Georgina Rayner, Narayan Khandekar, Katherine Eremin, Daniel P. Kirby, Andrew Shortland
{"title":"来自北领地和西澳大利亚金伯利地区的土著艺术家在树皮画中使用的颜料和粘合剂","authors":"Georgina Rayner, Narayan Khandekar, Katherine Eremin, Daniel P. Kirby, Andrew Shortland","doi":"10.1080/00393630.2023.2256130","DOIUrl":null,"url":null,"abstract":"Bark paintings represent a unique artform that originated in Australia and continues to this day. This paper presents a scientific investigation into both the pigments and binders used by Aboriginal artists from across the Northern Territory (NT) and the Kimberley region in Western Australia (WA) and represents the first major study dedicated to identifying these materials in samples taken from paintings. Laser ablation-inductively coupled plasma-mass spectrometry (LA-ICP-MS), Fourier transform infrared (FTIR) and Raman spectroscopy were used to identify the pigments in the four colors commonly associated with works by Aboriginal artists: red, yellow, black, and white. Iron oxides are used for red and yellow. Typically, kaolin is used for white and carbon or natural manganese ores are used for black, although the use of other pigments such as huntite (white) and battery black were seen in paintings from specific locations. Evidence of trade could not be established during this study; however, analysis shows that artists may use different pigments based on location and availability. A combination of FTIR and pyrolysis-gas chromatography-mass spectrometry (pyrolysis-GC-MS) was utilized to investigate the presence of a binder in the paint. Plant-based materials were identified as the binder in the majority of the paintings. The use of orchid juice was common, both as a preparatory layer on the bark substrate and as a paint binder. The presence of synthetic resins was more widespread than anticipated, attributed to both conservation efforts and more modern painting practices.","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":null,"pages":null},"PeriodicalIF":0.8000,"publicationDate":"2023-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Pigments and Binders Used in Bark Paintings by Aboriginal Artists from Across the Northern Territory and the Kimberly Region in Western Australia\",\"authors\":\"Georgina Rayner, Narayan Khandekar, Katherine Eremin, Daniel P. Kirby, Andrew Shortland\",\"doi\":\"10.1080/00393630.2023.2256130\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Bark paintings represent a unique artform that originated in Australia and continues to this day. This paper presents a scientific investigation into both the pigments and binders used by Aboriginal artists from across the Northern Territory (NT) and the Kimberley region in Western Australia (WA) and represents the first major study dedicated to identifying these materials in samples taken from paintings. Laser ablation-inductively coupled plasma-mass spectrometry (LA-ICP-MS), Fourier transform infrared (FTIR) and Raman spectroscopy were used to identify the pigments in the four colors commonly associated with works by Aboriginal artists: red, yellow, black, and white. Iron oxides are used for red and yellow. Typically, kaolin is used for white and carbon or natural manganese ores are used for black, although the use of other pigments such as huntite (white) and battery black were seen in paintings from specific locations. Evidence of trade could not be established during this study; however, analysis shows that artists may use different pigments based on location and availability. A combination of FTIR and pyrolysis-gas chromatography-mass spectrometry (pyrolysis-GC-MS) was utilized to investigate the presence of a binder in the paint. Plant-based materials were identified as the binder in the majority of the paintings. The use of orchid juice was common, both as a preparatory layer on the bark substrate and as a paint binder. 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Pigments and Binders Used in Bark Paintings by Aboriginal Artists from Across the Northern Territory and the Kimberly Region in Western Australia
Bark paintings represent a unique artform that originated in Australia and continues to this day. This paper presents a scientific investigation into both the pigments and binders used by Aboriginal artists from across the Northern Territory (NT) and the Kimberley region in Western Australia (WA) and represents the first major study dedicated to identifying these materials in samples taken from paintings. Laser ablation-inductively coupled plasma-mass spectrometry (LA-ICP-MS), Fourier transform infrared (FTIR) and Raman spectroscopy were used to identify the pigments in the four colors commonly associated with works by Aboriginal artists: red, yellow, black, and white. Iron oxides are used for red and yellow. Typically, kaolin is used for white and carbon or natural manganese ores are used for black, although the use of other pigments such as huntite (white) and battery black were seen in paintings from specific locations. Evidence of trade could not be established during this study; however, analysis shows that artists may use different pigments based on location and availability. A combination of FTIR and pyrolysis-gas chromatography-mass spectrometry (pyrolysis-GC-MS) was utilized to investigate the presence of a binder in the paint. Plant-based materials were identified as the binder in the majority of the paintings. The use of orchid juice was common, both as a preparatory layer on the bark substrate and as a paint binder. The presence of synthetic resins was more widespread than anticipated, attributed to both conservation efforts and more modern painting practices.
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.