Non-invasive analytical campaigns carried out on several Mesoamerican codices pointed to the presence of a blue dye (and associated hybrid pigments) different from Maya blue, the most widespread blue painting material used in artistic and cultural products in Mesoamerica. The scientific and historical literature suggests that the dye is chemically related to commelinin, an anthocyanin extracted from the blue petals of Commelina species. UV-visible and FTIR reflectance spectroscopy have been used to identify the spectral markers of the petals’ extract, and its hybrid pigments, for non-invasive identification. Furthermore, since some Commelinabased painted areas appear highly faded and degraded, artificial ageing tests were performed on laboratory mock-ups to investigate this phenomenon. Spectroscopic and colorimetric analyses were performed to follow the degradation process upon light exposure. Preliminary results indicated that different techniques for colour preparation were employed by the codices’ painters. These technologies are most probably responsible for the different extent of degradation observed by experiment.
David Buti, C.G. (2023). Evidence of the Use of a Dye Chemically Related to Commelinin in Mesoamerican Codices. Oxford : Archetype Books.
Evidence of the Use of a Dye Chemically Related to Commelinin in Mesoamerican Codices
Davide Domenici;
2023
Abstract
Non-invasive analytical campaigns carried out on several Mesoamerican codices pointed to the presence of a blue dye (and associated hybrid pigments) different from Maya blue, the most widespread blue painting material used in artistic and cultural products in Mesoamerica. The scientific and historical literature suggests that the dye is chemically related to commelinin, an anthocyanin extracted from the blue petals of Commelina species. UV-visible and FTIR reflectance spectroscopy have been used to identify the spectral markers of the petals’ extract, and its hybrid pigments, for non-invasive identification. Furthermore, since some Commelinabased painted areas appear highly faded and degraded, artificial ageing tests were performed on laboratory mock-ups to investigate this phenomenon. Spectroscopic and colorimetric analyses were performed to follow the degradation process upon light exposure. Preliminary results indicated that different techniques for colour preparation were employed by the codices’ painters. These technologies are most probably responsible for the different extent of degradation observed by experiment.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.