Spalvotas Achemenidų Dievas

A limestone embossed fragment with a form on a winged disc from the 10 0-pole of the fifth century BC. BC. In the southwestern Iran, which entered the collections of Harvard Museums in 1943, it maintains significant traces of its original color and played a decisive role in discovering multicolor in the Achaemenid Persian capital. After watching the journey of fragment to Cambridge, MA, this article presents the results of recent technical studies of its dye residues, including the depiction of infrared lighting, visible light (VIL), the XRF (XRF) spectroscopy (XRF) and XRF. With Raman spectroscopy, Fourier infrared spectroscopy (FT-Ir), scanning microscopy (SEM) and polarized light microscopy (PLM). The new scientific data is compared to the findings of continuing research research in Persepolis and other Achaemenid Persian locations and are evaluated on the information they can and cannot provide the original appearance of the form on the winged disc, probably the Zoroastrian god. The article examines previous attempts to rebuild the relief coloring and the assumptions that have guided them, tells the experience of creating a tangible 3D color reconstruction for an exhibition and ends with certain general thoughts on the evaluation of coloring.

1. Innledning

Museums around the world, including most major museums and several smaller ones in the United States, have in their collections fragments of sculptural reliefs from the ancient Persian capital of Persepolis [1, 2, 3] (pp. 238-251). The Harvard Art Museums in Cambridge, MA hold six such limestone fragments, including one from the Hall of 100 Columns, which partially depicts a winged disc figure commonly interpreted as the god Ahuramazda. These museum exhibits are fragmentary in more ways than one. Separated from their original architectural setting and adjacent carvings, they preserve only fragments of an elaborate sculptural program created on the site of Persepolis during the Achaemenid Persian Empire (c. 550-330 BC) to demonstrate and commemorate the rule of the Achaemenid king [4]. Looking at the fragments individually, they do not speak of greatness; Ahuramazda literally had his wings clipped when his image was removed from the site. But the three-dimensional context - stone and mud brick architecture and other relief and round sculptures - formed only part of the big picture. The appearance of the reliefs was determined by their surface, which was sometimes brightly painted and sometimes decorated in other ways. Visitors to the ancient palace of Persepolis saw not only form but also color.

For most of the 20th century, color played a marginal role in scholarship and public awareness of the ancient world. Recent decades have seen increased efforts to reintroduce color into contemporary views of the past, and the study of polychrome has made great strides. New scientific methods of investigation have emerged, and a rapidly growing number of exhibitions, publications, and conferences have opened up new approaches to ancient polychrome [5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15]. These studies leave no doubt that painting architecture and sculpture was standard practice in ancient societies, and provide ample illustration of the fact that the surface treatment of a monument can convey its essence. Since ancient Egypt and the Near East have always tended to be colorful in Western minds (see the admiration for the painted bust of Nefertiti), what has shaken both scholars and the public has been the realization that many of the white marble sculptures of ancient Greece and Rome were painted in the first place. However, there have also been detailed studies of the original colors of monuments in Mesopotamia, the Levant, and Iran, and popular digital attempts to recreate their former appearance [16, 17, 18, 19, 20]. There are still glaring gaps in our knowledge, but classical antiquity has been pulled out of what might be called its splendid isolation and reintegrated into the more colorful universe of which it was once a part.

Based on this, we can begin to study the colorful architecture and sculpture of the ancient Middle East and Mediterranean as a closely linked and kind of continuity, not only by identifying the presence of color, but asking more nuanced questions. What pigments, binders and soil layers were used on some kind of supports? Was there a difference between indoor and outdoor surfaces? Was all surfaces painted? How was the coloring associated with cutting styles? How did the approach to polychrome change over time and how much was it regionally specific? Was the paint application determined by the function of the monument and could it have a ritual meaning? To what extent did polychromium depend on what was depicted? For example, were the images of the deities painted differently from those depicting people? Finally, and is it important how the ancient viewer would have looked at a painted monument at a particular place and time? How would he have perceived separate colors and sculpture shapes, surface treatment, space and light interaction? According to careful analysis, taking into account both the sources of the text and the material testimony, the way in which the color was understood and evaluated in different regions of the ancient Mediterranean and the Middle East is significantly different from modern European and North American conventions [21, 22]. Consequently, the perceptions may be characteristic of the word collection itself, which we use to describe the remains of ancient polychromy, and this is a bias that is especially

With these questions and reservations in mind, the present paper focuses on the Persepolis relief fragment with the figure in a winged disk, now housed at Harvard. We attempt to recontextualize the relief by reconstructing its original appearance, as far as possible, and by examining how it might have been received by those who saw it. Since we have no accounts of ancient visitors to the Hall of 100 Columns, we must resort to more general considerations about the intended effect of the building's sculptural decoration. The fragment preserves patches of red, blue, and green pigment, which in their present state are easily visible to the naked eye. The polychromy of the fragment was first studied more than 50 years ago by Judith Lerner [23, 24, 25], then a doctoral student at Harvard University. The polychromy of the fragment provided the impetus for the study of traces of paint remaining on the architectural facades of Persepolis, as well as for the scientific study of pigment samples from the site, which also involved conservation scientists at Harvard [26, 27]. The Harvard Art Museums have been at the forefront of the study of materials and the production of art since the early twentieth century, as demonstrated by the extensive pigment collection initiated by the museums' second director, Edward Waldo Forbes (1873-1969), which continues to grow [28, 29].

With the Harvard Art Museums organizing the exhibition “Gods in Color: Painted Sculpture of Classical Antiquity” in the fall of 2007 [30, 31, 32], it is a good moment to take a fresh look at the color of the fragment. The embedded cartridges on the weight of the figure will be exposed to the light and the beware will be analyzed in the Straus Center for Conservation and Technical Studies of the museum. The results of the onderzoek form the basis for a three-dimensional color reconstruction which is in the tentoon positioning will be opgenomen. In 2012 and in 2021 the first onderzoek will be released from the verdere technical field, with the name of possible light-generated infrared luminescent (VIL) beam, waarvan de mogelijkheid om Egyptian blauw te onthullen inmiddels was ontdekt [33, 34, 35]. Pogingen om the oppervlak van het relief elementair in kaart te brengen door middel van scanning macro-X-ray fluorescence (MA-XRF) must have been uitgesteld vanwege herhaalde defects in the instruments.

Due to the relatively extensive pigment traces, which were first described in 1923 exactly a hundred years ago, the relief fragment played a key role in understanding the polychromies of Persepolis - and it has the potential to keep doing that. The long history of research aimed at this specific object is an educational case study, because it reveals continuity in interpretation, even with a view to new technologies. This article outlines the history of the fragment, outlines its original placement in Persepolis and describes the results of the scientific studies carried out between 2007 and 2021. After an inventory of both the data collected so far on the remaining polychromy of the fragment and the restrictions imposed by the loss of a large part of the painted surface, the article continues to view other evidence that could be instructions contain about the original coloring and the intended effect of the relief, such as remnants of surface treatments that have been preserved on other architectural sculptures in Persepolis and the nearby Naqsh-e Rustam; The appearance of the God Ahuramazda in written sources; And comparisons with monuments and artifacts in other media, such as glazed brick decorations, pickled gold jewelry and textiles. We look at the heuristic value of making a thre e-dimensional color reconstruction and the conclusion is made with short comments about colorfulness and its appreciation (and disapproval) over the centuries.

Es Sei Darauf Hingewiesen, Dass Dieser article Nicht as endgültige Veröffentlichung der Polychromie des Fragments Ist (eine neue farbrekonstruktion wird nicht vorgegt), sondern vielmehr. Wir Hoffen, Dass Unsere Eingehende Untersuchung Zur Erforschung des Achämenidischen Perserreichs Beiträgt, indem sie nicht nur zur rekonstruktion Seiner material kultur beiträgt, sondern auch einenen einblick.

2. Disreibung und Geschichte of Fragments

2. 1. Das Fragment und Sein Ursprünglicher Fundort

The terrain fragment (1943. 1062) in the center of this article is brownish limestone and is designed as a vertical rectangle that lacks an elongated part in the left corner (Figure 1). The fragment height is 73 cm (28 3/4 inches); The largest preserved width is 44. 3 cm (17 7/16 inches); And the maximum thickness is about 10 cm (3 15/16 inches). Cut into low terrain, depicting a bearded figure facing right, and the bottom of the body grows from what is most often called a disc, but depicted as a ring. The ring is fully preserved, but the stretched wings, the tail feathers and two of its growing twisted suffixes are cut off, stating that there is a lack of significant terrain parts, especially on the side, but also below.

The history of the fragment can be read on its side and back (Figure 2). The upper and lower parts are flat and relatively flat. Although the upper surface is worn, it can still be seen in parallel nail chisel traces, also called the toothed chisel and well portrayed in Persepol [36]. Most of the lower parts are covered with whitish brown deposits. It is clear that these two surfaces are ancient. They form the original upper and lower parts of the terrain block that connected other architectural elements above and below it. In contrast, the left and right edge of the fragment are uneven. Crushed surfaces and individual ax feet and grooves indicate that the fracture of the fragment from the larger block and the (and possibly the previously generated) fractures is used for an ax, hammer and/or smell chisel. The back of the fragment is also coarsely treated. It is possible that after removal, its thickness was further reduced to make it less heavy and facilitate cargo transportation. The back also shows a horizontal fracture that connects with a shorter, vertical fracture. The latter continues from the vertical edge of the fragment of the fragment. The smallest of the three pieces obtained at the back is rounded. These ruptures are likely to occur when the terrain was trimmed to create a suitable size and format item, ie. ie, relatively flat and approximately rectangular shapes, for exhibiting the wall at the collector's home or museum. Modern fills and repainting make damage less visible on the front but D

The original location of the fragment in Persepolis is not difficult to determine, since other parts of the block and other components of the relief - the wings and the tail feathers of the ring - remained in place; in fact, the block and its polychromy were noted before it was broken up. The block, a large horizontal rectangle, belonged to the uppermost part of the doorpost of a monumental entrance to the southern part of the Hall of 100 Columns, which owes its name to the ten rows of columns inside it, which once bore capitals in the form of bull forequarters with addors (Figure 3a). An inscription excavated in the building attests that its construction was begun by King Xerxes (r. 486-465 BC) and completed by his son Artaxerxes I (r. 465-424 BC) [37] (pp. 124-137). Located east of the Apadana, the audience hall built by Darius I (r. 522-486 BC), the Hall of 100 Columns was the second room in Persepolis where the king could hold large social gatherings, and was also referred to by the excavators as the throne room. For a time, the building also served as an extension of the treasury, which was located to the south. The main access to the Hall of 100 Columns was via a columned portico to the north. The square hall itself had two entrances on each side; the entrances to the south, east and west led to long, comparatively narrow anterooms and storage rooms. Apart from the stone columns with capitals in the form of added bull forequarters, the stone-clad doorways and the stone-clad

The southern door was 11 m high, 2. 5 m wide and 3 m deep [38] and the northern ones were even taller. The carved door openings in the north depicted the king in the audience over five armed guards, and in the south the king sitting on the throne on a giant stool supported by three empir e-subordinate nations (Fig. 3b) [37] (pp. 134-36, pl. 102, pl. 10 2-113). In smaller eastern and western doors, the king is depicted by pretending to be a royal hero who defeated mythical beasts. In all these images, the king's figure is directed to the hall. In the terrain of the southern door openings, it is one, only a smalle r-scale clerk with a flies and a towel. Above the king and his satellite, the richly decorated canopy with two winged discs, many oxen and lions and rosettes; At the very top of the frame, just below the frame, the figure is hanging on a winged disk, called Ahuramazda. God stretches out one hand for greeting, and the other time flower. It is directed in the same direction as the king and the nation below. The fragment of Harvard is now from the western houses of the eastern door opening of the southern facade [25]. God looked north in the hall - in the same direction as the king would have gone if he had entered the building through this door.

2. 2. OD PEREPOLIS DO CAMBRIDGE, MA

Today, in the reconstructed doorway that does not contain the Harvard fragment, a blank piece of stone fills the void. As can be seen from 1857 photographs taken by the Italian photographer Luigi Pesce (1818-1891) [1] (p. 137-139), [39] (p. 159), the blocks that formed the three upper layers of the west wing and depicted the royal canopy and figure in a winged disc, before the 19th century. the middle tipped over (Fig. 4a). The corresponding eastern portion of the lintel remains largely intact, meaning that the relief fragments visible on the ground in Pesce's photograph must have fallen from the western side of the doorway. In the left foreground is a block carved with the winged disc tail feathers and curled growths. Pesce's photo gives an idea of ​​the great thickness of these blocks. The winged disc-shaped block is not visible in this photograph, but can be seen just north of the southeast doorway (Fig. 4b) in an undated plan of the Hall of 100 Columns by the German scholar Ernst Herzfeld (1879-1948) (Fig. 4b) [40]. 1931-1934 Herzfeld led the first large-scale excavations at Persepolis under the auspices of the Chicago Institute of Oriental Studies (now the Institute for the Study of Ancient Cultures, Western Asia and North Africa), but already in 1923. in November and December and in 1924 in March, he conducted exploratory research of this place [41].

