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Caractérisation in situ du pigment noir de quelques oeuvres pariétales de la Grotte de Rouffignac à l'aide d'un système portable d'analyse par fluorescence X (XRF)
Abstract
Avertissement Le contenu de ce site relève de la législation française sur la propriété intellectuelle et est la propriété exclusive de l'éditeur. Les oeuvres figurant sur ce site peuvent être consultées et reproduites sur un support papier ou numérique sous réserve qu'elles soient strictement réservées à un usage soit personnel, soit scientifique ou pédagogique excluant toute exploitation commerciale. La reproduction devra obligatoirement mentionner l'éditeur, le nom de la revue, l'auteur et la référence du document. Toute autre reproduction est interdite sauf accord préalable de l'éditeur, en dehors des cas prévus par la législation en vigueur en France. Résumé : La Grotte de Rouffignac (Dordogne) est un site d'art paléolithique qui renferme, entre autre, un patrimoine important d'oeuvres pariétales réalisées au trait noir (mammouths, bisons, rhinocéros laineux, chevaux, bouquetins...). Bien qu'aucune datation directe n'ait été réalisée à ce jour, les oeuvres graphiques de cette caverne sont en général rattachées au Magdalénien. Pour la première fois, des analyses non destructives in situ du pigment noir ont pu être effectuées grâce à l'utilisation d'un système portable d'analyse par fluorescence X (X-Ray Fluorescence). L'installation utilisée est constituée principalement d'un petit générateur X (Bullet TM 40 kV, Moxtek), d'un détecteur SDD (silicon drift detector, Röntec 1102) refroidi par effet Peltier et d'un dispositif de pointage optique, le tout étant relié à un système portable d'acquisition de données spectrométriques. Les spectres expérimentaux obtenus sur la frise des trois rhinocéros, le cheval au rognon de silex, la frise des dix mammouths et quelques animaux du Grand Plafond ont montré une présence systématique de manganèse sur toutes les figures. Cette hypothèse avait déjà été avancée par Graziosi en 1956 dans la revue «La Nature» suite à l'analyse destructive d'un prélèvement effectué sur l'un des chevaux du Grand Plafond. Une modélisation de type Monte Carlo a permis une première approche quantitative dans l'analyse du pigment des dessins au trait noir. Nous sommes en mesure d'affirmer que le minerai de manganèse utilisé ne provient pas d'une source unique car certains traits de dessin contiennent du manganèse, du baryum et du fer dans des proportions variables. Aucune figure étudiée n'a été exécutée exclusivement au charbon, ce qui complique sérieusement la détection d'un échantillon utilisable pour une datation par le radiocarbone. Des analyses complémentaires non destructives in situ de type PIXE (Particles Induced X-ray Emission) utilisant le rayonnement α du 210 Po comme source excitatrice sont à envisager pour diminuer la limite de détection des éléments de numéro atomique (Z) compris entre 11 et 16 dans les couches superficielles du pigment noir, là où la méthode XRF est peu performante. Abstract: The Rouffignac cave in Dordogne (France) is a palacolithic site which contains, among others, an important patrimony of cave art realized with black pigment (mammoths, bisons, woolly rhinoceros, horses, ibexes). Although no direct dating has ever been realized to date, the graphic works of this cave are generally connected to the Magdalenian age by cross-dating (stylistic comparison). For the first time, in situ non destructive analyses of this pigment were able to be made due to the use of a portable XRF system (X-Ray Fluorescence). The experimental set-up is mainly constituted with a small X-ray generator (Bullet™ 40 kV, Moxtek), a SDD detector (silicon drift detector, Röntec 1102) cooled by a Peltier cryostat and an optical system, the whole being connected to a portable system for acquisition of spectrometric data. The experimental spectra obtained on the three rhinoceros frieze, the horse over the flint nodule, the ten mammoths frieze and some animals of the Grand Plafond showed a systematic presence of manganese in all figures. This hypothesis had been already suggested by Graziosi in 1956 in the review "La Nature" after a destructive analysis of a sample taken on one of the horses of the Grand Plafond. A Monte-Carlo simulation allowed a first quantitative approach in the analysis of the black pigment of the drawings. We can assess that the used manganese ore docs not only result from a unique source because variable ratii of manganese, barium and iron were probed in the black pigment. None of the studied drawing was executed exclusively with black charcoal that would have made the selection of a sample suitable for radiocarbon dating less complicated. Additional non destructive in situ analysis using a portable PLXE set-up (Particles Induced X-ray Emission) equipped with a 2l0 Po as radiation source can be foreseen to allow the detection of elements with atomic numbers (Z) between 11 and 16 in the first layers of the black pigment, there where the XRF method is less successful. Mots-clés : Art pariétal, manganèse, mesure in situ, pigment noir, Rouffignac, XRF.
