Dama de Elche: Pigments, surface coating and stone of the sculpture

Luxán, María Pilar de; Prada, José Luís; Dorrego, Fernando

doi:10.1007/bf02479310

Cited by 9 publications

(9 citation statements)

References 2 publications

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“…Cinnabar is known to have been used in the Iberian peninsula in megalithic contexts and for the decoration of Iberian sculptures of a highly symbolic value such as the Lady of Baza and the Lady of Elche . The case under study here and the one from the cemetery of Tutugi confirm that cinnabar was also used for decoration of the ceramic vessels of grave goods, which is further evidence of its exclusiveness.…”

Section: Resultssupporting

confidence: 58%

“…Deeper analyses were made around the turn of the century, with an almost exclusive focus on the decoration of the major Iberian sculptures, e.g. the Lady of Baza, the Warrior of Baza, the Lady of Elche or the Lady of La Alcudia . The instrumental techniques used in these cases were X‐ray diffraction (XRD), energy dispersive X‐ray fluorescence (EDXRF) and/or scanning electron microscopy.…”

Section: Introductionmentioning

confidence: 99%

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Micro‐Raman spectroscopy on Iberian archaeological materials

Tuñón

Sánchez

Parras

et al. 2016

J Raman Spectroscopy

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The knowledge and dissemination of the Iberian culture (6th to 1st century BC) have made great progress within the last three decades, so much so that it is now one of the main fields in the study of the Protohistory of the Iberian Peninsula. Even so, certain topics remain which need further research in Iberian Archaeology, such as the processes of manufacturing and decoration of various kinds of materials, and the choice of raw materials, including pigments. This piece of research presents micro-Raman spectroscopy analysis of a set of materials dated between the sixth and the third century BC. The typology of these materials includes ceramics and coverings with and without decoration. All of them are located in various archaeological sites of the Spanish provinces of Jaén, Granada, Málaga and Ciudad Real. The use of micro-Raman spectroscopy together with energy dispersive X-ray fluorescence and X-ray diffraction helped identify gypsum as the main raw material used for the inside coverings of houses and tombs, as well as for storage structures. Less frequent raw materials are calcite, dolomite and quartz. As to decoration in ceramics, the origin and elaboration of black decoration are here identified for the first time in the history of Iberian culture. Black decoration can be classified as two periods: the older period used manganese oxide and the later period used magnetite. Cinnabar has also been identified in the red decoration of ceramics retrieved as grave goods.

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Section: Resultssupporting

confidence: 58%

Section: Introductionmentioning

confidence: 99%

Micro‐Raman spectroscopy on Iberian archaeological materials

Tuñón

Sánchez

Parras

et al. 2016

J Raman Spectroscopy

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“…Biocalcarenite quarries have been in use in this area since before Roman times, and yield what is known as Ferriol stone. Employed for sculpture by the Iberians [4], one petrologic type was used to sculpt the "Dama" of Elche, an emblematic Hellenistic Iberian sculpture dated to the fourth of fifth 5th century B.CE [5].…”

Section: Methodsmentioning

confidence: 99%

Mineralogical evolution of salt over nine years, after removal of efflorescence and saline crusts from Elche’s Old Bridge (Spain)

Ordóñez

Iglesia

Louis

et al. 2016

Construction and Building Materials

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The bridge under study is located in Elche, an industrial city in the province of Alicante (Region of Valencia, SE Spain; 38°16′01″ N, 0°41′54″ W and 86 m above sea level). A small river or stream called the Vinalopó flows though Elche, dividing it in half, and the Old Bridge (Puente Viejo, also known as the Puente Santa Teresa) is one of the ten bridges that unite both parts of the city. Mineralogical evolution of salt over nine years, after removal of efflorescence and saline crusts from Elche's Old Bridge (Spain)

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“…Los intentos desarrollados hasta ahora para identificar las técnicas y los instrumentos de trabajo de los escultores ibéricos son todavía preliminares (Negueruela 1990(Negueruela -1991Blánquez y Roldán 1994;Castelo 1995;Ramos Fernández 1996-7: 139;Izquierdo 2000: 391-394;Vives Boix 2000: 30-31). Existen también algunas determinaciones sobre el tratamiento superficial, especialmente la aplicación de pintura (Gaitán et al 1999;Ferrero Calabuig et al 2001;Luxán et al 2005), pero resulta evidente que este tipo de enfoques necesitan un amplio desarrollo teórico, experimental y analítico.…”

unclassified

El trabajo de los escultores ibéricos: un ejemplo de Porcuna (Jaén) (1)

Chapa¹,

Vallejo²,

Belén³

et al. 2009

Trab. prehist.

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RESUMENEl estudio de las técnicas empleadas en la manufactura de las esculturas ibéricas ha recibido escasa atención por parte de los especialistas. Sin embargo, estas investigaciones han ofrecido importantes resultados en otras áreas del Mediterráneo, proporcionando conocimientos clave no sólo sobre las técnicas, talleres y estilos, sino también sobre el papel social de los escultores y de aquellos que los sostienen. Mediante el estudio de un ejemplo concreto, el grifo-león enfrentándose a la serpiente del conjunto de Porcuna, se ofrece una visión general del proceso de trabajo de la escultura. Se ha reconocido por primera vez la presencia de lo que puede ser interpretado como una marca de escultor, y se discute la función de este tipo de signos. Palabras clave: Cerrillo Blanco; Porcuna; Andalucía; España; Edad del Hierro; Cultura ibérica; Escultura ibéri-ca en piedra; Cantería; Técnicas de escultura; Marcas de escultor; Firmas de escultor. ABSTRACT

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Dama de Elche: Pigments, surface coating and stone of the sculpture

Cited by 9 publications

References 2 publications

Micro‐Raman spectroscopy on Iberian archaeological materials

Micro‐Raman spectroscopy on Iberian archaeological materials

Mineralogical evolution of salt over nine years, after removal of efflorescence and saline crusts from Elche’s Old Bridge (Spain)

El trabajo de los escultores ibéricos: un ejemplo de Porcuna (Jaén) (1)

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