Search Results (16)

This study presents the first scientific characterization of the white preparatory layer and polychrome pigments on painted wooden figurines excavated from the Mawangdui Tomb No. 1, dating to the Han dynasty. A combination of analytical techniques, including XRF mapping, SEM, ATR-FTIR, XRD, and Raman spectroscopy, was used to investigate the composition, structure, and potential additives in the white layer. The results reveal that the preparatory layer is primarily composed of gypsum (CaSO₄·2H₂O) and calcite (CaCO₃), with minor phases such as anhydrite and larnite. SEM observations show a porous microstructure of needle-like crystals, while spectroscopic data suggest possible traces of organic binders. The preparatory layer was likely applied to smooth surface irregularities and support polychrome decoration, such as cinnabar and carbon-based pigments, and may have also functioned as a putty in localized areas. This represents the first confirmed use of gypsum-based plaster in ancient Chinese woodcarving, showing unexpected parallels with surface preparation techniques used in New Kingdom Egypt. However, the presence of organic additives and the internal structure of the figurines remain unresolved due to equipment limitations. These findings provide new insights into ancient material practices and highlight the importance of environmental control and material-specific conservation strategies for fragile gypsum-based heritage objects. Full article

This essay argues that Nobel laureate Verner von Heidenstam’s campaign against naturalist aesthetics in late nineteenth-century Swedish literature was motivated, in part, by the sense of estrangement he developed from Swedish cultural life during his adolescent years as a migrant. It also contends that the aesthetic discontent he experienced in his early career foreshadowed a wider sense of alienation from place and nation that would accompany the rise of globalization and normalized migration in the twentieth century. While recent scholarship on Heidenstam’s early oeuvre situates the writer’s bibliography within the fin de siècle, this project refocuses the discussion on the contemporaneous artistic debates Heidenstam addresses in his polemic Renässans, as well as the migratory themes he explores in his 1892 novel, Hans Alienus. This approach illuminates how Heidenstam’s youthful quest for aesthetic reinvention upended the notion that artists and writers can be tethered to singular points of origin, offering new pathways for understanding the emergence of a distinct migrant literature and visual art in Sweden. Although Heidenstam’s later works took a sharp nationalistic turn and have receded from popular consciousness in contemporary times, reexamining his earliest paintings and prose as products of a migrant imagination can help scholars more firmly affix his legacy to modern and Modernist traditions, inviting fresh perspectives on his paradigm-shifting aesthetic of estrangement. Full article

This article reconstructs the story of the “Chinese Painting Exhibition” in the USSR, brought to Moscow and Leningrad in 1934 by the prominent Chinese artist Xu Beihong. The exhibition covered a period from the Han dynasty up to the 1930s, and, for the first time, presented Chinese art to the Soviet audience. Before arriving in the USSR, the show toured Europe, where it was extremely popular and considered the first successful attempt to present Chinese art in the West. In contrast, the exhibition’s perception in the Soviet Union was rather contradictory. The reasons for that could be found in the ongoing Soviet artistic discourse and preconceived vision of Chinese art. Based on archival materials, this study reveals the process of the exhibition’s organization and focuses on the image of China and Chinese art constructed by its curators. Additionally, this article examines the reception of the show by both professional and mass Soviet audiences in conjunction with the Soviet ideology towards fine art, foreign art exhibitions of the 1930s, and existing narratives on China, which shaped the optic of Soviet visitors. Full article

The combined application of Cathodoluminescence (CL) with Scanning Electron Microscopy (SEM) on paintings and painted surfaces has the potential to identify both organic and inorganic pigments on a micrometre or even nanometre scale. Additionally, the combination with Energy-Dispersive Spectrometry (EDS) allows for a more holistic, elemental, and mineralogical characterization of pigments. In addressing the need for the creation of a robust, open access database of characteristic CL spectra of pigments, a large project has been undertaken, focusing primarily on common organic and inorganic pigments. The present paper focuses on the CL characterization of 10 significant blue pigments in pure powder form: cerulean blue, Egyptian blue, Han blue, indigo, lapis lazuli, Maya blue, phthalo blue, vivianite, ultramarine blue, and zirconium blue. The CL spectra present characteristic bands for most of the pigments, allowing their secure identification, especially when combining the results with the EDS analyses. The effect of binding media and of the mixture of different pigments was also studied, via the analysis of mixtures of pigments with oil painted over canvas. Overall, both the binding medium and the mixture of pigments do not appear to create significant differences in the occurring spectra, thus allowing the identification of individual pigments. EDS and RAMAN spectra are included in order to facilitate comparison with other databases. Full article

