Multi-analytical Study on the Tara Thangka at Daxingshan Temple in Xi'an, Shaanxi, China

IF 0.8 4区化学 0 ARCHAEOLOGY Studies in Conservation Pub Date : 2022-06-16 DOI:10.1080/00393630.2022.2084809

Zhanyun Zhu, Jia Wang, Xiuya Yao, Qinglin Ma, Juanli Wang, Zhiyong Lu, Yunyan Tian, Jianghao Du, Zhimin Li, Yan Zhu, Liu Liu, Jing Cao

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引用次数: 3

Abstract

ABSTRACT In this study, a Tara thangka (from a complete set of 21) dating to the mid-Qing Dynasty (1776–1839 CE) at Daxingshan Temple in Xi'an, Shaanxi, China was analyzed using various techniques, including portable X-ray fluorescence spectroscopy (p-XRF), Raman spectroscopy (RS), Fourier transform infrared spectroscopy (FTIR), optical microscopy (OM), and mass spectrometry-based proteomics. Through a multi-analytical methodology, in situ non-invasive testing was complemented with an analysis of a limited number of samples. By complementary evidence derived from the above analyses, it can be determined that the thangka was painted on a hemp substrate, with common colorants such as cinnabar, orpiment, gold, azurite, and malachite, and porcine glue as binding material. These results provided important scientific data for the production crafts of the precious Tara thangkas, contributing to the revelation of its value in art history and enabling conservators to make informed conservation decisions.

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西安大兴善寺塔拉唐卡的多元分析研究

摘要本研究采用便携式X射线荧光光谱（p-XRF）、拉曼光谱（RS）、傅里叶变换红外光谱（FTIR）、光学显微镜（OM）和基于质谱的蛋白质组学等多种技术，对陕西西安大兴善寺清代中期（1776-1839年）的塔拉唐卡进行了分析。通过多种分析方法，对有限数量的样本进行分析，以补充原位非侵入性检测。根据以上分析得出的补充证据，可以确定唐卡是在大麻基底上绘制的，使用了常见的着色剂，如朱砂、雌黄、黄金、天青石和孔雀石，以及猪胶作为粘合材料。这些结果为珍贵的塔拉唐卡的制作工艺提供了重要的科学数据，有助于揭示其在艺术史上的价值，并使保护人员能够做出明智的保护决定。

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来源期刊

Studies in Conservation 化学-分析化学

CiteScore

1.80

自引率

12.50%

发文量

审稿时长

>12 weeks

期刊介绍： Studies in Conservation is the premier international peer-reviewed journal for the conservation of historic and artistic works. The intended readership includes the conservation professional in the broadest sense of the term: practising conservators of all types of object, conservation, heritage and museum scientists, collection or conservation managers, teachers and students of conservation, and academic researchers in the subject areas of arts, archaeology, the built heritage, materials history, art technological research and material culture. Studies in Conservation publishes original work on a range of subjects including, but not limited to, examination methods for works of art, new research in the analysis of artistic materials, mechanisms of deterioration, advances in conservation practice, novel methods of treatment, conservation issues in display and storage, preventive conservation, issues of collection care, conservation history and ethics, and the history of materials and technological processes. Scientific content is not necessary, and the editors encourage the submission of practical articles, review papers, position papers on best practice and the philosophy and ethics of collecting and preservation, to help maintain the traditional balance of the journal. Whatever the subject matter, accounts of routine procedures are not accepted, except where these lead to results that are sufficiently novel and/or significant to be of general interest.