... It aimed to test the feasibility of this type of research in cave, to confirm the Graziosi analyses and to look for black pigments which would not produce any fluorescence spectrum and could be suspected to contain organic matter. The first two objectives were achieved but the presence of organic pigment could not be detected anywhere (De Sanoit et al., 2005). ...
... Already studied in 2004 by X-ray fluorescence (De Sanoit et al., 2005), this frieze was systematically analysed as part of a national research project (ANR MADAPCA) between 2009 and 2011. X-ray Fluorescence and X-ray diffraction were combined to obtain data on the pigment elementary composition and crystallographic phases. ...
... Attention to them declined significantly after the first presentations and further to the mid-'80s. Much later attempts were made to semantic interpretation of the Chernoozersky dagger ornament in the key of paleocalendaristics (Shmidt, 2004;2005). The work in this direction had to be stopped due to the awareness of the complexity of the code and, despite the existing methods of verification, the lack of confidence in its relevance. ...
The rock shelter of the Roc-aux-Sorciers at Angles-sur-lAnglin (Vienne, France) is one of the archaeological reference sites for the Upper Paleolithic. The sculpted, painted and engraved frieze was gradually brought to light in its archaeological context by Susanne Cassou de Saint-Mathurin and Dorothy Garrod from 1949 onwards (Saint-Mathurin, Garrod, 1950). A wealth of archaeological material was discovered alongside the parietal art, comprising numerous works of portable art, tools made of animal bone, jewellery, etc. It was very rapidly observed that the portable art and the parietal art shared the same graphic and thematic conventions. For example, images of female bodies are rendered in high relief, in a monumental way, but also in the form of small statuettes. Our research has demonstrated the undeniable intra-site links between the portable art and the parietal art (Pinon, 2012). Here we propose to broaden this analysis within a well-identified culture of the Middle Magdalenian known as the Magdalenian of Lussac-Angles spearpoints. At the time of the discovery of the Magdalenian site of La Marche in 1937 (Vienne) (Lwoff, Pricard, 1940), some similarities had been identified between this site and that of Le Roc-aux-Sorciers, where the discoveries dated back to 1927 (Rousseau, 1933). These similarities are also perceptible in shared techniques (Chehmana, Beyries, 2010), as well as in the production of objects in hard organic materials such as the Lussac-Angles spearpoints (Pinon, 1988), the jewellery in fossil mammoth ivory (Dujardin, Pinon, 2000), the engraved horse incisors (Mazire, 2009) and the figurative art (Bourdier et al., 2016 Fuentes, 2016). We propose to further explore the links between these two sites through the analysis of the dynamic processes of reworking images. In particular we examine the engraved plaquettes of La Marche and the parietal art of Le Roc-aux-Sorciers to bring these links into perspective. This could shed light on some common ways of seeing the world in this Magdalenian group. Bourdier, C., Pinon, G., Bosselin, B. (2016). Norme et individualit au Rocaux-Sorciers (Vienne, France): approches des mains du registre animalier au travers de la forme. In M. Groenen, M.-Ch. Groenen (Eds.), Style, Techniques and Graphic expression in Rock Art (pp. 1735). BAR S2787. Chehmana, L., Beyries, S. (2010). Lindustrie lithique du Roc-aux-Sorciers (collection Rousseau). In J. Buisson-Catil, J. Primault (Eds.), Prhistoire entre Электронная библиотека ИА РАН: https://www.archaeolog.ru/ru/el-bib 16 Vienne et Charente. Hommes et socit du Palolithique (pp. 453460). Association des publications Chauvinoises, mmoire XXXVIII. Dujardin, V., Pinon, G. (2000). Le Magdalnien dans la Vienne et la Charente. In G. Pion (Dir.), Le Palolithique suprieur rcent: nouvelles donnes sur le peuplement et lenvironnement (pp. 213222). Actes de la table ronde de Chambry, 12-13 mars 1999, Mmoire de la Socit prhistorique franaise 28. Fuentes, O. (2016). The social dimension of human depiction in Magdalenian rock art (16,500 cal. BP 12.000 Cal. BP): the case of the Roc-aux-Sorciers rockshelter. Quaternary International, 430, 97113. https://doi.org/10.1016/ j.quaint.2016.06.023 Pericard, L., Lwoff, S. (1940). La Marche. Commune de Lussac-les-Chteaux (Vienne). Premier atelier de Magdalnien III dalles graves mobiles. Bulletin de la Socit Prhistorique franaise, 37(79), 155180. Pinon, G. (1988). Fiche sagaie de Lussac-Angles. In H. Camps Fabrer (Dir.), Fiches typologiques de lindustrie osseuse prhistorique. Commission de nomenclature sur lindustrie de los prhistorique. Cahier I: sagaies (fiche 3bis). Universit de Provence. Pinon, G. (2012). Art mobilier et art parital du Roc-aux-Sorciers (Angles-surlAnglin, Vienne, France): disparits ou sens communs In J. Clottes (Ed.), Lart plistocne dans le monde / Pleistocene art of the world / Arte pleistoceno en el mundo (pp. 15491558). Bulletin Socit Prhistorique Arige-Pyrnes. Mazire, G. (2009). Les incisives de chevaux graves. In G. Pinon (Dir.), Le Roc-aux-Sorciers: art et parure du Magdalnien. Runion des Muses Nationaux. http://www.catalogue-roc-aux-sorciers.fr Rousseau, L. (1933). Le Magdalnien dans la Vienne. Dcouverte et fouille dun gisement du Magdalnien, Angles-sur-lAnglin (Vienne). Bulletin de la Socit Prhistorique franaise, 30, 239256. Saint-Mathurin (de), S., Garrod, D. (1950). Une frise sculpte du Magdalnien ancien dcouverte Angles-sur-lAnglin, dans la Vienne. Acadmie des Inscriptions et Belles Lettres, 94(2), 123128.