Luo Shen 洛神 (The Goddess of the Luo River), also known as Fu Fei 宓妃 (Consort Fu), governed the Luo River and was a deity with distinctive representativeness and influence in the Luoyang area of China. To date, research has been centered around literary works and paintings, particularly Luoshen Fu 洛神賦, with little exploration into the belief of the Goddess of the Luo River. In this paper, specific and detailed textual research is made on the origins and historical transformations, as well as functional shifts, of the Goddess of the Luo River from the perspective of belief in the deity. Based on extant ancient documents and stele inscriptions and combined with anthropological field research, five new ideas are described. First, rituals honoring the Luo River were present in ancient times, yet the deity of the Luo River was initially a male entity called Luo Bo 洛伯, not the goddess Consort Fu. Second, Consort Fu first appears in Li Sao 離騷 as a goddess from the Kunlun Mountains. Third, during the Eastern Han dynasty (25–220), driven by the political and cultural needs of rulers to maintain regime stability, the Goddess of Kunlun, Consort Fu, became the Goddess of the Luo River. Fourth, in the medieval period, the image of the Goddess of the Luo River underwent a historic transformation, evolving from a deity governing the Luo River to a beauty yearning for secular love, merging with the historical figure of Zhen Fei 甄妃 (Consort Zhen) from the Cao Wei dynasty (220–266), forming a unified literary and artistic figure that significantly broadened the social influence of the Goddess of the Luo River. Fifth, the state-sponsored worship of the Goddess of the Luo River reached its peak during the Tang (618–907) and Song (960–1279) dynasties, and afterward, it gradually declined to a local folk belief due to a shift in the political center. The transition of the belief in the Goddess of the Luo River from official to folk realms, deeply intertwining with people’s lives, is a historical reflection of the eastward shift in the imperial center after the Tang dynasty. It also signifies a transformation of the function of the belief in the Goddess of the Luo River, from a political guardian deity ensuring the nation’s peace and the government’s stability to a protective deity for ordinary people’s family stability and prosperity of descendants. Full article

X-ray diffraction (XRD) is extensively used in archaeometric investigation. Herein, we provide a novel XRD spectrum-based untargeted strategy for the classification of ancient painted pottery for various dynasties. It was accomplished using the original spectrum without a phase identification. To eliminate the influence of baseline drift, a new baseline drift correction algorithm was specifically designed for XRD spectra. The algorithm was implemented using local minimum values in the analyzed signal in an iterative optimization manner. The results indicated that with the aid of the algorithm, the baseline drift problem can be successfully resolved, and the classification of ancient painted pottery can be greatly improved. Finally, the developed strategy was successfully used to discriminate ancient painted pottery from the Han and Tang dynasties in the cities of Guyuan and Zhongwei, China. The developed untargeted strategy had the remarkable advantage of almost automatic data analysis. The toolbox of our strategy can be obtained from the authors. Full article

This article explores the introduction and influence of Western art in China during the Ming and Qing dynasties, focusing on the role of the Jesuits—especially Matteo Ricci (1552–1610), one of the founders of Catholic missionary work in China—and the most famous and influential Western figure in China’s art history, Giuseppe Castiglione (1688–1766). The Jesuits recognized art’s potential in their missionary efforts. The article examines the varied responses of Chinese literati to Western art theories in the 17th and 18th centuries, and how Jesuit-introduced artistic concepts were assimilated within different Chinese contexts. It also investigates how Western art merged into Chinese culture, noting the linguistic integration of concepts like chiaroscuro. In Ricci’s time, Western art intrigued the Chinese, but deep acceptance and conceptual transformation were limited. The assimilation of Western techniques was not as widespread as expected. In the 18th century, due to restrictions on Christianity, the religious role of painting diminished. Castiglione’s hybrid style, though influential in the Qing court, faced challenges in gaining cultural acceptance from the Han literati, leading to more criticism than in Ricci’s era. Despite these challenges and varying receptions, the contributions of Ricci and Castiglione to the Sino–Western art exchange are significant, reflecting the complex interplay of art, religion, and cultural dynamics across these periods. Full article

