Early Islamic pigments at Nishapur, north-eastern Iran: studies on the painted fragments preserved at The Metropolitan Museum of Art

• Published in: Archaeological and anthropological sciences Vol. 10; no. 1; pp. 175 - 195
• Main Authors: Holakooei, Parviz, de Lapérouse, Jean-François, Rugiadi, Martina, Carò, Federico
• Format: Journal Article
• Language: English
• Published: Berlin/Heidelberg Springer Berlin Heidelberg 01.02.2018; Springer Nature B.V
• Subjects: 12th century; Anthropology; Archaeology; Art galleries & museums; Black carbon; Calcite; Chemistry/Food Science; Earth and Environmental Science; Earth Sciences; Electron microscopy; Fluorescence; Fragments; Geography; Gypsum; Islam; Kaolinite; Life Sciences; Original Paper; Pigments; Scanning electron microscopy; Spectrometry; Spectroscopy; X-ray fluorescence; Early Islamic pigment; Nishapur; Alunite; Wulfenite; Jarosite; Phoenicochroite; Pyromorphite
• ISSN: 1866-9557; 1866-9565
• DOI: 10.1007/s12520-016-0347-7

Pigments appearing on ninth–twelfth-century AD-carved stucco, wall painting, and terracotta friezes excavated at Nishapur in north-eastern Iran were investigated by optical reflectance spectroscopy, micro X-ray fluorescence spectrometry (μ-XRF), X-ray diffractometry (XRD), micro-Raman spectroscopy (μ-Raman), and scanning electron microscopy (SEM). Many of the pigments identified including vermilion, red lead, hematite, limonite, carbon black, atacamite, calcite, and gypsum have been identified in previous studies of pigments used in later Islamic periods. However, a series of unusual pigments such as wulfenite, pyromorphite, phoenicochroite, and jarosite were also found in the present study. The association of kaolinite and alunite with limonite and other Fe-bearing yellow pigments points to a local provenance for these pigments. In addition, the presence of orpiment in the vermilion may be indicative that the vermilion was artificially manufactured. These findings suggest that pigment use and manufacturing during the ninth to eleventh centuries in Nishapur was still in a trial-and-error stage and the palette known from the twelfth century onwards had not yet been systematized.