... It aimed to test the feasibility of this type of research in cave, to confirm the Graziosi analyses and to look for black pigments which would not produce any fluorescence spectrum and could be suspected to contain organic matter. The first two objectives were achieved but the presence of organic pigment could not be detected anywhere (De Sanoit et al., 2005). ...
... Already studied in 2004 by X-ray fluorescence (De Sanoit et al., 2005), this frieze was systematically analysed as part of a national research project (ANR MADAPCA) between 2009 and 2011. X-ray Fluorescence and X-ray diffraction were combined to obtain data on the pigment elementary composition and crystallographic phases. ...
... Attention to them declined significantly after the first presentations and further to the mid-'80s. Much later attempts were made to semantic interpretation of the Chernoozersky dagger ornament in the key of paleocalendaristics (Shmidt, 2004;2005). The work in this direction had to be stopped due to the awareness of the complexity of the code and, despite the existing methods of verification, the lack of confidence in its relevance. ...
In the Paleolithic around 100,000 to 10,000 years ago, abstract motives also referred to as signs, patterns, or marks are abundant in parietal art as well as on mobile objects. In the case of parietal art, several studies have been dealing with such abstract signs. However, studies scrutinizing signs on mobile objects, such as figurines, tools, or personal ornaments, are rare and mostly limited to either single objects, or to particular assemblages. Our project SignBase aims to enable large-scale comparisons by collecting abstract motives on mobile objects from all over the European Paleolithic, the African Middle Stone Age, as well as further finds of the Near East and South East Asia. In contrast to the chronological difficulties of dating parietal art, abstract motives on mobile objects are usually well dated, at least with reference to the given techno-complexes. Our project ultimately aims to enable quantitative comparative studies on the development of abstract graphical expressions before the emergence of writing systems. This includes the application of classification algorithms allowing us to study the signs in geographical and chronological dimensions. Furthermore, while any inference about their meaning is inevitably speculative, information-theoretic analyses can shed light on the evolution of their information encoding potential and compare it to later graphical behavior such as early written language.
... It aimed to test the feasibility of this type of research in cave, to confirm the Graziosi analyses and to look for black pigments which would not produce any fluorescence spectrum and could be suspected to contain organic matter. The first two objectives were achieved but the presence of organic pigment could not be detected anywhere (De Sanoit et al., 2005). ...
... Already studied in 2004 by X-ray fluorescence (De Sanoit et al., 2005), this frieze was systematically analysed as part of a national research project (ANR MADAPCA) between 2009 and 2011. X-ray Fluorescence and X-ray diffraction were combined to obtain data on the pigment elementary composition and crystallographic phases. ...
... Attention to them declined significantly after the first presentations and further to the mid-'80s. Much later attempts were made to semantic interpretation of the Chernoozersky dagger ornament in the key of paleocalendaristics (Shmidt, 2004;2005). The work in this direction had to be stopped due to the awareness of the complexity of the code and, despite the existing methods of verification, the lack of confidence in its relevance. ...
