|
|
|
|
|
|
| Scientific Investigation of Materials Used in the Wall Paintings From the Tashilhunpo Monastery, Tibet |
| HUANG Ya-zhen1, SONG Yan2, GUO Ju-wen2, WEI Shu-ya1* |
1. Academy of History of Science ＆ Technology and Cultural Heritage，University of Science and Technology Beijing，Beijing 100083，China
2. Chinese Academy of Cultural Heritage, Beijing 100029, China
|
|
|
|
|
Abstract Murals are an important decorative element of temple architecture and an important component of Tibetan Buddhism art. Tashilhunpo Monastery was built in the 12th year of the reign of Ming Emperor Zhengtong (1447AD), which treasures unique and resplendent paintings that plays an important role in Tibet. It is the largest temple in later Tibet, belonging to the Gelug sect of Tibetan Buddhism. Tashilhunpo Monastery has been serving for spreading Buddhist culture since its establishment and has undergone frequent large-scale construction. Investigating the painting materials and techniques now becomes one important part of cultural heritage protection. A total of 8 samples were collected from the typical murals on the north wall of the fourth floor of Maitreya Hall and the west side of the South Hall of Exoteric Buddhist Seminary. Pigments, the ground layer and the inside structure of the painting were studied by three-dimensional video Microscopy, scanning electron microscopy in combination with energy dispersive X-ray microanalysis, polarizing microscope, X-Ray Diffraction, microscope and laser Raman technique. The results show that three layers of the wall painting cross-section correspond to a ground layer, a yellow preparation layer, and a paint layer. Natural and synthetic pigments are both used in the paintings, including cinnabar (HgS), orpiment (As2O3), charcoal (C), antlerite (Cu3(SO4)(OH4)), C. I. Pigment Red 14 (C24H17ClN4O4), synthetic ultramarine blue (Na8(Al6Si6O24)Sn), Phthalocyanine green G (C32H3Cl13CuN8-C32HCl15CuN8). Pigment red 14 and phthalocyanine green are organic synthetic pigments, while synthetic ultramarine blue is inorganic synthetic pigments. As a mineral pigment, antlerite has been used in easel paintings, murals, manuscripts and other artistic works in Europe, but the history of usage has not been found in China. This discovery expands the knowledge of green pigments.The study demonstrated that loess and aga soil was the base of the wall paintings and painted with kinds of color finally according to the religious ritual. Furthermore, the research findings show traditional materials for Tibetan murals and modern synthetic materials, indicating that several wall paintings have been repaired or repainted later. The results make up for the murals research vacancy of Tashilhunpo Monastery and provide important evidence for the complement and improvement of its repair history.
|
|
Received: 2021-07-06
Accepted: 2021-12-06
|
|
|
|
Corresponding Authors:
WEI Shu-ya
E-mail: swei@ustb.edu.cn
|
|
[1] Tomasini E P, Cárcamo-Vega J J, Rodríguez D M C, et al. Heritage Science, 2018, 6(1): 7.
[2] Knipe P, Eremin K, Walton M, et al. Heritage Science, 2018, 6(1): 34.
[3] ZHANG Rui, FANG Xiao-ji, JU Jian-wei(张 蕊, 方小济, 巨建伟). The Journal of Light Scattering(光散射学报), 2020, 32(3): 280.
[4] Guerra M, Carvalho M L, Gac A L, et al. Journal of Applied Physics, 2016, 119(10): 242.
[5] WANG Yu, ZHANG Xiao-tong, WU Na(王 玉, 张晓彤, 吴 娜). The Journal of Light Scattering(光散射学报)，2017, 29(1): 39.
[6] LI Bo(李 博). China Tibetology(中国藏学), 2017，(2)：169.
[7] Coccato A. Application of Raman and X-Ray Fluorescence Spectroscopies to Cultural Heritage Materials: the Non-Destructive Examination of Paintings, Pigments, and Their Degradation，2017. 40.
[8] Rua, Landa, Carlos, et al. Microchemical Journal, 2016, 128: 172.
[9] Rúa C, Sepúlveda M, Gutiérrez S, et al. Conservation Science in Cultural Heritage, 2018, 17(1): 117.
[10] Abrahart E N, Stothers J B. Encyclopedia Britannica，2019.
[11] LI Tao(李 涛). China Numismatics（中国钱币）, 2018, (1): 8.
[12] Tracey D Chaplin, Robin J H Clark. Applied Physics A, 2016, 122(3): 2.
[13] CAI Meng-ling(蔡梦玲). Sciences of Conservation and Archaeology（文物保护与考古科学）, 2021, 33(2): 52.
[14] WANG Li-qin, MA Yan-ni, ZHANG Ya-xu, et al(王丽琴, 马彦妮, 张亚旭，等). Spectroscopy and Spectral Analysis（光谱学与光谱分析）, 2020, 40(10): 3199.
