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Lost colours: Photogrammetry, image analysis using the DStretch plugin, and 3-D modelling of post-firing painted pottery from the south west Iberian Peninsula
Abstract
The main purpose of this project was to verify the use of the DStretch plugin, designed to study rock art, for analysing post-firing painted pottery from the Late Bronze Age and Early Iron Age in the Atlantic façade of the Iberian Peninsula. To do so, a Guadalquivir-type carinated pot was used as a study vessel from the excavations of Portaceli (Medellín, Badajoz, Spain). The study brought together all of the different methods used, from the photogrammetry used to obtain a high-quality image of the piece, analysis with DStretch, and the final 3-D modelling process in order to accurately reproduce the shape and decoration of the vessel. The final goal was to obtain precise documentation on these types of vessels, the handling of which is not recommended due to the fragile nature of the pigments used in their decoration.
... The use of new technologies for the study of pottery vessels allows working on different scales of observation. In particular, the use of 3D models offers the possibility of evaluating the surfaces of the vessels, as well as aspects related to their symmetry and volume (Rodríguez González, Carbonell Pastor & Casals, 2019;Ferrari & Giligny, 2020). ...
Digitization, three-dimensional (3D) documentation and visualization of archaeological materials are processes in increasing development that are used for the enhancement of heritage. These tools have multiple uses for the analysis and research of archaeological objects, although their use in pottery forming techniques studies is less explored. In this paper, diverse digital methods are explored in the study of pottery forming macro-traces, using the 3D model of an archaeological vessel from South-Central Andes. This case is proposed as a pilot study, aiming to reveal the potential of digital techniques for understanding pottery forming techniques. The particular case analysed corresponds to a globular pot of the Humahuaca Black-on-Red style, recovered at the Pucara de Volcán archaeological site, in Quebrada de Humahuaca (Jujuy, Argentina). Initial studies of macro-traces on the pot suggested the use of paddling as the forming technique. The workflow used to contrast this hypothesis included the generation of a 3D model by close-range photogrammetry; and the analysis of the resulting point-cloud and mesh using Morphological Residue Model (MRM) and Virtual Reflectance Transformation Imaging Visualization (V-RTI), with diverse open-source software packages, such as AliceVision Metashape and CloudCompare. These methods increased the micro-topography visibility of the pot surface. As a result, the presence of sub-circular depressions in the body of the pot -similar to percussion cupules-, horizontal pressure lines in the collar, and micro-pull-outs in the maximal diameter of the pot were described. These macro-traces were interpreted as corresponding to the paddling technique used for the elaboration of the pot body —a technique not previously identified in pre-Hispanic traditional pottery manufacturing in the north of Argentina—, and of coiling for manufacturing the collar. The digital methods explored have great potential in the study of pottery forming techniques, although their scope depends on the accuracy of the 3D model analysed.
... Moreover, SfM/MVS technology usually generates RGM textured 3D model though many laser scanners including ones we used in this study cannot. SfM/MVS technology has become increasingly prevalent in archaeological and other practices including architecture, landscapes, drill cores, chambers in monuments, and pottery [12][13][14][15][16][17][18][19][20][21][22]. Some previous studies have reported that the accuracy of 3D models made with the SfM/ MVS technology can be comparative with those made by laser scanning, though restricted to relatively large objects, without some exceptions [23][24][25][26][27]. Laser scanning is another method to construct a 3D model that has gradually become used in archaeological practices [28][29][30][31][32]. ...
SfM/MVS photogrammetry has received increasing attention due to its convenience, broadening the range of its applications into archaeology and anthropology. Because the accuracy of SfM/MVS depends on photography, one important issue is that incorrect or low-density point clouds are found in 3D models due to poor overlapping between images. A systematic way of taking photographs solve these problems, though it has not been well established and the accuracy has not been examined either, with some exceptions. The present study aims to (i) develop an efficient method for recording pottery using an automated turntable and (ii) assess its accuracy through a comparison with 3D models made by laser scanning. We recorded relatively simple pottery manufactured by prehistoric farmers in the Japanese archipelago using SfM/MVS photogrammetry and laser scanning. Further, by measuring the Hausdorff distance between 3D models made using these two methods, we show that their difference is negligibly small, suggesting that our method is sufficiently accurate to record pottery.
