La peinture monumentale de l'Asie centrale soviétique : observations techniques

The sum of scientific data on Central Asian Painting recently brought to our attention by Soviet Archaeology is for the moment unequalled in Asia. Each fragment uncovered of mural painting on loess ground is strengthened by polymerisation with PBMA, before being removed from the wall and treated in situ or sent for further examination and restoration to Leningrad or Moscow where some samples from Adzina Tepe, Pendzikent (Tadjikistan), Afrasiab, Dal'verzin Tepe, Fajaz Tepe, Kara Tepe, Halcajan and Toprak Kala (Uzbekistan) and Mansur Depe (Turkmenistan) have been tested by chemical, spectrographic and chromatographic methods to determine the components of the pigments and the binding media of the ground and the paint. With few exceptions, due to the local particularities resulting from direct hellenistic influences or atmospheric conditions, the uniformity of the ground preparation techniques never allow datation of the murals. It is clear that the painters knew the prescriptions of the silpas. They apply strictly the four steps described for the execution of the murals: preparation of the ground, drawing, filling in with paint, outline. Conclusion drawn from these technical experiments challenge some earlier affirmations on Central Asian Painting and record for instance most of the time the lack of indigo and green colour, the use of ultra-marine for the antique period and the continuity of the loess ground or well-prepared subjectile tradition, as well as the presence of a binding medium in a paint always applied a secco.Lapierre Nathalie. La peinture monumentale de l'Asie centrale soviétique : observations techniques. In: Arts asiatiques, tome 45, 1990. pp. 28-40