Abstract
This study focuses on the dye analysis of 26 ikat textiles present in the collection of the Arthur M. Sackler Gallery and originally collected by Dr. Guido Goldman with the aim to gain additional information about their provenance and dating. The investigation exploits the full potential of a multi-analytical approach, starting with a non-invasive survey of all the colors using fiber optic reflectance spectroscopy (FORS), which revealed the presence of indigo and insect-based red dyes. These data were used to select areas from which samples were taken and analyzed by high performance liquid chromatography diode array detector (HPLC–DAD). These results enabled most of the natural sources of dyes to be fully identified, including American cochineal (Dactylopius coccus), madder (probably Rubia tinctorum), lac (probably Kerria lacca), larkspur (Delphinum semibarbatum), pagoda tree flower buds (Sophora japonica), grape vine leaves (Vitis vinifera), indigo and tannins. Complex mixtures of dyes were present in most samples, as a result of both the ikat making process itself and traditional dyeing practices. Synthetic dyes were identified in 9 of the textiles. Samples were re-analyzed using HPLC–DAD coupled to mass spectrometry (HPLC–DAD-MS). Malachite green (basic green 4, C.I. 42000), fuchsine (basic violet 14, C.I. 42510), rhodamine B (basic violet 10, C.I. 45170) and methyl violet (basic violet 1, C.I. 42535) were identified, and a few other tentatively identified synthetic dyes (probably orange I, II and IV, rhodamine 6G, patent blue V and alizarin yellow GG) were detected. As the first synthesis of early synthetic dyes is well documented, their presence was used to refine the dating of these textiles. The contextualization of the results also appeared to support the stylistic assumption that more intricate and colorful designs with a higher level of complexity are dated earlier than simpler, larger and more graphic ones. The overall information acquired reveals a dynamic scenario and an interesting window into the dyers’ experiments and adjustments to the economic and technological changes of the nineteenth century.
Highlights
Ikat textiles are among the most famous and recognizable fabrics worldwide and they are historically produced in several parts of the world, including Central and Southeast Asia, some Middle Eastern and AfricanTamburini et al Herit Sci (2020) 8:114 threads on a loom in the correct order
The analyses performed led to the identification of all sources of natural dyes and most sources of synthetic dyes used to obtain the colors of the ikat textiles under investigation
fiber optic reflectance spectroscopy (FORS) is able to distinguish between plant-derived and insect-derived red dyes, differentiating between the various insect-derived red dyes, in particular kermes, cochineal and lac, is not possible based solely on their reflectance/absorbance features in the UV–Vis range [47]
Summary
Ikat textiles are among the most famous and recognizable fabrics worldwide and they are historically produced in several parts of the world, including Central and Southeast Asia, some Middle Eastern and AfricanTamburini et al Herit Sci (2020) 8:114 threads on a loom in the correct order. Used as clothing for both men and women, these textiles acquired a huge role in the cultural life of the region, as they were intended for weddings and important events, as markers of status, as decorative wall-hangings, gifts and ritual objects. In addition to their functions, they have always retained an artistic expression in their own right [1, 8]. The Islamic mastery of geometrical design is commonly showcased [8, 9]
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