... En los últimos quince años el uso de esta herramienta de mejora de imagen se ha propagado en el campo de la arqueología (Le Quellec, Duquesnoy & Defrasne, 2015). Hoy en día su uso no se limita al marco de aplicación original, el arte rupestre, sino que se ha extendido a la documentación de pinturas murales egipcias (Evans & Mourad, 2018) e históricas (Fuentes, Soto & Martín, 2019), o de cerámica arqueológica (Dorado, 2018;Rodríguez, Pastor & Casals, 2019). Pese a que el realce de diferencias cromáticas leves también puede destacar características físicas asociadas a determinadas patologías, su uso desde el campo de la conservación con fines diagnósticos es aún aislado (Fernández, Gutiérrez, Ruiz & Criado, 2017;Palomar, Baselga, Viñals, García & Sancho, 2019). ...
En el presente artículo nos respaldamos en técnicas de documentación y análisis digital para profundizar en la caracterización de la estación de grabados rupestres denominada como “Casa del Samarín” o “Tagoro del Rey”, situada en Los Llanos de Ifara, Granadilla de Abona (Tenerife). En el enclave arqueológico, de adscripción guanche, se analizan 21 paneles con diversas tipologías de grabados. Se pueden distinguir los clasificados como geométricos-lineales, geométricos de tendencia oval y rectangular, así como los figurativos. Los bloques que conforman la estación de grabados pertenecen a un afloramiento rocoso de basalto, desde el cual se adosan otros bloques que se disponen formando un círculo. La planta que describe el conjunto de bloques se define como "cabaña" o estructura de superficie.
Las acciones antrópicas y una fuerte insolación, unido a la problemática intrínseca de las rocas basálticas, condicionan la conservación de este conjunto. Ante la amenaza que supone su deterioro paulatino, perseguimos asegurar su representación digital, inventariar sus grabados, monitorizar su estado de conservación y comprender los procesos de degradación que le afectan. Para ello nos valemos de la georreferenciación y el levantamiento fotogramétrico del sitio, así como de calcos digitales, para generar registros tridimensionales (3D) de precisión. Esta documentación geométrica se realiza con una secuenciación trimestral para observar la evolución de los cambios materiales. El registro patológico se realiza por medio de fichas de registro, encargadas de enumerar, describir y clasificar las lesiones observadas por escrito; también de mapas de daños 3D, que recogen su alcance y ubicación. Además, las propias texturas de los modelos 3D se someten a un procesamiento de imagen para destacar las características cromáticas; mientras que el análisis computacional de sus geometrías permite detectar la aparición de cambios formales a lo largo de las secuencias registradas. El protocolo llevado a cabo en cuanto a registro y documentación incidieron ya no sólo en el
diagnóstico y análisis de esta estación de grabados, sino en la redefinición arqueológica del propio yacimiento.
... On the other hand, the ImageJ DStretch complement designed by Harman [10] for the image enhancement of cave paintings has also given good results to study fine engravings [9,11,12]. DStretch is one of the most efficient tools for deciphering faint paintings [13][14][15]. It is based on the application of the decorrelation stretching algorithm to the main components of a digital color image. ...
In this article, we propose a methodology for the archaeological documentation of limestone plaquettes decorated with faint paintings and fine engravings. The plaquette number 16330 is presented, belonging to the portable art collection in Cova del Parpalló (Gandía, Spain), one of the most important Paleolithic sites in the UNESCO's Rock Art of the Mediterranean Basin on the Iberian Peninsula. Macro photogrammetry is used to generate a 3D model and basic treatments on raster images. The resulting 3D model has a spatial resolution of tens of microns and was used to generate a digital elevation model (DEM) and orthorectified macro photographs for documenting the engravings and paintings. All stages of the workflow are detailed in-depth, specifying the data collection parameters and the configuration used in the subsequent processing with HyperCube and DStretch software. The resulting documentation is accurate, reproducible, and objective and allows the reinterpretation of the available graphic documentation started in the 1990s.
... Applications of terrestrial multi-view image-based modeling and texturing for large-scale heritage applications vary considerably. This technique has been implemented towards high resolution documentation and virtual restoration of small artefacts [8], damaged pottery [9], rock art [10], wall paintings [11] and decorative friezes [12], comprehensive investigations on pre-historic engravings [13], ancient Egyptian coffins [14] and ancient inscriptions [15], and evaluation of damage [16] and restoration works [17] on painted surfaces. ...
