1. Introduction
The National Research Institute for Cultural Properties, Tokyo (NRICPT), has led conservation work pertaining to cultural heritage in Bamiyan since 2004, as part of the UNESCO/Japan Funds-in-Trust project, “Safeguarding of the Bamiyan Site, Afghanistan” [
1,
2]. In March 2001, both the Eastern Giant Buddha (EGB) and the Western Giant Buddha (WGB) were demolished. Bamiyan was the site of Buddhist pilgrimages during the Kushano-Hephthalite kingdom and is located along the Silk Road, 2500 m in the highlands of Central Afghanistan. It has about 700 caves, of which around 50 have wall paintings. All have been subject to environmental degradation and human activity, such as looting, flaking, delamination, blackening, and alteration of pigments.
Prior to any conservation interventions in Bamiyan, it was necessary to obtain a thorough understanding of materials and techniques used in the caves. To this end, the NRICPT sampled and tested approximately 300 min fragments from wall paintings and both the EGB and WGB, with multi-analytical procedures. The wall paintings and polychromatic surfaces of the Giant Buddhas and are made from earthen renders with
a secco paintings (
Figure 1). Since the site has been seriously damaged and most art of historical value has been lost, we employed a comprehensive analytical approach with state-of-the-art diagnostics to extract material and chemical information and reveal its historical and technical importance.
Figure 1.
(a) EGB of Bamiyan, after demolishment in 2001. (b) Rare surviving wall painting of a partially vandalized seated Buddha, Foladi Cave 6. Black areas are the result of alteration in the green pigment, atacamite (photographed by Y. Taniguchi in 2007).
Figure 1.
(a) EGB of Bamiyan, after demolishment in 2001. (b) Rare surviving wall painting of a partially vandalized seated Buddha, Foladi Cave 6. Black areas are the result of alteration in the green pigment, atacamite (photographed by Y. Taniguchi in 2007).
Radiocarbon dating of the polychrome surfaces of the EGB and the WGB were conducted in Germany and Japan and reported elsewhere [
3,
4]. Data obtained in Japan (from samples provided by ICOMOS Germany) is shown in
Figure 2. Following re-calibration using the IntCal20 [
5], dates produced for the EGB were 440–460 AD, 478–496 AD, and 534–546 AD [1σ]. Dates for the WGB were 606–642 AD [1σ]. We also obtained radiocarbon dates for the wall paintings, which spanned from the 5th to the late 8th centuries [
6]. The caves once served as Buddhist monasteries, and the two Giant Buddha statues were constructed by different Buddhist sects with different political backgrounds. Therefore, study of the painting materials and techniques is crucial for attributing the works and identifying their technological contexts.
A group of wall paintings dated after the mid-7th century in Caves B(d), F(c), L, N(a), and S(a); Foladi Caves 2, 3, 4, and 6; Kakrak Caves 43 and 44, and Qol-e Jalal appear to contain various organic substances other than pigments and alteration products [
7]; therefore, we applied state-of-the-art analytical methods—namely, synchrotron-radiation micro Fourier Transform Infrared spectroscopy (SR-µFTIR) and gas chromatography mass spectrometry (GC-MS)—to better identify specific painting materials and technologies. GC-MS identified drying oils used as a binding media in the multilayered paintings [
8]. Proteins and polysaccharides, among other substances, were detected and further studied using LC-MS (liquid chromatography–mass spectrometry), LC-MS/MS (liquid chromatography–tandem mass spectrometry), nano-LC/ESI-MS/MS, and ELISA (enzyme-linked immunosorbent assay) methods. Since each analytical technique has its own pros and cons, we combined different methods to reveal as much information as possible.
The wall paintings and polychromy of the Giant Buddhas have multilayered structures, as described in
Section 3.1. In order to obtain chemical characterization of each layer, synchrotron micro-analyses were performed over sample stratigraphies. In our study, about 55 thin sections and cross-sections were analyzed at the European Synchrotron Radiation Facility (ESRF, Grenoble, France) by micro-X-ray fluorescence (µXRF), micro-X-ray diffraction (µXRD), and µFTIR [
9]. The first technique provides elemental composition, the second identifies crystalline phases, notably pigments and degradation products, while the third technique is key in the detection of molecular groups. It can probe some inorganic compounds but, in the present study, it had a fundamental role in the identification of organic and hybrid materials (that is, products of the interaction of organic and inorganic compounds). These three techniques were carried out using micrometric X-ray and infrared beams in 2D mapping mode, enabling not only identification but also location of many components over the complex paint stratigraphy. The brightness of the SR beam facilitates acquisitions at higher speeds, higher lateral resolution, and much better sensitivity than a conventional X-ray or infrared source. Herein, we report results mainly from SR-µFTIR; additional information obtained with SR-µXRF and SR-µXRD can be found elsewhere [
9,
10,
11,
12].