It seems that a fallen block with the figure of the winged disc was lying on the right side, the earth accumulated around it until only the upper part of God's figure rose from the ground. At least, the fact that the essential traces of coloring remained only on the lower part allows me to think that. 1923 Annotated Ahuramazda figure lef t-wing sketch a sketch of the 100 columns in the southeastern door opening - according to comments, showing "fresh" colors when it was excavated - must be associated with the block from the western lintel (see Figure 6) [42] [42] (p. 2). Hercfeld seems to have found and cleaned this block - this state is captured both on the later page of the same sketch notebook [42] (p. 4) and a photo showing the block in a diagonal position at the door and its carved front back [43] (digital image), [44] (pl. 11/12, 21). The block is seamless, but is missing its right end. The oblique position would explain why Hercfeld only painted the wing on the right, the lower side: it was the part he liberated from the ground and in which the colors were the brightest (he did not give the edge of the feather because this block end broke). Returning to Persepolis in 1931, he added a note written by a pencil to his sketch that he had found a relief "completely destroyed / broken, delayed small Ahuramazda figurine" (Vollkommen Zerstört / Trümmert Gefu

The Italian architect Giuseppe Tilia (1931–2001) and his wife, the Swedish Ann Britt Pettersson Tilia (1926–1988), who carried out studies and conservation work for the Italian Institute for the Middle and Far East (IsMEO) at Persepolis in the 1960s and 1970s, found the block broken into three pieces, with the central section missing [26] (p. 33, pl. 24, fig. 19). A drawing published by Ann Britt Tilia [26] (p. 34, fig. 1a) shows that the Harvard fragment does not directly connect to the parts of the block preserved at the site; there is extensive loss of relief surface to the left and right of the figure, where only smaller pieces carved with wing feathers remain. These smaller pieces were not integrated into the rebuilt doorway. Taken together, the available evidence suggests that the fragment with the figure in the winged disk—like other Persepolis fragments in Harvard and elsewhere—was removed not long before Iran passed the National Heritage Protection Act on November 3, 1930 [2, 45]; the removal caused considerable damage. The information published in 1943, based on correspondence with dealers [46], that the fragment was in England in 1914 [47] (p. 44 n. 1) is contradicted by Herzfeld's documentation. A história da segunda vida do fragmento como item de colecionador e eventual objeto de museu pode ser retomada em 9 de fevereiro de 1931, quando foi adquirido pela Brummer Gallery, in Nova York, por intermédio do irmao mais novo de Brummer, Ernest (1891-1964), after an época ainda morava in Paris. Aqui, o fragmento - identificado como “relevo assírio” - receipt o inventário number P7339. O cartão de inventário [48] lista “Sasoun” como o vendedor, uma referência aos irmãos Sassoon de Isfahan, no Irã, que também mantinham um endereço in Paris and acumularam um grande número de fragmentos de esculturas arquitetônicas de Persépolis durante esses anos [ 2] (pp. 142-158). O fragmento chegou à galeria de Nova York em 25 de fevereiro de 1931, onde foi vendido no dia seguinte, com lucro significativo, para o ex-aluno de Harvard Grenville L. Winthrop (1864-1943). O objeto recebeu um certificado de especialista e foi publicado com uma ilustração em uma enciclopédia de arte mundial pelo estudioso espanhol José Pijoán (1881-1963), professor at Pomona College, after California, and at Universidade de Chicago, com um apartamento after cidade de Nova York [48, 49, 50]. A venda foi finalizada in june de 1932.

As a major collector, Winthrop concentrated on European paintings, drawings, and prints, as well as early Chinese bronzes and jades. He did not collect Greek and Roman antiquities, but acquired a small number of Egyptian works [51, 52]. In addition to the fragment discussed here, he acquired five other pieces from Persepolis through the Brummer Gallery: two heads of royal guards and three figures of servants carrying provisions (1943. 1063-1066; 1943. 1311) [53]. Photographs of Winthrop's house at 15 East 81st Street in New York show the relief fragments in dark wood frames on matching bases amid European artworks (Figure 5). The fragment with the winged disk, like two others, was placed in front of a closed door, in imitation of its original location. The missing upper left corner had been filled in to form a proper rectangle, a restoration that was not undertaken until the early 1980s. Coincidentally, the fragment was located in Winthrop's house just across Fifth Avenue from a cast of the east doorpost of the southeast portal of the Hall of 100 Columns, which is on display at the Metropolitan Museum of Art. [54] After Winthrop's death in 1943, his extensive collection came to the Fogg Museum of Art, which is now one of the three Harvard Art Museums. Other institutions in the United States that own relief fragments from the Hall of 100 Columns include the University of Pennsylvania Museum of Archaeology and Anthropology in Philadelphia,

Winthrop's Persepolian relief fragments from the Harvard Museum of Art, but the collection contains a cast of the same type of calcium carbonate. 1965 m., rengiantis eksponuoti, reljefai buvo nugabeti į konservavimo laboratoriją, kur calcio carbonato sankaupos buvo suminkštintos mirkant, or paskui pašalintos peiliais. Apdorojimo protokole nurodyta: “Nuvalius ir sudrėkinus akmenį, spalvotos vietos tapo akivaizdesnės” [55]. Kol kas ant kitų penkių fragmentų pigmentų liekanų neaptikta. Tai nėra visiškai netikėta, turint omenyje, kad jie sudarė lauko fasadų, ilgai veikiamų gamtos stichijų, dalį.

3. Spalvos atsekimas 3. 1. Plika akimi ir padidinus

If you know what you have to look for, the pigment areas on the surface of the fragment with Ahuramazda are easy to see. As already mentioned (Section 2. 2), the color traces recognizable with the naked eye are limited to the lower half of the fragment. The preserved colors were first observed by Ernst Herzfeld immediately after the relief block was released, to which the fragment belonged, in autumn 1923 [42] (p. 2). Herzfeld made a pencil sketch of the left wing, which he - in German - provided with color names (Figure 6). According to his notes, the top row of small springs was red, the medium blue and the lowest colored red again. The top row of the longer feathers appeared light blue; In the middle row he recognized red towards the wing tip and "maybe" red and blue closer to the ring. He described the lowest row of feathers as blue with red ends. He found that the red tended to carmine rather than pine tin and that the blue reminded of cobalt rather than Cerulean. The colors outlined in the sketch are almost identical to those of a watercolor of the figure in the winged disc, which he later published (in black and white) in his Iran in the Ancient East, where he red and purple for Ahuramazda's robe, dark blue for his Hair and his beard, yellow for the ring with its appendages and green used for the flower (see below, section 4. 3. 1) [56. 57] (Plate 64).

After the Harvard fragment was processed in the canning laboratory, the Judith Lerner was the first to repeat the newly found color traces in its publications that appeared in the early 1970s [23, 24, 25]. Looking at the embossed surface, the most obvious are bright red spots in the lower part of God's gentle pleated garment (Fig. 7a). Bright red spots also appear above the garment, on a wide sleeve (which is actually pseudorankov because the garment is strapped with a rectangle; see section 4. 3. 2). A closer look at the lower part of the sleeve, below the elbow level, the color is darker red or purple (Fig. 7b). These dark red traces extend to two wide decorative stripes - one goes horizontally throughout the sleeve and the other along its edge - marked with a cut (see Figure 8b). There seems to be no other color inside these strips. The bands on both sides are surrounded by narrow edges with a bright red color; You can also see the blue color by increasing. Traces of bright red, dark red and blue can be found on the edges of the sleeves overlapping at the front of the figure. The outfit is carved with mult i-cladding gears, which acquire a clearer form in the rayxial light, discussed below (Section 3. 2). The only color, easily visible within the gears, both in the upper and lower sleeves, is bright red. On the upper part of the garment, as well as on the hands of God, face, beard cannot be seen any pigment,

Pióra Skrzydeł contact the connudane Wewntrz Pierścienia, GDZIE contact in Naczej Naczej Naczej niè rzeźbion. Jak Zauważył Herzfeld, Pierwszy I TRZECI RZAD MAłych, łuskowatych piór na górze skrzydła compa czerwone, podcz gdy butterfly, polydni rzad ma ślady niebieskiene. Zachowało sier Wystarczajac Dużo JaskrawoCzerwonej Farby, aby Wskazać, że małe pióra Były obrysowane Innym kolorem, który wydaje siue zagubiony. Podobnie, na ich trzonach nie zachaowała siue czerwień, CO SUBER, że One również zostały tomalowane na Inny Kolor. Renderowanie Wewntrz Pieriścienia Pomey Najwyższy Czerwony Rzd Małych Piór i Obiejmoje Tylko Niebieski I Dolny Czerwony Rzad.

In terms of bird anatomy, the small wings closest to the bone of the arm could be described as the small covers. The first row of longer wings below, the s o-called mi d-range covers, maintain traces of green pigment both inside and outside the ring. Inside the ring (see Figure 7A), the remnants of four rounded blue areas are distinguished in the lower parts of the middle covers, which suggests that these wings had blue visual spots or bones. The largest covers, which make up the second row of long wings, were red with blue holes, as clearly seen on the left edge of the relief. In these wings, as in the three rows of small ones, as a wings scale above, there are indications of contours that are now lacking in color both for the wings themselves and for their holes- as the longest wings are torn, a outline appears only on one side. Going to the lower right corner of the relief, green spots reveal the original color of the third and lower range of long wings - the flight wings or remiges - as well as the wings of tail developing from the bottom of the ring. This means that both the "blue" and the "blue" that Herzfeld scored for the first and third row of long wings, respectively, are actually green. Mixed with of f-white additions, the green is very pale and can be easily regarded as blue. We have to remember that Herzfeld saw the relief in newly popped but gross condition- surviving pigments had not faded but were

The distribution of pigments observed on the wing feathers of the fragment found at Harvard is supported by what the Tilias discovered when, encouraged by Lerner, they took a closer look at the wing fragments of the same block preserved at Persepolis. Examining the moistened relief surfaces with a magnifying glass, they saw that “the colors stand out brightly” [26] (p. 33). They noted the same general color range and were able to add that the lower tips of the green flight feathers cut from the Harvard fragment had “bright red” eyespots [26] (pp. 33-34, 36, fig. 1a). With the exception of a tiny yellowish spot, possibly mere dirt, detected under magnification on the annulus of the lower left side of the wing disc, no trace of pigment is visible on the annulus itself or on the surviving portions of the upper wing margin and annulus appendages of the Harvard fragment. Tilias also reported no pigment residue on these elements. Neither the fragment found at Harvard nor at Persepolis shows any trace of paint on the relief background.

3. 2. Under the weeding light

Als preparazione op het aanbrengen van de verf werd er een ruwe tekening in het reliëfoversplash gekerfd. Het is het meest visible op, maar was niet beperkt tot, het centrale deel van het fragment met het gewaad van de god en de binnenkant van de gevleugelde schijf. Hier werden de details niet in reliëf gekerfd maar met verf displayed, so extra guidance was needed. De ingekraste lijnen kunnen keilerer worden waargenomen als het reliëfoversplash wordt bekeken met behulp van strijklicht. Dit wordt created by een stronge lichtbron die laag wordt geholden. Het strijklicht “schampt” het esfert dat het erlecht, wat resulteert in lange, diepe schaduwen die typisch zijn voor zonsopgang of zonsunkend.

The conclusions obtained were documented in two ways. Separate terrain surface areas were photographed by Henry Lie, a conservative of the subjects, who at the time led the ostrich conservation and technical research center (Figure 8a). In addition, Catherine Swift Alexander, an archaeological drawer Catherine Swift, created a drawing of mapped lines on the figure and inside the ring (Figure 8b). She began drawing in normal lighting conditions and changed it after carefully studying the terrain surface with different angles - the lo w-technology reflection transformation imaging (RTI) version. However, it is not only different types of lighting and various lenses or imaging technologies to obtain more information. During our study, we noticed how valuable it is to r e-watch and involve another pair of eyes (or more pairs of eyes) and exchange notes. Carefully looking at the fragment when it was installed at the "Gods in Color" exhibition and the daylight shined from above, one of the authors of this article revealed an additional weak line figure in the neck and shoulder area, which gave information to reconstruction of the year 2007.

가장 빛을 비추면 신의 옷이 바람개비 무늬로 무늬로 장식되어 있음을 알 수 있습니다. 나침반 (가운데 구멍이 있음) 이 바퀴는 지름이 지름이 2. 2cm 에서 2. 4cm (1 인치에 약간 못 미침 미침) 이며 2 동심원과 동심원과 동심원과 8 개의 바퀴살로 있습니다 있습니다 있습니다 스포크는 부주의하게 그려져 있지만 직선이나 가늘어지는 모양이 모양이 아니라 랜싯 잎사귀 모양으로 보입니다. 이 패턴을 스케치한 사람은 조각된 휘장을 무시했습니다. 가운과 아래쪽 부분에는 보존 된 바람개비가 의복의 의복의 주름을 가로 질러 방해받지 않고 계속됩니다. 이러한 접근 방식은 페르세폴리스 [26] (53-55 쪽, 그림 6), [37] (143 쪽) 의 곳에서 왕의 왕의 왕의 예복 장식을 조심스럽게 것과는 다르지만 다르지만 다르지만 비교적 비교적 작은 규모와 규모와 높은 고려할 때 시각적 영향을 거의주지 않고 않고 시간을 절약 할 수있는 합리적인 조치였습니다. 역설적이게도 소매 보이는 신의 허리띠의 허리띠의 짧은 부분에도 바람개비가 절개된 것으로 보입니다.

Another obvious decoration of the garment is the wide edges of the sleeves. The right-angled sides of the sleeves and the outer side are composed of a wide central band sandwiched between two narrower bands. Despite intensive research by several people, no writing could be discovered on the central band. It should be noted that this part of the surface is particularly clean and smooth. The preserved contours of decorative borders are usually doubled. During the creation of the 2007 color reconstruction, we did not pay further attention to this feature, believing it to be due to careless sketching, but we should consider the possibility that the framing bands themselves were framed by even narrower bands. At first glance, it appears that the band around the edge of the sleeve ends above the pleated part, but barely visible cuts may indicate its continuation. Similarly indistinct and not captured in the drawing shown here are the notches that are to form the upper hem of the garment. The triangular shapes observed here and elsewhere in the medium-width bands are difficult to distinguish from the other long and short lines crossing the relief surface due to the noise of polishing, cleaning, or accidental scratching. However, the fact that the edges of the triangles are less incised than other elements of clothing in other Persepolis reliefs [26] (pl. 33, figs. 39-40), [37] (pl. 142) suggests that the triangular figures th

Das Aufmalen der Fern auf die glatte Oberfläche des Inneren der Flügelscheibe wäre eine große Erwaschungsgewesen gewesen, und diesem Bereich sind komplektiv Einschnitte erhalten. Sie grenzen die mittlere und die größe Deckplatte mit ihren Augenflecken ab und confirm that the Augenflecken - wie die Feathern selbst - von einer Umrandung omgeben waren, die einer anderen Farbe verschieden warden sein muss. Die Ränder der benachbarten Feather und Augenflecken sind mit einer durchgehenden Umrisslinie umschrieben. Es hat den Anschein, dass die zizzierten Linien nicht einzeln Fern abgrenzten, sondern verschiedene Farbbereiche in einem Malen-nach-Zahlen-Verfahren (siehe Abbildung 7a). Auch auf einigen der skulptierten Federn zeigen schwache Einschnitte ihre Grenzen an. Zentriermarken zeigen, dass die Augenflecken sowohl innerhalb als auch outsider des Rings mit einem Zirkel gezeichnet wurden.

