Abstract
This paper discusses pigments used in Indian palm leaf manuscripts. Formerly it was believed that pigments for palm leaf illustrations were mostly sourced from plant extracts – a believe that is still widespread in India. This paper reports the identification of pigments of an illustrated palm leaf manuscript (eighteenth – nineteenth century) collected from the east coast of India. As Raman spectra of many pigments gave too high background noise, the identification was mostly accomplished through SEM-EDX and FTIR spectroscopy. The analytical findings indicated that both mineral colours and plant extracts were sourced for Indian palm-leaf manuscripts. Analysis indicated the use of lamp black for black, indigo for blue, vermillion for red, orpiment for yellow, china clay for white and a mixture of orpiment and indigo for green coloration in the illustrations. The data has improved our knowledge of historic pigments used in palm leaf illustrations. As some of the pigments are either photosensitive or darken due to atmospheric pollution, necessary preventive conservation measures need to be adopted.
Zusammenfassung
Analyse von Pigmenten auf einem indischen Palmblattmanuskript aus dem 18. oder 19. Jahrhundert mit Hilfe von SEM-EDX und FTIR-Spektroskopie
In der vorliegenden Studie wurden Pigmente von Malereien auf einem indischen Palmblattmanuskript untersucht. In Indien wird in der Fachliteratur immer noch davon ausgegangen, dass diese Pigmente hauptsächlich aus Pflanzenextrakten gewonnen wurden. Dieser Beitrag beschreibt die Identifizierung von Pigmenten, die auf einem bemalten Manuskript von der Ostküste Indiens gefunden wurden. Da Raman-Spektren vieler dieser Pigmente ein zu hohes Hintergrundrauschen ergaben, wurden die Pigmente hauptsächlich mittels SEM-EDX und FTIR-Spektroskopie identifiziert. Aus den Analyseergebnissen geht hervor, dass für das untersuchte indische Palmblattmanuskript sowohl Pigmente mineralischen als auch pflanzlichen Ursprungs verwendet wurden. Die Farbpalette umfasste Lampenschwarz, Indigo, Zinnober, Orpiment, Tonerdemineralien und eine Mischung aus Orpiment und Indigo als grüne Farbe. Da es bei einigen der Pigmente aufgrund von Luftverschmutzung oder Lichteintrag zu Veränderungen kommen kann, müssen vorbeugende Konservierungsmaßnahmen getroffen werden.
Resumé
L’analyse et la caractérisation de couches picturales d’un manuscrit indien du 18ème ou 19ème siècle sur feuilles de palmier au moyen de la SEM-EDX et d’autres techniques
Nous avons étudié les pigments utilisés sur un manuscrit indien sur feuilles de palmier. La croyance précoce selon laquelle tous les pigments utilisés pour les illustrations sur feuille de palmier sont principalement extraits de plantes existe encore en Inde. Cet article traite de l’identification des pigments de feuilles de palmiers illustrées (des 18ème et 19ème siècles) collectés sur la côte est de l’Inde. Etant donné que les spectres RAMAN de nombreux pigments produisent trop d’interférences, l’identification a été réalisée principalement au moyen de SEM-EDX et de spectroscopie FTIR. Du point de vue des découvertes analytiques, on observe que le manuscrit indien analysé sur feuilles de palmier porte des couleurs minérales et des extraits de plantes. Des examens plus poussés révèlent l’emploi de noir de lampe pour le noir, d’indigo pour le bleu, de vermillion pour le rouge, d’orpiment pour le jaune, d’argile chinoise pour le blanc et de mélange d’orpiment et d’indigo pour la couleur verte des illustrations. Comme certains pigments sont sensibles à la lumière ou noircissent à cause de la pollution atmosphérique, des mesures de conservation préventive doivent être adoptées. Les résultats ont clarifé certaines croyances indiennes anciennes sur les couleurs employées pour l’illustration des feuilles de palmier.
About the authors
Dr M.R. Singh is Professor and Head of Department at National Museum Institute, New Delhi, India. He specializes in scientific analysis, improvement, synthesis and preservation of conservation materials as per ancient techniques. He is the author of six books and around 80 research papers in field of conservation in various national and international journals.
Ms Deepakshi Sharma is research fellow and an enthusiastic learner. She has completed PhD in conservation, from National Museum Institute New Delhi.
Acknowledgements
The authors are thankful to Dr. B.R. Mani, Vice Chancellor, National Museum Institute, New Delhi for his support in this investigation. We are also grateful to Dr. Aditya Kanth and Karche Tahseen for their help.