μFTIR, with or without SR, permits the identification of a large variety of organic matter compounds, such as oils, resins, proteins, and plant gums. However, this method does not allow for the precise identification of organic species. Therefore, after characterizing the functional groups, samples were analyzed using GC-MS, and then protein-containing samples were analyzed using ELISA and LC-MS.
GC-MS was used to classify the type of organic material with three separate analytical protocols for drying oils, resins, and waxes; proteins; and plant gums (
Section 2.3). Analysis was carried out in collaboration with the Getty Conservation Institute in 2007. For amino acid analysis, we assumed materials contained collagen when hydroxyproline was detected. Further identification was conducted with ELISA and LC-MS techniques.
ELISA is an analytical method in the biological field. This method can be used to detect the type and concentration of antibodies and antigens in a sample (
Section 2.4.). ELISA uses a highly specific antigen–antibody reaction, based on an enzymatic color reaction and is therefore an effective method for the detection and quantification of specific proteins in small quantities, even in the parts per trillion (ppt) order, where a variety of proteins are present in the same sample. ELISA tests were carried out in the lab of the National Museum of Western Art (NMWA) in Japan.
For the proteinaceous materials, their trypsin digests were analyzed with LC-MS/MS. Species identification of glue components was performed based on the detection patterns of 12 type I collagen-derived tryptic marker peptides. We took measurements with a quadrupole-time-of-flight (Q-TOF) and a hybrid triple-quadrupole ion-trap mass spectrometry at high sensitivity at Nippi Research Institute of Biomatrix, especially where specimens contained very little protein, as described in
Section 2.5. For samples with larger amounts of proteins, we employed nano-liquid chromatography electrospray ionization tandem mass spectrometry (nano-LC/ESI-MS/MS) with a linear ion trap mass spectrometer at Nara Women’s University in search of peptides to identify animal species of proteins and the origins (either bone or skin) of glues (
Section 2.6).
3. Results
3.1. Microscopic Observations of Bulk Samples and Polished Sections
Most of the paintings including those on the EGB and WGB had multilayered structures with rendering layers (earthen render with plant/animal fibers), a ground layer, painting layer(s), and sometimes a colored transparent glaze on the surface. Metal leaves are also observed in some surface decorations. For example, a 1 μm thin piece of gold leaf is applied over a red layer using purplish-brown mordant (
Figure 3). Roughly crushed blue pigments (lapis lazuli) were placed on a black layer (carbon black) that had a darkening effect on the color (
Figure 4). Many paintings used such optical effects to produce certain color variations [
8].
3.2. SR-μFTIR Analyses
A total of 21 samples were analyzed with SR-µFTIR. Two of them did not give reliable results due to the embedding resin. A summary of the results obtained on the 19 other samples is given in
Table 3. The discussion focuses on the identification of organic materials. As shown in
Table 3 and
Figure 5, this large corpus shows both wide variety in organic binders, as well as some recurring trends in paint composition and structure.
Notably, seven samples (BMM035, BMM039, BMM040, BMM082, BMM181, FDM55, KAK03, and QJM06) exhibit a very complex multilayered structure with the following:
- -
A proteinaceous sizing layer;
- -
in a few cases, a natural resin in a layer beneath the proteinaceous sizing layer. This layer was probably not sampled in all fragments, explaining why resin was not consistently detected;
- -
a white ground layer made of oil (stretching bands of aliphatic CH and ester CO groups) that was partially saponified (judging from the lead carboxylates signal) and mixed with lead white (judging from the lead carbonate and lead hydroxide detected). Cerussite and hydrocerussite were further confirmed by SR-µXRD;
- -
colored paints, made of oil mixed with different pigments (green, blue, red, etc.);
- -
in some black layers, the spectra revealed a higher concentration of acid groups. Based on the shape of the CO and CH stretching bands, these have been tentatively assigned to an acidified oil rather than a resin;
- -
similarly, in the case of two paints with metallic foils (BMM178 (Cave N(a)) and QJM06 (Qol-e Jalal), FTIR spectra could be assigned to acidified oil (without the presence of carboxylates).