Digital photogrammetry and spectral imaging are widely used in heritage sciences, towards the comprehensive recording, understanding, and protection of historical artefacts and artworks. The availability of consumer-grade modified cameras for spectral acquisition, as an alternative to expensive multispectral sensors and multi-sensor apparatuses, along with semi-automatic software implementations of Structure-from-Motion (SfM) and Multiple-View-Stereo (MVS) algorithms, has made more feasible than ever the combination of those techniques. In the research presented here, the authors assess image-based modeling from near-infrared (NIR) imagery acquired with modified sensors, with applications on tangible heritage. Three-dimensional meshes, textured with the non-visible data, are produced and evaluated. Specifically, metric evaluations are conducted through extensive comparisons with models produced with high-resolution visible (VIS) spectrum image-based modeling, to check accuracy of results. Furthermore, the authors observe and discuss, when the implemented NIR modeling approach, enhances the preservation of surface detail on the reconstructed spectral models or counteracts certain problems arising from lighting conditions during VIS acquisition. Radiometric properties of the produced results are evaluated on the capacity to enhance observation towards the characterization of surface and under-surface state of preservation, and consequently, to support conservation interventions, in comparison to the respective results in visible spectrum.
... Although originally designed for rock art researchers, DStretch ® has also been used to study faded murals [43], frescos [44] and even images obscured by smut and grime [45]. In yet another demonstration of its potential, it has also been used to recover information about polychrome on antique ceramic [46]. By artificially enhancing hidden or discoloured traces of pigment, DStretch ® reveals details in photographs that are hidden to the naked eye [47]. ...
Nowadays, virtual reality technologies and immersive virtual reality (VR) apps allow people to view, explore, engage with and learn about historic monuments and buildings, historic sites, and even historic scenes. To preserve our cultural heritage for future generations. it is essential that damaged and dilapidated historic artefacts are accurately documented, and that steps are taken to improve user experiences in the areas of virtual visits, science and education. This paper describes an approach to reconstruct and restore historic buildings and mural paintings. The work process uses digital models that are then inserted into an interactive and immersive VR environment. Windows-Mixed Reality is used to visualize the said VR environment. The work method was applied at a United Nations Educational, Scientific and Cultural Organisation (UNESCO) World Heritage Site in Tenerife (Canary Islands, Spain), thereby creating a virtual three dimensional (3D) rendering of the architectural structures of the St Augustine Church in La Laguna and its murals. A combination of topography and terrestrial photogrammetry was used to reconstruct its architectural features, and the digital imaging tool DStretch® to recover its murals. The resulting 3D model was then inserted into an immersive and interactive VR environment created using the cross-platform game engine Unity. One of the greatest challenges of this project revolved around recovering the dilapidated and virtually nonexistent mural paintings using DStretch®. However, the final result is an immersive and interactive VR environment containing architectural and artistic information created within the video game engine Unity, which thereby allows the user to explore, observe and interact with a cultural heritage site in real time.
Having access to an efficient and cost-effective three-dimensional acquisition system is often an unmet demand for those wishing to generate and disseminate digital models of small or very small objects. Pointing to represent large-scale geometries and textures that are not always visible to the naked eye, this work evaluates innovative image-based hardware solutions to reconstruct highly detailed digital models. The possibility of displaying a large amount of data at a reproduction ratio greater than 1:1 is pursued by introducing specific accessories, designed ad hoc for the acquisition phase. Thanks to these, the scientific employment of new devices, the portable USB digital microscopes, becomes feasible. Further attention is also paid to the identification of a geometric camera model compatible with these microscopes for the identification and verification of the main distance. Through the interaction of different knowledge, the work proves how the photogrammetric process can also be made accessible to devices not initially conceived for such applications, exposing new transitions and research opportunities. [Avere accesso a un sistema di acquisizione tridimensionale efficace ed economico costituisce spesso una richiesta ancora non del tutto soddisfatta per coloro che desiderano generare e divulgare modelli digitali di oggetti di piccole o piccolissime dimensioni. Con l’intento di poter rappresentare a grande scala geometrie e texture non sempre percepibili a occhio nudo, questo lavoro valuta innovative soluzioni hardware image-based per la restituzione di modelli digitali con un elevato potere di dettaglio. La possibilità di restituire una grande quantità di dati e a un rapporto di riproduzione maggiore di 1:1 è perseguita con l’ideazione di accessori specifici, progettati ad hoc per la fase di acquisizione, grazie ai quali diviene praticabile l’impiego scientifico di nuovi strumenti, i microscopi digitali portatili USB. Un’ulteriore attenzione è riposta, inoltre, nell’identificazione di un modello geometrico di camera compatibile con questi microscopi per l’individuazione e la verifica della distanza principale. Attraverso l’interazione di diverse competenze, il lavoro dimostra come il processo fotogrammetrico possa essere reso accessibile anche a dispositivi inizialmente non progettati per tali applicazioni, svelando nuove transizioni e possibilità di ricerca].
