These 3 shq, , Favāyed ol-khotut), The research methodology The research methodology Finally, the third technique was The objective of the present research of the present The objective the materials was to identify Persian used in and techniques and manuscripts illuminated its major and miniature to Indo- compared significance paintings. Iranian and Mughal approaches. was based on three of a series of The first consiste out with the interviews carried and India. The artists from masters such traditional Iranian as: Saniʿei, Jazizadeh, Takestani, these artists. Harati were among was historical The second method the Persian analysis, by collecting and treatises historical documents on the recipes and techniques from Timurid, Safavid, and Qajar survey periods. During the historical the historic documents, including over 30 historical treatises (such as Golzār-e safā, Ādāb ol-ma Resāle dar bayān-e khatt-e morakkab va hall-e alvān were collected and studied. sources are related to the materials sources are related to the materials and used in the art of bookmaking the from the Timurid to Qajar period, such as different paper techniques of making dyes for used colouring, pigments and dyes as paint, binding mediums, sizing materials, burnishing techniques, and so on. All the recipes were the collected and categorized and information was used as the basis for our scientific analysis. Historical for data on techniques was collected the most commonly recommended dyes, sizing materials, pigments, etc. that may have had a major role in the stability of the Persian paintings as a case study for further analytical research. the scientific analysis from original samplesselected from Irān-e Bāstān Museum, private collectors and traditional artists. The Safavid miniature paintings in the Irān-e Bāstān Museum collection, primarily from Iran and India, include a wide range of dates and styles. A representative selection of paintings was chosen for analysis of the 1 2 Mandana Barkeshli Mandana Analysis of Iranian Iranian of Analysis Historical and Scientific Scientific and Historical During the historical survey over 30 Scientific analysis to reveal the materials and Miniature Paintings and Miniature Illuminated Manuscripts Manuscripts Illuminated Persian historical treatises from the fifteenth to the nineteenth centuries (i.e. from the Timurid through to the Qajar period) were collected and studied. All the recipes from these treatises were categorized and the information was used as the basis for scientific analysis. used in different paint layers of Persian miniature paintings was carried out. For this task, twelve selected illuminated manuscripts, miniature paintings and paint boxes from the sixteenth to late nineteenth century were collected. For comparative analytical research, an Indo-Iranian miniature painting, as well as two paintings belonging to the Mughal period were also collected and added to the samples as the references. The present study aims to identify the The present study aims to identify the materials and techniques used in Persian illuminated manuscripts and miniature in paintings and its major significance Mughal comparison with Indo-Iranian and was paintings. The research methodology based on oral interviews with traditional masters, historical analysis and scientific analysis.

Golestān-e Honar 16, summer 2009 8 Historical and Scientific Analysis ... 9

6 8 Century th It is a study of the It is a study of and 15 7 th Some scholars did extensive Indo-Persian technical literature Indo-Persian technical to the nineteenth from the twelfth treats the materials century which paintings based on used in Persian some of the Persian recipes; however from the sources originated mostly of India. Scattered works, some were which are quite significant, published in Iran, India, Pakistan, and , and elsewhere. They provide us with some information relating to the subject. However, the most of these works emphasise pigments and dyes used in different forms of art such as wall paintings, and the fabric paintings, oil paintings of like. “Examination and Analysis Wall Paintings” and “Identification of Natural Red Dyes in Old Indian Textiles” by O. P. Agrawal; materials “Scientific Investigations of Used in the 14 research and laboratory work on specific pigments. Although such works have a background in pure chemistry, the results are valuable when it comes to the interdisciplinary field of conservation which requires as much artistic and aesthetic sense as it needs the support and minute scientific approach. Gettens, Khun, Plesters, FitzHugh, Schweppe, background. Three years later, Three years background. work by Elisabeth a scholarly “Study entitled West FitzHugh paintings on selected of pigments appears Vever collection” from the and Illustrated in An Annotated Vever collection. Checklist of the Cloth Paintings” by B. N. Tandon; Cloth Paintings” by B. N. Tandon; “Conservation, Technical Studies of Scroll Paintings” by A. R. Shah; “Conservation of Indian Miniature Paintings, Prints and Water Colours” by S. Subbaraman; and many other works are among scholarly efforts in the field of pigments, dyes and conservation of the works of art. In this work, she has undertaken a In this work, she pigment study scientific comparative originating of miniature paintings Iran, and Iraq. from Egypt, India, work by Yves Porter Six years later a and Books entitled Painters, Paintings was published. . As can 5 The references and 4 There are very few serious works The materials used in the The materials used sources are somewhat neglected until 1980s. “A technical analysis of materials” in 1985, is a work that appears after a gap of almost forty years. Study Background Review Study Background occupy Indian and Persian paintings of an important place in the realm Asian Art. In this regard, numerous books articles have been published, albums were compiled and attractive by and reproductions were prepared so on. museums and art centres and of these A quick glance over the bulk of sources reveals that the majority from them have been put together Few an art historian’s point of view. sources mentioned have touched on the areas of painting techniques and the materials used. on the materials used in Persian and Indian miniatures. The earliest work that I have come across during my survey was published by A. P. Laurie in 1935. materials used in these paintings. used in these materials and one painting One Indo-Iranian tenth and painting from Mughal sixteenth century AH/ eleventh AD were century and seventeenth of pigments Different types selected. from traditional were also collected identification. artists for analytical paints and pigments Samples of the from a beautiful were also collected paint box artistic illuminated period (tenth belonging to Safavid century AD) century AH/ sixteenth study. for scientific comparative paper fibre, paintings including ground layer sizing materials, analysed for and pigments were materials identification. All the colours were sampled from each painting and paint palette under study. A complete record of the paper fibre, sizing materials, its presence of ground layer and nature, and pigment identification has been provided in Table 2-5. It also indicates the identification methods used in each case be expected, this work emerges from a more scientific and technical ) and bum-e