На стоянке Ушки V (полуостров Камчатка) выявлены этапы заселения человеком, соответствующие переходному от палеолита к неолиту периоду (1330010100 кал. л.н.), начальному (86008400 кал. л.н.) и раннему (67004400 кал. л.н.) неолиту. Для каждого периода характерен свой материальный комплекс, различающийся в способах домостроительства, в технологии и типологии изготовления каменного инвентаря, в том числе предметов символического поведения человека. Предметы искусства стоянки Ушки V (Камчатка) многоуровневый источник о культуре древних обитателей полуострова Камчатка, анализ которых позволяет: 1) дополнить знание об уровне техники и технологии обработки каменного инвентаря 2) провести культурные и хронологические параллели с культурами сопредельных территорий во времени и пространстве 3) выявить особенности самоидентификации членов коллективов, демонстрируемые в существовании определенных традиций, обрядов и религиозных представлений. Для интерпретации археологических материалов возможно применение этноархеологического подхода, т.к. элементы уклада жизни древнего населения Камчатки сохранялись до прихода русских казаков вплоть до XVII века. Древнейшее, датируемое около 13 тыс. кал. л.н., свидетельство проявления символического поведения человека фрагменты бус in situ, бусины, подвески из пирофиллита, агальматолита, сланца (рис. 1: а), обнаруженные в очаге и углистой площадке жилища стоянки. Предполагаем их использование Рис. 1. Предметы искусства стоянки Ушки V (полуостров Камчатка): а бусы и подвески, б зооморфные фигурки в качестве амулетов, для украшения одежды и предметов быта, ритуальных изделий. На связь украшений с ритуальной практикой указывает их расположение на охристой площадке в непосредственной близости от очага. Использование изделий, возможно, было связано с почитанием огня и очага, промысловой магией, верой в загробную жизнь и пр. Аналоги прослеживаем в культурах и памятниках Сибири и Дальнего Востока, Северной Америки (Калифорния). В ранненеолитическом культурном слое IV (60003000 л. н.) стоянки Ушки V обнаружены две фигурки рыбок на пластинке и отщепе из черного обсидиана. Кроме того, к неолитическим могут быть отнесены фигурки рыбки из халцедона и медведя на отщепе из обсидиана из подъемных сборов на прибрежной акватории Большого Ушковского озера (рис. 1: б). Зооморфные фигурки свидетельствуют о тотемистических представлениях, фиксируемых в мифологии связаны в основном с культом рыбы, который позднее широко представлен в культуре ительменов Камчатки.
... It aimed to test the feasibility of this type of research in cave, to confirm the Graziosi analyses and to look for black pigments which would not produce any fluorescence spectrum and could be suspected to contain organic matter. The first two objectives were achieved but the presence of organic pigment could not be detected anywhere (De Sanoit et al., 2005). ...
... Already studied in 2004 by X-ray fluorescence (De Sanoit et al., 2005), this frieze was systematically analysed as part of a national research project (ANR MADAPCA) between 2009 and 2011. X-ray Fluorescence and X-ray diffraction were combined to obtain data on the pigment elementary composition and crystallographic phases. ...
... Attention to them declined significantly after the first presentations and further to the mid-'80s. Much later attempts were made to semantic interpretation of the Chernoozersky dagger ornament in the key of paleocalendaristics (Shmidt, 2004;2005). The work in this direction had to be stopped due to the awareness of the complexity of the code and, despite the existing methods of verification, the lack of confidence in its relevance. ...
Игнатиевская пещера одна из трех пещер с наскальным искусством ледникового века, известных на Южном Урале. Контекст изобразительного ансамбля свидетельствует о его верхнепалеолитическом возрасте. В культурном слое Большого и Дальнего залов пещеры были обнаружены угли, охра, а также каменные изделия и украшения верхнего палеолита. Калиброванные 14С даты, полученные по материалу из культурного слоя, свидетельствуют о посещении пещеры человеком в период 1830015400 л.н. (4 даты) и, возможно, 1320011100 л.н. (1 дата). Этим результатам противоречат 14С AMS-даты, полученные непосредственно по древесному углю трех рисунков, давшие голоценовый возраст (79206030 л.н. Steelman et al., 2002). Последние даты вызывают вопросы, в особенности поскольку одна из них была получена по пигменту из фигуры явно не-голоценового животного мамонта. Авторами настоящего сообщения получены независимые минимальные оценки возраста живописи пещеры посредством U-Th-датирования натёков, перекрывающих рисунки. Для рисунка, сделанного охрой на потолке Дальнего зала, натёк дал возраст 9720 л.н. Натёк, перекрывающий угольный рисунок Черный якорь на юго-восточной стене того же зала, дал возраст 8910 л.н. Возраст натёка, перекрывающего красный рисунок Новый проблематичный мамонт . Датированные натёки в зале Дальний: a натёк, 4-5 мм толщиной (белая стрелка) около рисунка Чёрный якорь (черная стрелка) b струйный натёк на потолке, около красных точек (вид снизу вверх). Большом зале, оказался 9220 л.н. Рост натёков на стенках пещеры, таким образом, начался только в голоцене, что определялось климатом региона. Отметим, что полученные минимальные U-Th возрасты на 1-2 тыс. лет древнее, чем наиболее древний 14С AMS-возраст, полученный непосредственно по угольным рисункам. Поскольку перекрывающий рисунок натёк не может быть древнее перекрываемого рисунка, имеет место системная проблема с AMSдатированием рисунков Игнатиевской пещеры (омоложение возрастов). Steelman, K., Rowe, M., Shirokov, V., Southon, J. (2002). Radiocarbon dates for pictographs in Ignatievskaya Cave, Russia: Holocene age for supposed Pleistocene fauna. Antiquity 76 (292), 341348.
... It aimed to test the feasibility of this type of research in cave, to confirm the Graziosi analyses and to look for black pigments which would not produce any fluorescence spectrum and could be suspected to contain organic matter. The first two objectives were achieved but the presence of organic pigment could not be detected anywhere (De Sanoit et al., 2005). ...
