Outer Coffin of Asetemachbjt D 21a Dynasty, Thebes, Reconstruction of Original Surface Site Index Local Index Network Index |
After extensive study of high resolution digital images of 21a Dynasty Theban coffins, both from the Royal Cache,
TT320, and the "Tomb of the Priests of Amun", Bab el-Gasus, it has become very clear that the decoration was painted
directly on the white gesso surfaces (click here for evidence). Original yellow is found only where yellow ochre pigment
was selectively applied. The present omnipresent shades of "background" yellow which have lead to the designation
"yellow coffins" are the result of pistacia varnish applied over the finished painting. The characteristics of this varnish,
which is known from many sources to yellow with age, are now under in-depth investigation by egyptologist and
archaeobotanist, Dr. Christian T. de Vartavan, Director of the Armenian Egyptology Centre and CESRAS research
associate.
The point here is that, whatever the findings of the varnish examination may show, coffins were not yellow at the
completion of painting. On this page we present the first large scale reconstruction of coffin decoration as it appeared
when the craftsmen had completed their work. This is how the painted surfaces really looked, something which, to our
knowledge, has not been seen before.
Images of coffin surfaces with a resolution of 2500 dpi were examined at magnification up to 1600x. Suggested original
colours shown here were interpolated from mean values of pixels obtained from areas of the designs where minimal
mutation, caused by yellowing of the varnish (blue >> green), or decomposition of the original pigment was evident.
The predominant colour on our example is blue.
The blue pigment was composed of powdered ceramic "Egyptian blue" (pâte de verre). This artificial material, unlike
pure mineral pigments, is instable. It is coloured with malachite (green) which turns blue when mixed with natron and
fired with a silicate. Our experiments in the production of this material show that a wide blue spectrum can be
obtained, ranging from a light sky blue to a deep cobalt shade which, when fired at a higher temperature, becomes a
high quality glass which can be drawn into long, fine, elastic threads.
The standard Egyptian blue can deteriorate with age and revert in part to the original malachite green. This produces
the blue-green effect which we can observe on many coffins in their present condition. Blue is also affected by the
yellowing of the varnish which often turns it green or causes it to darken, sometimes sufficiently to appear black.
Cross cuts of very dark blue incrustation on many coffins show that the original colour was in every case a light blue
such as shown here.
Obviously there was no standard colour code in Ancient Egypt and we do not pretend that the colours shown here are
100% correct. 80% would probably be a correct estimate. An original yellow background would, however, be 100% wrong.
Clearly visible brush strokes prove that the varnish was applied over the painting and it would have been impossible
for the outline draughtsman to draw clean lines on a varnished surface.l We also do not believe that an artist who had
two shades of green on his palate would cover his light blue areas with yellow varnish to turn them green as well. Any
resin from the pistacia tree is always yellowish unless, like modern turpentine, it is distilled, a process unknown in
Egypt in the 21st Dynasty. Thus, unless the continuing research proves otherwise, we consider the varnish as having
been only slightly yellowish if not near transparent when applied. This, however, does not change the fact that the
background was white after painting and before application of varnish.
We realize that many people will not like our conclusions. The mutated colours as present days people are accustomed
to seeing them are in many cases dramatic and pleasing to the eye. In the latter years of the 20th century, many people
reacted strongly to the cleaning/restoration of major European paintings, Rembrandt's Night Watch and Michelangelo's
Sistine Chapel being outstanding examples. However, the lightness, balance and sensitivity of the original appearance
will be appreciated by many and certainly revise the way in which the art of the 21a Theban Dynasty is understood.
Continuations of this iconographical study will be posted as time allows. Thanks for your interest!
Edward R. Loring Please send us your comments. CLICK HERE
CESRAS/14.10.2007
TT320, and the "Tomb of the Priests of Amun", Bab el-Gasus, it has become very clear that the decoration was painted
directly on the white gesso surfaces (click here for evidence). Original yellow is found only where yellow ochre pigment
was selectively applied. The present omnipresent shades of "background" yellow which have lead to the designation
"yellow coffins" are the result of pistacia varnish applied over the finished painting. The characteristics of this varnish,
which is known from many sources to yellow with age, are now under in-depth investigation by egyptologist and
archaeobotanist, Dr. Christian T. de Vartavan, Director of the Armenian Egyptology Centre and CESRAS research
associate.
