Colour in Minoan faience

The microstructures and chemical compositions of some 15 faience objects from Crete spanning the period from Middle Minoan IIIA through to Late Minoan IA are determined using analytical scanning electron microscopy. The Minoan faience is compared with replicate faience beads produced in the laboratory using various combinations of manganese, copper and iron as colorants. The alkali contents of the replicate beads are varied so that the colorants are present both as ions in a glass phase and as particulate oxides. These data are then used to try to infer the original colour of the Minoan faience, the great majority of which has suffered severe weathering during burial. The results suggest that instead of the present day “hallmark greys and browns” and “subtle greens and blues”, Minoan faience originally exhibited a wide range of colours, including bright turquoise blue, purple and violet, and pale yellow-green and greenish turquoise.     

Local Colour: Megalithic Architecture and Colour Symbolism in Neolithic Arran

Recent approaches to megalithic architecture have emphasised the importance of considering monuments in relation to the experience of place. Such approaches have taken two forms: emphasizing the relationship between experience and the internal architecture of the monument, or the nature of the experience evoked by the presence of the monument within the landscape. This paper argues that the importance of stone colour in relation to the construction of megalithic monuments contributes to an understanding of place and landscape as well as providing evidence of the symbolic and aesthetic aspects of colour in the past.     

Technology and textiles globalization

Post 9/11 discourse has important origins in Cold War technopolitical hierarchies that equated "nuclear" with colonizing nations and "non-nuclear" with colonized peoples. This paper gives examples of such equations in order to illuminate the place of nuclearity in current global technopolitics.     

Photographic methods to detect colourants in archaeological textiles

Protocols for photography of archaeological textiles to detect components of differing chemistry that are indicative of colourants were developed. Parameters of light source, camera distance, filter type, film type, film speed, and aperture size were evaluated for visible, UV-reflectance, UV-fluorescence, and infrared photography. Using these techniques facilitates selective sampling for further analysis that maximizes critical data acquisition while minimizing destruction of the artefact. Hence, forensic photography of archaeological perishable materials should be regarded as a precursor to destructive analytical methods.     

Characterization of dyestuffs in ancient textiles from Xinjiang

Extraordinarily well-preserved organic remains from mortuary and settlement sites, including mummified bodies, are scattered along the outer, oasis-laden rim of the Tarim Basin in Xinjiang Province, China, ranging in date from about 1400 BC to the late first millennium BC. Specimens of textile finds from Chärchän, dated at about 1000 BC were selected for dye analysis using newly developed protocols employing high performance liquid chromatography with spectrophotometric and mass spectrometric detection. A single blue (from an indigo plant), a red (from madder, a Rubia species) and two yellow dyes were detected, although the exact plant source for none of them could be identified with certainty. This research offers new insights in the interpretation of textile finds from prehistoric Xinjiang, and more generally, of early Bronze Age Eurasia.     

Colour and its History

Abstract

Colour is treated from widely differing points of view by physicists, chemists, psychologists and artists. These perspectives might be unified in an historical context, but the few histories of colour which have appeared so far still, for the most part, reflect and perpetuate these specialist biases. One single potential unifier might be the study of colour language, but this, too, has generally been the preserve of experimental psychologists, who have hardly been concerned with its historical dimensions. This review proposes that the history of art might offer the best prospect of integrated studies of colour since artefacts exist, and can be examined physically, but are also the product of values, whose study involves language and psychology in a wider sense.     

Identification of materials in post-Byzantine textiles from Mount Athos

Numerous textiles of inestimable historical significance have been preserved in the monasteries of Mount Athos for several centuries. However, our knowledge regarding the materials used in these objects is very limited. In the present study, microsamples extracted from ecclesiastical textiles (16th – 19th c.) of the monastery of Xeropotamou (Mount Athos) are investigated using Optical Microscopy (OM), Fourier Transform Infrared Spectroscopy (FTIR), High Performance Liquid Chromatography coupled to a Photodiode Array Detector (HPLC-PDA) and Scanning Electron Microscopy equipped with an Energy Dispersive X-ray spectrometer (SEM-EDX). The first goal of the study is to identify the colouring materials of the historical samples, which were of silk nature (OM). The presence of Prussian blue is revealed using FTIR and organic colourants such as cochineal, dyer’s broom (Genista tinctoria L.), fuchsin, indigo carmine, old fustic (Chlorophora tinctoria L.), soluble redwood (Caesalpinia trees), weld (Reseda luteola L.), young fustic (Cotinus coggygria Scop.) and indigoid dyestuff source(s) are identified using HPLC-PDA. Dyestuff extraction from silk substrates is achieved using the TFA method, which preserves the contained glycosides. Thus, the report provides further evidence to support the efficacy of the TFA method to extract various organic colourants from historical silk samples (second goal). Finally, metal threads included in some historical samples are studied using OM and SEM-EDX. The latter is employed to analyse the composition of the metal surfaces. Silver (Ag) and gold (Au) are detected on the surfaces of the majority of the samples. Two samples were manufactured only with Ag.     