Oxalates (usually calcium oxalates, but copper oxalates were also found in some copper-based paint) were almost consistently detected, both in the sizing layer (when present) or in the paint surface. They are usually attributed to degradation products. Interestingly, oxalates are detected even in the case of oil-free paints.
3.3. Identification of Fatty Acids, Protein and Plant Gums by GC-MS
A total of 86 paint samples were tested for binding media by GC-MS from four sites: Bamiyan, Foladi, Kakrak, and Qol-e Jalal. The samples were composed of several paint layers that were brittle and difficult to isolate so these layers were analyzed in bulk (surface coating, ground, paint layers, and earthen rendering). Samples were analyzed for specific binders based on previous results and prioritized based on sample size limitations. Ultimately, 58 paint samples were analyzed for plant gums, 57 for oils, waxes, and resins, and 32 for proteins. The results are summarized partially in
Table 4 and
Table 5.
In general, GC-MS data complimented SR-μFTIR, ELISA, LC-MS, LC-MS/MS, and nano-LC/ESI-MS/MS results. The data in
Table 1 show that most of the paint samples with fatty acids matched a drying oil, most likely walnut seed, perilla, or poppyseed oil, due to the P/S ratio (between 2 and 3.5) and most samples had high A/P ratios (above 1) (wall paintings from caves N(a), B(d), F(c), S(a), and L; Foladi caves 3, 4, and 6, Kakrak cave 43 and 44, and Qol-e Jalal cave). The identification of these drying oils is speculative, however, as no other drying oils (tung or linseed) are likely based on the P/S and A/P ratios obtained (see
Table 4). Rapeseed oil does have a P/S value between 2 and 3. However, the iodine value is below 130, so it can be eliminated as a possibility [
23]. Walnut is common from southeast Europe to Japan, and poppyseed is native to the eastern Mediterranean. However, perilla has been widely used across Asia. All three could be good candidates for drying oils. Other oils (such as linseed oil) may have been possible in caves M, K
3, and J(c) due to P/S values below 2. However, P/S values can be affected if oils are used as a mixture [
20]. P/S values can also decrease over time, due to evaporation of palmitic acid in the presence of inert pigments [
42], so values should always be utilized with some caution.
As an example, for drying oils, GC-MS data from BMM035 (Cave N(a)) are shown in
Figure 7.
GC-MS protein analysis of 32 paint samples showed that about 30% of the samples did not contain amino acids (ND), while 30% of the samples contained detectable levels of amino acids from an unknown protein source. The remaining samples matched proteins in the GCI database; for example, BMM054 (Cave M) and KAK10 (Kakrak Cave 44) contained drying oils as well as amino acids that best matched egg based on the correlation coefficients (0.96 and 0.99). The presence of egg and oil illustrate a complex painting technique and could be from different paint layers. BMM045 (Cave G) and BMM169 (Cave J(f)) contained amino acids that best matched casein, or milk protein. While BMM063 (Cave B(d)), FDM 060 (Foladi Cave 6), and KAK 03 (Kakrak 43) best matched animal glue, which was differentiated from casein and egg by the detection of the amino acid hydroxyproline. GC-MS analysis quantified the so-called “stable amino acids” for determination of a correlation coefficient, and these amino acids remain relatively stable over time in the presence of certain pigments, relative to other amino acids that rapidly degrade with oxygen, heat, and humidity.
GC-MS plant gum analysis of 58 paint samples revealed that 80% did not contain carbohydrates (ND). However, six samples contained carbohydrates that most closely matched tragacanth gum, and four samples best matched fruit tree gum. The identification of tragacanth gum is based on the detection of fucose, a unique sugar specifically found in tragacanth gum but not present in acacia, Arabic, or fruit tree gums. The identification of plant gums by GC-MS is inherently difficult, most notably in outdoor wall paintings. This is due to low concentrations of sugars after years of degradation from the environment or microbiological enzymes and, conversely, increased amounts of carbohydrates (xylose, glucose) due to contamination from earthen plaster or straw. In this study, when fucose was not present, it more closely matched fruit tree gum.
