1 00:00:08,000 --> 00:00:15,410 OK, well, welcome everyone, and thank you for coming. I'd like to welcome our speaker today, Poulin. 2 00:00:15,410 --> 00:00:21,680 She is a final year Ph.D. student at the Conservation of Wool Painting Department at the coastal course. 3 00:00:21,680 --> 00:00:23,330 All that you've got. 4 00:00:23,330 --> 00:00:31,430 Her background is both in Buddhist studies, which she studied at the University of Hong Kong and in conservation, which she studied at the Courtauld. 5 00:00:31,430 --> 00:00:36,860 She also has practical experience as a wall painting conservator in both Bhutan and India. 6 00:00:36,860 --> 00:00:39,770 Her Ph.D. project, which she will be discussing today, 7 00:00:39,770 --> 00:00:46,070 explores the 17th century Monastery of Tango in Bhutan and illustrates the wall painting technology, 8 00:00:46,070 --> 00:00:56,240 the development of wall painting technology and Bhutan. So welcome, and please start sharing your screen. 9 00:00:56,240 --> 00:01:02,510 So what I'm going to share with you today is about my research on Tango and 10 00:01:02,510 --> 00:01:10,220 those paintings inside the central tower in what we called hotel its own term. 11 00:01:10,220 --> 00:01:23,990 I started my research on Tango Walking Team from my M.A. dissertation, and it was attached to our wall painting conservation project at Koto. 12 00:01:23,990 --> 00:01:32,870 Trouble was called out. The in the initial goal of the research was to reconstruct the making history of those artworks 13 00:01:32,870 --> 00:01:40,520 to establish their significance and then use the fundings to help the conservation work. 14 00:01:40,520 --> 00:01:49,280 So the technical analysis? We will be able to study, oh yes, 15 00:01:49,280 --> 00:01:54,460 throw the technical analysis or be able to study the painting from a making 16 00:01:54,460 --> 00:02:01,450 perspective by understanding what material was used and how the painting was made, 17 00:02:01,450 --> 00:02:18,220 we will be able to recognise the technical changes and continue to then hopefully to reconstruct a timeline for their making history. 18 00:02:18,220 --> 00:02:23,500 I will start with a brief introduction of the monastery. 19 00:02:23,500 --> 00:02:28,300 So Tango as locates the former Can you see my mouth? 20 00:02:28,300 --> 00:02:35,860 Yes, great. So Tango Monastery is located in the north of Tengku Valley. 21 00:02:35,860 --> 00:02:42,790 It takes about 40 minutes drive and for 10 minutes hike to reach the main temple. 22 00:02:42,790 --> 00:02:57,550 This is a depiction of tango landscape from one of the painted rooms and tango we see today, and they dated to early 20th century. 23 00:02:57,550 --> 00:03:04,870 The view from the landscape from the painting here is quite similar to what we can see today. 24 00:03:04,870 --> 00:03:11,940 This is the main temple here, as would. 25 00:03:11,940 --> 00:03:25,170 And the here has a small stupa, this actually represents rock, which lived to be the emanation state higher grade both. 26 00:03:25,170 --> 00:03:31,320 So I will spend a little time here to talk about the early history of tango, 27 00:03:31,320 --> 00:03:43,680 all the illustrations I'm using today for the presentation are games, paintings from Tango War paintings. 28 00:03:43,680 --> 00:03:58,070 Games are all from Tango Wall paintings, games. They might be from the different period, but as you can see as we go, all the paintings are. 29 00:03:58,070 --> 00:04:02,070 All the figures are painted inside the walls. 30 00:04:02,070 --> 00:04:14,610 So the earliest history of tango traced back to the 13th century when the Tibetan llama called bajo dragons people who travelled from Tibet to Bhutan, 31 00:04:14,610 --> 00:04:20,160 he often crowded to ask the person who spread to argued to Bhutan. 32 00:04:20,160 --> 00:04:30,150 The story was about him. Funding Tango was how he was meditating in a cave one day. 33 00:04:30,150 --> 00:04:36,090 Then he heard the sound of higher river, the sound of a horse. 