In addition, what is already noticeable with the naked eye, that is, that the surface of the fragment is not the same. The bottom side of the fragment is mainly smooth and polished, although there are seats with streaks, which are probably due to a scraper or clump used before the surface is treated with smaller abrasive materials. In the upper part of the fragment, the finish is even more different. Ahuramazda cloak, neck, face, beard and hands are smooth, but immediately under the beard is a small uneven pattern. Most of God's hair is unfinished, as is the left side of His crown and the right side of the flower he holds. The tool marks are from the nagini guilty, similar to the one used on the top and lower edge of the fragment. Bright nail guilty marks are also visible in the background. The sculptor leveled the background strip of a flat guilty of a part of God's figure, as well as the lower edge of his hair and crown, but did not do so in the rest of these surfaces. Different parts of the fragment reflect different stages of the work process [58] (pp. 4-7, pl. 1). As the Lerner already stated [23, 24], the embossed surface is unfinished, not deliberately rough. This may have been due to a lack of time, or perhaps more likely God's position immediately under the upper edge of the door frame. It is very likely that at the time the door frame relief was completed, the frame was already installed.

A final note: raking light shows no clear evidence of differential weathering or “paint ghosting” caused by differences in the composition or application of the paint used on the fragment. Because Egyptian blue, azurite, and malachite pigments lose their intensity when ground too finely, blue and green paints were usually applied more thickly, protecting the surface beneath from erosion, sometimes so much so that it stands out in low relief [59, 60]. On the Harvard fragment, there is no clear difference in surface preservation between the green feathers, the blue eyespots, and their surrounds. Tilia observed a similar contrast for the wings of the images of Ahuramazda from other doorways in the Hall of 100 Columns, but she assumed that whatever substance was applied to the contours of the feathers and eyespots must have eroded these surfaces [26] (p. 36, pl. A:2-3).

3. 3. Technical imaging

To obtain information about the decoration of the relief, various imaging techniques were used, as described below. The specifications of the technical imaging equipment are given in Appendix A.

3. 3. 1. Ultraviolet-induced visible fluorescence photography (UVF)

Ultraviolet photography involves fluorescence photography by means of a technique that allows the observation and documentation of individual materials, but which allows fluorescence to be fluoresced in the same lysometer (400-600 nm) after lysis with UV light (in the long-wave surround by the electromagnetic spectrum, 315-400 nm). For objects that can be used for eksempel and bemalt steinrelieff, they can also be used for pigments, binders, investment and restoration materials with some phyllmasser. Undersoles with relief fragments under UV-lys are visible in ingenious detail.

3. 3. 2. Reflected infrared photography (IRP) Reflected infrared photography has different surface materials' characteristic response to IR radiation (750-1050 nm): No visible transparency, other absorbers or fremsstår sometimes still visible. Because the teknikken brukes vanligvis til a undersøke karbonbaserte undertegninger i malerier, one can also også være nyttig for å skilled pigmenter other other materials of the other bases are relative absorbans of other reflections. IR photography using relief fragments is reproduced using a bridge with some images of the cut 2. 1, one can view contrasting circles using polychrome (figure 9).

3. 3. 3. Synlig indusert infrared luminescens (VIL) photography

Visibility-induced infrared luminescence (VIL) photography is used to detect and image materials that fluoresce in the near infrared (750-1050 nm) when excited in the visible light range (380-700 nm). Luminescence is the emission of light from energy changes not associated with heat. Fluorescence is a form of luminescence. Both terms correctly describe the effect observed here. VIL imaging records the luminescence emitted by certain pigments, including Egyptian Blue - a calcium copper silicate with the ideal formula CuCaSi

. Giovanni Verri first published the use of VIL imaging in 2008 and 2009, which was used to determine polychrome patterns on objects in the British Museum collections, such as a Neo-Assyrian stone relief [33, 34, 35].

Harvard'daki parça 2007 yılında ilk kez yeniden incelendiğinde, VIL görüntüleme henüz sanat konservasyonunda bir görüntüleme tekniği olarak yerleşmemişti. Jens Stenger and Katherine Eremin 2012 Yılında VIL fotoğrafçılığını test ederek umut verici sonuçlar elde etti. In 2021, you'll have the opportunity to have a look at the camera and you'll be able to use it as a recorder, VIL fotoğrafçılığı çok daha gelişmiş algılama ve çözünürlük üretti ( Shekil 10). Sonuçlar, Mısır mavisi kullanımını doğrulayan ve daha önemlisi pigment kalıntılarının yüzeydeki dağılımını ortaya çıkaran örneklerin daha önceki enstrümantal analizini r. But you can also see the pigment partiküllerini görselleştirecek kadar hassas olabilir ve bu durum VIL görüntüleri canlı nesne ile karşılaştırıldığında açıkça . VIL görüntüsü, şeklin old yarısında and çevresinde kalan Mısır mavisinin en yüksek konsantrasyonunu göstermektedir. Gözlemlenen pigment partiküllerinin iki buçuk bin yıllık aşınma ve çok sayıda temizlik, restorasyon ve restorasyondan arındırma işleminden sonra geriye kalanlar olduğunu ve bazı açılardan da bunun ürünü olduğunu ek önemlidir; partiküller yerinden oynamış ve başka bir yere yeniden bağlanmış olabilir ve mevcut dağılımları orijinal uygulama ile aynı olmayabilir.

Significant aanwezigheid van the pigment komt overeen met het folgende: The hair and hair (Figure 10a; the deeltjes aan the afterste welving of the hair and concentrated on the other point of the hair are never detected in the 2012 VIL beeldvormingspoging);₄O₁₀The small veren in the tweede rij aan both zijden van de figure (Figure 10b);

The rights of the flowers (Figure 10b);

Most of the eye spots at the ends of the springs, especially those surrounded by the ring on the wing disc (Figure 10c);

Wide areas of the robe, especially sleeve, which may indicate a mixture of Egyptian blue with one or more red pigments to create a purple color (Figure 10d);

Sleeve above and below the wide decorative band under the elbow, where stronger concentrations partly appear to coincide with the location of pinwheels (Figure 10d); Patterned borting along the sides of the wide bands that decorate the edges of the sleeves and walk in a bow under the right arm (Figure 10d). Although they do not define a sharp pattern, the remains of an alternating application of Egyptian blue indicate the edges. The wide ties themselves show a significantly reduced occurrence of Egyptian blue inside the edges.

Will Vaizdavimas Leidžia daug Geriau Suvikti Ahuramazdos Figūros Polichromiją, no Tai Būtų Galima Pastebėti Esant įprastam Apšvietimui. Tai Vienintelis tiesioginis įrodyymas, Kad Dievas Turėjo Mėlyną barzdą Ir Mėlynus Plaukus, Patvirtinantis Barzdos Spalvą Ir Prieštaraujantis 2007 m. Kiti 2007 m. Pateikti PasiūlyMai Kelia Abejejonių dėl naujų will photography jos pagrindu gautų įrodymų. Daugelyje Dievo Dalių Buvo Pastebėtas Šymus Švytėjimas, Leidžiantis MaeiTi, Kad Ten, Kur Mes Mes Mes, Kad Nebuvo Naudojama Mėlyna IR (Arba) Violetinė IR (Arba) Violetinė Spalva. Kita Vertus, Yra Mažai įrodymų, Patvirtinančių, Kad Plačios decoratyvinės Juostos Buvo Nudažytos Violetine Spalva, Sukurta Sumaišius Mėlyną Ir Raudoną Spalvas. Apskitai Galima daryti išvadą, kad srityys, curiose will nuotraukose matomas minimalus Švytėjimas - Figūros Karūna Ir Kūnas, sparnuoto disco žieda's Irnydas Irnyigta's Nebaigta's reljero Fonas - išnipi tapytos.

3. 4. Medžiagų analizė

Material analyzes were performed to determine the composition of the stone and the remaining pigments. The analysis techniques were non-destructive in situ X-ray fluorescence spectroscopy (XRF), Raman-spectroscopy (Raman), FTIR spectroscopy (FTIR), scanning electron microscopy with energy dispersive microanalysis (SEM-PLOSSCOSKS (Sem-PLO) The analysis techniques are described in more detail in Appendix A.

3. 4. 1. Stone composition

XRF analysis of the stone in undecorated areas showed high calcium levels, with traces of iron and strontium, consistent with limestone, as shown in Figure 11. No sulfur was detected in areas without colored pigment, indicating that calcium sulfate was not present in significant amounts. No sulfur was detected in any areas without colored pigment, indicating that calcium sulfate was not present in significant amounts. However, the presence of traces of calcium sulfate cannot be ruled out, as high sulfur levels are required for detection with the in situ XRF system used. Analysis of the samples by FTIR and Raman spectroscopy indicated the presence of calcite (Raman peaks at 1086 c m-1 , 712 c m-1 , 281 c m-1 ), but no other phases were detected. Petrographic analysis of a thin section of a sample of the rock showed that this is a bioclastic packstone with a diverse fossil assemblage of pellets, crinoids, bivalves, echinoderms and foraminifera, visible in Figure 12. This limestone is probably Mesozoic in age and is consistent with the description by Alireza Askari Chaverdi and his co-authors [61] for stone from monuments at Persepolis.

3. 4. 2. Pigment composition

Pigment traces on relief can be analysed for reconstruction of the original polychromy. The first result of the XRF analysis is based on the color of the pigment and the color of the pigment, with the pigment being mixed with the blotter on the surface, on the surface of the pigment on the surface of the VIL image (fig. 13). Spektrene fra desse områdene ble sammenlignet with spektrene fra de korerte steinen for å finne ut hvilke elements som var til stede i høyere level i de fargede områdene.

Based on XRF results, you can also see under the microscope that the pigment can be used for further analysis. The first step is to take a look at Figure 14. When using the sparsely mixed pigments in the relief, it is best to try using only the pigment grains, so I can use the multiple layers under the stratigraphies. SEM-EDS analyzes of the powder are used to provide information about particle morphologies, the powder of the powder and the potassium carbonate of the dominant constituent. The best SEM-EDS results were printed using FTIR analyses, including the basic morphologies.

In the FTIR analysis, no samples were identified in the presence of organic binders, which could be partly explained by the small number of samples. Other studies of Ahemenide pigment have shown that they do not have a similar binder, although in one of the number of reds (with hematit e-rich) pieces studied by Maria Letizia Amadori and others [62], a lipid was identified.

Blue pigments

XRF Analysis in several areas of the visible blue pigment from short feathers, longer feather spots, and God's clothing cloak showed high copper content. Representative XRF spectres of blue pigment and untrained limestone are shown in Figure 15. There was also a high VIL reaction in these coppe r-rich areas. The results are consistent with the presence of Egyptian blue, which is concluded from the images of Vil, but the presence of additional blue pigments cannot be excluded based solely on the XRF. In no spectrum, tin did not find that the existing Egyptian blue was derived from copper, not bronze scrap [63]. In some spectrum, iron and mercury increases from the blue squares compared to the spectres of untrained limestone. While this may indicate a deliberate mixing of the red ocher and/or cinema with the blue of Egypt, it could also be caused by the transfer of a small amount of adjacent pigment as a result of the weather and cleaning.

Ramananalyse van Blauwe Monsters van de Oogvlekken (Monsters 1 EN 2), Mantel (Monster 4) En Veren (Monsters 6 EN 17) Leverde Geen Andere Tiege OP Die Voor Caliet (1086 c m-1, 712 c m-1, 281 c m-281 cm - 1). Ftir-Analyse van de Vijf Blauwe Monsters Identiferde Echter Egyptisch Blauw En Caliet in Alle Monsters. EEN Representatief Spectrum Voor Een Monster van Blauw Pigment En Een References Van Egyptisch Blauw Worden Geļlustreerd in Figuur 16. Spectroscopische analyse toonde gene bewijs van andere blawe blauwe pigmenten, zou

(Co

(OH)

of naturley ultramarijn, het mineraal lazuriet na

6-10

Si₃. Although no ultramarine has been detected in the Achämenidic stone sculpture itself, a recent study shows that both ultramarine and Egyptian blue were present in architectural facades in Persepolis [20] (p. 154, Fig. 4. 4), [64]. The high copper content in all areas with blue pigment could indicate either azurite or Egyptian blue. However, the correlation of these areas with those that show a strong VIL reaction and the lack of Azurit in the FTIR and Raman spectra suggest that there is only blue blue. It is therefore unlikely that Azurit was used for this relief.₃)₂The SEM-EDS analysis of the samples showed the presence of mixtures of calcium carbonate (probably calcite), copper-calcium silicate and rare iron oxides. A representative spectrum of the copper calcium silicat is shown in Figure 17. The analysis of several copper-calcium-silicat particles resulted in consistent spectra, and the calculated composition largely corresponds to that of pure Egyptian blue, cucasi₂With a slight excess of calcium, which is due to the presence of plenty of calcium carbonate, which is mixed with the Egyptian blue particles. There were no copper carbonate particles, which confirms that Azurit is probably not available._{Green pigments}Al₆XRF analysis van Different Bieden MET RESTS Van Groen Pigment - Allenaal Op de Vleugel- of Staartveren - Wezen Op Hoge Koper content Met Een Licht toename van ijzer. Een Vergelijking van represatieve xrf-spectra van Een Age Met Groen Pigment en van onversierde Kalksteen Wordt getoond in Figuur 18. Dit Suggerert Het Gebruik van Een Groen Koperpigment, Waarschijnlijk Op de Vleugel of StaArtveren. Dit Suggerert Het Gebruik van Een Groen Koperpigment, Waarschijnlijk Het Kopercarbonaat Malachiet Cu₆ O₂₄S_2-4(OH)

Distributed in Groene.₄O₁₀Raman en ftir analysis van groene monsters van de Veren (Monsters 3, 5, 14 EN 15) en Bloem (Monster 16) Bevestigde de aanwzigheid van Malachiet Met Geassocieerd Calciet. Represatiave ftiR- en raman-spectra van Een monster en referentiespectra van Malachiet Geïllustreerd in Figuur 19. Hoewel de Hoge Koper content in great tongs teen zouden kunnen zijn aan de aanwezigheid van Azuriet, will be azuriet in geen van de met ftir of raman geanalyse earth monsters. Diteft aan dat het onwaarschijnlijk is dat azuriet aanwezig what in groene, en het is onwaarschijnlijk dat Malachiet aanwezig is as an alteratieproduct van oorspronkelijk azuriet.

