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Investigation of manuscripts found in sites along the Silk Road shows the history of communication and exchange between Asia and the Mediterranean over the centuries. Different scripts and languages preserved on paper in certain styles provide information about traditions and provenance.
To get an idea of the cultural background of the highly developed painting techniques obvious in some illuminated manuscripts, the material used for writing and painting is analyzed. Singular Sogdian and Tocharian manuscripts from Turfan show text on one side with a colorful painting on the other side of the document. In comparison with other productions of different periods or usages from the site, special features are worked out to characterize cultural roots or influence in the network of relationships. Details analyzed in the most elaborated documents Show various influences led to the colorful masterpieces.
A great number of Central Asian wall paintings, archeological materials, architectural fragments, and textiles, as well as painting fragments on silk and paper, make up the so called Turfan Collection at the Asian Art Museum in Berlin. The largest part of the collection comes from the Kucha region, a very important cultural center in the third to ninth centuries. Between 1902 and 1914, four German expeditions traveled along the northern Silk Road. During these expeditions, wall paintings were detached from their original settings in Buddhist cave complexes. This paper reports a technical study of a wall painting, existing in eight fragments, from the Buddhist cave no. 40 (Ritterhöhle). Its original painted surface is soot blackened and largely illegible. Grünwedel, leader of the first and third expeditions, described the almost complete destruction of the rediscovered temple complex and evidence of fire damage. The aim of this case study is to identify the materials used for the wall paintings. Furthermore, soot deposits as well as materials from conservation interventions were of interest. Non-invasive analyses were preferred but a limited number of samples were taken to provide more precise information on the painting technique. By employing optical and scanning electron microscopy, energy dispersive X-ray spectroscopy, micro X-ray fluorescence spectroscopy, X-ray diffraction analysis, and Raman spectroscopy, a layer sequence of earthen render, a ground layer made of gypsum, and a paint layer containing a variety of inorganic pigments were identified.