... Already studied in 2004 by X-ray fluorescence (De Sanoit et al., 2005), this frieze was systematically analysed as part of a national research project (ANR MADAPCA) between 2009 and 2011. X-ray Fluorescence and X-ray diffraction were combined to obtain data on the pigment elementary composition and crystallographic phases. ...
... Attention to them declined significantly after the first presentations and further to the mid-'80s. Much later attempts were made to semantic interpretation of the Chernoozersky dagger ornament in the key of paleocalendaristics (Shmidt, 2004;2005). The work in this direction had to be stopped due to the awareness of the complexity of the code and, despite the existing methods of verification, the lack of confidence in its relevance. ...
На данный момент на территории России известно несколько пещер с палеолитическими изображениями. Одна из них Капова пещера, расположенная на Южном Урале (правый берег р. Белая), представляет собой подземное святилище эпохи верхнего палеолита. В 1959 г. сотрудником Прибельского филиала Башкирского заповедника А.В. Рюминым в пещере были открыты первые палеолитические рисунки. С 1960 по 1978 г. на памятнике работала археологическая экспедиция под руководством О.Н. Бадера (Бадер, 1965). Исследования В.Е. Щелинского 19821991 гг. доказали существование верхнепалеолитических культурных слоев в пещере. С начала 2000-х на памятнике работали Т.И. Щербакова и В.Г. Котов, а с 2008 г. Южно-Уральская археологическая экспедиция МГУ под руководством В.С. Житенева (Житенев, 2018). Одним из важных аспектов изучения Каповой пещеры как уникального памятника палеолитического искусства является установление взаимосвязей между фаунистическими материалами верхнепалеолитических культурных слоев и образами животных, представленных в настенных изображениях святилища. Подобное сравнение позволяет получить более полную картину соотношения бытовых и ритуальных практик, происходивших в регионе в палеолите. Определение фаунистических остатков неотъемлемо связано и с уточнением сезонности функционирования памятника, а также климатических условий позднего плейстоцена на данной территории. На сегодняшний день изображения животных в пещере представлены фигурами мамонтов, лошадей, бизона, двугорбого верблюда, носорога, рыбы и зооантропоморфа. Позднеплейстоценовые палеозоологические материалы пещеры представлены, в основном, фрагментами костей животных размерного класса зайца и сурка, костями и чешуей рыбы, несколькими фрагментами костей крупных животных (в т.ч. фрагментами костей пещерного медведя, которые вновь, после работ Щелинского (Щелинский, 1997) и Щербаковой (Щербакова, 2015), были зафиксированы на памятнике в сезоне 2019 г.), а также несколькими суставами бобра, впервые зафиксированными на памятнике в 2018 г. Бадер, О. Н. (1965). Каповая пещера. Житенев, В. С. (2018). Капова пещера палеолитическое подземное святилище. Щелинский, В. Е. (1997). Палеогеографическая среда и археологический ком-плекс верхнепалеолитического святилища пещеры Шульган-Таш (Каповой). Пещерный палеолит Урала: материалы междунар. конф., 2938. Щербакова, Т.И. (2015). Капова пещера: новые данные о культурном слое и заново открытых палеолитических изображениях (по результатам полевых исследований 20042005 гг.). Stratum Plus, 1, 103124.
... It aimed to test the feasibility of this type of research in cave, to confirm the Graziosi analyses and to look for black pigments which would not produce any fluorescence spectrum and could be suspected to contain organic matter. The first two objectives were achieved but the presence of organic pigment could not be detected anywhere (De Sanoit et al., 2005). ...
... Already studied in 2004 by X-ray fluorescence (De Sanoit et al., 2005), this frieze was systematically analysed as part of a national research project (ANR MADAPCA) between 2009 and 2011. X-ray Fluorescence and X-ray diffraction were combined to obtain data on the pigment elementary composition and crystallographic phases. ...
... Attention to them declined significantly after the first presentations and further to the mid-'80s. Much later attempts were made to semantic interpretation of the Chernoozersky dagger ornament in the key of paleocalendaristics (Shmidt, 2004;2005). The work in this direction had to be stopped due to the awareness of the complexity of the code and, despite the existing methods of verification, the lack of confidence in its relevance. ...
