شناسایی مواد و رنگ‌دانه‌های دیوارنگاره‌های اتاق‌های بروارِ خانۀ تاریخی دُرمیانیِ اصفهان

خانه سادات در میانی، از جمله خانه های کمتر شناخته شده قاجار است که در محله بیدآباد، خیابان مسجد سید اصفهان واقع شده است. این خانه که هم اکنون به هتل سنتی سهروردی تغییر کاربری داده است، دارای تزیینات فاخری از جمله گچبری، آینه کاری و نقاشی دیواری است که در این پژوهش با توجه به اهمیت نقوش کشیده شده، به شناسایی تکنیک و مواد به کار رفته در اجرای نقوش دیواری موجود در اتاق های بروار پرداخته شده است و در نهایت مواد شناسایی شده، با مواد و مصالح به کار رفته در نقاشی های قاجار مقایسه شد. با توجه به بیشترین کاربرد رنگهای طلایی، قرمز، آبی و سبز، در تزیینات این خانه، از این رنگها به میزان بسیار کم و با در نظر گرفتن اصل عدم آسیب بصری، نمونه برداری شد. برای رسیدن به هدف پژوهش، از روش های آزمایشگاهی برای شناسایی بستر رنگ، رنگدانه ها، بست و لایه محافظ رنگ استفاده شده است. از دستگاه طیف سنج زیر قرمز تبدیل فوریه (ftir) برای شناسایی مواد آلی، دستگاه میکروسکوپ الکترونی روبشی مجهز به تجزیه پاشندگی پرتوی ایکس ( sem- eds ) برای شناسایی عناصر و ترکیبات معدنی و از میکروسکوپ نوری (om) برای شناسایی و تجزیه و تحلیل مواد و رنگدانه ها استفاده شد. در این تحقیق، ترکیب بستر به صورت ترکیبی از هانتیت (گل سفید) و ژیپس شناسایی شد؛ همچنین مشخص شد که رنگها دارای ماهیت معدنی هستند و نقوش با تکنیک رنگ روغن اجراشده اند. رنگدانه های به کار رفته در تزیینات این بنا عبارت هستند از : طلایی از نوع پودر برنج (مس و روی)، قرمز سرنج، آبی پروس و سبز ترکیبی از آبی پروس و سبز خاکی (سیلو). همچنین از سفید سرب برای ایجاد تونالیته های رنگی استفاده شده است. بست به کار رفته در ترکیب رنگ دانه ها نیز از نوع پروتئینی، شناسایی شد.

Identification of the materials and pigments used in the rooms of the Dormiani- home (from the Qajar dynasty)

During the Qajar period, due to the influence of European artists, the method of oil painting became very popular in Iran, where this trend was common not only on cloth canvases but also on decoration of the walls of buildings. The western art influenced not only the use of materials, but also the method of execution and even the type of designs, and led to the blending of Western artistic methods with Iranian ones. During the Qajar period, various designs were used to decorate the walls, and traditional and western colors were used, sometimes in combination or separately, to paint the designs. According to the researches, the most used colors in the Qajar period are: lead white, calcium sulfate, calcium carbonate, huntite, barium sulfate, zinc oxide, ochre, amber, arsenic, orpiment, vermilion, lead chromate, green Silo, azurite, ultramarine, Prussian blue, malachite, chrome, cerulean, carmine, brass (copper zinc), silver, gold, ivory for black Etc. SadatiDormianichr('39')s house is one of the unknown traditional buildings belongs to Qajar era located in the BidAbad neighborhood of the Mosque of Isfahan Masjid Seyyed. This building has been registered as one of the national monuments of Iran on August 22, 2005, by No. 13013. The total area of this house is about 900 square meters, where it has now been converted to a hotel, called Sohrevardi. This traditional hotel contains beautiful decorations such as stucco decoration, mirror work, and murals. In this research, the importance of the some principles utilized in order to performing the walls like drawn patterns, the techniques and materials have been considered and finally, the obtained results was compared with the materials used in other Qajar paintings. Due to the fact that most of the colors applied in these decorations are gold, red, blue, and green, and considering the principle of the minimum interference, a very small amount of material containing the abovementioned colors were sampled. The samples were named with codes like B1 (golden color), B2 (red color), B3 (blue color), and B4 (green color). Laboratory analysis methods have been utilized to identify the color of substrate, the pigments, the coating, and the protective coating. The characterization have been fulfilled by, Fourier Transform Infrared Spectroscopy (FTIR) for detecting organic matter, scanning electron microscope equipped with Xray diffraction (SEMEDS) to detect mineral elements and compounds and finally, the optical microscopy (OM) to realize and analyze materials and pigments. Based on the obtained results, the combination of huntite (Mg3Ca(CO3)4) and gypsum (CaSO4.2H2O) has been utilized as the substrate of paints. Huntit has been used from the past to the present both as a white color and as a substrate for paintings. The applied colors were inorganic and the motifs were executed with an oil technique. The pigments used in the decoration of the building are golden powdered brass (copper and zinc), red lead with the chemical formula (Pb3O4), Prussian blue with the chemical formula (Fe4(Fe⦋CN⦌6)3), and green which was a combination of Prussian blue and greenearth (silo) with chemical formula (K⦋Al3+, Fe3+) (Fe2+, Mg2+)⦌(AlSi3, Si4)O10(OH)2). White lead with the chemical formula (2PbCO3.Pb(OH)2) has also been used to create color tones. Moreover, it was identified that a kind of protein applied to the pigment composition. It should be noted that all materials and pigments identified in this study are consistent with the materials applied in other murals of the Qajarrelated buildings and architectures (in Iran).