34 00:04:36,090 --> 00:04:41,440 So he saw that was the insight that higher group I gave him. 35 00:04:41,440 --> 00:04:53,310 So he decided to build a temple as the offering for higher grateful there from his, from the literatures that we have. 36 00:04:53,310 --> 00:05:01,770 There was no clear description of tango size at his period, but from his biography, 37 00:05:01,770 --> 00:05:18,080 we can see that he sings established hat culture for his secular affairs tango and later passed the the quarter to his son. 38 00:05:18,080 --> 00:05:30,560 Thumper and Dumbo was the person who built a monastery, a tango, and later on the temple was inherited within their family line. 39 00:05:30,560 --> 00:05:37,730 Thumper passed the tango to his son, Quinn's own daughter, 40 00:05:37,730 --> 00:05:45,410 but later Queenslander daughter moved to Thatcham Pool and the love to Tango see me abandoned. 41 00:05:45,410 --> 00:05:52,010 Since then, until the early 16th century? 42 00:05:52,010 --> 00:06:09,660 Yeah, until early 16th century. Another Tibetan lama, the famous maps sent to back now who visited Tango, the site of Tango. 43 00:06:09,660 --> 00:06:14,520 Those of you who are familiar with Bhutan probably will know him. 44 00:06:14,520 --> 00:06:25,020 He was one of the most important figure who has being influential to Bhutanese culture. 45 00:06:25,020 --> 00:06:33,060 Many of his legend has. Let's do a budget in Bhutan's culture now. 46 00:06:33,060 --> 00:06:37,260 He visited Bhutan in early 16th century. 47 00:06:37,260 --> 00:06:45,890 Seventy five. He didn't stay, but his descendants remind tango. 48 00:06:45,890 --> 00:07:01,860 His son, Alan Thompson. We established a tango in 15 17 and established his own monastic community there. 49 00:07:01,860 --> 00:07:12,820 And later. Since then, the ownership of Tango shifted from budget to kinship with family to tuberculous family lineage, 50 00:07:12,820 --> 00:07:22,150 where both of them are related to the Chewbacca view of the. 51 00:07:22,150 --> 00:07:27,760 Chewbacca lineage. The Realme Highjack lineage in Tibet. 52 00:07:27,760 --> 00:07:41,670 So from Trabecular sung out. And then he also passed the CIT Tango to his son. 53 00:07:41,670 --> 00:07:55,390 Mountains and sun, so on tension. And it was so intense then who offered tango to jungle on them ger when he first arrived in Bhutan. 54 00:07:55,390 --> 00:08:02,550 Shapiro no longer was the person the founder of the Kingdom of Bhutan. 55 00:08:02,550 --> 00:08:17,010 He arrived in Bhutan in early 70 and took tango as his residency since until the formation of the state. 56 00:08:17,010 --> 00:08:25,050 But because of the disability of his own son, he passed. 57 00:08:25,050 --> 00:08:42,550 He appointed. So on Tenzan son, as his official successor boasts in religion and the political prospect few. 58 00:08:42,550 --> 00:08:54,880 Then it was his successor, Tenzin Rabkin, who became later became the fourth stassie of the Kingdom of Bhutan. 59 00:08:54,880 --> 00:09:09,470 It was under him. During his region that he council commissioned the construction of tank boats in the building work can seen now. 60 00:09:09,470 --> 00:09:21,500 And after he passed away, the sit continue pastor in his family to his daughter who passed away, who was the last person in their family lineage. 61 00:09:21,500 --> 00:09:33,320 After that, the ownership shifted to tender up against reincarnation until now. 62 00:09:33,320 --> 00:09:41,730 This is a view of tango. This is the central tower. 63 00:09:41,730 --> 00:09:46,800 The shooter bolted on the door, turns out getting 60 88. 64 00:09:46,800 --> 00:09:53,340 And this photo taken from if you remember the first landscape depictions of tango. 65 00:09:53,340 --> 00:09:58,900 This picture taken from the Great Iraq. 66 00:09:58,900 --> 00:10:13,280 So the U.S. is building with three floors, and we will see in detail later. 67 00:10:13,280 --> 00:10:22,910 Likely intended or obvious biography, the construction work in 60 88 was carefully recorded and documented information, 68 00:10:22,910 --> 00:10:34,520 including walking period and four painted rooms with sculptures and their artists also 69 00:10:34,520 --> 00:10:46,410 provides iconography lives for those paintings and that was done during that period. 70 00:10:46,410 --> 00:10:56,540 It was clear that the hotel we can see today was the result of continuing development over three hundred years. 