Colour Mutation in Graphics of the 21a Dynasty Thebes, 1070-945 BCE Site Index Local Index Network Index Next Page |
Coffins of Dirpu dyrpw, Chantress of Amun-raw Smayt n jmn-raw,
Middle to late 21a Theban Dynasty, ca. 900 BCE,
Found the "2nd Cache", Deir el-Bahri/Bab el-Gasus in 1891
National Museum, Cairo:
Outer coffin, inner coffin, mummy-cover JE-29669, CG-6117-18, 6083-85
Lit.: Niwinski/Coffins p. 125 no. 112
Photos by Sergej V. Ivanov, 01.2007
Digital editing and commentary by Edward R. Loring, 07.2007
Russian Academy of Sciences, Centre for Egyptological Studies, all rights reserved
Middle to late 21a Theban Dynasty, ca. 900 BCE,
Found the "2nd Cache", Deir el-Bahri/Bab el-Gasus in 1891
National Museum, Cairo:
Outer coffin, inner coffin, mummy-cover JE-29669, CG-6117-18, 6083-85
Lit.: Niwinski/Coffins p. 125 no. 112
Photos by Sergej V. Ivanov, 01.2007
Digital editing and commentary by Edward R. Loring, 07.2007
Russian Academy of Sciences, Centre for Egyptological Studies, all rights reserved
Right inside of inner coffin, first
class work with carefully applied
incrustation
Canine deity couched on a shrine,
A scale of typical colour mutation
from blue through green to black,
resulting from varnish and
derived from exposed pixels is at
upper left. Clear illustrations of this
mutation are to be seen at lower
right to middle and on the right
knee of the figure at left. This same
mutation is found on many painted
surfaces of the period. As a general
rule, green remains green, red
remains red, white becomes yellow
and blue mutates as in the scale at
top left. The original painting was
on the white gesso.
class work with carefully applied
incrustation
Canine deity couched on a shrine,
A scale of typical colour mutation
from blue through green to black,
resulting from varnish and
derived from exposed pixels is at
upper left. Clear illustrations of this
mutation are to be seen at lower
right to middle and on the right
knee of the figure at left. This same
mutation is found on many painted
surfaces of the period. As a general
rule, green remains green, red
remains red, white becomes yellow
and blue mutates as in the scale at
top left. The original painting was
on the white gesso.
Irregular application of varnish
shown by the degrees of darkening;
the wig was painted in blue. The
dress was intentionally left white.
The inconsequent varnishing of the
skin areas leads to the question as to
if the craftsman actually saw the
varnish he applied, or if it was
transparent at that time. The sloppy
varnishing is incongruous with the
quality of draughtsmanship.
The original colour of the varnish is
the subject of this investigation. The
varnish used was pistacia resin which
is transparent in its original state and
yellows with time. Examples of this
are common on European paintings
of the 17th through 19th centuries.
Due to the high viscosity of this
material, even application was
impossible,as shown on all "yellow"
coffins of the period.
shown by the degrees of darkening;
the wig was painted in blue. The
dress was intentionally left white.
The inconsequent varnishing of the
skin areas leads to the question as to
if the craftsman actually saw the
varnish he applied, or if it was
transparent at that time. The sloppy
varnishing is incongruous with the
quality of draughtsmanship.
The original colour of the varnish is
the subject of this investigation. The
varnish used was pistacia resin which
is transparent in its original state and
yellows with time. Examples of this
are common on European paintings
of the 17th through 19th centuries.
Due to the high viscosity of this
material, even application was
impossible,as shown on all "yellow"
coffins of the period.
This discussion will be continued as many further examples are processed.
We would like very much to hear your comments.
admin@cesras.org
We would like very much to hear your comments.
admin@cesras.org