2025 Poster Session

This study examines the provenance, iconography, stylistic characteristics, and scientific analysis of a group of Chinese mural fragments, focusing particularly on a mural housed at the Wadsworth Atheneum Museum of Art. Between 1951 and 1956, Ruxton Love Jr. donated 12 similar murals to 10 different museums across the United States. Although these murals lacked any documented background or provenance information at the time of donation, Love believed them to be from the Ming Dynasty (1368–1644).

The research includes an analysis of the iconography and artistic style of all 12 murals, revealing shared characteristics that suggest the same group of artists created them. These murals depict Daoist deities such as Houtu Shengmu, celestial musicians, and other divine figures, consistent with the artistic and religious traditions of Ming Dynasty China. Stylistic elements, such as rounded, chubby-faced figures, further support the connection to Ming-era murals from Shanxi and Henan provinces. Additionally, the raised plaster ornamentation found on several of these murals is characteristic of temple murals from this period.

However, scientific analysis was only conducted on the Wadsworth Atheneum mural (1951.230), utilizing X-ray fluorescence (XRF) to examine its pigments. While traditional pigments like barium sulfate and carbon black were identified, the presence of modern pigments such as chrome yellow suggests that these murals were more likely created during the late Qing Dynasty (1644–1912) rather than the Ming Dynasty as initially believed. This finding challenges the initial assumptions regarding the murals' origins and suggests they were produced using traditional techniques but with more modern materials.

Microscopic examination of the murals' structural composition revealed the use of the Chinese secco fresco method, involving the application of pigments to a dry clay plaster reinforced with plant fibers. This method, distinct from the European wet fresco technique, underscores the unique material practices of Chinese mural artists.

In conclusion, while the murals in the Love Collection exhibit strong stylistic connections to Ming Dynasty works, the presence of modern pigments points to their creation during the late Qing Dynasty. This study demonstrates the importance of combining iconographic, stylistic, and scientific analyses in accurately determining the date and authenticity of cultural heritage objects.

By integrating these various approaches, the study contributes to a deeper understanding of the Love Collection and its historical and cultural significance, offering new insights into the broader context of Chinese art. Future research will further explore these murals and related works to clarify their origins and influence.