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Singh, Manager Rajdeo
- Calcite polymorphs in historic plasters of India’s arid region – execution technique, composition and characterization
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Authors
Affiliations
1 National Museum Institute, Department of Conservation, Janpath, New Delhi 110 011, India
2 National Research Laboratory for Conservation of Cultural Property, Sector-E/3, Aliganj, Lucknow 226 024, India
1 National Museum Institute, Department of Conservation, Janpath, New Delhi 110 011, India
2 National Research Laboratory for Conservation of Cultural Property, Sector-E/3, Aliganj, Lucknow 226 024, India
Source
Current Science, Vol 123, No 6 (2022), Pagination: 804-813Abstract
In this work, the microscopic observation of thin section was utilized to analyse the geological and fine morpho-logical features of the 16th century Amber fort lime plaster – a World Heritage site. FTIR, XRD and SEM photomicrographs showed the stabilization of different crystalline phases of calcite polymorphs. Chemical anal-ysis and SEM-EDX data revealed dolomitic limestone was probably sourced for plaster works. The high mag-nesium present in the raw material, the environmental conditions during the application, pH, etc. have stabilized calcite polymorphs in the plaster. The calcite meta-stable phases have undergone dissolution with time making the plaster weak. This has increased porosity, permeability, and resultant lowering of plaster’s mechanical strength. Thermal analysis and cementation index revealed use of non-hydraulic, binder-rich, air-lime for plaster works. The granulometric study showed the mixing of reddish-brown sand-size grains, and the aggregates were probably sourced from the same location for major construction activity. The low proportion of aggregates led to reduced mechanical strength, and the plaster is vulnerable to damage.Keywords
Arid regions, calcite polymorphs, decorative works, heritage structures.References
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- Singh, M., Vinodh Kumar, S., Waghmare, S. A. and Sabale, P. D., Aragonite-vaterite-calcite: polymorphs of CaCO3 in 7th century CE lime plasters of Alampur group of temples, India. Constr. Build. Mater., 2016, 112; doi:10.1016/j.conbuildmat.2016.02.191.
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- Comparative Study of Pigments Used in 16th–17th Century CE Tempera Mural Art from Malayadipatti and Adiyamankottai Temple, Tamil Nadu, India
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PDF Views:36
Authors
Affiliations
1 Department of Conservation, National Museum Institute, Janpath, New Delhi 110 011, IN
2 Department of Tourism Administration, Dr Babasaheb Ambedkar Marathwada University, Chhatrapati Sambhaji Nagar 431 004, IN
3 Conservation Research Laboratory, Ajanta Caves, Archaeological Survey of India, Padmapani Bhawan, Dr BAMU Campus, Aurangabad 431 004, IN
4 Department of Advanced Instrumental Research Facility, Jawaharlal Nehru University, New Delhi 110 067, IN
1 Department of Conservation, National Museum Institute, Janpath, New Delhi 110 011, IN
2 Department of Tourism Administration, Dr Babasaheb Ambedkar Marathwada University, Chhatrapati Sambhaji Nagar 431 004, IN
3 Conservation Research Laboratory, Ajanta Caves, Archaeological Survey of India, Padmapani Bhawan, Dr BAMU Campus, Aurangabad 431 004, IN
4 Department of Advanced Instrumental Research Facility, Jawaharlal Nehru University, New Delhi 110 067, IN
Source
Current Science, Vol 125, No 8 (2023), Pagination: 853-864Abstract
Eight micro-samples from mural paintings of Malayadipatti and Adiyamankottai temples in Tamil Nadu, India were studied using binocular microscopy, thin film crystal X-ray diffraction, X-ray fluorescence, Fourier transform infrared spectroscopy, micro-Raman spectroscopy and field emission scanning electron microscopy to understand the original constituent materials of the pigments, binders and the methods of painting. Red paint had a mixture of cinnabar and hematite. The yellow colour resulted from orpiment. Orange hues were produced a mixture of orpiment and hematite. Grey colour was produced by a mixture of calcium carbonate and manganese dioxide. Black tones were prepared primarily using lamp black. The minerals used in both the temples were nearly identical. The appearance of proteinaceous materials/oils as a binding medium in all samples indicated the use of a tempera wall painting technique. These findings help improve our understanding of the methods and materials used in mural arts and serve as a guide for their future restoration.Keywords
Art Restoration, Binders, Mural Paintings, Pigments.References
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