71 00:10:56,540 --> 00:11:09,140 However, the record I had them building history records in the 17th century became fragmentary, as you can see from the timeline. 72 00:11:09,140 --> 00:11:19,970 There have been several renovations happened in the past, but most of the renovation records did not find any detail. 73 00:11:19,970 --> 00:11:24,450 As you can see, there is the big gap. 74 00:11:24,450 --> 00:11:40,420 Durant return from the 18th century to the 19th century that the no from the actually the meet 20th century does, parents loved knowing. 75 00:11:40,420 --> 00:11:47,950 These are floor plans of the hotel. There are twenty five. 76 00:11:47,950 --> 00:11:53,440 Start from the left, the ground floor, first floor and second floor. 77 00:11:53,440 --> 00:12:03,070 All the rooms are named was no as the floor and the latter as the direction, so. 78 00:12:03,070 --> 00:12:12,370 They are 24 rooms in total, 16 of them are painted was paintings are decorated with paintings. 79 00:12:12,370 --> 00:12:20,650 Those wall paintings, including wall paintings, are some plaster and wall paintings, 80 00:12:20,650 --> 00:12:38,890 wood and panel also moral flag as a type of walking things that you stick painted canvas to the wall. 81 00:12:38,890 --> 00:12:49,860 If we take the top floor as an example, you can see the intensity of the painting on the two floors on this thing. 82 00:12:49,860 --> 00:13:03,230 They're almost paintings everywhere. I think Tango as a unique demonstration to show the development of tango of 83 00:13:03,230 --> 00:13:16,460 Bhutanese wall paintings from the period when the kingdom just funded until now. 84 00:13:16,460 --> 00:13:25,740 As mentioned earlier, there were four rooms documented a tent in Rob Guest biography there. 85 00:13:25,740 --> 00:13:34,420 Painted during the 16t at the beginning when the building was just constructed. 86 00:13:34,420 --> 00:13:40,670 Three of them are located on the north side of the building. 87 00:13:40,670 --> 00:14:00,900 And on each floor, the idea of those North tries was to create the through realm based on the tricky, trickier concept. 88 00:14:00,900 --> 00:14:15,170 Unfortunate, and unfortunately, the paintings in the North try a ground floor was. 89 00:14:15,170 --> 00:14:33,110 Covered by concrete wall wedge and later the concrete wall itself was covered by modern cameras printing more like a 1988 dose, 90 00:14:33,110 --> 00:14:41,300 but from 10 throughout this biography, we knew the iconography painted in this room. 91 00:14:41,300 --> 00:14:51,890 Well, we knew that this room and the ground floor, it was a depiction of the demonic of online some. 92 00:14:51,890 --> 00:15:01,820 Then the sample got Kaiya overlooking Taffaro, also Holography as one of the combination of. 93 00:15:01,820 --> 00:15:07,280 Overlooking tough fire also depicted in the sample backyard shrine, 94 00:15:07,280 --> 00:15:19,210 then the top floor was a depiction of the Dharma K.R. room, which also makes two wears the. 95 00:15:19,210 --> 00:15:35,180 Paradise of army tapas. So when the audience will care or visitors who come to tango building by. 96 00:15:35,180 --> 00:15:50,000 Walking up from the ground floor to the top floor, you actually entered the paradise where the demarcation. 97 00:15:50,000 --> 00:16:00,770 Step by step. And the other room, the force room, located on the second floor. 98 00:16:00,770 --> 00:16:09,830 Last site, which is which was the private back chamber of tended rocket himself. 99 00:16:09,830 --> 00:16:19,640 The entire room was fully depicted with Stupak Huggies lineage. 100 00:16:19,640 --> 00:16:31,430 But unfortunately, I don't have the complete documentation, can you hear? 101 00:16:31,430 --> 00:16:44,880 So. The aim all part of the aim of my research was to reconstruct the timeline of the building and its 102 00:16:44,880 --> 00:16:54,840 artworks history and using the result from scientific analysis to supplement and fill in the gap, 103 00:16:54,840 --> 00:17:02,940 as we can see from the previous timeline here. 104 00:17:02,940 --> 00:17:14,340 From literature sources, we knew that poro and start date it to the 17th century and through iconography identification, 105 00:17:14,340 --> 00:17:27,360 we identified or identified one wrong dated to 1891 to 94 following another Roman, 106 00:17:27,360 --> 00:17:45,660 which in sequence after this room and those two rooms are dated by oral interviews with local people. 