References
Anupan, S.: Indigenous methods and manuscript preservation India (Samraksika Series). Madras: Dk Printworld, 2006.Search in Google Scholar
Asmussen, C. B., Baker, W. J., Dransfield, J., Harley, M. M., Lewis, C. E., Uhl, N. W.: Genera Palmarum. The evolution and classification of palms. Royal Botanic Gardens: Kew, 2008.Search in Google Scholar
Bhattacharyya, B.: Palm-leaf manuscripts and their preservation. Indian Archives 1 (1947): 233–234.Search in Google Scholar
Burgio, L., Clark, R. J. H.: Library of FT-Raman spectra of pigments, minerals, pigment media and varnishes, and supplement to existing library of Raman spectra of pigments with visible excitation. Spectrochimica Acta Part A: Molecular and Biomolecular Spectroscopy 57 (2001): 1491–1521.10.1016/S1386-1425(00)00495-9Search in Google Scholar
Das, A. C.: Conservation of some non-book material in National Library, Calcutta. Conservation of Cultural Property in India 18 (1987): 14–21.Search in Google Scholar
Dyke, Y.: Sacred leaves: The conservation and exhibition of early Buddhist manuscripts on palm leaves. The Book and Paper Group Annual, American Institute for Conservation 28 (2009): 83–97.Search in Google Scholar
Edwards, H. G. M.: Analytical Raman spectroscopic discrimination between yellow pigments of the Renaissance. Spectrochimica Acta Part A: Molecular and Biomolecular Spectroscopy 80 (2011): 14–20.10.1016/j.saa.2010.12.023Search in Google Scholar
FitzHugh, E. W.: Orpiment and realgar. In: Artists’ pigment, A handbook of their history and characteristics, vol. 3, E. West FitzHugh (ed.), Washington: Archetype Publication, London National Gallery of Art, 1997: 47–73.Search in Google Scholar
Freeman, R.: Turning over old leaves: Palm leaves used in South Asian manuscripts. The Book and Paper Group Annual 24 (2005): 99–102.Search in Google Scholar
Garlotta, D., Doane, W., Shogren, R., Lawton, J., Willett, J. L.: Mechanical and thermal properties of starch-filled poly (d, l-lactic acid)/poly (hydroxy ester ether) biodegradable blends. Journal of Applied Polymer Science 88 (2003): 1775–1786.10.1002/app.11736Search in Google Scholar
Gupta, C. B.: Preservation of palm leaf manuscripts. Conservation of Cultural Property in India 7 (1974): 59–61.Search in Google Scholar
Hossain, K. M. Z., Ahmed, I., Parsons, A. J., Scotchford, C. A., Walker, G. S., Thielemans, W., Rudd, C. D.: Physico-chemical and mechanical properties of nanocomposites prepared using cellulose nanowhiskers and poly (lactic acid). Journal of Materials Science 47 (2012): 2675–2686.10.1007/s10853-011-6093-4Search in Google Scholar
Jeyraj, V.: Manuscripts in Tamil Nadu. Indigenous Methods and Manuscript Preservation 1 (2006): 143.Search in Google Scholar
Kumar, D. U., Sreekumar, G., Athvankar, U.: Traditional writing system in southern India—palm leaf manuscripts. Design Thoughts 7 (2009): 2–7.Search in Google Scholar
Mactaggart, P., Mactaggart, A.: A pigment microscopist’s notebook. England: Mac and Me Ltd., 1988.Search in Google Scholar
Meher, R.: Tradition of palm leaf manuscripts in Orissa. Orissa Rev Vol. January, 2009: 43–46.Search in Google Scholar
Penjumras, P., Rahman, R. B. A., Talib, R. A., Abdan, K.: Extraction and characterization of cellulose from durian rind. Agriculture and Agricultural Science Procedia 2 (2014): 237–243.10.1016/j.aaspro.2014.11.034Search in Google Scholar
Perumal, P.: Manuscript and manuscript libraries - A study. In: Tanjore Maharaja Serfoji’s Sarasvati Mahal library journal, vol. 34, Thanjavur: University of Michigan, T.M.S.S.M. Library., Tamil Nadu, 1984.Search in Google Scholar
Sah, A.: Palm leaf manuscripts of the world: material, technology and conservation. Studies in Conservation 47(sup1) (2002): 15–24.10.1179/sic.2002.47.Supplement-1.15Search in Google Scholar
Sahoo, J., Panda, K.: Organisational and preservation of manuscripts in museums. New Delhi: SSDN Publishers & Distributors, 2013.Search in Google Scholar
Schweppe, H.: Indigo and woad. In: Artists’ pigment, A handbook of their history and characteristics, vol. 3, E. West FitzHugh (ed.), Washington: National Gallery of Art, 1997: 80–107.Search in Google Scholar
Sharma, D., Dighe, B.: Chromatographic study on traditional natural preservatives used for palm leaf manuscripts in India. Restaurator 39 (2018): 249–264.10.1515/res-2018-0005Search in Google Scholar
Singh, M.: Microclimatic condition in relation to conservation of cave no. 2 murals of Ajanta. Current Science 101 (2011): 89–94.Search in Google Scholar
Spring, M., Grout, R.: The blackening of vermilion: an analytical study of the process in paintings. National Gallery Technical Bulletin 23 (2002): 50–61.Search in Google Scholar
Suryawanshi, D. G., Nair, M. V., Sinha, P. M.: Improving the flexibility of palm leaf. Restaurator 13 (1992): 37–46.10.1515/rest.1992.13.1.37Search in Google Scholar
Tawakkal, I., Talib, R. A., Khalina, A., Chin, N. L., Ibrahim, M. N.: Optimisation of processing variables of kenaf derived cellulose reinforced polylactic acid. Asian Journal of Chemistry 22 (2010): 6652–6662.Search in Google Scholar
van Eikema Hommes, M. H.: Discoloration in Renaissance and Baroque Oil paintings. Instructions for painters, theoretical concepts, and scientific data. PhD Thesis, University of Amsterdam, 2002, 16–46.Search in Google Scholar
van Eikema Hommes, M. H.: Discoloration in Renaissance and Baroque oil paintings. Instruction for painters, theoretical concepts, and scientific data. PhD Thesis, University of Amsterdam, 2002a, 109–114.Search in Google Scholar
Vermeulen, M., Nuyts, G., Sanyova, J., Vila, A., Buti, D., Suuronen, J.-P., Janssens, K.: Visualization of As (III) and As (V) distributions in degraded paint micro-samples from Baroque-and Rococo-era paintings. Journal of Analytical Atomic Spectrometry 31 (2016): 1913–1921.10.1039/C6JA00134CSearch in Google Scholar
© 2020 Walter de Gruyter GmbH, Berlin/Boston