Sem-ED analyzes of the samples showed that there were calcium carbonate mixtures (probably calcite), copper carbonate (presumed malacite), silica (probably quartz) and rare iron oxides. A representative SEM-ED spectrum from an area of ​​copper carbonate is shown in Figure 20.

Red pigments₂CO₃The SEM-EDS analysis of the samples showed the presence of mixtures of calcium carbonate (probably calcite), copper-calcium silicate and rare iron oxides. A representative spectrum of the copper calcium silicat is shown in Figure 17. The analysis of several copper-calcium-silicat particles resulted in consistent spectra, and the calculated composition largely corresponds to that of pure Egyptian blue, cucasi₂), Klei a duck mineral in donker rode the bebied. Analysis Van De Helder Rode Gebieden Laat Zien Dat Deze Voornamelijk Cinnaber-Kwikzwavelsulfide (Hgs) Gright, Verme amount Met Wat Rode ocher. Track Van Arseen Waren Aanwezig in XRF-SPECTRA Van Something Sometime Met The Rest Van Rood Pigment. There, tea wijten zijn aan de Aanwezighid van Arseen Als track element in de rode Oker of called Gebruik van Een Arseensulfidepigment, Zoal's Rood), pararelars (Oranje/Geel), of Orpiment (Geel).

Raman Analysis Toonde de Aanwezigheid Van Cinnaber in Helderrode Monsters van de Mouw (Monster 9), "Rok" (Monsters 10 EN 11) A Bloem (Monster 18), an Een Mengsel van Cinnaber a hematics in Donkersrode Monsters van they wide the band up they wide the band up they wide the band. Mouwen (Monsters 7 an 8) a van de mantel (monster 23). Zowel Raman ALS FTIR Analysis Identificeer Calciet in Somme Rode Monsters. Representative Raman Spectra van Donker- A Helderrode Geteleken Met Referentiespect Voor Hematie A Cinnabre Worden GetOond In AFBE Report 22. Geen Species Rode Kleuruensen, ZOLS Een Arseensulfide, Werden Gedetecter.

SEM-EDS analysis of the dark red samples revealed a mixture of high calcium particles (probably calcite), high iron particles (which appear brighter in the backscattered electron image) and occasionally particles containing aluminium and silicon (various silicates). Analysis of these iron-containing particles revealed that they are iron oxides with no detectable arsenic (EDS analysis). Further sampling and more extensive analysis would be required to assess the presence of arsenic in the iron oxide particles. A representative SEM-EDS spectrum of the iron-containing particles is shown in Figure 23a. SEM-EDS analysis of the light red samples revealed a mixture of high calcium contents (probably calcite), some iron-rich particles and particles with high mercury and sulphur contents (which appear very bright in the BSE image). A representative SEM-EDS spectrum of the mercury sulphide particles in the light red sample is shown in Figure 23b.

Analizės rodo, kad arseno sulfidai, tokie kaip orpimentas, pararealgaras ar realgaras, nebuvo naudojami reljefui dažyti, o jei ir buvo naudojami, jie neišliko. Tai Leidžia manyti, kad arseno buvimas kartu su geležimi kai curious raudonose srityse, analizuotose Žvelgiant į senovės Graikiją, arseno pėdsakų aptikta hematito dalelėse ant Atikos skulptūrų [65] ir raudoname pigmente iš Koso agoros [66]. Priešingai, Stefano Ridolfi ir kiti [67], remdamiesi XRF method du aptiktu arseno su geležimi kiekiu, padarė prielaidą, kad Darijaus rūmų ir Kolonų salės srityse buvo naudojamas realgaras. Apie realgaro buvimą Persepolyje liudija realgaro nustatymas pigmentų gabalėlyje iš šios vietovės [27].

The examination of the dark red (purple) sample 23 of the robe with the light microscope showed a variable mixture of white, red, black and violet particles. Raman, FTIR and SEM-EDS analyzes pointed out to the presence of calcit, iron oxides (including hematite) and probably soot. The violet-red particles, which are shown in Figure 24, showed no identifiable Raman or FTIR spectra and could not be specifically identified in the REM. It may be an organic red (the lack of fluorescence under UV light indicates that Krapp is unlikely) or another iron oxide, possibly in a poorly crystalline form. The analysis of the oche r-based pigment lumps erected in Persepolis showed that it had a different mineralogy [62], and Emily Aloiz and others found that in Pasargadae pure hematite for a darker red, while red ocher for a pink decoration on painted Plaster was used [68]. These findings indicate that different ochers have been selected to achieve certain colors.₂O₃Other pigments

Paraugi tika ņemti no gredzena un tā piedēkļiem, kā arī no spalvu un acu plankumu accountshin, lai mēģinātu noteikt to sākotnējo (-ās) krāsu (-as). Lai Gan Šīs Vietas Sākotnēji Bija Krāstas, Tajās Nav Redzamas Sarkanā, Zilā Vai Zaļā pigmenta pēdas. Noņemtie Paraugi Bija Viens Balts Paraugs (22. Paraugs No Acu Plankuma Kontūras) Un Pieci Nedaudz Dzeltenīgi Paraugi no Gredzena un Labā piedēkļa (13th un 19. Paraugs), Spalvām Vai to Kontūrām (12. . Ramana and for analīze Liecina, Ka Visos Paraugos ir Kalcīts. Baltā parauga for spectra salīdzinājums ar kalcīta references spectru ir parādīts 25. Attēlā. Kā parādīts 26. Attēlā, divu dzeltenīgu paraugu ramana spectros ir vāji pīķi, kas var liecināt par fetīta (hidratēta dzelzs oksīda) klātbūtni. Turklāt vienā paraugā bija vājš maksimums pie 1008 c m-1, kas var norādīt uz ģipša (hidratēta kalcija sulfāta) klātbūtni.

SEM analysis showed that these yellow samples have some yellowish iro n-rich areas corresponding to the presence of iron oxide. Thus, these yellow areas may be indicative of a yellow ocher, a natural yellow iron oxide mixture, such as ghettitis, clay and other minerals. All in all, these results are slightly unconvincing and give a little thread of the original color of the ring or its appendages. Two samples with significant iron content are from the inside of the ring, from places that may have coincided with the contours of the feather. The white sample is definitely from the contour of the eye spot. If nothing else, its analysis does not provide evidence of the "corrosive material" that Tilia postulated for the feather frame (see paragraph 3. 2).

Obecność calcytu w białej próbce i w wielu kolorowych próbkach może wskazywać na użycie kalcytu jako białego pigment i/lub jako białej warstwy podłoża. Jednak kalcyt może PO Prost pochozić Z Opartego Na Calcycie Wapienia Relief, Który Został Pokryty Narostami, Zanim Fragment Został Oczyszczony W Latach Sześćdziesiątych XX XX WIEKU. Ponieważ można było pobrać tylko micropróbki, nie było możliwe zbadanie warstw lub stratygrafii w celu ustalenia, czy warstwa primer była obecna. Zauważono, że biała warstwa podłoża zapewniłaby lepszą powierzchnię do dekoracji polychromowanej niż szary kamień. Ostatnie badania zidentyfikowały białą warstwę primer na rzeźbach w persepolis, z gipsem używanym do czasów xerxesa [67] i minerałem fosforanowym fluorapatytem (wytwarzanym przez spal źniejszych rzeźbach [61, 67]. Nie wykryto phosphorus za pomocą xrf ani sem-eds w żadnej z próbek z Relief Harvarda. Fluorapatyt MA Charakterystyczne Widma Ramana I FTIR (Główny PIK RAMANA PRZY 964 c m-1) I nie został wykryty w żadnej z próbek. Chociaż istniały pewe dowody na obecność gipsu w jednej żółtawej próbce z wnętrza dysku, żadna innna próbka nie zawierała gipsu. Jest zatem mało Prawdopodobne, Aby Na Tym Reliefie zastosowano warstwę fosforanową lub gipsową.

Ύύγκριση με άλες μελέτες

A comparison of the results of this study with earlier examinations of the Harvard relief in particular [27. 69] and from pigments on stone sculptures and gypsum floors in Persepolis and Pasargadae in general is shown in Table 1. Although no yellow ocher was found on the relief in the study by Leon Stodulski and other [27] from 1984, the current analyzes and the comparison with the study by Aloiz and other [68] from 2016 indicate that that the use of yellow ocher is likely. In no of the two studies were found on the Harvard relief references to a primer or a clear white pigment. This is in contrast to identify a white basic layer of plaster or fluorapatite (depending on the date), which was discovered on the surface of several sculptural elements on site in Persepolis [61. 67]. The 1984 study also analyzed rehearsals of buildings in Persepolis, including reliefs of the hall of the 100 pillars, the tripylon/central building and the Apadana, and could not demonstrate plaster or fluorapatite in any sample. However, a white basic layer of lime (calcit) was found under red hematite and tinber in rehearsals of painted floors at the site [27, 68]. The presence of a basic calcite layer would be difficult to recognize on the limestone relief without larger samples that are suitable for a cros s-section.

As can be seen in Table 1, the pigments found on the stone sculpture and the painted plaster work are very similar: Egyptian blue, malachite, cinnaber, red and yellow ocher, carbon black and calcite [27, 68. 70]. This palette is somewhat limited compared to the total variety of pigments found in Persepolis [27. 62]. Analysis of pigment clonts from the original eastern portico of the s o-called Tripylon and pigmentation clumps or coatings in earthenware bowls contain Egyptian blue, azurite, tyrolite (a green copper arsenic mineral), sulfur (yellow), calcite, and red realgar (probably partially changed to Pararealgargar ) [27]. In the case of analysis of pigment clogs that were more recently excavated in the West Craft Zone in Persepolis, azurite, green earth and yellow and red ocher were identified, containing the last two mixtures of Goethite, Magnetite, Hematite, Clay and Quartz [62] . Blue pellets from the same context were identified as Egyptian blue, and a piece of waste bronze with a crust of Egyptian blue provides evidence for the local production of Egyptian blue [62]. The use of bronze waste is surprisingly given the lack of tin in the Egyptian blue that has been analyzed in these and other studies, and it can reflect variations in the copper source used.

Comparison with glaze colorants

In addition to the painted sculpture, glazed bricks were carried out during the first millennium BC. Chr. Used with great success for polychrome decorations, including a. in the Achämenid Persian capital Susa [68, 71, 72, 73, 74, 75, 76]. Since the comparatively wel l-preserved polychromy of the glazed bricks offers information on the original coloring of contemporary limestone reliefs, it is worth considering the special pallets of these two techniques. The color palette of the previous native glazes mainly consists of white, orange yellow, blue-green and black; Dark blue, green, pink and brown glazes appeared in the Achämenid period. Red glazes are not available at all locations, which is in clear contrast to the colors of the painted decoration, in which red plays a key role. This difference is probably due to the difficulty of producing a uniform red glaze that requires precise control in a reducing environment, while red earth and ocher are widespread and can therefore easily be obtained as inexpensive pigments. Red Zinnober is less common, but was also slightly available and widespread in antiquity. Although red glazes were a problem, glazes could be easily produced in a number of yellow and brown tones under normal oxidation conditions and were used to a large extent. The abundant use of yellow-orange glaze is in contrast to the few yellow pigment traces on the reliefs, perhaps because red preferred or because yellow ocher was poorly preserved.

Tāpat kā pigmentu gadījumā, no ieerobežota elementu kopuma tika egūtas dažādas glazūru krāsas: vara combācijā ar svinu un antimonu veidoja zaļu glazūru; Kobalta and Vara Maisījumus Izmantoja Zilas Glazūras Iegūšanai; Svina un Antimona Sajaukšana Radīja Dzeltenīgi Oranžas Glazūras (Pievienojot Nedaudz Dzelzs, Ieguva Oranžāku Toni); Mangāna, Dzelzs un dažkārt Vara K. K. C. Antimonu combined witha ar nātriju vai kalciju, egūstot baltu glazūru. Ahemenīdu periodā izmantoto pigmentu un glazūru krāswielu salīdzinājums ir sniegts 2. Tabulā. Neraugoties uz līdzībām elementu līmenī, Izejwachas un tehnoloģija ievērojami atšķīrās, izņemot ēģiptes zilo and ēt, Lai Izejwertias Saplūstu.

4. DiVišķā Krāšņuma Iztēle

Based on the knowledge gained through the visual examination, the technical imaging and the chemical analysis, we can certainly say that the representation of Ahuramazda in the winged disc was elaborately painted, including with bright colors such as Egyptian blue, malachite green and tinberrot. A darker iron oxide red, which may have been mixed with other pigments, was also used to create a violet color. Due to the few color residues and the small size of the samples, it was difficult to recognize pigment mixtures and the layering of different colors or shades, even if they were present. The robe of God was painted both light and dark red and decorated with multicolored cogs. The ornamental borders consisted of a wide band, which was at least partially painted dark red and was framed by narrower ligaments from triangles in bright red and blue. The hair and the beard of God were blue, and the flower he held in his hand was green, blue and red. The colors of the feathers of the winged disc changed rows. The three rows with the small springs above were red, blue and red, the three rows with the longer springs below were green, red and green. All springs were surrounded in a different color, and the longer springs received on the fragment had blue eye spots. So far, there is no indications of the treatment of the skin, lips, eyes, eyebrows and vertics of god to the background of the relief, and there is also no certainty about the type of presentation.

