Recreating Ancient Egyptian Blue: A Journey into Pigment and Places
Wednesday, March 26, 2025 – Mohandessin, Giza
Dina and I have been gathering our thoughts and planning for an upcoming experiment: an attempt to recreate the ancient Egyptian blue pigment. Alongside John O’Carol, Joseph Bull, and Hamouda the potter, we will be making this pigment in Hamouda’s workshop in Fustat, using traditional methods and locally sourced materials.
Egyptian Blue: The Chemistry Behind the Color
We have nicknamed our version CaCuSiO Blue, based on the core chemical components of the pigment. Egyptian blue is synthesized by combining calcium (from limestone), copper (from copper oxide or malachite), and silica (from quartz sand). These materials are heated together—often with a flux such as sodium carbonate (natron)—at around 900°C. This process forms calcium copper silicate, yielding the distinctive blue pigment.
While our first batch will use materials sourced from Cairo’s markets, our long-term goal is to obtain the exact ingredients from their original locations in Egypt. For example:
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Flux (Flower of Natron): Historically found on the shores of the lakes at Wadi Natron (Aba el Namra).
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Syenite (Hagar Aswani): The distinctive stone from Aswan. Syenite as an alternative to limestone: Potentially sourced from Aswan, where it is still used in local industries.
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Quartz Sand: Also sourced from Wadi Natron.
Professor Salima Ikram, an expert on mummification, suggested we check Khan el-Khalili’s attarin (herbalist) shops for natron, where traditional traders sell everything from ground stones to perfume oils. Otherwise, she may be able to source some for us.
Taking the Experiment to the Source
Once we complete the pigment in Fustat, we plan to take our project further—traveling to Wadi Natron and Aswan to remake Egyptian blue using the original materials, traditional kilns, and pottery vessels, possibly even alabaster.
Egyptian Blue and film
Beyond pigment production, we are also considering ways to explore Egyptian blue’s unique properties:
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Dyeing 16mm film: We are curious about how Egyptian blue might interact with film emulsion and what visual effects it could produce.
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Photographic Processes: Experimenting with natron salts in black-and-white film development or as a photographic dye.
The Luminescence of Egyptian Blue
One of the most fascinating properties of Egyptian blue is its ability to emit near-infrared (NIR) luminescence under visible light—a phenomenon that has been used to identify the pigment in ancient artifacts.
Would this luminescence be visible if we dyed 16mm film with Egyptian blue? Under normal projection conditions, the blue hue would be visible, but the NIR luminescence would not. However, using an infrared-sensitive camera could allow us to capture and visualize this hidden property.
Infrared Imaging
To document this effect, we could use consumer-grade IR cameras that have been modified for infrared sensitivity. Some options include:
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Kolari Pocket (Canon ELPH 180)
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Lumix ZS100 (modified for infrared detection)
These cameras, often used in art conservation, could help us capture Egyptian blue’s luminescence, revealing an otherwise invisible dimension of the pigment.
Addendum: Yesterday, Dina visited Khan el-Khalili and bought a number of stones and materials including Natron. Also, Hanaa Shawki, an art restorer specializing in antiquities and a contact of John O’Caroll, will be joining us in Fustat. She will assist in documenting and tracking the details of the procedure as we recreate the blue pigment.