LArcHer, Universitat de Barcelona, Barcelona, Spain.
Patrimoni 2.0, Barcelona, Spain.
PLoS One. 2022 Aug 15;17(8):e0271276. doi: 10.1371/journal.pone.0271276. eCollection 2022.
This paper contributes to current debates on the technologies and practices of prehistoric artists using the rock art site of el Carche (Jalance, Spain) as a case study. The site preserves both Levantine and Schematic paintings, yet poorly understood from an analytical point of view. In the past, it has even been argued how little differentiation there is between these two post-Paleolithic traditions in terms of paint composition. Our aim with this paper was to identify pigments, paint recipes and technologies and decipher the order of the superimpositions, both between Levantine motifs of different styles, and between these and the Schematic ones. To do so, we adopted a multi-stage and multi-technical analytical strategy, trying to find a balance between sound scientific investigation and impact on the art, considering the irreplaceable nature of this World Heritage rock art. As such, our approach begins with in situ non-invasive investigations using portable EDXRF, to then collect micro-samples for non-destructive analyses by means of Optical Microscopy, Scanning Electron Microscopy coupled with Energy Dispersive X-Ray Spectroscopy (SEM-EDX), micro-Raman Spectroscopy and Fourier Transform Infrared Spectroscopy (FTIR). One of the key highlights of these paper is the identification of up to four different paint compositions, produced with various hematite-based raw materials and different processing techniques. This variability had not been previously documented. Interestingly though, no direct correlations appear to exist between styles or sub-styles and recipes. Some of these paint mixtures were even shared by both traditions. These results are discussed in cultural terms, challenging previous interpretations suggesting a similar pigment composition between Levantine and Schematic art. Microstratigraphic analysis of the cross-sections only partially clarified the overlapping sequence unveiling the complexity of these analysis. They also revealed several degradation layers and external crusts related to rock alteration processes and biological formations. Their role in rock art conservation is also discussed.
本文以西班牙杰朗斯（Jalance）的埃尔卡切（el Carche）岩画遗址为例，为史前艺术家技术与实践的相关争论提供了新的见解。该遗址保存了黎凡特风格和图式风格的岩画，但从分析的角度来看，这两种后旧石器时代的传统都没有得到很好的理解。过去，甚至有人争论过这两种后旧石器时代传统在颜料组成方面的区别有多么小。本文的目的是确定颜料、绘制配方和技术，并解读不同莱凡特风格的主题之间以及这些主题与图式风格之间的叠加顺序。为此，我们采用了多阶段和多技术的分析策略，试图在声音科学调查和对艺术的影响之间找到平衡，考虑到这种世界遗产岩画的不可替代性。因此，我们的方法首先采用便携式 EDXRF 进行原位非侵入性调查，然后收集微观样本，通过光学显微镜、扫描电子显微镜结合能量色散 X 射线光谱（SEM-EDX）、微拉曼光谱和傅里叶变换红外光谱（FTIR）进行非破坏性分析。本文的一个重要亮点是确定了多达四种不同的颜料配方，这些配方使用了不同的赤铁矿基原料和不同的处理技术。这种可变性以前没有被记录下来。有趣的是，风格或亚型和配方之间似乎没有直接的相关性。这两种传统甚至共享了一些颜料混合物。这些结果从文化角度进行了讨论，挑战了以前的解释，这些解释表明莱凡特艺术和图式艺术的颜料成分相似。对横截面的微层分析只部分阐明了重叠顺序，揭示了这些分析的复杂性。它们还揭示了几个与岩石变质过程和生物形成有关的降解层和外部外壳。还讨论了它们在岩画保护中的作用。