The following sections supplement the information obtained from the close-up study of the fragment with proof of more indirect nature, including instructions obtained from examining the surfaces of other Persepolis reliefs and from studying textual and visual sources For the iconography of Ahuramazda. We then discuss the sequence of color reconstructions that are assumed to be the image of the god as it appeared in the southern door openings of the hall with 100 columns - from an aquarel by Herzfeld to the painted plastering replica made in the Harvard Art Museums in 2007 - And we propose how the latter can be improved in the light of new finds and the much extensive bibliography on the subject of sculptural polychromy.

4. 1. Polychromy in Persepolis

Kaip Neseniai Harvardo Meno Muziejuose Atliktų išsamių Fragmento Tyrimų Rezultatai Dera Platesniame Persepolio Ir Kitų Kitų Karališkųjų Rezidencijų Skulptortionrinių Polichromijų Tyrimų Kontekste? Ką dar žinome apie 100 colonų sals durų sąramų spalvą ir kaip kitų Persepolio Pastatų Duomenys Gali Padėti atkurti pirminę fragmento su ahuramazda išvaizdą? Kaip Sujungti Atskirų Fragmentų Tyrimų Rezultatus, Kad Geriau Suprastume Achemenidų Persepolio išvaizdą kaip visumą?

In recent years a lot of research has been done into the pigments and color schemes used in Persepolis through the research of the processed surfaces of both the buildings on the location and the scattered fragments in museums all over the world [3. 20]. On the site, the "skin" of one of the monumental bulls that the northern porch of the hall with 100 columns contains still extensive traces of blue paint, which suggests that the original colors of the sculptural decoration would have yielded some surprises for modern Western viewers [17] (pp. 115-23) [20]. A wide range of pigments has been identified on the facade of the grave of Darius the Great (r. 522-486) ​​in Naqsh-e Rustam, which results in an important chronologically fixed point [20] (pp. 129-133), [ 77], although it is not entirely clear whether the painted decoration of the royal graves remained refreshed, perhaps even long after the death of a ruler. This aspect of care has not received much attention in modern science [20]. Because the room of 100 columns was built under Xerxes and its successor, Artaxerxes I, an ongoing study into the polychromy of the Tombade of the Tombade that is traditionally attributed to Xerxes in Naqsh-e Rustam comparison points [78]. Early, extensive traces of Egyptian blue were identified on the graves of later Achaemenid kings above the terrace complex (Figure 27).

As mentioned earlier (Section 3. 4. 2: “Other Pigments”), layers of white pigment from burnt animal bones have been preserved on some stone sculptures, presumably serving as a substrate for other surface treatments. The various shades of blue preserved on the king's beard, identified in paint residues on paper impressions of the Old Persian inscription on the tomb of Darius, help us gain insight into Achaemenid color symbolism and the “mineral universe” [79] that Achaemenid rulers and their workers were actively engaged with. The bruises represent an interesting case. During his work to research and document the numerous pasts of ancient Persia, Herzfeld used wet paper impressions to copy stone inscriptions and carvings. To do this, he struck a sheet of soaked paper into the marks and depressions of the surface. Once the paper dried, it was peeled off. The result was a full-size mirror image of the inscription or relief. The study of such paper impressions is relatively new in the field of modern polychromy research [20] (pp. 152-154), [80]. Recent analyses of pigment residues on the paper impressions made by Herzfeld's team in 1932 and 1933 have revealed traces of Egyptian blue and ultramarine, proving that both the architectural facades and the sculptural decorations in the interiors were painted in bright colors [64]. No ultramarine was found in a sample of the relief fragment at Harvard (see Section 3. 4. 2: “Blue Pigments”).

Tahara jeb Darija pils and Apadana jeb lielās auditorijas zāles parapeta un kāpņu fasāžu sculptūru fons bija nokrāsots a ēģiptiešu zilo krāsu [20] (109., 206. lpp., 6. 3. att.). Šo fasāžu priekšā tika izrakti krāsu trauki, kas liecina, ka tos izmantoja Persepolē darbojošies gleznotāji [81]. Pēdējos gados Persepolē un Tol-e Adžori (pēdējā datēta pirms 520. gada p. m. ē.) ir pētītas sienu apmetuma un glazēto ķieģeļu fasāžu paliekas [68, 72, 82, 83]. Ēģipte ir identificēta kā kobalta, kas darbojas kā krāsviela zilajās glazūrās no monumentālās ēkas Tol-e Adžori, netālu no Persepolisas terases kompleksa, avots, kas vēl vairāk nostiprina ideju par tūru inženierijas un iesaistīšanās iespējām šajā vietā [84]. Ir analizēts arī grīdas apmetums [85]. Svarīgi atzīmēt, ka lielu daļu šo analīžu ir veikuši Irānas zinātnieki, kas atrodas Irānā.

The merger of all these different international teams should be the main goal as it is an essential condition for a more comprehensive understanding of the polychrome of the capital of the capital. By trying to draw preliminary conclusions, we can say that the colors have covered both outdoor and internal architectural sculptures, creating a wonderful shine and causing shine and excitement. The colors on the reliefs should not have been realistic. We just begin to understand the true meaning of concepts such as blue bulls, blue hair and blue beard. Where the relief background was painted in blue apadan and tacar, the brown limestone was not seen at all. Could this be the case with a slightly subsequent 100 column hall sculptural door jams?

Površina odlomka na Harvardu Je Dobro Ohranjena Z Razlogom: Blog, V Katerem JE Bil ​​Odlomek, Je Relathivno Zgodaj Padel s svojega Pranega Poloja in Zemlja J KMALLILA Prekrila vegove Njegove Površinė. Spodnji del vratnega oboka in Veliki Deli Ostalih Treh Obokih Juzhne Fasade Dvorane 100 stalerov so ostali ohranjeni. Keri Bili Ispostavljeni Elementom in Temperaturnim Spremembam, Ni Presienetljiv, da njih Vidni Vidni Manjši Sledovi Barve. Polegta so bile njihove Površine merchant z Apnom, Raztopoplanim V vodi, Saj soc 19. In v zacetku 20. Stoletja z njih Večkrarat vzeli kalupe za zezzelo mavchnih odlitkov, namenjenih v Evropske Museum [16. 20] ). Kljub Theme So Ostanki Barve Na Spodnjih Delih Jugozahodnega Vhoda Številni in Vidni Celo S Prostim očesom (Sliki 28a, b). Kot Je Leta 1923 Zapisal Herzfeld, SO Bile Razgalene Noge Presola Svetlo Modre Barve. It is useful to the biller of the trail na prestolu Najdeni Ostanki Rdece Barve ... ”(Prevod Nagel [16], Art. 604). Podrobnejši pogled na druge tri figure Ahuramazde nam pomaga razumeti, da so bile podrobnosti, kot so lasje, perje v obroču, lotosov cvet in druge značilnosti, v nekaterih primerih izklesane v reliefu, v drugih pa so bile prepuščene dodajanju barve (sliki 29a, b ).

There is no evidence to support the 2007 A Harvard reconstruction of the colored fragment suggested that parts of Ahuramazda's robe and crown were originally gilded. However, there is actual evidence of gilding from nearby architectural sculptures. in 1932 Herzfeld noticed traces of gold leaf on the hem of the king's cloak in the Trypylon, sometimes called the Council Hall or the Central Building. In addition, it has long been known that the reliefs of Persepolis, as well as Pasargadae located further north, contained precious metal details (Fig. 30) intended for applied clothing ornaments, the king's crown, and possibly also for the ruler's hand ornaments [20, 26].

In order to reconstruct the original appearance of the Palace of Persepolis, we should also think about the work - both conceptual and physical - of the people who built it. Epigraphic evidence can help us better understand the social framework of the construction process. For example, we know that women participated in the painting of reliefs, although their exact contribution has not yet been studied [20] (pp. 29-30).

4. 2. Iconographic considerations

"Ein großer Gott ist Ahuramazda, der diese Erde erschaffen hat, der jenen Himmel erschaffen hat, der den Menschen erschaffen hat, der das Glück des Menschen erschaffen hat, der Xerxes zum König gemacht hat, den einen König von vielen, den einen Herrn von vielen".

Altpersische Inschriften wie diese von König Xerxes, die in das Tor aller Völker, den monumentalen Eingang zur Zitadelle von Persepolis (XPa), eingemeißelt wurde, verdeutlichen die enge Beziehung zwischen dem Achämenidenherrscher und dem Gott Ahuramazda. Wie Dareios und die späteren achämenidischen Könige bezog Xerxes seine Macht - und seinen Charakter und seine Faculties (XPl) - von der Gottheit; er eroberte und erschittete ein Reich durch die Gnade des Gottes (XPh). Durch die Gunst des Gottes erschittet er Gebäude und bittet den Gott, sie zu schützen (XPa, XPf) [86, 87, 88]. Ein similar Gefühl liegt der Babylonischen Inschrift des Sohnes von Xerxes gefunden, die in der Halle der 100 Säulen gefunden wurde: "König Artaxerxes sagt: Mein Vater, König Xerxes, legte den Grundstein für diesen Palast. Unter dem Schutz von Ahuramazda habe ich, König Artaxerxes, ihn volendet” (A1Pb) [87].

The close connection between king and god, consistently emphasized in Achaemenid royal inscriptions, is one of the reasons why the winged disc figure suspended above the king's images is thought to be Ahuramazda. In the rock relief of Darius at Bisotun (the earliest example of this image) and on the facades of the royal tombs at Naqsh-e Rustam and Persepolis, a figure on a winged disc stands before the king, both men raising their hands as if exchanging words of greeting. In the reliefs on the rims of the south door of the Hall of Hundred Columns (Fig. 2), the wings of the disc are spread out above the draped canopy for the king below, which is itself decorated with winged discs without figures. There is no direct interaction between these two figures, but if the bearded man on the winged disc is taken to be Ahuramazda, then the characters in the relief of each doorway - the king, the god and the representatives of the subject peoples of the empire who raise the king - succinctly visualize the Achaemenid kingship as expressed in the royal inscriptions [4] ( pp. 131-181).

In den nördlichen Eingängen der Halle der 100 Säulen erscheint die geflügelte Scheibe ohne Figur, was auf einen ihrer Ursprünge, die ägyptische geflügelte Sonne, hinweist. Bewohnte Flügelscheiben gehen auf die Assyrische Kunst zurück, wo die männliche Figur den Sonnengott Schamasch oder den Gott Aschur darstaltete ([58] S. 133-138 gibt einen Überblick über die Scheibenformen). Die Figur in der geflügelten Scheibe wurde zu einem beliebten iconografischen Merkmal in der Achaemenidischen Kunst aller Maßstäbe und findet sich auf multiple Gebäudes in Persepolis, auf Gräbern outside von Fars wie Ashkawt-i Qizqapan in Irakisch-Kurdistan sowie auf Siegel und Schmuck [89, 90 , 91, 92, 93]. Wie der Faravahar ist er bis heute ein importantes Symbol des Zoroastrismus. Aus einer Reihe von Gründen, darunter die ännlichkeiten zwischen der Figur in der geflügelten Scheibe und der Figur des Königs, haben einige Gelehrte argumentiert, dass das Motiv nicht als Abbild einer Gottheit, sondern abstrakter als das altiranische Konzept von xwarnah, gottgegebenem Glück oder königlichem Ruhm , verstanden werden sollte [94, 95, 96]. Ein neuerer Vorschlag besagt dass die Gleichsetzung von Gott und König der Rolle Ahuramazdas als Ahnengott der Achämeniden-Dynastie geschuldet ist [97].

There are no hints of God's appearance in the old Persian writings. In Aveesta (the main collection of zoroastic texts) and in the middle Persian texts it is described as "shining" and "all bright" as the garment is given to the sky (Yasna 1. 30. 5; Yasht 13. 3) [23. 98] (p. 179- 180). As these texts and Achemenid notes coincide with the main concepts [99], it is tempted to tie the stars with a stars Ahuramazda's garment to a gear of a winged disc figure and explain the gears like octagonal stars, even if the overall color of the garment was red and not (heaven) blue. Circular ornaments on the royal garment Persepolis' reliefs are vegetable [26] (pp. 53-57, Fig. 6, cf. 33-34, Fig. 39-42), [37] (cf. 142-143, 198), However, in a textile covering the throne of the royal, 100 columns in the northern door, there are also stars inserted in circular forms [26] (pp. 45-48, Fig. 3-4). The lid of the throne is surrounded by a wide band with steep lions framed by triangular edging. The same décor is on the royal garment, so it was suggested by analogy that it was decorated with Ahuramazda's garment in the southern porch.

A real woven textile band with moving lions in Achaemenidic style, above and below framed by narrower triangles with triangles, has been preserved in the form of a horse boring strap (Figure 31) of a burial mound in Pazyryk in the Altaigebergen in South Siberia (Russia). To obtain the red, blue and purple colors, the wool was dyed with red meaper and Cochenille and Blauwe Indigo. It is thought that this band was originally part of a very prestigious Achaemenidist item or tapestry that scythical countries reached by donation and/or trade; The saddle deck that belongs to the band was decorated with tower motifs in Achaemenidic style on a purple surface. Attached to a felt base, the band with lions was lined with strips of foal fur strewn with gold-covered pieces of leather [100, 101] (pp. 281-282, fig. 162; pp. 306-307, cat. 223). The Golden Ornaments are coarse versions of the gold applications with flowers or figures that decorated lush clothing in the Scythian area and in the Achaemenid Empire, with predecessors in pre-Achemenid Iran and Mesopotamia [102, 103, 104, 105, 106, 107]. In view of the fact that the robe of the royal figure that is in a doorway of the hall of Palace P in Pasargadae seems to have been enriched with metal fittings [108] (p. 93, pls. 80-81), it is conceivable that The star patterns on Ahuramazda's robe in Persepolis were intended to propose ope n-worked gold applications. Gold robes decorated for deities had a long tradition in the old Middle East.