Approaching Hans Holbein’s painting The Body of the Dead Christ in the Tomb (1521/22) this paper combines the expertise of anatomical analysis and the perspective of theology and philosophy in order to address some of the well-rooted assumptions about Holbein in the historical reception of his Dead Christ. The authors propose a balanced conclusion about the hypothesis of a drowned man from the Rhine being a model for the painting, pointing out that the body of the man from Holbein’s painting, according to anatomical details, could not have previously been in water. Furthermore, the absence of an Adam’s apple on Christ’s body is interpreted in the light of New Testament texts, rather than as a result of Holbein’s lack of anatomical precision. Similarly, the fact that Holbein painted a corpse deprived of all signs of divinity is seen in connection with the theological notion of kenosis. Ultimately, the authors conclude that the results of the anatomical analysis reflect the key elements of the hermeneutics of Gospel reports of Christ’s passion and death. Full article

Cattle are one of the six livestock species that have occupied an important place in Chinese history. Previous ancient DNA studies have indicated that Chinese taurine cattle (Bos taurus taurus) are exotic, but the exact route and diffusion by which they were introduced to China is unknown. In this study, we extracted the mitochondrial genomes of 34 cases of ancient taurine cattle (from the late Neolithic to Qin and Han dynasties) excavated from sites in northern China and the eastern Eurasian steppe, and successfully obtained 14 mitochondrial genome sequences. The results of ancient DNA analysis reveal that with cultural exchange and trade, there was close genetic exchange between domestic taurine cattle in different regions. The haplotypes shared by domestic cattle have genetic continuity, reflecting the strong cultural influence of the large capital city sites such as Taosi, Shimao and Erlitou on the surrounding areas. This study suggests that ancient northern Chinese taurine cattle may have accompanied the westward transmission of agricultural or painted pottery culture and thus had a maternal genetic contribution to modern Tibetan cattle. Full article

This paper argues that there exist two Queen Mothers of the West (Xiwangmu) in the Han era (206 BC–AD 220): one worshipped as a goddess of longevity and immortality by people from the upper class; the other worshipped by the ordinary people as a seemingly omnipotent deity with divine power over both the immortal world and the mortal world. This argument is based on a thorough comparative investigation of the surviving corpus of Han rhapsodies (fu) and Han paintings, the two major genres of art that give form to her cult in the Han period. Full article

Cracks are one of the most common issues affecting colored pottery relics; these can be divided into macroscopic cracks, recognizable by the human eye, and micron cracks, which cannot be observed by the naked eye. The gradual development of micron cracks eventually leads to large-scale cracks and the shedding of the coating layer. The repair of such micron cracks poses a key technical difficulty in restoring painted pottery remnants from the Western Han Dynasty. We attempt to solve this problem by reporting on a method that entails the use of a water-borne fluoropolymer material as the adhesive agent, as well as ultra-depth-of-field, digital microscopic imaging technology to build an operating platform for an optical imaging monitoring system. By making simulated ceramic samples, we systematically investigated the influences of water-borne fluoropolymer on chromaticity, adhesion, contact angle, surface morphology, and thermal stability of the paint layer. The results indicate that the color of the painted layer, when treated with the water-borne fluoropolymer, did not change, and the adhesion and contact angle of the painted layer were improved. Additionally, the outcomes of the SEM analysis show that the adhesion and hydrophobicity of the painted layer were improved because the water-borne fluoropolymer filled up the porous structure of the painted layer and covered the pigment particles. These findings demonstrate that aqueous, water-borne fluoropolymer can be used as an adhesive agent for micron cracks. Meanwhile, via the operating platform of the optical imaging monitoring system, the micron cracks of the painted terracotta warriors and horses from the Western Han Dynasty were successfully repaired using the water-borne fluoropolymer. The results imply that the microstructure, size, and geometric spaces of the cracks can be obtained directly utilizing microscopic imaging technology. The dynamic monitoring and imaging system described above can be employed to assist prosthetists in visualizing micro-repair operations in real time, assist with fine visual operations during the repair process, and realize dynamic video recording of the entire repair process. Our work provides a simple visualization method to repair micron-scale cracks in painted pottery relics by applying modern fluoropolymer and ultra-depth-of-field digital microscopic imaging technology. Full article