天然材料在丝织品文物清洗保护中的应用综述

以古鉴今,为发掘古代传统清洗方法中的科学、合理成分,解决现代化学洗涤剂清洗丝织品文物产生的易损伤、易残留、污染大的问题;简要回顾了皂苷、淀粉等植物活性成分,胰子、油脂等动物提取物,草木灰、天然碱等矿物质以及微生物酶等天然材料在古代日常清洗和古书画清洗中的应用记载;并简单介绍了天然材料在清洗丝织品文物血迹、脂肪等有机污染物、微生物霉斑、矿物质类无机污染物上的应用进展。清洗效果评估说明,天然材料对丝织品文物的损伤小,适用于其清洗保护,是对丝织品文物清洗保护的一个重大进步。     

Characterization of dyes in ancient textiles from Yingpan,Xinjiang

In this paper we analyzed the natural dyes in well-preserved, ancient textiles from Yingpan, an important archaeological site on the Silk Road, using high-performance liquid chromatography with diode array and mass spectrometric detection. Dyes were removed from textile fibers using a soft extraction method (pyridine, water and oxalic acid). Two species of madder-type plants, Rubia tinctorum and Rubia cordifolia were identified as the dye sources in red and brown samples. We also were able to detect unusual flavonoid glycosides in yellow and green woolen yarns, although we have not been able to pinpoint with certainty a specific plant that may have been used to produce this dye(s). On the other hand, we found that yellow and green silk threads had been colored with protoberberine-type dyes, probably obtained from species of cork tree, Phellodendron spp., and/or other protoberberine producing plant. We propose that the textile dyes found at Yingpan reflect a merging of Eastern and Western practices and technologies during the 800-year period (206 BCE–618 CE) encompassing the early years of the Silk Road.     

Multi-technique characterization of dyes in ancient Kaitag textiles from Caucasus

Kaitag textiles, named after the Kaitag district of Southwest Daghestan, Russia, where it is being manufactured, are a unique embroidered textile art form. They were used by families on special occasions such as the birth, marriage or death of one of their members and were thus passed down from generation to generation as family heirlooms. Today, only a few hundred of these precious antique specimens can still be found, and surviving examples are mostly from the seventeenth and eighteenth centuries. In this article, an extensive work for the scientific analysis of Kaitag textiles is presented as the logical continuance and updating of the investigations performed by thin layer chromatography almost two decades ago. A multi-technique approach involving the combined use of micro-invasive and nondestructive techniques suitable for in situ analyses was used, aiming to identify the colourants of Kaitag textiles and the inks employed for the underlying drawing. Analyses were performed by high-performance liquid chromatography, surface-enhanced Raman spectroscopy, scanning electron microscopy combined with energy dispersive X-ray analysis, as well as visible reflectance spectroscopy and X-ray fluorescence. In addition, infrared reflectography and ultraviolet fluorescence were employed to visualise underlying drawings and possible restorations. Corrosion phenomena observed in brown- and black-dyed areas were also investigated.     

Drawing the Local Colour Line

My title paraphrases that of Marilyn Lake and Henry Reynolds's recent book, Drawing the Global Colour Line (Melbourne 2008). As those historians explain, the distinction between white and non-white races was drawn with increasing rigour in the three decades or so on either side of 1900. Locally drawn lines, however, could be more substantive, inscribing boundaries across land and sea which confined white and non-white to one side or the other. The white Australia policy provides a perfect example, attempting to cordon off the continent as the exclusive preserve of the white race. However, the actual location of the colour line around white Australia was disputed in the early decades of the 20th century. While the dominant version of the white Australia policy drew the colour line somewhere north of Thursday Island, a significant body of critics insisted that it be drawn somewhere near the Tropic of Capricorn. This paper explores the arguments and assumptions of those critics.