Le paysage archéologique de Mongolie est marqué par la présence de nombreux monuments funéraires (les khirigsuurs) et de stèles gravées (les pierres à cerfs) érigés par les populations nomades de la fin de l’âge du Bronze. Les premières observations montrent une grande régularité dans le choix et l’agencement des éléments architecturaux et iconographiques utilisés lors de la construction de ces structures. Ceci semble indiquer l’existence de traditions partagées et d’une cohérence sociale entre les communautés nomades sur un territoire couvrant près de deux fois celui de la France. Les données aujourd’hui disponibles ne permettent pas de prendre assez de recul pour établir des modèles sociaux à l’échelle d’une province, et bien entendu encore moins à celle du pays. Une telle étude, encore jamais réalisée sur l’ensemble du territoire mongol, nécessiterait la mise en place de méthodes d’acquisition, d’analyse et de traitement de la donnée, adaptées à l’établissement de larges corpus fournis par la prospection. Ceci impliquerait nécessairement une réduction de la précision des informations recueillies, mais aussi un gain notable en termes d’exhaustivité et donc de représentativité statistique.Les solutions proposées ici s’inspirent de nombreux domaines scientifiques. Elles sont appliquées à un échantillon de monuments appartenant à deux vallées du centre de la Mongolie. L’acquisition de ces structures est facilitée par la production massive de modèles 3D et d’orthomosaïques des sites, tous deux obtenus par photogrammétrie. Une méthode de mise en valeur du relief des modèles 3D a été développée afin de fournir une lecture tridimensionnelle des symboles gravés sur les stèles. À partir des orthomosaïques, les pierres composant les khirigsuurs ont été délimitées avec grande précision grâce à un apprentissage automatique supervisé ; le plan du monument devient alors facile à appréhender. De nouveaux systèmes de description des pierres à cerfs et des khirigsuurs ont été établis, puis appliqués pour produire des classifications non supervisées de ces structures.Au final, de nouveaux concepts et outils ont été développés. Ils offrent de belles perspectives pour l’étude des pierres à cerfs et des khirigsuurs à très large échelle, tout en restant aisément transposables à d’autres problématiques archéologiques.
The present study proposes a new software program to help researchers identify rock paintings from digital images, rapidly producing high-quality documentation, in a user-friendly way. The three RGB colour channels of the digital image are first decorrelated and then stretched, a well-known technique used by remote-sensing specialists for over thirty years. In contrast with the approaches previously developed specifically for rock art, several data-whitening algorithms are used at this step: (regular) principal component analysis, zero-phase component analysis, Cholesky decomposition, and independent component analysis. These transformations produce different arrangements of the colour information, which nevertheless share some important properties (e.g. the covariance matrix of the new channels equals the identity matrix). The decorrelated data, previously stretched and scaled to fit the RGB space, are then converted into various colour spaces (selected from among the most popular): XYZ, HLS, HSV, LAB (CIELAB), Luv, CMY(K), YCrCb, and YUV. The most subtle colour variations will be better perceived in some of these newly produced, contrasted, false-coloured images. The researcher can then take advantage of supervised machine learning algorithms to isolate painted figures. At this step, binary pixel classification is performed either by logistic regression, support vector machine, or k-nearest neighbours, possibly including confident learning. There is no need for complex tuning at any point during the procedure, which lasts a few minutes at most, while a posteriori cleaning of the produced document is minimal. The software, written in Python, is provided as a stand-alone executable program for Windows, for broader diffusion, and as open-source code, which can therefore be adapted to the evolving needs of the community.
