2018
DOI: 10.1016/j.jasrep.2018.01.004
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Pigments, binders, and ages of rock art at Viuda Quenzana, Santa Cruz, Patagonia (Argentina)

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Cited by 20 publications
(21 citation statements)
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“…If these processes promote a partial binder loss, only very thin painting layers (<silt fraction) will remain, as it is usually observed in open‐air rock art sites in Patagonia. [ 14,26,56 ] Besides binder preservation, two additional mechanisms may contribute to the rock art preservation: mechanical penetration of pigment particles within the support porosity and postdepositional cementation of Ca‐Mn‐Mg‐bearing minerals, such as oxalates (“pseudobinders”), promoted by bioactivity and chemical weathering.…”
Section: Resultsmentioning
confidence: 99%
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“…If these processes promote a partial binder loss, only very thin painting layers (<silt fraction) will remain, as it is usually observed in open‐air rock art sites in Patagonia. [ 14,26,56 ] Besides binder preservation, two additional mechanisms may contribute to the rock art preservation: mechanical penetration of pigment particles within the support porosity and postdepositional cementation of Ca‐Mn‐Mg‐bearing minerals, such as oxalates (“pseudobinders”), promoted by bioactivity and chemical weathering.…”
Section: Resultsmentioning
confidence: 99%
“…The manufacture of paintings used here is exhaustively described in Ozán et al (in prep) and follows archeological and ethnographical data from Patagonia, southern South America, which is located between latitude 38° and 55°S. [ 18,24,26,35–47 ] Therefore, all raw materials used in mixtures were collected in this region, where red (i.e., hematite, maghemite, goethite, jarosite, and magnetite), white (i.e., illite, gypsum, kaolinite, feldspar, and calcite), and black (i.e., Mn‐oxides and charcoal) colors in rock art are ubiquitous (Table 1) [ 18,20,24,42,43,45–56 ] . On the other hand, the presence of fat as binder is well‐documented by ethnographic evidence, though it was only registered in two archeological contexts.…”
Section: Methodsmentioning
confidence: 99%
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“…Nonetheless, in the last few decades, rock art studies in South America have started to be incorporated on global discussions, mainly on the application of formal methods (Podestá and Strecker 2014;Troncoso et al 2018). Among some of the most significant advances in South American art research is the critical discussion of analytical concepts such as style, territories and networks and the application of archaeometric approaches (Fiore and Basile 2016;Sepúlveda 2016;Troncoso et al 2017b;Brook et al 2018).…”
Section: Discussionmentioning
confidence: 99%
“…de cuadros visuales que estiman proporciones, la composición mineralógica de la pasta, y la forma y tamaño máximo y mínimo de las inclusiones (sensu Escala Udden-Wentworth en Folk, 1974). Los resultados isotópicos fueron comparados con aquéllos obtenidos por investigadores de áreas cercanas (Tessone & Panarello, 2008Cassiodoro & Tessone, 2014;Chaile et al 2018) y carbones arqueológicos de las cuencas de los ríos Chico y Santa Cruz (Brook et al 2018).…”
Section: Materiales Y Métodosunclassified