Historical Painting Techniques, Materials, and Studio Practice
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Abstract<br />
A comprehensive examination was<br />
conducted on a set of twenty-three<br />
seventeenth-century Tibetan thangkas<br />
owned by the Museum of Fine Arts,<br />
Boston (BMFA). The examination<br />
was undertaken because of the<br />
dearth of technical information on<br />
Tibetan thangkas in Western literature.<br />
Infrared reflectography was used<br />
to document color notations drawn<br />
on the ground layer by the artist(s)<br />
as a guide fo r the artist(s) <strong>and</strong> apprentices.<br />
Samples were taken from<br />
areas displaying such notations <strong>and</strong><br />
multiple analytical techniques were<br />
utilized to identify the pigments.<br />
The existence of more than one color-code<br />
system became evident<br />
when the color notations <strong>and</strong> the<br />
identified pigments from the BMFA<br />
set were compared to those found<br />
on other Tibetan paintings. Nine<br />
comparative paintings were examined,<br />
fo ur from the BMFA <strong>and</strong> five<br />
from the Los Angeles County Museum<br />
of Art.<br />
Figure 1. Detail IR-riiflectogram from The<br />
Buddha Shakyamuni Preaching at Dhanyakataka,<br />
showing color codes throughout an<br />
off ering bowl if jewels. Denman Waldo Ross<br />
Collection, Museum if Fine Arts, Boston<br />
(06.333).<br />
An Investigation of Palette <strong>and</strong> Color Notations<br />
U sed to Create a Set of Tibetan Thangkas<br />
Kate I. Duffy*<br />
Conservation Department<br />
Los Angeles County Museum of Art<br />
5905 Wilshire Boulevard<br />
Los Angeles, California 90036<br />
USA<br />
Jacki A. Elgar<br />
Asiatic Department<br />
Museum of Fine Arts<br />
465 Huntington Avenue<br />
Boston, Massachusetts 021 15<br />
USA<br />
Introduction<br />
Tibetan thangkas are scroll paintings that incorporate Buddhist iconography.<br />
The painting is done on cloth that is stitched into a framework of silk borders.<br />
Along the top edge is a wooden stave from which the painting is hung. Along<br />
the bottom edge is a wooden dowel around which the thangka is easily rolled<br />
for storage <strong>and</strong> transport. In 1906 the Museum of Fine Arts, Boston acquired<br />
a set of twenty-three thangkas (1). The paintings in this set had lost their<br />
original thangka format <strong>and</strong> were mounted on panels upon their arrival.<br />
Originally thirty-three or thirty-four paintings comprised the set, depicting<br />
the thirty-two Kings of Shambhala, the Buddha Shakyamuni, <strong>and</strong> possibly a<br />
Kalachakra M<strong>and</strong>ala. The existing set, referred to as the "Shambhala paintings"<br />
throughout this paper, contains only the Shakyamuni <strong>and</strong> twenty-two<br />
images of the Kings (Plates 15, 16). Over the years the set has been assigned<br />
various dates <strong>and</strong> places of origin. Today it is generally accepted to originate<br />
from late seventeenth-century Tibet.<br />
Initially, each Shambhala painting was surveyed by infrared reflectography<br />
(IRR), a nondestructive technique that enabled color codes on the ground<br />
layer to be viewed (2). The color notations are h<strong>and</strong>written in Tibetan<br />
dbu. med script. In areas with complex juxta positioning of numerous colors<br />
(such as offering bowls containing multicolored jewels, or garments with intricate<br />
folds), notations were observed in abundance (Fig. 1). Once the infrared<br />
data were compiled, X-ray fluorescence (XRF) analyses of twelve to<br />
fifteen areas were carried out. After examining these results, approximately<br />
ten areas were sampled. Multiple analytical techniques were utilized, including<br />
polarized light microscopy (PLM), Fourier transform infrared spectroscopy<br />
(FTIR), electronprobe microanalysis (EPMA), X-ray diffraction (XRD), highperformance<br />
liquid chromatography (HPLC), ultraviolet/visible absorption<br />
spectrometry (UV /vis), <strong>and</strong> fluorescence spectrophotometry (FS). Black pigments,<br />
presumably carbon-based, were not studied. Decorative gold was also<br />
not examined except for initial XRF analyses.<br />
Preparing the support<br />
The Shambhala thangkas are all painted on cotton cloth supports. According<br />
to Jackson <strong>and</strong> Jackson, who documented the practices of living thangka<br />
painters, the painting support is typically first made taut by stitching it to four<br />
pliable sticks (3) . It is then laced into a larger wooden frame, leaving a space<br />
of several inches between outer <strong>and</strong> inner frames. This space is crucial for<br />
adjusting tension. The support is stiffened by sizing both sides with a gelatin<br />
solution. A mixture of finely ground white pigment <strong>and</strong> size solution is then<br />
* Author to whom correspondence should be addressed.<br />
78<br />
<strong>Historical</strong> <strong>Painting</strong> <strong>Techniques</strong>, <strong>Materials</strong>, <strong>and</strong> <strong>Studio</strong> <strong>Practice</strong>