Investigation on the Painting Materials and Profile Structures Used in Ancient Chinese Folk Architectural Paintings by Multiple Analytical Methods

Weihan Zou,Sok-Yee Yeo

doi:10.3390/coatings12030320

Abstract

In order to understand the painting materials and profile structures used in the creation of Chinese ancient folk architectural paintings, the architectural paintings of the Bell and Drum Tower at Fushan Temple in Shaanxi Province of China was investigated. In this study, optical microscopy, Fourier transform infrared spectroscopy (FTIR), micro-Raman spectroscopy, scanning electron microscopy-energy-dispersive X-ray spectroscopy (SEM-EDS), and chemical experimental methods were used. The profile structures, and the elemental and chemical compositions of the pigments and binders in the ground layer of the 12 samples were determined. Results showed that the painting profile structures in both towers comprised of pigment layer, underpainting layer and ground layer, where no starch was found in the chalk ground layer. The pigment layer mainly comprised of iron oxide red, chalk, lapis lazuli, carbon black, green earth, and a dark green pigment that is formed by a combination of carbon black and green earth. To-date, the use of green earth pigment in Chinese architectural paintings was not found in Chinese related academic literature; hence, this study marked the first identification of green earth being used in the architectural paintings. Tung oil, commonly used in Chinese architectural paintings as a binder for pigment, was also identified in the samples. Results from this study will serve as an important reference for better scientific investigation methods on ancient Chinese folk painting materials.

Highlights

Ancient Chinese architectural paintings, commonly used to decorate the surfaces of building columns, beams, walls and other structural elements, consist mainly of pigment and ground layer
In the case of the fresco sections in an Andean church, Tomasini et al [16] determined the morphological characteristics of the layers and the elemental composition using optical microscopy and scanning electron microscopy-energy-dispersive X-ray spectroscopy (SEM-EDS), and confirmed that the sequence of the fresco’s sections began with the pigment layer lining the surface, followed by white ground layer applied above the adobe wall
In the study conducted by Demir et al [14], the painting techniques were analyzed by optical microscopy and SEM-EDS, and the results indicated that the paintings were composed of a fine plaster and a thin paint layer over the plaster layer

Summary

Introduction

Ancient Chinese architectural paintings, commonly used to decorate the surfaces of building columns, beams, walls and other structural elements, consist mainly of pigment and ground layer. These paintings are important features of ancient Chinese architecture, with great historical, cultural, and artistic value [1]. In the case of the fresco sections in an Andean church, Tomasini et al [16] determined the morphological characteristics of the layers and the elemental composition using optical microscopy and SEM-EDS, and confirmed that the sequence of the fresco’s sections began with the pigment layer lining the surface, followed by white ground layer applied above the adobe wall. Based on the results obtained fro4mofth1e5 above tests, scientific methods on the selection of materials and techniques for the future restoration of ancient Chinese architectural paintings were proposed

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Micro-Raman Microscopy and FTIR Spectroscopy

Painting Profile Structures Analysis

Binding Media

TGurnogunodil