Three Persian Qajar paintings from the National Gallery Sofia. Study of the technology and the composition materials for the purpose of dating and conservation evaluation

Three Persian oil paintings on canvas from the collection of the National Gallery, Sofia, representing a Musician playing Daf, Musician playing Santour and Royalty/Prince, dating from the Persian Qajar era, created as marouflaged canvas murals, but dismounted, relined and converted to easel paintings at some point, were studied for the purpose of dating, conservation and technological evaluation. A series of micro-samples and cross sections were investigated by optical microscopy, energy dispersive X-ray spectroscopy in a scanning electron microscope (SEM-EDS), attenuated total reflectance Fourier transform infrared (ATR-FTIR), Raman spectroscopy and with non-destructive methods as X-ray, IR and UV-fluorescence imaging in order to characterize the protective coatings or varnishes, paint layers, primers, ground layers, lining adhesive components and canvases. The non-destructive investigation methods, the samples and cross sections studies with the analytical methods applied contributed to identify the composition and stratigraphy, identical for both paintings with Musicians showing previous historical restorations. The data collected from the analysis of the Royalty/Prince painting also proved previous interventions, complex stratigraphy and presence of overpaintings. The integrated materials are similar for the three artworks. The analysis revealed a rich blend of predominant traditional materials and techniques with little new European impact, which allows dating the paintings back to the first quarter of the XIX century. The study of the composition of the paintings determines the direction of the conservation and restoration approaches.

Automated summary

Three Persian oil paintings from the Qajar era, depicting musicians and royalty, were studied for dating, conservation and technological evaluation. Analysis of samples and cross sections revealed similar composition and previous restorations, with the Royalty/Prince painting showing complex stratigraphy and overpaintings. The integrated materials reflect a blend of traditional techniques with minimal European influence, dating the paintings back to the early 19th century. These findings will guide the direction of their conservation and restoration.