Looking for paint mixtures to glimpse pictorial techniques: a micro-stratigraphic physicochemical approach to the rock art from the Oyola’s Caves (Argentina)

Abstract

Could not be possible that rock paintings with similar hues and morphologies were the result of different paint preparations inside a cave but distanced in time? Is there any archaeometric approach that allow us to evidence these subtle differences? Aiming to address these inquires, in this work are presented the potentials of new physicochemical lines of evidence for characterization and differentiation of paint mixtures. This will improve the understanding of the technical heterogeneity and temporal complexity of painting sets executed in a particular archaeological site. In order to explore these points, the results obtained in the micro-stratigraphic studies of samples taken from the painted walls of Oyola, an archaeological site located in the northwest of Argentina, are presented. These samples have been analyzed by micro-Raman spectroscopy (mRS) and scanning electron microscopy with energy dispersive X-ray (SEM-EDS). The differences found by cross-section chemical studies could be explained as a consequence of two situations: 1-differences in the painting's chemical components, either in the pigments involved or additives used; and, 2-differences in the physical properties of the mixtures such as stratum thickness and/or particle size. Also, in this article are explained each of the hypothesis, presenting the limits of these interpretations and pointing out future research challenges. As we discussed, it could be possible that the chemical and physical differences found between paint mixtures were the material expression of varied types of pictorial techniques.

A multi‐analytical approach to understand El Alto‐Ancasti's painted pottery (north‐western Argentina): Non‐invasive and micro‐invasive analyses of vessel's paintings from El Taco 19

“…Beyond pottery-making, our results can be also evaluated regarding colour production in other objects or supports used by human groups that inhabited El Alto-Ancasti mountain at the same time period. To this end, it is relevant to consider the archaeometric studies performed in rock art caves placed in this zone (De la Fuente Gheco et al, 2017Gheco et al, , 2019Gheco et al, , 2020Tascon et al, 2016). These investigations exposed similarities in colour production between rock paintings and pottery, such as the use of Fe-rich pigments to make red colours, Ca-rich components in whites and C in black motifs.…”

De las huellas a las técnicas: un abordaje experimental de las formas de aplicación de las pinturas rupestres de La Candelaria (Catamarca)

“…En términos mayoritarios, a nivel mundial los estudios materiales del arte rupestre pintado se enfocaron en caracterizar la composición química de las mezclas pigmentarias (Chalmin y Huntley 2017;Sepúlveda 2020). Sin embargo, también deben considerarse las múltiples etapas técnicas e interacciones entre diversos seres y materiales que dieron forma a tales mixturas (Gheco et al 2020). Concentrarnos en dichas técnicas y en los instrumentos, pasos, tratamientos, corporalidades y desplazamientos involucrados en ellas, nos acerca a la complejidad inherente a la creación y usos del arte rupestre.…”

“…El arte rupestre de La Candelaria ha sido ampliamente difundido, gracias a su iconografía y a su interpretación como arte chamánico (Llamazares 2006), aunque su dimensión material ha recibido menor atención. Al respecto, los estudios arqueométricos desarrollados estuvieron destinados a obtener fechados directos de algunas pinturas rupestres (Hedges et al 1998;Boschin et al 1999), y a caracterizar de manera preliminar los materiales empleados en su producción (Hedges et al 1998;Maier et al 2007;Gheco et al 2020). En ese sentido, los análisis inorgánicos detectaron sulfato de calcio, oxalatos de calcio y, en menor medida, carbonato de calcio, mientras que los resultados de los análisis orgánicos fueron atribuidos al uso de cactus o cebil.…”

“…Dicha serranía alberga uno de los conjuntos más importantes de sitios con arte rupestre en el Noroeste argentino, con más de 100 cuevas y aleros documentados. En la última década, se han profundizado las investigaciones sobre los materiales que se emplearon en algunos sitios del área, con énfasis en los análisis arqueométricos de las mezclas pigmentarias (De La Fuente y Nazar 2016; Tascon et al 2016;Gheco 2017;Gheco et al 2020). Sin embargo, más allá de algunas menciones, todavía no se ha abordado el estudio exhaustivo de las técnicas de aplicación particulares utilizadas en cada sitio.…”

A multi-analytical evaluation of the depositional pattern on open-air rock art panels at “Abrigo del Lince” (Badajoz, Spain)

“…Moreover, the study of rock art from the archaeometric point of view can provide contributions in the understanding of technological and cultural aspects, as well as of those related to the conservation and deterioration of pictographs (Gallinaro and Zerboni 2021 ; Gheco et al 2020 ;). This approach is currently becoming a standard in archeology and rock art studies, both for the physicochemical characterization of pigments (Iriarte et al 2009 ) and for the detection of alteration products, such as oxalates, which presence is remarkable in the context of rock art preservation and datation (Ruiz et al 2012 ; Sanjurjo-Sánchez et al 2012 ; Green et al 2017 ; Pozo-Antonio et al 2017 ; Rousaki et al 2018 ).…”