The three-dimensional (3D) revolution promised to transform archaeological practice. Of the technologies that contribute to the proliferation of 3D data, photogrammetry facilitates the rapid and inexpensive digitization of complex subjects in both field and lab settings. It finds additional use as a tool for public outreach, where it engages audiences ranging from source communities to artifact collectors. But what has photogrammetry's function been in advancing archaeological analysis? Drawing on our previous work, we review recent applications to understand the role of photogrammetry for contemporary archaeologists. Although photogrammetry is widely used as a visual aid, its analytical potential remains underdeveloped. Considering various scales of inquiry—graduating from objects to landscapes—we address how the technology fits within and expands existing documentation and data visualization routines, while evaluating the opportunity it presents for addressing archaeological questions and problems in innovative ways. We advance an agenda advocating that archaeologists move from proof-of-concept papers toward greater integration of photogrammetry with research.
Este trabajo reúne todos los ejemplos de cerámicas pintadas postcocción documentados en yacimientos localizados en el valle medio del Guadiana. Como novedad en su estudio, se incluye una batería de análisis de DFX realizados sobre un fragmento procedente del Cerro del Castillo de Medellín, otro de las excavaciones de Portaceli (Medellín) y un tercero de Cerro Borreguero (Zalamea de la Serena). La caracterización mineralógica tanto de las pastas como de los pigmentos permite determinar que se trata de producciones fabricadas en el entorno del yacimiento en el que fueron localizados. Así mismo, teniendo en cuenta su contexto y su tipología, estas cerámicas se encuadran en un período de transición entre el Bronce Final y la I Edad del Hierro.
Se presentan los resultados de los análisis realizados sobre un lote de cerámicas elaboradas a mano y decoradas con pintura bícroma procedentes de la vertiente atlántica de la Península Ibérica. Los análisis se realizaron tras el hallazgo de un nuevo ejemplar encontrado sobre una cabaña del Bronce Final en el yacimiento de Cerro Borreguero, en Zalamea de la Serena (Badajoz), que a su vez ha permitido ahondar en la cronología, dispersión geográfica e interpretación de estos vasos. Los fragmentos seleccionados fueron analizados con el objetivo de identificar los componentes de sus pastas, así como los pigmentos que conforman su policromía, para lo cual se llevaron a cabo análisis de difracción de Rayos x-policristal, microscopía electrónica de barrido (meb) para caracterizar morfológica, estructural y composicionalmente la superficie de las cerámicas; y, por último, un análisis por energía dispersiva de Rayos x. Con los datos obtenidos hemos podido concluir que estas cerámicas comparten elementos formales y decorativos que son característicos, fundamentalmente, de la vertiente atlántica de la Meseta Norte y Extremadura en el tránsito entre el Bronce Final y la i Edad del Hierro, donde además parece que se encuentra su origen.
Los precios cada vez más accesibles de los equipos fotográficos, así como el software libre, abren el camino a la fotogrametría de rango corto en la arqueología, cada vez con mayor fuerza.
El estudio que se expone surge de una investigación arqueopaleontológica en la que se intenta inferir las relaciones filogenéticas a través de los distintos rasgos presentes en los fósiles de metápodios de bovinos encontrados en el yacimiento del Pleistoceno inferior de Venta Micena, Orce (Granada), datado en 1,6+0,1 millones de años. Para dicho trabajo, se usarán landmarks colocados sobre las mallas tridimensionales obtenidas a partir de la técnica fotogramétrica. perola cuestión es ¿son fiables estas mallas? ¿se puede confiar, y en caso afirmativo, hasta qué punto, en unos modelos obtenidos por triangulación con base en fotografías?
A lo largo del trabajo se han estudiado varios sistemas para plantear un protocolo fácilmente replicable, que permita conseguir los mejores resultados con los menores costos en tiempo y economía. Así pues, el hecho de trabajar en fotogrametría con diferentes formatos, cámaras, iluminaciones o máscaras sobre las fotografías, dará resultados distintos, que debidamente seleccionados pueden producir deducciones o conclusiones diversas.
La fotogrametría ha demostrado ser un gran instrumento de difusión, gracias a su lograda textura que le ha permitido mostrarse como una herramienta muy útil para acceder o compartir muestras de estudio virtuales entre investigadores. Pero para ello, esta metodología debe pasar su mayoría de edad y presentarse como una técnica científica de precisión suficiente, hecho que se ha querido presentar aquí.
The documentation system of the archaeological material has development in the last years thanks to the application of new technologies. These innovations have been quite useful in the field of the documentation, analysis and visualization of the archaeological artefacts.
