Palygorskite from Sacalum, Yucatán in Maya Blue From the Eastern Maya Lowlands: New Evidence From Buenavista Del Cayo, Belize and La-ICP-MS Analysis

Maya blue is a hybrid pigment where an organic component, indigo, is incorporated in a porous clay. Despite its widespread use in the Mesoamerican artistic production and numerous studies devoted to understand the type of interactions between indigo and the host framework, its technology has not been completely unravelled yet. In this study portable non-invasive UV–vis reflection spectroscopy is proposed as a robust method for in situ investigation of Maya blue pigments. Laboratory mock-ups of powder Maya blue have been prepared employing different synthesis procedures (varying the nature of: clays, indigo–clay ratios, heating temperatures and time). The goodness of the prepared Maya blue samples—namely the occurrence of indigo–clay interactions—have been probed by micro-Raman spectroscopy and related UV–vis spectral markers have been identified. DFT calculations as well have been performed to deeply explain UV–vis profiles. The set of spectral markers have been finally exploited to interpret spectra recorded on Mesoamerican pictorial codices, through a multi-technique approach based on exploring the UV–Vis properties of the blue paint supported by the FT-IR vibrational study of the inorganic clays. The characterization of blue colours on pre-Hispanic and colonial Mesoamerican codices contribute to a better understanding of the compositional variability of these painting materials and to point out the existence of different technological traditions of colour preparation in ancient Mesoamerica.

13 - Maya Blue Pigments Derived From Clay Minerals

The famous Maya blue, a nanostructured hybrid organic–inorganic material, has been the subject of numerous studies since its discovery in 1931. These mainly focused on mural paintings, manuscripts, cultural artifacts from ancient Mesoamerica, and notable examples of syncretic art produced in early colonial times in New Spain as a result of the convergence of Mesoamerican and European traditions. This article reports on the identification of Maya blue in the wall painting programs of four mendicant monasteries founded in Southern and Central Mexico during the sixteenth century. It discusses the pictorial effects, painting mixtures, and artistic inventiveness of indigenous artists who expressed themselves through the quality of color and the meanings of materials by using Maya blue in Christian images. This article proposes that Maya blue reappeared in the palette of local artists in the second half of the sixteenth century, as a traditional technology that integrated the complex worldview of Mesoamerican cultures and their knowledge of its extraction, production, and use in the art of painting.

Chapter 18 - The Maya Blue Pigment

Organic/inorganic complex pigments: Ancient colors Maya Blue

Maya Blue is an unusual blue pigment used on pottery, sculpture, and murals from the Preclassic to the Colonial period. Until the late 1960s, its composition was unknown, but chemists working in Spain, Belgium, Mexico, and the United States identified Maya Blue as a combination of indigo and the unusual clay mineral palygorskite (also called attapulgite). A source of palygorskite in the Maya area was unknown for years; then ethnoarchaeological research in the mid-1960s demonstrated that the contemporary Maya recognized the unique physical properties of palygorskite and used it as an additive for pottery temper and for curing certain types of illnesses. Because of its importance in Maya Blue, pre-Hispanic sources of the mineral were then suggested based on ethnoarchaeological data. One of these sources was the cenote in the town of Sacalum, Yucatan. This paper briefly reviews the history of the Maya Blue research from an anthropological perspective and presents evidence of a second possible pre-Hispanic mining site for palygorskite at Yo' Sah Kab near Ticul, Yucatan. Archaeological and technological approaches have demonstrated the use, distribution, composition, and characteristics of Maya Blue, but ethnoarchaeology has related it to Maya language and culture and to possible pre-Hispanic sources of one of its constituents, palygorskite.