107 00:17:45,660 --> 00:18:02,340 And we know, apart from those the resources available, like literature, resources, document photographs, dates and iconography dates. 108 00:18:02,340 --> 00:18:09,840 There are still rooms left on the loan. 109 00:18:09,840 --> 00:18:27,860 So what I'm going to talk about is how to use technical analysis results from technical analysis to supplement and to place them into the timeline. 110 00:18:27,860 --> 00:18:35,570 Oh. Kyoto's involvement at Tango started in 2014. 111 00:18:35,570 --> 00:18:43,610 The initial aim was to preserve those 17th century paintings by the time when we first arrived there. 112 00:18:43,610 --> 00:18:53,060 A renovation project has already started. It was an agreement between the monastic body and the government. 113 00:18:53,060 --> 00:18:58,860 This was what we seen when we first arrived. 114 00:18:58,860 --> 00:19:09,720 All the wall paintings are some plaster are covered with lens tissue, 115 00:19:09,720 --> 00:19:23,040 and on the wooden panel paintings are removed from the wall and are the moral flags are detached from the wall. 116 00:19:23,040 --> 00:19:28,650 So this was the condition for most of the rooms. 117 00:19:28,650 --> 00:19:41,390 The when we first arrived at bluetongue, at Tango and there we only got full access to two. 118 00:19:41,390 --> 00:19:59,060 Something centuries rose this Two-Room, where were the locations that the wall painting conservation projects has happened? 119 00:19:59,060 --> 00:20:05,270 I started my PhD in 2016 and. 120 00:20:05,270 --> 00:20:19,580 Expanded the research scope to other painted rooms, apart from the 17th century of the two rooms that related to the conservation project and. 121 00:20:19,580 --> 00:20:27,310 It expanded the scope to other paintings from the later period, but because of the condition and the autumn, 122 00:20:27,310 --> 00:20:37,250 it was impossible to get full iconography survey on the painting war and also the technical study. 123 00:20:37,250 --> 00:20:41,170 Well, limited by the accessibility as well. 124 00:20:41,170 --> 00:20:49,120 Some pulling for scientific analysis was limited to those painting edges. 125 00:20:49,120 --> 00:21:02,590 We're exposed outside of the fencing, and therefore it was impossible to collect complete data for the colour palette patron and 126 00:21:02,590 --> 00:21:10,420 also it was impossible to carry out non-invasive analysis such as multispectral imaging, 127 00:21:10,420 --> 00:21:25,000 or we can't even collect a complete photograph data for the iconography, even though we knew some of the figures have inscription written underneath. 128 00:21:25,000 --> 00:21:44,410 But we can't really see. I would give you a quick introduction on the same we will see today. 129 00:21:44,410 --> 00:21:53,170 So the same we will see today is samples taken from the painting and made into a 130 00:21:53,170 --> 00:22:06,940 cross-section from the bottom as the plaster layer and goes the rate from bottom to top. 131 00:22:06,940 --> 00:22:22,570 This is the painting layer where we actually see visually from the wall and autumn as the plaster layer and underneath is to support the structure. 132 00:22:22,570 --> 00:22:31,270 So normally painting follow a sequence from primary support second to supported by second. 133 00:22:31,270 --> 00:22:34,290 Through support, we mean the plaster it can be, 134 00:22:34,290 --> 00:22:46,210 or where something more of the materials then goes silent ground on the drawings, where sometimes colour notations, 135 00:22:46,210 --> 00:22:56,260 then paint layers to all the gilding glasses where compositional outline they're applied on top 136 00:22:56,260 --> 00:23:04,610 of the paint layer and the sequence of them can be varies depending on the different technique. 137 00:23:04,610 --> 00:23:14,380 See like layer, it appears invisible under the ambient light, but it's fluorescence under the U.V., 138 00:23:14,380 --> 00:23:25,980 which is organic binder applied over the plaster layer to mould to find the. 139 00:23:25,980 --> 00:23:32,760 Porosity and it doesn't happen to all the paintings. 