It is likely that the adoption of domestication and sedentary life was promoted by new system of beliefs and occurred in the context of a profound reconfiguration of symbolic and social codes. I will present how personal ornaments can inform on the social reorganization of the communities at the dawn of agriculture by tracking the multiple forms of interactions between individuals, the way people materialized their self-identify and the way they recognized each other. The technological and use wear analyzes of personal adornments, combined to the analysis of a georeferenced database of the bead types used by the last foragers and the first farmers in Europe, explores how interactions networks established between populations led to the social and cultural reconfiguration of the groups and reshaped the cultural geography of Europe 8000 years ago (Rigaud, 2014 Rigaud et al., 2015). Personal ornament analysis reveals the long-term stability in contacts networks that enhanced the circulation of social, technical and economic information essential for the diffusion of the farming lifestyle. The persistence of foragers personal attires within farming communities indicates that personal ornaments likely reflected the most entrenched and lasting facets of farmers ethnicity compared to other cultural proxies (Rigaud et al., 2018). Rigaud, S. (2014). Pratiques ornementales des premieres communauts agropastorales de Bavire (Allemagne): Intgration Acculturation Convergence Nouveaux apports de la ncropole de Essenbach-Ammerbreite Personal ornaments of the first agro-pastoral societies in Bavaria (Germany): Integration Acculturation Convergence New insights from Essenbach-Ammerbreite cemetery. Anthropologie (Brno), 52 (2), 207227. Rigaud, S., Manen, C., Garca-Martnez de Lagrn, I. (2018). Symbols in motion: Flexible cultural boundaries and the fast spread of the Neolithic in the western Mediterranean. PLOS ONE, 13 (5), e0196488. https://doi.org/10.1371/ journal.pone.0196488 Rigaud, S., Marian, V., DErrico, F. (2015). Ornaments Reveal Resistance of North European Cultures to the Spread of Farming. PLoS ONE. Retrieved from https://hal.archives-ouvertes.fr/hal-01260969
... It aimed to test the feasibility of this type of research in cave, to confirm the Graziosi analyses and to look for black pigments which would not produce any fluorescence spectrum and could be suspected to contain organic matter. The first two objectives were achieved but the presence of organic pigment could not be detected anywhere (De Sanoit et al., 2005). ...
... Already studied in 2004 by X-ray fluorescence (De Sanoit et al., 2005), this frieze was systematically analysed as part of a national research project (ANR MADAPCA) between 2009 and 2011. X-ray Fluorescence and X-ray diffraction were combined to obtain data on the pigment elementary composition and crystallographic phases. ...
... Attention to them declined significantly after the first presentations and further to the mid-'80s. Much later attempts were made to semantic interpretation of the Chernoozersky dagger ornament in the key of paleocalendaristics (Shmidt, 2004;2005). The work in this direction had to be stopped due to the awareness of the complexity of the code and, despite the existing methods of verification, the lack of confidence in its relevance. ...
На протяжении пяти полевых сезонов начиная с 2013 г. были осуществлены междисциплинарные исследования ряда памятников наскального искусства Российского и Монгольского Алтая. Работы проводились международным российско-французским коллективом международной ассоциированной лаборатории АРТЕМИР с участием монгольских коллег. Были изучены особенности репертуара, стиля, субстрата, техники нанесения и состояния алтайских петроглифов. На памятниках Калбак-Таш II, Джурамал, Цагаан-Салаа и Бага-Ойгур получены результаты трасологических изысканий, на памятнике Калгутинский рудник трасологических и геоморфологических работ, направленных на определение возраста архаических петроглифов на южном Алтае. В ходе реализации проекта изучались известные, открытые ранее петроглифы и новые, обнаруженные в ходе совместных работ, наскальные изображения. Определены особенности техники нанесения петроглифов, сочетавшей выбивку, гравировку и прошлифовку на риолитах (Калгутинский рудник, юг Российского Алтая) и сланцевых скалах (Бага-Ойгор/Цагаан-Салаа, Монгольский Алтай). Выделены своеобразные технические приемы нанесения изображений на скальные поверхности. Для документирования петроглифов применялась макрофотография, прорисовка фигур на прозрачную полиэтиленовую пленку с использованием лупы с 5-кратным и бинокулярного микроскопа с 20-кратным увеличением. Осуществлялось ГИС-картографирование, фотограмметрия скальных плоскостей и отдельных изображений. Для ряда скальных поверхностей с изображениями, в том числе с многослойными палимпсестами, получены объемные модели. Выделен локальный калгутинский стиль, характеризующий особенности древнейших петроглифов Алтая, отнесенных к эпохе финального палеолита. Основные результаты осуществленных исследований представлены в серии статей, опубликованных в России, Франции и Монголии. В докладе будут освещены некоторые аспекты организации и проведения этих работ.
... It aimed to test the feasibility of this type of research in cave, to confirm the Graziosi analyses and to look for black pigments which would not produce any fluorescence spectrum and could be suspected to contain organic matter. The first two objectives were achieved but the presence of organic pigment could not be detected anywhere (De Sanoit et al., 2005). ...
... Already studied in 2004 by X-ray fluorescence (De Sanoit et al., 2005), this frieze was systematically analysed as part of a national research project (ANR MADAPCA) between 2009 and 2011. X-ray Fluorescence and X-ray diffraction were combined to obtain data on the pigment elementary composition and crystallographic phases. ...
