A multi-technique characterization and provenance study of the pigments used in San rock art, South Africa

Bonneau, Adelphine; Pearce, David; Pollard, A. Mark

doi:10.1016/j.jas.2011.09.011

Cited by 100 publications

(70 citation statements)

References 17 publications

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“…In order to positively identify these black pigments, microscopic samples from one black human figure (1eV) were scraped and analysed by Raman and SEM-EDS to obtain detailed information regarding its elemental composition, molecular structure and morphology (Smith et al, 1999;Edwards et al, 2000;Tomasini et al, 2012;Bonneau et al, 2012). The collected samples included portions of black pigment adhered to spallated fragments of the substrate and covered by calcareous accretions.…”

Section: Technical Analysesmentioning

confidence: 99%

An approximation to the study of black pigments in Cova Remigia (Castellón, Spain). Technical and cultural assessments of the use of carbon-based black pigments in Spanish Levantine Rock Art

López-Montalvo

Bonilla

Roldán

et al. 2014

Journal of Archaeological Science

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a b s t r a c tSpanish Levantine Rock Art is a unique pictorial expression within the prehistoric European context. Located in shelters in the inland regions of the Iberian Mediterranean basin, this art form, which must be necessarily studied in the frame of the process of neolithization of this territory, still lacks direct dating, and therefore its authorship is still open to debate.In this paper we present the first characterization of black pigments used in the Cova Remigia shelters in the Valltorta-Gassulla area (Castell on, Spain) by means of EDXRF spectrometry combined with SEM-EDS and Raman spectroscopy. Our aim is both to identify the raw material used for the preparation of black pigments and to make a first approach to the cultural choices involved in its use.The results are relevant for several reasons. Firstly, carbon-based black pigments have been identified for the first time in northern regions of Levantine rock art. Secondly, the recurrent use of black pigments in Cova Remigia questions the assumption of its restricted use in Spanish Levantine art. Thirdly, posterior repainting and graphic re-appropriation of black figures have been observed in Cova Remigia, giving rise to the combination of two colours, black and red, fact that is extremely rare in this rock art tradition. Finally, the identification of organic matter in the black pigments opens the possibility of radiocarbon dating.

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Section: Technical Analysesmentioning

confidence: 99%

An approximation to the study of black pigments in Cova Remigia (Castellón, Spain). Technical and cultural assessments of the use of carbon-based black pigments in Spanish Levantine Rock Art

López-Montalvo

Bonilla

Roldán

et al. 2014

Journal of Archaeological Science

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“…hematite reacts better to the near-IR laser than to the green laser (Bonneau et al 2012)). As a result, it is necessary to use both lasers to achieve the best characterization possible.…”

Section: Raman Spectroscopy Analysismentioning

confidence: 99%

“…However, recent characterization studies have provided new insights on black paints, revealing that carbon-based paints were indeed used (Prinsloo et al 2008;Tournié et al 2011;Bonneau et al 2012;Hoerlé et al 2016). Following these studies, we successfully obtained three dates on black paintings from collapsed rock flakes at site RSA TYN2 (South Africa) using a modified ABA pretreatment protocol (Bonneau et al 2011).…”

Section: Introductionmentioning

confidence: 99%

Successfully Dating Rock Art in Southern Africa Using Improved Sampling Methods and New Characterization and Pretreatment Protocols

et al. 2016

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Worldwide, dating rock art is difficult to achieve because of the frequent lack of datable material and the difficulty of removing contamination from samples. Our research aimed to select the paints that would be the most likely to be successfully radiocarbon dated and to estimate the quantity of paint needed depending on the nature of the paint and the weathering and alteration products associated with it. To achieve this aim, a two-step sampling strategy, coupled with a multi-instrument characterization (including SEM-EDS, Raman spectroscopy, and FTIR spectroscopy analysis) and a modified acid-base-acid (ABA) pretreatment, was created. In total, 41 samples were dated from 14 sites in three separate regions of southern Africa. These novel protocols ensure that the 14C chronology produced was robust and could also be subsequently applied to different regions with possible variations in paint preparation, geology, weathering conditions, and contaminants.

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“…Recent research using this methodology in the cultural heritage field includes the determination of Sibyks [17], rock art [18,19], bronzes [20] and miniatures [21]. The sample can be explored more extensively, as the combined techniques provide information about the distribution of either an element (SEM-EDS) or a compound (Raman spectroscopy) along the paint cross-sections.…”

Section: Introductionmentioning

confidence: 99%

Spectroscopic analysis used to uncover the original paint colour of the Helsinki Government Palace tower clock faces

et al. 2016

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The paint stratigraphy of the two clock faces from the tower clock of the Government Palace in Helsinki (Finland) was analysed in order to determine their original colour before restoration works. Paint cross-section samples from both clock faces were analysed by confocal Raman microscopy and scanning electron microscopy coupled to an energy dispersive X-ray spectrometer (SEM-EDS). The results revealed the complex superimposition of paint layers applied over the original black colour. FTIR/ATR analyses proved that the original paint was prepared with linseed oil-resin media. Most likely not all of the different layer colours were visible. Some of the layers were likely to have been a primer or for rust protection.

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A multi-technique characterization and provenance study of the pigments used in San rock art, South Africa

Cited by 100 publications

References 17 publications

An approximation to the study of black pigments in Cova Remigia (Castellón, Spain). Technical and cultural assessments of the use of carbon-based black pigments in Spanish Levantine Rock Art

An approximation to the study of black pigments in Cova Remigia (Castellón, Spain). Technical and cultural assessments of the use of carbon-based black pigments in Spanish Levantine Rock Art

Successfully Dating Rock Art in Southern Africa Using Improved Sampling Methods and New Characterization and Pretreatment Protocols

Spectroscopic analysis used to uncover the original paint colour of the Helsinki Government Palace tower clock faces

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