10 ), dying paper bum-e talā), silver shān), green verdigris ), decorated papers (marble A variety of supports mentioned A variety of supports mentioned Preparation of the paint layer The preparation of support layers The preparation of support layers in these oral and historical sources in these oral and historical sources have already been identified and documented by the author. Briefly the supports that can be found in these two sources are: card board (moqavvā paper, abri paper), ground works such as gold ( (noghre-push), gold powdered (bum-e zarnegar, zaraf (bum-e zangāri), marcasite (bum-e marghash) and gold marcasite ( zarak). and the variety of pigments and dyes have also been discussed and documented by the author based article to give them the attention that article to give them the attention they deserve. has been discussed in these sources in different subjects such as: paper making (kāghaz sāzi (gune kardan), sizing (āhār zadan burnishing (mohre kardan). These topics have already been analysed by historically and scientifically in the author and are published international journals. . The present study is 9 Oral and Historical Analysis Oral and Historical Review During the first and second stages, the oral interviews with the Iranian traditional masters and the historical survey from historical recipes, the author collected valuable oral information, historical documents and a number of treatises relating to the recipes for materials used in the art of the book and miniature painting that were documented during the Timurid, Safavid and Qajar periods. The author has only included a small number of these references within the present paper since this group of sources and references would require an entire and Winterare the figures whom and Winterare the figures whom we come across more than once, while going through the published of sources on the scientific studies pigments. based on oral traditional knowledge, based on oral traditional knowledge, historical literature of the fifteenth and to nineteenth centuries Persian Indian treatises as well as laboratory works from original samples

th th 4555 4535 Mughal Museum, Museum, miniature miniature Fig. 1. (left) (left) Fig. 1. century AD, century Indo-Iranian Indo-Iranian checklist no. checklist no. checklist no. Century AD, Century painting, 16 painting, 17 Irān-e Bāstān Irān-e Bāstān Irān-e Bāstān Fig. 2. (right) Fig. 2. (right)

Golestān-e Honar 16, summer 2009 10 Historical and Scientific Analysis ... 11

th

th

th Fig. 3. (left) Fig. 3. miniature Safavid painting, 16 century AD, century private collection Tavoosi, of M. checklist no. 21 century AD, century private collection Atiqi, of M. checklist no. 19 Fig. 5. (right, down) Safavid paint box, 16 century AD, century private collection Atiqi, of M. checklist no.13 Fig. 4. (right, up) Safavid , 16 Twelve selected illuminated Scientific Analysis Review We find that several analytical methods have been used for the identification of different components of a miniature painting viz. support, pigments, sizing material, etc. For analyzing the materials of paintings, an important consideration is that the method should be non-destructive. manuscripts, miniature paintings and paint boxes ranging from the sixteenth to late nineteenth century were collected. For comparative analytical research an Indo-Iranian miniature painting as well as two paintings belonging to the Mughal period were also collected and added to the group of samples as references (See figs. 1-5). ). serishom-e serishomi ). ) and secondary colours jesmi), transparent colours ). The preparation of the brush is In these sources binding medium In these sources binding medium another subject that is thoroughly discussed by these sources. They identify hair from squirrel’s tails and hair from cat’s tails as the main sources for making brushes. From some of these sources one can find the technical application of the materials used in the art of the book making and miniature painting as well. The pigments have also been divided The pigments have also been into two categories: primary colours (mofradāt (morakkabāt (bast) is also discussed and is divided into two sources: vegetable source (gum arabic or samgh-e arabi) and animal source (fish glue or māhi entirely on the oral and historical entirely on the oral and historical sources. The paint layer can be opaque divided into the categories of colours ( (ruhi), resinous colours (

