Electron and Optical Microscopy of Prehispanic Mural Paintings
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ELECTRON AND OPTICAL MICROSCOPY OF PREHISPANIC MURAL PAINTINGS Diana Magaloni*, Miguel Aguilar** and Victor Castaflo** *E.N.C.R.M.-I.N.A.H.-S.E.P., Ex-convento de Churubusco, Coyoac'n, Mexico D.F. **Instituto de Flsica, U.N.A.M., AP. 20-364, Mexico, D.F.
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ABSTRACT In 1984, archaeologists discovered an important group of mural paintings at the site of Cacaxtla, Mexico. Research has been undertaken to analyze the Prehispanic pigments and the painting techniques employed in these paintings. The present work is focused on the use of colors in these paintings by means of optical microscopy (OM) and transmission electron microscopy (TEM). The stratigraphic structure of painting layers support the presence of an organic binding media. In addition, Maya blue is for the first time described physically by TEM. INTRODUCTION Mural paintings are a fundamental cultural expression of the most advanced Mesoamerican civilizations, as are frescos in Roman culture and the Italian Renaissance, or murals in Egyptian and Hindu cultures. These works were created to express important religious or philosophical values; they constitute the mental, artistic and technical testimony of the people who produced them and are a significant legacy for all mankind. The mural paintings of the "Red temple" were discovered in 1984 at the archaeological site of Cacaxtla. These paintings are considered to be one of the most outstanding examples of pictorial art in Mesoamerica. They present a vivid representation of the mythology of the man and of the gods who created the universe, according to Prehispanic thought (1). The paintings belonged to the Classical period which dates to between 500 and 900 A.D. During this time, Cacaxtla was occupied by the Olmexa-Xicalanca people who settled in the Puebla and Tlaxcala valley region, 80 km south of Mexico City. At this time with the Mayas in the southeast and the Teotihuacans in central Mexico, Cacaxtla became important as a cultural and trade center (2). The paintings combine aspects of both cultures. The artistic quality of overall design and execution and the mastery of craft with which colors were prepared and applied command attention. The aim of this work is to identify the paint layers and to assess the methods and procedures followed by the craftsmen to produce spectacular visual effects. We aim to understand and explain the physical basis which underlines the appearance. EXPERIMENTAL PROCEDURE The stratigraphy of the cross-section painting layers was analyzed by means of optical microscopy (OM). The microsamples were carefully chosen and collected, taking advantage of already present fissures to prevent further damaging the murals. The ranges of thicknesses of the colored layers were measured, and a characteristic average thickness was established for each color. The same samples were then analyzed by X-ray diffraction in orMat. Res. Soc. Symp. Proc. Vol. 185. - 1991 Materials Reseaxch Society
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der to identify the pigments by their mineralogical composition. As a final step, we observed th
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