgutanalyse
DDC-Klassifikation:Naturwissenschaften und Mathematik / Chemie / Analytische Chemie
Freie Schlagwörter:DRIFTS; Raman spectroscopy; Reverse glass painting
Themenfelder/Aktivitätsfelder der BAM:Chemie und Prozesstechnik
Veranstaltung:China and the West Reconsidering Chinese Reverse Glass Painting
Veranstaltungsort:Romont, Switzerland
Beginndatum der Veranstaltung:14.02.2020
Enddatum der Veranstaltung:16.02.2020
Verfügbarkeit des Dokuments:Datei im Netzwerk der BAM verfügbar ("Closed Access")
Datum der Freischaltung:24.02.2020
Referierte Publikation:Nein
Eingeladener Vortrag:Nein
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