12 khat , dameshqi, ghaz-e alvān, , harir-e bangāle The quality of 11

in the sixteenth 13 Resale dar bayan-e tariq-e bayan-e dar Resale khat mokhtāri-ye amol Calligraphers should use good quality of paper. All types of paper from different places are experienced and the best are samarqandi, baghdādi AD, as follows: th century as follows: “Good quality of paper is the one which is white, soft, crisp, smooth and even”. Recommended papers are also in mentioned sākhtan-e morakkab va ka 16 paper is described in Rasm ol- which the entire population was which the entire population was engaged in paper-making. For Yāqut instance, during the period of (sixth and seventh Centuries AH) there was a city actually called Kāghaz-konān, which literally means city of paper producers, located between Marāghe and Zanjān that was very famous for producing quality paper. Interestingly, almost everyone in that city was engaged in paper production. and Savād ol- For the identification of the layers, For the identification of the layers, The analysis of materials was The analysis of materials was 1. Support Layer 1-1. Paper Fibre Analysis Historical Iran was considered one of the most important centres of paper- making and it also acted as a bridge, transferring the art of paper-making from the East to the West. This art had become so popular throughout Iran that there were some cities in the following were examined and the following were examined analysed: 1) Support layer (paper ground fibre and sizing materials); 2) layer; and 3) Surface layer (pigments and dyes). carried out at the Research Centre for Conservation Cultural Relics (RCCCR) in Iran, Institute of of Standard Industrial Research Iran (ISIRI), National Research Laboratory for Conservation of Cultural Property (NRLC) in India and the Indian Conservation Institute (INTACH). paper fibres produced by produced by iodine stains in iodine stains Table 1. Colour 1. Colour Table case of historical case of historical

Golestān-e Honar 16, summer 2009 12 Historical and Scientific Analysis ... 13

th th Table 2. Paper Table comparison on Safavid, Indo-Iranian and Mughal miniature paintings Fig. 6. (right) Morphology of paper leaf, Indo- Iranian miniature painting, 16 AD, Irān-e Bāstān Museum, checklist no. 4535 AD, Irān-e Bāstān Museum, Checklist no. 4555 Fig. 7. (left) Morphology of paper leaf, Mughal miniature painting, 17 A large collection of authentic A large collection of authentic The colours produced by iodine of the Herzberg stain and to differentiate between cotton and linen. In addition to staining method, of the observation of the morphology of fibres was helpful in identification paper fibres. fibres was prepared for comparison with the samples. The optical appearance of the fibres, on a microscope slide, was observed in plane polarized light (polarized microscope, Games swift, England, MP 3502) and wild zoom stereomicroscope (wild M 8200 m stereo microscope with low inclined trinocular tube and with wild 35 mm magazine). stains in the case of historical paper fibres are shown in table 1. Table 2 provides a complete record of the fibres found and indicated

, 16 , ,

15

14 ostekhari-e dameshqi. These and papers can be trusted but the other types of papers are mostly brittle, absorbent and not permanent. , Farangi. The Herzberg stain was chosen for general analysis. The Wilson stains were used to confirm results Briefly the variety of papers with Briefly the variety of papers in good quality that are mentioned these sources and other sources Scientific Analysis Scientific The identification of fibres was carried out by the application of stains and morphological methods. can be listed as: Dowlatābadi-ye baste Samarqandi, Ostekhāri, Baghdādi, Dameshqi, Mokhtāri, Khatāyi, Hariri-ye samarqandi, Qanni, Ādelshāhi, Ja’fari Jeyhāni, Khānbāleq, Khorāsāni, Khonj, Dehqāni, Soleymāni, Sheytāni, Talhi Feruni it ), ), kind ), juice of sweet 18 ), animal glue; serish). lo’āb-e khatmi lo’āb-e tokhm-e