140 00:23:32,760 --> 00:23:38,520 It's an optional ground layer. 141 00:23:38,520 --> 00:23:45,570 Also, it can be selectively applied in different places. 142 00:23:45,570 --> 00:23:48,690 They depend on the painting technique. 143 00:23:48,690 --> 00:24:05,100 It's basically a layer to modify the optical properties and also the property to prepare the surface for a painting. 144 00:24:05,100 --> 00:24:11,490 As we said earlier, it was impossible to collect complete data for the colour palette. 145 00:24:11,490 --> 00:24:21,480 Also, it was questionable to only focus on material identification because of time, money and Asako considerations. 146 00:24:21,480 --> 00:24:26,620 It was useful to identify the materials, but more importantly, also it was. 147 00:24:26,620 --> 00:24:35,130 The strategy for my research is to understand how the material was used and their application message. 148 00:24:35,130 --> 00:24:47,130 Here is this example I will show you what I meant about an application that said all those samples are also right there in the same materials. 149 00:24:47,130 --> 00:24:57,180 But as you can see, they were used in a different way like this one sec. 150 00:24:57,180 --> 00:25:08,460 Same answer, right? But greens use was different grading size and applying one over another, 151 00:25:08,460 --> 00:25:17,760 and these two you mixed as a right was different, another type of materials to create a new colour. 152 00:25:17,760 --> 00:25:22,440 And if you see those three. 153 00:25:22,440 --> 00:25:45,060 They're also right, grounded in different particle size, which watch of Previte or created different final appearance in terms of their colour. 154 00:25:45,060 --> 00:25:57,250 Here are cross-sections from each room, so organised floor by floor you can see they follow. 155 00:25:57,250 --> 00:26:07,920 And while they relatively follow the painting sequence, plaster ceilings apply to the plaster, then following the ground layer, 156 00:26:07,920 --> 00:26:18,490 then the pink layer, but their varieties for testing them can see that a major difference happens to the ground layer. 157 00:26:18,490 --> 00:26:27,180 Some of them has only one layer, but some of them have chewed and. 158 00:26:27,180 --> 00:26:40,800 As for the colour yellow, it was common ping tan based on the samples we wear, yet the samples that we collected in Bhutan. 159 00:26:40,800 --> 00:26:49,230 But it was not common elsewhere, like Ladakh or Tibet. 160 00:26:49,230 --> 00:26:59,740 When more often see a white ground layer. 161 00:26:59,740 --> 00:27:10,690 I will go into detail now, so if we look at the as we talk to the single yellow ground layer, so we noticed the drones. 162 00:27:10,690 --> 00:27:17,500 They appears to have similar technique on that. 163 00:27:17,500 --> 00:27:25,360 Physical evidence from the structure also suggests a similar iconography than we realise. 164 00:27:25,360 --> 00:27:41,620 There's two rooms or so they located both on the north side of their room, and half of the figures being were. 165 00:27:41,620 --> 00:27:52,210 Half of the figure are hidden by this floor, which suggested this wall was later edition. 166 00:27:52,210 --> 00:28:00,070 The dividing wall was added later to divide the whole space in this room. 167 00:28:00,070 --> 00:28:07,180 So this room and this room, they used to be the single one. 168 00:28:07,180 --> 00:28:19,690 My chronology also continues from here all the way to here. 169 00:28:19,690 --> 00:28:27,640 So if we reorganise the STEM posts by. 170 00:28:27,640 --> 00:28:35,430 Yellow Ground. And we realise they can be divided into two. 171 00:28:35,430 --> 00:28:41,910 Single yellow ground layer and doubled ground layers. 172 00:28:41,910 --> 00:28:51,120 You can. So now we can see a rough sequence of how they're making process. 173 00:28:51,120 --> 00:28:57,480 They're making history. Double layer. 174 00:28:57,480 --> 00:29:16,410 It means those rooms are first painted in yellow impel yellow and later grey, decorated with fig tree figurative paintings. 175 00:29:16,410 --> 00:29:28,560 Here is a sample from to see the Blue Room show to how those painting will look like us or out there early. 