Medieval Nubian Wall Paintings
The papers in this volume are the results of an extensive programme of research based on investigations of samples of Nubian mural paintings from the Middle Nile Valley dating from the 6th to the 14th century AD. Many of these samples came from paintings which are now in the National Museum, Khartoum and the National Museum in Warsaw. Others came from current archaeological excavations in Sudan. The composition of plasters, pigments and binders and lime washes are reported in detail together with an overview of previous and present conservation and transfer procedures. The data collected show the changes in painting methods and materials over time and the possible associated implications in terms of patronage, trading links, economy etc.
The papers in this volume are the results of an extensive programme of research based on investigations of samples of Nubian mural paintings from the Middle Nile Valley dating from the 6th to the 14th century AD. Many of these samples came from paintings which are now in the National Museum, Khartoum and the National Museum in Warsaw. Others came from current archaeological excavations in Sudan.
The composition of plasters, pigments and binders and lime washes are reported in detail together with an overview of previous and present conservation and transfer procedures. The data collected show the changes in painting methods and materials over time and the possible associated implications in terms of patronage, trading links, economy etc.
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CONSERVATION OF NUBIAN MURALS<br />
Figure 8.10 Banganarti: intentional damage to a figure of a saint (iconoclasm). (Photo: Bogdan<br />
Żurawski, courtesy of the Institute of Mediterranean and Oriental Cultures, Polish Academy of<br />
Sciences.)<br />
mud-based bricks, renderings and powdered paint<br />
layer. Long-term action may result in the disintegration<br />
of plaster and mortar joints between bricks.<br />
Excavation affects the static properties of buildings,<br />
causing them to become unstable. This poses a<br />
threat to murals, especially in combination with the<br />
environmental changes that immediately follow the<br />
uncovering of decorated spaces. In non-homogeneous<br />
structures, such as Faras Cathedral, the decay process<br />
may vary in certain areas. For example, the painting<br />
representing St John and St Peter was executed on a<br />
wall built from two different materials: the lower part<br />
of the wall was made of stone, while the upper part<br />
comprised red brick. The lower part had suffered<br />
more damage than the rest of the painting (Fig. 8.11):<br />
the plaster layer was better preserved on the brick wall<br />
than on the lower stone wall. Delamination was also<br />
apparent on mud-brick pillars introduced in the later<br />
phases of the church (Cathedrals of Petros and Late).<br />
Transferred paintings: threats and risks<br />
The major risk is the decision to transfer the painting:<br />
there is always the possibility that the whole<br />
operation will fail, which may lead to total or partial<br />
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