The point here is that, whatever the findings of the varnish examination may show, coffins were not yellow at the
completion of painting. On this page we present the first large scale reconstruction of coffin decoration as it appeared
when the craftsmen had completed their work. This is how the painted surfaces really looked, something which, to our
knowledge, has not been seen before.
Images of coffin surfaces with a resolution of 2500 dpi were examined at magnification up to 1600x. Suggested original
colours shown here were interpolated from mean values of pixels obtained from areas of the designs where minimal
mutation, caused by yellowing of the varnish (blue >> green), or decomposition of the original pigment was evident.
The predominant colour on our example is blue.
The blue pigment was composed of powdered ceramic "Egyptian blue" (pâte de verre). This artificial material, unlike
pure mineral pigments, is instable. It is coloured with malachite (green) which turns blue when mixed with natron and
fired with a silicate. Our experiments in the production of this material show that a wide blue spectrum can be
obtained, ranging from a light sky blue to a deep cobalt shade which, when fired at a higher temperature, becomes a
high quality glass which can be drawn into long, fine, elastic threads.
The standard Egyptian blue can deteriorate with age and revert in part to the original malachite green. This produces
the blue-green effect which we can observe on many coffins in their present condition. Blue is also affected by the
yellowing of the varnish which often turns it green or causes it to darken, sometimes sufficiently to appear black.
Cross cuts of very dark blue incrustation on many coffins show that the original colour was in every case a light blue
such as shown here.
Obviously there was no standard colour code in Ancient Egypt and we do not pretend that the colours shown here are
100% correct. 80% would probably be a correct estimate. An original yellow background would, however, be 100% wrong.
Clearly visible brush strokes prove that the varnish was applied over the painting and it would have been impossible
for the outline draughtsman to draw clean lines on a varnished surface.l We also do not believe that an artist who had
two shades of green on his palate would cover his light blue areas with yellow varnish to turn them green as well. Any
resin from the pistacia tree is always yellowish unless, like modern turpentine, it is distilled, a process unknown in
Egypt in the 21st Dynasty. Thus, unless the continuing research proves otherwise, we consider the varnish as having
been only slightly yellowish if not near transparent when applied. This, however, does not change the fact that the
background was white after painting and before application of varnish.
We realize that many people will not like our conclusions. The mutated colours as present days people are accustomed
to seeing them are in many cases dramatic and pleasing to the eye. In the latter years of the 20th century, many people
reacted strongly to the cleaning/restoration of major European paintings, Rembrandt's Night Watch and Michelangelo's
Sistine Chapel being outstanding examples. However, the lightness, balance and sensitivity of the original appearance
will be appreciated by many and certainly revise the way in which the art of the 21a Theban Dynasty is understood.
Continuations of this iconographical study will be posted as time allows. Thanks for your interest!
Edward R. Loring Please send us your comments. CLICK HERE
CESRAS/14.10.2007
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Now Then
Colours used here:
Digitalized colours may not appear
identically in all systems. The codes of
the Internet conform colours used here
are the following.
Red: #FF0000
Blue: #336633
Green: #00CC33
Light green: #66CC66
Ochre: #FF9900
Yellow ochre: #FFCC00
Red ochre: #FF6600
Digitalized colours may not appear
identically in all systems. The codes of
the Internet conform colours used here
are the following.
Red: #FF0000
Blue: #336633
Green: #00CC33
Light green: #66CC66
Ochre: #FF9900
Yellow ochre: #FFCC00
Red ochre: #FF6600
CESRAS photo by Sergej V. Ivanov/01.2007 Digital editing and commentary by Edward R. Loring/10.2007
Intellectual property of the Russian Academy of Sciences, Centre for Egyptological Studies, Moscow
All rights reserved
Intellectual property of the Russian Academy of Sciences, Centre for Egyptological Studies, Moscow
All rights reserved
Egyptian National Museum. Cairo
CG61031: updated 18.08.08/el
CG61031: updated 18.08.08/el
Due to the partitioning of the showcase it was necessary to use different
camera angles for the two images joined below. Thus, it was only possible to
join one register (upper) 100% correctly. There is a slight reduplication of the
border images in the lower register, but all figures are shown in their entirety.
The reconstruction will be continued until the full surface can be shown.
Thank you for your understanding! CESRAS/erl/14.12.07
camera angles for the two images joined below. Thus, it was only possible to
join one register (upper) 100% correctly. There is a slight reduplication of the
border images in the lower register, but all figures are shown in their entirety.
The reconstruction will be continued until the full surface can be shown.
Thank you for your understanding! CESRAS/erl/14.12.07