Les colorants dans l’art pariétal et mobilier paléolithique de La Garma (Cantabrie, Espagne)

Arias, Pablo; Laval, Éric; Menu, Michel; Saínz, César González; Peredo, Roberto Ontañón

doi:10.1016/j.anthro.2011.05.005

Cited by 25 publications

(21 citation statements)

References 8 publications

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“…The 300m long cave of El Castillo can be divided into two areas; a large entrance chamber (the Gran Sala), and a subsequent labyrinth of narrow galleries totalling almost 1km in length. Much of its art is figurative and can be attributed to the Solutrean or the Magdalenian, although its hand stencils belong to an earlier group which includes dots and lines, the antiquity of which was recently attested by the U-series dating noted above (Pike et al 2012 Recent pigment analyses of a number of examples of the cave's art has reinforced this division, demonstrating that the hand stencils are linked to non-figurative dots and lines rather than to the more diverse figurative images of the Magdalenian (Arias et al 2011).…”

Section: New Research In La Garma and El Castillomentioning

confidence: 99%

New views on old hands: the context of stencils in El Castillo and La Garma caves (Cantabria, Spain)

Pettitt¹,

Castillejo

Arias

et al. 2014

Antiquity

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Hand stencils are an intriguing feature of prehistoric imagery in caves and rockshelters in several parts of the world, and the recent demonstration that the oldest of those in Western Europe date back to 37 000 years or earlier further enhances their significance. Their positioning within the painted caves of France and Spain is far from random, but responds to the shapes and fissures in the cave walls. Made under conditions of low and flickering light, the authors suggest that touch—‘palpation’—as much as vision, would have driven and directed the locations chosen for these stencils. Detailed study of the images in two Cantabrian caves also allows different individuals to be distinguished, most of whom appear to have been female. Finally, the project reveals deliberate associations between the stencils and features on the cave walls.

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Section: New Research In La Garma and El Castillomentioning

confidence: 99%

New views on old hands: the context of stencils in El Castillo and La Garma caves (Cantabria, Spain)

Pettitt¹,

Castillejo

Arias

et al. 2014

Antiquity

Self Cite

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“…The denomination carbon-based black pigments includes many carbon-containing pigments, such as vegetable or plant blacks, ivory/bone black or animal black, lampblack, graphite, etc., regardless of whether it is the sole element or the main ingredient. Vegetable carbon pigments have been identified in prehistoric paintings since the Upper Palaeolithic (Clottes, 1993;Menu and Walter, 1996;Ospitali et al, 2006;Winter and West FitzHugh, 2007;Arias et al, 2011;Olivares et al, 2013 etc.). They could probably be the first carbon-based black pigments used in the history of humanity, since these pigments can be used directly as charcoal (vegetal carbon) or graphite (mineral carbon) sticks, without relying on binding agents making its application easier (Insert Supplementary Fig.…”

Section: The Levantine Rock Art Artists' Palettementioning

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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“…La auténtica explosión de color para el continente europeo se producirá con la llegada del Sapiens sapiens y sus complejos artísticos, sobre todo a partir del Gravetiense. En estos casos, la preferencia por el rojo, salvo excepciones como Ekain (Chalmin et al 2002;Chalmin et al 2003), es abrumadora y, aunque participen otros colores, como el negro, el amarillo o, más tarde, el blanco, esta se extenderá cronológicamente no solo durante el Paleolítico Superior, sino también en épocas postpaleolíticas (García et al 2004;Bertola, 2008;Menu, 2009;Arias et al 2011;Mas et al 2013;Roldán et al 2013). La composición general de estos pigmentos tendrá, en la mayoría de los casos, una base de óxido de hierro, concretamente hematites, y se extenderá a muchos aspectos de la vida cotidiana, reflejado esto en ejemplos muebles, como la cerámica neolítica (García et al 2004, Angeli, et al 2007.…”

Section: Generalidades Y Apunte Metodológicounclassified

“…Bien, esto es así porque, en efecto, el problema es de difícil solución, y hasta que no se realice el pertinente análisis, es prácticamente imposible saber si nos hallamos ante un ejemplo de ocre, o bien de óxido de hierro. La diferencia entre ellos, como veremos, existe, y en ocasiones es indicadora de distinciones (Clottes et al 1990;Couraud, 1991;Chalmin et al 2002;Balbín y Alcolea, 2009;Iriarte et al 2009;Arias et al 2011;Roldán et al 2013, Mas et al 2013) que podrían implicar marcación cultural. Además, ni los términos ocre, ni óxido de hierro ni hematites engloban de modo genérico a los pigmentos a los que estamos haciendo alusión ya que, según la existencia de unos u otros elementos, y sus proporciones, podemos estar hablando de un material u otro.…”

Section: El Rojo En La Prehistoria: Ocre Hematites Y óXido De Hiunclassified

Ocre, hematites y óxido de hierro: el problema terminológico = Ochre, Hematite and Iron Oxid: The Terminological Issue

Nicolau

2016

ETFI

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Impreso en España · Printed in SpainEsta obra está bajo una licencia Creative Commons Reconocimiento-NoComercial 4.0 Internacional. 13 ResumenLos óxidos de hierro son prácticamente omnipresentes al analizar contextos, no solo referentes al arte rupestre, sino también en relación con toda una serie de actividades que podríamos considerar cotidianas en ambientes prehistóricos. Sin embargo, su estudio sistemático no ha comenzado hasta tiempos muy recientes. Fruto de ello, podría decirse que una parte de la literatura arqueológica no especializada en el campo de la pigmentología muestra, en ocasiones, cierta inexactitud terminológica. Con este documento pretendemos, a través de un análisis tanto de su funcionamiento, como de las propiedades geoquímicas y mineralógicas del ocre, la hematites y los propios óxidos de hierro, exponer la necesidad de propiedad en su nomenclatura, así como los problemas que podrían derivarse de la falta de precisión. Por último, establecemos algunas propuestas que tal vez pudieran ayudar en esta normativización. Palabras claveHematites; ocre; óxido de hierro; terminología; pigmentos. AbstractIron oxides are virtually omnipresent when analyzing contexts, not only referring to rock art, but also related to a whole series of activities, which we could consider as quotidian for prehistoric environments. Nevertheless, a systematic study of these has not started until recent times. As a result, it could be argued that a part of archaeological literature, not specialized on pigmentology, shows sometimes a certain lack of terminological accurateness. With this document we mean to, through an analysis both of the functioning and the geochemical and mineralogical properties of ochre, hematite and iron oxides themselves, expose the need for an appropriate terminology, as well as to show the problems derived from an 14ALFREDO CORTELL NICOLAU inadequate naming. Finally, we bring some proposals, which could maybe help on an appropriate terminological standardization.

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Les colorants dans l’art pariétal et mobilier paléolithique de La Garma (Cantabrie, Espagne)

Cited by 25 publications

References 8 publications

New views on old hands: the context of stencils in El Castillo and La Garma caves (Cantabria, Spain)

New views on old hands: the context of stencils in El Castillo and La Garma caves (Cantabria, Spain)

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

Ocre, hematites y óxido de hierro: el problema terminológico = Ochre, Hematite and Iron Oxid: The Terminological Issue

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