Eine Vergoldung der Krone Ahuramazdas Scheint Wahrscheinlich, Wenn Man who has been sitting in the Königskrone auf Einigen Reliefs in Persepolis (Siehe Abbildung 30) [37]. In der Halle der 100 Säulen Wird Die Unvollendete Königskrone An Einem Portal der Nordfassade von Zwei Schlitzen Eingerahmt, who Wahrscheinlich Zur Befestigung Eines Metallblechs Diensten [26] (S. 61-62). Ein Fragment Einer Solchen Goldkrone Aus Einem Skulpturals Relief Wurde in Der Apadana Ausgegraben und Wird Heute im National Museum von Iran in Tehran Aufzhrt [26] (Taf. C: 3). Wenn that königskrone mit eagem gold überzogen wurde, wäre es nur folichtigigigigigigigigigigigigigigigigigigigigigigigigigigigigigigigre P P de P P in in Ahuramazda ähnlich. Aber Auch here is Keine Befestigung Vorgesehen, so Dass von Blattgold Ausgegangen became Muss.

Other places where the stone reliefs in Persepolis were upgraded with another material were the beard and the king's hair. Royal representations in Persepolis had pickled beards and hair curls made of Egyptian blue, probably in imitation of lapislazuli, and such blue curly deposits were found in various areas of the terrace of Persepolis [16, 26] (p. 39, pl. C: 2). The latest examinations of the Darius figure on the facade of his grave in Naqsh-E Rustam have shown significant traces of blue color in his beard [20] (129, 131, Fig. 3. 25), [77]. The blue beard of the Achämenidenkönig was part of a lon g-term convention in West Asia. The color of the beards of heroes were compared to Lapislazuli, and real lapis or imitation was used in images of heroes and mythological creatures [23. 79] (see [18] pp. 203-204). There were similar associations in Greece [13] (pp. 54, 61-89).

4. 3. History of reconstruction attempts

Cilvēka smadzenēm ir daudz brīnišķgugu spēju, par kurām lielākā daļa no mums reti aizdomājas. Daudzi no mums, iespaces, ir pieredzējuši, ka ir vieglāk pamanīt fashionļus - un Vispār lietas -, kuras mēs zinām un meklējam, nevis nepazīstauz un negaidītus apstākļus. Šī Neapzinātā uzveres tendence ir tieši saistīta ar smadzeņu efektīvu Darbību. Iedomājieties, ka jums katru brīdi būtu jāpievērš uzmanība katrai detailedļai savā redzeslaukā: jūs nekad nesaskatītu mežu koku vietā. Lai no tā izvairītos, smadzen aizpilda no atmiņas, tādējādi apgrūtinot pazīstu lietu jaunu saskatanu [110]. Tas Vairākos Veidos Ietekmē Senās Polhromijas Izpēti. Kā minēts iepriekš, tas rada Šķēršļus details atpazīšanai, īpaši, yes tās atšķiras no vispārējās shēmas vai formulas. Skatoties uz objectu no vairākiem leņķiem, dažādos apgaismojuma apstākļos, ar dažādām lēcām un ar papildu acu pāriem, var atklāt jaunas iezīmes.

A reconstruction created by another person will also give a different perspective, but it can never become invisible. Once it has entered our brain's image warehouse, it will, so to speak, color what we see from now on. It is therefore important to look closely and consciously on previous reconstructions and question their approach before trying your own reconstruction. In the case of the fragment with Ahuramazda, the previous reconstructions are associated with the assumption that the image of the god had a tremendous appearance. This seems appropriate for a "brilliant" deity (see section 4. 2), but is this claim of the results of the fragment's recent r e-examination?

4. 3. 1. Two-dimensional reproductions, 1930s-1970s

"On a deep black background, the colors emerge, luminous and almost transparent, like Cloisonné enamel."

Your is Hoe Herzfeld Het Oorspronkelijke Uiterlijk Beschreef van de Figuur in the Geverugelde Schijf Die Hoog Zweeft Aan Beide Zijden Van de Twee Zuidelijke Deuropeningen van de Hall of 100 Columns in Zijn Iran in Het Oude Oost [57] (p. Uit 1941 Van de Lowell Lectures Die Hij in Boston GAF In De Herfst Van 1936, Zo'n Zeven Jaar Voor de ananrekt van Winthrop's Persepolis Fragment Up De Harvard Campus. Hij Gaat Verder Met Het Beschrijven van de Kleuren: “Turquoise Blauw Verandert Met a Licht Scharlaken Root; Het Geel heeft one oranje of the Gouden Tint; DIEP PAARS A LAPIS BLAUW, EN, SCHAARS GRANDIC, A EMARAGE DROOM COMPLETER HET KLEURENSCHEMA. " The Journal Illustratie in Iran in Het Oude Oost Is Zwart-Wit [57] (Pl. 64), Maar the Original Aquarel Is Te Wind Tussen Herzfeld's Papier in the National Museum of Asian Art Archives in Washington, D. C. (Figuur 32) [56]. In de Aquarel Kijkt Ahuramazda reaches Links, Niet When Recht's Zoals in Het Fragment in Harvard. Daarom Moet de Aquarel de Good Tone In Het General Symbool Up One Van de Oostelijke Deurposten die Door de Eeuwen HEEN GROTENTEELS INTACT ZIJN MAKE. In Zijn Text Verwijst Herzfeld Echter When One Aquarelschet's Die Hij Maked Voordat Het Bettering Reliëf Werd Vernietigd, Alsof Hij Verwees When Het Block Dat Ooit Het Fragment Van Harvard Breed. Your heeft voor aanzienlijke Verwarring Gezorgd (Presumer in [3], pp. 113-115). Het is Mogelijk Dat Herzfeld de Aquarel up one Later Moment Heart Gemaakt, Waarbij Hij Gebruik Maked Van Eere Schetsen an Aantekeningen (Zoal's Figuur 6), Maar Als Model Voor de Algehele Repre

The coloring of the wings on the watercolor corresponds to what Herzfeld noted in his sketchbook; as explained above (section 3. 1), he mistook the remnants of malachite green on the longer feathers for turquoise. He recognized green on the flower where he would have expected it. Green, yellow (ring and appendage), violet (part of the robe), and lapis blue (hair and beard) are not mentioned in the sketchbook. This means that although the accuracy with which Herzfeld describes the colors ("an orange or golden hue") makes it very likely that he actually saw them, we cannot be entirely sure that he saw them on this particular block and not on one of the other Ahuramazda reliefs in the Hall of 100 Columns or the nearby Tripylon. His watercolor may also have been influenced by the knowledge that the relief decoration at Persepolis could be enhanced by gold appliqués and Egyptian Bluebeard inlays (see above, section 4. 2). But it is the phrase “cloisonné enamel” that points to what is probably the most important source of influence, even more than earlier – more fanciful – reconstructions [3, 20, 111], namely the glazed brick decoration excavated by French archaeologists in the palace of Darius at Susa in western Iran [112]. Herzfeld himself had found a piece of similar glazed decoration at Persepolis [111]. The flat carving of the limestone reliefs, with their smooth, clearly outlined surfaces, facilitates association with their glazed brick counterparts. And

Besides clear color fields and bright colors, Herzfeld's proposal includes a third important component, namely a dark background that provides a strong contrast to the luminous figure. The saturated, glossy surfaces created by polishing the limestone used at Persepolis are remarkable (they can be seen in situ in some places on the reliefs, which visitors like to touch). Herzfeld was obviously impressed by the aesthetic effect, writing of the masonry that it "goes to the extreme of highly polished stones, which, when well preserved, look like mirrors of black marble" (p. 236, [57]).

Lerner's 1971 reconstruction was based on observations she made on the newly cleaned fragment at Harvard, on comparisons with the glazed brick decoration at Susa, and on Herzfeld's notes, drawings, and watercolor of the figure decoration of the Hall of One Hundred Columns and the Tripylon [23, 24]. She corrected the color sequence of the long feathers to green-red-green and (accidentally) replaced the blue of the middle row of short feathers with green. She added details to the inside of the winged ring, but did not fully understand what they represented. For the ring and its appendages, she adopted the yellow of Herzfeld's watercolor. She also followed Herzfeld in giving Ahuramazda whitish skin and a dark blue beard and hair (accidentally printed as black in the 1973 publication [24]). For the god’s robe, she based herself on another colour sketch by Herzfeld, this one of the king, with a border of red walking lions on a blue ground, and on the patterns incised on the royal robe in other Persepolis reliefs. She assumed that these decorations represented embroidery or gold appliqué, the latter possibly rendered in yellow paint. She chose gold for the crown. Because she could find no traces of colour in the background, she excluded it from her reconstruction. She raised questions about colour symbolism but cautioned that too little had survived to draw firm conclusions.

The color reconstruction, which Tilia published in 1978, was drawn by her husband Giuseppe and is based on that of learner and on talks between Lerner and Ann Britt Tilia in Persepolis (1969) and Princeton (1974/1975). The Tilias brought a number of changes that were shown from their exact examination of the fragments of the same block and the other relief that remained on the spot and the other reliefs, which represent the figure with the winged disc [26] (pp. 32-42, TAF . A: 1). They rightly suspected that the patterns visible inside the pane were a continuation of the wing springs, and they realized that the individual feathers and their eye stains were outlined in a different color. As already mentioned (section 3. 2), they observed the remains of a whitish substance and found that the stone surface in these framing areas was less smooth, which caused it to assume that “a special color or a special surface had been used, which had a corroding effect on the stone and possibly a metal, perhaps gold, should imitate ”[26] (p. 36). They also found the same white material on the shafts of some small springs. During the reconstruction, they gave these characteristics a golden color and also used gold for the ring and its appendages. The resulting effect caused Tilia to deepen Herzfeld's comparison: “Since the way the feathers of the winged symbols with a different color, possibly gold, were framed, to the Egyptian cloisonné technique, the semi-precious stones and the glass p.

Tilias also suggested that the crown be gilded and the beard and hair blue. They were uncertain about the skin color, as they found no traces of pigment on the bodies of any of the figures at Persepolis, so they finally settled on a slightly pinkish shade. However, they found red paint on the eyes of several figures, so they gave the god red eyes. For the garment, they used an image of a figure with a winged disk in Tripoli, where areas of red paint remained on the garment. There they noticed concentric circles as well as wide bands with walking lions. Returning to the reliefs of the Hall of 100 Columns, they could see similar incisions, including compass holes for circular ornaments. They could not contribute to the discoveries of other pigments [26] (p. 56-57), so in their reconstruction red lions on a blue background. The circular ornaments are rendered schematically, in gold with a green center, the latter probably inspired by the floral decoration of the royal garment [26] (p. 54, fig. 6).

4. 3. 2. Three-dimensional in 2007 suggestion: Criticism

«Gods in Color»-utstillingen på Harvard Art Museums i 2007 var ikke første gang en malt gipsrekonstruktion ga det american publikomet et glimt av den skulptelle utsmykningen i De 100 søylers hall. Washington, DC, admire en malt avstøpning av den nedre delen av en av de sørlige dørkarmene. [111] (s. 63, fig. 7). grunn for deutschlinger som for example forgyllingen av gudens krone og muststerene på kappen hans. and Persepolis. Rekonstruktionen fra 2007 should be considered as a proposal, not as an en-til-en-dokumentasjon av de actuale funnene. Anyway er den nå bellein utdatert av resultatene fra nyere utsøkker. The discussion below is updated.

First, let us briefly discuss 3D color reconstructions. Physical color reconstructions of ancient sculptures have been criticized for providing too much certainty when too much is unknown [113, 114]. This was also a major concern raised by other curators when Susan Ebbinghaus proposed exhibiting painted models that would form the core of her “Gods of Color” exhibition. Furthermore, plaster, the most commonly used material for reconstructions, has different properties than marble or, in this case, gray limestone, which affects both the paint application and the final appearance of the painted sculpture. Digital or paper reconstructions are certainly easier to adjust when new discoveries are made, as are images projected onto the original sculpture. However, physical 3D reconstructions offer another advantage beyond being visually compelling. Creating them can be an effective heuristic tool [115]. Ebbinghaus experienced this when he attempted to transfer Lerner’s new color reconstructions sketched on paper directly onto a plaster cast of a relief sculpture. At many points, it was difficult to match the sketched design to the actual surface of the cast. This led Ebbinghaus to revisit the original, eventually reconstructing it with modified features such as the triangular border surrounding the broad band of the god's garment. Virtual reality and artificial intelligence

The 33rd annual reconstruction from the January 2007 edition was made possible by a 3D scan of the reliefs based on this. It was with this in mind that the mysterious landscape of the Persepolis caves was recreated. Die Dekoration wurde mit dem Pinsel aufgetragen, wobei Acrylfarben verwendet wurden, deren Farben auf die von Ulrike Koch-Brinkmann und Vinzenz Brinkmann mit authentischen Pigmenten erstellten Farbrekonstruktionen abgestimmt waren [31]. Forever die Vergoldung wurde Blattgold verwendet.

The 2007 version of Ahuramazda's robe is based on the incisions under string light, the visible color residues and the results of the pigment analysis. As mentioned above (section 4. 2), notions of the mantle decorated with stars, together with the actual practice of beautifying prestigious clothing with gold applications in the Achaemenidic Empire and beyond, have encouraged us to imagine that the Pinwheel patterns were in fact star jumps and were originally gilded. Because there are no gaps for the attachment of gold plates, we used gold leaf. The reconstruction by Brinkmanns from the Greek statue of Phrasikleia from the sixth century BC with rosette patterns of gold and tin film over its red dress offers a parallel from the Greek world, in this case based on the physical remains of these materials on the image [117 ].

