PINE RESINS AND POTTERY SEALING: ANALYSIS OF ABSORBED AND VISIBLE POTTERY RESIDUES FROM CENTRAL NEW YORK STATE*

Analysis was performed on absorbed and visible residues from 21 New York State prehistoric pottery sherds dating from 2905 ± 35 bp (Intcal04) (1256–998 cal bc ) to 425 ± 40 bp (Intcal04) (1417–1626 cal ad ). The use of pine resin was detected in 10 of 12 absorbed residue samples and 11 of 17 sherds subjected to visible residue analysis. It seems likely that the pots were resin‐sealed to make them more impermeable, constituting the first chemical evidence of extensive resin‐sealing in North America. A comparison of the results of absorbed and visible residues from eight of the sherds indicates that the two kinds of residue provide complementary evidence of vessel use.     

Coloured Prints of the 16th Century: Non‐Destructive Analyses on Coloured Engravings from Albrecht DÜrer and Contemporary Artists

Qualitative investigations of pigments and dyes using micro X‐ray fluorescence spectrometry (micro‐XRF) and visible spectrophotometry (VIS) are suitable non‐destructive methods for the characterization of different colorants in art objects. In this study, several rare coloured engravings from the work of Albrecht Dürer—and, in addition, from the work of Cornelis Cort, Servatius Raeven and Johannes Sadeler—were investigated. The analyses result in specific palettes of colours that were used by different artists or in different workshops for the coloration of engraved images. Starting from these different palettes, it is possible to distinguish coeval colorations that were added in the 16th century from those that were carried out at a later date (e.g., the 19th century).     

AN ANALYSIS OF THE GEM‐BLUE GLAZE OF YE WANG'S KOJI POTTERY*

Koji pottery is a glazed ceramic art used widely for figurines. In early Taiwan, it was employed in temple construction for decorative purposes. Ye Wang (1826–87) is the first historically documented Koji artist of Taiwan and also the most prominent Koji pottery artist, noted for his modelling and glazing skills. Unfortunately, his unique technique was lost following his death in 1887. In order to provide vital information for ongoing conservation work on Koji pottery, this study analysed the physical and chemical characteristics of Ye Wang's gem‐blue glaze, to discover the glaze formula. DSC combined with the two‐thirds rule revealed that the firing temperature of Ye Wang's works of art was most probably around 878–923°C. EPMA revealed that the gem‐blue glaze has high alkali levels, and belongs to the PbO–K₂O–B₂O₃–Na₂O–SiO₂ system, deriving its unique colour from copper, iron, manganese and cobalt. This study found high potassium levels in the gem‐blue glaze, which are generally a characteristic of traditional Chinese glazes. In addition, a unique discovery of boron, commonly used in famille rose, was also identified in the glaze. By comparing spectra of historical and reconstructed glazes and adjusting the proportion of chromophoric elements, this study found a glazing formula with colours close to those of Ye Wang's gem‐blue glaze.     

CORRELATION BETWEEN SPECTRAL,SEM/EDX AND ELECTROCHEMICAL PROPERTIES OF MAYA BLUE: A CHEMOMETRIC STUDY*

Visible spectra, composition from SEM/EDX and solid‐state electrochemical data are correlated for a set of 12 Maya Blue samples from different archaeological sites of Campeche and Yucatán (Mexico). In addition to indigo and dehydroindigo, indirubin and other possibly indigo‐type compounds can be detected in Maya Blue samples. Application of hierarchical cluster analysis techniques allows similarity relationships to be established between samples from different sites, confirming prior results which suggest that the preparation of Maya Blue pigment evolved with time during the Maya culture following a ramified scheme.