Maya Blue is an unusual blue pigment consisting of a clay-organic complex of indigo and the unusual clay mineral palygorskite (also called attapulgite). Used on pottery, sculpture, and murals from the Preclassic to Late Colonial periods largely in Mesoamerica, blue was the color of sacrifice and ritual. Did the palygorskite used to make Maya Blue come from a restricted source in Yucatán like Shepard, Arnold, Arnold and Bohor believed, or from widespread sources like Littmann argued? This report presents the results of a pilot study comparing INAA and LA-ICP-MS analysis of 33 palygorskite samples collected from different parts of the Maya area. These data reveal that it is possible to discriminate mineral source locations, and that it should be possible to determine whether the palygorskite used to make Maya Blue came from widespread sources or was traded widely from one or a few sources. Consideration of contextual information such as agency, landscape and language suggest that the Shepard/Arnold/Bohor hypothesis is more plausible than that of Littmann. No matter which hypothesis is supported, however, each has significant implications for the relationship of the diffusion of Maya Blue (or the knowledge of its production) to Maya social organization.

The Maya blue (MB) is an artificial pigment created between 500-800 A.D. and used in murals, pottery and sculptures by Mayas and other people in Mesoamerica. MB is resistant to age, acid, weathering, biodegradation and even modern chemical solvents, but the chemical reasons behind the resistance to chemical aggressions are still under debate. Water plays a fundamental role in the interactions between indigo and clay. The dynamics of the clay's zeolitic and structural water molecules during the formation of MB, usually stabilized by moderate heating, has been monitored by means of neutron inelastic scattering. Neutron incoherent scattering in these samples is only due to the hydrogen atoms, so the signal is very sensitive to the amount of released water, providing detailed information on the dehydration process. A simultaneous analysis of the coherent elastic scattering and the incoherent scattering allows observing and quantifying how the structure of the clay is affected by dehydration. Here we show that a quite resistant pigment can be obtained at room temperature simply by dehydrating a palygorskite-indigo mixture employing only vacuum, without any thermal treatment.

Facile preparation of stable palygorskite/methyl violet@SiO2 “Maya Violet” pigment

Maya blue: application of XAS and HRTEM to materials science in art and archaeology

Influence of indigo-hydroxyl interactions on the properties of sepiolite-based Maya blue pigment

The accurate measurement of trace element concentrations in natural sulphides by laser ablation inductively coupled plasma mass spectrometry (LA-ICP-MS) has been limited by the lack of matrix-matched calibration standards. The synthesis of a standard, IMER-1, by incorporating four minor and 34 trace elements into a chalcogenide glass matrix Ge28Sb12S60is reported here. Chemical analysis by electron probe microanalysis (EPMA), LA-ICP-MS, solution ICP-MS, and inductively coupled plasma-optical emission spectroscopy (ICP-OES) confirmed the excellent homogeneity of major elements (1-σ relative standard deviation (RSD) <1% for S, Sb and Ge) and acceptable homogeneity of most trace elements (1-σ RSD <10%). The standard was validated by analysing trace-elements concentrations in three geological pyrite specimens using IMER-1 as the calibration standard and comparing the results to previously reported values also determined by LA-ICP-MS but using a different calibration standard. STDGL2b-2. The results suggest that IMER-1 may be an appropriate calibration standard for LA-ICP-MS analysis of trace elements in natural sulphides.

Quantitative analysis of major and trace elements in NH4HF2-modified silicate rock powders by laser ablation - inductively coupled plasma mass spectrometry

Combined LA-ICP-MS and cryo-SEM-EDS: An improved technique for quantitative analysis of major, minor, and trace elements in fluid inclusions in halite

Universal dispersion of single-walled carbon nanotubes (SWNTs) in the liquid phase using Laponite RD (LRD) is achieved via a simple grinding–ultrasonication procedure inspired by Maya Blue. The marriage between SWNTs and water-soluble LRD via van der Waals interactions and electron donating–accepting interactions generates a water-dispersible hybrid, which we term LRD/SWNTs. The concentration of LRD and hand-grinding play important roles in effectively dispersing SWNTs. The LRD/SWNT aqueous dispersion features excellent stability (over 6 months without any sediment) and a high SWNT concentration of 1.83 mg mL−1, which is obviously superior to the frequently used surfactants and other materials for noncovalent dispersion of carbon nanotubes. Moreover, the LRD/SWNT aqueous dispersion is miscible with and stable in the other common organic solvents, e.g., methanol, DMF and DMSO.