On Painting Materials, Techniques, and the Conservation of Wall Paintings Across Eurasia

Abstract

Wall paintings are an immovable heritage and are therefore rarely subject to controversies regarding their authenticity. Each painting conveys an abundance of information through its materials, which may be both local and distant in origin. In the study of wall painting techniques, it is essential to take account of many aspects, such as the relationship between paint layers and supporting layers; layering techniques and optical effects; the nature and combination of pigment particles; painting application techniques and the tools used by ancient artists; and the state of conservation of paintings. Over the last decade, the scope of investigative techniques has increased greatly. These include the development of new analytical procedures that offer the retrieval of more accurate information from minute samples. The growth of international and transnational research bodies has also promoted more and better multi-disciplinary studies. Nevertheless, establishing a full understanding of wall paintings is difficult, as this may require travelling great distances to view them in rock cut-caves, temples and churches. In situ conservation is also extremely difficult, especially if sites are very remote and their paintings survive in poor condition. In the past, wall paintings were detached for display in museums outside their countries of origin, or they underwent treatments that have since caused further harm. Today, at sites such as China’s Mogao and Kizil grottoes, Yugoslavia’s built churches, and Cappadocia’s rock-cut churches, our single greatest challenge remains how best to preserve paintings in situ, while also keeping their contextual authenticity.