Lastly, BMM120 (Cave J(d)) contained a synthetic alkyd paint composed of fatty acids phthalic acids, and adipic acids and could be from a past restoration campaign. BMM134 (Cave K3) is composed of a dark brown deposit and unusual long chain fatty acids, and an unidentifiable protein was also detected. A scan of the data revealed that samples from BMM067 (Cave E 111), BMM099 (Cave D), BMM199 (WGB), and BMM201 (WGB) contained trace amounts of pine resin due to the detection of abietic acid (pine resin marker). The significance of this result is not known, but SR-μFTIR also detected natural resin in samples from BMM035 (Cave N(a)), BMM082, and FDM055.
3.4. Analysis of Binding Media Materials Using ELISA
Casein and plant gums were mainly detected in samples, as well as animal glue, egg white, and tragacanth gum; several binding media were often detected in one sample, suggesting that different kinds of binders were used for sizing, ground, and paint layers (
Table 6). Casein was also detected in all samples, and its high absorbance suggested that casein was used as a sizing agent. The results for BMM191 (EGB) were in agreement with the nano-LC/ESI-MS/MS results (
Section 3.6), and those for BMM169 (Cave J(f)) with the GC-MS results (
Section 3.3). However, results for BMM082 (Cave F(c)) only partially agree with the GC-MS results; plant gums and casein were detected in ELISA, but tragacanth and protein were detected in GC-MS where only organic deposits on the paint surface were selectively analyzed. Although the results of ELISA were likely affected by paint pigments and the aging of proteins, especially where egg or glue binder were used [
38,
43,
44], ELISA has the advantage that several proteins and plant gums in a single sample can be identified simultaneously in one analysis. Moreover, the ELISA method was useful for cross-checking results with those of other analytical methods. The fact that casein was detected in all samples in ELISA, while it was detected in only two samples in GC-MS, may indicate that ELISA is more accurate than GC-MS in detecting organic matter when several different proteins and gums are mixed together in a single sample.
3.5. Identification of Protein and Animal Sources of Glue by LC-MS
3.5.1. Protein Identification for BMM061, BMM078, and BMM194
Casein was identified in BMM061 (Cave A) and BMM078 (Cave M) through protein database searches (
Table 7). A type I collagen α1-chain was detected in BMM194 (Cave N(a)), but the animal species could not be determined by the analysis. Detailed lists of detected peptides are shown in
Table S1.
3.5.2. Species Identification for Glue
We previously established species identification methods for leather and glue by LC-MS detection of type I collagen-derived marker peptides after trypsin digestion [
39,
40,
45]. The LC-MS method using 12 pre-selected marker peptides enabled us to clearly discriminate between eight animal sources (cattle, horse, pig, sheep, goat, deer, rabbit, sturgeon) of glue containing multiple animal origins [
40]. The advantage of this method is that it can be applied to animal species whose amino acid sequences are not registered in protein databases and to glutinous species of multiple origins. Results for BMM194 (Cave N(a)) showed the clear detection of P1, P6, and P8 marker peptides, which were identified as horse, based on their detection pattern (
Table 8). Therefore, we could conclude that horse glue was probably used as a sizing layer in the wall paintings of Cave N(a), which was already indicated by SR-μFTIR imaging.
3.6. Mass Spectrometry of Proteinaceous Materials Extracted from the Polychrome Fragments of the Eastern and Western Giant Buddhas
3.6.1. Collagen in Specimens from BMM191, BMM199, and BMM201
Mass spectrometry detected peptides that originated from type I collagen of cattle (Bos taurus) in BMM191 (EGB), BMM199 (WGB), and BMM201 (WGB). In contrast, we did not detect any protein in BMM190 (EGB), except for a possible contaminant of keratin and a few fragment peptides of trypsin, in spite of it being the largest sample (14.6 mg) among four specimens from the Giant Buddhas.
Type I collagen consists of two α1-chains (COL1A1) and one α2-chain (COL1A2) to form the characteristic triple helix.
Table 9 lists all the tryptic peptides identified by ESI-MS/MS analysis of proteins extracted from BMM191 and BMM199, together with the species marker of
Bos taurus (cattle) and peptides found in BMM201. These results rule out the possibility of any species other than cattle as a source of animal glue. Although there are a few exceptions including the peptide GIOGPAGAAGATGAR identified from BMM194 (P8 in
Table 8), which corresponds to one of the markers of
Sus scrofa (pig) and
Equus caballus (horse), these peptides could be contaminants that originated from other specimens or artifacts due to about 1400 years of aging in the open-air site.
