Entre humos, fuegos y pinturas: Una metodología para conectar historias en el arte rupestre

Abstract

¿Cómo se relaciona el arte rupestre con las prácticas sociales existentes a su alrededor?, ¿cómo es la dinámica de estas relaciones a lo largo del tiempo? En este trabajo intentamos responder a estos interrogantes a través de la presentación de una metodología que vincula tres evidencias materiales presentes en algunos de los abrigos del sitio arqueológico de Oyola (Catamarca, Argentina): las pinturas rupestres, los restos de fogones hallados en la excavación del piso y las marcas de hollín detectadas sobre las paredes.Palabras clave: Arte rupestre, Prácticas sociales, Arqueología, Raman, Sierra de Ancasti.How is rock art related to the social practices operating around it? How do those relationships play out over time? In this paper we attempt to respond to these questions by presenting a methodology that links three kinds of material evidence present in the shelters at the archaeological site of Oyola (Catamarca, Argentina): rock art paintings, hearth remains discovered on the floor, and soot marks detected on the walls.

Looking for Painting Mixtures to Glimpse Pictorial Techniques: A Micro-Stratigraphic Physicochemical Approach to the Rock Art From the Oyola’s Caves (Argentina)

“…Other micro-scospectroscopic (micro-Fourier transform-infrared spectroscopy) or bulk (Gas chromatography-mass spectrometry) techniques to inquire into the organic materials are strongly recommended. In this line, other methodological and technical approaches [31,53] could help us to connect these diversity of painting mixtures with different lines of archaeological evidence and give them a chronological frame.…”

“…This behavior was not an isolated event, but similar trends were found in other caves of the same site. For instance, this is also the case of Oyola 7 [31], which presents several white paintings on the walls that, at a first glance, could be also interpreted as the product of a single painting event. However, the chemical analyses of different samples show different compounds as the main pigment.…”

“…As a matter of fact, a painting is the result of the application of different pigmentary mixtures with determined proportions of diverse materials onto the rock surface. These mixtures have been usually described in the literature as the combination of a pigment (grounded solid colored materials or organic colorants), a binder (commonly an organic material) and additives (regularly used as extenders, fillers or charges) [12,17,[20][21][22][23][24][25][26][27][28][29][30][31]. The pigments, also knew as chromophores, are the responsible to give color to the painting.…”

“…These results, we think, will improve the understanding of the technical heterogeneity and temporal complexity of painting sets in Oyola and could be a useful methodological alternative to apply in other sites. Finally, it must be highlighted that the studies herein presented are not the result of a single case or sample but the product of a large number of samples analyzed throughout the archeological site of Oyola for the last 7 years [5,17,31,41].…”

Looking for Paint Mixtures to Glimpse Pictorial Techniques: A Micro -Stratigraphic Physicochemical Approach to the Rock Art From the Oyola’s Caves (Argentina)

“…As a matter of fact, a painting is the result of the application of different paint mixtures with determined proportions of diverse materials onto the rock surface using speci c tool/s and technique/s. These mixtures have been usually described in the literature as the combination of a pigment (grounded solid colored materials or organic colorants), a binder (commonly an organic material) and additives (regularly used as extenders, llers or charges) [7,12,[28][29][30][31][20][21][22][23][24][25][26][27]. The pigments, also known as chromophores, are the responsible to give color to the painting.…”