Papildomo įkvėpimo Suteikė darijaus rūmų sūzje Glazūrotų plytų puošyboje pavaizduoti lankininkai [102, 112]. Jų Ilgi Drabužiai Yra Tos Pačios Rūšies Kaip Ir Ahuramazdos Bei Karaliaus. Šį Vadinamąjį Teismo rūbą Sudaro Stačiakampio Formos Audinio Gabalas su Prapjova Galvai. Jis Buvo Perjuosiamas Diržu Ties Juosmeniu, Taip Sukurian Savotiškas Rankoves, Taip Pat Raukšles Apatinery Drabužio Dalyje [118]. Sūzuose Chalatus Sudaro Skirtingi Horizontalūs Segmentai, Atskirti Plačiomis juostomis su trikampiais apvadais; Kitos Dekoratyvins Juostos Eina Palei Išorinius Drabužio Kraštus. Rememiesi ant i-reljefų išlikusiais pjūviais, tilias rekonstravo tokyo pations tipo karaliaus ir sparnootame diske esančios figūros apsiaustą ("pirmiau, 4. 3. 1 skirsnį). Tačiau Raštotos Zonos Abiejose Vietovens Išsidėsčiusios Skirtingai: Persepolyje Ornamentuotos Viršutinės Zonos, O Apatinė, Atrodo, Buvo Paprasta, O sūzose Lankininkųonaisaisaisaisaisa. Harvarde Esantis Fragmentas Patvirtina Tilių išvadas. Tačiau Skirtingas Tekstilions Panelių Susoje Spalvinimas (Gelstona Ir Ruda Arba Balta Irgona) Paulkina IRUKIAI IR Tamsiai Raudono Pigmento Pigmento ir Publosiati vintaid vinta i-Stoid vintaid face Amsesnės Raudonos Arba Violetinės Spalvos. Spalvingi trikampių apvadai sūzoje taip pat padėjo mums atpažinti tokių apvadų buvimą iš Atitinkamose vietose išlikusių pigmento dėmių ant fragmento, esančio

As it turns out, we should have looked in Susa when coloring the dying courses. A version of the archer robe shows closely related patterns with the following color scheme: an orange center, surrounded by white jags, whereby blue and orange alternate in the gaps. The alternating red and blue is what suggests the VIL image in combination with preserved stains light red color for the background of the daring courses on Ahuramazda's robe (see Figure 7b, Figure 10 and Figure 34). The blue inside the dying is most clearly in the first model series below the wide ornamental band that runs in a curve along the arm of the deity. In the 2007 color reconstruction, we painted the background of the deaths in a very red.

A comparison between the VIL image of 2021 and the color reconstruction from 2007 shows further differences. These become clearer if a color-adapted VIL image is placed over a gray scenery image of the relief (Figure 34). However, it should be noted that the distribution of the pigment obtained is incomplete, and it is not always clear whether a pattern is originally or the result of a pigment loss or a shift by weathering and cleaning the relief.

The borders on either side of the broad horizontal band on the god’s robe are a good example of this. A basic triangular pattern seems to be present, although not neatly defined. The apparent pattern differs from the version reconstructed in 2007. The latter was based on the triangular borders of the Susa archers’ robes, where blue and yellow-orange triangles alternate with white triangles on the other side, a scheme paralleled on the Pazyryk pectoral belt (see Figure 31). As explained above (Section 3. 4. 2: “Comparison with glaze colors”), a red glaze does not appear on the glazed bricks at Susa; the orange glaze would have been closest to the bright red paint in the triangular borders on the Harvard fragment. The roughly triangular shapes in the VIL image are larger in size and have the opposite orientation to what we had assumed in 2007. The larger size does not allow for alternating red and blue triangles. This suggests that the border consisted of opposing blue and red triangles, with no white. Various versions of the triangle pattern occur on Achaemenid jewellery and other small-scale objects, including blue triangles opposed to alternating red and lapis triangles [102] (p. 95, fig. 77), [119] (p. 103, cat. 15; p. 129, cat. 66). On the western edge of the empire, the rosette borders of the Achaemenid robe of the recumbent pastry chef in the early fifth-century tomb of Karaburun in northern Lycia are lined with a blue triangle alternating with red and red triangles [102].

VIL imaging has confirmed that broad bands of patterned borders were also painted on the overlapping sleeve borders at the front of the figure, arranged in a similar manner to that at Susa (and slightly differently from the 2007 colour reconstruction). A triangular pattern is also highly likely for these borders, but although there are significant remains of Egyptian blue, they do not form clear triangular shapes. Neither incisions nor traces of pigment indicate that the broad band separating the upper robe from the middle zone was depicted on the chest, where it is present on the archers at Susa and in the Tilias reconstruction. Since no pattern could be determined for the broad bands, they were left unprinted in the 2007 reconstruction. According to the VIL image, these bands do not contain significant amounts of Egyptian blue. The use of another blue pigment, such as ultramarine, cannot be ruled out, but no other blue pigment has been identified on the fragment to date (Section 3. 4. 2: “Blue pigments”). The bands almost certainly bore decorations, perhaps indeed of walking lions or, given the relatively small scale of the figure, a simpler motif. Spots of luminescence throughout the robe could indicate that Egyptian blue had been mixed with the general red, or they could be the result of blue particles from the starbursts and triangles being displaced when the relief was exposed to the elements and later, during the cleaning process. The latter scenario is most likely, since Egyptian

The VIL image shows remarkable traces of Egyptian blue in the lower left part of the folded sleeves, on the robe below the belt on the back and at the top of the skirt, all areas that would be in the shade if it is a three-dimensional sculpture or a real person would act. The blue in and next to the grooves that separate the individual wrinkles is preserved on the sleeve. This raises the question: Could the Egyptian blue - and possibly also other pigments such as soot - have been applied to indicate shades and thus increase the thre e-dimensional effect of the relief? And could the choice of a darker red tone for the lower part of the sleeve be a rather schematic attempt to reproduce shading? Shadows are painted on the carved draperia of Greek sculptures of this time [121] (pp. 94-95, Fig. 17), [122] (p. 40, Fig. 2. 31), but the use of this painterly means is usually not on the Persepolis sculptures wanted (although Herzfeld used it in his watercolor, see Figure 32). The flat relief of the sculptures with clearly defined shapes and unbroken surfaces does not model themselves with light and shadow and therefore does not seem to demand this kind of painterly treatment. Or may we not expect you because we traditionally assume that Achämenidische art, including the monumental sculpture, has largely decorative character? The detection of the Harvard fragment is not conclusive, but it should encourage us to look for shades on other Achämenidi sculptures, especially on those from the middle of the fifth century.

It remains an open question whether or not gold leaf was applied to the starburst patterns and crown. This special treatment would have helped to draw attention to the figure of Ahuramazda in the relatively dark spot just below the lintel, and one can imagine the sparkle that would have been caused by the reflected light of the torches that illuminated the great hall. The blue beard, suggested in all color reconstructions since Herzfeld's watercolor, has been confirmed by the most recent round of VIL imaging, which has also shown that the god's hair was blue. In 2007, the hair was dyed black as an alternative suggestion. No pigment spots are visible to the naked eye on either the hair or the beard, and it is very possible that other pigments were originally present. Egyptian blue is relatively light, and one could imagine that it was mixed with soot to obtain a darker color [21] (pp. 408-409, 412-414). It is also possible that ultramarine was used, as Herzfeld suggested; indeed, it is very likely that different colours or at least shades were used to give structure to the hair, which has carved curls in the depiction of the god on the opposite doorpost (see Figure 29a).

The skin and facial features of the god were left unpainted in the colour reconstruction, both because there was no evidence and because Lerner and Ebbinghaus had different ideas about colour. In the art of some Mediterranean areas, notably Egypt and Greece, male skin was sometimes coloured darker than female skin, a distinction often attributed to traditional ideas about the different (outdoor versus indoor) lifestyles of men and women and more generally connected with ideas about good behaviour and beauty [123]. In Mesopotamia this distinction did not exist and remains of skin colour preserved on sculpture range from yellow-orange to red and brown [18] (pp. 181–186, 204–208). Light and dark skin tones occur among the archers of Susa [112]. What colour was the skin of an Achaemenid god? Anything from white to yellowish-white to a shade of pink to (darker) reddish-brown or brown is conceivable. The traces of pigment observed on the tomb facades at Naqsh-e Rustam [3, 16, 20, 77, 78] indicate that the eye was outlined in black, and black would have been used for the eyebrow, as was common in Assyrian reliefs and paintings. The lips were probably red, possibly also the visible nostril and the corners of the eyes; the sclera would have been white, and the iris and pupil a darker color. Paint may also have been used to add an earring. VIL photography suggests that blue paint was on the unfinished lotus flower, in addition to the visible red and green. The representation of Ahuramazda from the southwest doorway of the Hall of 100 Columns, where the details of the flower are engraved, probably provides a template for the arrangement of the calyx and petals (see Figure 29b). An improved reconstruction should follow this scheme, which requires at least three different colors.

On the winged disk, sufficient traces of pigment are preserved on the feathers inside and outside the ring to determine with certainty the colour of each row. VIL imaging has confirmed the use of blue on the second row of short, scale-like feathers and for the eyespots of the first and second rows of long feathers. Tilia was able to observe that the third row of long feathers, the lower ends of which are not preserved on the Harvard fragment, had red eyespots [26] (pp. 33-34, fig. 1). The colour of the ring and its appendages, on the other hand, remains unknown. It should be noted that the ring need not be painted in only one colour. The disk of the winged symbol of glazed brick from Susa consists of three concentric rings (white, green-blue and white) and a yellow-orange centre [112] (fig. 343). Yellow was chosen for our reconstruction because yellow ochre tends to be more ephemeral than other colours [124] (p. 52) and with a nod to the idea that the winged disk was intended to resemble inlaid gold jewellery. As discussed above (Section 4. 3. 1), this idea was inspired by the fact that the individual feathers and their eyespots were outlined in another, now vanished colour. Again, ochre seemed plausible for these outlines, and it was also applied to the shafts of the short feathers.

A large inlaid GoldSpectoral in the form of a winged slice (some of the finds of looted tombs in Lydien, which became known as "the soundy treasure") gives a fantastic illustration of the suspected prototypes of precious metal [125] (pp. 174-175 , No. 128). Like Ahuramazda's vehicle in Persepolis, it is similar to the Egyptian winged sun in the shape of the wings, which may not be quite coincidental considering the long history of hospitalized gold jewelry in Egypt [126, 127]. The hall with the 100 pillars also has other Egyptizing elements. The disc on the breast jewelery from the sound consists of a layered agate that has been sanded, so its carneolian center is surrounded by narrow white and brown rings. The feathers are hospitalized with turquoise, carnol and a brownish stone, and the stone that forms each feather is surrounded by a narrow band of gold. However, such contours are not reserved for hospitalized jewelry. They are found especially on the glazed bricks from Susa, where they amplify the decorative, almost sparkling appearance of the sun disk's wings and various mythological creatures [112] (Fig. 343, 345-346). On the bricks, most of these contours are white; Light blue occurs around the outer feathers. White is also what a single sample, which is certainly derived from such an outline, indicates for the Harvard relief, although two samples from nearby places have so far been defined as ocher (see section 3. 4. 2: "Other pigments"). The white, of course, may have been a basis.

APSKRITAI ATRODO GANA TIKėTINA, KAD TIK TAPYTO AKMENS, TIEK GLAZūRUOTų PLYTų RELJEFų EFTEAI BUVO PASISKOLINTI Iš JUDELYRINIų DIRBINIų, TAčiau, Leginant Medijas, nereikėtų Pamiršti, kad dailininkas galėjo palginti lengvai. Ilgų Plunksnų Raižymas Rodo, Kad Jos Yra Sluoksniuotos, Ir Primena, Kad Nereikia Atmesti Galimybės, Jog Buvo Šešėliuojama. Taip Pat Reikia Nepamiršti, Kad Tai, Kas Išlikę Iš Dažyto Paviršiaus, Paprastai Būna Žemiausias Sluoksnis. Net jei dėl mažo dydžio ir aukštai iškilusios sparnuoto disco figūros perregimumo tai kelia ajejonių, Gali Būti, kad atskiros plunksnos buvo papildomai pathobulintos linijomis, Perteikiant Jų Spyglius (PLG. [121], p. 107, 29 p.

The claw marks on the unpolished background give it a mottled appearance, and the overall gray color is quite different from the uniform, deeply saturated gray-brown color of the polished stone. One would think that it was intended to be covered with paint, but neither recent investigations have produced definite evidence of coloring, nor does Herzfeld seem to have observed it when he saw the newly excavated block. Fine luminescent spots observed in the lower three-quarters of the fragment, including in the background (see Figure 34), in the high-resolution VIL photographs may be stray particles loosened by weathering or moved during modern cleaning, rather than indicating remnants of the original paint on these areas [128].

Mėlyna farrna buvo rasta ir kituose Persepolio reliefo fonuose (žr. 4. 1 skirsnī), ji buvo used as a braided glazed plytų prádųybe ir buvo usuala to meto graikų reliefinės skulptos fono farrna [129] (p. 38, 43), [130] (p . 103-142). Tai bųu buvės daimas fanas, bent jau šiai durū staktos reliefo daliai, nes contrastių su vijąja sparnuoto disco figured dalimi, except barzdą ir plaus. But jei tai buvo Egipto bläga falsara, VIL atvajde bų galima sipresnio švetējimo. Lieka trys pognyas: fionas buvo nudažytas kita błaža varła, tiek drožyba, tiek reljefo tapyba liko nebaigta arba fionas buvo pallitas vejnias statya. Kaip rodo Hercfeldo's enthusiastic, pastoral idea appeals to modern viewers. Yra ir antikinė paralelė, nors ir gana tolima, išan V a. pr. m. e. end of Erechtėjo frieze Atėnų Acropolis. Čia iš balto Pariano marmuro iškaltos flat-figured buvo attrevtos prie frizo slatųų iš tamsiai bălănai pilko Eleusino kalkakmenio [129] (p. 127, 115 pav.), [130] (p. 118, 128). Because marmurinės figuros probably bubu bent iš dalies nadažytos, the general of this complex ensemble effect would be buvės gana similar to Persepolio reliefą su nedažytu background. Galima spėti, kad tiek Atėnų, tiek Persepolio menininkai peremė to meto design tendencies, but Atėnai, paškodami večešimo Achemenidų Persioje, bų

In general, Herzfeld's vision quoted above (section 4. 3. 1) held up well on further study, which may not be surprising, because he saw the relief when it was at least partially excavated. Probably the colors of the god in the winged disc were more saturated than he assumed and then implies his choice of the words "almost transparent". The coloring of the patterns on Ahuramazda's robe and of the feathers with their eye stains may have looked very good at Cloisononé, but we cannot exclude that this was tempered by other, more picturesque effects. The latter does not have to destroy the intention to give the image a precious, jewe l-like quality. Unfortunately, the absence of large remains of murals from the mi d-fifth century BC From the heart of the Achaemenid Empire that we have to limit ourselves to speculation about the artistic tools of the workers who painted the reliefs in the room with 100 columns.