Although peptides identified from type III collagen were detected only in the sample BMM201, these peptides showed more clearly that the source of animal glue used as a binder was cattle hide. As shown in
Figure 8, the amino acid sequences of peptides are not consistent with those of animals, including horses, pigs, sheep, goats, and deer, in line with the results obtained from type I collagen (
Table 9). Moreover, the possibility of animal bone as a source of animal glue is unlikely because type III collagen is much less abundant in bones and tendons than type I collagen [
46]. The full lists of MASCOT search results of peptides are summarized in
Figures S2–S4 in Supporting Information.
3.6.2. Casein
Another protein of note is α-S1-casein of cow milk found in protein extracted from BMM191 (EGB) and BMM201 (WGB). We identified peptides FFVAPAFPEVFGK and YGLYLEQ*LLR (Q* = E) in both specimens BMM191 and BMM201 by nano-LC/ESI-MS/MS. Interestingly, these peptides have also been found in milk protein more than 4000 years old in a food vessel from northern England [
47] and in food remnants from China 2000–2500 years old [
48]. In BMM201, we found an additional peptide, VPQ*LEIVPN*SAER (Q* = E; N* = D), which would not have been detected in the aforementioned cases due to degradation of milk casein from ancient England or China [
47,
48]. These peptides may have originated from cow milk since their amino acid sequences were consistent with α-S1-casein of cattle (
Figure 9). For example, the sequence of YGLYLEQ*LLR identified by the ESI-MS/MS analysis (
Figure 10) matched with that of goat as well as cattle, but the other sequence of FFVAPFPEVFGK and VPQ*LEIVPN*SAER (
Figure S4) did not match with that of goat.
4. Discussion
Our various complementary micro-analyses revealed the presence of a large variety of organic components in different layers of samples taken from the surfaces of the Eastern and Western Giant Buddhas and the Bamiyan wall paintings.
In the deepest layers (transparent sizing layer), SR-µFTIR highlighted the presence of proteins. GC-MS analyses on six samples from the EGB and seven samples from the WGB confirmed that the paintings contained proteinaceous binding media. Notably, samples from the EGB (BMM191) and WGB (BMM199, 201) contained cow glue, including cow skin glue (cattle hide) (BMM201) identified through the presence of type III collagen by nano-LC/ESI-MS/MS. Unexpectedly, horse glue was detected in the wall paintings of Cave N(a) (BMM194) by LC-MS in MRM mode, as described in
Section 3.5, and could have been used as a sizing agent. However, this is a rare example from Bamiyan. The recently developed analytical protocol with LC-MS [
39,
40] is a rather convenient and quick method for identifying specific species of animals, primarily in the leather industry, and is a powerful tool for paint analysis. However, casein (cow milk) was identified in the EGB samples and BMM201 (WGB) and could have been used as a sizing agent under the painting layers. Casein was also identified in samples from the wall paintings of Cave A (BMM061) and Cave M (BMM078) by LC-MS/MS. The presence of casein could support a historical recipe recorded in the
citrasūtra (a technical and religious treatise on Buddhist paintings in India), which mentions the use of cow milk on earthen walls [
49].
On the contrary, the ELISA method revealed casein in all samples, plant gum in three samples, and tragacanth in one sample. These could stand as evidence that, in each painting, plant gums and tragacanth served as binding media and the protein (casein) as a sizing agent. Plant gums and tragacanth seem to be readily detected owing to the method’s high sensitivity with regard to minor organic materials that may not be identified using LC-MS or GC-MS, although this method has a rather narrow range of candidates for testing due to its methodological limitations.
Below the proteinaceous sizing layer, SR-μFTIR sometimes detected the presence of a natural resin. However, GC/MS did not confirm resin in these samples but detected trace amounts of pine resin in other caves. Above the sizing layers, SR-µFTIR analyses revealed that the white ground layers (similar to imprimatura) contain partially saponified fatty esters (or the presence of lead soaps) mixed with lead white pigment (cerussite and hydrocerussite). A similar saponified fatty medium was also detected in some painted layers. Thanks to GC-MS, drying oils (vegetable oils) were more precisely identified in the wall paintings of 12 caves. Some other fatty acids were also detected, which could be related to egg or other sources.