In this article a methodology for the achievement of 3D model of archaeological pottery is exposed. This methodology fits within the CATA project (Archaeological Wheel Pottery of Andalusia in its acronyms in Spanish). The main objective of the project is the implementation of a database which is accessible by Internet, containing assorted information about pottery vessels and fragments found in Andalusia in different periods. This reference collection contains information concerning not only the manufacture process, the description of the surface treatment, or the context of finding of the ceramics, but also 3D models that allows a better knowledge of the vessel.
Se presentan a continuación los resultados obtenidos mediante la aplicación del complemento (plug-in) Decorrelation Stretch del programa de computación (software) ImageJ a fotografías digitales de pinturas rupestres de Patagonia Argentina. A los efectos de dar cuenta de las ventajas de este análisis, se seleccionaron imágenes de motivos poco perceptibles macroscópicamente de dos regiones de la provincia de Santa Cruz: sur del Macizo del Deseado y margen norte de la cuenca del río Santa Cruz. Los resultados muestran la utilidad de esta herramienta para el mejoramiento de la percepción y el análisis de motivos característicos del arte patagónico y suscitan nuevas consideraciones a tener en cuenta a la hora del relevamiento fotográfico en el campo.
In a recent Pottery Southwest article, Thompson, Gilman, and Wykoff (2015) examine
the presence and meaning of Knife-wing imagery on Mimbres Black-on-white ceramics. In their
discussion of the distribution of this icon beyond the Mimbres region, they mention the
discovery of a Knife-wing image on an El Paso Polychrome vessel from the Jornada Mogollon
region. We also note that in a previous Pottery Southwest article (Honeycutt 2015: Figures 5-7)
that avian figures painted in Basketmaker III (ca. A.D. 500-750) bowls appear to represent early
Knife-wing icons. Given the recent interest regarding the origins of Southwestern ideologies,
cosmologies, and related symbolic expressions, it was thought that a more detailed discussion of
the Jornada image would be of interest. Additionally, a technical aspect of the study introduces
the use of decorrelation stretch (DStretch) software to reveal ceramic designs obscured by
sooting, fire-clouding, erosion, or by amateur attempts at vessel repair.
Nowadays the freesoftware programs have been converted into the ideal tools for the archaeological researches, reaching the same level as other commercial programs. For that reason, the 3D modeling tool Blender has reached in the last years a great popularity offering similar characteristics like other commercial 3D editing programs such as 3D Studio Max or AutoCAD. Recently, it has been developed the necessary script for the volumetric calculations of three dimnesional objects, offering great possibilities to calculate the volume of the archaeological ceramics. In this paper, we present a methodological approach for the volumetric studies with Blender and a study case of funerary urns from several celtiberians cemeteries of the Spanish Meseta. The goal is to demonstrate the great possibilities that the 3D editing free software tools have in the volumetric studies at the present time.
Se presentan una serie de materiales cerámicos tartésicos y fenicios, procedentes de unas excavaciónes de urgencia llevadas a cabo al pie del Cerro del Castillo en Medellín (Badajoz). Corresponden al primer momento de ocupación protohistórica del asentamiento: el tránsito entre el Bronce Final y la I Edad del Hierro, y se fechan, en virtud de sus paralelos, en el siglo VIII a.C. También se hacen algunas reflexiones acerca de la vinculación del Valle Medio del Guadiana con el área de Andalucía Occidental en estos momentos iniciales de la Cultura Tartésica = An analysis is made of some significant Tartesian and Phoenician potteries coming from a salvage excavation at the foot of the Cerro del Castillo (Medellín, Badajoz), belonging to the initial habitation of the settlement at the transitional period between the Late Bronze Age and the Early Iron Age (VIII century B.C. Some reflections are also advanced about the relationships between the Middle Guadiana Basin and Western Andalucia at the inception of the Tartesian Culture.
Basic guide to 3D modelling of complete and fragmented archaeological objects
- Solórzano-Venegas
El análisis de imagen como aportación metodológica al estudio de las cerámicas pintadas de la Prehistoria Reciente: casos de estudio desde el Sudeste de la Península Ibérica
- Dorado
Cerámica pintada de tipo Medellín,”
- Torres
Las cerámicas del Bronce Final. Un soporte tipológico para delimitar el tiempo y el espacio tartésico
- Ruiz Mata