广元千佛崖莲花洞彩绘颜料拉曼光谱分析
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摘要
为了解广元千佛崖莲花洞造像的制作工艺与彩绘颜料成分,利用体视显微分析、金相显微分析、激光拉曼光谱分析技术对其进行物相和成分分析。分析结果表明,莲花洞造像彩绘直接绘制在岩石雕像表面,无底层。彩绘颜料分为多层,最多有三层,说明历史上至少有两次重绘。红色颜料为赤铁矿、朱砂;蓝色颜料主要为青金石与石青;绿色颜料为石绿、碱式氯化铜;白色颜料为硫酸铅。同时也表明,拉曼光谱分析彩绘颜料成分组成简便、快速、对样品要求量小,对样品无损分析,符合文物材质分析的要求,并可得到准确的信息。造像彩绘制作材料及工艺的分析结果为莲花洞造像彩绘保护研究提供了科学依据。
In order to elucidate the pigment compositions and technologies used for the painted statues in the Lotus Cave of the Thousand-Buddha Cliff in Guangyuan, we conducted phase and component analyses using stereomicroscopy, metallographic microscopy and Raman spectroscopy. The analyses show that pigments of the Lotus Cave statues were applied directly to stone surfaces without a preparation layer. The statues have multiple layers(up to at least three layers) of pigments, which indicate that the statues had been repainted at least twice in the past. The red pigment is made from hematite and cinnabar, the blue pigment from lazurite and azurite, the green pigment from malachite and atacamite, and the white pigment from anglesite. Raman spectroscopy is particularly useful for pigment analysis due to its high accuracy and requirement for very small samples, making it almost non-destructive. The results obtained on painting materials and technologies from the Lotus Cave statues provide scientific evidence for related conservation research.
In order to elucidate the pigment compositions and technologies used for the painted statues in the Lotus Cave of the Thousand-Buddha Cliff in Guangyuan, we conducted phase and component analyses using stereomicroscopy, metallographic microscopy and Raman spectroscopy. The analyses show that pigments of the Lotus Cave statues were applied directly to stone surfaces without a preparation layer. The statues have multiple layers(up to at least three layers) of pigments, which indicate that the statues had been repainted at least twice in the past. The red pigment is made from hematite and cinnabar, the blue pigment from lazurite and azurite, the green pigment from malachite and atacamite, and the white pigment from anglesite. Raman spectroscopy is particularly useful for pigment analysis due to its high accuracy and requirement for very small samples, making it almost non-destructive. The results obtained on painting materials and technologies from the Lotus Cave statues provide scientific evidence for related conservation research.
引文
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[10] 李蔓,夏寅,于群力,等.四川广元千佛崖石窟绿色颜料分析研究[J].文物保护与考古科学,2014,26(2):22-27.LI Man,XIA Yin,YU Qunli,et al.Analysis of green pigment on Guangyuan Thousand-Buddha Grotto in Sichuan[J].Sciences of Conservation and Archaeology,2014,26(2):22-27.
[11] 周国信.中国西北地区古代壁画彩塑中的含铅白色颜料[J].文物保护与考古科学,2012,24(1):95-103.ZHOU Guoxin.Lead-containing pigments in ancient murals and polychrome sculptures from the northwest China[J].Sciences of Conservation and Archaeology,2012,24(1):95-103.
[2] BELL I M,CLARK R J H.GIBBS P J.Raman spectroscopic library of natural and synthetic pigments(pre-≈ 1 850 AD)[J].Spectrochimica Acta Part A:Molecular and Biomolecular Spectroscopy,1997,53(12):2159-2179.
[3] BURGIO L,Clark R J H.Library of FT-Raman spectra of pigments,minerals,pigment media and varnishes,and supplement to existing library of Raman spectra of pigments with visible excitation[J].Spectrochimica Acta Part A:Molecular and Biomolecular Spectroscopy,2001,57(7):1491-1521.
[4] 胡文英,王岳.拉曼光谱在水泉梁北齐墓葬壁画颜料中的研究分析[J].硅谷,2012(17):153-154,176.HU Wenying,WANG Yue.Pigment analysis of Northern Qi tomb mural paintings at Shuiquanliang using Raman spectroscopy[J].Silicon Valley,2012(17):153-154,176.
[5] 王玉,张晓彤,周智波,等.新疆库木吐喇石窟壁画颜料的分析研究[J].敦煌研究,2017(1):127-131.WANG Yu,ZHANG Xiaotong,ZHOU Zhibo,et al.Analysis of the pigments in the Kumutula Grotto murals,Xinjiang,China[J].Dunhuang Research,2017(1):127-131.
[6] 王晓琪,王昌燧,杨景龙,等.冯晖墓壁画颜料的高分辨电镜和拉曼光谱分析[J].分析测试学报,2004,23(3):1-4.WANG Xiaoqi,WANG Changsui,YANG Jinglong,et al.Analysis of wall-painting pigments in Feng Hui tomb using HREM and Raman spectroscopy[J].Journal of Instrumental Analysis,2004,23(3):1-4.
[7] 刘照军,王继英,韩礼刚,等.中国古代艺术品常用矿物颜料的拉曼光谱(二)[J].光散射学报,2013,25(2):170-175.LIU Zhaojun,WANG Jiying,HAN Ligang,et al.Raman spectra of some mineral pigments used in ancient Chinese artworks(Ⅱ)[J].The Journal of Light Scattering,2013,25(2):170-175.
[8] 王青.大足宝顶山石刻的彩绘颜料分析[D].重庆:重庆师范大学,2016.WANG Qing.The analysis of the pigment of colored drawings in Dazu Baoding Mountain stone sculptures[D].Chongqing:Chongqing Normal University,2016.
[9] 周国信.我国古代颜料漫谈(二)[J].涂料工业,1991(1):30-36.ZHOU Guoxin.A talk on ancient Chinese pigments(Ⅱ)[J].Paint & Coatings Industry,1991(1):30-36.
[10] 李蔓,夏寅,于群力,等.四川广元千佛崖石窟绿色颜料分析研究[J].文物保护与考古科学,2014,26(2):22-27.LI Man,XIA Yin,YU Qunli,et al.Analysis of green pigment on Guangyuan Thousand-Buddha Grotto in Sichuan[J].Sciences of Conservation and Archaeology,2014,26(2):22-27.
[11] 周国信.中国西北地区古代壁画彩塑中的含铅白色颜料[J].文物保护与考古科学,2012,24(1):95-103.ZHOU Guoxin.Lead-containing pigments in ancient murals and polychrome sculptures from the northwest China[J].Sciences of Conservation and Archaeology,2012,24(1):95-103.
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