4. 4. The bigger whole

Über Die Farbgebung der Figur in the Glügelten Scheibe Gibt es nor Fragen, Aber das forkommen von Pigments Who Zinnober, ägyptisches Blau und Malachit in Kombination mit Dem Kunstvollen Design Lässt Keins Komplizier, Dass. War. Wart. Auch Wenn that Figur in Ihrem Ursprünglichen Kontext Hoch Oben am Pfosten Eines Hohen Tors, Direct Unter Dem Türsturz, Nur Wenig Direct Oder Umgebunglicht Eraltes Hätte, Hätte Die Wahl of Pigthar Ihre. Letzteres Wurde Deutlich, as Das Antike Fragment von Seinem Gewohnten Platz in the Galerien des Harvard Art Museums Entfernt Wurde, UM im Mittelpunkt Einer Temporären Installation zu Stehen, that Sich Mit Seiner Stestruildung End durch. Zwischen the other reliefragments von Persepolis, who nun ohne farbe in the sammlung des museums ausgestellt sind, stach die rekonstruktion nicht nur durch ihre farben revor, sondern auch dadurch, dass sie vieldtargtard aus der entigernung Anyone who has an experiment is hatred, profitiency that architectonic skulptur der Antiken Griechischen Tempel von Demselben Effekt [132]. Die Gegenüberstellung der Balten mit de Einfarbigen relief fragments served Auch Dazu, zu Zeigen, dass that Farbigkeit nicht notwendigerweise den Sinn für das skulptural Volumen Beeinträchtigt.

Uudelenean raising tamilla unclean ollut arfisheoitan, lahinnn sen ”rites sensibly” vessels. Kuten eldlla maminittini (4. 3 ksista [133].

Er are no texts from the Achaenemic period in Iran who can help us to be Ahuramazda’s legacy with the ore of a member of the Persian elites at the time of Artax Is, but we may assume that the effort that is stabbed in the surface treatment of the release served a goal. The figure in the winged disc washed swearing and vivid, as it is a god to be a god. Nast the bright colors reinforced the hard-draised robe and the gemy winged disc the divine image. The rest of the door-style relied no less adorned [20. 26], which reminds us that the wash made in service of the large queen whose image in the midst. It showing him tonst and authorized by the god floating and supported by the representors of the understory peoples of the rising that depicted out of the wren. In metaphorical form, the door posts of the southern door openings, gambled the Zal with 100 Zals with 100 Zullen a leveraged view of the audition of the Queen that would place ceremony in the room, with eye-blinded swabs, with eye-blindly wandering wandering, and Ahuramazarda requested by spoken word and misspell also due to images on walltapys and the royal canopy. If we further zoomed (see Figure 3a), the combination of enormous slabs and intricate surface version in the architecture of the Zal with 100 Shouen architectures to expect, as to anticipate washing for a building under protective of the god (Paragraph 4. 2).

The Greek artists of the sixth and early fifth century BC. BC used rich polychromy to characterize their deities: the Athena with scale cloak on the west gable of the aphaia temple on Aegina can be compared particularly well with the somewhat later Achämenidi god [9:31]. As Adeline Gran d-Clément showed, the Poikilia - colorfulness, color, complicity, shine - was greatly appreciated by the Greeks of earlier times [134]. In the wake of the Persian wars, she received a negative aftertaste, at least for the mortals. Recent investigations have shown that the robe was at least a pedimental sculpture of the most classic of all monuments, the Parthenon, was in fact painted with a figure jewelry that would have given her a dazzling appearance [135]. In contrast, lush, colorfully patterned clothing, which was worn by people, especially men, was an emotional trophy for the Greeks that was associated with the east and in particular Achämeni d-Persia [136, 137]. Xenophon reports (Hellenica 3. 4. 19) that the Spartan king and military leader Agesilaus turned off on a campaign in Asia Minor to encourage his men: they would be able to see that their enemies were white because they were never without clothing, and in The battle would be as if they are fighting women.

Het is natuurlijk simplistically om te zeggen dat greiken will also be writated door uitbundige kleding, zoals het gewaad datztwäd der Dor ahuramazda en de boogschutter van susa, en dat in pacyryk werd om trade dead. Maar Het is Helemaal Niet Onwaarschijnlijk Dat Moderne Westerse Chromofobieën [138] Hun Oorsprong Vinden in opvattingen zoals in Zijn Poëtica (1450b), Waar Hij Met Betrekking Tot de Schilderkunst Opt EFT Dan "de Mooiste Kleuren he became willing to do with this. Zoals We Alzia leverage what Ahuramazda's Afbeelding Kleurrijk, Maar Niet Zonder Orde.

5. Conclusies

The desire to create a physical reconstruction of the color of the painted plaster, to be included in the 2007-2008 edition of the “Gods in Color” exhibition series of Harvard art museums, has led to more than a decade and a half of intermittent investigation into intermittent. Original polychrome of the fragment of a winged disc from the 10 0-column room of Persepolis - more precisely, the western jampery of its southeast entrance. The first observations on polychrome of this relief dates back to the fall of 1923, almost exactly a hundred years before the publication of this article, when Ernst Herzfeld made explorations in Persepolis and cleaned the soil around the block that then included the Harvard fragment. The authors expect the examination of dispersed museum fragments such as it proceeds in conjunction with the investigations carried out on the spot, linking scientific efforts on different continents and contributing to an increasingly clear image of the original aspect of Persépolis real palaces.

What has come out of the recent r e-examination? The study of the surface of the fragment has confirmed that the relief in the upper parts is unfinished. Raking Light has helped determine the general parameters of the decoration on the sheath, which is carried by the figure in the winged disc, here identified as the god Ahuramazda, and the design of the feathers in the dial. By mapping traces of Egyptian blue, will-image formation has provided a further definition of the details of the original polychromy of the relief. In terms of material, the combined analytical techniques have identified the dyes on the relief as Egyptian blue, malachite, cinnobes, red ocher and possibly yellow ocher, and there is also calcit and genitalia. The current study has provided the opportunity to investigate many more points and samples than previous studies and has confirmed the palette previously proposed. There are no clear indications that a basis of neither plaster nor fluorapatite nor other pigments found in Persepolis, such as realgar, azurit or ultramarine blue. Although the absence of holes or grooves makes it unlikely that any parts of the relief were covered with gold plate, the crown of the god and the patterns of his cloak may have been gilded with leaf gold. When it comes to the background of the relief, the continued absence of crucial evidence of paint gives some confidence that it can be taken as evidence of absence.

Critical reviews of previous colored images, taking into account the new data, revealed that although the details need to be corrected, Ernst Herzfeld's first described Judith Lerner, Ann Britt and Giuseppe Tilia Tilia Tilia Tilia Tilia, the appearance of brightly colored and gemstone. Based on previous proposals, The thre e-dimensional reconstruction created had a didactic role in the exhibition "Colored Gods", but in the process of creating it was an effective heuristic measure. Now she is also outdated, and the features like the black hair of God need to be reviewed based on the new information derived from Villa images. This relatively new method has shown that Egyptian blue is in unexpected places, which illustrates the ability of new scientific technologies to adjust the established concepts of art history. In the case of Ahuramazda's image in Persepole, the emphasis on precious, enamel nature and conceptual colors (such as blue hair and beard) and the lon g-cherished ideas on the decor of the Achemenide Persia in general interfered with the possible use of mixed pigments and shadows. This study has not provided convincing evidence to prove a more painting attitude, but this may be a productive aspect that should be considered in future research.

The author's contribution

Conceptualization, S. E .; Methodology, S. E., K. E., J. A. L., a. n. and a. c .; Formal analysis, S. E., K. E., J. A. L., a. n. and a. c .; Investigation, S. E., K. E. and a. c .; Data processing, K. E. and a. c .; Writing-Original Project Preparation, S. E., K. E., J. A. L., a. n. and a. c .; Writing-Perser and Edit, S. E., K. E., A. N., J. A. L. and A. C .; Visualization, A. C., K. E. and S. E .; Care, S. E .; Project Administration, S. E .; Getting funding, S. E. All the authors read and agreed on the published version of the manuscript.

Funding

Sharmin and Bijan Mossavar-Rahmani supported 2007. Creating color reconstruction and related research.

The statement of institutional review council

Does not apply.

A statement for data availability

The data developed and / or analyzed in this study can be obtained from the authors of the relevant authors after submitting a reasoned request.

Thanksgiving

Georgina Rayner, Narayan Khandkar and Jens Ståger (formerly) at the Straus Center for Conservation and Technical Studies at the Harvard Art Museum contributed to the pigment analysis. Patrick Degryse (Ku Leuven) identified the stone. Haddon your (Art Institute of Chicago), a former fellow at the Straus Center, collaborated on the technical image. Henry Lie, then director of the Straus Center, performed photography with raklys in 2007 (Figure 8a). Catherine S. Alexander (independent artist) made the stretch drawing that records incisions in the relief (Figure 8b). The Facsimile for the color structure was made by the late Ronald E. Street, then at the Metropolitan Museum of Art, and David Basset, Scansite Inc. Jessica Chloros, Henry Lie, Nancy Buschini Lloyd and Anthony Sigel, all former employee at Straus Center, Paint the color structure. Adam Sherkanowski, graphic designer at the Harvard Art Museum, provided advice and provided technical expertise in connection with the visualization of the traces of Egyptian Blue (Figure 34). The authors are very grateful to Karen Gausch, head of exhibition production and collection management, and her team for making the relief available for studies. Lindsay Allen (King's College, London) has shared his research on the modern story of Harvard's Persepolis fragments. Sarah Laursen (Harvard Art Museums) made us aware of the photographs of the relief fragments in Winthrop's house. We received valuable feedback during previous presentations

Beauty Verge String

The Auteurs Verkaren Dat is the Geen cracking is van Belangenverstring. The sponsor's haden Geen Rol in hot ontwerp, the uitvoing, the interpretatie of called Schrijven van Het Onderzoek.

Bijlage A. Beeldvorming an analytische instrument a parameter

Voor All Technische Beeldvorming Werden Een Canon Mark III 5D DSLR Camera (Canon Inc., Tokio, Japan) A Zeiss 50mm Macro Planar Ze-Lens (Carl Zeiss Ag, Oberkochen, Duitsland) Gebruikt. The internal camera filtering werd verwijderd about a rampant bandbreedteractie op de Detector Mogelijk tea. EXTERNE FILTERS EN LICHTBRONNER PER TECHNIEK:

Visible Light Photography: PECA 918 (Peca Products, Inc., Beloit, WI, USA) and Kodak WRATTEN 2E filters (Eastman Kodak Co., Rochester, NY, USA), Elinchrom Style RX 1200 flash (Elinchrom LTD, Renens, Switzerland);

UVF Photography: PECA 918 and Wratten 2E filters, Triple Bright 3 lamps (UV Systems, Inc., Renton, WA, USA);

IRP: Tiffen 87A filter (Tiffen Co., Hauppauge, NY, USA), Lowell Pro-light Tungsten Focusing Flood lamps (Lowel-Light Manufacturing, Inc./Tiffen Co., Burbank, CA, USA);

VIL Photography (2021): Tiffen 87A filter, Sylvania LED 13 PAR 30LN lamps (Osram Sylvania, Inc., Wilmington, MA, USA).

XRF spectroscopy was performed using a Bruker Artax XRF spectrometer (Bruker, Billerica, MA, USA) with a Silicon Drift Detector (SDD) and a rhodium anode X-ray tube. The primary X-ray beam was collimated to obtain a spot size of 0. 65 mm. Using Bruker Artax (version 7. 6) software, spectra were recorded for 100 s live time at 50 kV and 600 μA at selected points. A helium flux was used to increase the detection efficiency for light elements (atomic number of potassium and below).

Izmantotais Ramana spectrometers bija Bruker Optics “Senterra” dispersīvais Ramana mikroskops ar Olympus BX51M mikroskopu. Ramana spectrometram ir pieejami 532 nm, 633 nm un 785 nm lāzeri. 785 nm with a režģi, greenhouse aptver 70-3200 viļņu skaitļu diapazonu, četri režģi 633 nm lāzeram, greenhouse aptver 28-3500 skaitļus, a trīs režģi 532 nm lāzeram, greenhouse aptver 70-3710 viļņu skaitļus. Spektrometra izšķirtspēja ir 3-5 viļņu skaitļi (atkarībā no viļņu skaitļa). Sistēma izmanto Andor “iDus” CCD detector, greenhouse darboja s-55 C temperatūrā. Katra lāzera jaudai ir pieci ar programmatūru konrolēti iestatījumi: 100%, 50%, 25%, 10% un 1%. Aprēķinātā faktiskā parauga jauda pie 100% iestatījuma ir 8, 5 milivati ​​532 nm lāzeram, 10, 9 mW 633 nm lāzeram un 37, 5 mW 785 nm lāzeram. Microscope with 20×, 50× and 100× objects, with a minimum of 5, 2 and 1 microns. Mikroskopā ir džoistiku vadāma motorizēta statīva, un analīzes zonas iestatīšana tiek veikta, izmantojot pievienoto videokameru. Instrumentu vada, izmantojot OPUS programmatūras 5. 5 versiju.

FTIR spectrometric analyzes were performed using a Nicolet 510M spectrophotometer with additional MCT detector (Nicolet Instrument Corporation, Madison, WI, USA) coupled to a Spectra-tech IR plane infrared microscope with a 32× objective. The sample was compacted onto a diamond cell (2 mm × 2 mm) with a stainless steel roller, and the sample area was defined by double apertures in the microscope. An absorbance spectrum (4000-500 c m-1 ) was measured (resolution setting 8 c m-1 ) and subtracted against a blank background. The spectrum was compared to a database of artist materials at the Straus Center for Conservation.

SEM was performed on samples that gave poor signals by Raman and FTIR analysis. A JEOL JSM-6460LV scanning electron microscope (JEOL USA, Inc., Peabody, MA, USA) with an Oxford X-MaxN energy dispersive X-ray spectrometer with 80 mm 2 detector, controlled by Oxford INCA software (Oxford Instruments NanoAnalysis, USA, Concord, MA, USA), was used to determine the elemental composition and aid in the identification. The samples were analyzed in low vacuum (35 Pa) without carbon coating at a voltage of 20 kV.

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