176 00:29:28,560 --> 00:29:38,280 Here it is. And for this one and zero and it was the Black Chamber for Protective Paintings. 177 00:29:38,280 --> 00:29:51,130 A actually from the visual observation, we noticed that this room also carried two grout layers, but which are not. 178 00:29:51,130 --> 00:29:55,900 A visible under the eye in the cross section. 179 00:29:55,900 --> 00:30:03,980 But we knew then this painting. The paintings in this room were added later. 180 00:30:03,980 --> 00:30:24,680 It's similar structural evidence will direct will direct to the dating to similar periods like this term. 181 00:30:24,680 --> 00:30:34,100 They both those pictures are taken from the north east side of the room that we can't see after 182 00:30:34,100 --> 00:30:44,990 the panel painting removed the wall dividing when this structural wall or on top of the painting. 183 00:30:44,990 --> 00:30:53,270 So we knew that this painting are painted before the war was installed. 184 00:30:53,270 --> 00:31:04,910 But however, by comparing the samples, we notice that room one adds house to layer one yellow and one white, 185 00:31:04,910 --> 00:31:15,830 but to us only have one yellow, which suggested we were almost to confirm that they were not from the same period. 186 00:31:15,830 --> 00:31:24,160 Even they carried the similar structural history. 187 00:31:24,160 --> 00:31:36,280 So we'll further weigh an eye analysis to one, as the room was two layers one yellow, 188 00:31:36,280 --> 00:31:48,340 one white compared with another room, which also has two grant layer yellow and white light analysis the white layer. 189 00:31:48,340 --> 00:32:00,040 We noticed that the materials used to aid the white ground was different, which means even they used the same painting technique on the ground layer. 190 00:32:00,040 --> 00:32:11,530 But those two paintings are from different period analysts from five different workshop. 191 00:32:11,530 --> 00:32:23,980 And further comparison where analysis happened in those two Two-Room that way identifying some materials barium containing white, 192 00:32:23,980 --> 00:32:35,300 zinc, white and ultramarine on the most are the materials are sensor tech development in. 193 00:32:35,300 --> 00:32:44,400 By the Western powers in early 19th century, which means all those paintings. 194 00:32:44,400 --> 00:32:52,420 Are done after that. We don't know the exact the. 195 00:32:52,420 --> 00:33:10,820 The. Your time, but the earliest date of this tour rooms can be posted to late 19th century. 196 00:33:10,820 --> 00:33:22,810 Also, speaking of similar structural evidence to E and the one E they showed similar. 197 00:33:22,810 --> 00:33:28,520 Painting similar similar features in terms of their paintings, though, 198 00:33:28,520 --> 00:33:38,770 they're they used to be canvas drapes attached to the wall to prepare the surface for a painting, 199 00:33:38,770 --> 00:33:48,940 as we can see in both the room that the painting scheme continues from the erson plaster to the camp. 200 00:33:48,940 --> 00:34:01,230 So we knew that the canvas was that the painting was done on site after the application of the canvas straight up. 201 00:34:01,230 --> 00:34:12,450 Meanwhile, iconography identification, we noticed that from two E does the. 202 00:34:12,450 --> 00:34:16,980 What? Luckily, this was the only pictures we have. 203 00:34:16,980 --> 00:34:31,560 Well, we can see a clear inscription here of this person who was identified as king let guards hold the force reincarnation of Tenzin rubJeot. 204 00:34:31,560 --> 00:34:41,790 He was appointed as digicam bu in 1891 to nineteen, therefore. 205 00:34:41,790 --> 00:34:49,920 And we also found that much literature referenced with first this room as king ligatures bedroom. 206 00:34:49,920 --> 00:34:57,150 Therefore, we will be able to state this room to 1981 to 94. 207 00:34:57,150 --> 00:35:08,380 And interestingly, as we mentioned before, the entire tango carried actual work history under the lineage since the. 208 00:35:08,380 --> 00:35:18,240 Gaming, but uniquely, this figure here is wearing a Nygma conditioned hat. 209 00:35:18,240 --> 00:35:31,680 Different from all the other fingers, similar figure wearing the name I had to also appeared in a canvas from one e, 210 00:35:31,680 --> 00:35:36,930 which orange nail are located here but detached. 