If a paper has deep turquoise colour and it is difficult to write on, the advice is to apply either sweet melon juice (āb-e karboze), or syrup of Egyptian rock sugar (āb-e nabāt-e mesri) or myrtle extract (āb-e mord) with mucilage of fleawort seed (aspghul) and mucilage of oil free cooked rice (lo’āb-e berenj). All these materials make paper strong and if paper is burnished it becomes smooth like a mirror. The sizes were not only used cucumber seeds ( khiyār), Fruit juices/syrups; grape syrup (shire-ye angur melon (āb-e kharboze fish glue (serishom-e māhi), vegetable glue; gum arabic (samq-e ’arabi of vegetable glue ( in pure form but also occasionally depending on the types of paper, In mixed sizes were also practiced. Resale dar bayan-e khat va morakkab is advised: of marshmallow ( Scientific Analysis Scientific The scientific analysis that has been carried out to identify the . ), plant mucilage; Sizing materials from 17 Our investigation revealed that Our investigation revealed that rice (lo’āb-e berenj), fleawort seed (aspghul, esfarze, quitona), mucilage proteinaceous materials including animal glue; starches from rice or wheat; vegetable gums; mucilage of plants and seeds; fruits and sugar were mentioned. The sizes that the author has identified from the historical sources are: starches; wheat (neshāste-ye gandom) and rice (neshaste-ye berenj 1-2. Sizing Material Analysis Historical According to Persian historic treatises, a variety of sizing materials were used during the Timurid to Qajar periods, and they have already been identified and published by the author. the raw materials used for the the raw materials used for the were manufacture of paper in India mostly cotton and hemp, whereas in Iran paper was invariably made of from fibres of flax in the form added linen rags, with hemp fibres on occasion (See figs. 6 and 7) identification methods used in each identification methods used in case. Table 3. Table paintings miniature on Safavid, and Mughal Indo-Iranian Identification of Sizing materials

Golestān-e Honar 16, summer 2009 14 Historical and Scientific Analysis ... 15 Fig. 8. (right) Fig. 8. Microscopic of examination paint, Safavid miniature painting, ground layer was not observed, 15 checklist no. (40x magnified) Fig. 9. (left) Cross section of paint, Mughal miniature painting, ground layer was observed, checklist no. 17 (40x magnified) Preparing cross 24 extensively used compared to other extensively used sizing materials. sections was only possible for one of the paintings selected. Stereomicroscopy was carried out with Model wild M8 zoom stereo provided with a camera attachment. Identification of material used in the ground layer of Indian miniature painting was carried out by FT-IR (Fourier Transform infra- red) spectrometer analysis with a Nicolet, Model 510 P instrument. Identification of the material on 2. Presence of Ground Layer 2. Presence of Ground Analysis Historical next According to Indian sources the layer after preparing the support layer was sizing and burnishing, In a layer called the ground layer. Indian Mughal miniature painting before applying paint on the paper, the sketch was prepared by the master artist on the smooth surface of the paper in light or reddish- brown ink. This primary sketch was drawn in soft lines suggesting only the outlines of the figures. bold, These were later corrected and accurate, hard lines were drawn. A coat of white pigment known as ground layer was applied to obliterate the incorrect lines. In not Persian historic treatises we did find any evidence that the ground layer was applied on the support layer. layer before the paint surface Analysis Scientific The presence of a ground layer was detected by microscopic examination.

22 19 Tragacanth 23 spectrometer 21 and FT-IR 20 Table 3 provides a complete Unlike the Indians who used paper has already been identified paper has already by the author. and published sizing materials used in Persian sizing materials analysis. Starch was also detected analysis. Starch was also detected in paper by the formation of the a characteristic blue colour when dilute aqueous solution of iodine- potassium iodide was added. ), though it was not mentioned (katirā), though it was not mentioned was in historic treatises under study, since added as our analytical sample it was recorded in scientific reports. Red) FT-IR (Fourier Transform Infra- with spectrometer was carried out a Nicolet, Model 510 P instrument provided with a microscope attachment. Sample preparations were carried out by mixing KBr, the and the unprepared sample in ratio of 100:1. Identification of the sizing materials in the sample is obtained by comparing the infrared spectrum with reference spectra or by recognizing specific bands. record of the sizing materials found and indicates identification methods used in each case. limited sizing materials to improve the mechanical strength and to smoothen the surface, Iranians used various materials in the sizing process. According to our investigation cucumber seeds were Sizing materials were identified by Sizing materials staining Large collections of sizing materials Large collections of sizing materials mentioned above were prepared from based on our historical survey historical treatises, for comparison with the samples by FT-IR spectrometer analysis. : ) and ) are white explains the ).