[15] Song Y, Gao F, Nevin A, et al. Heritage Science, 2018, 6(1): 18.
|
| [1] |
LIU Jia-ru1, SHEN Gui-yun2, HE Jian-bin2, GUO Hong1*. Research on Materials and Technology of Pingyuan Princess Tomb of Liao Dynasty[J]. SPECTROSCOPY AND SPECTRAL ANALYSIS, 2023, 43(11): 3469-3474. |
| [2] |
GUO Zhou-qian1, 2, LÜ Shu-qiang1, 2, HOU Miao-le1, 2*, SUN Yu-tong1, 2, LI Shu-yang1, 2, CUI Wen-yi1. Inversion of Salt Content in Simulated Mural Based on Hyperspectral
Mural Salt Index[J]. SPECTROSCOPY AND SPECTRAL ANALYSIS, 2023, 43(10): 3272-3279. |
| [3] |
ZHENG Yi-xuan1, PAN Xiao-xuan2, GUO Hong1*, CHEN Kun-long1, LUO Ao-te-gen3. Application of Spectroscopic Techniques in Investigation of the Mural in Lam Rim Hall of Wudang Lamasery, China[J]. SPECTROSCOPY AND SPECTRAL ANALYSIS, 2023, 43(09): 2849-2854. |
| [4] |
DENG Chen-yang, LIAO Ning-fang*, LI Ya-sheng, LI Yu-mei. Reconstruction of Spectral Bidirectional Reflectance Distribution Function for Metallic Coatings Based on Additivity of Scattering Spectrum[J]. SPECTROSCOPY AND SPECTRAL ANALYSIS, 2023, 43(07): 2043-2049. |
| [5] |
LI Bo. Analysis and Research on the Production Technology and Materials of Ming Dynasty Colored Sculptures in Yunya Temple Grottoes in Zhuanglang County, Gansu Province With Cave 6 and Cave 7 as Examples[J]. SPECTROSCOPY AND SPECTRAL ANALYSIS, 2023, 43(05): 1501-1507. |
| [6] |
YAO Yi-xuan1, HUANG Ya-zhen1, MA Ying1, QI Ying-ming2, WEI Shu-ya1*. The Identification and Analysis of the Materials and Workmanship for the Water-and-Land-Murals of Daxiong Dian (Hall) of Princess Temple，
Fanshi[J]. SPECTROSCOPY AND SPECTRAL ANALYSIS, 2023, 43(04): 1155-1161. |
| [7] |
JIN Cui1, 4, GUO Hong1*, YU Hai-kuan2, LI Bo3, YANG Jian-du3, ZHANG Yao1. Spectral Analysis of the Techniques and Materials Used to Make Murals
——a Case Study of the Murals in Huapen Guandi Temple in Yanqing District, Beijing[J]. SPECTROSCOPY AND SPECTRAL ANALYSIS, 2023, 43(04): 1147-1154. |
| [8] |
XIANG Xiong-zhi1, ZHONG Rong-qu1, GAO Shi-han1, SU Xiao-wei1, CHE Da2*. XRF Analysis of the Whole-Area Component of the Oil Painting “Lady in Evening Dress”[J]. SPECTROSCOPY AND SPECTRAL ANALYSIS, 2022, 42(12): 3913-3916. |
| [9] |
HUANG Yue-hao1, 2, JIN Yong-ze2. Analysis and Research on Spectral Characteristics of the Traditional Architectural Color Painting Pigments in Regong, Qinghai Province[J]. SPECTROSCOPY AND SPECTRAL ANALYSIS, 2022, 42(11): 3519-3525. |
| [10] |
ZHANG Yao1, GUO Hong1, YANG Jian-du2, LI Bo2, TIAN Jin-feng3, YE Rong-bo4*. The Application of Nondestructive In-Situ Analysis on the Murals of the Xianrenya Grottoes in Tianshui[J]. SPECTROSCOPY AND SPECTRAL ANALYSIS, 2022, 42(11): 3526-3532. |
| [11] |
WANG Lu1, SUN Feng1, 2*, WANG Ruo-su1, LIANG Ya-xin1, YAO Xue3, ZHAO Fan4. Analysis and Research on Color Paints for Cliff Statues in Qionglai Caves[J]. SPECTROSCOPY AND SPECTRAL ANALYSIS, 2022, 42(10): 3198-3202. |
| [12] |
YOU Gui-mei1, ZHANG Wen-jie1, CAO Zhen-wei2, HAN Xiang-na1*, GUO Hong1. Analysis of Pigments of Colored Paintings From Early Qing-Dynasty Fengxian Dian in the Forbidden City[J]. SPECTROSCOPY AND SPECTRAL ANALYSIS, 2022, 42(06): 1874-1880. |
| [13] |
LI De-hui1, WU Tai-xia1*, WANG Shu-dong2*, LI Zhe-hua1, TIAN Yi-wei1, FEI Xiao-long1, LIU Yang1, LEI Yong3, LI Guang-hua3. Hyperspectral Indices for Identification of Red Pigments Used in Cultural Relic[J]. SPECTROSCOPY AND SPECTRAL ANALYSIS, 2022, 42(05): 1588-1594. |
| [14] |
SUN Feng1, 2, WANG Ruo-su2, LIANG Ya-xin2, LIU Jia-ru2, YAO Xue3, ZHAO Fan4. Analysis of Color Paint for Moyan Stone Carvings in Shuining Temple in Bazhong[J]. SPECTROSCOPY AND SPECTRAL ANALYSIS, 2022, 42(02): 505-511. |
| [15] |
XU Zhao-jin, LI Dong-liang, SHEN Li*. Study on Diffuse Reflection and Absorption Spectra of Organic and Inorganic Chinese Painting Pigments[J]. SPECTROSCOPY AND SPECTRAL ANALYSIS, 2021, 41(12): 3915-3921. |
|
|
|
|