211 00:35:36,930 --> 00:35:48,180 So it's reasonable to assume that this was a depiction of. 212 00:35:48,180 --> 00:35:54,130 In the UN, where the figure was placed that he was so he's. 213 00:35:54,130 --> 00:36:05,200 You move. He moved from as a student to the central figure, which indicated that one in must be later than to eat. 214 00:36:05,200 --> 00:36:12,060 So we find out the order of those two rooms. 215 00:36:12,060 --> 00:36:23,820 And. This is the example that. 216 00:36:23,820 --> 00:36:35,140 We can see from the sample. Well, let's say a colour. 217 00:36:35,140 --> 00:36:45,490 Are the pink, they looks like the same similar colour appearance, but the making of those. 218 00:36:45,490 --> 00:36:51,440 Some materials are quite different. Some of them are mixed. 219 00:36:51,440 --> 00:37:00,090 Most of them are used again in tolerance, but also appears to have materials was only made. 220 00:37:00,090 --> 00:37:07,600 It was only mineral pigment. 221 00:37:07,600 --> 00:37:27,480 Mineral pigments made pink, white only noticed a room two hours and chewy, which suggested those two paint painted those two rooms shared. 222 00:37:27,480 --> 00:37:35,190 To be called evil, but there must be some link between the workshop where the painting transformations. 223 00:37:35,190 --> 00:37:45,410 Doing so would seem to artist. One and two. 224 00:37:45,410 --> 00:37:55,280 So if we're located tomorrow, plug all the embossed paintings in sequence, we notice two e one e, they think the way, 225 00:37:55,280 --> 00:38:03,350 how they use the canvas and just a small piece of canvas stick to the wall to prepare the surface, 226 00:38:03,350 --> 00:38:10,160 but still as part of form, part of the paintings on the plaster. 227 00:38:10,160 --> 00:38:23,120 Then it changed to a room that was fully covered with canvas, which is one W then. 228 00:38:23,120 --> 00:38:28,580 The technical moral flag became more and more popular, 229 00:38:28,580 --> 00:38:42,980 and one of the technique we will see now mostly done in the modern period as we knew that two C and one C were from the nineteen ninety seven, 230 00:38:42,980 --> 00:38:52,520 so we can ensure the sequence after making history as like lifetime. 231 00:38:52,520 --> 00:39:06,080 I will take gilding as one of the examples to show you how the technique was developed to over the period so gilding. 232 00:39:06,080 --> 00:39:19,360 Is. Well, good building technique here refers to the employment of natural materials not only limited to gold, 233 00:39:19,360 --> 00:39:28,060 but also gold silver mixtures on it applies to the technique. 234 00:39:28,060 --> 00:39:38,560 So gilding are lavishly used almost everywhere for juries, ornament decoration, buda skins, 235 00:39:38,560 --> 00:39:49,480 depiction and fabric decoration also inscriptions, landscape and even gilding. 236 00:39:49,480 --> 00:39:57,580 Even in place. This cement translucent parents layer also made with gold. 237 00:39:57,580 --> 00:40:10,030 There were four types of clothing catalogued in my sources based on their final appearance where that exact phrase the clothing, 238 00:40:10,030 --> 00:40:16,790 decorative clothing, flat clothing and birth matchstick clothing. 239 00:40:16,790 --> 00:40:33,680 I will take race, the gelding has six example to show the development, so race to go, think this is the aptly the making master of race to gelding? 240 00:40:33,680 --> 00:40:42,650 So after you apply to the ground and marked out the under drawing where you will have a where you were, 241 00:40:42,650 --> 00:40:47,810 make the race gilding, then you extrude the same materials. 242 00:40:47,810 --> 00:40:58,070 Was the Yellow Ground the same material as in Yellow Ground, but in sinker paste to create a bulking pattern. 243 00:40:58,070 --> 00:41:08,390 On top of that, you apply another layer with the same material to smooth out the shape. 244 00:41:08,390 --> 00:41:18,990 Then you applied more than layer two, which is the adhesive layer to attach in order to attach the gold. 245 00:41:18,990 --> 00:41:28,200 As we can see in sequence, these are samples from the 17th century schema. 