) are face colour , carmine kerm- , red and brown earth/ , indigo/ nil ), black ), green (verdigris/ , sliver/ noqre, brass/ morakkabāt Take some pieces of lead and place it in a big vessel. Heat it on fire till the lead melts. During the whole process, cover the vessel. After

In Indian paintings, a ground paintings, a In Indian According to these sources On the other hand the secondary Referring to historic sources we technique for making lead white (sefidāb-e sheykh) as follows layer found and indicates the and indicates layer found identified. materials present almost always layer was the Iranian paintings, while in applied. layer was seldom ground of the fact This gives an explanation of paint is very much that the flaking Indian miniatures more evident in miniatures (See figs than in Persian 8-13). 3. Pigment Analysis Historical treatises According to classical classified in two the colours were (mofradāt categories: Primary secondary (morakkabāt primary colours (mofradāt (lead white/ sefidāb, tin white/ esfedāj-e hal), yellow (orpiment/ zarnikh, rhubarb/ rivand), red (vermillion/ shanjarf, red lead/ kh, soranj, red orpiment/ zarnikh-e sor safflower/ mo’asfar e-qermez, qermez-dāne, lac lak, brazil wood/ baqam okhr va omra zangār), blue (lapis lazuli/ natural lajevard and artificial ultramarine/ lajevard amali (lamp black/ dude) and metallic (gold/ talā talq). berenj and copper/ mes, mica/ colours ( (red lead + white), elephant colour light (green or blue + lamp black), brown (yellow ochre + black), deep green (lamp black + indigo and rhubarb), purple (lapis lazuli + vermillion) and turquoise (ultramarine +green). can identify different techniques in the making of pigments and dyes and the types of binding medium advised by the masters for particular paint and purposes. For example Syerafi in Golzār-e safā the ground layer is obtained by comparing the infrared spectrum with reference spectra or recognizing specific bands. Table 4 provides the record for the presence of ground Fig. 11. Fig. 11. Fig. 13. Fig. 12. Fig. 10. painting, painting, painting, painting, layer was layer was miniature miniature miniature miniature magnified) magnified) magnified) magnified) Indo-Iranian Indo-Iranian Microscopic Microscopic Microscopic Microscopic Microscopic checklist no. checklist no. checklist no. checklist no. checklist no. (up to down) (up to examination, examination, observed (6x observed (6x examination, examination, examination, layer was not layer was not 4555, ground 4555, ground 4535, ground 4535, ground 4535, ground to presence of observed (12x part of Mughal part of Mughal part of Mughal off the paint due off ground layer (6x observed, flaking

Golestān-e Honar 16, summer 2009 16 Historical and Scientific Analysis ... 17

th Table 4. Table Presence of ground layer on Safavid, Indo-Iranian and Mughal miniature paintings Fig. 14. Part of Safavid illuminated manuscript, 17 century AD, century private collection Atiqi, of M. checklist no.12 common on 27 Indian yellow, on the selected paintings come on the selected paintings come from a variety of sources. Some are artificially prepared inorganic are materials like verdigris. Some which naturally occurring minerals, were ground to produce powdered pigments, such as ultramarine. Others, such as cochineal, are organic pigments or dyes from animal or plant sources. The palette of the paintings is wide. Many of the colours were produced by a single pigment; others are a mixture of two or more colorants. Indian paintings, was not found on Persian paintings. Orpiment (zarnikh) and rhubarb (rivand), are much more widely used on Persian paintings than on those of India. Figure 15 shows the microscopic image of Indian yellow found in Mughal miniature painting of checklist no. 4535.

