I guess one of the difficulties with assessing this kind of data is that there are primary pigments (in the sense of those that are ground and put into a pot) and blended pigments (those created by combining paint in the main pots).
Some painters would work with a palette of four colors and get maybe 9 or 10 other colors by combining them. Other painters, really skilled ones, could get something that looks almost like a continuum.
So... I was thinking, part of the value of this kind of data is comparing it to other manuscripts, just as the style of the drawings or text might be compared to other manuscripts but... then one would need to separate out the primary pigments from those that are blended, since this process (and skill level) differs from illustrator to illustrator.
Even so, what you have so far is very interesting (and I commend you for the considerable effort). Every journey begins with a first step. Over time, it would probably be valuable to have a "paint profile" for each folio in the manuscript.
Some painters would work with a palette of four colors and get maybe 9 or 10 other colors by combining them. Other painters, really skilled ones, could get something that looks almost like a continuum.
So... I was thinking, part of the value of this kind of data is comparing it to other manuscripts, just as the style of the drawings or text might be compared to other manuscripts but... then one would need to separate out the primary pigments from those that are blended, since this process (and skill level) differs from illustrator to illustrator.
Even so, what you have so far is very interesting (and I commend you for the considerable effort). Every journey begins with a first step. Over time, it would probably be valuable to have a "paint profile" for each folio in the manuscript.