246 00:41:28,200 --> 00:41:36,620 And then the same application sequence we use in two as. 247 00:41:36,620 --> 00:41:49,490 Which suggested that two US shared similar painting technique was just that those 17th century paintings and then. 248 00:41:49,490 --> 00:41:57,260 We can see from the sample that the for the more than lay there has shifted from a pure blind thing, 249 00:41:57,260 --> 00:42:15,350 meaning they are buying their meat with pure organic finder to a layer that makes the West reach binder but makes with pigments. 250 00:42:15,350 --> 00:42:24,440 Also, the foil on that, the foil, but the matter itself changed from gold to pure gold to appeal, 251 00:42:24,440 --> 00:42:35,320 so to pure silver, and then also happened in the mordant layer. 252 00:42:35,320 --> 00:42:43,900 The modern changed into a layer that contains major pigment. 253 00:42:43,900 --> 00:42:52,450 What does this do mix to a spider? But you see the reason that the making of the modern changed from the 17th 254 00:42:52,450 --> 00:43:03,430 century to the 20th century as we dated that one e to the early 20th century 255 00:43:03,430 --> 00:43:15,520 and the use of different metal foil as not necessarily related to the changes of the technique sometimes also influence mystified that money issue. 256 00:43:15,520 --> 00:43:26,450 So but as we see what was more influential in terms of the coding technique was that. 257 00:43:26,450 --> 00:43:36,520 Type. Not the type, but the form of the metal, whether it's a foil warrant's powder, 258 00:43:36,520 --> 00:43:54,190 which will directly influence the on the plate on their application, we're making process here from ACM on Elmont. 259 00:43:54,190 --> 00:44:06,190 At some point gilding sample, we can clearly see the folders of those building, which if you used foil, which means you would need a modern layer. 260 00:44:06,190 --> 00:44:14,260 But however, if you use powder, you can mixed the powder was binding. 261 00:44:14,260 --> 00:44:28,200 Need that directly, then the absence from the absence of modern layer would directly indicate the use of powder. 262 00:44:28,200 --> 00:44:36,480 Therefore, and the samples from zero, and even if it's not raised gilding. 263 00:44:36,480 --> 00:44:43,350 But as we see the modern layer, also the shape of the foil, 264 00:44:43,350 --> 00:44:54,930 and it's clear that the zero and used gold foil rather than go powder to paint flat painting. 265 00:44:54,930 --> 00:45:10,710 Therefore, we can fix 0C to the timeline, since it shared similar gilding technique was to handed to us. 266 00:45:10,710 --> 00:45:18,090 So as a result, we can place those paintings was on. 267 00:45:18,090 --> 00:45:30,360 No one was no literature records where all the references to end to the timeline. 268 00:45:30,360 --> 00:45:42,320 The similarity is shared between two paintings from 17th century and two us suggested there's a painting must be not. 269 00:45:42,320 --> 00:45:52,640 Too far away from the 17th century and also based on the gilding technique we can place there and each to. 270 00:45:52,640 --> 00:46:13,970 A sequence that's not far from 17th century and to us and then for one ounce and zero w are those paintings was double layer one yellow, one white. 271 00:46:13,970 --> 00:46:23,360 A similar some from John Tong in Boomtowns Central Bhutan also used a similar 272 00:46:23,360 --> 00:46:29,990 technique on a white yellow ground that site dated to early 20th century, 273 00:46:29,990 --> 00:46:35,540 which also set to our dating. 274 00:46:35,540 --> 00:46:41,330 Of those two rooms, the contents of two rooms are dated based on the synthetic materials that we 275 00:46:41,330 --> 00:46:50,060 identified from the painting and for the canvas paintings that the Mara flag, 276 00:46:50,060 --> 00:46:58,340 as we discussed before they were made a sequence from two e was only canvas frames, 277 00:46:58,340 --> 00:47:05,900 two entire painted canvas paint room and two of the modern canvas painting room. 278 00:47:05,900 --> 00:47:19,580 So therefore we'll be able to construct a timeline Alice towards rough periods for each room. 279 00:47:19,580 --> 00:47:25,180 Yes, that's it. So yes, thank you. 280 00:47:25,180 --> 00:47:46,857 Thank you so much. That was very rich, and I'm sure there are a lot of opportunities for.