26 25 Moisten sefidāb with water. Pass it through a clean fine cloth. If it is required to use it on paper, add gum-arabic. For other purposes mix it with egg-white. the lead is melted wash it with the lead is melted vinegar (serkeh) and sal-ammoniac (naushadur). When it is rubbed and pulverized finely, wash it thoroughly till you get pure safeedab. In this way lead white is produced. century of check list no.12 that Al-Kashfi explains the types of Table 5 provides a complete th its pigment identification was also under investigation. Table 6 shows the pigments identified from selected Indian and Persian miniature paintings from the Vever Collection. By comparing tables 5 and 6, it can be noted that the pigments used binding medium used with lead binding medium used with lead white as follows: record of the pigments collected from traditional artists and selected paintings from Irān-e Bāstān Museum and indicates the identification method used in each case. Figure 14 shows part of Safavid illuminated manuscript belonging to 17 Scientific Analysis Scientific Pigment identification was carried out in different techniques as follows: microscopical analysis, microchemical analysis, FT-IR XRD (Fourier transition infra red), (x-ray diffraction), UV (ultra violet lamp).

30

th By comparing tables 5 and 6 it By comparing tables 5 and 6 it In many cases historical can be noted that verdigris appears can be noted that verdigris appears than to be more common on Persian to on Indian paintings. According previous extensive investigation done by the author based on historical survey and analytical research, it has been discovered that Zangār was used in Iran as a green pigment and mixed with the saffron as an inhibitor to prevent destructive mechanism of verdigris. Conclusion As is expected, the materials and Indo-Iranian early in used techniques paintings were similar to those of the Safavid tradition. However, according to our investigation it seems that within the space of one In India, on the other hand, there In India, on the other hand, there is no evidence of mixing saffron with verdigris or with any other pigments. descriptions based on historical treatises and documents correlate well with what has been found on the paintings; the description, however, mentions some pigments that were not found in this series of paintings. Figures 16 and 17 shows two samples of microscopic images of pigments found in paint palette check list no. 51 belonging to 16 century of Safavid period.

29 has indicated that 28 The greens are said to be E. FitzHugh In the series which we examined, terrre verte, the natural green stone (sabz-e silu), was not identified either. According to our investigation, silu, a term used by the Persian artists from describing earth green, is mainly a mixture of blue and yellow, a deep green colour shade however to make a definite statement on this fact it needs more further study. malachite or verdigris, but the malachite or verdigris, but the by yellow-blue mixture described early writers turns out to be much more common. Orpiment-indigo ) and ultramarine-rhubarb (rivand are mixture used to produce green much more widely used on Persian paintings than on those of India. terre verte was not identified on any painting in the series, nor has it been found on other Indian paintings.

th 4535 Fig. 15. miniature analysis of on Safavid, checklist no. Century AD, AD, Century painting, 17 identification paint, Mughal Microscopical Indo-Iranian and Table 5. Pigment Table Mughal paintings

