Prehistoric hand stencils at Fern Cave, North Queensland (Australia): environmental and chronological implications of Raman spectroscopy and FT-IR imaging results

Goodall, Rosemary A.; David, Bruno; Kershaw, Peter; Fredericks, Peter M.

doi:10.1016/j.jas.2009.07.007

Cited by 22 publications

(13 citation statements)

References 24 publications

(28 reference statements)

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“…This discontinuous crust layer induces a subsequent spalling effect, as observed locally on the present surface of Panel A (Doehne 2002;Hernanz et al 2007). As previously documented at other rock art sites (Goodall et al 2009;Hernanz et al 2007), gypsum efflorescence tends to weaken the stability of rock surfaces. Elsewhere, in northeastern Australia, Goodall et al (2009) have previously interpreted the presence of gypsum in stratified micro-layers over or under rock art as an indicator of dry climatic conditions, due to exposed gypsum's solubility in water during wetter conditions.…”

Section: Discussion Of Geochemistrysupporting

confidence: 65%

The Archaeology of Rock Art in Western Arnhem Land, Australia

2017

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terra australis 47Terra Australis reports the results of archaeological and related research within the south and east of Asia, though mainly Australia, New Guinea and Island Melanesia -lands that remained terra australis incognita to generations of prehistorians. Its subject is the settlement of the diverse environments in this isolated quarter of the globe by peoples who have maintained their discrete and traditional ways of life into the recent recorded or remembered past and at times into the observable present. Copyright of the text remains with the authors, 2017. This book is copyright in all countries subscribing to the Berne convention. Apart from any fair dealing for the purpose of private study, research, criticism or review, as permitted under the Copyright Act, no part may be reproduced by any process without written permission. Inquiries should be made to the publisher. List of volumes in Terra AustralisTerra Australis Editorial Board: Sue O'Connor, Jack Golson, Simon Haberle, Sally Brockwell, Geoffrey Clark. .6 Long-necked spearthrowers from other locations as recorded by , Lewis (1998), and Welch (1997). 74 .2 This painting depicts a predatory quadruped with a distinctively developed head and muzzle region unlike a thylacine. It is suggested that the robust proportions of the head represent a morphology similar to that of the marsupial lion Thylacoleo carnifex. 149x The Archaeology of Rock Art in Western Arnhem Land, Australia terra australis 47 .27 Square P after completion of excavation showing south and west walls (the green string is the south side of the square). Note the flat rock surface at base. 266Figure 11.28 Square P east and south sections, with XUs and radiocarbon dates back-plotted. 267Figure 11.29 Square P showing sediments at the base of A: XU16 (average basal depth = 22 cm below ground), a stratigraphic level above that of the dried paint drops; B: XU21 (average basal depth = 28 cm below ground), a stratigraphic level below that of the dried paint drops; C: XU18 (average basal depth = 24 cm below ground), at the stratigraphic level containing the dried paint drops, here visible as lighter-coloured patches. 268 Figure 11.30 Profile view (top) and interpretation (bottom) of GPR data from the southeast to northwest ends of the rockshelter passing through Square P. 270 Figure 11.31 Bayesian age model for Square P produced with OxCal v4.2 (see text for discussion). 272 .37 Edge of the densely pillared, slightly elevated area to the south of the shelter. 280 Figure 11.38 Projected view of the Nawarla Gabarnmang shelter and the densely pillared edge of the slightly elevated area to the south. 281 Figure 11.39 Geomorphological reconstitution of the area around Square P. 284Figure 11.40 Square P: Distribution of stone artefacts and bone + teeth (excluding a particularly large stone artefact weighing 164.0 g from XU3, to enable better visualisation of the overall distribution down the XU profile). 286 Table 2.3 Radiocarbon dates on charcoal from Test Pits B and C, MN05. 36 Table 3.1 Gen...

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Section: Discussion Of Geochemistrysupporting

confidence: 65%

The Archaeology of Rock Art in Western Arnhem Land, Australia

2017

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“…This is in accordance with what we have found on the rock fragment, and similar results have been obtained in rock art samples from Spain (Raman) [17] and Australia (Fourier Transform Infrared). [38] We believe that the layers of sulfate and whewellite mask the Raman signature of the pigment underneath and that in this case it was possible to probe the bottom layer with an increase in laser power. This might be due to thinner layers of gypsum and whewellite, whereas in the case of thicker layers it would not be possible to excite spectra from the pigment underneath.…”

Section: Effect Of Laser Powermentioning

confidence: 95%

The first in situ Raman spectroscopic study of San rock art in South Africa: procedures and preliminary results

Tournié

Prinsloo

Paris

et al. 2011

J Raman Spectroscopy

104

113

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Southern Africa has a rich heritage of hunter-gatherer, herder and farmer rock art traditions made by using both painted and engraved techniques. Until now, there have been only a handful of studies on the chemical analysis of the paint, as all previous types of analysis required the removal of pigment samples from the sites a practice which has been avoided. Raman spectroscopy is an ideal techniques to analyse the paint non-destructively and also offers the possibility of in situ work with portable instruments. This article describes the procedures and reports the preliminary results of the first in situ Raman spectroscopic study of rock art in South Africa (also a first worldwide), where we, first, evaluate the capability of a Raman portable instrument in very difficult conditions, second, analyse the paints in order to contribute to a better knowledge of the technology used and, third, evaluate the possible contribution of in situ analyses in conservation studies. The paintings from two different rock art sites were studied. The instrument proved to be highly suitable for in situ analyses in physically very challenging conditions. Most of the pigments and alteration products previously detected under laboratory conditions were identified, thereby giving information on both the pigments and conservation state of the paintings. A layered structure of alteration products and pigment was identified in situ for the first time by controlling the laser power, thereby obtaining the same results as in mapping experiments of cross sections of paint.

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“…grey paint to represent a blue trooper's shirt from the colonial period). In their study of hand stencils at a site in North Queensland, Goodall and co-workers [31] have demonstrated that it is possible to obtain chronological information about rock art even when there is insufficient carbon material available to carry out radiocarbon dating. In this study, a combination of Raman and infrared microspectroscopies with SEM-EDX were utilised to examine cross-section layers used in wall paintings at Fern Cave.…”

Section: Rock Art Site Pigment Analysis In Queenslandmentioning

confidence: 99%

Pigment characterisation in Australian rock art: a review of modern instrumental methods of analysis

Stuart

Thomas

2017

Herit Sci

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The many thousands of Aboriginal rock art sites extending across Australia represent an important cultural record. The styles and materials used to produce such art are of great interest to archaeologists and those concerned with the protection of these significant works. Through an analysis of the mineral pigments utilised in Australian rock art, insight into the age of paintings and practices employed by artists can be gained. In recent years, there has been an expansion in the use of modern analytical techniques to investigate rock art pigments and this paper provides a review of the application of such techniques to Australian sites. The types of archaeological information that may be extracted via chemical analysis of specimens collected from or at rock art sites across the country are discussed. A review of the applicability of the techniques used for elemental analysis and structural characterisation of rock art pigments is provided and how future technological developments will influence the discipline is investigated.

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Prehistoric hand stencils at Fern Cave, North Queensland (Australia): environmental and chronological implications of Raman spectroscopy and FT-IR imaging results

Cited by 22 publications

References 24 publications

The Archaeology of Rock Art in Western Arnhem Land, Australia

The Archaeology of Rock Art in Western Arnhem Land, Australia

The first in situ Raman spectroscopic study of San rock art in South Africa: procedures and preliminary results

Pigment characterisation in Australian rock art: a review of modern instrumental methods of analysis

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