Considering the recurrent presence of lead soaps, their homogeneous distribution in the ground and some painted layers, and the good conservation state of these layers, the assignment of lead soaps to an intentional synthesis should not be neglected [
50]. In Shōsōin Repository, Nara, Japan (8th century AD), a technique named
mitsuda-e, based on the name
mitsudasō, which refers to litharge (PbO), describes the mixing of PbO with vegetable oil. This recipe is assumed to originate from Persia [
51]. It may be a link between historical painting techniques and the Bamiyan paintings.
Oil-based mordants were also found under metal foils used as surface decorations (BMM178, QJM06).
Finally, numerous surface areas contained oxalates (mainly calcium and sometimes copper), which could be degradation products of organic components that form lightly colored films on the paint surface.
Regarding the analytical procedure, the use of infrared (and X-ray, not shown here) synchrotron beams was essential to get a sufficient resolution to analyze layers separately. However, it has to be noted that the µFTIR experiments were carried out in 2007. In this period, there were already efforts to make µFTIR accessible with laboratory techniques and, since then, there has been tremendous progress in the implementation of efficient laboratory µFTIR microscopes, reaching similar or even better resolution than the one achieved in this work. Some microscopes are based on the use of focal plan array detectors, combined with attenuated total reflection mode [
52]. More recently, a new technology based on the use of laser and optical photothermal infrared contrast enabled sub-micrometric resolution [
53]
It is difficult to analyze organic binding media with chromatographic techniques due to molecular degradation by environmental conditions and contamination by microorganisms, insects, and plants. Identification of specific binders by GC-MS should always be tentative because of the myriad of factors that can impact results. SR-µFTIR is less specific than MS techniques. However, the location of different molecular families is highly useful, especially for differentiating original components from degraded ones. The multi-analytical approach used in this study allowed for more confidence in identification of organic paint components. For example, casein (cow milk) was identified in BMM045 (Cave G) and BMM169 (Cave J(f)) by GC-MS. It was also identified in all samples in
Table 6, BMM082 (Cave F(c)), BMM115 (Cave J(c)), BMM137 (Cave K
3), BMM169 (Cave J(f))), BMM191 (EGB), BMM203 (Cave L), and BMM210 (Cave C(a)) by ELISA and in BMM191 and BMM201 (WGB) by nano-LC/ESI-MS/MS. These techniques complemented each other and added significance to the identification of casein by GC-MS.
Additionally, gum tragacanth was identified in several samples by GC-MS due to the presence of fucose, and this interpretation is strengthened by its identification in BMM191 by ELISA. Animal glue was confirmed by ELISA and nano-LC-MS/MS. However, the identification of egg in several samples was not confirmed by other techniques and should be the focus of future investigations, although egg was detected in BMM210 (Cave C(a)) by ELISA.
Bamiyan is not a forgotten site. It is a living heritage in many ways–one that provides us with a continuous stream of new discoveries. However, conservation at Bamiyan faces much uncertainty since both the geomorphological instability of the Bamiyan cliff and caves and the political instability complicate continuation of the conservation project.
5. Conclusions
Bamiyan’s wall paintings, which are fairly representative of wall paintings in Central Asia, are produced from complex techniques and structures using various organic components. A proteinaceous layer, which is made of cow milk casein or cow/horse glue, was often identified as a sizing layer on the earthen render. This can be explained by the historical Indian treatise of painting materials, citrasūtra. This use of drying oils as a binding media in mid-7th century wall paintings in Buddhist caves is still the oldest example of oil-based painting techniques to have survived. This technology employing various organic components is archaeologically and historically important. The presence of lead-based pigments and lead soaps as saponified product with drying oils should be noted in the painting history of Central Asia.
For scientific study of painting, structural analysis using polished sections and imaging technology (with and without synchrotron based micro-techniques) is indispensable for identifying the exact location of organic and inorganic substances within the multiple layers. With this information, further high-sensitivity bulk analysis (LC-MS, LC-MS/MS, nano-LC/ESI-MS/MS, GC-MS, ELISA) could be more meaningful.
A wide range of analytical techniques could cross-check the results and also identify specimens and the origins of organic substances in-depth. In this study, all the results were without contradictions. These results provide a more comprehensive picture of past painting technologies and materials, while also shining a light on the disadvantages of particular methodologies.