Golestān-e Honar 16, summer 2009 18 Historical and Scientific Analysis ... 19

th th Table 6. Pigment Table identification on selected paintings from Vever the collection Fig. 16. (right) Microscopical analysis of paint, Safavid paint palette, 16 Century AD, AD, Century checklist no. 51 Fig. 17. (left) Microscopical analysis of paint, Safavid paint palette, 16 AD, Century Checklist no. 51 In the case of sizing materials, sixteenth century Safavid painting sixteenth century Safavid painting paper was invariably made from fibres of flax in the form of linen rags, with hemp fibres added on occasion. unlike the Indians who used limited sizing materials namely starch paste to improve the mechanical strength and to smoothen the surface, Iranians during the Safavid period used various materials for the sizing process. According to our investigation cucumber seeds were extensively used comparing to other sizing materials. From the support layer we found the different sources of cellulose fibre based on the availability of the materials. According to our investigation the raw materials used for the manufacture of paper in India based on our sample from seventeenth century Mughal paintings were mostly cotton and hemp whereas the paper used in our early Indo-Iranian painting and century the materials and techniques century the materials and techniques changed and found their own new identity, integrating native materials and techniques in different layers of miniature paintings. (Art (Art AD. th . az, morakkab va morakkab ghaz, AH/ 16 th (Art University , KL Malaysia, 2001-2002, . Tehran: Iran Parliament th AH/ 15 ghaz-e alvān. 10 Resale dar bayan-e tariq-e sākhtan-e Resale dar bayan-e kā bayan-e dar Resale th , 9 “Stability of SAffron Used in Verdigris in Used SAffron of “Stability “The Presence of Saffron Traces in Traces Saffron of Presence “The Paper Japanese Traditional “Using Persian in Saffron of Presence “The and Rashmi Tiwari. “Examination “Examination Tiwari. Rashmi and Analysis of “Methods Barkeshli. M. and as an Inhibitor in Persian Miniature Paintings”. in: Restaurator 23:154-164 (2002), issue dedicated to the 13th ICOM Committee for Conservation Meeting, Rio de Janeiro, 22-28 September, 2002, pp.154-164. Green Verdigris Pigment”. India: IASC, 1997. Green Verdigris Pigment”. India: IASC, Also Published in Persian in: Honar Nameh University Journal, Tehran, Iran, 1997). a Making Technique in the Restoration of of the Thirteenth Century Iranian Manuscript in: Holy in Spiders and Wallpapers”. Proceedings of the International Seminar on Japanese Paper Conservation, Tokyo, Japan, 14-20 December 1998, pp. 98-112 Miniature Paintings and Its Preventive Role for the Destructive Effect of Verdigris”. in: ICOM Committee for Conservation Journal, 12th Triennial Meeting, Lyon, France, 1999. Also published in: National Muséum Journal pp. 489-494. in: Honar Nameh Journal, Tehran, Iran, 1999). and analysis of wall paintings: A review of and analysis of wall Property techniques”. in: Conservation of Cultural in India, Vol. XXII (1989). Manuscripts and in Conservation of Books, Lucknow: Indian Council Paper Documents”. (INTACH), 1997, of Conservation Institute Also published in: pp. 275-277 and pp.279. Indian Council of Hindi translation, Lucknow: (INTACH), 2001, pp. 228- Conservation Institute 231 and pp.233. Anonymous. hall-e alvān Library, manuscript nos. 1 and 4767. Anonymous. morakkab va kā .ـــــــــــــــــ .ـــــــــــــــــ .ـــــــــــــــــ .ـــــــــــــــــ .ـــــــــــــــــ .ـــــــــــــــــ :References “Identification P. and B. V. Kharbade. Agrawal O. Textiles: Red Dyes in Old Indian of Natural of Thin Layer Chromatographic Evaluation Journal of Chromatography System”. in Malek National Library, manuscript no. Tehran: Malek National Library, manuscript no. 2870. Feller Baer, Norbert, Abraham Joel, Robert,L. Artist’s and Norman indictor. “Indian Yellow, in and Pigment; a Hand Book of Their History Characteristic”, ed. Robert L. Feller. Washington of D.C. and Cambridge, Mass.: National Gallery vol. 1. Art and Cambridge University Press, 1968, Barkeshli, Mandana. “Preparation of Green Copper-based Pigments according to Persian Historical Manuscripts”. India: IASC, 1996. Also published in Persian in: Honar Nameh University Journal, Tehran, Iran, 1996). In the next layer on Mughal layer on Mughal In the next In the case of the final layer, In the case of the through our laboratory research we through our laboratory of the pigments found that some common in and dyes that were early Indo-Iranian the Safavid and not used and were paintings were , not practiced in as an such as the mixing of saffron inhibitor to prevent the destructive why effect of verdigris. This explains most of green verdigris pigments used in Mughal miniature paintings are damaged by the destructive green effect of verdigris whereas the verdigris used in Safavid miniature due paintings are in good condition to the buffering property of saffron the and its preventive measure. On other hand Indian yellow, common found on Indian paintings, was not at all on Persian ones. Orpiment (zarnikh) and rhubarb (rivand), are much more widely used on of Safavid paintings than on those said Mughal. The greens have been the to be malachite or verdigris, but by yellow-blue mixture described early writers turns out to be much more common. Orpiment-indigo and ultramarine-rhubarb (rivand) mixture used to produce green are much more widely used on Safavid paintings than on those of Mughal.□ paintings, a ground layer was almost was almost a ground layer paintings, Safavid and present while in always the paintings, early Indo-Iranian applied. layer was seldom ground the the fact that This explains is more evident in flaking of paint than in Persian Indian miniatures miniatures.

Golestān-e Honar 16, summer 2009 20 Historical and Scientific Analysis ... 21

th . 16 , vol. khāri khāri. Ādāb AD. Tehran: Tehran: AD. th , 11 (1966). Khat va morakkab AH/ 16 AH/ th , 1985. Honar-e ketāb-ārāyi dar ketāb-ārāyi Honar-e (the art of bibliography in (the art of . New Delhi: Monohar publications, . New Delhi: Monohar . Tehran: Central Library of Library Central Tehran: ol-khat. Rasm . 10 ol-khat. Savād

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