... Attention to them declined significantly after the first presentations and further to the mid-'80s. Much later attempts were made to semantic interpretation of the Chernoozersky dagger ornament in the key of paleocalendaristics (Shmidt, 2004;2005). The work in this direction had to be stopped due to the awareness of the complexity of the code and, despite the existing methods of verification, the lack of confidence in its relevance. ...
Местонахождение Цагаан-Салаа расположено на территории Монгольского Алтая (Jacobson et al., 2001) на расстоянии около 20 км от памятника Калгутинский Рудник (плато Укок, Российский Алтай), где были обнаружены изображения, отнесенные к древнейшему пласту в наскальном искусстве региона (Молодин, Черемисин, 1999). В ходе последних полевых сезонов российскофранцузской командой исследователей были изучены не только петроглифы, характерные для древнейшего изобразительного пласта, но и несколько палимпсестов, в которых были зафиксированы изображения, стилистически относящиеся к этому раннему пласту. Одним из самых ярких примеров таких палимпсестов является многослойная композиция с пункта Цагаан-Салаа 3. Здесь представлены два изображения лошадей, выполненных в особой стилистической манере, близкой петроглифам Калгутинского Рудника. Этот палимпсест является очень важным с точки зрения относительного датирования целого пласта в наскальном искусстве, так как в нем присутствуют пересечения изображений как архаичной стилистики, так и поздней (от эпохи бронзы до Средневековья). Выявленная последовательность этапов создания этого палимпсеста основана на тщательном анализе участков перекрываний, включавшем трасологическое исследование следов пикетажа и трехмерную визуализацию. Такой подход в сочетании с результатами сопоставления манеры исполнения рассматриваемых петроглифов позволяет судить об относительной хронологии наскальных изображений, которые стилистически атрибутированы авторами как древнейшие. Доклад посвящен, прежде всего, результатам изучения указанного палимпсеста памятника Цагаан-Салаа 3, а также введению в научный оборот ранее неизвестных многослойных композиций памятников Монгольского Алтая, открытых в ходе поле-вого сезона 2019 г. Молодин, В. И., Черемисин, Д. В. (1999). Древнейшие наскальные изображения плоскогорья Укок. Jacobson, E., Kubarev, D. V., Tseveendorj, D. (2001). Mongolie du NordOuest. Tsagan-Salaa / Baga-Oigor. Rpertoire des petroglyphes dAsie Centrale. JAS, 6, Textes et Figures. Paris.
... The brown line figures (sample MALT-10) are equally characterized by earth pigment with the same metallic oxide (Manganese). Wad-based pigments have different hues (for example the black and the brown lines), manganese dioxides and oxides were common by end of the Middle Palaeolithic (Errico et al., 2010;Dayet et al., 2019;Heyes et al., 2016;Martí et al., 2019;Roldá n et al., 2013;Sorensen, 2020;Soressi and Errico, 2007) and the beginning of the Upper Palaeolithic in Europe (Balbín-Behrmann and Gonzá lez, 2009;Chalmin, 2006;Chalmin et al., 2002;Garate and Menu, 2004;Guineau et al., 2001;Konik and Lafon-Pham, 2018;Menu, 2009;Roldá n et al., 2013;Sanoit et al., 2005). ...
Maltravieso cave (Estremadura, Spain) was recently the subject of ATR-FTIR spectroscopy of 8 figures (four hand stencils, a red horse figure, a black bull figure, a pair of black lines, and a pair of brown lines). These artistic representations are composed of different colors including red, brown, and black figures. The analyses showed that different naturally occurred material compounds in the cave (such as kaolinite) were used in the creation of the ochre to obtain different hues. Hand stencils are made of earth pigment that is naturally present in the cave which contained hematite, magnetite, and goethite as chromophores material. The red horse figure was made with kaolinite-based ochre. The black bull figure was made with charcoal (identified with Raman spectroscopy). The pigmental composition analyses show that they are composed of the same natural matter found inside the cave. Our results suggest that different paintings in the cave have been produced by different techniques and these techniques are linked to different chronological periods.
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Résumé
La grotte de Maltravieso (Estremadura, Espagne) a récemment fait l’objet d’une spectroscopie ATR-FTIR de 8 figures (quatre pochoirs de main, une figure de cheval rouge, une figure de taureau noir, une paire de lignes noires et une paire de lignes brunes). Ces représentations artistiques sont composées de différentes couleurs, dont des figures rouges, brunes et noires. Les analyses ont montré que différents composés matériels présents naturellement dans la grotte (comme la kaolinite) ont été utilisés dans la création de l’ocre pour obtenir différentes teintes. Les pochoirs de main sont faits de pigments naturellement présents dans la grotte et contenant de l’hématite, de la magnétite et de la goethite comme matériaux chromophores. La figure du cheval rouge a été réalisée avec de l’ocre à base de kaolinite. La figure du taureau noir a été réalisée avec du charbon de bois (identifié par spectroscopie Raman). Les analyses de la composition pigmentaire montrent que les pigments sont composés de la même matière naturelle que celle trouvée à l’intérieur de la grotte. Nos résultats suggèrent que les différentes peintures de la grotte ont été produites par différentes techniques et que ces techniques sont liées à des périodes chronologiques différentes.
