Harvard University researchers have completed a groundbreaking analysis of pigments used in traditional Indian paintings, creating the first comprehensive scientific dataset of materials employed by South Asian artists. The study, conducted under Harvard’s Mapping Color in History initiative, examined forty-two pigments and artists’ materials from the workshop of renowned traditional Indian miniature artist Babulal Marotia to develop what experts describe as “a useful and long-awaited resource for material studies on South Asian painting practices.”
Led by Professor Jinah Kim, the interdisciplinary research team employed advanced chemical analysis techniques, including electron microscopy, fluorescence spectroscopy, X-ray fluorescence, and Raman spectroscopy, to characterize the pigments sourced from Marotia’s Jaipuri workshop in Rajasthan. These methodologies revealed both historical continuity and surprising substitutions in traditional Indian painting materials, offering crucial insights for art historians and conservation professionals worldwide.
The researchers discovered that while Marotia employs traditional recipes and sourcing methods whenever feasible—with some pigments resembling those used in sixteenth-century artworks—contemporary substitutions have occurred. Notably, initial analysis revealed Prussian Blue mixed with other additives in what Marotia believed to be traditional indigo-based neel pigment, though a subsequent batch from a different supplier contained authentic indigo. This variation highlights the complex relationship between artists’ historical knowledge and actual material composition.
The study identified pigments previously unanalyzed in Indian artistic contexts, providing fresh analytical insights. One green pigment, known as sara bh, contained zirconia and yttria, indicating twentieth-century manufacture, while other dyes matched those found in older documented artworks, such as mineral orpiment in yellow pigments.
“There is no baseline knowledge on the history of pigments in South Asia; it’s all based on what is known from the Western art,” explained Professor Kim. This research fundamentally addresses that gap by documenting the vernacular pigment terminology alongside chemical compositions and historical processing methods.
The comprehensive dataset was published in the open-access journal npj Heritage Science, with the full data integrated into the searchable Mapping Color in History database. The platform allows researchers to explore pigment usage by color, chemical elements, and historical context across Asian paintings. Researchers can trace transcultural contact through colorant movement and artistic practices while examining which pigments were employed for specific painting traditions.
The initiative represents an ongoing effort to challenge Western-centric art historical frameworks. The database, launched in 2018 with an initial pilot release in late 2022, now encompasses extensive material analyses from South Asian and Himalayan paintings, with plans for future geographic and cultural expansion. This collaborative, interdisciplinary approach signals a paradigm shift in how art historical research integrates scientific methodology with cultural scholarship, bridging chemistry and artistic tradition.
Cover photo: Details from three Indian miniatures whose pigments were analysed as part of the Mapping Color in History project. | © President and Fellows of Harvard College, courtesy Harvard Art Museums and Arthur M Sackler Museum.
Athmaja Biju is the Editor at Abir Pothi. She is a Translator and Writer working on Visual Culture.