The aim of the article is to present the remarkable changes in architecture that took place in the 20th century. They can easily be called a revolution regarding the architectural form and the color scheme. Progress was being made through the development of reinforced concrete production methods. In the German Empire (Deutsches Kaiserreich), this material quickly found applications in more and more interesting solutions in architectural structures. In Wrocław (formerly Breslau), then located in the eastern German Empire, exceptional architectural works were realized before and after the First World War using new technology. In 1913, an unusual building was erected—the Centennial Hall, designed by Max Berg (inscribed on the UNESCO World Heritage List in 2006). Berg’s work was inspired by the works of both Hans Poelzig and Bruno Taut. On the one hand, it was a delight with the new material (the Upper Silesian Tower at the exhibition in Poznań, designed by H. Poelzig) and, on the other hand, with the colorful architecture of light and glass by B. Taut (a glass pavilion at the Werkbund exhibition in Cologne). Max Berg left the concrete in an almost “pure” form, not hiding the texture of the formwork under the plaster layer. However, stratigraphic studies of paint coatings and archival inquiries reveal a new face of this building. The research was carried out as part of the CMP (Conservation Management Plan—prepared by the authors of the article, among others) grant from The Getty Foundation Keeping It Modern program. According to the source materials, the architect intended to leave the exposed concrete outside of the building, while the interior was to be decorated with painting, stained glass, and sculpture. The stratigraphic tests showed that the external walls were covered with a translucent yellowish color coating. Thus, the Centennial Hall shows a different face of reinforced concrete architecture. Full article

Hans Baldung (1484/85–1545) emerged as an artist under the shadow of Germany’s most famous contemporary artist, Albrecht Dürer (1471–1528), thus as a younger rival with considerable catching up to do. His time as a young artist with Dürer in Nuremberg (1503-ca. 1507) prompted Baldung to develop his own innovative imagery, even as it prepared him with the skills of later activity in drawings, woodcut prints, and, finally, paintings. Nuremberg also gave him his first contacts with prestigious patrons, local at first but also farther away, surely through Dürer’s well established network to nobility in Saxony. Afterward, once he was out on his own, Baldung quickly turned his acquired skills and recognizable style into his own definitive, deeply pessimistic imagery about human limitations and mortality, especially when measured against the awesome, holy magnitude of Christ and the saints. Full article

Linear perspective has long been used to create the illusion of three-dimensional space on the picture plane. One of its central axioms comes from Euclidean geometry and holds that all parallel lines converge in a single vanishing point. Although linear perspective provided the painter with a means to organize the painting, the question is whether the gaze of the beholder is also affected by the underlying structure of linear perspective: for instance, in such a way that the orthogonals leading to the vanishing point also automatically guides the beholder’s gaze. This was researched during a pilot study by means of an eye-tracking experiment at the Lab for Cognitive Research in Art History (CReA) of the University of Vienna. It appears that in some compositions the vanishing point attracts the view of the participant. This effect is more significant when the vanishing point coincides with the central vertical axis of the painting, but is even stronger when the vanishing point also coincides with a major visual feature such as an object or figure. The latter calls into question what exactly attracts the gaze of the viewer, i.e., what comes first: the geometrical construct of the vanishing point or the visual feature? Full article

This study investigated traditional conservation and storage methods for Chinese silk manuscripts containing painting and calligraphy from the Warring States period (475–221 BC), the Qin dynasty (221–207 BC), the Han dynasty (202–8 BC; AD 25–220), and from the end of the Han to the present. At present, there is gap in the literature regarding the application of such methods to these works. The study methods include a literature review (classical and contemporary sources), expert interviews, and observation of traditional masters. The findings provide an improved understanding of the development of traditional technologies used for painting and calligraphy conservation since 475 BC. In this way, this work contributes to the body of knowledge regarding traditional conservation and storage methods, including mounting practices, scroll unfolding, and box storage. Full article