Paint technology, namely paint preparation and application procedures, is an important aspect of painting traditions. With the expansion of archaeometric studies and in situ non-destructive analytical methods, a renewal of technological studies is being observed in rock art. In situ analyses have several limitations that are widely discussed in the literature, however. It is not yet clear whether they provide accurate information on paint technology, except under certain conditions. Here, we evaluated digital microscopic and pXRF in situ analyses for the characterisation of a large set of red and yellow paintings from the El Castillo cave, Cantabria, Spain. We have set experiments and used statistical methods to identify differences between paint components and determine factors impacting pXRF measurements. We found that the compositional heterogeneity of the paintings’ environment, especially variations in secondary deposits, was responsible for most of the differences observed between the pXRF signals recorded on the paintings. We concluded that the El Castillo cave environment is not suitable for non-destructive technological studies, but that more favourable contexts might exist. Following previous works and our own results, we advocate a combination of both in situ and laboratory invasive analyses for the study of paint composition and paint technology. Our research protocol, based on the comparison of rock paintings, their substrate, experimental paintings and Fe-normalisation of the signals can improve the reliability of pXRF results. We also propose to include more systematic characterisation of rock wall heterogeneity and the use of microscopic analyses in non-destructive approaches.
"In situ" non-destructive characterization of the blue pigments present in the ceramic glazes of Della Robbia sculptures have been carried out at the Bargello museum in Florence. PIXE and XRF portable systems have been used to determine the matrix composition and the trace-elements, respectively. The results indicate that the arsenic is present as trace-element only after 1520. (C) 2004 Elsevier SAS. All rights reserved.
Different black pigments of natural origin (mineral or organic) have been examined by means of several analytical methods (colour measurements, elemental analysis and structural analysis). The results, after being compared with each other, then served as reference points in the study of the ‘Black Frieze’ of the cave of Pech Merle (Lot). After that, colour measurement was investigated in situ on the paintings as a means of displaying small differences (in hue or chroma) between the black colours. The aim of this study was to verify several hypotheses concerning the techniques used by the painters of Pech Merle, and specifically by the one(s) of the Black Frieze. A first objective was that of identifying the nature and, if possible, the origin of the black pigments used in these figures. A second objective was that of determining in which parts of the frieze one or the other (or one and the other) had been used; and the final objective was to provide new technical information that might help us better to understand how the Pech Merle frieze was produced, whether by a single painter and in one episode, for the most part, or, on the contrary, in several episodes and by a succession of different painters.
Experimental and theoretical values of the following constants have been collected from the literature and evaluated: K-shell fluorescence yield (ωK) and mean L-shell fluorescence yield (ωL), ratios of X-ray emission probabilities [x = p(Kβ)/p(Kα), and p(Kα2)/p(Kα1)], ratios of emission probabilities of Auger electrons [u = p(KLX)/p(KLL), v = p(KXY)/p(KLL)], and the vacancy transfer coefficient (nKL). Relations for the emission probabilities of complementary Auger electrons (for example, KLM and KML) and the assumption of equal probability ratios in processes that are inverse to each other have been used to show that u and v can be expressed in terms of x by u = 2x and v = x2; the coefficient nKL becomes simply (2 − ωK)/(1 + x).
Between 1952 and 1963, the Abbé Glory conducted excavation in the Lascaux Cave. He discovered many artefacts useful for the Prehistoric painter. Today this material is kept in the “Institut de Paléontologie Humaine” in Paris. Some of this material, as well as the painting matter of the “Blazons” of the Black Cow Panel of the Nef, were examined and analysed by electron microscopy: SEM and TEM. Yellow, ocher and red pigments are iron oxides and black pigments are manganese oxides. The results indicate that the pigments were by no means heated, nor associated with any extender. Nevertheless the variety of the raw matter indicates a real strategy to exploit nature in order to match the desired hue and the texture of the painted panel.
The possibilities presented by the improved portable PIXE system are discussed. Examples are given of applications in the cultural heritage field, and in particular in the characterization of pigments and silver patina on ancient Roman coins. The limitations of the system are also discussed.
The analysis of precious artefacts and antiquities demands care in order to minimise the risk of accidental damage during measurement. Mobile fibre-optic-based Raman instruments offer a means to avoid destructive sampling and eliminate the need to transport artefacts for spectrochemical analysis. In this work we present a new mobile instrument developed and optimised for the in situ Raman investigation of objects of art and antiquities. The instrument is controlled by a portable computer. Selected mounts cover many types of artefacts. Newly written software routines organise spectra together with measurement parameters and facilitate calibration of the instrument. The present paper describes this new Raman instrument and discusses some challenges in the transition from a laboratory environment to in situ investigations in museums.